Fine Chinese and Asian arts auction catalogue August 29 2021

Fine Chinese & Asian Arts Auction • Sunday 29 August 2021

Chinese and Asian Arts Experts Ray Tregaskis Victoria Tregaskis Allan Rae Luke Guan

Indigenous Australian Art Expert Shaun Dennison

Arts of the Middle East Expert Dr Susan Scollay

Interior Decorator Auctions Specialist Amanda Swanson

Single-Owner Auctions Specialists Paul Sumner Sandy Bruce

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SOUTH YARRA

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PRAHRAN

ASIAN ART SPECIALISTS

Artvisory 409 Malvern Road, South Yarra VIC 3141

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Fine Chinese & Asian Arts CURATED BY LUKE GUAN

AUCTION

Sunday 29 August 2021, 11.00am

VIEWING

Thursday 26 August

11am–5pm

Friday 27 August

11am–5pm

Saturday 28 August

11am–5pm

ADDRESS

409 Malvern Road, South Yarra VIC 3141

COLLECTIONS

Monday 30 August

11am–5pm

Tuesday 31 August

11am–5pm

Wednesday 1 September

11am–5pm

Luke Guan

Victoria Tregaskis

Ray Tregaskis

Allan Rae

EXPERT PANEL

ONLINE

View catalogue and bid online at www.artvisory.com.au

ENQUIRIES

Luke Guan 0455 891 888 luke@artvisory.com.au

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How to Bid at our Auctions Catalogues and Viewing

Buyers Premium

Auction catalogues can be viewed on the Artvisory website www.artvisory.com.au approximately three weeks prior to the published date of an Auction.

Artvisory charges a Buyers Premium of 24% plus GST on the hammer price of all Auction items unless otherwise stipulated.

If a printed catalogue has been produced for an Auction, it will be available complimentary at Artvisory, 409 Malvern Road, South Yarra 3141.

Bidding

The Auction viewing is open to the public and generally takes place during the three days prior to the Auction date, from 11am-5pm at the advertised location/s in the Auction catalogue.

Live Bidding

Artvisory offers four options for bidding at our Auctions:

The Lot/ Catalogue descriptions provide the overall information of an item including size, date or age, medium, attribution, quantity and if known, provenance.

If this is your first-time bidding with Artvisory you will be required to register with us, and we suggest that you arrive at the Auction with your pre-filled registration form (available to download and print from our website) and you will then receive your bidding number at the Auction. To facilitate this please bring along your Government issued photo identification, such as a driver’s licence or passport as this is the only form of identification that will be accepted.

Estimates

Please make sure you register in the name you want your final invoice to be made out to as invoices once issued cannot be changed, and in certain cases a deposit may be required before you can bid.

Lot Descriptions

The estimate accompanies each lot in the printed and online catalogue. This estimate takes into consideration the quality, condition, rarity, condition and provenance of the item. Each estimate also has a reserve, and the reserve is the undisclosed and confidential amount set at or below the low estimate. Please note the reserve will never exceed the low estimate at Artvisory, however many lots are sold without a reserve.

Condition Reports Condition reports supplement the lot/ catalogue description and focus on the condition of the item. We strongly advise obtaining a condition report if you are unable to view the lot in person. Condition reports and additional images are available to view as part of the auction item listing at Invaluable.com

Symbols Occasionally a symbol is printed next to a lot number in the catalogue, this indicates a special clause that is associated with the sale of that item.

Please refer to the Terms and Conditions for specific symbol meanings and information.

Online Bidding Online bidding via Invaluable.com allows you to bid via the internet in real time, whilst also allowing you to view the live feed of the Auction.

Please register for this service with Invaluable.com at least 24 hours prior to the Auction to ensure you do not miss your lot.

Invaluable.com charges a 5% fee on any successful lots purchased which will be added to your final invoice.

Please note if you have not bid with Artvisory previously, then Government issued photo identification verifying your name and address will be also be required before you can be approved to bid with Artvisory via the Invaluable.com site, and in certain cases a deposit may be required before you can bid.

Please note Artvisory cannot be held responsible for any errors that occur with internet connectivity during an auction or buyer bidding errors.

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Telephone Bidding

Payment and Collection

Complimentary telephone bidding is available at all our live Auctions, and involves an Artvisory representative calling you approximately 3–5 lots in advance of your nominated lot and you then instruct them to bid on your behalf.

If you are successful with your bid/s your invoice will be emailed to you immediately after the Auction finishes.

Telephone Bids must be requested at least 24 hours prior to the commencement of the Auction and are provided on a first come first served basis, as the number of phone lines available are limited.

See our website to download and complete a telephone bidding form and please note if this is your first time bidding with Artvisory we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.

Absentee Bidding Absentee bidding offers convenience if you are unable to attend an Auction in person, bid over the telephone, or if you wish to stick to your budget.

An absentee bid should be set at the maximum amount you wish to bid on the lot/s you are interested in purchasing. Should the lot/s be knocked down at an amount lower than the bid recorded on your form, the lot will be sold to you for the lesser hammer price plus buyers premium. If identical bids are received for the same lot, then the first bid received by Artvisory will take precedence.

Absentee bids must be received by Artvisory at least 24 hours prior to the Auction commencing and the Company cannot be held responsible for activating any late bids that are received.

See our website to download and complete an absentee bidding form and please note if this is your first time bidding with Artvisory we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.

You will pay the hammer price, plus the Buyers Premium of 24% plus GST on each lot, together with any additional charges such as GST on hammer or the Artist Resale Royalty if applicable.

As per our terms and conditions, payments must be made in full by three (3) days after the Auction as printed in the catalogue.

Personal, Company and Bank cheques are not accepted unless prior approval has been sought.

We accept Direct Deposit into the Company Trust Account, Eftpos (up to your daily limit) or credit card in person with the following merchant fees applied (1.3% for Visa and Mastercard, 2% for American Express) Cash payments must be deposited direct to the Company Trust account via any Commonwealth Bank Branch, and goods can be released upon supplying the deposit receipt.

All payment options and Company Trust Account details are included on the invoice that is emailed to you after the Auction if you are a successful bidder.

All items must be paid for in full and collected within the collection times advertised for each individual Auction. If items are not collected within this time frame then Artvisory reserves the right to charge removal, storage and release fees.

Packing and Delivery Artvisory is happy to assist with wrapping small items on collection day, once items have been paid for in full.

Regarding larger items, we have a list of recommended specialist carriers for local, interstate and international items that we can provide to buyers and this will be sent with your invoice if you are successful at the auction.

Please note should you request Artvisory to pack your items for you, no responsibility can be taken by the Company for any damage.

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Chinese Works of Art 1

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A CHINESE YUE CELADON-GLAZED VESSEL, WESTERN ZHOU DYNASTY (1045-771 BC)

A CHINESE YUE CELADON-GLAZED BOWL, WESTERN ZHOU DYNASTY (1045-772 BC)

The vessel is supported on a splayed foot, decorated with three twisted handles and a band of arrow motifs on the shoulder. It is covered overall with a celadon glaze.

13cm diameter

The bowl is covered overall with a celadon glaze.

11.2cm diameter

西周 越窑青釉三系盌 $400–600

西周 越窑青釉盌 $400–600 Illustrated online at artvisory.com.au

Illustrated online at artvisory.com.au

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A CHINESE PAINTED BLACK POTTERY FIGURE OF A BEAR, HAN DYNASTY (206 BC-220 AD)

A CHINESE JUN TEA BOWL, YUAN DYNASTY (1271-1368) The deep rounded bowl is covered with a thick milky blue glaze.

8.4cm diameter

The finely potted seated bear is holding an ox head, decorated with beautiful original yellow, white, red and blue pigments.

17.5cm high

Mossgreen Melbourne, 8/05/2017, lot 67.

For a similar example, please see J. Lally & Co., Early Dynastic China, New York, 1996, no.1

元 钧窑天青釉茶盏

PROVENANCE

$2,000–3,000

An important private collection, Sydney, Australia

PROVENANCE

汉代 陶彩绘坐熊 $2,000–3,000

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A FINE AND RARE CHINESE PAINTED NEOLITHIC JAR, BANSHAN CULTURE (3500-2800 BCE) The jar is finely decorated with geometric pattern in mineral pigments.

42.5cm high PROVENANCE

An important private collection, Sydney, Australia 新石器时代 半山文化 彩陶罐 $3,500–4,500

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A RARE CHINESE CHANGSHA BROWN AND GREEN SPLASHED BIRD-FORM EWER AND COVER, TANG DYNASTY (618-906 AD) The bird formed ewer applied with wings on either side of the body and everted tail, decorated with alternating brown and blue streaks of glaze.

12cm long, 11cm high PROVENANCE

The Professor Conrad Harris Collection of Early Chinese Art, London, formed in the late 1990s to early 2000s. 唐 长沙窑 鸟形青釉蓝褐彩执盖壶 $300–500 Illustrated online at artvisory.com.au

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A CHINESE DARK-GLAZED VASE, TANG DYNASTY (618-906 AD) The vase is heavily potted, with a cup-shaped mouth and wasted neck, it is covered with a dark tea-dust glaze.

17.9cm high PROVENANCE

The Estate of the Late Walter Hochastader, thence by descent. 唐 黑釉盘口瓶 $3,000–5,000

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A RARE CHINESE CIZHOU PERSIMMON-GLAZED JAR, JIN-YUAN DYNASTIES (1115-1368) The jar has a globular body, flanked by a pair of lug handles, the interior is covered with a bright persimmon glaze, the glaze also covering the upper body. The rim is covered with a band of white slip.

9.8cm high 金/元 紫金釉白覆轮罐 $600–800 Illustrated online at artvisory.com.au

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A CHINESE SMALL JUN DISH, JIN DYNASTY (1115-1234) The thickly potted dish with an everted rim, it is covered in an even lavender glaze thinning to mushroom at the rim.

12.6cm diameter 金代 钧窑盘 $3,000–5,000

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A LARGE CHINESE MOONWHITE GLAZED JUN BOWL, YUAN DYNASTY (1271-1368) The large bowl is covered with a moon-white glaze with purple splashes 22cm diameter 元 钧窑月白釉紫斑大盌 $800–1,200 Illustrated online at artvisory.com.au

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A LARGE CHINESE JUN DISH, POSSIBLY SONG – JIN DYNASTY, 12TH-13TH CENTURY The dish is heavily potted with a flattened rim and is covered with a thick pale blue glaze with purple splashes.

21cm diameter PROVENANCE

Sotheby's London, 10/09/2002, lot 186 或为宋至金代 钧窑盘 $5,000–8,000

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A CHINESE CIZHOU PAINTED DEEP BOWL, JIN DYNASTY-YUAN DYNASTY, 13TH-14TH CENTURY The exterior is decorated with scroll patterns in a black pigment over the white slip under a layer of clear glaze.

6cm wide, 5.5cm high PROVENANCE

Private collection, VIC, Australia 金/元 磁州窑萱草纹钵 $500–700 Illustrated online at artvisory.com.au 11

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A CHINESE YAOZHOU FOLIATE-RIMMED CELADON BOWL, NORTHERN SONG DYNASTY (960-1127)

A CHINESE LONGQUAN CELADON BRONZE-FORM TRIPOD CENSER, YUAN DYNASTY (1279-1368)

The bowl is in the form of a six-petaled flower, it is covered with an even celadon glaze with an olive-green tone.

12.5cm diameter

The centre is with a compressed globular body and with a pair of D-shaped handles flanking the short neck and joining the shoulder to the edge of the everted rim, it is covered overall with a fine ice-crackle glaze of sea-green colour, a central aperture in the base surrounded by the remains of a kiln support on the interior and the surrounding an unglazed ring on the base, burnt orange in the firing.

13cm high; 13cm wide

PROVENANCE

Private collection, Victoria, Australia 北宋 耀州青釉花型盏 $3,000–5,000

For a similar longquan censer please see Sotheby's New York, 19/03/2013, lot 319. Another similar example see, Christie's New York, 17/09/2008, lot 434.

PROVENANCE

Private collection, Sydney, Australia 元 龙泉青釉三足鼎式炉 $3,000–5,000

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A CHINESE PERSIMMON-GLAZED GRAIN MEASURE, SOUTHERN SONG – YUAN DYNASTY, 13TH-14TH CENTURY

A CHINESE JIZHOU PAPER-CUT DECORATED BOWL, POSSIBLY SOUTHERN SONG DYNASTY (1127-1279)

The unglazed exterior is combed with parallel lines forming concentric semi-circles on two sides and continuing under and across the small flat base, interrupted by a row of glazed bosses beneath the mouth.

The lipped rim and interior are covered in a persimmon glaze.

7.3cm diameter

The interior is decorated in resist technique with paper-cut decoration of three quadrilobed flowers reserved in brown against the variegated, milky buff ground. The exterior is covered in a glaze of dark brown colour mottled in beige falling short of a knife-cut edge above the low narrow ring foot.

11.3cm diameter

A similar example in the Percival David Foundation, London, is illustrated in Oriental Ceramics: The World's Great Collections, Tokyo/New York/San Francisco, 1982, vol. 6, monochrome pl. 47; also see, Christie's New York, 21/06/2017, lot 167.

PROVENANCE

Private collection, Victoria, Australia 南宋 赣州窑紫金釉乳钉盌 $5,500–6,500

或为南宋 吉州窑剪纸贴花银口盏 $3,000–5,000

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A FINE LARGE CHINESE DING BOWL, NORTHERN SONG – JIN DYNASTY, 12TH-13TH CENTURY The bowl is finely incised with a peony spray to the interior centre, it is covered overall with white glaze 21.5cm diameter PROVENANCE

An important private collection, Sydney, Australia 宋/金 12/13世纪 定窑白釉刻花盌 $10,000–15,000

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A CHINESE JIANGXI DARK-GLAZED TRIPOD CENSER, SOUTHERN SONG -YUAN DYNASTY, 13TH-14TH CENTURY The compressed bombe body is supported on the short tripod feet, it is covered with a dark tea dust glaze 8.5cm high Similar example please see Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese brown and black-glazed ceramics, 400-1400, no.109, p.263. 南宋/元 黑釉三足鼎式炉 $1,000–2,000 Illustrated online at artvisory.com.au 17

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A LARGE CHINESE YAOZHOU CONICAL BOWL, NORTHERN SONG DYNASTY (960-1127) The bowl is decorated with six ribs on the interior, it is covered overall with even pale green glaze.

20cm diameter A similar yaozhou bowl was sold at Sotheby's London, 18/03/2008, lot 263. Another two similar examples see Ross Kerr, Chinese Ceramics Treasures: A selection from the Ulricehamn East Asia Museum, including the Carl Kempe Collection, no. 50, pp. 150-151.

Also see Complete Collection of Ceramics Art Unearthed in China, Science press, 2008, vol. 15, no. 138.

PROVENANCE

Blitz Oriental Art, Amsterdam, Holland.

Capital Gallery, Hong Kong. 北宋 耀州窑青釉出筋大盌 $9,000–10,000

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A CHINESE LONGQUAN CELADON BRUSH WASHER, SOUTHERN SONG DYNASTY (1127-1279) The washer is finely potted with an angular profile rising from a short foot to a slightly everted rim, covered overall with an attractive glaze of even sea-green tone with the exception of the foot ring.

13.5cm diameter A slightly smaller example (12.3cm diameter), please see Christie's New York, 13/09/2019, lot 1045.

PROVENANCE

KY Fine Art, Hong Kong.

An important private collection, New South Wales, Australia.

EXHIBITED

Sydney: Objects of Desire, The Classic Age of Chinese Ceramics Song to Yuan Dynasties, 10th-14th Centuries, Asian Arts Institute of Australia, 2013.

LITERATURE

Objects of Desire, The Classic Age of Chinese Ceramics Song to Yuan Dynasties, 10th-14th Centuries, Asian Arts Institute of Australia, Sydney, 2013, no, 47. 南宋 龙泉青釉折沿洗 $9,000–12,000

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A CHINESE YUE FOLIAGE-RIMMED BOWL, TANG DYNASTY (618-906 AD)

A VERY FINE AND RARE CHINESE LONGQUAN GUAN CELADON VESSEL, ZHADOU, SOUTHERN SONG DYNASTY (1127-1279)

The shallow sides rising at an angle to an undulating rim, the exterior incised with five evenly-spaced vertical lines suggesting petals, covered overall in an olive coloured glaze 17cm diameter

The zhadou is potted with a compressed bulbous body and a broad neck that flares at the rim, and is covered inside and out with a beautiful icecrackled celadon glaze with an olive tone. With a fitted box.

11cm diameter, 8.5cm high

PROVENANCE

In the past, this type of Longquan ware would considered to be Guantype, which were believed to imitate Guan ware in Longquan kilns.

However, recent studies have discovered that the Southern Song court had set up kilns in Longquan dayao and xikou to fire tribute wares to the court, as the alternative official kilns to the Jiaotanxia official kiln and Xiuneisi official kiln in Hangzhou. This present Zhadou would be a typical vessel that was made in the official kiln in Longquan dayao for the Southern Song court. For a celadon longquan zhadaou, please see Christie's New York, 22/03/2019, lot 1718.

Capital Gallery, Hong Kong 越窑 青釉花口盘 $9,000–15,000

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A CHINESE JIAN HARE'S FUR DARK GLAZED TEA BOWL, SOUTHERN SONG DYNASTY (1127-1279) The bowl is covered with a streaked black and russet glaze.

It is from Shuiji kiln, Fujian.

12cm diameter

PROVENANCE

For a similar example see Robert Mowry, Hares Fur, Tortoiseshell and Partridge Feathers: Chinese Brown and Black-glazed Ceramics, 400-1400, Harvard, 1996, no. 77, p.211. Also see, Sotheby's Hong Kong, 05/04/2015, lot 2845.

南宋 龙泉官窑 米黄青釉冰裂纹渣斗 过去此种米黄釉冰裂纹的龙泉窑 产品曾普遍被认为是龙泉仿官的产品，然 而近年的研究发现，南宋朝廷曾在龙泉县的龙泉大窑和溪口撘造官窑，专门 烧制供朝廷使用的瓷器。用于补充杭州郊坛下官窑与修内司官窑的瓷器烧 制。其特点与杭州官窑产品极为相似，大部分为深色胎体，釉面莹润， 均 有非常美丽的片状冰裂纹开片。相似龙泉窑(非官窑)烧制的渣斗，可 参见纽 约佳士得，2019年3月22号，拍品号1718

PROVENANCE

Blitz Oriental Art, Amsterdam, Holland.

Capital Gallery, Hong Kong.

Mossgreen Melbourne, 16/06/2015, lot 51.

Private collection, Sydney, Australia

K. Y. Fine Art, Hong Kong Private collection, Melbourne, Australia

$15,000–25,000

南宋 建窑兔毫盏 $6,000–8,000

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A CHINESE JIAN HARE'S FURE BUBBLE BOWL, SOUTHERN SONG DYNASTY (1127-1279)

A RARE CHINESE CIZHOU GANGWA BROWN-PAINTED GLOBULAR JAR, LIAO DYNASTY (916-1125)

The bowl is covered inside and out with a lustrous blackish-brown glaze finely streaked with russet 'hare's fur' markings flowing from the russet band below the rim.

9cm diameter

The heavily potted body is partially covered with a white slip, painted in brown with evenly placed flowers divided by vertical line borders, all under a clear glaze.

16cm diameter, 12cm high

Similar tea bowl please see Christie's Hong Kong, 6/4/2015, lot 125.

For an almost identical jar please see: Yuegutang: A Collection of Chinese Ceramics in Berlin, no. 171, p. 214. Two very similar examples also see Christie's London, 13/11/2001, lot 14 and Christie's New York, 20/03/2015, The Collection of Robert Hatfield Ellsworth Part IV – Chinese Works of Art: Metalwork, Sculpture and Early Ceramics, lot 858.

PROVENANCE

Private collection, Victoria, Australia 南宋 建窑黑釉“兔豪”泡泡盏 $4,000–6,000

PROVENANCE

Capital Gallery, Hong Kong Private collection, Melbourne, Victoria, Australia 辽 磁州缸瓦窑 白釉黑彩花纹线罐 内蒙古地区 $3,000–5,000

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A RARE CHINESE CIZHOU BLACK GLAZED RIBBED JAR, SONG DYNASTY (960-1279) The ribbed, globular body is supported on an unglazed foot, and the neck is flanked by a pair of strap handles. The jar is covered with a blackish-brown glaze, and the raised ridges on the ribbed body are accentuated by vertical lines that were applied with creamy-white slip.

11.5cm high Dark brown or black-glazed stoneware vessels with ribbed decoration appear to have been made in several kilns in northern China. Compare a slightly larger wide-mouthed jar (25.4cm. high) of this type, from the collection of Mr. and Mrs. Janos Szekeres, illustrated by R. D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown-and Black Glazed Ceramics, 400-1400, Cambridge, 1996, pp. 174-9, no. 61. Another similar example (approx.

7 in. high) is in the Meiyintang Collection and illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, p. 248, no. 447. A larger example is sold at Christie's New York, 15/09/2016, lot 714. Another jar of this type with wider mouth and shorter neck, similar in size, sold at Christie's New York, 10/05/2018, lot 968.

PROVENANCE

An important private collection, Sydney, Australia 宋 磁州窑黑釉白出筋双系罐 $8,000–12,000

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A RARE LARGE CHINESE QINGBAI CHRYSANTHEMUMSHAPED BOX AND COVER, SOUTHERN SONG-YUAN DYNASTY (1127-1368) The box and cover are each moulded with chrysanthemum petals on the sides, and are covered inside and out with a transparent glaze of aqua bluish-white tone with the exception of the base, exposing the fine white ware.

14cm diameter A similar example was in the Linyushanren collection, please see Christie's 13/09/2019, , lot 1039 PROVENANCE

An important private collection, Sydney, Australia 南宋-元 影⻘菊形大盖盒 $7,000–9,000

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A SMALL CHINESE LONGQUAN BOX AND COVER, YUAN-EARLY MING, 14TH CENTURY The box and cover is finely moulded in a chrysanthemum form, it is covered with an even olive green glaze. Two original Japanese fitted boxes, the inner box is inscribed with black ink, the outer one is inscribed with gold lacquer.

7cm diameter Sunshoan is a retreat that a well-known samurai, Sakuma Shokan Sanekatsu, built on the premises of the Ryokoin sub-temple in Daitokuji Temple, where he lived after retirement.

PROVENANCE

Collection of Japanese tea master Sakuma Sanekatsu (circa 17th century), Sunshoan, Ryoko-in temple in Daitokuji Temple (according to the wood box and calligraphy on the cover of the box) 元/明初 十四世纪 龙泉青釉菊花盖盒 日本17世纪茶道大师，京都大德寺龙光院寸松庵的佐久間将监実勝旧藏 $4,000–6,000

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A SMALL CHINESE CIZHOU BLACK GLAZED 'OIL SPOT' BUBBLE BOWL, YUAN DYNASTY (1279-1368)

A RARE CHINESE JIZHOU BLACK-GLAZE DEEP TEA BOWL, SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY

The bowl is covered overall with a black glaze suffused with silver 'oil spots', which on the exterior falls short of the small foot exposing the beige body, an ink mark written on the base.

9cm diameter

The interior of the bowl finely decorated with light brown dots, it is covered overall with dark brown glaze. With Japanese wood box.

11.1cm diameter, 7.5cm high

元 磁州窑黑釉油滴泡泡盏

Purchased from R&V Tregaskis Oriental Art, Sydney, Australia, 20 August, 2004.

The Reid Family Collection, Sydney, Australia.

Bonhams Sydney, 9/5/2018, lot 63

$3,000–5,000

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A CHINESE QINGBAI FOLIATE-RIMMED DISH, SOUTHERN SONG DYNASTY (1127-1279)

PROVENANCE

南宋 12/13世纪 吉州满天星纹黑釉盏 $20,000–30,000

The dish with a foliate rim and it is covered with an aqua-blue glaze.

11.5cm diameter PROVENANCE

Private collection, Melbourne, Australia 南宋 影青花口碟 $600–800 Illustrated online at artvisory.com.au

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A RARE CHINESE CIZHOU MARBLE GLAZED PILLOW, JIN DYNASTY (1115-1235) The pillow is covered overall in a pale cream glaze and falling short above the base revealing the buff coloured body, freely decorated to the top with dark chocolate brown splashes in imitation of marble 25.7cm long, 12.5cm high, 22cm deep PROVENANCE

Capital Gallery, Hong Kong 金代 磁州窑搅釉枕 $6,000–8,000

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A CHINESE CIZHOU PAINTED BOWL AND COVER, JIN DYNASTY–YUAN DYNASTY, 13TH-14TH CENTURY The deep U-shaped bowl decorated in dark brown on a white slip under a clear glaze with a band of feathery leaves between single line borders, the glaze and slip falling short of the foot ring to expose the pale gray stoneware body burnt buff colour in the firing, the interior also covered in slip and glazed, the domed cover with flat top similarly decorated. The interior of the cover written "Feng rui qi liu" and the base with "Shi" character, both hand written in a black ink.

9.5cm diameter 32

a larger example (17.8cm) please see Christie's New York, 26/03/2003, lot 223.

PROVENANCE

Private collection, Melbourne, Australia 金/元 磁州窑白地黑花盖碗 $600–800 Illustrated online at artvisory.com.au

34

A CHINESE BLACK GLAZED BOWL WITH WHITE RIM, NORTHERN SONG DYNASTY (960-1127) OR LATER The well potted bowl is covered with a black glaze, the mouth rim is applied with a layer of white slip under a clear glaze.

12.1cm diameter PROVENANCE

Purchased in Sichuan provincial cultural relics store in the 80s. 北宋或更晚 黑釉白覆轮鸡心盏 $4,000–6,000

34

17

35

37

35

37

A CHINESE XING WHITE-GLAZED BOWL, LATE TANG-FIVE DYNASTIES, 10TH CENTURY

A CHINESE DING FOLIAGE-RIMMED DISH, FIVE DYNASTIES (907-960)

The bowl is potted with a lipped rim, covered overall with a clear glaze with the exception of the bi-shaped foot.

15.5cm diameter

The dish is potted with shallow rounded sides rising to a foliate rim. It is covered inside and out with a glaze of creamy-ivory tone, two characters written in black ink on the base, partially under the white glaze, which suggests that the characters were written on the body before the glaze was applied. With fitted box.

12.3cm diameter

For a smaller example (14.2cm) please see Christie's Hong Kong, lot 93. 晚唐/五代 邢窑唇口盏 $3,000–5,000

36

A CHINESE GUANTAI WHITE GLAZED VASE, YUHUCHUN, JIN DYNASTY (1115-1234) The vase is covered with a thick creamy white glaze 13cm high PROVENANCE

Capital Gallery, Hong Kong 金代 观台窑 白釉玉壶春瓶 $400–600 Illustrated online at artvisory.com.au

For a larger example (16.4 diameter) see Christie's Hong Kong, 5/4/2016, lot 81.

PROVENANCE

KY Fine Art, Hong Kong.

An important private collection, NSW, Australia. 五代 定窑白釉十出花形碟 $8,000–12,000

18

39

A CHINESE JIAN CHAYANG BLACK GLAZED CONICAL TEA BOWL, SOUTHERN SONG DYNASTY (1127-1280) The bowl is sturdily potted with conical sides flaring to a slightly everted finger-grooved rim, it is covered with a brownish-black glaze.

9.7cm diameter PROVENANCE

Private collection, Victoria, Australia 南宋 福建茶洋窑 黑釉斗笠束口小茶盏 $600–800 Illustrated online at artvisory.com.au

40

A RARE PAIR OF CHINESE CIZHOU BOY PILLOWS, MING DYNASTY (1368-1644) Each pillow is decorated with a humoristic face, ruyi pendant, armlet and plaits tied together above the ears; it is thickly covered in a creamy white glaze with an ivory tone; the accessories are covered in a dark brown glaze.

39cm long A copy of an old black and white photo, dating to early 1930s, with the collector’s cabinet, and the present two boys within, is accompanying.

PROVENANCE 38

38

A RARE CHINESE CIZHOU-WARE GREEN AND BLACK GLAZED 'FLORAL' PILLOW, JIN DYNASTY (1115-1234) The pillow is finely decorated with a floral motif in green enamel on a black ground within a cartouche that was carved through the black glaze and showing the green glaze underneath. The sides of the pillow are also covered with a green glaze. The pillow is made in Shanxi province, and probably from the Houma kiln.

30cm long, 23cm deep, 13cm wide For a very similar cizhou pillow but decorated with birds, please see Mossgreen Melbourne, 16/06/2015, lot 52 PROVENANCE

Capital Gallery, Hong Kong 金代 山西磁州窑 绿釉黑釉绿彩菊纹枕 枕施绿釉，枕面绿釉之上施黑釉，并剔出绿色边框，开光内又以绿釉绘 以菊花纹，装饰风格十分罕见。山西窑口，或出自侯马窑。 $8,000–12,000

The collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920. 明 磁州窑 白釉黑花孩儿枕一对 $1,000–1,500 Illustrated online at artvisory.com.au

41

A CHINESE RED POTTERY MODEL OF A HORSE, TANG DYNASTY (618-906 AD) The horse is finely modelled striding forwards, on a flat shaped base, with original red, yellow, and black mineral pigments, fitted perspex base.

28cm long, 24cm high University of Wollongong Thermoluminescence Test Report 3937, 19/4/2006 - is consistent with the dating of this lot.

PROVENANCE

Mossgreen Melbourne, 22/11/11, lot 537.

Private collection, Sydney, Australia 唐 彩绘陶马 $1,500–2,500 Illustrated online at artvisory.com.au

19

42

A CHINESE QINGBAI EWER AND COVER, SONG DYNASTY (960-1279) The body is potted with eight vertical lobes that rise to incised horizontal bands at the base of the trumpet neck, above a straight ring foot. It is applied with a strap handle attached on top with a small loop. The cover is decorated with a lingzhi shaped handle. It is covered overall with a transparent pale aqua glaze.

23.5cm high A very similar qingbai ewer with lid missing sold at Christie's Hong Kong, 09/07/2020, lot 2804 (HKD 2,125,000) PROVENANCE

An important private collection, Sydney, Australia 宋 青白带盖执壶 $30,000–40,000

43

A CHINESE XING WHITE-GLAZED BOWL, LATE TANG-FIVE DYNASTIES, 10TH CENTURY The bowl is potted with a lipped rim, covered overall with a clear glaze with the exception of the foot. With an inscribed Japanese wood box.

14cm diameter PROVENANCE

Acquired in Japan. 晚唐/五代 白釉唇口盏 $1,000–2,000 Illustrated online at artvisory.com.au

44

A CHINESE YAOZHOU CELADON BOWL, NORTHERN SONG-JIN DYNASTY, 11TH-12TH CENTURY The bowl is with an everted rim and the interior is applied with vertical ridges to imitate lotus petals, it is covered with an olive green glaze.

11cm diameter PROVENANCE

Private collection, Victoria, Australia 宋/金 耀州窑青釉盌 $500–700 Illustrated online at artvisory.com.au

42

20

45

A CHINESE CIZHOU PERSIMMON-GLAZED MEIPING, SONG DYNASTY (960-1279) The vase is well potted with an ovoid body rising from a slightly splayed foot to rounded shoulders and waisted neck below a flat everted rim. The vase is covered overall with a glaze of russet-brown tone, with areas of metallic blue-black elements 17.5cm high PROVENANCE

An important private collection, Sydney, Australia 宋 磁州窑紫金釉梅瓶 $3,000–4,000

46

A CHINESE CIZHOU CARVED DEEP BOWL The bowl is carved with a broad band of peony scroll bearing large blossoms framed by leafy, curving stems, in dark brown reserved on a white slip ground and covered with a clear glaze.

18.8cm diameter, 17.3cm high 磁州窑 白釉黑剃花深腹碗 $9,000–10,000 Illustrated online at artvisory.com.au

45

47

A CHINESE XING WHITE-GLAZED FLOWER FORMED BOWL, FIVE DYNASTIES (907-960) The bowl is potted with five petal-lobes, it is covered inside and out with a clear glaze of pale ivory tone, with ‘tear marks’ on the reverse side.

13cm diameter PROVENANCE

Luen Chai, Hong Kong.

K. Y. Fine Art, Hong Kong.

An important private collection, NSW, Australia. 五代 邢窑白釉花形盏 $5,000–7,000

47

21

48

A LARGE SANCAI-GLAZED HORSE, TANG DYNASTY (618-906 AD) The horse is standing on a rectangular base, the head is slightly turning to the left, the body and head is applied with elaborated tasselled trappings, the mane combed upright and terminating in a parted forelock. The body is covered with a creamy light brown glaze, the trappings with a green and brown glaze, the partially unglazed saddle and saddle cloth is decorated in original red pigment.

52cm high, 45cm wide

The result of C-Link Research & Development Limited (originally the Yeung Shui Sang Laboratory for Thermoluminescence of Ancient Ceramics in the Chinese University of Hong Kong) thermoluminescence test no.9060HK23 dated 23 October 2019, is consistent with the dating of this lot.

PROVENANCE

Private collection, Hobart, acquired in Hong Kong during the early 2000s 唐 三彩马 $20,000–30,000

48

22

Property from an Important Private Collection of Chinese Ceramics, Canberra, Australia Lots 49–62 49

50

A LARGE CHINESE LONGQUAN CELADON TWIN-FISH WASHER, SOUTHERN SONG DYNASTY (1127-1279)

A CHINESE CIZHOU DARK GLAZED BOWL, YUAN DYNASTY (1279-1368)

The washer is finely decorated with two sprig-moulded fish to the centre of the interior, the exterior wall moulded with lotus petals, covered overall with a finely ice-crackled glaze of pale bluish-green tone with the exception of the foot exposing the fine, pale grey body.

21.5cm diameter

The finely potted bowl is decorated with vertical russet stripes on the interior.

17cm diameter

A longquan twin-fish washer of this large size is rare. For a similar sized example please see Christie's Hong Kong, 12/2/2015, lot 2806.

Raymond & Victoria Tregaskis Oriental Antiques, Sydney, Australia, 20/8/2005.

PROVENANCE

Acquired at the Antique Gallery, Hilton Hotel, Jakarta, 1999. 南宋 龙泉双鱼折沿洗

For a similar example please see Christie's New York, 30/03/2005, lot 304 PROVENANCE

元代 磁州窑黑釉褐彩盏 $3,000–5,000

$3,500–4,500

49

50

23

51

A FINE CHINESE DOUCAI DISH, QIANLONG PERIOD (1735-1796) The dish is finely decorated on the interior with five inter-locking ruyi heads, the exterior is with seven ruyi fungus branches.

15.5cm diameter PROVENANCE

Raymond & Victoria Tregaskis Oriental Antiques, Sydney, Australia, 21/1/1997. 清 乾隆 斗彩盘 $3,000–5,000

52

A PAIR OF LARGE CHINESE BLUE AND WHITE BOWLS AND COVERS, DAOGUANG PERIOD (1820-1850) Each of the bowls and covers are decorated with floral branches, the rims mounted with copper bands. "Ruo shen zhen cang" four-character underglaze blue mark is on the cover and the base of the bowl.

21.5cm diameter, 9cm high According to Ming Wilson, Rare Marks on Chinese Ceramics, Ruo shen was probably the personal name of the owner. Two blue and white cups with the same mark dated to Kangxi period are illustrated in the book, p.79. The Victoria and Albert Museum, London, has two pairs of 19th century cups with the same mark.

51

清 道光 "若深珍藏" 四字青花款 青花盖碗一对 $1,000–2,000 Illustrated online at artvisory.com.au

53

A RARE CHINESE LONGQUAN CELADON BRUSH WASHER, MING DYNASTY (1368-1644) The washer with an inverted mouth rim, the interior centre is incised with lotus, surrounded by a band of deeply carved petals, the mouth rim is decorated with a band of floral scrolls. It is covered with a light olive green glaze.

13.5cm diameter PROVENANCE

Raymond & Victoria Tregaskis Oriental Antiques, Sydney, Australia, 28/11/2007. 明 龙泉青釉莲纹洗 $3,500–4,500

53

24

55

A CHINESE BLUE AND WHITE CIRCULAR BOX AND COVER, KANGXI PERIOD, CIRCA 1670 The cover of the box is decorated with a tree of prunus on rocks within the roundel surrounded by floral scrolls, the box is similarly decorated with floral scrolls.

11cm diameter PROVENANCE

Mossgreen Melbourne, 16/11/2015, lot 4 清 康熙 大约 1670 青花梅纹盖盒 $300–500 Illustrated online at artvisory.com.au

56

A CHINESE CELADON EGG-SHELL PORCELAIN 'DRAGON' BOWL, 20TH CENTURY The bowl has an extremely thin body, the exterior is finely carved in anhua decoration with two confronted dragons chasing a flaming bowl, amongst clouds above wave patterns. It is covered with a blueish white glaze.

12cm diameter PROVENANCE

Acquired from Hong Kong in 1993.

20世纪 双龙戏珠纹蛋壳白釉盌 54

$300–500 Illustrated online at artvisory.com.au

54

A CHINESE BLUE AND WHITE JARLET, YUAN DYNASTY (1279-1368) The jarlet is with two small lugs, the body is divided into six panels by vertical ridges, decorated with chrysanthemum sprays on three panels.

8.4cm high This is a very early example of blue and white ceramics PROVENANCE

F. W. Bodor Collection.

Acquired from Raymond & Victoria Tregaskis, Oriental Antiques, 17/02/2004.

LITERATURE

John S. Guy, Oriental Trade Ceramics in South-East Asia Ninth to Sixteenth Centuries, Oxford, 1990, p. 91, no. 52. 元 青花菊纹双系罐 $1,500–2,500

57

A CHINESE CELADON GLAZED BOWL, SONG DYNASTY (960-1279) The interior of the bowl is decorated with incised comb marks, it is covered inside and out with a yellowish green glaze. Four characters "Fan shi yi hao" written in black ink on the base.

18cm diameter PROVENANCE

Acquired at Allen's Antiques, North Harbour, Auckland, New Zealand, in 2002. 宋 青釉划花盌 $400–600 Illustrated online at artvisory.com.au

25

58

A RARE LARGE CHINESE JUN JAR, JIN DYNASTY (1115-1234) The jar is with two loop handles, it is covered in a pale blue glaze with purple splashes, stopped just above the foot and running into the interior.

17.5cm wide, 12.5cm high For a Jun jar with similar shape but which doesn't have purple splashes, see Christie's Hong Kong, 2/12/2015, lot 2810.

PROVENANCE

S. Marchant & Son, London, before 1964.

Private collection, Southern France and Mt. Martha, Victoria, Australia Mossgreen Melbourne, 22/04/2016, lot 8. 金代 钧窑青釉紫斑双系罐 $7,000–9,000

59

TWO LARGE CHINESE BLACK GLAZED JARS, MING-QING DYNASTY (1368-1921) Each jar is with four lug handles, covered inside and out with a thick dark glaze with areas of russet.

22.6cm high, 21.8cm high PROVENANCE

Both acquired in Sydney, 1979. 明/清 黑釉四系罐两个

58

$600–800 Illustrated online at artvisory.com.au

60

A BLUE AND WHITE BOAT, POSSIBLE JAPANESE, 20TH CENTURY The boat is decorated with phoenix and floral designs on the exterior, with a fisherman on the bow, the detachable roof over the cabin modelled to resemble bamboo and thatch, the interior is further decorated with auspicious symbols.

38cm long, 16cm wide and 14.5cm high PROVENANCE

Acquired from Joshua McClelland Print Room, Melbourne, 15/11/2004. 可能为日本 二十世纪 青花凤纹仙人船 $600–800 Illustrated online at artvisory.com.au

61

A CHINESE QINGBAI 'BOYS' BOWL, YUAN DYNASTY (1279-1368) The bowl is finely moulded with two boys amongst peonies, it is covered with a fine pale blue glaze.

17.7cm diameter PROVENANCE

Mossgreen Melbourne, 22/04/2016, lot 96. 元 青白娃娃碗 $700–900 Illustrated online at artvisory.com.au

62

A CHINESE PAINTED POTTERY FIGURE OF A COURT LADY, TANG DYNASTY (618-906 AD) The figure modelled standing in voluminous robes 16cm high 唐 侍女俑 $400–600 Illustrated online at artvisory.com.au

26

63

A CHINESE FAMILLE-VERTE ROULEAU VASE, QING DYNASTY, KANGXI PERIOD (1661-1722) Decorated with ladies and children in an outdoor setting, an underglaze blue double circles mark on the base.

25.3cm high PROVENANCE

FR Strange, 26/3/1984.

Mossgreen, 19/06/2013, lot 58. 清 康熙 五彩人物棒槌瓶 $5,000–7,000

63

64

A CHINESE FAMILLE-ROSE CENSER, QING DYNASTY, JIAQIING/DAOGUANG PERIOD, 19TH CENTURY The censer is decorated on the exterior with eight immortals and three additional Daoist deities in a landscape, flanked by a pair of archaistic dragon formed handles. With a fitted wood box.

15.9cm wide, 8.3cm high PROVENANCE

Tony Omra, Hong Kong 清 嘉庆/道光 粉彩三足龙耳道教人物香炉 $2,000–3,000

64

27

65

66

65

66

A CHINESE BLUE AND WHITE 'LOTUS' DISH, GUANGXU SIX CHARACTER UNDERGLAZED BLUE MARK AND OF THE PERIOD (1871-1908)

A CHINESE FAMILLE VERTE LIBATION CUP, QING DYNASTY, KANGXI PERIOD (1661-1722)

The interior centre and the exterior of the dish are decorated with lotus sprays. With a fitted box.

16cm diameter, 12cm high For two almost identical dishes, please see Sotheby's London, 12/05/2021, lot 65

The cup is decorated with applied "chilong" dragons on the body and anthropomorphic figures on the handles. Fitted hardwood stand and box 11cm long, 4.8cm high See S. Bushell, Oriental Ceramic Art, 1980, fig.329, p.275 for an almost identical cup PROVENANCE

Private collection, Sydney, Australia

R & V Tregaskis, late 1980s Mossgreen Melbourne, 16/06/2014, lot 41

清 光绪六子青花楷书款及本朝 缠枝莲纹盘

康熙 素三彩嗤龙来通杯

$1,000–2,000

$3,000–5,000

PROVENANCE

28

68

A CHINESE BLUE AND WHITE VASE, GU, QING DYNASTY, KANGXI PERIOD (1661-1722) The vase is decorated with prunus blossoms against a blue ground of 'cracked ice' design.

18.2cm high 清 康熙 ’冰梅纹‘ 觚型瓶 $600–800 Illustrated online at artvisory.com.au

69

A GREEN CRACKLE-GLAZED VASE, QING DYNASTY (1644-1912) The vase is covered with a fine bluish green ice-crackle glaze. with a fitted wood stand and fitted box.

14.7cm high For a similar example please see China Guardian, Beijing, 29/03/2021, lot 4471. 清 绿哥釉太白罐 $400–600 Illustrated online at artvisory.com.au

70 67

A CHINESE BLUE AND WHITE BOWL, EARLY QING DYNASTY, 17TH CENTURY

67

The interior of the bowl is decorated with flowers in blue and white, the exterior with a brown glaze.

19.5cm diameter

A LARGE CHINESE BLUE AND WHITE PLATE, KANGXI PERIOD (1661-1722) The interior centre of the dish is decorated with a long-tailed pheasant on a rock under a branch of flowers, with the Arms of Pelgrans set in a band, in which formalized lotus flowers are separated by three panels of daisy branches; a conch shell with double circle mark to the base.

35.6cm diameter The family of Pelgrans were closely related to the Flemish family of de Heuvel, who in 1681 had used the Pelgrans arms. This plate was probably made for Jacob Pelgrans, a Director of the Dutch East India Company who was resident in Bengal from 1702-8.

PROVENANCE

Mossgreen Melbourne, 1/8/2016, lot 311.

An important private collection, Sydney, Australia 清康熙 青花 Pelgrans家族徽章莲纹大盘 大概为东印度公司总裁 Jacob Pelgrans定烧 $2,000–3,000

清早期 里青花外紫金釉大盌 $1,000–2,000 Illustrated online at artvisory.com.au

71

A CHINESE BLUE AND WHITE PHOENIX VASE, MING DYNASTY (1368-1644) The vase is decorated with phoenix in flight amongst clouds.

25cm high 明 青花凤纹瓶 $2,000–3,000 Illustrated online at artvisory.com.au

29

72

72

73

A PAIR OF CHINESE BLUE AND WHITE DISHES, QING DYNASTY, KANGXI PERIOD (1661-1722)

A LARGE FAMILLE-ROSE PUNCH BOWL, QIANLONG PERIOD (1735-1796)

Each dish with foliate rim and well decorated with butterflies and flowers, chenghua six-character under-glazed blue mark on the base. Together with City of Manchester Art Gallery, Catalogue of an Exhibition of Chinese Applied Art: Bronzes, Pottery, Porcelains, Jades, Embroideries, Carpets, Enamels, Lacquers, Manchester, 1913 29cm diameter

The exterior of the bowl is decorated with figures and flowers.

26.5cm diameter

A similar pair were sold at Christie's New York, 24/01/2019, lot 647.

74

PROVENANCE

Collection of G. Eumorfopoulos EXHIBITED

Manchester, UK: City of Manchester Art Gallery, Catalogue of an Exhibition of Chinese Applied Art: Bronzes, Pottery, Porcelains, Jades, Embroideries, Carpets, Enamels, Lacquers.

LITERATURE

City of Manchester Art Gallery, Catalogue of an Exhibition of Chinese Applied Art: Bronzes, Pottery, Porcelains, Jades, Embroideries, Carpets, Enamels, Lacquers, Manchester, 1913, no. 394 & 395, p. 48. 清 康熙 青花花蝶纹盘一对 $4,500–5,500

清 乾隆 粉彩大盌 $1,000–2,000 Illustrated online at artvisory.com.au

A CHINESE FAMILLE-ROSE DISH, QING DYNASTY, 18TH CENTURY The interior of the dish is decorated with a phoenix amongst peonies and plum blossoms.

27.5cm diameter PROVENANCE

An important private collection, Victoria, Australia 清 18世纪 粉彩盘 $600–800 Illustrated online at artvisory.com.au

30

75

75

76

A PAIR OF CHINESE FAMILLE-VERTE VASES, LATE QING, LATE 19TH-EARLY 20TH CENTURY

A CHINESE FAMILLE-ROSE BOWL, DAOGUANG MARK

Each vase is finely decorated with mirror images of lotus branches. with fitted wood stands and an original fitted hardwood box.

25cm diameter

The bowl is decorated with branches of lychees, peaches, and pomegranates. Daoguang six-character iron mark on the base.

15.5cm diameter PROVENANCE

PROVENANCE

Private collection, New South Wales

Andrew Stuart-Robertson, Sydney, Australia

道光款 三多纹敦式碗

清晚期 五彩缠枝莲纹瓶一对

$2,000–3,000

$2,500–3,500

Illustrated online at artvisory.com.au

31

77

A CHINESE FLAMBE GLAZED VASE, QING DYNASTY (1644-1912) The well potted vase is flanked with a pair of ruyi shaped handles, it is covered with a streaked purple and red crackled glaze thinning to a cream tone at the rim.

18.6cm high PROVENANCE

The Collection of Warren & Bunty Bonython, Adelaide, South Australia 清 窑变釉如意耳瓶 $3,000–5,000

78

A CHINESE FAMILLE-ROSE OVOID BOWL, HAITANGXI, TONGZHI FOUR-CHARACTER MARK IN IRON RED AND OF THE PERIOD (1861-1875) The exterior is decorated with immortals in a garden, the interior and base with turquoise enamel.

26.3cm wide For a bowl with similar shape and decoration dated to Daoguang period, please see Bonhams London, 14/05/2019, lot 591.

PROVENANCE

The Jim & Libby Cousins Collection, Mossgreen, 08/08/2017, lot 35 清 同治四字矾红款及本朝 粉彩人物海棠洗 $600–800 Illustrated online at artvisory.com.au

79

A CHINESE GREEN AND YELLOW-ENAMELLED 'BOYS' BOWL, KANGXI SIX-CHARACTER UNDERGLAZED MARK

77

The bowl is incised around the exterior with boys playing musical instruments forming a procession on a terraced garden between a band of petal lappets below a foliate band above. It is covered with a green enamel reserved against a lemon-yellow ground.

15.4cm diameter 康熙六字青花款 黄釉绿彩婴戏图纹盌 $2,000–3,000 Illustrated online at artvisory.com.au

80

A FAMILLE-ROSE AND GRISAILLE-DECORATED BOWL, DAOGUANG SIX-CHARACTER MARK IN IRON RED AND OF THE PERIOD (1813-1820) The exterior is decorated with scholars in a mountain river landscape.

19cm diameter 清 道光矾红六字篆书款及本朝 墨彩粉彩描金’山水人物倭角方盌 $1,000–2,000 80

32

81

83

A CHINESE RED-GLAZED DISH, GUANGXU SIX-CHARACTER UNDERGLAZED MARK AND POSSIBLY OF THE PERIOD (1871-1908)

A CANTON ENAMEL PORCELAIN DISH FROM THE SERVICE OF NASR AL-DIN SHAH, QAJAR OF PERSIA, GUANGXU PERIOD, 1876

The dish is covered with red glaze.

16.5cm diameter

The dish is decorated with a bird on a rock with peony spray, flanked by six cusped cartouches, five of which contain similar motifs including butterflies, the sixth enclosing a smaller cusped oval panel with a nasta'liq inscription in the name of Nasr al-Din Shah, surmounted by two heraldic lion and sun motifs which flank the Qajar crown, all on a gold ground profusely strewn with flowers and Persian lotus.

27.5cm diameter

光绪 六字青花楷书款可能为本朝 红釉盘 $600–800 Illustrated online at artvisory.com.au

82

A CHINESE LARGE FAMILLE-VERTE WUCAI VASE, QING DYNASTY, 17TH-18TH CENTURY The vase is finely decorated with dragons and river landscapes.

47.5cm high PROVENANCE

Bears London and Provincial Antique Dealers Association label (LAPADA)

PROVENANCE

Private collection, Sydney, Australia 清 光绪 1876年 波斯王室定制广彩盘 $400–600 Illustrated online at artvisory.com.au

清 17/18世纪 龙纹五彩大罐

84

$6,000–8,000

A FRAMED PORCELAIN PAINTED PLAQUE, ATTRIBUTED TO WANG YETING, REPUBLIC PERIOD (1912-1949) The panel is finely decorated with scholars in the river, mountain landscape. Inscribed, signed Wang Yeting and dated bingzi year , corresponding to 1936 and two artist seals to the upper right. wood frame Overall: 61cm high, 37cm wide PROVENANCE

Sotheby's Australia, 18/07/2019, lot 79 民国 传 汪野亭 民国 粉彩人物山水瓷板 $1,200–2,500 Illustrated online at artvisory.com.au

85

A FRAMED PORCELAIN 'SNOW SCENE' PAINTED PLAQUE, ATTRIBUTED TO HE XUREN, 20TH CENTURY The panel is decorated with scholars visiting friends in the snowy mountain landscape scene. Titled, inscribed, and signed He Xuren and dated bingzi year corresponding to 1936 to the upper right, with two red artist seals. wood frame.

Overall: 61cm high, 37.8cm wide PROVENANCE

Sotheby's Australia, 20/03/2019, lot 81 二十世纪 传 何许人 粉彩瑞雪仿友瓷板 $700–900 Illustrated online at artvisory.com.au

82

33

86

A CHINESE IMPERIAL YELLOW DISH, DAOGUANG SIX-CHARACTER UNDERGLAZED BLUE MARK AND OF THE PERIOD (1813-1820) The dish is covered on the interior and the outside cavetto with a slightly translucent pale-yellow glaze, six character seal mark to base.

21cm diameter PROVENANCE

Raymond & Victoria Tregaskis Oriental Ceramics & Works of Art, 30/4/1998 清 道光 六字楷书青花款及本朝 御窑黄釉盘 $3,500–5,000

87

A PAIR OF CHINESE FAMILLE-ROSE BOWLS, QIANLONG SIX-CHARACTER UNDERGLAZED BLUE MARK, 19TH CENTURY Each finely decorated with branches of chrysanthemums and peonies in enamels on the exterior between a band of ruyi clouds and lotus lappets in underglaze blue. Qianlong six-character underglaze blue mark on the base.

14.5cm diameter 清 乾隆青花六字篆书款 十九世纪 青花粉彩花卉纹碗 一对 $4,000–6,000

86

87

34

88

89

A PAIR OF FINE CHINESE BLUE AND WHITE GARLIC-HEAD VASES, QING DYNASTY, KANGXI PERIOD (1661-1722)

A PORCELAIN PAINTED ’BAMBOO' PLAQUE, SIGNED XU ZHONGNAN, REPUBLIC PERIOD (1912-1949)

Each one with three horizontal sections decorated with exotic flowers.

20.7cm high and 20.4cm high

The panel is finely painted with tall bamboo sprays rising from rockwork on the edge of a lake, an inscription in black with an iron-red seal to upper left side, signed Xu Zhongnan and dated Yimao year corresponding to 1939.

37.2cm high, 25cm wide

PROVENANCE

John Sparks (1854-1914), London, UK. Peter Jorden Collection.

R&V Tregaskis Oriental Art, Sydney, Australia, 13/11/1997.

Mossgreen Melbourne, 28/11/2017, lot 688. 清 康熙 青花蒜头瓶一对 $4,000–6,000

For a similar porcelain plaques by Xu Zhongnan, see Christie's London, 12/05/2015, lot 185 and Sotheby's, 16/09/2017, lot 899.

PROVENANCE

Collection of Dr TF Yeung 徐中南 （1912-1949）款 粉彩'高节迎风' 石竹图瓷板 $6,000–8,000

88

89

35

90

AN IMPORTANT AND RARE IMPERIAL BLUE AND WHITE DRAGON BOWL, XUANDE SIX-CHARACTER UNDER GLAZED BLUE MARKE AND OF THE PERIOD (1339-1435) The bowl is finely decorated with a continuous frieze of four five-clawed dragons chasing flaming pearls and surrounded by cloud scrolls, the interior centre with a circular panel enclosing a scaly dragon within blue circles, the base is with a finely written six-character Xuande mark within double blue circles.

23cm diameter, 9.5cm high This extremely rare bowl represents the finest quality of porcelain produced at the Imperial kilns in the Xuande reign. The design of Imperial five-clawed dragons flying through the clouds and each chasing a flaming pearl is one of the most classic designs of all in Chinese porcelain, but that said this is one of the rarest patterns of the Xuande period.

Originating as early as the Hongwu period (1368-1398) as seen on a blue and white and moulded bowl in the Tianminlou collection, illustrated in The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, p. 18, no. 1. However, it was not until the Yongle period (1426-1435) that this design became standardised.

A Yongle blue and white stem bowl of very similar decoration with fitted gold cover and silver stand was found in the tomb of Prince Zhuang of Liang in Zhongxiang city, Hubei province, illustrated in the British Museum, Ming: 50 years that changed China, London, 2014, p. 87, fig. 70.

On the Prince Zhuang of Liang example, not only the porcelain stem bowl but also the gold cover and silver stand bear a conforming five-clawed dragon design. It is important to note that an inscription on the gold cover dates it to the second year of Zhengtong (1437). The consistency

of this design across precious mediums and different reign periods might suggest that in the early 15th century this design became one of the standard designs supplied by the court to various imperial workshops.

Bowls of this type continued to be made in the following periods in the Ming dynasty (1368-1644) such as a Chenghua (1465-1487) example and a Hongzhi (1488-1505) example in the Shanghai Museum, illustrated by Lu Minghua in Porcelain Wares from the Official Kilns of the Ming, Shanghai, 2007, fig. 3-61 and fig. 3-69 respectively.

Two Xuande bowls of related design are in the National Palace Museum, Taipei, illustrated in A Panorama of Ceramics in the Collection of the National Palace Museum: Hsuan-te Ware I, Taipei, 2000, nos. 64 and 65.

Xuande ‘dragon’ bowls of this form also exist in a slightly different version, in which the dragons have three claws and the interiors are decorated with various floral scrolls and sprays in underglaze blue. This group includes four examples in the National Palace Museum, Taipei, illustrated in ibid, nos. 69-73; one in the British Museum, illustrated by Jessica Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, 2001, p. 134, no. 4:26; one in the Matsuoka Art Museum, Tokyo, illustrated in the Toji Taikei (Ceramics of East Asia), vol.

42, Tokyo, 1975, figs. 51 and 52; and the other one sold at Sotheby’s Hong Kong, 2 November 1994, lot 36.

A band of lappet design around the base of these bowls is more common, instead of the crashing waves seen on this example, making this design exceptionally rare.

PROVENANCE

An important private collection, Sydney, Australia 明 宣德六子青花款及本朝 龙纹大盌 $90,000–100,000

90

36

91

92

A CHINESE DEHUA SEATED FIGURE OF GUANYIN, LATE QING DYNASTY, LATE 19TH CENTURY – EARLY 20TH CENTURY

A VERY RARE LARGE CHINESE ZHANGZHOU BLANC DE CHINE FIGURE OF A COURT LADY, QING DYNASTY (1644-1912)

The figure is seated with right hand holding a sceptre, an impressed 'Bo ji yu ren' seal to the back.

23cm high

The figure is in robes with an elegant collar, holding a lotus flower in her right hand, with a peaceful facial expression, is covered with a fine ivory white crackle glaze 77cm high

PROVENANCE

The Peter Elliot Collection, Sydney, Australia.

Mossgreen Sydney, 30/08/2015, lot 682

清 漳州窑 白瓷女士站像 $4,000–6,000

晚清 “溥及渔人” 款 德化白瓷观音坐像 $3,500–5,500

91

92

37

93

A CHINESE 'TIXI' BLACK LACQUER TRAY, YUAN DYNASTY (1279-1368) Deeply carved through black and red lacquer layers with a band of ruyishaped clouds on the side.

18.5cm wide PROVENANCE

Private collection, Victoria, Australia 元代 剔犀倭角方盘 $5,000–8,000

94

A DEHUA SEATED FIGURE OF GUANYIN, QING DYNASTY, 17TH-18TH CENTURY The figure is shown seated on a rocky plinth with a vase and a bird on either side, accompanied by two acolytes. The glaze is of a creamy-white tone.

20cm high PROVENANCE

Private collection, Sydney, Australia 清 17/18世纪 德化观音坐像 $800–1,200

93

Illustrated online at artvisory.com.au

95

A CHINESE CARVED BOXWOOD BRUSH WASHER, QING DYNASTY, KANGXI PERIOD (1661-1722) The washer is finely carved with a large lotus leaf sounded by other smaller lotus and leaves, with a crab on the leaf of upper right and a frog on another leaf on the front.

15.5cm long PROVENANCE

Raymond & Victoria Tregaskis, Sydney, Australia 清 康熙 黄杨木雕荷叶型笔洗 $4,000–6,000

95

38

97

A PAIR OF CHINESE GRISAILLE-DECORATED DISHES, LATE QING DYNASTY, 19TH-EARLY 20TH CENTURY Each finely decorated with a mountain landscape scene.

8.5cm diameter PROVENANCE

Capital Gallery, Hong Kong 晚清 墨彩山水纹碟一对 $200–300 Illustrated online at artvisory.com.au

98

A PAIR OF CHINESE MOTHER-OF-PEARL-INLAID BLACK LACQUER BOWLS, 18TH CENTURY Each bowl has deep rounded sides and is supported on a short foot.

The exterior depicts a continuous landscape scene with scholars amongst trees and rocks, all on a black lacquer ground. The interior and the foot rim of both bowls are lined with metal.

12.2cm diameter For a slightly larger pair (17cm diameter), please see Christie's London, 5/11/2013, lot 101 PROVENANCE

Private collection, Melbourne, Australia 十八世纪 黑漆嵌螺钿碗一对 $800–1,200 Illustrated online at artvisory.com.au

99

A CHINESE DUAN INKSTONE AND HARDWOOD BOX, QING DYNASTY (1644-1912)

96

96

A CHINESE CARVED CINNABAR LACQUER BOTTLE VASE, QING DYNASTY (1644-1913) The vase is carved through the red lacquer with scholars and attendants in a river landscape.

40.5cm high For a similar example see Sotheby's Hong Kong, 1/12/2017, lot 484.

Another similar vase dated to late Qing dynasty, please see Sotheby's New York, 23/03/2019, lot 1606.

PROVENANCE

Private collection, Sydney, Australia 清 剔红山水人物纹撇口长颈瓶 $1,000–2,000

The front of the inkstone is carved with a pair of archaistic interlocked dragons, the back is carved with a river landscape and a 'Qing Shannong' carved mark. The fitted hardwood box inlaid with a white jade plaque in the form of a lotus.

Inkstone: 13.5 x 9.8cm PROVENANCE

Private collection, Victoria, Australia 清 青山农刻款 端砚与硬木砚盒 $1,000–2,000 Illustrated online at artvisory.com.au

39

100

102

A CHINESE ROOTWOOD SCHOLAR'S WALKING STICK, LATE MING-EARLY QING DYNASTY, 17TH CENTURY

A GROUP OF THREE CHINESE BAMBOO CARVED SCHOLAR OBJECTS, LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-EARLY 20TH CENTURY

The staff is in a natural form, very well patinated.

104.6cm PROVENANCE

Including two brush pots and one arm rest signed by Zhu ding ju shi.

Brush pots: 14.5cm and 11.2cm high; Arm rest: 28cm long

Knapton and Rasti, Hong Kong Private collection, VIC, Australia

PROVENANCE

明末/青初 樱木随形手杖

晚清/民国 竹雕文房三件

$1,000–2,000

$300–500

Illustrated online at artvisory.com.au

Illustrated online at artvisory.com.au

101

103

A CHINESE RARE BLACK AND RED PAINTED LACQUER 'EAR CUP', HAN DYNASTY (206 BC-220 AD)

A FINE CHINESE BAMBOO CARVED BRUSH POT, QING DYNASTY (1644-1914)

The oval cup is flanked by a pair of crescent moon-shaped handles, the interior decorated with stylised scroll pattern. It is covered with a red, black and brown lacquer, two-character red mark on the base.

16cm long

The brush pot is finely carved with two scholars and a monk sitting on a boat, in a red cliff scene. It is inscribed "Chi bi fan zhou".

15.3cm high

PROVENANCE

Private collection, Sydney, Australia

An important private collection, Sydney, Australia 汉代 漆彩绘羽觴耳杯 $10,000–12,000

Capital Gallery, Hong Kong

PROVENANCE

清 竹雕山水人物“赤壁泛舟”笔筒 $500–700 Illustrated online at artvisory.com.au

101

40

104

106

104

106

A CHINESE FINE AND UNUSUAL ARCHAISTIC BAMBOO SQUARE VASE, HU, QING DYNASTY, 18TH CENTURY

A RARE CHINESE CARVED BAMBOO ROOT SCHOLARS' WEIGHT IN THE FORM OF A PAIR OF PLAYFUL CUBS, EARLY QING DYNASTY, 17TH CENTURY

The square vase is finely carved with a band of archaistic taotie and dragon motif on the neck about a band of lappets around the neck, the handle carved as two lion heads. It's with a fitted wood stand.

9.5cm high For a similar example please see Christie's Hong Kong, 28/11/2005, lot 1487 PROVENANCE

Raymond & Victoria Tregaskis, Sydney, Australia

The cubs is of circular flattened form with revolving ball 8cm diameter PROVENANCE

An important private collection, Sydney, Australia 清早期 17世纪 竹雕双狮戏球纸镇 $10,000–12,000

清 十八世纪 竹雕方壶

107

$8,000–12,000

A CHINESE BAMBOO CARVED FIGURE OF A LUOHAN, FUHU, QING DYNASTY (1644-1912)

105

A YELLOW GLAZED JAR, LATE QING DYNASTY, 19TH-EARLY 20TH CENTURY The jar is strongly potted, it is covered on the exterior with a rich egg-yolkyellow glaze, the base unglazed.

24cm high 晚清 十九/二十世纪 黄釉罐 $200–300 Illustrated online at artvisory.com.au

It is carved with a luohan sitting on top of a recumbent tiger.

13.2cm high 清 竹雕伏虎罗汉 $1,000–2,000 Illustrated online at artvisory.com.au

41

108

A CHINESE RHINO LIBATION CUP, LATE QING DYNASTY, LATE 19TH CENTURY The cup is carved with a lotus leaf and flowers, the translucent amber-coloured horn darkening to black at the base.

11cm long, 6.5cm high, 85g weight PROVENANCE

Acquired from Wong Yin Hou, Kowloon, early 1980s.

The Peter Elliott Collection, Sydney, Australia.

Mossgreen Sydney, 30/08/2015, lot 531. 晚清 十九世纪晚期 犀牛角雕荷叶莲花杯 $50,000–70,000

108

42

109

110

A CHINESE ZITAN LANTERN, QING DYNASTY, 19TH CENTURY

A VERY FINE CHINESE LACQUER BRISÉ FAN, QING DYNASTY, 18TH-19TH CENTURY

The finely carved rectangular zitan lantern has an open frame lined with yellow silk, with one side hinged as a door, and is surmounted by a pierced gallery and openwork lappet border on the shoulder. The whole is raised on a flared base carved in openwork with a lappet border and supported on a pierced octagonal foot.

33cm high, 20.3cm wide, 20.3cm deep PROVENANCE

Michael D. Stevenson collection (1947-2011), Christie’s New York, 28/10/2014, lot 59 清 十九世纪 紫檀灯笼 $4,000–6,000

The fan is painted in gouache, with figures in a landscape on a red ground, the top of each stick decorated with animals and plants, guards with gilt decoration of dragons and phoenix mounted in a water gilded frame sticks: 19cm long, overall 33cm wide; frame: 36cm high, 56cm wide PROVENANCE

Gerard Hawthorne Oriental Art, London, 2002.

Ray Mitchell Collection, Mossgreen, 16/11/2009, lot 103.

An important private collection, Sydney, Australia. 清代 18/19世纪 漆扇及漆金木框 $4,000–5,000

109

110

43

111

A EXCEPTIONAL FINELY CARVED CHINESE ZITAN BRUSHWASHER, QIANLONG PERIOD (1735-1796) The Zitan washer is well carved with lingzhi fungus, scrolls and bats, on carved huanghuali stand 13cm long, 10cm wide, 2cm high PROVENANCE

Knapton Rasti Fine Art, 7/7/2006.

An important private collection, Sydney, Australia 清 18世纪 紫檀笔洗与原配黄花梨雕花底座 $14,000–16,000

111

44

112

114

112

114

A WHITE JADE CARVED BUTTERFLY PENDANT, QING DYNASTY (1644-1912)

A FINE CHINESE BAMBOO CARVED BRUSH POT, QING XI SHAN REN CARVED MARK, QING DYNASTY (1644-1914)

It is mounted into a necklace with beautiful kingfisher feathers, carved corals and pearls. The jade is with an even white tone.

Jade pendant: 7cm long, 5.5cm wide

The brush pot is finely carved with scholars, attendants, and travellers in a mountain landscape. Signed "Qing xi shan ren", dated to April of "Yi Chou" year.

17.5cm high

清 白玉点翠蝴蝶形挂坠镶珊瑚和珍珠 $3,000–5,000

For a similar brush pot also with Qing xi shan ren carved mark and same inscriptions, see Council Bejing, 06/06/2012, lot 1245.

113

PROVENANCE

A CHINESE KINGFISHER FEATHER HAIR ORNAMENT, LATE QING–REPUBLIC PERIOD, EARLY 20TH CENTURY The round ornament is decorated with a bat flying amongst peonies 7.5cm long, 5cm wide 晚清-民国 20世纪早期 点翠发饰 $1,000–2,000 Illustrated online at artvisory.com.au

Private collection, Sydney, Australia 清 清溪山人 刻款 竹雕 "栖霞仙坡” 山水人物笔筒 题识：栖霞仙坡 乙丑年四月望日制于奇懐宝 清溪山人 $2,000–4,000

45

115

A LARGE CHINESE IVORY CARVED ARM REST, LATE QING DYNASTY, LATE 19TH CENTURY-EARLY 20TH CENTURY The arm rest is carved on one side in low relief with a scholar and an attendant riding in a landscape, the other side is deeply carved with a battle scene.

30.8cm high, 10.3cm wide PROVENANCE

The Peter Elliott Collection, Sydney, Australia.

Mossgreen Sydney, 30/08/2015, lot 526 晚清 象牙雕大臂搁 $12,000–20,000

116

A RHINO-HORN ARCHERY RING AND FITTED GILT-SILVER CASE, LATE QING-REPUBLIC PERIOD, EARLY 20TH CENTURY The top of the ring carved and gilt with six characters which reads: "Xing fu you heng tang ding", which translates "Made by the order of the Youheng Hall of the House of Xing". The gilt-silver case decorated with two pairs of dragons amidst clouds, "Wen Yin" mark to the top of the cover. ring: 3.1cm diameter; case: 3.6cm high 晚清/民国 “行府有恒堂”款 犀牛角扳指及银鎏金龙纹盒 $7,000–9,000

116

115

46

117

A CINNABAR LACQUER SQUARE BOX, QIANLONG PERIOD, 18TH CENTURY The box is carved with a mountain landscape with figures surrounded by tied tendrils and foliate designs, the sides with four bands of densely carved geometric designs.

22cm square, 6.5cm high PROVENANCE

The Peter Elliott Collection, Sydney, Australia.

An important private collection, Sydney, Australia. 清乾隆 18世纪 剔红山水人物方盖盒 $4,000–6,000

118

A SMALL CHINESE IROVRY BRUSH POT, LATE QING DYNASTY, 19TH-EARLY 20TH CENTURY Each side of the brush pot carved with figures in a garden.

8.5cm high PROVENANCE 117

An important private collection, Victoria, Australia 晚清 19/20世纪 象牙雕开光笔筒 $600–800 Illustrated online at artvisory.com.au

119

A FINE ROOTWOOD AND HARDWOOD MINIATURE CABINET, MID-QING DYNASTY, 18TH-19TH CENTURY The cabinet is finely carved with a ruyi fungus formed handle, each side is also decorated with ruyi fungus branches. The doors are carved in relief with floral scrolls, and inlaid with root wood panels.

31cm high, 28cm wide, 18cm long 清中期 红⽊嵌瘿⽊灵芝提梁⽴箱 $2,000–3,000

120

A CHINESE BRONZE LAMP, QING DYNASTY (1644-1921) The lamp is cast in the form of a lotus stem, with a frog laying on the leaf.

5.5cm high 清 青铜荷叶灯 $300–500 Illustrated online at artvisory.com.au

119

47

121

122

A VERY RARE AND MAGNIFICENT CHINESE RHINO-HORN 'LOTUS LEAF' LIBATION CUP, EARLY QING DYNASTY, 17TH-18TH CENTURY

VOLUMES (16), COMPLETE COLLECTION OF CERAMIC ART UNEARTHED IN CHINA, 2008

It is beautifully carved in a lotus leaf form, with a praying mantis on the interior, the exterior is decorated with a crab, a carp amongst lotus scrolls, lotus stems and flowers.

16.5cm long, 8.6cm high, 341g weight

《中国出土瓷器全集》16卷

In English & Chinese. $500–800 Illustrated online at artvisory.com.au

For a similar rhino-horn libation cup from the same period, decorated with chilling dragons on the exterior, see Christie’s 24/03/2011, lot 1451; another similar example, see Christie’s London, 8/11/2011, lot 2.

PROVENANCE

Sotheby's Australia, 04/06/2016, lot 38 清早期 17/18世纪 犀牛⻆雕荷叶莲花⻥藻来通杯 $200,000–300,000

121

48

A Private Collection of Chinese Jades from London, UK and Sydney, Australia Lots 123–138 123

124

A COLLECTION OF FOUR CHINESE CELADON WHITE JADE HAIR ORNAMENTS, MING DYNASTY–QING DYNASTY, 16TH-19TH CENTURY

A CHINESE AMETHYST-QUARTZ CARVING OF A MYTHICAL ANIMAL XIEZHI, QING DYNASTY, 19TH CENTURY

明/清 青白玉发簪 四件

The xiezhi is finely carved seated with head slightly turning to one side.

7cm high, 7cm wide

$3,000–5,000

清 19世纪 紫水晶雕獬豸摆件

the longest: 16cm

$2,000–3,000 Illustrated online at artvisory.com.au

125

A CHINESE CARVED ROCK-CRYSTAL BRUSH REST IN THE FORM OF LI BAI, QING DYNASTY, 20TH CENTURY The finely carved figure with long beard and a smile on his face, laying against a rock. It is with the original fitted wood stand.

11cm wide, 6cm high 清 20世纪 水晶雕李白醉酒笔架 $2,000–3,000 Illustrated online at artvisory.com.au

126

A CHINESE GREY JADE MONKEY AND HORSE GROUP, QIANLONG PERIOD (1735-1796) Finely carved with a monkey riding on the back of the horse, the stone is with a pale celadon tone.

5cm long, 3cm high 清 乾隆 青白玉雕"马上封候" $1,500–2,500 Illustrated online at artvisory.com.au

127

A FINELY CARVED CHINESE WHITE JADE GROUP OF A FELINE AND YOUNG, QING DYNASTY, 19TH CENTURY The two felines carved lying side by side, the well-polished stone of an even white tone.

5.5cm high, 4cm wide 清 19世纪 白玉双猫把件 $2,500–3,500

123

49

127

128

128

A FINELY CARVED CHINESE JADE PLAQUE OF ARCHAISTIC ANIMALS, JIAQING PERIOD (1735-1797) The plaque is finely carved with two confronted dragons in an archaistic style, the stone is of pale white tone.

5cm high, 3.5cm wide 清 嘉庆 白玉龙纹挂牌 $5,000–7,000

129

A RARE CHINESE YELLOW-JADE DOUBLE-GOURD PLAQUE, QING DYNASTY, 19TH CENTURY The double-gourd shaped plaque is deeply carved with an archaistic dragon on each shoulder, the upper part with character da on one side and ji on the other, the bottom section with an auspicious symbol on each side, the stone with an even yellow tone.

6cm high, 4cm wide 清 19世纪 黄玉雕葫芦形“大吉”挂牌 $2,000–3,000

129

50

131

A SMALL TIBETAN GILT-BRONZE SEATED FIGURE OF A LAMA, 18TH-19TH CENTURY The finely cast figure is seated on a square cushion, holding a lotus lamp.

8cm high 西藏 19世纪 鎏金铜罗汉坐像 $2,000–3,000 Illustrated online at artvisory.com.au

132

A CHINESE WHITE JADE ANIMAL XIEZHI, PROBABLY MING DYNASTY, 17TH CENTURY The xiezhi is finely carved with a pair of wings, the stone is of white tone with russet areas at the base 5.75cm long, 4cm high For comparable examples see: Chinese Jade Animals HK Museum of Art, 1996, plate 144.

Also: Christie’s Paris, 14/6/2006, lot 150. 大概明代 17世纪 白玉雕獬豸把件 $2,000–3,000 Illustrated online at artvisory.com.au

133 130

A FINELY CARVED CHINESE WHITE JADE FLAMING PEARL BROOCH, QING DYNASTY (1644-1912)

130

The finely carved stone with pale white tone, with white metal mounts.

4.2cm high, 3.6cm wide

FOUR CHINESE CELADON WHITE JADE CARVINGS, QING DYNASTY (1644-1912) Including a pierced circular plaque; a celadon jade vase of flowers, wood stand; a celadon jade pierced plaque with a double happiness character in the centre and a bat below; and a white jade carving of a bat and flowers, wood stand. the largest: 6.3 x 5.5cm

PROVENANCE

Jack Lee 1980s. 清 白玉雕火焰珠 后镶成胸针 $600–800 Illustrated online at artvisory.com.au

清代 四件青白玉雕牌

134

$2,000–3,000

A CHINESE WHITE JADE CARVING OF A MYTHICAL ANIMAL, LATE QING DYNASTY, EARLY 20TH CENTURY The finely carve stone with an even white tone.

5cm high, 3cm wide PROVENANCE

Jack Lee 1980s. 晚清 20世纪 白玉雕瑞兽 $600–800 Illustrated online at artvisory.com.au

51

135

137

135

137

A FINELY CARVED AND INSCRIBED CHINESE CIRCULAR CELADON JADE PLAQUE, QIANLONG PERIOD (1735-1797)

A FINELY CARVED AND INSCRIBED CHINESE CELADON JADE PLAQUE, QIANLONG PERIOD (1735-1796)

The plaque is finely carved with a boy holding a ruyi in front of a bat holding a bunch of coins to one side and an eight-character inscription to the other, reads "Fu zai yan qian, ji xiang ru yi".

5.5cm diameter

The plaque is finely carved to one side with a figure and attendant in a landscape and to the other with an eight-character inscription.

The stone is with a pale white tone.

6.3cm high, 4.2cm wide

For a similar jade plaque, please see: Christie's Hong Kong, 03/05/2005, lot 1537.

清 乾隆 青白玉雕人物诗书挂牌 $6,000–8,000

清 乾隆 青白玉 “吉祥如意” 圆挂牌 $6,000–8,000

138

136

A CHINESE CELADON JADE CARVING OF A SQUIRREL ON A PEACH, QING DYNASTY, 19TH CENTURY

A CHINESE WHITE AGATE CARVING OF A BOY ON BUFFALO, QING DYNASTY (1644-1912)

The well polished stone with pale white tone and areas of brown tone.

7cm high, 5cm wide

The finely carved boy with a natural red inclusion used for his hat and riding on a buffalo, whose head is turning to one side.

4.2cm high, 4cm long

PROVENANCE

清 白玛瑙雕"童子牧牛"

$1,000–2,000

$1,000–2,000

Illustrated online at artvisory.com.au

Illustrated online at artvisory.com.au

Jack Lee 1980s. 清 19世纪 青白玉雕“松鼠嬉桃”把件

52

139

141

139

A CHINESE WHITE JADE ARCHAISTIC BI, QING DYNASTY, 18TH-19TH CENTURY Carved from the translucent stone on one side with a series of archaistic spirals and on the reverse with a pattern of tiny hexagonal bosses set within a grid pattern, between plain inner and outer borders. The semi-translucent stone is of even colour, both framed by a raised single line border.

5.5cm diameter A similar archaistic jade bi sold at Christie's New York, 19/09/2013, lot 1152 清 18/19世纪 白玉壁 $2,000–3,000

140

53

140

143

A WHITE JADE SWORD POMMEL, WARRING STATES – HAN DYNASTY, 5TH BC-3RD AD

A CHINESE CELADON AND RUSSET JADE CARVING OF AN OLD MAN AND A MONKEY

The central umbo is carved in shallow relief with four double-C spirals enclosed by a wide border of spirals, the even white stone with a small area of brown on the back.

3.8cm diameter

It is finely carved with a man and a monkey on his shoulder, the white stone with areas of russet 7cm high

For a comparable celadon jade pommel with a similar design, please see Bonham's Hong Kong, 30/05/2017, lot 41.

Acquired from an old Japanese collection.

Private collection, Victoria, Australia

战国 白玉剑首

⽩⽟”辈辈封候”

$3,000–5,000

$2,500–3,500

141

144

A CHINESE YELLOWISH WHITE JADE CIRCULAR BOX AND COVER

A YELLOW JADE CARVED FIGURE OF A DANCER, HAN DYNASTY (206 BC-220 AD)

The cover is finely carved in low relief with a phoenix against scroll motifs, the stone is with an even yellowish white tone.

5cm diameter

The figure is carved with long sleeves, with one are rising on top of her head, the other lower on the front, the stone is with yellowish white tone and calcified white areas.

3.5cm high

For a similar jade box and cover, with flowers and a butterfly decoration, see Sotheby's, 1/06/2017, lot 4. Two undecorated examples please see: Sotheby's 28/11/2019, lot 134 & lot 147. 黄白玉凤纹盖盒 $1,500–2,500

PROVENANCE

For a jade standing figure with similar size also dated to Han dynasty, please see Christie's New York, 13/09/2019, lot 827.

PROVENANCE

Sotheby's London, 10/11/2017, lot 305 (part) 汉 黄玉 舞人

142

$4,000–6,000

AN ARCHAISTIC JADE CARVING OF A MINIATURE DRAGON LIBATION CUP The libation cup carved on the back of a large dragon, and a small dragon is claiming up to the side of the cup, the stone is with brown and celadon tone.

6.5cm long, 5.5cm high PROVENANCE

Mossgreen, The Contents of Hurlton, Brisbane, 21/02/2016, lot 451 玉仿汉提油龙纹来通杯 $300–500 Illustrated online at artvisory.com.au

143

144

54

145

146

145

146

A RARE CHINESE PALE GREENISH-WHITE AND RUSSET JADE PIERCED OBLONG PLAQUE"QIUSHAN", LIAO–JIN DYNASTY, 10TH-13TH CENTURY

A CHINESE WHITE JADE CARVING OF A FINIAL, JIN–YUAN DYNASTIES (1115-1368)

The plaque is well carved and pierced with a pair of rabbits standing amidst lingzhi fungus and large-leafed trees while one with the head turning and looking up, the back uncarved and recessed within a outer rim of conforming outline, the whitish stone with russet mottling. with a fitted box.

6.8cm long For two similar plaques, also dated to the Liao or Jin dynasties, see The Complete Collection of Treasures of the Palace Museum - II - Jade ware, Hong Kong, 1996, p. 65, no. 55, a white and russet jade plaque carved with a tiger and eagle design, and p. 87, no. 76, a belt ornament carved with a stag amidst the leaves of a tree.

A smaller pierced plaque with two deer and a duck, sold at Christie's London, 7/11/2012, lot 667. 辽/金 ’秋山‘ 青白玉牌 $6,000–8,000

The finial is carved with a deer on each side amongst trees under a wild goose in flight. The jade is with an even white tone.

4.8cm high PROVENANCE

Acquired from an old Japanese collection.

Private collection, Victoria, Australia 金-元 白玉‘秋山’炉顶 $3,000–5,000

147

A GROUP OF FIVE JADE AND PRECIOUS STONE CARVINGS Including one celadon snuff bottle, late Ming-early Qing dynasty, 17th century; a celadon jade carved mythical beast, Xiezhi; a white jade plaque; a rock crystal vajra; and a string of green glass beads snuff bottle: 5cm high 一组五件包括一件明末清初青玉鼻烟壶，青玉雕獬豸，白玉牌，水晶金刚 杵，和一串绿琉璃珠 $500–800 Illustrated online at artvisory.com.au

55

148

A CELADON JADE CARVING OF A MYTHICAL BEAST XIEZHI, MING DYNASTY (1368-1644) The recumbent mythical beast is carved with head turning left, biting his left hind hoof, the other three legs tucked under its body and scroll-like tail flicked over its haunches, the stone is with a pale celadon tone.

4.4cm long PROVENANCE

An important private collection, Sydney, Australia. 明 青玉雕獬豸 $2,000–3,000

149

AN UNUSUAL SHOUSHAN SOAPSTONE RECTANGULAR SEAL, QING DYNASTY, 17TH-18TH CENTURY the caramel-coloured skin streaked with darker inclusions, one side with a two line incised inscription "Nan Er Yu Shang Ling Yang Ge, Di Yi Gong Ming Bu Ai Qian", signed: "San Qiao Fang Gu" , the seal face carved with six characters "Wei Ren Xian Wo Zhen " 9.9cm high, 4.1cm wide See: Christie's New York, “A Connoisseur’s Vision, Property from the Xu Hangqing Collection” 15/9/2011, lot 921, for a Shoushan seal of the same shape but green in colour PROVENANCE

148

An important private collection, Sydney, Australia 清 十七至十八世纪 寿山石印章 铭文: "男儿欲上凌烟阁,第一功名不要钱"; 签名: "三桥仿古" 印文: "畏人嫌我真" $600–900 Illustrated online at artvisory.com.au

150

A CELADON JADE CARVING OF A LION, MING DYNASTY (1368-1644) The lion is carved with the head turning to one side, the stone is of a pale celadon tone with russet and brown areas. fitted wood stand.

17cm high PROVENANCE

An important private collection, Sydney, Australia 明 青玉雕狮子 $4,000–5,000

150

56

151

153

151

153

A CHINESE PALE CELADON AND BLACK JADE CARVING OF A DOG, MING DYNASTY (1368-1644)

A CHINESE PALE CELADON AND BLACK JADE CARVING OF AN OX, MING DYNASTY (1368-1644)

The finely carved recumbent dog with its head turned back over the right shoulder, the stone is with dark, creamy celadon tone.

It is with a fitted wood stand.

6.5cm long, 5.5cm high

The finely carved recumbent animal with its head turned up over the left shoulder, the stone is with celadon tone with areas of black.

4.5cm long

PROVENANCE

Raymond & Victoria Tregaskis, Sydney, Australia

Raymond & Victoria Tregaskis, Sydney, Australia 明 ⻘玉提油卧犬

PROVENANCE

明 ⻘玉提油卧牛 $2,000–3,000

$4,000–6,000

152

A WHITE JADE CARVED STANDING FIGURE, MING-EARLY QING DYNASTY, 17TH CENTURY The figure is carved with long hair and wearing a long robe, the stone is with a celadon white tone and small areas of brown. with fitted box.

6.2cm high

154

A GROUP OF THREE CHINESE CARVED WHITE JADE ANIMALS, MING DYNASTY (1368-1646) including a white jade carved ram, a celadon jade carved deer, and a white jade carved mythical beast Xiezhi largest 4.6cm long PROVENANCE

明末清初 青白玉人雕件

Private collection, Victoria, Australia

$2,500–3,500

明代 玉雕动物三件包括白玉卧羊，青玉鹿衔林芝和白玉獬豸

Illustrated online at artvisory.com.au

$1,000–2,000 Illustrated online at artvisory.com.au

57

155

A CHINESE PALE WHITE AND DARK JADE CARVED MYTHICAL BEAST, BIXIE, MING DYNASTY (1368-1644) The finely carved bixie with a pair of wings, the stone with pale white tone and areas of dark tone.

5.7cm long 明 清白玉提油辟邪 $5,000–7,000

156

TWO CHINESE WHITE JADE CARVED MYTHICAL ANIMALS, MING DYNASTY (1368-1645) Including a small celadon jade carved mythical beast Xiezhi and a white jade carved mouse mythical beast: 3.7cm long; mouse: 3.5cm long PROVENANCE

Private collection, Victoria, Australia 明代 青白玉雕獬豸和白玉雕老鼠 $1,000–2,000 Illustrated online at artvisory.com.au

157

A PALE CELADON JADE FIGURE OF LI BAI, QING DYNASTY (1644-1912) The jade is depicted reclining against a double gourd on a large leaf, the figure of the poet detailed with a pointed beard and two hair knots, the softly polished stone of an even colour with occasional dark specks. The stone is with an even pale white tone. with a carved fitted wood stand.

6cm long

155

PROVENANCE

The Muwentang Collection Sotheby's Hong Kong, 1/12/2016, lot 185 清 白玉李白醉酒雕件 $7,000–9,000

158

A CHINESE CELADON JADE CARING OF A BELT HOOK, MING-EARLY QING DYNASTY, 17TH CENTURY The belt hook is carved with a dragon facing a small chilong dragon, the stone is with a celadon tone.

9.3cm long PROVENANCE

Acquired from an old Japanese collection Private collection, Victoria, Australia 明/清 17世纪 青玉‘雕苍龙教子’玉带钩 $1,500–2,500 Illustrated online at artvisory.com.au 157

58

159

160

159

160

A BLACK CELADON JADE CARVING OF A MANDARIN DUCK, MING DYNASTY (1368-1644)

A CHINESE CELADON JADE CARVING OF TWO BADGERS, QING DYNASTY, 19TH CENTURY

The recumbent bird is carved resting on a lotus leaf, with its head turning slightly to one side, grasping a curved stem of a budding lotus in its beak, the stone of a pale celadon tone suffused with attractive black inclusions 4.7cm long

The two different coloured badgers are carved side by side, biting a lingzhi fungus branch, the well polished stone is with pale white and creamy white tone with a small areas of brown.

4.2cm long

For a black and celadon jade duck of slightly smaller size (4.3cm) and simpler carving, see: Sotheby's Hong Kong, 30/11/2017, lot 11.

清 十九世纪 双色巧雕 白玉”欢欢喜喜“把件

PROVENANCE

An important private collection, Sydney, Australia 明 青白玉提油鸳鸯戏莲 $1,500–2,500

$6,000–8,000

59

161

A CELADON JADE BRUSH REST IN THE FORM OF A LINGZHI, QING DYNASTY (1644-1912) The brush rest is well carved in the form of a lingzhi. The stone is of an even pale celadon tone with russet inclusions. wood stand 15.5cm wide, 379g PROVENANCE

An important private collection, Sydney, Australia 清 青玉灵芝笔搁 $3,000–5,000

161

162

A WHITE JADE CARVED PAPER WEIGHT OF TWO PHOENIX, QING DYNASTY, 18TH-19TH CENTURY The well polished jade is finely carved with a pair of phoenix side by side, with the male bird turning the head to the female, and tails joining together, each is holding a branch of lingzhi fungus in their beaks. The stone is of a white tone.

7.7cm long, 5cm wide PROVENANCE

An old Christie’s label An important private collection, New South Wales, Australia. 清 十八/十九世纪 白玉雕凤凰衔灵芝纸镇 $10,000–20,000

162

60

163

165

163

165

A CHINESE WHITE JADE CARVED LION AND A YOUNG, MING DYNASTY (1368-1644)

A CHINESE WHITE JADE CARVED MYTHICAL BEAST, XIEZHI, QING DYNASTY, 18TH CENTURY

It is finely carved with two lions, one big one small side by side, the big one is biting a lingzhi fungus branch, the jade is with a white tone with areas of russet 5cm long

The xiezhi is finely carved recumbent and head turning to one side, the stone is with an even white colour and areas of light brown.

5cm long

PROVENANCE

$1,000–2,000

Private collection, Victoria, Australia

清 十八世纪 白玉雕獬豸

明代 白玉雕双狮衔灵芝把件

166

$2,000–3,000

A CHINESE SOAPSTONE CARVED FIGURE OF A PIG, THREE KINGDOMS PERIOD (220-280 AD)

164

A CALCIFIED CELADON JADE JADE BI, QING DYNASTY (1644-1912) OR LATER The jade is carved with spiral motifs, the celadon stone is with calcified brown areas.

7.8cm diameter 清 或更晚 青白玉璧 $3,000–5,000 Illustrated online at artvisory.com.au

It is carved with a recumbent pig, the stone is in a grey celadon tone.

7.5cm long PROVENANCE

Capital Gallery, Hong Kong 三国 滑石卧猪 $500–800 Illustrated online at artvisory.com.au

61

167

A CHINESE MOTTLED CELADON JADE LIBATION CUP, MING DYNASTY, 17TH CENTURY Of elongated form, carved and pierced with tied lotus stems and leaves forming the handle and foot, with Gregory Collection paper label.

12.5cm long PROVENANCE

Collection of King George I of the Hellenes Christie's London, 25/01/2007, lot 254 King George I of the Hellenes descended from King Christian IX of Denmark, who was variously described as the 'father-in-law' and 'grandfather' of Europe. He was the father of King Frederik VIII of Denmark, Queen Alexandra (wife of King Edward VII) and Princess Dagmar, who became Empress Maria Feodorovna of Russia, and many Royal dynasties descended from him. 明 17世纪 青白玉莲形来通杯 希腊国王乔治一世（1845-1913）旧藏 $3,000–5,000 167

168

A WHITE JADE CARVED BOAT AND FISHERMEN, QING DYNASTY, 19TH CENTURY The finely carved fishing boat on the sea waves, with two fishermen, one on the front, one at the back, with a boy clambering on the mast. The stone is with pale white colour with tiny areas of brown. with hongmu stand.

17cm long For a smaller jade carving of a boat (12.7cm long), please see: Christie's London, 11/11/2016, lot 701 清 十九世纪 白玉雕渔翁行船 $5,000–7,000

168

62

169

171

169

171

A WHITE JADE CARVING OF TWO DEER, QING DYNASTY (1644-1912)

A CHINESE WHITE JADE ARCHAISTIC WINE VESSEL, JUE, QING DYNASTY (1644-1912)

Finely carved in the round depicting a pair of elegant recumbent deer, both grasping a leafy spray of lingzhi in their mouth, each with legs tucked under its belly and with finely incised stars to the body, the stone of an even pale white tone.

4.5cm long

With a wide cupped mouth centered by two upright posts, the handle is decorated with an archaistic Taotie mask motif, it is raised on three splayed pointed feet, the stone of an even pale white tone.

With a fitted box.

12cm high

PROVENANCE

Private collection, Victoria, Australia

For a similar jade archaistic jue vessel, see, Christie's Hong Kong, 31/05/2010, lot 2130

清 白玉雕双鹿衔灵芝把件

PROVENANCE

$4,500–6,500

Private collection, Sydney, Australia 清 青白玉爵杯

170

A CELADON JADE CARVED OF TWO DOGS The well polished jade is well carved with two dogs, the stone is with a pale celadon tone with areas of russet colour.

11.4cm long

$2,000–3,000

172

A YELLOW JADE CARVED RECUMBENT DOG

青玉双卧狗雕件

The stone is in a yellowish white tone.

7.8cm long

$500–800

黄玉雕卧犬

Illustrated online at artvisory.com.au

$500–800 Illustrated online at artvisory.com.au

63

173

A CELADON JADE CARVED OF A FOREIGNER AND A DOG, LATE MING–EARLY QING DYNASTY, 17TH-18TH CENTURY OR EARLIER The well carved standing figure is slightly hunched, holding a lion dog in his arms, cloaked in a long hooded cape, falling in dynamic folds at the reverse, the stone of a pale white tone.

8.3cm high For a similar jade carved foreigner figure dated to the Tang dynasty, please see Sotheby's Hong Kong, Junkunc: Chinese Jade Carving, 22/9/2020, lot 207. The Tang dynasty (618-907) is characterised by its cosmopolitan openness to foreign trade and a rich flourishing of the arts. A mutual exchange of religion, ideas and culture occurred concurrently with the abundant trade along the Silk Road. Within this bustling and welcoming environment, images of foreigners became increasingly popular and were depicted in a variety of media, such as pottery, metal and jade. Depictions of foreigners during this period can be identified from the broad faces and curly facial hair.

A number of Tang dynasty jade carvings of foreigners are known.

Compare one in the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 29.

Another also wearing a hooded cloak and holding a small pavilion in one hand was included in the exhibition Magic, Art and Order. Jade in Chinese Culture, Palm Springs Desert Museum, Palm Springs, 1990, cat. no. 108; a third, also depicted leaning on a stick, from the Tianhe Shanfang Collection, sold at Christie's Hong Kong, 30th May 2005, lot 1534.

Compare also two Tang Dynasty jade tribute bearers from the collection of Dr. and Mrs. Cheng Tek'un, one holding a peach and the other holding a jade boulder, included in the Oriental Ceramic Society's exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London, 1975, cat. no's 216 and 219. The latter figure was also exhibited in Chinese Jades from Han to Ch'ing, Asia Society, New York, 1980, cat. no. 1, where the author of the exhibition catalogue, James C.Y. Watt, notes that whilst the style of the carving and the treatment of the figure's dress suggest a Tang dynasty attribution, it could possibly be from a later period.

Later examples include a similarly dressed figure resting on a stick and holding a brocade ball, from the Dongxi Collection, originally attributed to the Tang dynasty in the exhibition Peintures et jades chinois de la collection Dongxi [Chinese jade and scroll paintings from the Dongxi collection], Kredietbank Gallery, Brussels, 1995, cat. no. 46, and later sold as late Ming to early Qing dynasty at Christie's New York, 17th March 2016, lot 950; and another holding a stick and a lotus blossom, attributed to late Ming or 17th century, sold in these rooms, 26th February 1983, lot 406.

PROVENANCE

Sydney L. Moss, London, UK. An important private collection, Sydney, Australia 明末/清初 17/18世纪 或更早 青白玉胡人与狗 $30,000–40,000

173

64

175

175

A RARE PAIR OF CELADON JADE ZOOMORPHIC PENDANTS, LATE SHANG DYNASTY (1200-1100BCE) Each pendant appears to have been carved from the same flat slice of jade, and represents a stylised crouching animal with a long tail (possibly a tiger), the semi-translucent stone with calcification to the lower extremities and drilled with five tiny holes for attachment.

Fitted box.

7.2cm high, 8.5cm wide see Jessica Rawson, Chinese Jade from the Neolithic to the Qing, pl. 12.7, pp. 213-214, for plaque in the same style and very similar stone: and pl. 12.8 for a jade tiger around the same period PROVENANCE

Capital Gallery, Hong Kong An important private collection, Sydney, Australia 商晚期 青玉双龙形掛飾一對 $3,000–4,000 174

176 174

A LARGE CHINESE ZITAN RUYI SCEPTRE, QING DYNASTY, 18TH/19TH CENTURY The ruyi sceptre is inlaid with three finely pierced white jade plaques, featuring phoenix amidst foliage 51cm long

A CHINESE JADEITE CARVED VASE AND COVER The vase is carved with birds on lotus leaves in high relief, the stone is with a white tone with areas of green and dark tone.

With fitted wood stand.

11.8cm high PROVENANCE

PROVENANCE

An important private collection, New South Wales, Australia.

Mossgreen Melbourne, 15/06/2011, lot 0466

翡翠仙鹤莲纹瓶

清 十八/十九世纪 紫檀嵌白玉如意

$150–350

$4,000–6,000

Illustrated online at artvisory.com.au

65

177

A RARE AND FINE WHITE AND MOTTED JADE BI, WARRING STATES PERIOD (476-221 BC) The jade ring is finely carved in relief on both sides with comma spirals set within slightly raised borders, the stone is with pale white tone with areas of brown and calcified white.

5.5cm diameter For a very similar jade bi, partially covered with original silk, see: Christie's London, 9/11/2010, lot 190.

A larger example was given by Florence and Herbert Irving to the Metropolitan Museum of Art, sold at Sotheby's New York, 14/09/2019, lot 1324. 战国 ’谷纹‘白玉璧 $8,000–12,000

177

178

A CHINESE PALE GREENISH-WHITE AND RUSSET JADE MOUNTAINFORM BRUSH REST, QING DYNASTY, 19TH CENTURY Carved as three mountains, a deer and a crane separated by a pine tree are shown on one side, while a bat, a waterfall and another pine tree are on the reverse.

10.5cm long, wood stand PROVENANCE

Acquired in Washington, D.C., in the early 1970s.

Christie's New York, 14/09/2012, lot 1080 清 19世纪 青白玉“春水秋山”笔架山 $10,000–15,000

178

66

179

A BRONZE MIRROR WITH INTERLOCKED DRAGON MOTIF, EASTERN ZHOU PERIOD (771-256 BC) The circular mirror with domed knob, finely decorated with interlocked dragon motifs, the bronze with even green patina.

8.5cm diameter PROVENANCE

An important private collection, Sydney, Australia 东周 青铜交龙纹镜 $2,000–3,000

180

A DUAN STONE TABLE SCREEN, QING DYNASTY (1644-1912) The screen is finely carved in relief on one side with a figure in a river landscape. With a carved hongmu stand.

27.9cm high, 19.5cm wide A similar example with much simpler carving, see: Bonhams London, 7/06/2021, lot 750. And another example, see: Bonhams London, 9/11/2017, lot 110. Also see Hu Desheng, Inlay Furniture in the Palace Museum Collection: Classics of the Forbidden City, Beijing, 2013, nos.192 and 193; and for a further example see: The Chinese Scholars' Desk, 17th to 18th century, Oxford, 1979, no.79.

PROVENANCE

Private collection, Sydney, Australia 179

清 18/19世纪 端石雕携琴访友图插屏 $1,000–2,000 Illustrated online at artvisory.com.au

181

A CHINESE BRONZE BOMBE CENSER, EARLY QING DYNASTY, 17TH-18TH CENTURY The censer is finely cast with a compressed globular body rising to a waisted neck, all supported on a low foot, the sides are set with two lion-head handles cast in high relief, the base is with a cast three-character "Qin Shu Lv" mark.

13.3cm diameter A bronze censer with an apocryphal "Qin Shu LV" mark is rare.

"Qin Shu LV" was the mark that was used by the famous early Ming dynasty bronze censer casting master and official, Wu Bangzuo. For a very similar example with an apocryphal Xuande mark, please see: Sotheby's New York, 17/09/2014, lot 578 清早期 十七世纪 “琴书侣” 铸款 狮耳香炉 $3,000–5,000

181

67

182

184

A RARE BRONZE OCTAGONAL BARBED BOWL, YUAN DYNASTY (1279-1368)

A FINE CHINESE DUAN STONE CARVED TABLE SCREEN, QING DYNASTY, 18TH-19TH CENTURY

The bowl with alternate bird and flower panels, on short flared foot with interlocked dragon motifs, the bronze with even green patina 23cm diameter, 14cm high

The screen is finely carved in relief on one side with boats, figures and architectures in a river landscape. With a carved hongmu stand.

The screen: 38cm high, 27cm wide

PROVENANCE

For a smaller (35.5x26cm) duan stone table screen with much simple carving, see: Bonhams London, 7/06/2021, lot 750. And another smaller example (28.9cm high), see: Bonhams London, 9/11/2017, lot 110. Also see Hu Desheng, Inlay Furniture in the Palace Museum Collection: Classics of the Forbidden City, Beijing, 2013, nos.192 and 193; see also another example illustrated in The Chinese Scholars' Desk, 17th to 18th century, Oxford, 1979, no.79.

An important private collection, Sydney, Australia EXHIBITED

Kubosuo Memorial Museum of Art Izumi Special Exhibition, 2000 LITERATURE

New History of World Art Orient Edition 7 Complete works of world Art Yuan Shogkukan, p. 293

PROVENANCE

元代 铜莲鹤纹八边花口尊

Private collection, Sydney, Australia

$9,000–12,000

清 18/19世纪 端石雕山水建筑插屏 $7,000–9,000

183

A PUDDING STONE SNUFF BOTTLE The stone is with dark, brown and white colours.

6cm high PROVENANCE

Dr. Hyde Collection 花石鼻烟壶 $300–500 Illustrated online at artvisory.com.au

182

184

68

185

186

A FINE PAIR OF CHINESE PORCELAIN-INLAID HARDWOOD INCENSE STANDS, LATE QING DYNASTY – EARLY REPUBLIC PERIOD, EARLY 20TH CENTURY

A PAIR OF CHINESE SOAPSTONE CARVED EAR CUPS, HAN DYNASTY (206 BC-220 AD)

Each stand of square form, the slightly recessed moulded top inset with a famille-rose panel decorated with lotus sprays, peach sprigs and bats within a blue key-fret border reserved on an apple-green ground, all above a recessed waist and apron carved in relief with foliate scrolls within the beaded edge and extending over the square sectioned legs joined below the apron with similarly carved stretchers and terminating in scroll feet above the plain base supported on corner bracket feet.

93cm high, 53.6cm wide, 53.6cm deep 晚清/民国 20世纪早期 红木嵌粉彩瓷板香几一对 $20,000–30,000

Each oval cup is flanked by a pair of crescent moon-shaped handles.

11.3cm long PROVENANCE

Capital Gallery, Hong Kong 汉代 滑石耳杯一对 $400–600 Illustrated online at artvisory.com.au

187

A PAIR OF CHINESE PAKTONG SQUARE GU FORMED VASES, QING DYNASTY (1644-1912) Each vase of archaistic bronze square gu form.

7cm high PROVENANCE

Capital Gallery, Hong Kong 清 白铜方瓶 一对 $400–600 Illustrated online at artvisory.com.au

185

69

188

191

A FINE CHINESE GILT SPLASHED BRONZE VASE, HU, QING DYNASTY, 18TH CENTURY

A PAIR OF BRONZE TAOTIE MASK AND RING HANDLES, EASTERN ZHOU TO WESTERN HAN DYNASTY, 8TH-2ND CENTURY BC

The vase is of archaistic hu form, applied on the shoulders with two finely cast taotie-mask handles, and embellished overall with irregular gilt splashes.

9.2cm high PROVENANCE

F. W. Bodor Collection, New South Wales, Australia.

Lillian Horler, New South Wales, Australia, before 2003. 清 18世纪 大明宣德年制铸款 洒金铜壶 $15,000–20,000

189

A SMALL CHINESE BRONZE MIRROR, TANG DYNASTY (618-906 AD) It is cast with a dragon and cloud scrolls 6cm diameter

Each cast in high relief with small claws clasping the fangs, and various scrolls around the eyes and edges, the ring suspended from a loop surmounted by the head of a duck grasping the bottom of the mask in its bill, with a large rectangular bar attached to the back of the lower portion of the mask. Each is with a reddish-brown patina and overall malachite.

Both mounted with a wood stand. each 12cm high, 6.8cm wide For a similar bronze handle with simpler decoration, please see Christie's New York, 16/09/2010, lot 858. For pair with simpler decoration, dated to Han dynasty, see Christie's New York, 25/09/2020, lot 1527. 东周至汉 青铜饕餮辅首一对 $2,000–3,000 Illustrated online at artvisory.com.au

PROVENANCE

An important private collection, Sydney, Australia 唐 龙纹铜镜 $800–1,200 Illustrated online at artvisory.com.au

190

A RARE BRONZE SCULPTURE OF MAITREYA, PRE-KHMER, 8TH-9TH CENTURY The figure is standing in a long dhoti tied at the waist, holding a ritual vessel in the left hand, the hair combed back and into a conical ushisha, the eyes closed, covered in a heavy malachite green patina.

15.5cm high PROVENANCE

An important private collection, Sydney, Australia 緬甸 大約八世紀 銅觀音站像 $1,500–2,000 Illustrated online at artvisory.com.au

188

70

192

194

A CHINESE SOAPSTONE CARVED FIGURE OF A LUOHAN, QING DYNASTY (1644-1913)

A PAIR OF CHINESE LARGE CHINESE SOAPSTONE STANDING DAOIST FIGURES OF A GIRL AND AN OLD MAN, QING DYNASTY, 17TH-18TH CENTURY

The finely carved seated figure dressed in loose-fitting robes, the hem is decorated with scrolling lotus and gold pigment, is holding a pagoda on his right hand.

9.5cm high PROVENANCE

Private collection, Sydney, Australia 清 寿山石雕托塔罗汉坐像 $500–700

The old man is holding a double gourd and the girl is holding a ruyi sceptre. Each of the figures are mounted with an Italian gilt-wood base. the female figure overall: 35cm high; the male figure overall: 33cm high PROVENANCE

Private collection, Italy Mossgreen Melbourne, 22/11/11, lot 629.

Private collection, Sydney, Australia

Illustrated online at artvisory.com.au

清 寿山石雕道教仙翁与玉女站像

193

Illustrated online at artvisory.com.au

A CHINESE SOAPSTONE CARVED FIGURE OF A LUOHAN, QING DYNASTY (1644-1913)

195

The finely carved figure with a serene expression dressed in loose-fitting red and orange robes, the hem decorated with scrolling lotus, the hands are holding a bowl under a small bird, and sitting on a rock work base.

12cm wide, 11cm high

$600–800

A CHINESE SOAPSTONE CARVED FIGURE OF LIUHAI, QING DYNASTY (1644-1912)

Private collection, Sydney, Australia

The finely carved seated figure with a smiling face, dressed in loosefitting robes, the hem is decorated with scrolling lotus and gold pigment, he is holding a coin in his right hand, a gold toad is on his knee.

14.5cm wide, 9.3cm high

清 寿山石雕红衣罗汉坐像

PROVENANCE

PROVENANCE

$800–1,200

Private collection, Sydney, Australia 清 寿山石雕刘海戏蝉坐像 $600–800

193

195

71

196

197

196

197

A GILT BRONZE HEAD OF A BUDDHA, CIRCA 14TH CENTURY

A LARGE STONE HEAD OF A BUDDHA, YUAN DYNASTY (1271-1368)

The head is well cast and powerfully modelled with broad rounded face in a serene expression, downcast eyes beneath slightly arched brows cast in relief, straight nose, bow-shaped mouth and angular chin flanked by long pierced lobes. Together with a wood stand. head: 19cm high, 16cm wide For a similar gilt bronze head of a guardian please see: Bonhams London, 13/05/2012, lot 7. A slightly large example please see: Christie's New York, 23/03/1999, lot 124

The round face is well-carved with a serene meditative expression with half-closed eyes above a small full mouth and framed by large, pendulous ear lobes. The hair is neatly arranged in tight curls around the low, domed usnisa and above the projecting urna on the forehead.

39cm high, 19cm wide PROVENANCE

PROVENANCE

Acquired in Hong Kong, 1980s.

An important private collection, Sorell, Tasmania.

The Bolster Collection

元代 石雕佛头

西藏 14世纪 铜鎏金佛头

$4,000–6,000

$5,000–7,000

198

A SOAPSTONE CARVED FIGURE OF A GUARDIAN The guardian is carved seated on a rock base, holding a skeleton vajra sword, with one foot stepping on a demon. Fitted hongmu stand.

9cm high 寿山石雕降魔罗汉坐像 $1,000–2,000 Illustrated online at artvisory.com.au

72

199

200

199

200

A SINO-TIBETAN GILT-BRONZE SEATED FIGURE OF AMITAYUS, QING DYNASTY, 18TH-19TH CENTURY

A CHINESE BRONZE SEATED FIGURE OF A BUDDHA, MING DYNASTY (1368-1644)

The figure is seated in dhyanasana on a double-lotus base with hands held in dhyana mudra holding a vessel filled with ambrosia, the face with a serene expression framed by pendulous earrings and a five-pointed diadem encircling a tiered topknot.

18.8cm high

The figure is seated in dhyanasana with his right hand held in bhumisparsa mudra. His hair is tightly curled and his forehead centred with an urna. His robe is chased with floral borders.

17.5cm high

PROVENANCE

An important private collection, VIC, Australia

Private collection, Sydney, Australia 清 18/19世纪 鎏金铜无量寿佛坐像 $2,500–3,500

PROVENANCE

明 铜观音坐像 $2,500–3,500

73

201

A MONGOLIAN GILT-REPOUSSE FIGURE OF SHAKYAMUNI BUDDHA, QING DYNASTY, QIANLONG PERIOD (1735-1796) The figure is seated in dhyanasana on a double lotus base, the left hand in dhyanamudra, the right hand in bhumisparsa, wearing a dhoti with a shawl draped over the left shoulder, the face with a meditative downcast expression, flanked with pendulous ears, the hair tied in tight curls framed with a five leaf pendant crown.

Together with a copy of W. Drodze Do Kumbum, Tybet, National Geographic, Warsaw, 2015.

18.7cm high PROVENANCE

Sotheby's London, 16/05/2018, lot 84.

LITERATURE

W. Drodze Do Kumbum, Tybet, National Geographic, Warsaw, 2015, pp.11&278. 清乾隆 蒙古鎏金铜锤碟释迦摩尼坐像 与 此尊出版物，国家地理出版 W. Drodze Do Kumbum著《Tybet》 $20,000–30,000

201

74

202

203

A TIBETAN GILT-BRONZE SEATED FIGURE OF A LAMA, CIRCA 18TH CENTURY

A TIBETAN GILT-BRONZE SEATED FIGURE OF AMITABHA

The figure is seated in vajraparyankasana on a double-lotus throne, the hands raised in dharmacakra mudra in front of the chest, the robes sweeping around the body in rhythmic folds and fluttering across the top of the base, the hem incised with a scrolling floral brocade, the head slightly bowed, the face framed by pendulous ears and a peaked hairline.

19cm high A very similar example, see Mossgreen Melbourne, 28/11/2017, lot 750 PROVENANCE

Private collection, Sydney, Australia

The figure is seated in vajraparyankasana on a double-lotus base, the right hand held in bhumisparshamudra and the left in dhyanamudra holding a bowl.

20cm high PROVENANCE

Private collection, Sydney, Australia 鎏金铜阿弥陀佛坐像 $4,000–6,000 Illustrated online at artvisory.com.au

西藏 大约18世纪 鎏金铜喇嘛坐像

204

$3,000–5,000

A TIBETAN GILT-BRONZE SEATED FIGURE OF VAJRAPANI, 18TH-19TH CENTURY The figure is seated in dhyanasana on a double lotus throne, the right hand holding a vajra and left hand holding a bell.

16.6cm high PROVENANCE

Private collection, Sydney, Australia 西藏 18/19世纪 鎏金铜金刚手菩萨坐像 $1,000–2,000 Illustrated online at artvisory.com.au

205

A THAI GILT-BRONZE SEATED BUDDHA, 19TH CENTURY The Buddha is finely cast with a serene expression, sitting on a high lotus base.

37cm high PROVENANCE

Private collection, Sydney, Australia 泰国 鎏金铜佛坐像 $1,000–2,000 Illustrated online at artvisory.com.au

206

A SINO-TIBETAN GILT-COPPER REPOUSSE SEATED FIGURE OF A WHITE TARA, QING DYNASTY, CIRCA 18TH CENTURY The figure is cast seated in dhyanasana on a double lotus base, the right hand lowered in varadamudra, the left hand raised chest originally holding a floral stem, the face with gentle smile and framed by a high five-pointed crown.

21cm high PROVENANCE

Private collection, Sydney, Australia 清 大约18世纪 鎏金黄铜锤碟白度母像 $800–1,200 Illustrated online at artvisory.com.au 202

75

207

A VERY RARE LARGE CHINESE PAINTED STUCCO FIGURE OF A LADY, YUAN-MING DYNASTY, 13TH-15TH CENTURY The standing lady with hair twisted into a high chignon, arms swept to the side, clutching a laden bowl, wearing an aubergine coloured gown, with embroidered plum blossom sprays in relief, overlaid with a vibrantly coloured green tunic.

111cm high PROVENANCE

Collection of The New England Regional Art Museum.

Sotheby’s Australia, 1/05/2007, lot 234. 元/明 泥塑天女站像 $10,000–20,000

208

A GROUP OF THREE SMALL BRONZE BUDDHIST FIGURES including a Sui dynasty bronze standing figure of a Buddha, a Tibetan bronze figure of a Jambhala and a Tibetan seated bronze figure of a Lama.

Tallest: 8.3cm high PROVENANCE

Private collection, Sydney, Australia 一组三件铜佛教造像，包括隋代铜佛站像，西藏铜黄财神，西藏铜喇 嘛坐像 $600–800 Illustrated online at artvisory.com.au

209

TWO TIBETAN BRONZE SEATED FIGURES Including a gilt bronze Lakṣṣmī riding on an elephant, and a silver white tara Largest: 4.6cm high PROVENANCE

Private collection, Sydney, Australia 西藏 铜鎏金吉祥天女和银白度母坐像 $600–800 Illustrated online at artvisory.com.au

207

76

210

A LARGE TIBETAN GILT-BRONZE VAJRA, QING DYNASTY (1644-1912) The large thunderbolt-sceptre is cast with a central bulbous grip that separates two lotus pedestals supporting a central column surrounded by eight arched vajra points emerging from the jaws of makara heads.

18.5cm long PROVENANCE

Old Tibetan family, thence by descent Mossgreen Melbourne, 01/09/2017, lot 519. 清 ⻄藏 鎏金铜九股大金刚杵 $6,000–8,000

211

A TIBETAN DENSATIL GILT-BRONZE REPOUSSE DAKINI, CIRCA 17TH CENTURY The Dakini is decorated in high relief standing on a lotus base, flanked by a pair of vases.

60cm long, 25.5cm high PROVENANCE

An important private collection, Sorell, Tasmania. 西藏 丹萨替 十七世纪 铜鎏金锤碟空行佛母像 210

211

$4,000–6,000

77

212

A TIBETAN FIRE GILT-COPPER REPOUSSE CITTIMANDALA, CIRCA 17TH-18TH CENTURY The mandala finely depicting various deities seated on their lotus thrones within ten foliate scrolls terminating to a lotus blossom at the base. The upper register depicts multiple images of the deity Vajravidarana holding a heart-high visvavajra and bellsymbolising the destructive or cleansing power of the vajra. The vajravidarana cleansing ceremony is a powerful spiritual aid to expunge or tear asunder to release the mental and physical poisons lying at the root of suffering. To the left below this deity is Jina Yuddhajaya – one of the 35 Buddhas of confession who embodies victory over the battles of the spirit, holding a coat of mail. A line of Tibetan script to the centre of the panel.

33.6cm high, 25.8cm wide PROVENANCE

Arnold Liberman Gallery of New York.

An important private collection, Sorell, Tasmania. 西藏 十七/十八世纪 铜鎏金锤碟背光

212

$3,000–5,000

213

A PAIR OF NEPALESE GILTCOPPER REPOUSSE APSARAS, CIRCA 17TH-18TH CENTURY Each of the figure with a pair of wings and is holding a garland.

37cm high, 31cm wide PROVENANCE

An important private collection, Sorell, Tasmania. 尼泊尔 17/18世纪 铜鎏金锤碟飞天一对 $5,000–7,000

213

78

214

214

A NEPALESE CARVED STONE STELE, CIRCA 12TH CENTURY It is depicting Uma-mashevara. Lord Shiva relaxing with his consort, Parvati, Shiva's vehicle Nandi, the bull at his right elbow. The royal couple rest on a rocky outcrop while celestial dancers and musicians entertain them in the lower register.

35.5cm high, 28.5cm wide, 7.5cm deep PROVENANCE

Willard Vine Clerk Antiques, New York, 4/12/1994.

An important private collection, Sorell, Tasmania. 尼泊尔 十二世纪 石雕湿婆与雪山女神坐像 $3,000–5,000

215

A CHINESE NINGXIA PILLAR DRAGON RUG, 19TH CENTURY The rug has a scrolling dragon on a camel field with cloud bands above a polychrome wave and cloud end border.

272cm long, 68.5cm wide For a similar rug, please see Christie's New York, 16/03/2017, lot 666 PROVENANCE

An important private collection, Sorell, Tasmania. 宁夏 十九世纪 龙纹羊毛毯 $2,500–3,500

215

79

Japanese and Korean Works of Art

216

216

217

A TANTO BLADE, BIZEN OSAFUNE KANEMITSU, SIGNED, NAMBOKUCHO PERIOD, 14TH CENTURY

A JAPANESE MISHIMA WARE TEA BOWL, EARLY 20TH CENTURY

Together with a lacquer scabbard and a handle and an original certification of Nihon Token Hozon Kai-NPO. blade: 40cm long

The bowl is in a traditional style, with stylised bands in white slip on a grey ground, a seal mark to base, original inscribed Japanese wooden box 13.7cm diameter PROVENANCE

The blade is certified by Nihon Token Hozon Kai-NPO, certification no. 4412

Acquired in Kyoto, Japan.

An important private collection, Sydney, Australia

PROVENANCE

日本 20世纪早期 三岛烧茶盌

Acquired from Tokyo, Japan.

Private collection, Victoria, Australia

$700–900

日本 南北朝时期 14世纪 备前长船兼光造短刀，以及刀鞘和刀柄 附原版日 本刀剑保存会鉴定证书 $5,000–8,000

Illustrated online at artvisory.com.au

80

218

219

A KOZUKA WITH DESIGN OF A DRAGON, UNSIGNED, GOTO SCHOOL, LATE EDO PERIOD, 19TH CENTURY

A JAPANESE CLOISONNÉ LONG NECK VASE, EARLY 20TH CENTURY

It is finely cast with a dragon and a sword on one side, it is covered with gold foil.

With fitted wood box.

9.5cm high

The vase is with a long cylindrical neck and silver rims, decorated on the body with birds and flowers, all against a black ground, signed on a silver tablet to the base.

24cm high

PROVENANCE

PROVENANCE

Acquired from Tokyo Art Club, Tokyo, Japan, 2014 Private collection, Victoria, Australia

An important private collection, Sydney, Australia

EXHIBITED

$800–1,200

Tokyo, Dai Token Ichi, Tokyo Art Club, 2014

日本 20世纪早期 掐丝珐琅长颈瓶 Illustrated online at artvisory.com.au

日本 江户晚期 后藤派风格 19世纪 包金铜龙纹匕首柄 $5,000–8,000

220

A JAPANESE BLACK LACQUER STAND, EARLY 20TH CENTURY The stand is with a high splayed foot, it is covered with black lacquer with gold decoration 15.5cm diameter, 12.5cm high PROVENANCE

An important private collection, NSW, Australia. 日本 20世纪早期 黑漆金彩杯托 $100–200 Illustrated online at artvisory.com.au

221

A KOREAN BROWN GLAZED JAR AND COVER, LATE 19TH CENTURY The body of the jar is potted with twelve sides, it is covered with brown glaze.

27cm high 韩国 20世纪早期 酱釉罐 $400–600 Illustrated online at artvisory.com.au

218

81

222

A EXTREMELY FINE JAPANESE SILVER AND IVORY SHIBAYAMA MINIATURE TABLE-CABINET KODANSU, MEIJI PERIOD (1868-1912) The cabinet is with panels of flowers and birds and a hanging basket in hard-stones and multi-coloured mother of pearl, reserved against a repoussé silver ground of densely blossoming flowers, hinged and enclosing two banks of five gold lacquer faced drawers each with a silver handle. With a fitted Japanese wood box.

16cm high, 16cm wide, 8.5cm deep PROVENANCE

An important private collection, Sydney, Australia 日本 明治时期 银嵌八宝迷你提箱 $40,000–50,000

222

82

Chinese Paintings 223

JIN WEIHONG (B. 1967-) ink and colour on paper, signed Xiao Hong, with one artist seal framed Painting: 44.5 x 51cm For another ink and colour on paper painting titled "Spring Message"

by Jin Weihong, please see: Sotheby's Beijing, 5/12/2015, lot 53.

PROVENANCE

Acquired from private collection, Canada 靳卫红(1967) ”躺着的一对“ 设色纸本 硬木框 $1,500–2,500

224

ATTRIBUTED TO FAN ZENG (1938-) ink and colour on paper, inscribed, signed and three seals of the artist.

With a hard wood frame. painting: 137 x 68cm 传 范曾 纸本水墨 庄子说梦图 $2,500–3,500 Illustrated online at artvisory.com.au

223

225

226

WU BAIRU (B.1948)

CHEN PEIQIU (1922-2020) Chun Hua Qiu Shi (Spring Flowers Autumn Fruits)

Ink and colour on paper, hanging scroll Titled, inscribed, and signed Wu Bairu, with one seal of the artist 101.0 x 50.5cm PROVENANCE

The Dr. Peter Elliott Collection, Sydney, Australia.

Mossgreen Sydney, 31/08/2015, lot 711.

Private collection, Sydney

Calligraphy in running script ink on paper, hanging scroll inscribed, signed and dated, three red seals of the artist 75 x 38cm PROVENANCE

Acquired directly from the artist by the present owner

吴佰如 (1948-) 怀素悟书 设色纸本 立轴 款识：怀素悟书。笔下唯觉激电流，字成恐畏盘龙走。活水流主，吴佰如。 钤印：吴佰如

陈佩秋 (1922-2020) “春花秋实” 行书 挂轴 水墨纸本 题跋，日期，签名， 钤印

$800–1,200

$600–800

Illustrated online at artvisory.com.au

Illustrated online at artvisory.com.au

83

227

A RARE CHINESE FRAMED DAOIST PAINTING OF YU HUANG DA DI, MING DYNASTY, 17TH CENTURY The painting is finely rendered with ink and colour on silk, colourfully depicting with a seated Daoist male deity, possibly Yu Huangdadi, holding a gui scepter. Two attendants one male and one female are depicted as Europeans, each is holding a canopy from which is suspended a banner.

Three other deities depicted on the lower section. With a gilt wood frame.

205cm high, 105cm wide For a smaller Ming dynasty painting of Daoist stella divinities (167.6 x 90.8cm), please see: Christie's Hong Kong, 30/05/2012, lot 4166.

Another three smaller Daoist paintings (81.4 x 44.5cm), dated to the same period, see Christie's, 7/11/2014, lot 600, 603 and 604.

PROVENANCE

An important private collection, Victoria, Australia 明代 17世纪 道教人物画像 $3,000–5,000

228

SHEN JUECHU (1915-2008) River landscape ink and colour on paper, hanging scroll Inscribed, and signed Shen Juechu with three read seals of the artist 88.3 x 46cm PROVENANCE

Acquired from Duo Yunxuan Pty. Ltd., Shanghai, China Private collection, Victoria, Australia 沈觉初（1915-2008） 山水图 设色纸本 立轴 款识：乙亥夏日沈觉初写 峕季八十一。 钤印：觉初，沈觉初印，千里咫尺 $600–800 Illustrated online at artvisory.com.au

229

ATTRIBUTED TO ZHENG XIE (1693-1765) Calligraphy in Running Style ink on paper, hanging scroll Inscribed and signed Banqiao Zheng Xie, with two seals of the artist.

97 x 34cm PROVENANCE

Dr TF Yeung (1932-2019) Collection of Chinese Paintings and Calligraphy 郑燮（款） 草书 水墨纸本 立轴 款识：我亦有亭深竹里，也思归去听秋声。板桥郑燮。 钤印：郑燮信印、板桥 $300–500 Illustrated online at artvisory.com.au

227

84

230

230

232

ATTRIBUTED TO ZHAO SHAOANG (1905-1998)

ATTRIBUTED TO CHENG SHIFA (1921-2007) Chang Le (long happiness)

ink and colour on paper signed and one red seal of the artist 39 x 30.5cm PROVENANCE

Acquired in Hong Kong in the early 90s 传 赵少昂 镜心 水墨纸本 签名， 钤印 $8,000–12,000

231

ATTRIBUTED TO FEI DANXU (1802-1850) Ink and colour on paper Framed Inscribed, signed and two red seals of the artist Painting: 233.5 x 27.5cm PROVENANCE

Private collection, Sydney, Australia 传 费丹旭 (1802-1850) 设色纸本 镜心 $1,000–2,000 Illustrated online at artvisory.com.au

calligraphy in seal script, ink on red paper, hanging scroll signed and three seals of the artist 66.3 x 32.5cm PROVENANCE

Acquired directly from the artist by the present owner 传 程十发 “长乐” 篆书 挂轴 水墨纸本 签名， 钤印 $600–800 Illustrated online at artvisory.com.au

85

233

233

234

YU YOUREN (1879-1964)

CHEN PEIQIU (1922-2020)

Ink on paper, hand scroll, inscribed with two poems composed by the famous Song Dynasty poet Jiang Kui, also known by the art name Baishi Daoren, signed and one seal of the artist.

128 x 30cm

Calligraphy Couplet in running Script ink on paper, hanging scroll inscribed, signed and dated, three red seals of the artist 137.3 x 33cm

Zheng Ziyu (1916-2008) was a scholar in rhetoric and poetry, a well known collector of Chinese calligraphy, and a close personal friend of Yu Youren.

He was also a professor who taught in Waseda University (Tokyo), The Chinese University of Hong Kong, Fudan University (Shanghai), and Daito Bunka University (Tokyo).

PROVENANCE

For further examples of Yu Youren’s calligraphy sold at auction, see: China Guardian Beijing, 03/06/2019.

PROVENANCE

Collection of noted scholar Zheng Ziyu (1916-2008), gift of Yu Youren.

Sotheby's, Hong Kong, 24/11/2005, Lot 962.

Sotheby's, Hong Kong, 6/10/2007, Lot 167.

An Important Private Collection, Melbourne, Australia 于右任 (1879-1964) 水墨纸本 $70,000–80,000

Acquired directly from the artist by the present owner 陈佩秋 (1922-2020) 行书对联 挂轴 水墨纸本 题跋，日期，签名， 钤印 $1,000–2,000 Illustrated online at artvisory.com.au

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ATTRIBUTED TO QI BAISHI (1864-1957) Ink and colour on paper hanging scroll Inscribed, signed and three red seals 97.5 x 40.1cm PROVENANCE

Acquired in Shanghai in the 80s, hence by descent in the family 传 齐白石(1864-1957) 瓜果昆虫 设色纸本 立轴 $1,000–2,000 Illustrated online at artvisory.com.au

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Fu Hong was exhaustively trained in classical realism in his birth country China, after graduating from the China Arts & Crafts Academy, Beijing, when he was commissioned to paint the late Chairman Mao. From 196668 he was artistic designer for the China Theatre Music Academy, from 1974-75 artistic designer at the Central Folk and Dance Troupe of China, from 1975-80 artistic director at the National Central Television Drama Section and Broadcasting Arts Company of China, and from 1985-90 director of the “artist’s gallery” of the China National Artistic Association, Beijing. Since arriving in Australia in 1990, Hong has gained a deserved reputation as an outstanding realist painter with “impressionist” leanings working in his own distinct manner.

Three of Hong's portrait paintings were selected as a finalist in 2008, 2009 and 2021 respectively: • The portrait of Dr Brown was selected as a finalist in the 2008 Archibald Prize, and was selected as one of the Archibald 100 (1921-2021).

• The Portrait of Dame Elisabeth Murdoch was a Finalist in the Archibald Prize 2009.

• The portrait of Professor Mabel Lee was a Finalist in the Archibald Prize 2021.

• Fu Hong was the only Chinese artist who's work was selected to Archibald 100 (1921-2021).

For Fu Hong's works that were sold at auctions in the past, see Sotheby's Australia, 17/04/2009, lot 25; Beijing International Auction, 10/05/93, lot 144; Christie's Australia, 14-15/08/94, lot 303 & 319; Christie's Australia, 6-7/12/94, lot 249 & 361; Christie's Australia, 21/08/96, lot 370; Elder Fine Art, 25/5/14, lot 58 & 59; Elder Fine Art, 24/5/15, lot 98 & 100.

澳大利亚华裔傅红曾多次获得澳大利亚的重量级艺术奖项，其中包括 多次入围Archibald Prize和Wynne Prize。其凭借肖像作品Portrait of Prof. Mabel Lee再一次入围2021年的Archibald Prize。他2008年入围 作品Portrait of Dr. Joseph Brown亦从入围的6千多件作品脱颖而出， 于今年选入Archi 100 (1921-2021) 经典大展。傅红因此成为该百年经 典大展中唯一展出的华裔艺术家。其作品在澳洲拍卖市场上亦广受欢 迎，曾经于拍卖会上售出的作品可参见：苏富比澳大利亚，2009年4 月17日，拍品号25；佳士得澳大利亚，94年8月14-15号，拍品号303 和319；佳士得澳大利亚，94年12月6-7号，拍品号：249和361；佳士 得澳大利亚，96年8月21号，拍品号370；Elder Fine Art, 2014年5月 25号，拍品号：58和59；Elder Fine Art，15年5月24号，拍品号98和 100.

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FU HONG (CHINESE, B.1946) Lilies 2020 signed "Fu Hong" lower left oil on canvas, unframed 183 x 76cm 傅红 百合花 2020年作 布面油画 $6,000–8,000

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FU HONG (CHINESE, B.1946) Horizon (Nude with Geisha) 2013 signed "Fu Hong, 13" lower right oil on canvas, unframed 102 x 102cm 傅红 地平线（裸体与艺妓） 2013年作 布面油画 $6,000–8,000

END OF SALE

ENTRIES INVITED

Fine Chinese, Japanese & Asian Arts Auction November 2021, Melbourne

We are now inviting quality entries to our November auction, which will include fine Chinese, Japanese and South East Asian Arts.

National Enquires Luke Guan luke@artvisory.com.au 0455 891 888 Expert Panel Ray Tregaskis, Vicki Tregaskis, Allan Rae, Luke Guan

“A Life in Art and Great Houses” Property from the Private Collection of Patricia Tryon Macdonald Auction Sunday 29 August 2021 Viewing 26–28 August 11am–5pm & 29 August 10am–1pm Enquiries Paul Sumner paul@artvisory.com.au 0412 337 827

www.artvisory.com.au

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I authorise Artvisory to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Artvisory responsible for any errors that occur.

I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 24% plus GST of the final hammer price plus any GST payable on the hammer price, as indicated in the catalogue. GST will be charged on the buyer’s premium. If the lot is denoted by the † symbol, GST will be charged the whole amount (hammer price + GST). If the Resale Royalty Scheme is applicable 5% will be charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue. Your invoice will be emailed to the supplied email address immediately after the auction has finished and will contain all details pertaining to payment and collection.

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Terms and Conditions of Sale The terms and conditions of sale listed here contain the policies of Artvisory Pty Ltd. They are the terms on which Artvisory Pty Ltd and the Seller contract with the Buyer.

They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.

b)

1. Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot

Images are measured height by width (sight size).

Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

“the Buyers Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Artvisory has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Artvisory in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Artvisory.)

Catalogue and other Descriptions All statements by Artvisory in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact.

Such statements do not constitute a representation, warranty or assumption of liability by Artvisory of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Artvisory nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

c)

Buyers Responsibility All property is sold “as is” without representation or warranty of any kind by Artvisory or the Seller.

Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

2. Artvisory Auctions as Agent Except as otherwise stated Artvisory Pty Ltd acts as agent for the Seller.

4. At the Sale

The contract for the sale of the property is therefore made between the Seller and the Buyer.

a)

Refusal of Admission Artvisory reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

b)

Registration before Bidding Any prospective new buyer must complete and sign a registration form and provide photo-identification before bidding. Artvisory may request bank, trade or other financial references to substantiate this registration.

3. Before the Sale Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Artvisory nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

The property is otherwise sold “AS IS”

Bidding as a Principal When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyers premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Artvisory before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Artvisory and that Artvisory will only look to the principal for payment.

d)

International Registrations All International clients not known to Artvisory will be required to scan through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Artvisory’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Artvisory also reserves the right to request any additional forms of identification prior to registering an overseas bid.

This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 can not be charged to this card without prior arrangement.

This deposit is redeemable against any auction purchase.

e)

Absentee bids Artvisory will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Artvisory after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

f)

Telephone bids Priority will be given to overseas and interstate bidders. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Artvisory accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Artvisory cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen.

Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Artvisory of the lots in question and you will be assumed to be a buyer at the minimum price of 75% of estimate (ie. reserve) for all such lots. Artvisory will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals or any other sale room notices.

Foreign buyers should note that all transactions are in Australian dollars so there may be a small exchange rate risk. The costs associated with acquiring a good certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

All values expressed in Artvisory Pty Ltd catalogues (in any format) are in Australian Dollars (AU$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.

a)

c)

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G) Online Bidding Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Artvisory and agrees to pay any fees charged in regard to any purchases made via Invaluable.com.

Artvisory accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details.

5. After the Sale a)

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 24% of the hammer price plus GST. (Goods and Services Tax) where applicable.

b)

Payment and passing of title The buyer must pay to the company trust account managed by KK Partners Pty Ltd Chartered Accountants the full amount due (comprising the hammer price, buyer's premium and any applicable taxes and GST) not later than 3 days after the auction date.

H) Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

I)

J)

The buyer will not acquire title for the lot until Artvisory receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received.

This applies even if the buyer wishes to send items interstate or overseas.

Payment can be made by direct transfer, cash (not exceeding $5,000AUD, if wishing to pay more than $5,000AUD then this must be deposited directly into the company trust account and bank receipt supplied) and Eftpos (please check your daily limit).

Payments can also be made by credit card in person with a 1.3% (inc GST) merchant fee for Visa and Mastercard and 2% (inc GST) for American Express.

Credit card payments where the card-holder is not present, can not be accepted unless a scanned image of the card and signature is supplied (that corresponds with the supplied signature on the bidding or registration forms). Personal cheques are only accepted with prior arrangement and funds must be cleared before goods will be released. Bank cheques are subject to three days clearance.

Auctioneers Discretion The Auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to re-offer and resell the item in dispute. If any dispute arises after the sale, then Artvisory’s sale record is conclusive.

Successful bid and passing of risk Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account. c)

K) Indicative Bidding steps, etc.

Artvisory reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following, at the auctioneers discretion: Increment Amount

Dollar Range

$20

$0–$500

$50

$500–$1,000

$100

$1,000–$2,000

$200

$2,000–$5,000

$500

$5,000–$10,000

$1,000

$10,000–$20,000

$2,000

$20,000–$50,000

$5,000

$50,000–$100,000

$10,000

$100,000–$200,000

$20,000

$200,000–$500,000

$50,000

$500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

Collection of Purchases & Insurance Artvisory is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 3 days from the date of the sale unless otherwise agreed in writing between Artvisory and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

d)

e)

Packing, Handling and shipping Artvisory will be able to suggest local, national and international carriers and takes no responsibility whatsoever for the actions of any recommended third party carrier. Artvisory can pack and handle goods purchased at the auction by agreement, however will take no responsibility for damage, a charge may be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

Cultural heritage Export Licences Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make full payment immediately, nor our right to charge interest or storage charges on late payment. It is the Buyer’s responsibility to check Australia’s Protection of Moveable Cultural Heritage Act 1986 before purchase. If the Buyer requests Artvisory to apply

for an export licence then we shall be entitled to charge a fee for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is not granted. f)

Remedies for non-payment If the Buyer fails to make full payment immediately, Artvisory is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law) i)

to charge interest at such a rate as we shall reasonably decide

ii)

to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for it’s recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law

iii)

to cancel the sale

iv) to resell the property publicly or privately on such terms as we see fit v)

to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Artvisory in the event that the item(s) are sold for an amount greater than the original invoiced amount.

vi) to set off against any amounts which Artvisory may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer. vii) where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs. viii) to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids. ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for such Buyer’s obligations to us. x)

to take such other action as Artvisory deem necessary or appropriate If we do sell the property under paragraph (iv), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (v) the Buyer acknowledges that Artvisory shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

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g)

Failure to collect purchases Where purchases are not collected within 3 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6. Extent of Artvisory Liability Artvisory agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7. Limited Warranty Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following: i)

ii)

iii)

it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property. the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Artvisory when the lot was sold at Auction. the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party

iv) The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyers premium which is non refundable.

Neither the Seller nor Artvisory will be liable for

v)

any special, incidental nor consequential damages including, without limitation, loss of profits not for interest.

Overseas buyers and buyers non-resident in Australia will not be charged GST on both hammer price and premiums under the following conditions:

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Artvisory to decide whether or not to cancel the sale under warranty.

1.

The items are exported through a Artvisory approved freight company including Australia Post

2.

The items are exported within 60 days of the date of the sale

The invoice supplied by Artvisory for purchases will be regarded as a Tax invoice for GST purposes.

vi) the Buyer must return the lot to Seller in the same condition that it was purchased.

14. Resale Royalty Scheme

8. Severability

Under the legal obligations of the Resale Royalty Scheme for Visual Artists Act 2009, sellers must provide the following information to comply with the act:

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9. Copyright The copyright of all images, illustrations and written material produced by Artvisory relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Artvisory and shall not be used by the Buyer, nor by anyone else without our prior written consent. Artvisory and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10. Law and Jurisdiction These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of the state in which the auction is held.

11. Pre-Sale Estimates Artvisory publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Artvisory prior to auction for updated pre-sale estimates and starting prices.

12. Sale results Artvisory will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.artvisory.com.au.

13. Goods and Service Tax In accordance with A New Tax System (Goods and Services Tax) Act 1999 Artvisory Auctions will collect on behalf of the Australian tax office (ATO) a Goods and Service Tax (GST) of 10% on all applicable transactions.

GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not an Australian resident. These lots are denoted by a dagger symbol † placed next to the estimate.

GST is also applicable on the buyer’s premium.

•

was the artwork acquired after 8 June 2010?

•

is the sale/reserve price (including GST) $1,000 or more?

•

is the artist from Australia or a country listed in the Regulations to the Act?

•

is the artist alive, or deceased less than 70 years?

The seller: i)

acknowledges that he or she understands his or her legal obligations under the Resale Royalty for Visual Artists Act 2009 (the Act);

ii)

undertakes to comply with all requirements of the Act, including by providing its agent, the company, with accurate information sufficient for compliance with sections 28 and 29 of the Act;

iii)

undertakes to indemnify the company for any loss incurred by the company as a result of the vendor’s failure to comply with any of the vendor’s legal obligations under the Act; and

iv) acknowledges that if he or she fails to comply with any of his or her legal obligations under the Act, the company may provide the vendor’s name and contact details to Copyright Agency Limited (CAL).

Lots subject to payment of the Resale Royalty Scheme will be denoted by the §. The Australian Resale Royalty is a flat rate of 5% on the hammer price (including GST).

The Australian Resale Royalty is payable by the buyer in addition to the buyers premium plus any applicable GST.

ASIAN ART SPECIALISTS 409 Malvern Road South Yarra Victoria 3141 +61 3 9826 4039 | www.artivsory.com.au