Auction 42

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ASIAN ART Including the collection of a Dutch Noblewoman from Indonesia 19 April 2018 AUCTION 19 April 2018 at 2.00 pm BST The Bloomsbury 16-22 Great Russell Street LONDON WC1B 3NN Ph. +44 7741 757 468 +39 06 326 097 95

VIEWING 13-18 April 2018 at 10.00 am - 1.00 pm / 3.00 pm - 6.00 pm BST 63 Compton Street, apartment 2 LONDON EC1V0BN Ph. +44 7741 757 468 +39 06 326 097 95

AUCTIONEER Lindsey Alexa Gundersen

browse the catalogue and bid on

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MANAGEMENT Giuseppe Bertolami

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DIRECTOR AT THE ROME BRANCH Manuela D’Aguanno m.daguanno@bertolamifinearts.com

DEPARTMENTS ANTIQUITIES COINS AND MEDALS

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Antonio Ragonesi

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Fiorenzo Catalli

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ANCIENT AND MODERN GLYPTIC Gabriele Vangelli De Cresci

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g.vangellidecresci@bertolamifinearts.com MEDIEVAL ART Giuliano Catalli

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OLD MASTERS Luca Bortolotti

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Junior Specialist

Head of Department

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ANCIENT PORCELAIN AND CERAMIC Giuliana Gardelli

Head of Department g.gardelli@bertolamifinearts.com ANTIQUE FRAMES Fabrizio Canto

Giorgia Giammei

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Head of Department

Junior Specialist 11

MODERN AND CONTEMPORARY ART 20th CENTURY DESIGN AND DECORATIVE ARTS Raffaele Cecora

Manuela D’Aguanno

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Junior Specialist v.sut@bertolamifinearts.com PRINTS AND MULTIPLES Filippo Restelli

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f.restelli@bertolamifinearts.com PHOTOGRAPHY Diego Mormorio

Head of Department d.mormorio@bertolamifinearts.com ASIAN AND TRIBAL ART Francesco Morena

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JEWELLERY, SILVER AND WATCHES Fabio Romano Moroni

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Head of Department

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Maria Chiara Zaccaria

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m.zaccaria@bertolamifinearts.com FASHON, TEXTILES & LUXURY Ilaria De Santis

Elisabetta Subrizi

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MEMORABILIA Massimo Fino

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PRIVATE SALES Giuseppe Bertolami DIRECTOR AT THE LONDON BRANCH Giuliano Catalli g.catalli@bertolamifinearts.com ADMINISTRATION Fabrizio Fazioli f.fazioli@bertolamifinearts.com

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PUBLISHING Massimiliano Fiorelli m.fiorelli@bertolamifinearts.com

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LIVE BIDDING:

Bertolami Fine Arts s.r.l Palazzo Caetani Lovatelli Piazza Lovatelli, 1 - 00186 Roma tel. +39 06 326 097 95 / 06 321 8464 /fax. +39 06 323 0610 Bertolami Fine Arts Ltd 63 Compton Steet apartment 2 - EC1V 0BN London ph. +44 7741 757 468 ACR Auctions GmbH

Sendlinger StraĂ&#x;e 24 - 80331 Munich

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IMPORTANT INFORMATION FOR BUYERS – AUCTION 42 - The lots are definitely awarded in the auction room on the days of sale: 19th April 2018 – 2:00pm BST at “The Bloomsbury Hotel” - The lots are available for viewing in 63 Compton Street – Apartment 2, London EC1V 0BN, United Kingdom from 13th to 18th April 2018 from 10.00am to 1.00pm and 3.00pm to 6.00pm BST. - The offers may be made through our websites (www.bertolamifinearts.com), or Invaluable (www. invaluable.com), by fax, email, phone or directly to the offices of Bertolami Fine Arts. Offers made by email, by fax and through our website or website above mentioned, can be received until 12:00pm BST of 19th April 2018.

- In the event of matching bids on the same lots, the earliest bid will take precedence.

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- In the case of multiple bids on the same lot, it will be awarded to the highest bidder. The calculation of the offer will be made at predetermined increments (view “Predetermined increase”) added to the bid immediately lower than the highest received. (e.g. if the opening price is £ 1.000 and customer (A) offers £ 1,270 while customer (B) offers £ 1,800, the lot will be awarded to customer (B) at £ 1,370 (i.e. with a predetermined increment of £ 100 over the immediate lower bid of £ 1,270).

- The realized sale prices list will be published on the Bertolami Fine Arts website within five days of adjudication.

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Barclays in Pound, IBAN: GB59BARC20577690199966 – Account Nr. 90199966 - SWIFT/ BIC: BARCGB22

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- Bertolami Fine Arts reserves the right to withdraw any lot. The auctioneer during the auction, has the right to unite or separate lots and possibly vary the order of sale. He may, at its own discretion, withdraw lots if the bids in the auction does not reach the reserve price agreed between Bertolami Fine Arts and seller.

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- The estimates of the possible selling price of each lot are printed under the description of the lots shown in the catalog and don’t include the commissions payable by the successful bidder. These estimates are approximate. The descriptions of the lots in the catalog may be revised by public announcement during the auction.

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- In case of discrepancies, the online version of these terms of sale prevails.

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1 A CREAM-GLAZED POTTERY TOMB FIGURE OF A DRAGON Sui/ Tang dynasty, 7th century The mythical beast seated on his hind legs on an oval pierced base, along the shoulders a series of volutes suggesting the presence of wings, the powerful head with open mouth showing the fierce teeth, large bulbous eyes and wide nostrils, on top of the head a pair of elegantly curved horns, the whole body covered with a greenish white glaze.

Provenance: an Italian private collection.

34,5 cm high ÂŁ 2400-2800 11 9

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ASIAN ART FROM THE COLLECTION OF A DUTCH NOBLEWOMAN FROM INDONESIA

The following lots are a selection from a larger collection formed by a Noblewoman of Dutch origins who lived in Indonesia.

Born in a family based in Indonesia for some generations, the Noblewoman begun to acquire Asian art objects soon after the end of World War II. Her last acquisitions date to 1975, the year she definitely moved to the south of Italy alongside her Italian husband who also worked as a business man in Jakarta.

According to her descendants, the present owners of the collection, and from the documents left over in the family house (bills, inventories, letters), the Noblewoman acquired the items especially from antique dealers, artists and artisans in Jakarta and other places in Indonesia, but also in Singapore, Hong Kong and The Netherlands.

An overview of the collection reflects the great passion of the Noblewoman for all the aspects of the fascinating Indonesian culture. If Chinese, Annamese and Thai porcelain, especially those types explicitly made for the export to the Indonesian market, could be considered her main interest, she didn’t keep indifferent to the other fields of the multifaceted Indonesian material culture, both ancient and contemporary, always giving voice first of all to her curiosity and refined taste.

She bought bronze and copper pieces dating back to the older Indonesian kingdoms, but also wood sculptures which exemplify the work of some of the many tribal cultures of the archipelago.

She acquired Chinese ivories, but also examples of traditional high quality ethnic jewellery. She had interest in the so called ‘Strait Chinese’ art, but she was also seduced by contemporary Balinese craftsmanship, above all wood sculpture and Ubud painting. She assembled a collection of kris hilts, but she also frequented some of the most talented painters working in Indonesia in the third quarter of the 20th century, both local and foreign, sometimes buying paintings directly from them. She paid special attention to Indonesian silver containers, with a particular interest in objects related to betel culture, but she also purchased a number of brass items, another of the glorious tradition of Indonesia.

Looking at this collection as a whole, despite its undeniable variety from the view point of materials, techniques and chronology, one gets the impression of an attempt to recreate the atmospheres of a country with many centuries of history and knowledge in the scant space of a villa, a kind of Indonesian Cabinet of Curiosities, and, together, it reflects the wish of the collector to always carry with her traces of an important part of her life, of her art education and of her beloved native country, Indonesia.

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Some pages from the inventory of the collection written in the 70’s 12 11

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2 A LONGQUAN CÉLADON-GLAZED DISH Song dynasty Shallow rounded sides rising to a flat, everted rim with raised outer edge, covered overall with a thick glaze of sea-green colour.

Provenance: acquired before 1975.

5,7 x 23 cm ÂŁ 650-750

Similar dishes have been excavated from the Longquan kiln site at Dayao (Longquan Qingci Yanjiu, Beijing 1989, p. 56, fig. 10:1). Other similar examples are in the Tokyo National Museum (see Illustrated Catalogue of the Tokyo National Museum. Chinese Ceramics, I, p. 130, n. 522) and in the Percival David Collection (Illustrated

Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, London 1997, n. 213).

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3 A LONGQUAN CÉLADON-GLAZED INCENSE BURNER Song dynasty The globular body rising to a wide flared neck, set at the shoulders with a pair of stylized dragon-fish handles, covered overall with a rich olive-green glaze Provenance: acquired before 1975.

7,2 cm high £ 950-1400

For a similar piece in the Baur Fondation, Geneve, (see M. Crick, Chinese Trade Ceramics for

South-East Asia from the 1st to the 17th Century.

Collection of Ambassador and Mrs Charles Müller, Milan 2010, n. 52); two similar pieces are illustrated in Chinese celadons and other related wares in Southeast Asia, Singapore 1979, pl. 55; see also U. Wiesner, Chinesische Keramik auf den Philippinen. Die Sammlung Eric E, Geiling, Colonia, pp. 118-119, n. 89.

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4 A LONGQUAN CÉLADON-GLAZED VASE WITH SILVER NECK AND COVER Yuan dynasty Robustly potted, of baluster shape with an ovoid body rising to a cylindrical neck, the body moulded with scrolling flowers on a continuous undulating stem, covered overall in a rich unctuous bluish green glaze, the Indonesian silver cover in the shape of a lotus flower.

Provenance: acquired before 1975.

20 cm high ÂŁ 1400-1900 A similar vase is in the British Museum in London (inv. 1933.013.4); another one is in the Victoria & Albert Museum in London (inv. FE. 186-1974).

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5 A LARGE LONGQUAN CÉLADON-GLAZED ‘CASH-PATTERN’ DISH WITH BARBED RIM Ming dynasty, 14th-15th century

Heavily potted, moulded to the interior with a cash and trellis diaper pattern, surrounded by a continuous floral scroll to the gently rounded and lobed sides, all covered under a thick and lustrous glaze of olive-green colour.

Provenance: acquired before 1975.

35 cm diam £ 1900-2800 For a similar dish in the Topkapi Saray Museum in Istanbul see R. Krahl - J. Ayers, Chinese Ceramics in the Topkapi Saray Museum, 3 voll., London 1986, n.

347; another one is in the Musée National de Céramique of Sèvres (see L’Odyssée

de la porcelaine chinoise. Collections du Musée national de Céramique, Sèvres et du Musée National Adrien Dubouché, Limoges, exhibition catalogue edited by C. Shimizu, Paris 2003, p. 63, n. 12).

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6 A LARGE SAWANKHALOK CÉLADON-GLAZED BOWL WITH BARBED RIM 14th-16th century The incised decoration shows a leaves pattern on the cavetto and a stylised flower in the centre, overall covered with a bluish-green celadon glaze.

Provenance: Acquired on 8 September 1973.

9 X 32 cm ÂŁ 460-550 Similar pieces are illustrated in: W. Willets, Ceramic Art of Southeast Asia, Singapore 1971, nn. 282-283, 292-293; Chinese celadons and other related wares in Southeast Asia, Singapore 1979, pl. 259; R.M. Brown, The Ceramics of South-East Asia. Their Dating and Identification, Chicago 1988, pl. XXXI.d.

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7 A LARGE CRACKLE-GLAZED TRIPOD CENSER Ming dynasty The compressed globular body raised on three feet molded as fantastic animal heads, toward the mouth a recessed band applied with prunusshaped bosses, overall covered with a thick crackled glaze of greyish colour, wood pierced cover and stand.

Provenance: acquired before 1975.

11 x 34 cm ÂŁ 1900-2800 11 19

8 A BLUE AND WHITE ‘CONCH SHELL’ BOWL Hongzhi period, late 15th – early 16th century The decoration painted in greyish blue, the interior with a conch shell in the centre amidst aquatic plants, the exterior with a continuous vegetal scroll under a geometric band near the mouth.

Provenance: acquired before 1975.

15 cm diam £ 460-550 Similar bowls have been found in the Lena Cargo, a ship wrecked in the Philippines sea at the end of the 15th century (see F. Goddio – S. Pierson – M. Crick, Sunken Treasure: Fifteenth Century Chinese Ceramics from the Lena Cargo, London 2000).

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9 A LARGE ‘KRAAK’ BLUE AND WHITE DISH Ming dynasty, early 17th century Painted to the centre with a jardinière with flowers and a painting scroll inside, the well with ten panels of flowers and precious objects, all interspersed with geometric and vegetable designs, the exterior typically sparsely decorated with further fan shaped panels.

Provenance: acquired before 1975.

35 cm diam

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£ 1400-1900 20 11

10 A LARGE BLUE AND WHITE DISH WITH BARBED RIM Kangxi period, early 18th century With a lotus flower in the centre, all around a series of leaf shaped panels with floral compositions on a geometric ground, in the centre of the base an artemisia leaf inside two circles.

Provenance: acquired before 1975.

38 cm diam £ 1900-2800 A similar dish is in the collections of the Museums für Kunsthandwerk of Frankfurt (G. Avitabile – S.G. Von der Schulenburg, Chinesisches porzellan, Frankfurt 1977, n. 161); another similar dish is in the Musée National Adrien Dubouché, Limoges (L’Odyssée de la porcelline chinoise. Collections

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du Musée National de Céramique, Sèvres et du Musée National Adrien Dubouché, Limoges, edited by C. Shimizu, Paris 2003, n. 56).

11 A LARGE BLUE AND WHITE DISH WITH BARBED RIM Kangxi period, early 18th century A flower composition in the centre encircled by a geometric band, surrounded by eight petal shaped panels, four decorated with floral compositions alternating to four with delicate landscapes, the fangsheng lozenge at the centre of the reverse inside two concentric circles.

Provenance: acquired before 1975.

35,5 cm diam

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£ 950-1400 11 21

12 A BLUE AND WHITE ‘EIGHT HORSES OF MUWANG’ JARDINIÈRE AND STAND Qing dynasty, 19th century The vase of cylindrical form with everted rim, the saucer with curved walls and short everted rim, the exterior of the container finely painted with a group of eight horses, apocryphal Kangxi six characters mark under the base of both the pieces.

Provenance: acquired before 1975.

14 cm high (vase); 16,6 cm diam (saucer) £ 750-950 A popular theme for porcelain decoration from the 17th century, the story of the ‘Eight Horses of Muwang’ originates from the historical romance entitled Mu tianzhi zhuan, which is the account of the journey of the fifth emperor of the Zhou dynasty to meet Xiwangmu, the Queen Mother of the West with the aim to become immortal. His chariot was driven by the brave Zaofu and pulled by eight wonderful horses.

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13 A SWATOW ‘RED AND GREEN’ CHIKEN EWER, KENDI Ming dynasty, 16th century Painted in red and green enamels, the globular body decorated with a continuous lotus scroll, the short cylindrical neck with stylised flowers, the handle and mouth shaped as the head and tail of a bird.

Provenance: acquired before 1975.

9 cm high £ 460-550 For a similar kendi in the Collection of Malay University, see Khoo Joo Ee, Kendi. Pouring Vessels in the University of Malay Collection, Oxford 1991, p. 79, n. 95.

13 14 A LARGE SWATOW POLYCHROME DISH Ming dynasty, first half of the 17th century The wall with three phoenixes amidst clouds alternating with large peony bushes, the centre with a series of concentric circles enclosing with a group of characters relating the Chinese zodiac.

Provenance: acquired before 1975.

28 cm diam £ 750-950 A similar dish is in the Baur Foundation, Geneve (see M. Crick, Chinese Trade Ceramics for South-

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East Asia from the 1st to the 17th Century.

Collection of Ambassador and Mrs Charles Müller, Milan 2010, n. 256).

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15 A LARGE WUCAI ‘DRAGON AND PHOENIX’ JAR Mid 17th century Richly painted in bright enamels, the body with a flamboyant decoration of a dragon and a phoenix amidst clouds and flames, the sturdy neck with a band of flames.

Provenance: acquired before 1975.

38 cm high £ 1900-2800

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16 A SANG-DE-BOEUF MONOCHROME DISH Qianlong six characters seal mark and of the period Provenance: Acquired on 14 april 1967 from Lee Cheong, Jakarta.

20,8 cm diam £ 2800-3800 11 25

17 A SANG-DE-BOEUF BOTTLE VASE Qing dynasty, 18th century Provenance: Acquired on 14 april 1967 from Lee Cheong, Jakarta.

20 cm high £ 750-950

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18 A PEACHBLOOM-GLAZED WATERPOT, TAIBAIZUN Qing dynasty, late 19th century Apocryphal six characters Kangxi mark inside two concentric circles.

Provenance: Acquired on 14 april 1967 from Lee Cheong, Jakarta.

8,3 cm high £ 750-950

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19 A FLAMBÉ-GLAZED WINTER MELON-SHAPED VASE Qing dynasty, late 18th - early 19th century Provenance: Acquired on 14 april 1967 from Lee Cheong, Jakarta.

18 cm high £ 950-1400

A flambé-glazed vase of similar shape but larger dimensions is in the Metropolitan Museum of Art, New York (see Making Pottery Art. The Robert A. Ellison Jr. Collection of French Ceramics, New York 2014); see also J. Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London 1980, n. 219, for a vase of similar shape and glaze in the Victoria & Albert Museum in London.

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20 A FAMILLE ROSE SAUCE TUREEN AND COVER Qing dynasty, 1770-1790 circa

In the shape of a European incense-boat, the short sides moulded with Baroque cartouches, the handle as a pine cone, the exterior finely painted in soft enamels with small floral compositions and geometric bands.

Provenance: acquired before 1975.

10 x 15 cm £ 750-950 The model for this kind of tureen is a design by Josiah Wedgewood created in 1770-71 (see C. Le Corbeiller – A. Cooney Frelinghuysen, Chinese Export Porcelain, in “The Metropolitan Museum of Art Bulletin. Winter 2003”, New York 2003, p.

34, pls. 34-35, for a similar shaped tureen with Scottish coat of arms together with its English model). Another similar piece for the Portuguese market is illustrated in M. Beurdeley, Porcelain of the East India Companies, London 1962, pp. 71, 78.

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21 A FAMILLE ROSE ‘TOBACCO-LEAF AND POMEGRANATE’ TUREEN WITH COVER AND STAND Qing dynasty, 1770-1780 circa The tureen and covers in the form of pomegranate with calyx handles, the cover with three moulded pomegrantes and a twig-like handle, the stand with convex moulded panels and a scalloped rim.

Provenance: acquired before 1975.

12 x 17 (tureen); 24,5 cm diam (stand) £ 1900-2800

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22 ELEVEN FAMILLE ROSE ARMORIAL ‘CJW MALLACCA’ PIECES FROM THE WOLTERBEEK TABLE SERVICE Qing dynasty, 1818 circa The lot includes eleven pieces: six dishes of two different sizes; four oval trays, two of them with pierced cavetto; a chestnut-basket with pierced walls. Each piece decorated in the centre with the initials ‘CJW’ supported by a leopard and elephant above a banner inscribed ‘Mallacca’, the coat of arms surrounded by fan-shaped panels with floral compositions.

Inspired by an 1762 Worcester porcelain design, according to family tradition, this service was given to Dutch governor Constantijn Johan Wolterbeek by the Sultan of Malacca when the British ceded the colony to the Dutch after 23 years of interim rule (see J. Kroes, Chinese Armorial Porcelain for the Dutch Market, pp. 519520, n. 443).

Provenance: acquired before 1975. the larger oval tray 25 x 40 cm, the larger dish 25 cm diam £ 4600-5500

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23 A PALE GREEN JADE CARVING OF A MANDARIN DUCK Qing dynasty Provenance: acquired before 1975.

4,3 X 6 cm £ 950-1400

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24 A PALE GREEN JADE CARVING OF LIU HAI Qing dynasty Provenance: acquired before 1975.

5,3 cm high £ 950-1400

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25 A GREEN JADE BOWL Incised Jiaqing four-characters mark and of the period Provenance: Acquired on 6 September 1968 from “Siam Galerie” – Oriental Antique Art Objects, Amsterdam.

3,5 x 11,4 cm £ 2800-3800

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26 A COPPER ALLOY AND GILT FIGURE OF AMITAYUS Qing dynasty, 18th century Seated in dhyanasana position, in the hands the amrita vase, wearing the typical dothi, adorned with elaborate jewellery.

Provenance: acquired before 1975.

12 cm high $ 950-1400 11 33

27 A HARDSTONE-IVORY-AND-CORAL INLAY ‘HUNDRED ANTIQUES AND BIRDS AND FLOWERS’ FOUR PANELS SCREEN Late Qing dynasty Each black lacquered panel divided in three sections, the central and larger one with a ‘birds and flowers’ composition together with seal characters, the other smaller two with various archaistic ritual vessels each containing fruits and flowers, the elements carved in jade, jadeite, agate, malachite, cornelian, coral and ivory, the back of the screen finely painted with a continuous scene with the Eighteen Lohans.

Provenance: acquired before 1975.

176 x 184 cm £ 5500-7500

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28 A PAINTED IVORY CARVING OF A FIGURE OF A LADY MOUNTED AS A LAMP First half of the 20th century The figure on a round base, dressed with a long tunic, the right shoulder and the breast uncovered, a wine cup in the right hand, the oval face perfectly made-up, the hair arranged in a high chignon, the lobes enriched by jewels, the figure standing near a painted metal street lamp with ivory globular finial minutely painted with figures and a cow amidst clouds, the whole sculpture on a red lacquered base elegantly carved with floral scrolls, four characters Jing Yeqi zhi signature on the back of the figure.

Provenance: Acquired before 1975.

32 cm high ÂŁ 2800-4600 The outstanding quality of this sculpture, for the carving as well as for the painting, is not a common feature for Chinese ivory of the 20th century. The presence of the signature is a further proof of the high level reached by the artist in realising this unique piece.

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29 THE ‘RAMAYANA’ IVORY TUSK Late 19th - early 20th century The whole surface intricately carved in high and low relief with figures of deities and animals on a ground of flowers, the personages in different poses, some of them fighting.

Provenance: Acquired before 1975.

69 cm £ 4600-5500 The Ramayana is an ancient Indian epic poem, the base of the Hindu mythology. It narrates the story of the divine prince Rama and, together, it glorifies the mighty lord Hanuman, the purity of Sita (Rama’s wife) and the abnegation of Bharat (Rama’s younger brother).

Traditionally the Ramayana is thought to have been written by Valmiki, a legendary Hindu sage who lived in a not yet specified moment between the 5th and the 1st century BCE.

One of longest ancient epic poems, the Ramayana is not only a literary work but it is considered a major source of teachings for the Indian and Sout-East Asian cultures.

The Indonesian version of the Ramayana is thought to have been written in the 9th century AD. It presents some variations respect to the original, for example in the introduction of local gods and personages.

As in India, during the centuries in Indonesia too the Ramayana had represented an unlimited source of inspiration for any kind of art, from sculpture to painting, from books illustration to decorative motifs.

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30 AN IVORY JAVANESE MADURA KRIS HILT late 19th – early 20th century Finely carved with flowers, leaves and stylised animals, wooden stand.

Provenance: Acquired before 1975.

10 cm high £ 380-460 The stylised horse is probably reminiscent of the Madurese sultan of Sumenep. For similar Donoriko style hilts from Madura in the Lanfranchi collection, see V. Ghirindelli, Kris Hilts.

Masterpieces of South-East Asian Art, Milan 2011, pp. 84-87, 102-103.

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31 AN IVORY JAVANESE KRIS HILT 18th – 19th century Powerfully carved in the shape of the demon Bhima, wooden stand.

Provenance: Acquired before 1975.

10 cm high £ 280-380

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For a very similar hilt from East Java in the Lanfranchi collection, see V. Ghirindelli, Kris Hilts.

Masterpieces of South-East Asian Art, Milan 2011, pp. 54-55 (centre).

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A HORN INDONESIAN KRIS HILT

A WOODEN BALINESE KRIS HILT

19th century

19th century

Finely carved with a deity, wooden stand.

Finely carved with the demon Buta Kala, wooden stand.

Provenance: Acquired before 1975.

Provenance: Acquired before 1975.

12 cm high 10,5 cm high £ 380-460 £ 380-460 11 41

34 A BALINESE GILDED METAL AND HARDSTONE-AND-GLASS-INLAID KRISS HILT 19th century Depicting the Hindu deity Batara Bayu, finely chased with sparsely embossed hard stones and coloured glass, wooden stand.

Provenance: Acquired before 1975.

15,5 cm high £ 950-1400

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35 A LARGE INDONESIAN COPPER PRIEST’S OFFERING TRAY, TALAM 10th – 14th century With flanged rim, the centre with a decoration of a purnaghata vase surrounded by lotus flowers inside a circular band with pointed decoration representing energy rays of light emanating from the vase.

The talam trays were used by priest to place ritual objects or offerings.

Two talam trays are in the Metropolitan Museum of Art (see M. Lenner – S. Kossak, The Lotus

Provenance: Acquired before 1975.

1991, pp. 179-180, nn. 179-180).

Transcendent. Indian and Southeast Asian Art from the Samuel Eilenberg Collection, New York

56 cm diam £ 950-1400 44 11

36 AN INDONESIAN METAL TEMPLE HANDBELL, VAJRAGHANTA 13th – 14th century The top of the handle with five-pronged vajra, the outer prongs curved outward, each of them with the base decorated with Buddhist elements, the central stem cast in a series of round rings, the top of the bell also decorated with high-relief motifs.

Provenance: Acquired before 1975.

19 cm high £ 550-650 The five prongs of the bell represent the five Dhyani Buddhas: Amoghasiddhi, Buddha of the North; Akshobhya, Buddha of the East; Ratnasambhava, Lord of the South; Amithaba, the Buddha of the West; Vairochana, the Supreme Buddha of the Center.

A nearly identical vajraghanta is in the Metropolitan Museum of Art (see M. Lenner – S. Kossak, The Lotus Transcendent. Indian and Southeast Asian Art from the Samuel Eilenberg Collection, New York 1991, p. 210, n. 167); another very similar bell is in the Asian Art Museum in San Francisco (inv. n. 1991.15).

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37 A JAVANESE BRONZE PELLET BELL 10th – 11th century The exterior finely decorated with a geometric motif, with Majapahit style bronze tripod support.

Provenance: Acquired before 1975.

12 cm high £ 280-380

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38 A BALINESE COPPER AND SILVER BETELNUT CUTTER, KACIP 19th century Provenance: Acquired before 1975.

18 cm high £ 280-380

38

A very similar cutter is in the Victoria & Albert Museum, London (n. IS.179-1993 [14/06/2011]); another one nearly identical is in the Metropolitan Museum, New York (inv. 1999.47.24); see also Indonesian Art. Treasures of the National Museum, Jakarta, Singapore 1998, p. 131.

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39 A SUMATRAN SILVER AND NIELLO MAN BELT BUCKLE, PENDING Late 19th - early 20th century Of ogival form with jagged edges and pointed sides, richly decorated with floral motifs and geometric design.

Provenance: Acquired before 1975.

22,5 x 12 cm ÂŁ 460-550

Belt buckles like this were worn with textile belts on ceremonial occasions. Their size and intricacy of decoration are emblems of the rank of the owner.

A very similar belt buckle is in the Victoria & Albert Museum, London (inv. IS.72-1975), others are in the Power House Museum (39A 8.1.2007) and in the Asian Civilisation museum in SIngapore (inv. 1992-00578) see also B. Carpenter,

Ethnic Jewellery from Indonesia. Continuity and Evolution, Singapore 2012, p. 115.

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40 A LARGE BORNEO CAST BRONZE GONG, TAWAK-TAWAK 19th century Finely decorated on the external surface with three Chinese-style dragons amidst sinuous vegetable scrolls, with a bronze suspension chain.

Provenance: Acquired before 1975.

9 x 47 cm ÂŁ 1400-1900

Tawak-tawak gongs were usually used as signal to call people, but it was also attributed to them a magical power against demons; furthermore, they were considered symbols of authority and sometimes used as a kind of currency.

A very similar gong is in the Tropenmuseum, Amsterdam (inv. RV-893-107).

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41 41 AN INDONESIAN REPOUSSÉ SILVER BOWL Early 20th century Decorated on the exterior surface with geometrical and floral motifs.

Provenance: Acquired before 1975.

12,6 x 26,6 cm £ 380-460

42 A LARGE INDONESIAN REPOUSSÉ SILVER BOWL First half of the 20th century Decorated on the exterior with floral motifs.

Provenance: acquired before 1975.

10 x 26,1 cm £ 460-550

42 50 11

43 A CHINESE INCISED SILVER BOWL Early 20th century The exterior with a band of lotus flowers near the mouth, the body with four foliate cartouches each decorated with compositions of flowers and animals alternated with good omen objects.

Provenance: acquired before 1975.

8 x 18,6 cm

43

£ 380-460

44 A SULAWESI SILVER AND FILIGREE SILVER AMULET DISC, KUWARI Early 20th century The exterior surface richly decorated with stylized floral motifs.

Provenance: acquired before 1975.

9,7 cm diam £ 280-380

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45 AN INDONESIAN GILT AND PAINTED SILVER ‘DRAGON’ NECKLACE Early 20th century Formed by eight plaques each with two interlaced dragons, with a further larger plaque placed in the centre and formed by four entwined dragons, each plaque underlined with a thin gold mount, the eyes of the dragons as glass inlays.

Provenance: acquired before 1975.

73 cm, the plaques 53,5 £ 950-1400

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46 AN INDONESIAN ACEH-STYLE GILT SILVER BELT AND BUCKLE Early 20th century Formed by thirteen plaques and a larger buckle, each piece richly chased and pierced with birds amidst flowers and foliage.

Provenance: acquired before 1975.

69 cm, the buckle 10 x 10 cm ÂŁ 950-1400

This kind of belt was worn by Peranakan Chinese on Java and Straits Chinese women on particular occasion such as wedding. Its style is directly influenced by belts produced in south Aceh in the northern tip of Sumatra.

For a very similar gold example see A. Richter – B. Carpenter, Gold Jewellery of the Indonesian Archipelago, Singapore 2012, p. 332; see also B. Carpenter, Ethnic Jewellery from Indonesia.

Continuity and Evolution, Singapore 2012, p.

11.8 11 53

47 AN INDONESIAN GOLD RING WITH INSCRIPTION

16 mm diam £ 950-1400 The inscribred motif on this kind of ring is usually relating the Sri, the goddess of fertility and prosperity.

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48 A LAMPUNG SILK AND COTTON WEDDING SKIRT WITH GOLD WRAPPED THREADS, TAPIS Early 20th century Provenance: acquired before 1975.

112,5 x 126 cm £ 460-550

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49 A BALINESE CARVED WOOD SCULPTURE OF RANGDA WITH ATTENDANTS Early 20th century Carved in one single block of wood, the sculpture placed on moulded base, the demon represented as a nude old woman with long hair and pendulous breast, the long protruding tongue and powerful fangs, keeping two terrified children near her belly while another smaller demon is on her right side.

Provenance: acquired before 1975.

59 cm high ÂŁ 380-460 Rangda is a demoniac goddess very popular in Balinese tradition. Queen of leyak demons, Rangda is the emblem of evil, always struggling with Baron, the leader of the forces of good.

49

50 A BALINESE CARVED WOOD SCULPTURE OF MEM BRAJUT AND HER CHILDREN Mid 20th century Signed on the front of the base.

Provenance: acquired before 1975.

27 cm high ÂŁ 280-380

50

The story of Mem Brajut is a very popular Balinese folktale. She is blessed with children, but poor in earthly goods. Her husband, Pan Brayut, helps her in all the housework while she takes care of the children and weaves them. When the children grow up they can also work and things get better.

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51 A LARGE BALINESE TRADITIONAL TEMPLE PAINTING Early 20th century Painted in natural colours on fabric, the narrative scenes placed on two parallel levels divided from each other by a band of geometrical motifs, the compositions populated with human beings, deities and god, the scenery formed by trees, architectures, furnishings and various objects.

This type of painting was usually placed in Balinese temples to serve as teaching tools of devotion. The subjects were usually inspired by epic poems such as the Ramayana and the Mahabharata, or purer Indonesian stories such as folktales and legends.

Provenance: acquired before 1975.

98 x 164 cm ÂŁ 950-1400 56 11

52 ERNEST DEZENTJÉ (Jakarta 1885 – 1972)

Pelabuan Ratu, 1936 Oil on canvas Signed and dated “Ern. Dezentijé 1936” on the lower left corner.

Provenance: acquired before 1975.

60 x 90 cm

Ernest Dezentjé who was born in a French origins’ family in Jatinegara, Jakarta, in 1885.

A self-taught artist, he is considered a leading member of the early “Indonesian School” of painting. Member of the Bataviasche Kunstkring, he had numerous collective and solo exhibitions in Jakarta, becoming an Indonesian citizen after the War World II.

£ 950-1400

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53 MORI KINSEN

(Yokohama, Japan 1888 – Magelang, Indonesia 1959)

Kampong view Central Java, 1954 Oil on canvas Signed and dated “K. Mori Kinsen 1954” on the lower right corner.

Provenance: Acquired directly from the artist before 1975.

65 x 100 cm £ 950-1400

Mori Kinsen was born in 1888 in Yokohama, Japan. Aspiring to study art in France, he boarded a ship to Europe in 1913. However, because of the outbreak of World War I, his ship was stopped in Java, and he decided to settle there.

During World War II Mori was forced to serve the Japanese Occupation Army as a translator and obliged to move to Japan. After the end of the conflict, he submitted a special plea to President Sukarno, who received art lessons by Mori during his youth, to allow him to come back to Java. The President himself collected paintings by Mori, most of them depicting the tropical landscape in his typical Barbizon-style. He died in Magelang, Indonesia, in 1959.

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54 CAREL LODEWIJK DAKE JR

(Schaerbeek, Belgium 1886 – Jakarta 1946)

Flamboyant tree in front of Kraton Gate, Jogja Oil on wood Signed “CL. Dake Jr” on the lower right corner.

Provenance: acquired before 1975.

74 x 60 cm £ 950-1400

Carel Lodewijk Dake Jr was born in Schaerbeek, Belgium in 1886. He arrived in Indonesia in 1912.

In the next years he travelled in the archipelago and to many other South-east Asian countries.

The main subject of his paintings is the Indonesian landscape, and in particular the ancient ruins of Angkor Wat. In 1915 he created the Indonesian diorama for the World Fair in San Francisco, USA. 60 11

55 LEE MAN FONG

(Guangzhou, China 1913 – Jakarta 1988)

Doves Oil on wood Seal on the lower right corner.

Provenance: acquired before 1975.

80 x 40 cm ÂŁ 7500-9250 Lee Man Fong was born in Guangzhou (Canton) in 1913. As a child he went with his family to Singapore, where he lived until 1932 when he moved to Indonesia, at that time in a dramatic politic situation. In 1942 he was jailed because of his opposition to Japanese occupation of Indonesia. However his artistic talent helped him to gain freedom.

At the end of War World II, his paintings gained a great success also in Europe, where he extensively travelled. In 1952 he returned to Jakarta, where he founded with the help of President Sukarno and Basuki Abdullah, the official palace painter, the Yin Hua, an organization of Chinese painters based in Lokasari Street in Jakarta. The relationship with Sukarno improved until the President appointed Lee Man Fong as presidential painter. He died in Jakarta in 1988.

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56 HENDRA GUNAWAN

(Bandung, Indonesia 1918 – Bali 1983)

Woman and mask Oil on canvas Signed and dated “Hendra 1967” on the higher left corner.

Provenance: Acquired on 18 November 1975 from Humala Pontas, Jakarta.

50 x 53 cm £ 5500-7500

Hendra Gunawan was born on June 11, 1918 in Bandung, Dutch East Indies. During his youth he was a student of artists such as Wahdi Sumwnta and Affandi. In 1935 he was one of the founders of the Kelompok Lima in Bandung. In 1940 he was active to establish the Sundanese Heritage in Bandung and in 1947 the People Artist Studio in Yogyakarta.

During all his life he fought as a guerrilla fighters first against the Dutch colonial rule and later against the ruling government, for which he was incarcerated between 1965 and 1978. During the years in jail he continued to paint using the rough canvas available to him. In 1978 he moved to Bali where he lived until he died in 1978.

The subject of his paintings are deeply influenced by the facts of his life and by the daily life of the villagers. His style combines successfully Western techniques and traditional Indonesian aesthetics.

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57 HENDRA GUNAWAN

(Bandung, Indonesia 1918 – Bali 1983)

Woman with basket of fruits Oil on canvas Signed “Hendra” on the lower right corner.

Provenance: Acquired before 1975.

166 x 64 cm £ 55000-64000 Hendra Gunawan was born on June 11, 1918 in Bandung, Dutch East Indies. During his youth he was a student of artists such as Wahdi Sumwnta and Affandi. In 1935 he was one of the founders of the Kelompok Lima in Bandung. In 1940 he was active to establish the Sundanese Heritage in Bandung and in 1947 the People Artist Studio in Yogyakarta.

During all his life he fought as a guerrilla fighters first against the Dutch colonial rule and later against the ruling government, for which he was incarcerated between 1965 and 1978. During the years in jail he continued to paint using the rough canvas available to him. In 1978 he moved to Bali where he lived until he died in 1978.

The subject of his paintings are deeply influenced by the facts of his life and by the daily life of the villagers. His style combines successfully Western techniques and traditional Indonesian aesthetics.

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OTHER PROPERTIES

58 A LARGE BALAUSTER CÉLADON-GLAZED MOULDED VASE, YENYEN Kangxi period Finely decorated with a moulded decoration of flower scrolls, a band of ruyi heads on the shoulder, 19th century European gilt bronze base.

Provenance: an Italian private collection, acquired in the ‘80s.

57 cm high £ 5500-7500 64 11

59 A PAIR OF ENAMELLED AND GILT IMARI DOUBLE-GOURD BOTTLES Edo period, late 17th – early 18th century The external surface painted with sprays of different flowers, on the lower part of the body a pair of recessed lobed panels each decorated with floral compositions in high relief.

Provenance: the property of a gentleman h. 21 cm each £ 1400-1900 11 65

60 A CHRYSANTHEMUM-SHAPED ENAMELLED AND GILT KAKIEMON DISH Edo period, 18th century The centre of the interior depicting a pheasant, on the walls three floral sprays, other three simpler sprays on the exterior walls.

Provenance: the property of a gentleman 4,5 x 15,5 cm £ 1900-2800

60

61 A SET OF SIX KAKIEMON DISHES Edo period, late 17th – early 18th century

Each decorated in iron-red, blue, green and black enamels and gilt with a stylised flowerhead surrounded by grass, bamboo and plums.

Provenance: the property of a gentleman 4 x 15 cm (the largest); 2 x 12 cm (the smaller) £ 1900-2800

61 66 11

62 A LARGE LACQUERED AND GILT CARVED WOOD STANDING FIGURE OF AMIDA BUDDHA Edo period, dated to 1740 The deity with the right hand raised with the thumb and index fingers in the yogan mudra gesture and the left hand lowered with the palm facing outward, standing on a lotus flower posed on an hexagonal base elaborately carved with geometric and floral motifs and naturalistically rendered waves, the figure backed by a large mandorla decorated with sinuous clouds, near the left shoulder of the god an inscription with the date of the fifth year of the Genbun era (1736-1741).

Provenance: the property of a gentleman 106 cm high ÂŁ 2800-3800

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63 A LARGE ENAMELLED AND GILT EARTHENWARE VASE AND COVER Meiji period The lower zone of the body, the neck and the cover moulded in a series of vertical panels, the top of the cover in the shape of a moulded globe, the whole exterior richly painted and gilt with a procession of deities and sages around a palanquin carried on the back of an elephant, posed on a wooden stand.

Provenance: the property of a gentleman 68 cm high ÂŁ 5500-7500

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64 A LARGE MOTHER-OF-PEARL-AND-IVORY INLAY CARVED BAMBOO VASE Meiji period The external surface of the bamboo vase deeply carved with rocks, trees and clouds, the motherof-pearl and ivory inlays assembled to build the figure of a fierce samurai, each tile finely incised, gilt and painted, inscribed (Dai Nihon mikado kuni Ōsaka/ Arai Tōunsai tsukuru kore, “Made by Arai TŌunsai from Osaka in the great Imperial Japan”) on a rectangular cartouche on the lower part of the vase.

Provenance: the property of a gentleman 56,5 cm high £ 7500-11000

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65 A LACQUERED AND GILT WRITING SET, SUZURIBAKO Meiji period Finely decorated in relief with powdered gold (maki-e), the exterior of the cover decorated on a black lacquered ground with a group of chrysanthemums along a river, the interior of the cover, of the box and of the tray densely sprinkled with gold (nashiji), the tray holding two brushes, the ink stone and a silver water dropper suiteki in the shape of a female deity, Japanese wooden box.

Provenance: the property of a gentleman 9 x 12,5 x 24 cm ÂŁ 4600-5500

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66 AN ARITA ENAMELLED AND GILT BALUSTER VASE Meiji period The handles in the shape of elephant’s heads with movable rings, the whole surface painted in rich polychromy and diffused touches of gold with geometrical pattern bands and stylised floral motifs.

Provenance: the property of a gentleman 36 cm high

66

£ 950-1400

67 Munakata ShikŌ (1903-1975)

Shishikutsu (The Cave of Lion) Signed in pencil Shikō in Japanese and Munakata in Roman script on the lower left corner, with read seal on the right side Coloured print.

Provenance: the property of a gentleman 35 x 28,5 cm £ 950-1400 This print is one of a thirty-one print illustrated series entitled Ryurisho hanga-kan (“Wandering away from Home”) and inspired by the tanka poems of Isamu Yoshii (1886-1960).

67

*the print has not been examined outside of the frame 72 11

68 A LARGE FAHUA-TYPE GLAZED POTTERY TRIPOD INCENSE BURNER Ming dynasty The three legs topped with a lion mask, the body moulded in high relief with a dragon amidst lotus scrolls, the neck with dragons amidst clouds and flaming pearls, flanked by upright handles.

Provenance: the property of a gentleman 42 cm high £ 3800-4600 11 73

69 A SADDLE WITH HARNESS Yuan/Ming dynasty The front and the back covered with shark skin, the contours underlined with a powerful gilt bronze decoration of floral scrolls, dragons and lion’s masks, the seat covered with polychrome silk decorated with dragons amidst flaming clouds and pearls and a series of stripes with a crosses motif, the harness including iron stirrups.

Provenance: the property of a gentleman 33 x 54 x 40 cm ÂŁ 7500-11000

74 11

70 A GREEN JADE MODEL OF A RECUMBENT HORSE

The head gently turned towards the rear, the hooves raised up, mane and tail finely incised.

Provenance: the property of a gentleman 11 x 20 x 10 cm £ 9250-14000

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71 SHEN QUAN (attributed to) Birds and flowers (1682- after 1760) Ink and colours on silk.

Signed “Nanpin Shen Quan” ( ) with three seals.

Dated to 1746 ( …, “Qianlong bing yin qiu qi yue ji …”, “Made in autumn, the seventh month of the third year of the sexagenary cycle during the reign of Qianlong emperor”), applied on wooden panels.

Provenance: the property of a gentleman

Born in Deqing, Zhejiang province, Shen Quan was specialized in ‘birds and flowers’ painting.

His style was influenced by the Ming painters Bian Jingzhao and Lu Ji. Officially invited to Japan by a healthy patron in 1731, in the archipelago he founded a school with many disciples. He came back to China in 1733, continuing to send his paintings to Japan. His works are in important museums all around the world, such as the Palace Museum in Beijing.

214 x 315 cm £ 37000-55000 11 77

72 A LARGE GREEN JADEITE ‘EIGHT IMMORTALS’ CARVING

The eight figures with their usual attributes seated and standing on a mountain decorated in relief with trees and stylized clouds.

Provenance: the property of a gentleman 22 x 41 x 15 cm £ 5500-7500

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TERMS AND CONDITIONS This notice is addressed by Bertolami Fine Arts LTD to any person who may be interested in a Lot. Any additional information applicable to the Sale may be set out in the Catalogue for the Sale, in an insert in the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well.

The terms and conditions of sales applied to both floor and online Bertolami Fine Arts LTD sales are the ones on the bertolamifinearts.com site and not those published in the printed catalogs.

1. OUR ROLE In its role as Auctioneer of Lots, Bertolami Fine Arts LTD acts solely for and in the interests of the Seller.

Our experts are available to prospective buyers to provide information about lots for sale.

The Seller has authorized Bertolami Fine Arts LTD to sell the Lot as its agent on its behalf and, save where we explicitly make it clear to the contrary, Bertolami Fine Arts LTD acts only as agent for the Seller. Any statement or representation we make in respect of a Lot is made on the Seller’s behalf.

Bertolami Fine Arts LTD does not owe or undertake or agree to any duty or responsibility to you in contract or tort (whether direct, collateral, express, implied or otherwise). If you successfully bid for a Lot and buy it, at that stage Bertolami Fine Arts LTD does enter into an agreement with the Buyer. The terms of that contract are set out in our Buyer’s Agreement, which you will find beneath.

2. LOTS Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue, Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue (other than photographs forming part of the Contractual Description) or elsewhere of any Lots are for identification purposes only. They may not reveal the true condition of the Lot. A photograph or illustration may not reflect an accurate reproduction of the color(s) of the Lot. Lots are available for inspection prior to the Sale and it is for you to satisfy yourself as to each and every aspect of a Lot, including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price. It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests. Please ask our staff for details. Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES Contractual Description of a Lot The Catalogue contains a description of our experts and an image about each Lot. Estimates The estimate is printed beside the description. Estimates are only the result of negotiations between Bertolami Fine Arts LTD and the Seller. They does not take into account any VAT or Buyer’s fees. The estimate of each lot is in pound.

Condition Reports Bertolami Fine Arts LTD can give to all customers the Condition Report on each lot. If so requested, this will be provided by Bertolami Fine Arts LTD on behalf of the Seller free of charge.

The Seller’s responsibility to you.

The seller undertakes to respect all contractual obligations listed here relating the sale of the items in 80 11

the auction.

Bertolami Fine Arts LTD’s responsibility to you Bertolami Fine Arts LTD acts as an intermediary for the sale and it commits itself to allow analysis, study or test for the interest of the seller and buyer unless they are invasive or damaging the item.

Alterations Descriptions and Estimates may be amended at Bertolami Fine Arts LTD discretion from time to time by notice given orally or in writing before or during a Sale or by publication. Each lot is available for examine before the sale.

Authenticity The Auction House offers an unconditional and everlasting guarantee for the authenticity of objects.

All identifications and descriptions of the items sold in this catalogue are statements of opinion and were made in good faith.

Reserve Price BFA may accept absentee bids which are below the reserve price.

If the bidding ends before the reserve is reached, Bertolami Fine Arts will submit the consignor the highest absentee bid below the reserve price received. The decision of the seller will be communicated to the bidder within fifteen days from the auction date.

4. CONDUCT OF THE SALE Our Sales are public auctions which persons may attend and you should take the opportunity to do so. We do reserve the right at our sole discretion to refuse admission to our premises or to any Sale without stating a reason. We have complete discretion as to whether the Sale proceeds, whether any Lot is included in the Sale, the manner in which the Sale is conducted and we may offer Lots for Sale in any order we choose notwithstanding the numbers given to Lots in the Catalogue. You should therefore check the date and starting time of the Sale, whether there have been any withdrawals or late entries. Remember that withdrawals and late entries may affect the time at which a Lot you are interested in is put up for Sale. We have complete discretion to refuse any bid, to nominate any bidding increment we consider appropriate, to divide any Lot, to combine two or more Lots, to withdraw any Lot from a Sale and, before the Sale has been closed, to put up any Lot for auction again.

Some lots may carry a reserve. The auctioneer reserves the right not to sell an item below the confidential price, or will repurchase the item on behalf of the consignor or of BFA. If a reserve exists the auctioneer reserves the right to bid on any lot on behalf of the consignor up to the amount of the reserve against any floor or mail bidders. The auctioneer also reserves the right to bid on any lot on behalf of BFA. The Buyer will be the Bidder who makes the highest bid acceptable to the Auctioneer for any Lot (subject to any applicable Reserve) to whom the Lot is knocked down by the Auctioneer at the fall of the Auctioneer’s hammer.

Any dispute as to the highest acceptable bid will be settled by the Auctioneer at his or her absolute discretion. All bids tendered will relate to the actual Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale. This equipment is provided as a general guide as to the equivalent amount in certain currencies of a given bid. All estimates are in POUNDS STERLING. We do not accept any responsibility for any errors which may occur in the use of the currency converter. We may use video cameras to record the Sale.

5. BIDDING We do not accept bids from any person who has not completed and delivered to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form. You will be asked for proof of identity, residence and references, which, when asked for, you 11 81

must supply if your bids are to be accepted by us. Please bring your passport, driving license (or similar photographic proof of identity) and proof of address. We may request a deposit from you before allowing you to bid. We may refuse entry to a Sale to any person even if that person has completed a Bidding Form.

Bidding in person You should come to our Bidder registration desk at the Sale venue and fill out a Bidder Registration Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it.

This will be attributed to you for the purposes of the Sale. Should you be a successful Bidder you will need to ensure that your number can be clearly seen by the Auctioneer and that it is your number which is identified as the Buyer’s. You should not let anyone else use your paddle as all Lots will be invoiced to the name and address given on your Bidder Registration Form. Once an invoice is issued it will not be changed. If there is any doubt as to the Hammer Price of, or whether you are the successful Bidder of, a particular Lot, you must draw this to the attention of the Auctioneer before the next Lot is offered for Sale. At the end of the Sale, or when you have finished bidding please return your paddle to the Bidder registration desk.

Bidding by telephone (only available on lots with a low estimate greater than £500) If you wish to bid at the Sale by telephone, please complete a Telephone Bidding Form, which is available from our offices or in the Catalogue. Please then return it to the office responsible for the Sale at least 24 hours in advance of the Sale. It is your responsibility to check with our Bids Office that your bid has been received. Telephone calls will be recorded. The telephone bidding facility is a discretionary service and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Our staff will be available for phone calls in foreign languages as long as previously agreed upon.

Bidding by post or fax Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale. It is in your interest to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot. Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments.

New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet Please visit our Website at www.bertolamifinearts.com for details of how to bid via the internet.

Bidding through an agent Bids will be accepted as placed on behalf of the person named as the principal on the Bidding Form although we may refuse to accept bids from an agent on behalf of a principal and will require written confirmation from the principal confirming the agent’s authority to bid. For further details, please contact Customer Services of Bertolami Fine Arts LTD. 82 11

6. CONTRACTS BETWEEN THE BUYER AND SELLER AND THE BUYER AND BERTOLAMI FINE ARTS LTD On the Lot being knocked down to the Buyer, a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder. We may change the terms of either or both of these agreements prior to them being entered into, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale.

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER Under the Buyer’s Agreement, a premium (the Buyer’s Premium) is payable to us by the Buyer in accordance with the terms of the Buyer’s Agreement and at rates set out below, calculated by reference to the Hammer Price and payable in addition to it. Storage charges and Expenses are also payable by the Buyer as set out in the Buyer’s Agreement. The following Buyer’s Premium is written within the “information for buyers”.

In order to harmonize tax procedures among EU countries, with effect from 1 January 2001 new rules were introduced with the extension to the Auction Houses of the margin scheme. Article. 45 of Law 342 of 21 November 2000 provides for the application of the scheme to sales concluded in execution of contracts of commission defined: • private clients; • clients to tax that the operation subject to the margin scheme; • Customers who have not been able to deduct the tax in accordance with Art. 19, 19 bis, and 19bis2 the DPR. 633/72 (which have sold well in free ex-Art. 10, 27-d) • customers who benefit from the exemption arrangements provided for small businesses in the State of origin.

By virtue of special legislation, in cases mentioned above any VAT tax, or a sum in lieu of VAT, if applicable, it is charged by the Auction House. No symbol will be used for lots sold under the margin scheme.

8. PAYMENT The payment of the sold lots must be made immediately after the auction and can be made by bank transfer, cash, check, bank check bank account, credit card (Visa or Mastercard). Were exceptional exchange rate variations to occur due to imponderable situations, Bertolami Fine Arts LTD may, at its sole discretion, issue invoices in UK pounds (GBP), US dollars (USD), Euros (EUR).

If the invoices are in terms of Euros or US dollars, we will apply the exchange rate between UK pounds and Euros or UK pounds and US dollars prevailing at the time of the contract of sale (auction date).

Bertolami Fine Arts LTD will bill to the same person that is at the registration of the pallet unless previously agreed otherwise with the Administration.

As required by law, Bertolami Fine Arts LTD is obliged to call for their customers to show an identity document (identity card, driving license, passport) and confirmation of address.

Buyers wishing to pay by bank check must make arrangements with the Administration. It is not possible to deliver the goods before the payment by check or bank draft until encashment of the check, unless otherwise agreed prior to the auction.

You will find the bank details in the invoice.

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Payment can be made by Visa or Mastercard only by the cardholder.

Bertolami Fine Arts LTD reserves the right to check the source of the payments received. Bertolami Fine Arts LTD reserves the right to refuse payments received from people different from the purchaser.

However, in limited circumstances and in any case with the consent of the seller, Bertolami Fine Arts LTD has the ability to offer buyers it deems reliable the option of paying for goods purchased at cadences deferred. The mode of deferred payment will be set out before the sale. Before considering whether or not to grant deferred payments, Bertolami Fine Arts LTD may ask for references and documentation on the reliability and identity of the buyer. It will not allow anyone to withdraw the lot prior to the payment, unless credit has been granted before the auction.

9. COLLECTION It is Bertolami Fine Arts LTD policy to request proof of identity on collection of a lot. Lots will be released to you or your authorized representative when full and cleared payment has been received

by Bertolami Fine Arts LTD. 10. STORAGE Storage and handling charges may apply.

For information concerning post sale storage and charges, please contact our Customer office.

11. LOSS OR DAMAGE Buyers are reminded that Bertolami Fine Arts LTD accepts liability for loss or damage to lots for a maximum period of ten (10) days after the date of the auction.

12. SHIPPING Bertolami Fine Arts LTD Shipping Department can advise buyers on exporting and shipping property.

You can contact the Customer service on the number that you see in our website.

The entire shipment costs are to be paid for by the buyer. Additionally, a form to provide shipping instructions is attached to the buyer’s invoice. Your shipper will include a quote for transit insurance. All shipments should be unpacked and checked on delivery and any discrepancies notified to the transit insurer or shipper immediately.

Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell.

Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.

13. THE SELLERS AND/OR BERTOLAMI FINE ARTS LTD’ LIABILITY Besides the responsibilities and obligations of sellers and Bertolami Fine Arts LTD above, neither sellers nor Bertolami Fine Arts LTD shall be held responsible for any error in the description of the lots or in their estimates for the sale and for any omissions that may result in losses or damage to property or assets to the purchaser.

14.DATA PROTECTION – USE OF YOUR INFORMATION Were we to obtain any personal information about you, we would only use it in accordance with the terms of our Privacy Policy, subject to any additional specific consent you may have given at the time your information was disclosed.

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La prego di acquistare per mio conto, i seguenti lotti ai limiti indicati, secondo le condizioni di vendita.

Please, buy the following items on my behalf at your auction sale up to the limits indicated and subject to the conditions of sale.

Nome - Cognome/First name - Last name ....................................................................................................................................................................

Indirizzo/Address ..........................................................................................................................................................CAP/ZIP Code ..........................

Città/City ..............................................Nazione/State ..............................................................CF - P.IVA ................................................................

Tel. ........................................................................Cell. ..............................................................................Banca/Bank........................................................

Documento d’identità/Identity card ................................................................................................................................................................................

Email ............................................................................................................Data/Date ..........................Firma/Signature ..............................................

Asta Auction

Lotto Lot

Descrizione Description

Offerta massima Maximum bid

Partecipazione telefonica Phone bid

☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐

Desidero pagare nel modo seguente:/If successful, i wish to pay by:

☐ Bonifico bancario/Bank transfer ☐ Carta di credito (Visa - Mastercard)/Credit card (Visa - Mastercard) Numero della carta/Card no.

................................................................................................................

Data di scadenza/Expiration date

...... / ......

Titolare/Holder

................................................................................................................

Codice di sicurezza/Security code

...... / ......

☐ Paypal Bertolami Fine Arts s.r.l. Palazzo Caetani Lovatelli Piazza Lovatelli, 1 - 00186 Roma / tel. +39 06.32609795 / 06.3218464 / fax +39 06.3230610 Bertolami Fine Arts Ltd 63 Compton Street apartment 2 - EC1V 0BN London / ph. +44 7741 757468 ACR Auctions GmbH Sendlinger Straße 24 - 80331 Munich www.bertolamifinearts.com - info@bertolamifinearts.com

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