WOOLLEY & WALLIS
FINE CHINESE PAINTINGS & WORKS OF ART
FINE CHINESE PAINTINGS & WORKS OF ART
Tuesday 12th November 2019
TUESDAY 12TH NOVEMBER 2019
SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro
424506 +44 (0)7812 601098 424571 424591
CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees
JAPANESE WORKS OF ART Alexandra Aguilar Sarah Lopez-Ferreiro
20TH CENTURY DESIGN Michael Jeffery Zoe Smith
ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison
FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy
411854 339161 411854
JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde FGA
424595 424504 424586
MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey
PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon
446961 446962 446970
SILVER Rupert Slingsby Lucy Chalmers
TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey
VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA Amanda Lawrence (PA)
424509 424598 424509
MARKETING Sally Trench Megan Corbett
ACCOUNTS Janice Clift (Office Manager)
GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie SALEROOM MANAGER Matt Hill CASTLE GATE MANAGER David Jordan CASTLE GATE RECEPTION Sally Litherland BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman Clive Stewart-Lockhart FRICS FRSA Deputy Chairman Natalie Milsted FCCA Managing Director Paul Viney ASFAV Non-Executive Director ASSOCIATE DIRECTORS Janice Clift Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Rupert Slingsby Marielle Whiting FGA Mark Yuan-Richards
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Front Cover: Lot 6 part Back Cover: Lot 34
FINE CHINESE PAINTINGS & WORKS OF ART 中國字 及藝術品 Tuesday 12th November 2019 at 10.30am Viewing in London (Highlights) 17 Clifford Street, 2nd Floor W1S 3RQ Saturday 2nd November Sunday 3rd November Monday 4th November Tuesday 5th November
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Viewing in Salisbury Saturday 9th November Monday 11th November Tuesday 12th November
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Bank Transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Telephone Bidding Requests for telephone bidding cannot be accepted after 12 noon on Monday 11th November. Condition of lots Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. 品相報告 競買人應於拍賣之前的預展中視 拍品。 為方 買家威立士可以在拍賣開始前提供品相報 告，但未記 的品相報告並不代表其品相完 ，如果您有需要請聯繫我們 訊相關信息。
CHRONOLOGY OF CHINA 中國
NEOLITHIC c.6500-1700 BC
XIA DYNASTY c.2100-1600 BC SHANG DYNASTY c.1600-1100 BC ZHOU DYNASTY c.1100-221 BC Western Zhou 周 c.1100-771 BC Eastern Zhou 周 770-256 BC Spring and Autumn Period 770-476 BC Warring States Period 國 475-221 BC QIN DYNASTY HAN DYNASTY 206 BC-AD 220 Western Han Eastern Han
206 BC-AD 8 AD 25-220
THREE KINGDOMS 三國 220-280 Wei 220-265 Shu Han 221-263 Wu 222-280 JIN DYNASTY 265-420 Western Jin 265-317 Sixteen Kingdoms 十六國 304-439 Dong Jin 317-420 SOUTHERN DYNASTIES 420-589 Liu Song 420-479 Southern Qi 479-502 Liang 502-557 Chen 陳 557-589
NORTHERN DYNASTIES 386-581 Northern Wei 386-534 Eastern Wei 534-550 Western Wei 535-556 Northern Qi 550-577 Northern Zhou 周 557-581 SUI DYNASTY TANG DYNASTY
FIVE DYNASTIES 907-960 Later Liang 後 907-923 Later Tang 後 923-936 Later Jin 後 936-946 Later Han 後 947-950 Later Zhou 後周 951-960 LIAO DYNASTY
SONG DYNASTY Northern Song Southern Song
960-1279 960-1127 1127-1279
JIN DYNASTY YUAN DYNASTY
MING DYNASTY 1368-1644 Hongwu 1368-1398 Jianwen 建文 1399-1402 Yongle 永樂 1403-1425 Hongxi 1425 Xuande 1426-1435 Zhengtong 正 1436-1449 Jingtai 1450-1456 Tianshun 天順 1457-1464 Chenghua 成化 1465-1487 Hongzhi 1488-1505 Zhengde 正 1506-1521 Jiajing 1522-1566 Longqing 1567-1572 Wanli 1573-1620 Taichang 1620 Tianqi 天 1621-1627 Chongzhen 1628-1644 QING DYNASTY 1644-1911 Shunzhi 順 1644-1661 Kangxi 1662-1722 Yongzheng 正 1723-1735 Qianlong 1736-1795 Jiaqing 1796-1820 Daoguang 道 1821-1850 Xianfeng 1851-1861 Tongzhi 同 1862-1874 Guangxu 1875-1908 Xuantong 1908-1911 REPUBLIC OF CHINA 中 1912HONGXIAN (YUAN SHI KAI) （ 世 ）1915-1916
PEOPLE’S REPUBLIC OF CHINA 中 人 和國 1949-
FINE CHINESE PAINTINGS & WORKS OF ART 中國字畫及藝術品 Tuesday 12th November 2019
FINE CHINESE PAINTINGS 中國字 Lots 1-24
1 ATTRIBUTED TO XU BEIHONG LANDSCAPE Three Chinese fan paintings, one attributed to Xu Beihong, inscribed and signed Beihong with one artist’s seal, another attributed to Pan Tianshou, painted with an aquatic bird, dated and signed Pan Tianshou, the third inscribed, signed by Wang Yu, dated yi mao year, 52cm across. (3)
2 HUANG DING (1660-1730) LANDSCAPE A Chinese fan painting, ink on paper, inscribed and signed Huang Ding, with three artist’s seals, 48cm across.
£200-300 （1660-1730） 起 圖 水 本 面 款識：起 圖， 人本， 客 印： 、 古、 然。
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3 CAI XIAN AND ZHONG LAISONG (1866 - ?) A LADY, BUTTERFLIES, A MAGPIE AND RABBITS A Chinese xipi lacquer fan, ink and colour on paper, each side with extensive inscriptions signed by Zhong Laisong with his four seals, dated wu yin year, also painted and signed by Cai ian with five artist’s seals, 47.5cm across.
£400-600 及鐘來 面 款識：
人意， 書。 、 、來 。
4 CHEN ZHI (20TH CENTURY) PINE TREE A Chinese spotted bamboo fan, painted to one side with a pine tree, signed and dated wu zi year (1948), with an artist’s seal, the other side with an extensive inscription, also signed with an artist’s seal, the markings of the bamboo used to depict blossoming trees, 64cm across.
5 ZHANG DAQIAN (1899-1983) SCHOLAR AND BAMBOO A Chinese painting on board, ink and colour on paper, inscribed and signed Shi Di Wen xian sheng zheng zhi, Shu Jun Zhang Daqian Yuan, with two artist’s seals, together with an exhibition catalogue signed by Zhang Daqian and dedicated to Mr Stephens, 21.5cm x 18cm. (2)
£2,000-3,000 Provenance: from the collection of George Aveline Valentine Stephens (1928-2017) and thence by descent. This painting and catalogue were given to him during the New Delhi Daqian Exhibition in January 1950. Mr Stephens was in the Royal Navy, and then went on to work at Pan American Airways. In the 1950s, he joined the International Marine Oil Company Limited as their Representative until it was taken over by Shell. He was the Marketing Representative for Shell in ahrain and then became the arketing ecuti e at their ondon head office.
大 款識： 印： 來源：
間高士 設色 本 一 五 年作 文先生正之， 大 。 之印、大 。 文先生（George Aveline Valentine Stephens 1928-2017)收藏，之後由後人繼承。此 舉行的的大 展上 會 大 ，一 的上款人 文先生於1950年1月16及17日在印度 見如 ，於是大 將此幅 間高士 圖及簽名 展圖錄一同 予 文先生。自此之後， 簡高士 一直 藏在 文的公文 包中， 他周遊列國直至 世。 文先生 經 是一名皇家 ，退 後加入了 世 空，正式因為工作的原因在印度出差期間結識了 大 。1950年代後期他加入了 公司並擔任其公司銷售代表。 年後公司被 牌 場部代表然後 任為 牌公司 總部 場行 經理。 （Shell）收購，他被委任 Signature in the exhibition catalogue
Inscription to the reverse
1950 exhibition catalogue
George Aveline Valentine Stephens, with the International Marine Oil Company Ltd, 1951-52
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The Qianlong Emperor’s 80th birthday celebrations. Detail from scroll two, the Palace Museum, Beijing
THE HUANG CHAO LI QI TU SHI 皇
The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty is a manuscript commissioned by the Qianlong Emperor. It was a major Imperial commission and as many as twenty-seven court painters and calligraphers worked on it between and under fi e editors including ilu ang oudin and uanbao. he book is comprised of si parts musical instruments scientific e uipment ceremonial essels dress weaponry and insignia. hey contain more than thirteen hundred lea es of illustrations and te ts e plaining the specifications of paraphernalia used in the highly comple state ritual practices. There are many versions of this book but the leaves in this present lot are from the original edition kept at the enyuan a ilion ibrary of the ld ummer alace ei ing.
觀中國文明 ，有關 的文字記錄最早可以追 到 周的 周 及 一直 重要的 色，其作用為 分地位等 、規範 制，從而 國家 並下 按新規格 作 器及大 用具，這些新的規 制度都記錄在 皇
國時期的 。清代 器圖式
記 皇 中。
。 在中國文化中 重視推行 制改 ，
皇 器圖式 是一部冊 式的圖 ， 十五年（1750） 允 （1695-1767）、 （1708-1761）、 由 （1692-1758）等 部、 部及工部 修的記 各種清 制度器物的 書，並與 二十 年（1959）完成。 全書共十 ，分為六大部分： 一、二為 器， 三為 器， 至 為 服， 、 為樂器， 十至十二位 ， 十三至十 位 備及 的清代 需要的各種用具。圖文並 ，共計1300幅圖，每件器物都有詳細尺 寸、 地、 樣以及相應官 品 的對照。全書是清 皇 對 登記制度之嚴 的直接寫照。此書有 內 本、手 本、 三十一年（1766） 英 本，清 重印本等。 本次上拍的 皇 與 爾伯特 物 登在
器圖式 為 藏於文 內的清 內 本中的十二開冊，其 部分 落各處，英國 多利 、大英圖書 、 物 及 爾 物 都有收藏。其中 後 登圖中所描 的 地 中文大學文化 特展 皇 器 中展出，由 收藏。
6 ANONYMOUS COURT PAINTER (QIANLONG, DATED 1750-59) ALBUM LEAVES FROM THE IMPERIAL HOUSEHOLD REGULATIONS Twelve rare Chinese paintings, all with inscriptions from the Huang Chao Li Qi Tu Shi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), ink, colour and gilt on silk, eight of the double pages bear an explanatory text about the object on the right page, 41cm x 42.5cm. (10)
£30,000-50,000 ro enance by repute from the mperial ibrary of the ld ummer alace ei ing ac uired in by aptain illiam ordon Chalmers (1835-1868) of the 15th Punjabees (Pioneers), later numbered 23rd. Acquired by the father of the current owner c.1950s directly from the family of aptain halmers. aptain illiam ordon halmers was born in onkshill berdeen in and became a ieutenant in the st engal ati e nfantry on the th anuary . n he ser ed in the econd pium ar at the aku orts Tianjin, and Beijing. f. lark or lessings and uidance the ianlong mperor s esign for tate acrificial Vessels p. fig. for another leaf from the Huang Chao Li Qi Tu Shi in the collection of the Palace Museum, Beijing depicting a deng vessel of the same design. The author also describes this vessel which was used in the Temple to Imperial Ancestors. See also p.187, no.21 for a pair of deng vessels of the same design from the Huaihaitang Collection, no.18R10.11; see The Victoria and Albert Museum, London for similar album leaves, and Christie’s Paris, 13th December 2017, lot 108 for related examples recently sold at auction.
允 、 、 由 等（清 ） 皇 器圖式 十二開冊 款識：1. 後 登圖， 後 登，說見正 。 2. 官 二圖， 官 二， 按本 定制 官 前後及護 各 額 額 額 直 將以下 被之。
大駕 圖，皇 大駕 ， 按 古今注 公因 之形而 自 與用 ， 十三 定大駕 為之通高一 二尺二寸， 五尺， 上 金 一尺一寸， 三 各 一尺一寸， 金 間以 火 下 金 各十五， 帶二長三尺五寸 二寸五分如 色 各三 為 金 首 二尺三 寸上下 上長三尺 寸下長五尺二寸圍 寸 分， 以 銀長 分。法 同。 4. 皇 大駕 圖，皇 大駕 ， 按 ， 直 十三年 定大駕 為之直 餘 如 之制法駕。 駕 同。 5. 皇 大駕 圖，皇 大駕 ， 按 ， 而 注 飾 起 注 國 一具 服 首建 以 尺許下 ， 十三年， 定大駕 為之通 無 帶餘 如 之制。法駕 同。 6. 皇 大駕 五色 改圖，皇 大駕 五色 ， 按 古今注， 所作也與 於 之 有五色 金 於 上有 之象 因而作 書 二 服 制如 而 起 十三年， 定大駕 五色 五色 為之各 每間以 二通 直 餘 如 之制。法駕 駕 五色 同。 年，
大駕 五色 圖，皇 大駕 五色 ， 按 新 三 之屬 五色 十三年， 定大駕 五色 為之各二與 相間直 餘 如 之制。法駕 五色 同。 8. 皇 大駕 圖，皇 大駕 ， 按 書 服 注 也， 為 有 之 書 前 十三年， 定大駕 為之通 五色 二十 無 帶餘 如 法駕 同。 9. 皇 大駕 方 圖。皇 大駕 方 圖。 10. 皇 大駕 五色 圖。皇 大駕 五色 圖。 來源：1950年代由現藏家的 從Chalmers 官（1835-1868）處購得。1835年William Gordon Chalmers出生於 伯 ，1857年1月27日 為中 。
五色 注以 之制。
a pair of deng vessels of the same design from the Huaihaitang Collection
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See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
7 ATTRIBUTED TO FENG ZIKAI BLESSINGS ON THE CHINESE NEW YEAR A Chinese scroll painting, ink and colour on paper, inscribed and dated the Chinese New Year’s eve of 1960, signed Feng Zikai and with two artist’s seals, 129cm x 61cm.
£7,000-8,000 ro enance from a outhern rench pri ate collection purchased in Hong Kong in the 1980s.
（ ） 設色 本 立 款識： ， ， 一束， 三 五風十兩 人 。 有 要， ，且 得多方支 ，會看 手此日大 收 ， 樂。六 年 節， 後 。 印： 、 。 。 來源：法國私人收藏，1980年代購於
9 8 AFTER REN YI (19TH CENTURY) FIGURES BENEATH A PINE TREE
10 AFTER QIAN DU (QING DYNASTY) SCENES OF THE WEST LAKE
A Chinese scroll painting, ink and colour on paper, with one artist’s seal which reads Ren Bonian and one illegible seal, 143cm x 38cm.
A Chinese album of ten paintings, ink and colour on paper, inscribed and signed Qian Du with artist’s seals, 34.5cm x 41cm. (10)
下人物圖 設色 本 立 印：任伯年、一印 不清。
開冊 9 ZHAO SHAO’ANG (1905-1998) MAGPIE AND PLUM BLOSSOM A Chinese painting, ink and colour on paper, signed Shao’ang with one artist’s seal, framed and glazed, 38cm x 32cm.
£200-300 Provenance: from an English private collection acquired in the 1970s-80s.
（1905-1998） 上 設色 本 款識： 。 來源：英國私人收藏，購於1970年代至80年代。
10 part lot illustrated
11 CHEN BANDING (1876-1970) CHRYSANTHEMUMS AND DOUBLE GOURDS A Chinese scroll painting, ink and colour on paper, inscribed and signed by Chen Banding with three artist’s seals and one illegible seal, dated the beginning of autumn of the din you year (1957), 93cm x 42cm.
£1,000-2,000 Provenance: an English private collection, presented by the Chinese Medical Association on 13th August 1957. A visit had previously been paid by the visiting medical party to the artist’s studio.
陳半 設色 本 面 一 五 年作 款識： 能 ， 賣何 。 立 ，半 人 十有二。 印：陳年之印、年 十後作、不執一法。 來源：英國私人收藏， 家本人交予中 學會，由其轉送於現藏家。
12 ZHAO SHAO’ANG (1905-1998) MAGPIES AND WISTERIA A Chinese watercolour painting, ink and colour on paper, inscribed, signed Zhao Shao’ang, with two artist’s seals, together with a book about the artist, 94cm x 43cm. (2)
£1,000-2,000 Provenance: from the collection of Professor George Ian Scott. Professor Scott (1907-1989) was a famous ophthalmic surgeon who worked at the oyal nfirmary dinburgh. e was sent to the iddle ast as a consultant ophthalmologist for the iddle ast orces. hen he became the president of the Royal College of Surgeons in Edinburgh. In 1965, Professor Scott was appointed as the Queen’s oculist in Scotland. He was also the founder of the Princess Alexandra Eye Pavilion in Edinburgh. The inscription on the right says the painting was given to Chen Jinghong as a gift for enjoyment. Chen Jinghong (1903-1993) was an important Hong Kong calligrapher, and very close friend to Zhao Shao’ang. In 1987, he was given an award by the Queen for his excellent achievements.
（1905-1998） 設色 本 款識： 先生 正， 未 作於 。 印： 無 、 。 來源：George Ian Scott 生收藏（1907-1989）。Scott 生生前是 皇家 的 手術 師，並 擔任 皇在 格 時期的 生。 陳 （1903-1993）師從 有為， 長 ，作品別具一格， 有 才 名。 遊 新加 、馬來 、日本、 國、加 大等國並舉 個人書 展。其與 強、 合 三 。1987年，他以 出的書法成就 得英國 授予的 。
13 CHEN YUANZHANG (LATE QING DYNASTY) BIRDS AND FLOWERS A Chinese album of eleven paintings, ink and colour on silk, the colophon reads Xieshan hua pin with one seal, inscribed and dated Jiaqing wu yin year (1818), signed Chen Yuanzhang with three artist’s seals, 25.5cm x 20.5cm.
題 ： 款識： 陳 印：
Label to the cover
part lot illustrated
14 CHEN YUANZHANG (LATE QING DYNASTY) BIRDS AND FLOWERS Six panels of Chinese watercolour paintings, ink and colour on silk, all signed Xie Shan with artist’s seals, together with two other circular fan paintings and one panel signed by Jiang Lian, ink and colour on paper, 34cm x 26.5cm. (9)
£300-500 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent.
陳 （ 清）等 件 設色 本 來源：Thomas Jackson（1841-1915）先生收 藏。
part lot illustrated
15 ANONYMOUS (QING DYNASTY) PORTRAIT OF MAGU
16 CHENG TINGLU (1796-1858) LANDSCAPE
A Chinese scroll painting, ink and colour on paper, 88cm x 50cm.
A Chinese scroll painting, ink and colour on paper, inscribed and dated geng yin year, signed Xubo with two artist’s seals, 132cm x 39cm.
£200-300 （1796-1858） 水 設色 本 立 款識： 共 文， 落 ， 話前 還問我，但 看明月 ， ， 臺 ，禁 三年一 相見，別來 首 。不 問 久已， 道上重一把手 屬 是 因成一 並話別 時 月，序伯 。 印：序伯、序伯書 。
17 ATTRIBUTED TO LAN YING LANDSCAPE A Chinese scroll painting, ink and colour on silk, inscribed and dated xin mao year, signed Lan Ying with two artist’s seals, and six collectors’ seals, 183cm x 91.5cm.
£1,000-2,000 Provenance: a German private collection, acquired between the 1930s and 1950s in China and East Asia, and thence by descent.
（ ） 水 設色 本 立 款識： 年清和 於 之 ， 。 印： 、 之印、 藏、 存、項 敬、 。 來源： 國私人收藏，1930年代至 1950年代購於中國及 。
18 AFTER MA YUANYU (19TH CENTURY) LANDSCAPE
19 LU XIAOMAN (1903-1965) LANDSCAPE
A Chinese scroll painting, ink and colour on paper, inscribed and signed Ma Yuanyu, with one artist’s seal and three collectors’ seals, 112cm x 39cm.
A Chinese scroll painting, ink and colour on paper, inscribed and dated the summer of the ding hai year (1947), signed Xiaoman with one artist’s seal, 123cm x 41cm.
水 水 本 立 署簽：馬 水， 藏。 款識：不做好 ，不使 。清 ， 。 品經 學術， 道 語，未見其人 見 日為立 幅。 一 之， 生 ， 。 馬 寫。 印： 藏、馬 印、見大 、 。
£500-800 （1903-1965） 款識： 。 印：
水 設色 月，
本 立 於
20 HE CHONG (1807-1883) BIRDS PAYING HOMMAGE TO THEIR KING Three Chinese paintings, ink and colour on silk, one inscribed and signed Dan Shan, all bearing an artist’s seal, 71cm x 34cm. (3)
£300-500 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent.
何 （1807-1883） 百 設色 本 三件 款識：百 ，仿新 人 於 清在 ， 印：何 之印、 。 來源：Thomas Jackson（1841-1915）先生收藏。
21 CHEN YANNING (1945-) THE SANDALWOOD FAN III A Chinese painting, oil on canvas, signed Chen Yanning, framed, with two paper labels for the Hefner Galleries, Inc. and Syllavethy Gallery, 100cm x 73cm.
£8,000-10,000 ro enance e hibited at efner alleries nc.
Purchased by Dame Anita Roddick (1942-2007) from Syllavethy Gallery for £10,500 on the th ebruary a copy of the original in oice is a ailable. old on behalf of the oddick haritable oundation.
陳 （1945-） 之三 款識：CHEN YAN NING。 來源： 在 約 展出，1991年2月20日由安 · 的價格購於 格 ， 發票 印件及 標 。
Hefner Galleries, Inc. label
22 CHEN YANNING (1945-) THE SANDALWOOD FAN II A Chinese painting, oil on canvas, signed Chen Yanning, framed, with a paper label on the back for Hefner Galleries, Inc., 101cm x 75cm.
£8,000-10,000 ro enance e hibited at the efner alleries nc. ew ork. his is one of the three paintings Anita Roddick purchased straight after the exhibition. Purchased by Dame Anita Roddick (1942-2007) for $13,000 on 7th of March 1989, a copy of the original invoice is available. old on behalf of the oddick haritable oundation.
陳 （1945-） 之二 款識：CHEN YAN NING。 來源： 在 約 展出，并在1989年3月7日由安 · （1942-2007）以$13,000 的價格購得， 發票 印件及 標 。此件拍品為安 第一次觀展後購入的陳 三幅 其中之一。
Hefner Galleries, Inc. label
XUE SONG 1965Experiences are often the source of artistic creation. When Xue Song’s studio burned to the ground, the accident inspired him to use ash and soot as a symbol of rebirth in his art. Xue uses charred and burned fragments of his previous works, newspapers and books to create collages of iconic politicians, calligraphy, Western art icons and pieces inspired by classical Chinese watercolour paintings. In Monument on Grey Background (lot 24), Xue draws from one of Xu Beihong’s famous horse paintings, reconstructing its iconic imagery using hundreds of prints of historically and politically famous figures, whilst prints of early Chinese stone rubbings are used for the background. In doing so, Xue attempts to generate a conversation with the old masters, creating a discourse between the old and the new, and building bridges between the East and the West.
一次 然的火 ，讓 從 中找到了屬於他 自己特有的藝術 及創作方法，從 中找到 了一個新的藝術世 ，也給我們帶來了意想不到 的作品。 的 書籍、報 、 、 等 文化圖像，然後重 並 成新的藝術 作品。這種新的作品 被 予了新的意義，在他 的作品上可以 受到 與現實， 與改 ， 方與 方的結合的新 ，形成了 特的 式風格。
23 XUE SONG (1965-) BIRDS AND FLOWERS A Chinese painting, mixed media on canvas, with inscriptions on the back dated 1998 and signed in Chinese, Xue Song 1998, 160cm x 140cm.
£5,000-8,000 Provenance: from an English private collection, acquired from ShanghART, Shanghai in March 2000, a copy of the gallery certificate is a ailable.
（b.1965） 合材料 款識： ，1998. 書 系列 。 來源：英國私人收藏，2000年3月購於 （ 收藏證書）。
Xue Song in his studio
24 XUE SONG (1965-) MONUMENT ON GREY BACKGROUND A Chinese painting, mixed media on canvas, signed Song 98, with inscriptions on the back dated 1998 and signed in Chinese, Xue Song 1998, 180cm x 150cm.
£5,000-8,000 Provenance: from an English private collection, acquired from ShanghART Shanghai on 10th October 1999 for $7,000, a copy of the original invoice is available.
（b.1965）底 是 的紀 合材料 款識： ，98， 底 是 的紀 ，1998。 來源：英國私人收藏，1999年10月10日以7000 金的價格購於 （ 發票 印件）。
CHINESE WORKS OF ART 中國字畫及藝術品 Lots 25-182 25 λ A CHINESE RHINOCEROS HORN ‘LOTUS’ LIBATION CUP 17TH/EARLY 18TH CENTURY Formed as a trumpet-shaped lotus leaf, the handle shaped as stems and leaves, with seed pods and a flower to the foot, 14cm, 201g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£20,000-30,000 The lotus is a popular motif on rhinoceros horn carvings, being regarded as a symbol of scholars’ virtue and purity, as the beautiful flower grows from the mud, clean and unstained.
十七/十八世紀 犀角雕一束蓮紋杯 注：只有每克超過100美金的犀角雕拍品才能申請出口證書。
See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
26 λ A LARGE CHINESE RHINOCEROS HORN ‘LOTUS’ LIBATION CUP 17TH/EARLY 18TH CENTURY Formed as a single lotus leaf growing from a number of tied stems which include prunus, millet, lotus and berries, 18cm, 287g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£20,000-30,000 十七/十八世紀 犀角雕荷葉口梅花紋杯 注：只有每克超過100美金的犀角雕拍品才能申請出口證書。
27 λ A CHINESE RHINOCEROS HORN ‘MAGNOLIA’ LIBATION CUP 17TH/EARLY 18TH CENTURY The flaring body shaped as a magnolia flowerhead, the exterior carved in relief with blossoming magnolia and flowerbuds, the twisting branches forming a short foot, together with an openwork wood stand carved with flowers and branches, 9.5cm, 68g. (2) Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£10,000-15,000 Provenance: from the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was in India between 1928 and 1949 and he was a State Magistrate in the Indian Civil Service. After retiring he returned to Edinburgh. Cf. Asian Art I, 12th November 2014, lot 155 for a similar example sold in these rooms.
十七/十八世紀 犀角雕玉蘭花杯 來源：Malcolm Moncrieff Stuart收藏，1928年至1949年Stuart曾任印度 地方法官。 注：只有每克超過100美金的犀角雕拍品才能申請出口證書。
28 λ A CHINESE RHINOCEROS HORN ‘LOTUS’ LIBATION CUP 17TH/EARLY 18TH CENTURY Formed as a large lotus leaf furling at the edges, the exterior decorated in high relief with lotus blossoms and leaves issuing from thick stalks which naturalistically curve to form the handle, with a single fish carved amongst the flowers, both the interior and exterior detailed with the finely rendered veins of the large leaf, 14cm, 156g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£5,000-10,000 Cf. Ming and Qing Chinese Arts from the C P Lin Collection, p.285, no.169 for a similar late Ming dynasty rhinoceros horn cup carved as a lotus leaf; see also T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.134, no.85 for another related 17th century piece and p.142, no.93 for a comparable 17th century lotus leaf-shaped cup with fish.
十七/十八世紀 犀角雕荷葉杯 注：只有每克超過100美金的犀角雕拍品才能申請出口證書。
29 λ A LARGE CHINESE RHINOCEROS HORN ‘MAGNOLIA’ LIBATION CUP 17TH/EARLY 18TH CENTURY Formed as a large single flowerhead with an elongated central stigma, the exterior carved with flowers and buds, raised on a tangle of branches, 18cm, 359g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.
£10,000-15,000 十七/十八世紀 犀角雕玉蘭花杯 注：只有每克超過100美金的犀角雕拍品才能申請出口證書。
30 λ A CHINESE CARVED IVORY FIGURE OF GUANYIN MING DYNASTY The goddess stands holding a baby in her arms, she wears flowing robes and an elaborate headdress, together with a wood stand, 29cm excluding stand. (2)
£2,000-3,000 Provenance: purchased from Spink & Son Ltd on 31st October 1933 for £100. A copy of the invoice is available. Cf. Chinese Ivories from the Shang to the Qing: An exhibition organised by the Oriental Ceramic Society jointly with the British Museum, p.40 fig.4, pp.54-5 no.20, and p.58 no.26 for comparable Ming dynasty figures of Guanyin holding a child; see also R Kerr, P Allen and C Shih, Chinese Ivory Carvings: The Sir Victor Sassoon Collection, pp.214-5 fig.117/740 for another related piece.
明 象牙雕送子觀音 來源：1933年10月31日以£100的價格購於Spink & Son Ltd （附發票複印件）。
Spink & Son invoice, 31st October 1933, £100
31 A CHINESE THREE-COLOUR CINNABAR LACQUER CIRCULAR BOX AND COVER QING DYNASTY The cover decorated in relief with two attendants holding a large peach, they stand upon a lotus throne which emanates from coins and fruit contained in a treasure bowl, the sides carved with flowerheads and scrolling foliage, all reserved on a finely incised geometric ground, 13.6cm. (2)
£400-600 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent.
清 剔彩雕聚寶盆蓋盒 來源：Sir Thomas Jackson（1841-1915） 收藏。
32 A CHINESE CARVED WOOD WALL VASE QING DYNASTY OR LATER With a central rectangular panel of gilt calligraphy, all surrounded by a dense tangle of roots, raised on a small black wood stand, 44cm.
£2,000-3,000 清或更晚 木雕題識壁瓶
33 A RARE CHINESE CINNABAR LACQUER BITONG 18TH CENTURY The cylindrical body carved in relief over a metal base with ladies and children in gardens, with leafy trees, ornamental rockwork and flowers around them, all set against an elaborate cell diaper ground, 17.2cm.
£10,000-15,000 ro enance purchased from erard e y f. hristie s ong ong brushpot.
aris c. lot
. for a related
十 世紀 圖 來源：2007年購於 Gerard Levy。
34 A RARE CHINESE IMPERIAL INSCRIBED TWO-COLOUR LACQUER TEA BOWL SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The deep bowl flaring at the rim, carved to the exterior in cinnabar lacquer with the poem Sanqing Cha (‘Three Purity Tea’) composed by the Qianlong Emperor, the verse dated to the bingyin year corresponding to 1746 and followed by the seal marks Qian and Long, with bands of ruyi-heads encircling the rim and foot, all reserved on a black lacquer leiwen ground, the interior in black lacquer, 11.1cm.
£50,000-70,000 The Qianlong Emperor is believed to have written the poem Sanqing Cha in the bingyin year on his birthday whilst drinking tea on a cold day. During a visit to the sacred mountain Wutai Shan, the Qianlong Emperor drank tea brewed in snow water, which is believed to give the tea a unique flavour and purity. The poem describes this tea, which was made with prunus blossoms, finger citron and pine nut kernels. A translation of this poem by C F Shangraw is published in Chinese Lacquers in the Asian Art Museum of San Francisco, Orientations, April 1986, p.41. Provenance: purchased from Gerard Levy, Paris, c.2007, and by repute formerly the collection of Ernest Grandidier (1833-1912). Cf. The Victoria and Albert Museum, London, museum no.FE.63-1974 for another bowl of this type; see also Zhongguo qiqi quanji (‘Complete series on Chinese lacquer’), vol.6, pl.211 for a pair of related bowls in the Tianjin Municipal Art Museum. See also Christie’s Hong Kong, 2nd December 2015, lot 3163, Sotheby’s Hong Kong, 9th October 2007, lot 1644, Sotheby’s Hong Kong, 3rd April 2018, lot 3441, and Bonhams San Francisco, 21st June 2011, lot 8237 for further examples. This design is also found on blue and white and iron-red porcelain. See S Marchant & Son, Exhibition of Qing Mark and Period Blue and White, 1984, no.26 for a bowl inscribed with Sanqing Cha in underglaze blue.
清乾隆 剔紅御題詩碗 款識：梅花色不妖，佛手香且潔。松實味芳腴，三品殊清絕。煮以折腳鐺，沃之承筐雪。 火候辨魚蟹，鼎煙叠聲滅。越甌潑仙乳，氈盧適禪悅。五蘊凈大半，可悟不可說。馥馥兜 羅遞，活活雲漿澈。據佺遺可餐，林逋賞時別。懶舉趙州案，頗笑玉川譎。寒宵聽行漏， 古月看懸玦。飲飽趁幾余，敲吟與無竭。乾隆丙寅小春禦題。 此诗为乾隆皇帝于乾隆十一年（1746）秋巡五台山，回程至定兴遇雪，于毡帐中以雪水烹 煮三清茶时所作。 來源：2007年購於巴黎Gerard Levy，Ernest Grandidier（1833-1912傳）。
35 A CHINESE CORAL ‘LION DOGS’ GROUP LATE QING DYNASTY The large mythical beast depicted seated on its haunches with bulging eyes and its mouth agape, playing with its cub, with a third cub clambering on the large animal’s back, all carved with flowing hair trailing from their manes down their bony spines to their long tails, 10cm.
£800-1,200 Provenance: from a private European collection.
清 件 來源：歐洲私人收藏。 36 A LARGE CHINESE CORAL ‘BOYS’ GROUP LATE QING DYNASTY/REPUBLIC PERIOD
Carved with three playful children by a leafy fruiting grape vine, one boy sits on his kneeling friend’s shoulders carrying a net, the third child depicted climbing on a tree branch, the borders of their robes finely incised with floral and geometric patterns, all attached to a wood stand, 18.5cm wide.
£2,000-3,000 Provenance: from a private European collection.
清/ 國 多 多 來源：歐洲私人收藏。
37 EIGHT SMALL CHINESE CORAL FIGURES LATE QING DYNASTY The figures carved as Damo, Shoulao, the Immortals Cao Guo iu, Lan Caihe, hang Guolao and Li Tieguai, and two apanese beauties, each attached to a wood stand, 6.5cm max. (8)
£500-800 Provenance: from a private European collection.
清 人 件一 來源：歐洲私人收藏。
38 A CHINESE GILT-LACQUERED WOOD RECTANGULAR PANEL DEPICTING SERICULTURE 1ST HALF 18TH CENTURY Richly decorated in gold and red lacquer with women engaged in silk production in a farmhouse by a river, their faces and hands picked out in silver lacquer, the rocky landscape with pine, bamboo, chrysanthemum, willow and other trees, all against a black ground and contained within a repeating foliate border, 51cm x 77cm.
39 A CHINESE WOOD FIGURE OF GUANYIN 17TH/18TH CENTURY She sits in a relaxed pose with her right hand resting on her raised knee, wearing flowing robes incised with ruyi-head shaped clouds and lotus decoration at the borders, her hair divided into two knotted tresses and piled high in a chignon, all raised on a fitted wood base, 21cm. (2) Provenance: sold on behalf of the executors of Ruth Evelyn Forrest.
十 /十 世紀 遊 觀 像 來源：Ruth Evelyn Forrest遺產。 40 A CHINESE SOAPSTONE FIGURE OF A LUOHAN 17TH/18TH CENTURY Seated clasping a fly whisk in both hands, with a content expression on his face and the details of his shaven head finely picked out, his loose robe incised with sprays of lotus and etched at the hem with lingzhi-shaped clouds on a stylised wave ground, the design with traces of gilt and pigment, all raised upon a lotus-decorated base carved as a quatrefoil cushion, 11.5cm.
£6,000-8,000 f. otheby s ew ork th arch lot for a related soapstone carving of a luohan and a lion cub; see also Bonhams Hong Kong, 4th December 2008, lot 240 for a soapstone luohan with a similar base.
41 A CHINESE FURONG SOAPSTONE FIGURE OF GUANYIN AND A LION DOG PROBABLY LATE QING DYNASTY The goddess sits with a serene expression wearing flowing robes on the back of the crouching beast, which raises its head and bares its teeth, the details finely incised and gilded, the reverse signed Yuxuan (Yang), the creamy white stone with pinkish inclusions, the separate oval base carved with rocks, with an inscription that reads di zi Yuxuan xi zhu Wu Yi shan Tao Yuan dong gong feng, Kangxi ding hai jiu yue ji dan, 14.5cm high, 16.5cm wide overall. (2)
£8,000-12,000 ro enance from an nglish pri ate collection purchased in the
清（可能） 款白 觀 款識： 。 助 源 供 來源：英國私人收藏，購於1970年代。
42 A CHINESE DARK BLUE-GROUND EMBROIDERED SILK SURCOAT LATE QING DYNASTY Decorated with eight large and six small roundels of fruiting bottle gourd vines embellished with butterflies, all above a wide wave border, 140cm across, 186cm long.
£2,000-3,000 Provenance: acquired in China in the 1930s by the current owner’s great-grandmother.
晚清 石青色繡瓜瓞綿綿褂 來源：現藏家祖母1930年代購於中國。
43 A RARE CHINESE RED SILK FLOSS OFFICIAL’S SUMMER HAT AND PAINTED TIN HAT BOX 18TH CENTURY The exterior densely covered with red silk floss, the conical frame rising to an ovoid silver hat finial mounted on a gilt-silver openwork mount decorated with six phoenix in flight amidst swirling clouds, the edge beneath the brim with silver-wrapped ribbon, with a deep pink silk lining to the interior, the hat box with a hinged cover and clasp to one side, painted in gilt with beribboned precious ob ects and foliate sprays against a black ground, with a red interior, all surmounted by a reticulated gilt-metal flowerhead centred by a lobed finial, 31cm. (2)
£15,000-25,000 Provenance: formerly the collection of Linda Wrigglesworth, acquired in London in 1980; and then a private collection, London, purchased from hristie s ew ork th arch he mperial ardrobe ine hinese ostume and e tiles from the inda rigglesworth ollection lot
Illustrated: G Dickinson and L Wrigglesworth, Imperial Wardrobe, p.108, pl.90. This type of hat is a less formal summer hat which would have been worn at semi-formal events with a ifu by a ninth rank official indicated by the sil er hat finial.
十 世紀 品 服 及 。 來源：Linda Wrigglesworth 藏，1980年購於 私人收藏，購於 士得 約2008年3月19日 編號127，Linda Wrigglesworth皇家
44 A LARGE CHINESE EMBROIDERED SILK ‘BAXIAN’ PANEL 18TH/19TH CENTURY Decorated with the Eight Immortals celebrating the birthday of the Queen Mother of the West, the goddess sits on a raised dais before two attendants while her guests present her with gifts, all set on a tangerine ground decorated with pine, peach, finger citron and other plants, flowers and funghi, 120cm x 295cm.
£2,000-3,000 Provenance: formerly a private collection, New Orleans.
十 /十 世紀 色 來源：New Orleans私人收藏。
45 A CHINESE EMBROIDERED SILK UNCUT ‘NINE DRAGON’ ROBE FOR A DUKE, JIFU LATE QING DYNASTY Decorated in coloured and gilt thread with nine gold dragons and bats in flight amidst shou medallions and stylised clouds, all against a wine-coloured ground, 300cm x 145cm.
£3,000-5,000 Cf. Heavenly Splendour: The Edrina Collection of Ming and Qing Imperial Costumes, pp.126-9, no.25 for a related uncut robe.
46 A CHINESE WHITE JADE ‘BAT AND GOURDS’ PENDANT QING DYNASTY Worked in high relief with a bat perched amongst many gourds in leafy vines, the reverse with russet markings and carved with a single gourd surrounded by large polished leaves, suspended from a blue cord with a bead and seed pearls, 5.2cm.
£800-1,200 清 白
47 A CHINESE AGATE ‘LION DOG’ PENDANT QING DYNASTY
Carved in openwork with two squabbling lion dogs playing with a brocade ball, 5.5cm.
48 A CHINESE CARNELIAN AGATE CEREMONIAL COURT NECKLACE, CHAOZHU QING DYNASTY With four sections of twenty-seven beads divided by large adeite fodou and a gourd-shaped adeite fodouda, suspended at the upper sections with three zhinian of smaller adeite beads, 110cm.
£3,000-5,000 Provenance: from a private collection, London, purchased from Sotheby’s London, 18th December 1996, lot 823.
49 A RARE CHINESE BRONZE INCENSE BURNER TWELVE CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The compressed circular body with two loop handles, a mark to the base which reads da Qing Kangxi nian zhi yan tai shi shi jing zao, 17.5cm, 4.75kg.
£2,000-3,000 清康熙 銅蚰耳爐 《大清康熙年製燕台施氏精造》
50 A CHINESE BRONZE TRIPOD INCENSE BURNER PROBABLY 19TH CENTURY The compressed circular body inscribed to the rim Da Ming Xuande nian zhi, the base cast with a dragon, the three feet each cast with a single character Qian, Qing, Gong (the Palace of Heavenly Purity), 14.5cm, 905g.
£4,000-6,000 Cf. Christie’s London, 15th May 2012, lot 274 and Christie’s Hong Kong, 29th May 2013, lot 2209 for related examples.
十九世紀（可能） 銅鎏金三足爐 《大明宣德年製》、《乾清宮》
51 A LARGE CHINESE POLYCHROME WOOD FIGURE OF WEITUO 17TH CENTURY
52 A CHINESE PAINTED STUCCO FIGURE OF SHANCAI TONGZI SONG DYNASTY
The guardian depicted seated upon a semi-circular base clad in armour, his breastplate decorated with a taotie mask, with his right hand raised in karana mudra and his left hand resting on his lap, his detachable helmet decorated with a large plume of feathers and two dragons contesting a flaming jewel between a pair of phoenix, the surface with traces of gilt, black and red pigment, 100.5cm. (2)
The boy depicted standing with his hands pressed together before him, wearing clothes painted with green, blue and red pigment, his body jewellery with traces of gilt, with flowing ribbons cascading by his sides, his hair tied in two buns, all raised on a wood base, 56.5cm.
£7,000-9,000 Weituo, known in Sanskrit as Skanda, is a bodhisattva and guardian of monasteries who protects Buddhist teachings. He is the leader of the heavenly generals and is positioned in Buddhist temples as the ‘Entry Guardian’.
£4,000-6,000 Shancai Tongzi, also known as Sudhana, is often depicted accompanying Guanyin along with the goddess’s other attendant Longnü. Together the acolytes are referred to as Jintong Yunü, or the Golden Boy and the Jade Maiden.
53 A MASSIVE TIBETAN GILT-BRONZE FIGURE OF NINETEEN-FACED AVALOKITESHVARA 19TH/20TH CENTURY The thousand-eyed and thousand-armed bodhisattva stands with one knee bent upon a lotus base, with one hand in abhaya mudra and the other held forwards, each of the tiered heads adorned with an elaborate crown, wearing beaded body jewellery and a dhoti decorated with roundels and scrolling floral borders, with small figures kneeling in prayer and many animals and beasts upon the pedestal, 194cm, estimated weight 300-400kg. (7)
£20,000-30,000 Provenance: formerly the collection of P S McKay, who was believed to have been a diplomat; and then sold at Fidler Taylor, Derbyshire on 13th September 2003.
十九/二十世紀 銅鎏金十九面千手 千眼觀音立像 來源：P S McKay舊藏， Fidler Taylor 2003年9月13日。
54 A CHINESE GILT-BRONZE FIGURE OF SHANGQING QING DYNASTY Depicted seated with crossed legs wearing loose flowing robes, with a ruyi-sceptre resting in his hands, his face cast with a serene expression and centred by a jewel, his hair fastened in a bun secured by a ruyi-decorated hairpiece, with a three-legged frame decorated with mythical beast masks at his waist, 33cm, 4kg.
£8,000-12,000 Shangqing, also called Lingbao Tianzun, is one of the Sanqing along with Yuqing and Taiqing. The Sanqing, or the ‘Three Purities’, are the Daoist Trinity and are regarded as the most important deities in the Daoist pantheon.
55 A CHINESE GILT-LACQUERED BRONZE FIGURE OF AMITABHA BUDDHA LATE MING DYNASTY Cast seated in dhyanasana upon a beaded double lotus base, with his hands resting upon his lap in dhyana mudra, wearing a dhoti, body jewellery and an elaborate crown centred by a small seated Buddha, his shoulders flanked by a perching bird and vessel set upon tall blossoming lotus stems, 23.1cm, 1.5kg.
£1,000-2,000 晚明 銅加彩無量壽佛坐像
56 A TIBETO-CHINESE GILT-BRONZE SCULPTURE OF KURUKULLA 18TH CENTURY
57 A TIBETAN GILT-COPPER SCULPTURE OF A LUNGTA 18TH/19TH CENTURY
Depicting the goddess with one face and four arms, adorned with five skulls to her crown and a garland of heads, she wears a tiger skin around her waist and tramples a prostrate figure that symbolises false perceptions, which prevent people from reaching a state of enlightenment, all raised on a finely cast lotus throne, 16.5cm, 887g. (2)
Depicting a ‘Wind orse’, carrying a flaming cintamani, the wish fulfilling ewel, on his back, all within a gilt-copper aureole and upon a leafy lotus throne, 12.5cm, 138g.
£5,000-8,000 Kurukulla is the patron of magic and healing. She is believed to be able to charm and bewitch people in order to gain power over them. She is venerated in Tibet as the goddess of love and is depicted as a beautiful sixteen year old girl. Tibetans consider her to be the Red Tara, Doma Marpo, and in their prayers ask the goddess to conquer evil spirits, demons and adverse forces.
£2,000-3,000 This sculpture was probably made as an offering for a Buddhist altar. Tibetans believe that the lungta is a powerful symbol which brings good luck and prosperity. Lungta also symbolise human vitality.
58 A TIBETAN BRONZE SCULPTURE OF PADMAPANI 17TH/18TH CENTURY Standing on a semi-circular lotus throne in tribhanga asana, the bodhisattva of compassion wearing a diaphanous dhoti and adorned with ewellery, his left hand exhibits vitarka mudra and holds the stem of a lotus flower which blossoms at his shoulder, his right hand lowered in varada mudra, 12.4cm, 296g.
59 A CHINESE HARDWOOD MODEL OF A SARIRA SHRINE QING DYNASTY The elaborate square-section base carved in relief with stylised floral sprays and Buddhist lions, the upper section with a tiered structure, each of the four sides with a steep balustraded staircase, the domed stupa decorated with mythical beast masks disgorging strings of beads beneath a band of lappets, with gilt to the interior, all surmounted by a tall tapering tower, 55.5cm high. (3)
60 A CHINESE GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI 18TH CENTURY
61 A TIBETAN GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI 14TH CENTURY
Seated in dhyanasana wearing flowing robes incised with foliate and geometric designs at the borders, holding the alms bowl in his left hand and with his right hand in bhumisparsha mudra, with cold painting to his lips and the irises of his downcast eyes, all raised on a double lotus base incised to the reverse with swirls, the baseplate with a visvavajra mark and two paper labels for Artemisia, 34cm, 3.6kg.
Seated in dhyanasana upon a beaded double lotus base, he holds his left hand in dhyana mudra whilst extending his right hand towards the ground in bhumisparsha mudra, with a loose robe draped around his shoulders and torso, the borders incised with floral decoration, his serene face framed by his pierced elongated earlobes, with traces of cold painting to his hair, the base engraved with a visvavajra mark, 14cm, 589g.
Provenance: purchased from Artemisia, Alresford on 24th January 2006. A copy of the invoice is available.
The iconography depicted presents the historical Buddha in the earth-witness gesture. This refers to when Shakyamuni triumphed over the demon Mara, who was attempting to divert him from his objective of becoming enlightened through meditation. When Mara challenged Shakyamuni’s right to enlightenment, Shakyamuni moved his hand from his lap to touch the ground with his middle finger calling the earth to witness his entitlement to spiritual enlightenment. Shakyamuni’s unshakable resol e forced ara and his army of demons to ee moments later, Shakyamuni attained enlightenment.
十 世紀 金釋 像 來源：2006年1月24日購於Artemisia，Alresford（
62 A LARGE CHINESE INSCRIBED SILVER ‘FIVE DRAGON’ BOWL DATED 1908 The deep U-shaped body decorated in openwork and repoussé with five sinuous dragons in pursuit of flaming pearls, their scales and manes finely rendered, the largest jewel with an inscription reading ‘1908. Dr & Mrs J A Thomson from Liu-Tsz-Tsin Hankow’, the beasts surrounded by stylised wisps of swirling clouds, all supported on a flared foot, the base impressed with punch marks reading ‘Luen-Wo’, ‘Shanghai’ and Guang Xin, together with a reticulated hardwood stand and a blue polymer liner, 35.3cm, 1.9kg. (3)
£4,000-6,000 Provenance: from the collection of Joseph Alexander Thomson (d.c.1950) who worked in Hangzhou, previously known as Hankow, and thence by descent. Luen-Wo was regarded as one of the best and most successful retail silversmiths in Shanghai. 1908年 銀製五龍大碗及底座
來源：Joseph Alexander Thomson（逝於1950年代）收藏，Joseph曾在杭州工作。
63 A CHINESE IMPERIAL CLOISONNE JARDINIERE QIANLONG 1736-95 The moulded flaring sides with a wide flat rim, richly gilded and decorated with panels of stylised lotus and angular scrolls, the rim with flowers and foliage, 20.5cm.
£6,000-8,000 清乾隆 銅胎掐絲琺瑯折枝蓮花紋花盆
64 A CHINESE EMBOSSED SILVER LOBED BOWL 19TH CENTURY The deep bowl shaped as a flower with eight petals, one side decorated in relief with a writhing dragon, the other lobes with birds and butterflies amongst various blossoming and fruiting branches, with calligraphy incised amidst the design, all contained within bands of key fret, the base with punch marks reading ‘WS’, ‘90’ and Hua Xin, all raised on a flaring foot, 15.5cm, 1.2kg.
£1,500-2,500 Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent.
十九世紀 銀製花卉龍紋碗 來源：Reverend Victor Farmer (1898-1977)收藏。
65 A LARGE CHINESE CLOISONNE TIANQIUPING 19TH CENTURY The globular body rising to a tall neck, decorated with a continuous design of butterflies, insects and birds amongst peony, prunus and various other flowers, all against a turquoise-blue geometric fretwork ground, with a band of ruyi-heads to the rim, 56cm.
£2,000-3,000 十九世紀 銅胎掐絲琺瑯天球瓶
66 66 A CHINESE CLOISONNE ‘BUDDHIST LION’ BOWL MID 16TH CENTURY The exterior decorated with lotus flowerheads, the interior with a roundel enclosing fish encircled by four lion dogs, 22.5cm.
£3,000-5,000 Cf. R D Hickman and C Brown, Chinese Cloisonne, the Clague Collection, Phoenix Art Museum, pl.8 for a comparable bowl.
67 A SET OF FOUR CHINESE REVERSE GLASS PAINTINGS 18TH CENTURY Each depicting two figures relaxing in a tranquil garden by a river, they play musical instruments, smoke opium and pick flowers, with birds, rockwork and blossoming trees around them, their elegant garments finely detailed with gilt decoration, with boats and dwellings on the riverbank in the distance, each picture contained within a frame, 30cm x 45cm. (4)
£3,000-5,000 Provenance: from an English private collection, Kent. Cf. D S Howard, A Tale of Three Cities: Canton, Shanghai & Hong Kong, Three Centuries of Sino-British Trade in the Decorative Arts, p.151, no.194 for a related re erse glass painting of a figure holding a hawk in a similar river landscape.
十 世紀 人物 事 一 來源：英國 特私人收藏。
68 A PAIR OF CHINESE COLD PAINTED POTTERY NODDING HEAD FIGURES 19TH CENTURY Modelled as a Mandarin and his companion wearing formal court robes, the male figure with his hair in a long plait, each raised on a floral-decorated square wooden base, 33.5cm. (4)
£3,000-5,000 Cf. Christie’s New York, 26th January 2015, lot 193 for a related pair of figures.
十九世紀 泥塑加彩朝官夫婦立像 一對
69 λ TWO RARE CHINESE NODDING HEAD FIGURES OF MANCHU OFFICIALS 18TH/EARLY 19TH CENTURY Their heads and hands carved in ivory, their robes and hats of woven silk, one with a rank badge enclosing a golden pheasant for a second rank civil official, each stands with his hands held slightly before him, their eyes, mouths, moustaches and beards detailed in black, each with his long hair in a plaited queue, the figures stand on later gilt and black lacquer rectangular plinths, 58cm. (2)
£7,000-9,000 Cf. W R Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, pp.192-195, no.93 for a similar pair of seated Manchu nobles with ivory heads and hands in The Peabody Essex Museum of Salem, Massachusetts; see also Christie’s London, 23rd November 2006, lot 94 for a related plaster nodding head figure of a lady wearing embroidered silk robes. Such figures may have developed from the tradition of three-dimensional ancestral figures which originated in Hunan and Fujian, probably as an extension of ancestor paintings. Ancestral figures were first produced before the 1st century AD, and the tradition continued in Fujian into the Qing dynasty. However, as with the pair in The Peabody Essex Museum, the stylisation of these figures suggests that they are more likely to have been created for the export market rather than as functional ancestral images, and so they are probably more related to the many unfired clay nodding head figures exported to the West in the 18th and 19th centuries.
十八/十九世紀 象牙雕官人立像 一組兩件
FROM THE COLLECTION OF SIR THOMAS JACKSON, 1ST BARONET (1841-1915) Lots 70-74 Sir Thomas ackson was the third Chief Manager of the ongkong and Shanghai Banking Corporation and his influence on the company was so notable that he became known as the bank’s ‘Great Architect’. e was also one of the founding members of the ong Kong ockey Club. Born in County Leitrim, Ireland, ackson oined the Belfast branch of the Bank of Ireland at age nineteen before accepting a position in East Asia with Agra and Masterman’s Bank five years later. In 1866, he oined SBC, which had only been established the previous year. ackson was quickly promoted to the position of an accountant in Shanghai, and he later spent several years working in apan as the manager of the bank’s Yokohama office. At the early age of 35, he was appointed as Chief Manager of SBC and, under his direction, the company became the leading bank in Asia. After a successful career in ong Kong, ackson returned to the UK in 1891, taking charge of the company’s office in London. e was knighted in 1899 and three years later he retired and received the additional title of Baronet. In 1906, a statue of Sir Thomas ackson was unveiled in recognition of his services both to SBC and ong Kong. is statue still stands in Statue Square in front of the bank’s ong Kong headquarters. ackson Road in ong Kong was also named after him. is collection comes from Gilford Castle in County Down, Northern Ireland, which was purchased by ames Wright, husband of Sir Thomas ackson’s niece Mary Menary, and has remained in the family’s ownership ever since.
70 A MASSIVE CHINESE HARDWOOD AND PORCELAIN INSET TWELVE-FOLD SCREEN LATE QING DYNASTY Ten of the wood panels inset with polychrome, famille verte and blue and white porcelain plaques depicting ob ects from the undred Antiques, figural scenes and landscapes, the panels bordered by various fruits and flowers in mother of pearl, all reserved on an openwork geometric ground with fylfots, the lower sections of the wood panels carved in relief with scenes of figures amidst trees and pavilions, the two outer panels decorated with dragons and further figures, with bats encircling character medallions to the reverse, 280cm x 600cm.
£20,000-30,000 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent.
清 十二 來源：Sir Thomas Jackson（1841-1915）收藏。
The screen in situ at Gilford Castle, Northern Ireland
71 A LARGE CHINESE HARDWOOD SCROLL TABLE C.1900 The frieze decorated in low relief with shou characters, melons, and various flowers including lotus, the spandrels carved in openwork with archaistic dragons, with four square-section legs terminating in ruyi-heads, 102cm x 254.5cm x 52.5cm.
£3,000-5,000 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent. 1900年代 硬木雕条案
來源：Sir Thomas Jackson（1841-1915）收藏。
72 A CHINESE HARDWOOD SCROLL TABLE C.1900 The frieze carved in openwork with archaistic scrolls, 52cm x 182cm x 26.5cm.
£1,000-2,000 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent. 1900年代 硬木雕条案
來源：Sir Thomas Jackson（1841-1915）收藏。
73 A LARGE CHINESE DREAMSTONE INSET HARDWOOD ARMCHAIR C.1900 The seat of ruyi outline, the backrest inset with a circular dreamstone panel, carved in openwork with bats clambering amidst fruit and flowers, with shou medallions dispersed throughout the design, with two smaller dreamstone panels set beneath the arms, the legs oined by stretchers shaped as two interlocking coins, 104cm x 87cm x 55cm.
£1,500-2,500 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent. 1900年代
來源：Sir Thomas ackson（1841-1915）收藏。
74 A CHINESE FAMILLE ROSE TABLE SCREEN 19TH CENTURY Painted with a scene from Dream of the Red Chamber, depicting ia Baoyu accompanied by ladies dressed in bright robes in a lavish interior, mounted in a wood frame carved in openwork with scrolls, together with a wood stand of the same design, 73cm x 51cm overall. (2)
£1,000-2,000 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent.
十 世紀 事 插 來源：Sir Thomas ackson（1841-1915）收藏。
75 A PAIR OF LARGE CHINESE HEXAGONAL LACQUERED WOOD STANDS 19TH CENTURY Each finely embellished with polychrome and gilt decoration against a black ground, the hexagonal tops with mountainous watery landscape scenes surrounded by cartouches enclosing lotus sprays against a diaper ground, the shoulder, tall legs and base decorated all over with flowerheads amidst scrolling foliage, 97.5cm. (2)
£2,800-3,200 十九世紀 黑漆描金山六棱花几 76 A CHINESE IMPERIAL DARK HARDWOOD SIDE TABLE 19TH CENTURY Probably zitan, the frieze carved in relief with Chinese rococo-style floral and foliate designs, with two drawers, two of the legs with convex roundels and ruyi-head shaped feet, all surmounted by a later rectangular top, 81cm x 148cm x 70.5cm.
£5,000-10,000 Cf. The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), p.34, no.26, for a throne with related carving and identical feet; see also Asian Art I, 21st May 2014, lot 33 for a very similar zitan table base sold in these rooms.
77 A TIBETAN TIGER RUG LATE QING DYNASTY Decorated with repeating black markings on an orange ground, the end borders with stylised rock designs, 145cm x 85cm.
£4,000-5,000 Illustrated: M Lipton, The Tiger Rugs of Tibet, p.117, no.98.
78 A PAIR OF CHINESE GOLD GEM-SET EARRINGS AND A GOLD BUTTON MING DYNASTY
80 A CHINESE GOLD FILIGREE GEM-SET HAIR ORNAMENT LATE MING DYNASTY
82A A CHINESE GILT-METAL OPENWORK BELT BUCKLE PROBABLY LATE MING DYNASTY
The earrings formed as double flowerheads with coloured stones mounted in gold foil and filigree, the circular clasp formed in two sections, 6.5cm max. (4)
Set with rubies and formed as a basket issuing flowers, foliage and a bottle gourd, 7cm.
Cast as two standing figures with a lotus bloom between them, set with a later pin for attachment, 5cm.
£3,000-5,000 Provenance: from a Belgian private collection.
£8,000-12,000 Cf. Hubei Provincial Museum, The Tomb of Prince Liangzhuang: Treasure of the Era of Zheng He for a similar gold button; see also S Kwan and J Sun, Chinese Gold Ornaments, p.502, no.343 for a hair ornament with a design related to the earrings.
明 金 飾 來源：比利時私人收藏。
The elongated curved panels decorated with bats, butterflies, crustacea, molluscs and fish, 3.3cm, 23g. (2)
79 A CHINESE GOLD FILIGREE GEM-SET HAIR ORNAMENT LATE MING DYNASTY Formed as two prunus flowers issuing from filigree leaves, 8cm.
£3,000-5,000 Provenance: from a Belgian private collection.
明 金 百 飾 來源：比利時私人收藏。
81 A PAIR OF CHINESE GOLD EARRINGS QING DYNASTY
£1,000-2,000 Provenance: from a Belgian private collection. Cf. S Kwan and J Sun, Chinese Gold Ornaments, pp.548-9, no.385 for related earrings.
清 金雙 一對 來源：比利時私人收藏。 82 A PAIR OF CHINESE GOLD BRACELETS LIAO DYNASTY
£3,000-5,000 Provenance: from a Belgian private collection, acquired from C Ghysels, Brussels, in 2005.
明（可能） 金金 來源：比利時私人收藏。2005年購於 爾C Ghysels。 83 A CHINESE GILT-METAL AND SEMI-PRECIOUS STONE MODEL OF A SCARAB BEETLE PROBABLY LATE MING DYNASTY The body set with a large red stone, the details in gold filigree, later mounted as a brooch, 2cm.
£1,500-2,500 Provenance: from a Belgian private collection.
明 金 百 來源：比利時私人收藏。
Embossed with peony flowers and leaves, the terminals as dragon heads, 7cm, 48g. (2)
£2,000-3,000 Provenance: from a Belgian private collection.
金 手 一對 來源：比利時私人收藏。
84 FOUR CHINESE PALE CELADON JADE SNUFF BOTTLES QING DYNASTY Three with flattened rectangular bodies, one of flattened ovoid form, each worked with one flat side and raised on an oval foot, the stone of each with areas of brown skin, 6.5cm max. (4)
£500-1,000 Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
一 件 私人收藏，購於1995年。
85 FIVE CHINESE WHITE AND CELADON JADE SNUFF BOTTLES QING DYNASTY One of flattened rectangular form, the others pebble ade, one white and carved in low relief with two chilong, another oval-shaped, one with a bat in flight by bamboo, the smallest decorated with mythical beasts with one picked out in a russet area of the stone, 7cm max. (5)
£500-1,000 Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
一 五件 私人收藏，購於1995年。
86 FOUR CHINESE PALE CELADON JADE PEBBLE SNUFF BOTTLES QING DYNASTY Each well-polished and naturalistically formed keeping the irregular shape of the pebble, the palest snuff bottle carved in low relief with leaves, the stone of each with russet markings, 6.5cm max. (4)
£500-1,000 Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
一 件 私人收藏，購於1995年。
87 TWO CHINESE PALE CELADON JADE FILIGREE-MOUNTED SNUFF BOTTLES QING DYNASTY One of flattened rectangular form, embellished with geometric patterns in filigree and two inset coral beads, the other pear-shaped, with turquoise and coral cabochons dispersed throughout the scrolling filigree decoration, 5.6cm and 5.5cm. (2)
£500-1,000 Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
一 兩件 私人收藏，購於1995年。
88 THREE CHINESE WHITE AND CELADON JADE OPENWORK PENDANTS QING DYNASTY The smallest worked in white ade with a sinuous chilong, another also white and carved with flowers and lingzhi amongst leaves, the largest pendant a pale celadon colour and formed as a dragonfly with a flowerbud, two suspended from cords, 6.5cm max. (3)
£600-1,000 Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
一 三件 私人收藏，購於1995年。
89 THREE CHINESE CELADON JADE SNUFF BOTTLES QING DYNASTY One of flattened oval form, carved in shallow relief with elephants above rolling waves, the stone pale celadon and with minor white inclusions, another bottle celadon and russet ade and formed as a crouching rabbit, the smallest shaped as two melons with vines around the fruit, the stone a pale celadon colour with minor white mottling, 7.8cm max. (3)
£500-1,000 Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
一 三件 私人收藏，購於1995年。
90 A CHINESE WHITE JADE OVAL PENDANT QING DYNASTY Carved in shallow relief with mythical creatures and lingzhi, one end with a small circular hole for suspension, the reverse incised with a poem reading qiu feng zhuan jian yi kong tong, 4.5cm.
Provenance: from a private collection, London, acquired prior to 1995.
清 白 來源：
91 TWO CHINESE PALE CELADON JADE PENDANTS QING DYNASTY One carved in openwork with a peach, pomegranate and finger citron growing amongst curling leaves, all contained within a moveable solid outer border, the other formed as a bi and decorated with two stylised dragons, 7.9cm and 7cm. (2)
£400-600 Provenance: from a private collection, London, acquired prior to 1995. he peach pomegranate and finger citron together form the auspicious san duo or the ‘Three Abundances’, invoking the wish for good fortune, longevity, and an abundance of descendants.
清 白 來源：
及三多 一 兩件 私人收藏，購於1995年。
92 TWO CHINESE PALE CELADON JADE SEALS MING DYNASTY Each carved with a mythical beast stood upon a simple square-section base, one with a four character mark to the base which reads liu zai chun qiu, the other uncut, together with wood stands, 4.1cm and 4.3cm. (4)
£400-600 Provenance: from a private collection, London, acquired prior to 1995.
期（可能） 白 印 一 兩件 印文：六 。 來源： 私人收藏， 購於1995年。
93 A CHINESE YELLOW JADE VASE AND COVER QING DYNASTY
94 A CHINESE CELADON JADE SQUARE-SECTION VASE, FANGGU QING DYNASTY
The flattened baluster-shaped body with C-scroll handles to the neck, the cover with an oval flattened knop, the stone with russet inclusions, 14.5cm. (2)
The central protruding section raised on a splayed foot and surmounted by a tall flaring neck, the exterior carved in shallow relief with stylised banana leaves, archaistic motifs and fish, with taotie masks to the centre, all reserved on a finely incised key fret ground, the stone with some white inclusions and russet striations, 22.8cm.
£6,000-8,000 清 青白玉雕饕餮方觚 來源：希臘私人收藏，購於2011年。
£8,000-12,000 Provenance: formerly a Greek private collection, acquired in 2011. Cf. The Complete Collection of Treasures of the Palace Museum: Jadeware, vol.3, p.165, no.133 for a flanged jade fanggu in the Qing Court collection also with a banana leaf design.
95 A CHINESE PALE CELADON JADE CARVING OF A RECUMBENT BIXIE QING DYNASTY Its body curled, resting his head upon his paws and tail, the stone with russet markings, 7cm.
£4,000-5,000 清 青白玉雕辟邪擺件
96 A CHINESE PALE CELADON JADE ‘HORSE AND MONKEY’ BELT BUCKLE 18TH CENTURY The recumbent horse with its legs tucked underneath its body, turning its head backwards to look at the primate seated upon its back, the monkey carved with a mischievous expression and clutching onto the horse’s reins, the reverse with two circular loops for attachment, the stone with some areas of white mottling, 8.5cm.
£5,000-6,000 The motif of a monkey, hou, on the back of a horse, ma, represents the rebus ma shang feng hou, which may be translated as ‘may you immediately be promoted to a high rank of office.’ Such pieces would have been used to pass on good wishes to aspiring officials. Cf. Marchant, Chinese Jades from the Mr O J R Allen Collection, p.72, no.35 for a related belt buckle.
97 A SMALL CHINESE WHITE JADE CARVING OF A MONKEY QIANLONG 1736-95 Sitting holding a peach between his knees and touching his ear with his front left hand, the facial features and his hair finely defined, 4.5cm.
£6,000-8,000 Cf. Christie’s London, 8th November 2016, lot 177 for another white jade carving of a monkey holding a peach.
98 A CHINESE WHITE JADE ‘DRAGON AND PHOENIX’ CARVING QING DYNASTY Formed as an archaistic dragon crouching with its head turned back and mouth agape, with a phoenix standing proud upon the beast’s curling tail, the stone of a milky colour with minor russet and black inclusions, together with a fitted box from S & G Gump Co, San Francisco, 7cm. (2)
£6,000-8,000 Provenance: from a Welsh private collection, gifted to the current owner by his grandfather in 1957. Previously acquired from S & G Gump Co, San Francisco.
清 白玉雕龍鳳佩 來源：威爾士私人收藏，由現藏家的祖父或贈於1957 年。贈送人購於舊金山S&G Gump Co.。
99 A MINIATURE CHINESE PALE CELADON JADE EWER AND COVER LATE QING DYNASTY
100 A CHINESE PALE CELADON JADE RECTANGULAR PENDANT IAQING 1796-1820
Decorated in low relief with archaistic designs and mythical beasts, the cover carved with a chilong, the stone with some russet inclusions, all raised on a short straight foot, 7cm. (2)
Formed as a pair of stylised kui dragons, with openwork carving, decorated in low relief with scrolls to their bodies, the stone of an even tone, 5cm.
£1,000-1,500 Provenance: from an Australian private collection, acquired in London c.2000.
清 白 來源： 大利
101 A CHINESE WHITE JADE ‘LINGZHI’ PENDANT QIANLONG 1736-95 Carved with two beetles crawling over the top of two mushrooms, the stone with some white mottling and russet markings, 6.4cm.
£1,000-1,500 Provenance: formerly the collection of a Cheltonian gentleman whose father formed the collection in ong ong during the first uarter of the th century.
清 白 來源：切爾
102 A CHINESE PALE CELADON JADE CARVING OF A GOOSE PROBABLY TANG DYNASTY Carved with a long neck and upright wings, with its head turned to the left preening its finely incised feathers, its tail curling upwards towards the end, the stone with some white mottling and minor dark specks, 4.2cm.
£1,000-1,500 Cf. Jade Ware (II), The Complete Collection of Treasures of the Palace Museum, vol.41, pp.11-12, no.10 for a related example dated to the Tang dynasty in the Qing court collection.
103 A CHINESE PALE CELADON JADE ‘CHILONG’ PENDANT QIANLONG 1736-95
104 A CENTRAL ASIAN PALE CELADON JADE OVAL PENDANT PROBABLY 17TH CENTURY
Carved in openwork with the mythical beast clambering over an axe-head, with its bifurcated tail occupying the central aperture, the stone with some minor white mottling, 5.8cm.
Of flattened form, one side carved in intaglio with two birds perching amidst simple blossoming stems, set within a gold mount with a seed pearl and suspending a green aventurine bead, 5.1cm.
Provenance: formerly the collection of a Cheltonian gentleman whose father formed the collection in ong ong during the first uarter of the th century.
Provenance: from an Australian private collection, acquired in London c.2000.
清 白 來源：切爾
十 世紀（可能） 白 來源： 大利 私人收藏，2000年代購於
105 A CHINESE CELADON JADE ‘BADGER’ GROUP LATE MING DYNASTY Formed as a badger lying down with her cub curled up by her side, the stone with russet markings, together with a wood stand, 5.3cm. (2)
£300-500 Provenance: sold in these rooms on 12th November 2014, lot 246.
明晚期 青白玉雕歡天喜地擺件 來源：威立士2014年11月12日·編號246
106 A CHINESE PALE CELADON JADE CARVING OF TWO LION DOGS 18TH CENTURY Formed as a large lion dog playing with a brocade ball, holding a ribbon in her mouth, with a pup clambering on her back, the smaller creature picked out in a darker area of the stone, together with a wood stand, 7.3cm. (2)
£6,000-8,000 Provenance: formerly the collection of Lady June Horlick (d.2006).
十八世紀 糖色玉雕太獅少獅擺件 來源：June Horlick（逝於2006）舊藏。
107 A CHINESE WHITE JADE CARVING OF GUANYIN QIANLONG 1736-95 Standing, with her hair tied back, holding a single flowerhead in her left hand and a basket of peaches in her right, with a small boy at her side, her robes finely defined, the stone of an even translucent tone, 12cm.
£18,000-20,000 清乾隆 白玉雕多子多福觀音立像
108 A CHINESE CELADON JADE CARVING OF BUDDHA QING DYNASTY The figure depicted seated in dhyanasana with his hands in dhyana mudra, his face carved with a content expression and framed by his large earlobes, the stone with some russet inclusions and striations, 6.8cm.
£800-1,200 清 青白玉雕無量壽佛立像 109 A CHINESE WHITE JADE CARVING OF A LUOHAN PROBABLY 18TH CENTURY The figure depicted seated with both hands resting on his raised left knee, wearing loose monk’s robes draped over one shoulder, with an armband on his right arm, his joyful face carved with an open mouth and large eyes beneath bushy eyebrows, 9.5cm.
£5,000-6,000 十八世紀（可能） 白玉雕羅漢坐像
110 A CHINESE PALE CELADON JADE CARVING OF A LUOHAN QIANLONG 1736-95 The figure stands leaning slightly to his left, wearing loose flowing robes which conceal his hands, his content face detailed with a small curved smile, the stone with some russet markings, together with a wood stand, 10.4cm. (2)
£7,000-9,000 清乾隆 青白玉雕羅漢立像
111 A CHINESE PALE CELADON JADE ‘WUFU’ RUYI SCEPTRE QING DYNASTY OR LATER The head carved in relief with peaches beneath a shou character and a qing, with five bats flying amidst swirling clouds to the shaft, the reverse incised with an inscription, with an attached tassel, 37.5cm.
£10,000-15,000 清或更晚 青白玉雕五福如意擺件
112 A CHINESE WHITE JADE SQUARE SEAL PROBABLY YUAN DYNASTY The plain base surmounted by a dragon, the mythical beast crouching as if ready to pounce, its face carved with its eyes bulging and teeth bared, with its finely incised mane trailing down its arched back, the stone an even tone with minor russet striations, the underside with a single large character, 6cm.
£8,000-12,000 元（可能） 白玉雕龍璽 113 A CHINESE ROCK CRYSTAL ‘BOYS’ BRUSH WASHER 18TH CENTURY The quatrelobed body with two boys climbing the sides and holding the rim, all raised on four feet, 15cm.
£15,000-20,000 十八世紀 水晶雕童子海棠口筆洗
114 A SMALL CHINESE CELADON JADE ‘LOTUS’ BOX AND COVER QIANLONG/JIAQING
115 A CHINESE PALE CELADON JADE SEAL QIANLONG/JIAQING
Of quatrelobed form, the cover carved in shallow relief with a cartouche enclosing a lotus blossom growing amidst leaves from rippling waters, the stone of an even tone with some minor white mottling, together with a reticulated wood stand, 6.4cm. (3)
The square-section seal surmounted by a qilin, the mythical beast reclines with its front legs crossed and its head turned back with its mouth agape, with finely incised hairs to its mane, beard and tail, with a seal mark to the underside reading chen Wei Gang yin, the stone with white striations and inclusions, 5.2cm.
£5,000-6,000 Provenance: from an English private collection formed in the 1950s. Cf. H K F Hui, T Y Pang and C Yeung, Virtuous Treasure: Chinese Jade for the Scholar’s Table, p.212, no.136 for a related square seal with a Buddhist lion; see also T Fok, The Splendour of Jade: The Songzhutang Collection of Jade, p.132, no.112 for another comparable seal carved with a mythical animal.
白 方 印 來源：英國私人收藏，1950年代。
116 A SMALL CHINESE SPINACH-GREEN JADE ‘MARRIAGE’ DISH 18TH CENTURY
118 A CHINESE PALE CELADON JADE ‘CHILONG’ BELT BUCKLE QIANLONG 1736-95
The centre carved with twin fish, the bowl with a slightly flared profile and raised on five feet, 8.7cm.
Of oval form, carved in low relief with a sinuous chilong, the reverse with raised buttons for attachment, one shaped as a flowerhead, the other worked to imitate rope, the stone of an even tone with some minor areas of white mottling, 6.5cm.
£4,000-6,000 十八世紀 碧玉雕雙魚盤 117 A CHINESE CELADON JADE ‘DEER AND BAT’ OPENWORK PENDANT QIANLONG 1736-95 Of flattened form, carved with a recumbent ram gazing backwards at a bat in flight, the ram holding a branch of lingzhi in its mouth and with small stars incised to its body, the stone of an even tone with minor white mottling, 6.1cm.
£1,000-1,500 清乾隆 青白玉雕螭龍紋帶鉤 119 A CHINESE WHITE JADE CARVING OF A GOOSE 17TH/18TH CENTURY Formed as a seated goose with its head turned back, holding millet in its mouth, its wings incised with details of feathers, 4.8cm.
Provenance: formerly in the collection of Dr Stefanos Bakker (1896-1959), acquired in China in the 1930s.
Provenance: formerly in a French private collection.
清乾隆 青白玉雕如意福祿壽佩 來源：Stefanos Bakker（1896-1959）博士舊 藏，1930年代購於中國。
十七/十八世紀 白玉雕鵝啣穗擺件 來源：法國私人收藏。 120 A CHINESE WHITE JADE ‘LONGEVITY’ BELTHOOK QIANLONG 1736-95
121 TWO CHINESE JADE ‘FISH’ CARVINGS 17TH/EARLY 18TH CENTURY One celadon jade, the fish carved with a bearded dragon’s head, the other of flattened form depicting a scaly fish amongst seaweed and lotus leaves, the stone of a grey colour with russet markings, 7.5cm and 5.4cm. (2)
£2,000-3,000 Provenance: the larger purchased from Gerard Hawthorn, the smaller acquired from Nader Rasti.
十七/十八世紀 玉雕魚型佩 一組两件 來源：購於Gerard Hawthorn及Nader Rasti。 122 A CHINESE WHITE JADE ‘GOURD’ PENDANT QIANLONG 1736-95 Formed as a gourd sliced vertically in half, one side with leafy vines wrapped around the fruit, the other revealing a chilong inside, with russet markings to the largest leaf, 5cm.
£1,000-1,500 Provenance: sold at Christie’s Paris, 19th December 2012, lot 41 (part lot).
清乾隆 白玉雕葫蘆螭龍佩 來源：佳士得巴黎2012年12月19日·編號 41。
Formed as a ruyi sceptre, the head finely carved with a bat and a shou character, with a panel of archaistic scrolls incised to the shaft, the reverse with a raised button for attachment, 9.2cm.
£2,000-2,500 清乾隆 白玉雕如意帶鉤
123 A MASSIVE CHINESE BLACK AND CELADON JADE ‘YINGXIONG’ GROUP QING DYNASTY The stone skilfully worked with a single-horned mythical beast carved from the black section of the stone whilst an eagle is predominantly picked out in celadon, both creatures stand side by side gazing backwards with well-defined bulging eyes, the eagle with its left leg raised and talons tightly clasped, with an old paper label to the shoulder of the lion-like beast, all raised on a rocky platform, the black and celadon areas of the stone both with white and russet markings, 34cm, 10kg.
£8,000-12,000 Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. Whilst Farmer sold several Chinese ceramics at Sotheby’s in 1961, he was primarily a collector of Chinese hardstones and other works of art. Much of his collection was also sold at Phillips on 15th February 1978. The imagery depicted is an interpretation of the motif of an eagle, ying, and a bear, xiong, which together form the word yingxiong, a homophone for ‘hero’. The theme of an eagle and bear first appeared on Western Han dynasty bronze ‘champion’ vases. This developed throughout later periods into more stylised representations where the bear is often rendered as a mythical beast resembling a lion and the eagle is sometimes portrayed as a phoenix. Cf. A Forsyth and B McElney, Jades from China, p.292, no.292 for a Ming dynasty jade carving of an eagle perched on a lion-like mythical animal in the collection of The Museum of East Asian Art, Bath; see also Sotheby’s Hong Kong, 1st December 2016, lot 172 for another Ming piece with a comparable subject matter and lot 203 for a related small 17th/18th century yellow jade ‘yingxiong’ carving depicting a bird of prey with a similarly rendered mythical beast.
清 糖色玉雕英雄擺件 來源：Reverend Victor Farmer （1898-1977）收藏，1961年Farmer曾經 在蘇富比出售過他的瓷器收藏，1978年2月15日在Phillips上拍過他的
THE REVEREND VICTOR FARMER (1898-1977) The Farmer Collection was begun in the late 19th century by William Farmer, who moved to Hong Kong and became manager of the Peak Hotel in 1888 and later built and managed the Victoria Hotel. His son, Victor Farmer, served in the First World War as a subaltern in the Suffolk Regiment. Victor then joined Brunner Mondlate ICI in 1921 and married in 1925. The newly wed couple moved to Canton and subsequently to Harbin, eventually settling in Tianjin where they stayed several years, with Victor adding to the family’s Chinese art collection. He then became the chairman of Brunner Mondlate ICI and they moved to Shanghai.
The Reverend Victor Farmer (1898-1977)
After the formation of the People’s Republic of China, the Farmers were granted an exit visa in 1953, but sadly Mrs. Farmer died that year. Unusually Mr. Farmer was granted permission to take his entire collection with him on his departure from China. On leaving China, he first stopped briefly in Hong Kong, before returning to England in 1954, where he took Holy Orders in 1965. During this period he joined the Oriental Ceramic Society and lent many of the pieces from his collection to the Society for inclusion in its exhibitions. The Reverend Farmer eventually retired in 1975, dying two years later.
124 A LARGE CHINESE SPINACH-GREEN JADE MARRIAGE BOWL 18TH/19TH CENTURY The rounded sides carved to the exterior with a continuous lotus scroll, the two handles formed as pierced butterflies with their open wings resting on the slightly incurved mouthrim, each handle suspending a loose ring, the interior decorated in relief with a spray of peony and lingzhi, all raised on six short ruyi-head shaped feet, the green stone with black inclusions and areas of lighter and darker mottling, with a paper label for Spink & Son Ltd to the base, 30cm.
£20,000-30,000 Cf. Christie’s New York, 18th September 2003, lot 114 for a marriage bowl with similar decoration.
125 A CHINESE WHITE JADE OVOID SNUFF BOTTLE QIANLONG 1736-95
126 A CHINESE YELLOW JADE ‘SQUIRREL AND MELON’ CARVING QING DYNASTY
Tapering towards the foot and with a recessed base, the body surmounted by a cylindrical neck, carved with a concave mouthrim, 5.3cm.
Formed as a squirrel clambering over a large melon, the rodent rests its front paws on the vine from which the fruit issues, with leaves growing from the branch, the stone with russet inclusions, 5.6cm.
127 A CHINESE IRON-RED ‘LONGEVITY’ SNUFF BOTTLE FOUR CHARACTER QIANLONG MARK AND PROBABLY OF THE PERIOD
128 A CHINESE POLYCHROME-ENAMELLED HAT STAND BASE QING DYNASTY
Formed as a flattened gourd, each side decorated with a shou character surrounded by trails of scrolling lotus, with areas of detail and the flaring rim highlighted in gilt, the reign mark painted in iron-red to the slightly concave base, 6.5cm.
The tall central section painted in white enamel with stylised lotus flowers and bats against a turquoise ground, with four yellow pierced flanges shaped as archaistic mythical beasts, the quatrefoil base moulded with ruyi-shaped feet, decorated in gilt with further lotus sprays on a bright iron-red ground, 17.5cm.
Provenance: sold at Bonhams New York, 12th September 2016, lot 9115.
Provenance: from an English private collection, London, acquired c.2000.
清乾隆（可能） 礬紅西番蓮葫蘆鼻煙壺 《乾隆年製》礬紅篆書款
Cf. Christie’s London, 8th November 2016, lot 80 for a related Daoguang mark and period hat stand; see also Sotheby’s London, 13th June 1989, lot 289 for a Qianlong example.
清 粉彩帽架 來源：英國倫敦私人收藏，購於2000.
129 A PAIR OF LARGE CHINESE CANTON FAMILLE ROSE VASES 1ST HALF 19TH CENTURY Brightly decorated with panels enclosing pheasants perched amidst blossoms and bamboo, the sides painted with vases of flowers surrounded by butterflies, chrysanthemum, peony, pomegranates, lychees and other fruits and flowers, with applied chilong to the shoulders, the handles moulded as pairs of boys, each with a wood stand, 58cm. (4)
130 A LARGE INSCRIBED CHINESE CANTON FAMILLE ROSE PUNCH BOWL IAQING 1796-1820 The exterior finely painted in enamels and gilt with two large rectangular panels depicting dignitaries and court ladies, with four smaller panels containing individuals flanked by lines of calligraphy, the rim with a band of ladies and gentlemen relaxing in a luscious garden, the interior brightly decorated in the same style with further figural scenes beneath many butterflies amidst peony, chrysanthemum, gourds, lychees and other fruits and flowers, with an inscription reading ‘Thomas eeton Esq Bermondsey’ to the base, together with a wood stand, 40.7cm. (2)
£2,000-3,000 Provenance: from the collection of the Littman Family.
清 廣 人物 事 大 來源：Littman家 收藏。
131 A PAIR OF CHINESE COPPER-RED GLAZED BOTTLE VASES 18TH CENTURY The exterior of each coated in a soft red gla e draining from the rim, the interiors and bases gla ed white, each raised on a short gently tapering foot, 37cm. (2)
£2,000-3,000 Provenance: from the collection of the Littman Family.
十 世紀 一對 來源：Littman家 收藏。
132 A MASSIVE CHINESE BLUE AND WHITE ORMOLU-MOUNTED FISH BOWL LATE QING DYNASTY The deep ovoid body painted with blossoms and scrolling leaves between ruyi-heads and lappets, all below a band of key fret, with a continuous foliate band encircling the mouthrim, mounted on a European hexagonal ormolu base, 46.3cm dia, 63cm high overall.
133 A CHINESE ‘TOBACCO LEAF’ PART DINNER SERVICE JIAQING 1796-1820 Comprising: six circular plates, two small oval dishes pierced with trellis, two square dishes with lobed corners, four deep heart-shaped dishes, two large oval flared baskets with openwork sides and upright handles, each with a stand, three smaller oval baskets, and one circular flared basket and stand, each piece brightly decorated in enamels and gilt with the tobacco leaf pattern, painted with flowers blossoming against a dense ground of colourful overlapping broad leaves, most of the items with simple blue and red floral sprays to the underside, 27.8cm max. (23)
134 A CHINESE PART DINNER SERVICE 18TH CENTURY Comprising: two large plates, two dishes and nine dinner plates, painted in polychrome with items from the undred Antiques including vases, and with lingzhi, flowers and fruits, 28.5cm max. (13)
135 A CHINESE FAMILLE VERTE GARNITURE OF FOUR VASES KANGXI 1662-1722 The moulded bodies decorated in enamels with panels enclosing flowers, birds, mythical beasts and landscapes, two with covers, 35cm max. (6)
£10,000-15,000 Cf. D S Howard, The Choice of the Private Trader, p.238 for related vases.
清康熙 五彩花鳥紋瓶 一組四件
136 A SET OF THREE LARGE CHINESE FAMILLE VERTE VASES KANGXI 1662-1722 Each with a tall baluster-shaped body painted with four large panels enclosing baskets containing various blossoming flowers including peony, hydrangea, chrysanthemum and lotus, with smaller cartouches depicting lion dogs and qilin above and further floral sprays encircling the foot, all reserved on a pale green ground decorated with simple flowerheads and precious objects, with bands of prunus against a cracked-ice ground to the shoulders, the short necks flaring towards the rim and with stylised chrysanthemum scrolls, 52cm. (3)
£35,000-45,000 Cf. W Bondy, Kang-Hsi: Eine Blüte-Epoche der Chinesischen Porzellankunst, pl.135 for two comparable vases and a baluster vase and cover with a similar design.
清康熙 五彩花卉紋 一組三件
137 A CHINESE BLUE AND WHITE ‘HUNDRED ANTIQUES’ VASE KANGXI 1662-1722
138 A CHINESE BLUE AND WHITE GU-SHAPED VASE KANGXI 1662-1722
The ovoid body supported on a tall spread foot and surmounted by a gently flaring neck, decorated to the exterior with a figure seated atop an elephant, archaic vessels, a qin, a plume of peacock feathers, a ruyi-sceptre, a vase of lotus flowers and other precious objects, the design divided by two panels enclosing pairs of birds perched amongst blossoming peony and prunus, all beneath bands of shou characters and key fret, 42.4cm.
The tall flaring neck painted with attendants offering their good wishes to an official, the central bulbous section painted with two large cartouches enclosing a pair of cranes and a horse galloping over crashing waves, with another figural scene to the tall foot, 46.4cm.
£3,000-5,000 清康熙 青花加官進爵瓶
£2,000-3,000 清康熙 青花太平有象瓶
139 A CHINESE BLUE AND WHITE SLEEVE VASE TRANSITIONAL C.1640
140 A CHINESE BLUE AND WHITE OVOID ‘LADIES’ VASE KANGXI 1662-1722
The cylindrical body painted with King Wen of Zhou and his attendants happening upon Jiang Ziya by the bank of a river in a rocky landscape, with plantain trees, shrubs and swirling clouds around them, the waisted neck decorated with pendant leaves, with finely incised lines to the rim, shoulder and foot, 48cm.
Painted to the exterior with two large rectangular panels containing scenes of ladies engaged in daily life as onlookers gaze down at them from high walled pavilions, with vases and pots of blossoming flowers around the figures, the panels divided by scrolling morning glories, all above bands of lappets and roundels reserved on a ground of floral diaper, with an artemisia leaf mark to the base, together with a reticulated hardwood cover, 35cm. (2)
£5,000-8,000 According to traditional Chinese historical records, the episode depicted occurred in the 11th century. Having become disillusioned with serving the cruel and corrupt last king of the Shang dynasty, the military strategist Jiang Ziya relinquished his duties and went into exile, living as a fisherman. When King Wen of Zhou came across Jiang Ziya whilst hunting, he was so impressed by his knowledge on military tactics that he appointed Jiang Ziya as his prime minister. With Jiang Ziya’s assistance, the Shang dynasty was overthrown and the Zhou dynasty was founded.
£4,000-5,000 Cf. Sotheby’s New York, 19th-20th March 2007, lot 775 for a related ovoid vase with a very similar design.
Cf. the Rijksmuseum, Amsterdam, object no.AK-NM-6669 for a sleeve vase with a very similar scene.
141 A LARGE CHINESE FAMILLE VERTE ‘LION DOG’ DISH KANGXI 1662-1722 Painted to the centre with a lion dog playing with a brocade ball, the beast encircled by birds and butterflies in flight amidst lotus and panels enclosing stylised flowerheads, the rim decorated with cartouches containing floral sprays against a band of diaper, with some areas highlighted in gilt, the underside with a continuous lotus scroll, with a lingzhi mark to the base, 34.9cm.
£2,000-3,000 清康熙 五彩太獅少獅盤
142 A LARGE CHINESE FAMILLE VERTE ‘HUNDRED BIRDS’ DISH KANGXI 1662-1722 Finely painted in enamels and gilt with a male and female phoenix perched by blossoming peony and a wutong tree, the mythical birds surrounded by peafowl, Mandarin ducks, cranes, quails, geese, kingfishers and many other birds, with the sun setting behind clouds in the distance, the rim decorated with an iron-red band of chrysanthemum amidst stylised scrolling foliage, with a lingzhi mark in underglaze blue to the base, 34.2cm.
£5,000-6,000 Cf. Shanghai Museum, Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.174-5, no.115 for a related dish with the same subject matter.
143 A LARGE CHINESE FAMILLE VERTE AND IMARI DISH KANGXI/YONGZHENG Painted to the centre in the famille verte palette with women riding on horseback as a seated lady and her attendants look down from a raised covered terrace, the scene surrounded by lotus, peony, prunus, hibiscus, daisies and other flowers in enamels, underglaze blue and gilt, the underside with two sprays of peony, the base with a paper label for Zamek Lancucki, 34.5cm.
£4,000-6,000 Provenance: formerly the Zamek Lancucki Collection, Lancut Castle, Poland. Cf. Tokyo National Museum, Chinese Ceramics II, p.154, no.604 for a slightly larger dish from this service; see also Sotheby’s Paris, 11th December 2014, lot 260 for a similar dish depicting the same scene. The design on this dish is known as ‘The Generals of the Yang Family’. It depicts a scene from the Northern Song dynasty story of the Yang Family women preparing to go to war and defend the country after all the men in the family had already been wounded or killed by foreign invaders.
清康熙/雍正 五彩楊門女將盤 來源：波蘭Zamek Lancucki收藏。
144 A LARGE CHINESE FAMILLE VERTE ‘FLOWER BASKET’ DISH KANGXI 1662-1722 Painted to the centre with a basket of flowers surrounded by eight petal-shaped panels enclosing lotus, peony, chrysanthemum and other blossoms, with six cartouches containing flowers reserved on a floral patterned ground, the base with an artemisia leaf mark, 38.2cm.
£1,800-2,200 清康熙 五彩花卉紋盤
145 A LARGE CHINESE FAMILLE VERTE ‘PHEASANT’ DISH KANGXI 1662-1722 The centre painted with a pheasant perched on rockwork surrounded by pairs of Mandarin ducks and magpies amongst lotus, prunus and other blooms, the scene surrounded by stylised flowerheads and foliage, with panels enclosing birds and butterflies amidst further floral sprays encircling the barbed rim, the base with a lozenge mark contained within double rings, 36.5cm.
£1,500-2,000 清康熙 五彩錦上添花紋盤
146 A PAIR OF LARGE CHINESE FAMILLE VERTE ‘FLOWER BASKET’ DISHES KANGXI 1662-1722 Each painted with a roundel containing a basket of flowers, the design surrounded by variously shaped panels enclosing sprays of lotus, lily, prunus, camellia, peony and other flowers against a green ground, the rims decorated with cartouches containing pomegranates, melons and peaches divided by ruyi-heads reserved on floral patterns, each with a large artemisia leaf mark to the base, 37.6cm. (2)
£4,500-5,500 Cf. The Philadelphia Museum of Art, accession nos.1955-50-63 and 1955-50-64 for an almost identical pair of dishes with similar decoration and the same mark on the base.
清康熙 五彩花卉紋碟 一對
147 A NEAR PAIR OF CHINESE BLUE AND WHITE MOULDED BALUSTER VASES AND COVERS KANGXI 1662-1722 The body of each moulded with vertical fluting between raised panels, painted to the exterior with flowerheads and buds growing amongst dense trails of fine leaves, with insects in flight amidst the design, the covers similarly decorated and with barbed rims, one vase with a geometric band encircling the mouthrim and with a paper label to the base reading ‘Rue de l’Université, 34. Duvauchel. Magasin de thé, Porcelaine de Chine, Eventails et curiosités. Paris’, 58cm. (4)
£8,000-12,000 Cf. Christie’s Amsterdam, 7th-8th April 1992 for related baluster vases from the Vung Tau Cargo; see also the porcelain collection of the Porzellansammlung for vases with comparable decoration in the Zwinger Palace, Dresden.
清康熙 青花花卉紋蓋瓶 一對
148 A CHINESE BLUE AND WHITE MOULDED FOUR-PIECE GARNITURE KANGXI 1662-1722 Comprising: two yen yen vases and two baluster vases with covers, each decorated with hori ontal bands of moulded ogee petal panels enclosing white sprays of potted peony blooms against a blue ground, with further floral designs encircling the feet and barbed rims, the yen yen vases with a geometric band above the shoulder and with flowers to the rim interior, each with blue double rings to the base, 53cm max. (6)
£15,000-20,000 Cf. Christie’s Amsterdam, 7th-8th April 1992 for comparable garnitures from the Vung Tau Cargo.
149 A CHINESE FAMILLE ROSE PART DINNER SERVICE 18T CENTURY Comprising: twenty plates, eleven soup plates, a tureen, cover and stand, and a large circular serving dish, each painted in coloured enamels with a pavilion in a riverscape as a figure boats down the water on a sampan, the setting with blossoming trees and pine, with areas of detail picked out in gilt, the design encircled by continuous scrolling floral and foliate bands in undergla e blue, 37.8cm max. (35)
150 A RARE SET OF FIVE CHINESE ‘SOUTH SEA BUBBLE’ PLATES EARLY 18T CENTURY Depicting comical figures in various poses in interiors wearing ester’s and other costumes, the borders painted in rouge-de-fer, 21.5cm. (5)
£8,000-12,000 This series of plates was made for the Dutch market and they are called ‘Bubble’ plates, since they were likely to have been made to satirize the South Sea Bubble ‘mania’ which occurred in the early 18th century. The South Sea Bubble refers to the South Sea Company which was a British joint stock company founded in 1711 in which many people made and lost considerable fortunes. Cf. D Howard and J Ayers, China for the West, vol.1, pp.234-5 for a discussion on the background of these plates.
151 A RARE CHINESE FAMILLE ROSE ‘LA DAME AU PARASOL’ PLATE C.1740 After a design by Cornelis Pronk, brightly enamelled with a young lady and her attendant beneath a parasol, with aquatic birds and bulrushes, the border with panels of figures and birds on a bright pink cell diaper, the reverse with eight iron-red insects, 25.5cm.
£8,000-12,000 Cornelis Pronk (1691-1759) was a Dutch draughtsman and painter. This design, drawn in 1734, was the first that Pronk made for the Dutch East India Company and the drawing was sent to China and Japan to be copied onto porcelain. The pattern appears on Chinese famille rose, blue and white, and Imari pieces. Cf. The Rijksmuseum, Amsterdam, object no.RP-T-1967-18 for Pronk’s original drawing; see also C J A Jörg, Pronk Porcelain: Porcelain After Designs by Cornelis Pronk, pp.14-18 and pp.60-73 for a discussion on this design; see also Christie’s London, 2nd November 2016, lot 52 and Sotheby’s New York, 15th-18th January 2004, lot 61 for closely related plates. 1740年代 粉彩人物故事紋碟
152 A RARE CHINESE PEAR-SHAPED VASE KANGXI 1662-1722 Decorated in the European baroque style in underglaze blue, iron-red and gilt with festoons of flowers, leaves and cornucopia overflowing with blossoms and fruits, with a flared rim and foot, 36cm.
£8,500-9,500 清康熙 青花加彩瓶
153 TWO RARE CHINESE FAMILLE ROSE WALL SCONCES QIANLONG 1736-95 Each formed as a child’s arm clasping a socket to accept a candle, the teardrop-shaped sconces moulded with colourful lingzhi, 16cm. (2)
£8,000-10,000 清乾隆 粉彩壁飾 一對
154 A RARE CHINESE POLYCHROME ENAMELLED HELMET-SHAPED EWER FOR THE PORTUGUESE MARKET C.1740 Brightly decorated with flowers and leaves amidst elaborate scrolls above broad yellow petals, the design divided by a geometric band, with red, turquoise and yellow borders encircling the rim, the handle and foot painted with trails of foliage, 27cm.
£4,000-5,000 The ewer comes from one of three services made for Dom José Ribeiro da Fonseca Figueiredo (1690-1752), who was appointed as the Bishop of Porto in 1739 under the name of Dom Frei José Maria da Fonseca e Evora. Cf. N de Castro, Chinese Porcelain and the Heraldry of the Empire, pp.87-9 for illustrations of pieces from these services; see also Sotheby’s London, 7th November 2007, lot 340 for a similarly decorated stand bearing the arms of Dom José Ribeiro da Fonseca Figueiredo; see also Christie’s New York, 23rd January 2008, lot 192 for a tray from one of these services. 1740年代 粉彩花卉紋壺
155 A CHINESE FAMILLE ROSE EROTIC EUROPEAN SUBJECT BOWL C.1740 Painted in enamels and gilt with two large cartouches enclosing lovers in an amorous embrace, the scenes divided by smaller flower-shaped panels containing pairs of birds in flight amongst peony and rockwork, all surrounded by flowerheads set amidst foliage in underglaze blue, the interior with a mountainous landscape beneath a continuous floral scroll, the base with a paper label for the Hervouët Collection, no.193, 26cm.
£3,500-4,500 1740年代 青花粉彩西洋人物碗
156 A CHINESE FAMILLE ROSE MANDARIN PALETTE ‘HUNTING SCENE’ BOWL QIANLONG 1736-95 Brightly painted to the exterior in enamels and gilt with two large panels depicting huntsmen on horseback as their pack of hounds chase a fox, the scenes divided by smaller cartouches containing birds and rouge-de-fer landscapes, all reserved on a dense geometric ground, with a roundel enclosing a gentleman and his dogs in pursuit of a pheasant surrounded by a spearhead band to the well, 25.7cm.
£3,000-4,000 清乾隆 粉彩西洋人物碗
157 A PAIR OF CHINESE MODELS OF SEATED HOUNDS QIANLONG 1736-95 Each dog depicted seated on its haunches with its ears flat against its head and its mouth agape, their large green and lilac eyes thinly outlined, their bodies moulded with their bony ribs showing, each with a turquoise collar suspending a gilt tag around its neck, their brown fur finely textured and with dark green patches, 17.5cm. (2)
£14,000-16,000 Cf. D S Howard, The Choice of the Private Trader, p.273, no.329 for a related pair of seated hounds; see also D S Howard and J Ayers, China for the West, vol. II, pp.596-7, nos.620 and 621 for further comparable examples.
158 A CHINESE GUAN-TYPE ZHADOU QING DYNASTY The lobed compressed circular body surmounted by a tall neck and flared foliate rim, the interior and exterior both covered with a pale blue crackled glaze, the base with a paper label for the Seligman collection, 18.3cm.
£400-600 Provenance: formerly the Seligman collection; and then an English private collection since 1965. Brenda Zara Seligman (1882-1965) and her husband Charles Gabriel Seligman MD FRS (1873-1940) were clients of Bluett’s and travelled to China and Japan between 1929 and 1930, recording their purchases in journals. In 1966, the Arts Council organised an exhibition of 351 exhibits from ‘The Seligman Collection of Oriental Art’ and a number of items were donated to the British Museum.
清 仿官釉渣斗 來源：Seligman舊藏，1965年英國私人收藏。 159 A LARGE CHINESE LONGQUAN CELADON DISH EARLY MING DYNASTY Rising from a thick tapering foot to an everted rim, carved to the centre with a single flowerhead growing amidst leaves, the design surrounded by scrolls of stylised foliage, the exterior with simple incised rings encircling the foot, all coated in a celadon green glaze, with a paper label for John Sparks Ltd to the base, 43.9cm.
£3,000-4,000 明早期 龍泉青釉花卉紋盤
160 A SMALL CHINESE YIXING TEAPOT AND COVER BY HUI MENGCHEN LATE 17T CENTURY With a compressed circular body, the stoneware a dark brown tone, the base with a three character signature which reads Meng Chen zhi, 11.5cm. (2)
161 A CHINESE LACQUERED AND GILT-DECORATED YIXING TEAPOT AND COVER QING DYNASTY The exterior of the body and cover decorated in red lacquer and gilt with insects in flight amidst chrysanthemum blooms, all reserved on a black lacquer ground, the cover surmounted by a pierced compressed circular knop, 15cm. (2)
£2,000-3,000 Cf. J Wang, Yixing Zisha Wares in the Palace Museum, pp.70-71, no.19 for a similar teapot and cover from the Qianlong period originally in the Qing Court Collection.
162 A SET OF FOUR CHINESE FAMILLE ROSE BOWLS AND COVERS 19TH CENTURY Decorated with figures engaged in various agricultural activities including sowing rice seeds, silk production and tilling the land, each inscribed with a poem and with a four character Kangxi mark, 10.5cm dia. (8)
£1,000-2,000 Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent.
十九世紀 粉彩人物紋蓋碗 一組四件 來源：Sir Thomas Jackson（1841-1915）收藏。
163 A PAIR OF CHINESE BLUE AND WHITE BOWLS SIX CHARACTER QIANLONG MARKS AND OF THE PERIOD 1736-95 Each with a deep U-shaped body rising from a gently tapering foot to a flaring rim, decorated with various blooms including lotus and peony, the flowerheads set amidst scrolling leaves, with a further floral medallion contained within double blue lines to the centre of each, the footrims encircled by bands of petal lappets, 18.4cm. (2)
£1,000-1,500 Provenance: from the estate of Anne Marie Wood, Warwickshire, acquired no later than the 1990s.
清乾隆 青花纏枝蓮紋碗 一對 《大清乾隆年製》青花篆書款 來源：沃裡克郡Anne Marie Wood遺產，購於1990年 代。
164 A CHINESE DOUCAI ‘MEDALLION’ JAR SIX CHARACTER DAOGUANG MARK AND POSSIBLY OF THE PERIOD Decorated with eight double chrysanthemum roundels divided by lotus flowerheads and scrolling tendrils, together with a reticulated wood cover, 11cm. (2)
£300-500 清道光（可能） 鬥彩團菊紋罐 及木蓋 《大清道光年製》青花篆書款
165 A CHINESE FAMILLE ROSE ‘BITTER MELON’ BOWL SIX CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820 The deep U-shaped body rising from a short gently tapering foot to an everted rim, painted in enamels with butterflies in flight amidst fruiting and flowering bitter melon branches and bamboo, the design extending over the rim and continuing into the well, 11cm.
£1,000-1,500 Provenance: from the estate of Anne Marie Wood, Warwickshire, acquired no later than the 1990s.
清嘉慶 粉彩瓜瓞綿綿撇口碗 《大清嘉慶年製》青花篆書款 來源：沃裡克郡Anne Marie Wood遺產，購於1990年代。
166 A CHINESE FAMILLE ROSE ‘BUTTERFLY’ BOTTLE VASE SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908
167 A CHINESE FAMILLE ROSE ‘BUTTERFLY’ BOTTLE VASE SIX CHARACTER GUANGXU MARK AND PROBABLY OF THE PERIOD
The ovoid body surmounted by a tall flaring neck, the exterior finely painted with brightly enamelled butterflies in flight between lappets encircling the foot and a band of ruyi-heads around the rim, the shoulder decorated with shou characters, lotus and stylised foliage contained within gilt bands, 39cm.
Finely painted in coloured enamels with many butterflies in flight above lappets, the design divided by a band enclosing gilt shou characters and scrolling flowerheads against a deep pink ground, with spearhead lappets rising from the shoulder up the tall flaring neck, the rim encircled by a key fret and peach design, 40cm.
Cf. Marchant, Selected Chinese Porcelain from the Collection of Professor D R Laurence, pp.54-5, no.30 for another Guangxu vase with an almost identical design.
Provenance: formerly the collection of squadron leader William McDonald DFC. McDonald joined the RAF in 1940 and after WWII, he spent several years flying in York Transport aircraft taking troops and cargo to and from Singapore and various places en route. He and his wife travelled to many countries, including Thailand, Singapore, and Hong Kong, where it is believed he acquired this vase. McDonald and his wife later moved to Beaumont House, Ottery St Mary, Devon, where the current owner purchased this vase, which was filled with newspaper sheets from 1965.
清光緒 粉彩蝶紋瓶 《大清光緒年製》礬紅楷書款
清光緒（可能） 粉彩百蝶紋瓶 《大清光緒年製》礬紅楷書款 來源：皇家空軍少校William McDonald DFC舊藏。1940 年，McDonald加入了英國皇家空軍。世界第二次大戰之 後，他作為飛行員繼續駕駛長途飛機來往於新加坡、泰 國及香港。退休後他於夫人搬到了位於德文的Beaumont House。現藏家在哪裡購入了這支當時塞滿了1965年的報 紙的百蝶瓶。
168 A CHINESE FAMILLE ROSE ‘LOTUS’ VASE SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The pear-shaped body finely painted with alternating blue and pink lotus flowers amidst stylised leaves, with bats and gilt fylfots against a lemon-yellow ground to the shoulder beneath a narrow pink band of swirling designs, the neck with further sprays of lotus, with a broad band of pink spearheads enclosing beribboned precious objects and dainty blossoms encircling the gilt rim, the interior and base glazed turquoise, all raised on a short straight foot painted with a band of key fret, 17cm.
£15,000-20,000 清乾隆 粉彩折枝蓮紋瓶 《大清乾隆年製》礬紅楷書款
169 A CHINESE BLUE AND WHITE BOTTLE VASE WANLI 1573-1620 The pear-shaped body painted with a continuous scene depicting officials and attendants in a garden pavilion, with birds amidst pine, prunus and bamboo representing the Three Friends of Winter to the tall neck, decorated in relief with six applied animal heads to the shoulder and moulded cylinders around the rim, all raised on a gently flaring foot, 38.5cm.
£4,000-6,000 明萬曆 青花人物故事紋瓶
170 A CHINESE FAMILLE ROSE ‘ZHONG KUI JIA MEI’ VASE YONGZHENG 1723-35 The exterior decorated in coloured enamels with Zhong Kui on horseback taking his sister through a rocky landscape to be married to his friend Du Ping, with attendants around them, the waisted neck painted with Shoulao holding a peach and two seal marks, 43.2cm.
£3,000-4,000 清雍正 粉彩鐘馗嫁妹故事紋瓶
171 A CHINESE BLUE AND WHITE ‘MYTHICAL BEASTS’ LANTERN VASE QIANLONG 1736-95 The ovoid body painted with a pair of lion dogs standing beneath a pine tree amidst rockwork and lingzhi, with two bats in flight above them, the reverse simply decorated with bamboo growing beside a rock, with sprays of bamboo to the waisted neck, all raised on a tall foot decorated with geometric designs, 36.4cm.
£4,000-6,000 清乾隆 青花瑞獸紋瓶
172 A MASSIVE CHINESE FAMILLE ROSE FISH BOWL 19TH CENTURY The ovoid body painted with a scene of heavenly generals meeting around a table with crashing waves behind them, with further figures including ladies, warriors and martial artists dispersed throughout the scene, they stand in a garden rich with bamboo, wutong trees, lingzhi and rockwork, all below a band of alternating pale blue and pink flowerheads encircling the lipped rim, 42cm.
£5,000-7,000 十九世紀 粉彩梁山好漢故事大缸
173 A RARE CHINESE WHITE GLAZED ANHUA-DECORATED ‘DRAGON’ BOWL 18TH CENTURY The U-shaped body rising from a short spread foot to a flaring rim, with anhua decoration of two scaly dragons in pursuit of flaming pearls, the base finely incised with a six character Chenghua mark, 11.2cm.
£5,000-7,000 Provenance: formerly an old German private collection and an old Dutch private collection. Exhibited: The Museum of Decorative Arts, Frankfurt. Cf. Ming and Qing Chinese Arts from the C P Lin Collection, p.86, no.4 for a similarly decorated Hongzhi mark and period bowl.
十八世紀 白釉暗刻龍紋碗 來源：德國私人舊藏，荷蘭私人收藏。
174 A CHINESE BLUE AND WHITE ‘DRAGON’ BOTTLE VASE SIX CHARACTER JIAQING MARK BUT PROBABLY LATER The ovoid body rising to a tall neck and flared rim, painted to the exterior with three five-clawed dragons contesting a sacred pearl of wisdom amidst swirling clouds and flames, the design contained between a band of ruyi-heads and crashing waves, the gently flaring foot decorated with key fret, 31cm.
£2,000-3,000 Cf. The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red, vol.3, p.157, no.143 for a similar Jiaqing mark and period vase in the Qing Court Collection; see also Sotheby’s New York, 13th September 2017, lot 22 for another related Jiaqing mark and period vase; see also Bonhams San Francisco, 16th December 2014, lot 8331 for another comparable vase.
清嘉慶（或更晚） 青花趕珠龍紋長頸瓶 《大清嘉慶年製》青花篆書款
175 A CHINESE IMPERIAL YELLOW GLAZED SAUCER DISH SIX CHARACTER TONGZHI MARK AND OF THE PERIOD 1862-74 The interior, exterior and base all covered in a rich egg-yolk yellow glaze, the glaze darkening where the shallow body meets the short straight foot, 10.9cm.
£2,000-3,000 Provenance: formerly a European private collection.
清同治 黃釉碟 《大清同治年製》楷書款 來源：歐洲私人收藏。
176 A CHINESE IMPERIAL JIANG GLAZED DISH SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35 The deep body rising from a short tapering foot to a gently flaring rim, the exterior moulded with two raised ribs, the interior and exterior both covered with an even warm brown glaze, 17.1cm.
£4,000-5,000 Provenance: formerly an English private collection, by repute purchased from Bluett & Sons. Cf. Sotheby’s London, 9th November 2011, lot 91 for a comparable piece with a white interior.
清雍正 醬釉碗 《大清雍正年製》青花楷書年製 來源：英國私人收藏，購於Bluett & Son(傳)。
177 A PAIR OF CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISHES SIX CHARACTER GUANGXU MARKS AND OF THE PERIOD 1875-1908
178 A PAIR OF CHINESE FAMILLE ROSE YELLOW-GROUND MARRIAGE DISHES SIX CHARACTER TONGZHI MARKS AND PROBABLY OF THE PERIOD
Each incised and painted in aubergine and green enamels with two dragons in pursuit of a sacred pearl amidst stylised flames, all surrounded by flowers and fruiting peach branches, each with two further dragons divided by lingzhi to the underside, 10.8cm. (2)
Each painted with many butterflies and eight gilt shuangxi characters, the reverse rims with enamelled floral sprays, 18.5cm. (2)
清同治 黃地大婚碟 一對 《大清同治年製》礬紅楷書款
Provenance: formerly a European private collection.
Cf. Christie’s London, 10th May 2011, lot 284 for a similar pair of dishes.
清光緒 黃地綠褐彩趕珠龍紋碟 一對 《大清光緒年製》楷書款 來源：歐洲私人收藏。
179 A RARE CHINESE IRON-RED AND GREEN ENAMELLED ‘DEER’ BOWL SIX CHARACTER JIAJING MARK AND OF THE PERIOD 1522-66 The exterior painted in green enamels with a continuous scene of four deer in a wooded landscape, they stand amidst pine and lingzhi, with a slightly convex medallion enclosing a fruiting branch to the well, all reserved on a rich red ground, the base glazed white with the reign mark in underglaze blue, 12.2cm.
£6,000-8,000 Provenance: from a private collection, Leicestershire.
明嘉靖 紅綠彩碗 《大明嘉靖年製》青花楷書款 來源：英國蘭卡斯特郡私人收藏。
180 A FINE CHINESE IMPERIAL COPPER-RED GLAZED ZHADOU SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The compressed circular body rising to a wide flared rim, the exterior all coated in a copper-red glaze which darkens at the foot and mouthrim, the interior and base glazed white, all raised on a short straight circular foot, 12.7cm dia.
£50,000-70,000 Provenance: from an important Asian collection. The colour of this glaze is also known as ‘sacrificial red’. According to legend, the Xuande Emperor (r.1426-35) wanted to use a set of bright red ceramics to make offerings to the Sun, and so he instructed the workers at the Jingdezhen kilns accordingly. Despite numerous attempts, they were unable to create the red the Emperor desired, and so, unsatisfied by their work, he threatened to execute the workers. Upon hearing this news, one of the potter’s daughters went to the kilns, only to find that her father had been imprisoned for failing to produce the correct colour. In protest, she sacrificed herself by throwing her body into the blazing kiln. When the kiln was opened, the workers were astonished to find that all the ceramics inside were now red, supposedly having been stained by the girl’s blood. This is one explanation for the origin of the term ‘sacrificial red’.
清乾隆 御製霽紅釉渣斗 《大清乾隆年製》青花篆書款 來源：重要亞洲私人收藏。
181 A LARGE CHINESE AUBERGINE AND GREEN GLAZED ‘FIVE DRAGON’ DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 The centre finely incised and enamelled in aubergine with a five-clawed dragon in pursuit of a sacred pearl amidst flames and stylised clouds, the design encircled by two dragons, with a further two dragons chasing flaming jewels above a band of lappets to the exterior, all against a vivid green ground, the base glazed white and with the reign mark in underglaze blue, 31.4cm.
£3,000-4,000 Cf. Hong Kong Museum of Art, Chinese Porcelain: The S C Ko Tianminlou Collection, Part.2, p.132, no.87 for a dish of the same design; see also B Yang, The Tsui Museum of Art: Chinese Ceramics IV Qing Dynasty, no.115 for another example; see also Sotheby’s Hong Kong, 9th October 2007, lot 1612 for a comparable dish.
清康熙 綠地褐彩趕珠龍紋盤 《大清康熙年製》青花楷書款
182 A RARE CHINESE FAMILLE VERTE ‘SCHOLARS’ BOWL KANGXI/YONGZHENG The deep U-shaped body supported on a short tapering foot and rising to a flared everted rim, finely painted with two seated scholars relaxing and drinking tea by a cluster of rocks and shrubs, with an attendant standing to the side ready to assist, the reverse inscribed with a poem, with a six character Hongzhi mark to the base, 11.5cm.
£2,000-4,000 Provenance: given to the current owner in Hong Kong in 1980 by Brian McElney, founder of the Museum of East Asian Art, Bath.
清康熙/雍正 粉彩高士詩文碗 《大明弘治年製》青花楷書款 來源：1980年在香港由巴斯東亞藝術博物館創始人Brian McElney贈予現藏家。
JEWELLERY Thursday 23rd January 2020 Entries are now being accepted for this sale
A Renaissance carved sapphire intaglio, depicting Julius Caesar From The Marlborough & Arundel Collections Sold for ÂŁ77,500* in July 2019
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TRIBAL ART & ANTIQUITIES Wednesday 19th February 2020 Entries are now being accepted for this sale
A Marquesas Island U’u war club, Polynesia Sold for £88,750* in September 2019 ENQUIRIES Will Hobbs |+44 (0) 1722 339752 firstname.lastname@example.org *Price includes buyer’s premium
MODERN BRITISH & 20TH CENTURY ART Wednesday 11th December 2019
Dorothea Sharp, RBA, ROI, VPSWA (1874-1955) Summer in Cornwall Signed Oil on canvas 77 x 92cm Estimate Â£15,000 - 20,000*
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SILVER & OBJECTS OF VERTU Tuesday 21st and Wednesday 22nd January 2020 Entries are now being accepted for this sale
By Tiffany and Co, a 19th century silver and mixed metals Mokume tea caddy Sold for £26,250* in July 2019 ENQUIRIES Rupert Slingsby |+44 (0) 1722 424501 | firstname.lastname@example.org Lucy Chalmers |+44 (0) 1722 424594 | email@example.com *Price includes buyer’s premium
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Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000
LOT SYMBOLS VAT Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.
FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.
拍賣須知 營業時間： 週一至週五9:00-17:30，週六10:00-13:00 拍賣前預展： 本公司所有拍賣預展都會在正式拍賣的前兩天舉 行，詳細資訊請查閱相關拍賣圖錄。 登記競投： 競買人應在拍賣日前於公司前臺接待處申領競投號 牌。本公司現提供永久競投號牌，競買人登記後可 在未來的拍賣中使用。 登記時，您需要出示身份證、護照（如果有）和地 址證明（有注明住址的水電煤帳單或駕駛證）， 或者將以上資料以郵件的形式發送至enquiries@ woolleyandwallis.co.uk 委託競投： 不能出席拍賣的競買人可通過書面形式委託本公司 代為競投，工作人員將參考底價，盡力以最低價進 行競投。 電話競投： 委託人可在拍賣會進行時通過電話競投，該項服務 須在拍賣會開始前與本公司前臺接待處預約。 威立士網上競投： 本公司提供免費網上即時競投，請登錄bid. woolleyandwallis.co.uk登記競投賬戶。
拍品情況報告： 本公司會提供有關拍品的品相報告，所有拍品的尺 寸或重量可以在相關圖錄裏瞭解。 注：所有測量數據視為近似值，因印刷或攝影造成 圖錄作品的色調、顏色等與原物有誤差者，以原物 為准。 成交價： 所有拍品的成交價會在拍賣會結束後在本公司網站 上公佈。 付款： 競買成功後，所有拍品的購買款項應以英鎊支付， 本公司收到款項後方可領取拍品。第一次在威立士 拍賣行交易的買家需提供姓名、地址和銀行資訊。
付款可以通過以下方式： 銀行匯票、現金匯票、個人支票、旅遊支票、信用 卡、銀行借記卡和不超過相當於€10,000的現金。 如果持卡人不在現場，本公司將不能收取超過 £1,000的引用卡付款。 本公司電匯資訊： Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 信用卡：VISA或者MASTERCARD會有2%的手續費 和增值稅（VAT） 借記卡：Delta, Switch, Connect, American Express, Union Pay 付款和取貨都可以在拍賣現場進行。 傢具和鐘錶類的拍品通常會在拍賣結束後留在拍賣 現場三個工作日，然後轉移至倉庫。請買家取貨時 請務必提前和本公司預約。 拍賣結束三十天后開始徵收存放費用，費用包括： 保管費：每件拍品£20（+增值稅VAT） 存放費：每天每件拍品£2 （+增值稅 VAT） 以上所有費用全部結清才能取貨。 增值稅VAT： 帶有星號（†）的拍品需要在落錘價上徵收增值 稅。帶有希臘字母（Ω）的拍品表示從歐洲以外的 國家進口，並且在落錘和買家支付之傭金上收取5% 的增值稅。在本公司網上圖錄‘the Sales Tax %’ 一欄顯示的是在落錘價上徵收的增值稅比例。
瀕危野生動植物種國際貿易公約 （CITES） 標註λ的拍品在從英國出口之前需要查詢其進口地 的進出口條例，詳細信息請登錄網站查詢www. ukcites.gov.uk 藝術家的追續權： 追續權是付給藝術家的專利稅。如果藝術家還在世 或者去世以後的70年內，那麼每次出售和轉售都要 付給該藝術家或者其繼承人專利稅。追續權不是增 收稅，會加在競買人購買價格之上，然後轉給相關 仲介機構。 專利稅是在落錘價錢（不包括買家支付之傭金）上 以百分率的方式徵收。€1,000以下的拍品不收取專 利稅，每個拍品的專利稅最高可以收取€10,000. 請詢問拍賣當天的英鎊匯率。 追續權的專利稅百分比率請參照下表： 4% 3% 1% 0.5% 0.25%
€50,000以下 €50,000.01 – 200,000 €200,000.01 – 350,000 €350,000.01 – 500,000 €500,000以上
包裝和運送： 威立士拍賣行不提供包裝和運送的服務。以下是在 本公司周邊的運送公司及其聯繫方式： Alban Shipping 01582 493 099 email@example.com www.albanshipping.co.uk Mailboxes 01962 622133 firstname.lastname@example.org www.mbe.co.uk/winchester Pack & Send 01635 887237 email@example.com www.packsend.co.uk/newbury 若拍品已轉交運輸公司，任何丟失及損壞威立士將 不承擔一切責任 **注：本須知如有任何詮釋上的問題，一概以英文 版本爲準。
簡介：本規則適用於本公司的買家，特別是對 於新加入拍賣的競買人。所有拍賣品的資訊和 估價都可以在相關拍賣圖錄中翻閱。如果您有 任何疑問，本公司的工作人員將非常樂意為您 服務。本中文條款如有任何詮釋上的問題，一 概以英語版本爲準。
仲介：作為拍賣行，本公司通常以代理買方的 身份簽署合同。爲了保護客戶隱私權，本公司 不會公開競買人的資訊。
估價：估價是爲了提供競買人一個大概的價格 浮動範圍。所有提供的拍賣品均設有賣家所定 的保密的最低價，拍品不會以低於此價出售。 圖錄上較低的估價價格即可能是該拍賣品的底 價。估價不包括競買人支付的傭金和VAT增值 稅。估價會在拍賣之前提供給競買人。
買入價格：競買人需要付成交價和傭金（每 件拍品的成交價低於£500,000 取25%，超過 £500,000 上部份 取12%）+ VAT增值稅 VAT增值稅：買家須以有關法律所規定的稅率 及時間繳付增值稅。增值稅會在成交價和傭金 之上收取。帶有星號（*）的拍品是從歐盟國 家進口的，將徵收20%進口VAT增值稅。帶有 雙星符號（**）的拍品是從歐盟以外的國家進 口的，當下的VAT增值稅為5%。如果沒有以上 敘述的兩種符號，該拍品就不需要徵收VAT增 值稅。 威立士拍賣行：本公司是賣家的仲介，所有拍 品的資訊均源自於賣家，同時也會檢查拍品的 情況。本公司在關於拍品的目錄、品相報告和 另外口頭與書面的所有陳述，均只屬於意見的 表述，而不應依據為事實的陳述。目錄和品相 報告中所提及的有關瑕疵和未經修復的敘述只 作為對該拍品的參考，不應被依據為拍品的真 實狀況。所以競買人在拍賣前仔細檢查拍品情 況是一個明智的選擇。但如果發現拍品存在‘ 蓄意偽造’的情況，在三個星期內可能可以被 退還。（蓄意偽造的詳細解釋可以在本公司的 拍賣條款裏查閱） 電器拍品：所有電器拍品都以古董的形式進行 拍賣，如果是用於日常使用請在拍賣之前與專 業電器公司確認其安全性。 出口拍品：買家如果想要出口競拍所得物品需 要查明：a）是否需要出口許可證。b)要攜帶 入境的國家是否對該類拍品有禁令。比如說， 可能會禁止攜帶象牙。如有需要請詢問本公司 前臺服務。但上述的兩種情況都不作為取消交 易和推遲付款的原因。
競投：競買人需要在拍賣前進行註冊，登記時 需要提供姓名，位址。新客戶需要向本公司提 供身份證明。如需要電話競投服務，請儘早與 本公司進行登記。
10. 競投委託：該項服務是以書面的形式委託威立 士在不超過其指定金額下競投拍賣品。工作人 員將參考底價，盡力以最低價進行競投，如果 威立士收到兩個或以上相同價格的書面競投， 則以最先與本公司簽訂委託競投協定者為成功 競投者。 11. 付款方式：按照規定，成交拍品需要付清所有 遺留款項以後才能取貨。關於付款方式請提前 與本公司前臺聯系。 12. 取貨和存儲：請查閱本公司拍賣條款裏關於取 貨和儲存的有關信息。所有推遲提取的拍品都 會徵收相應的存儲費用。 賣家委託條件 1.
傭金：拍品成交價在£999 內收取15%的傭金 +VAT增值稅，超過£1,000 拍品需要徵收10% 的傭金+VAT。
運輸費：所有拍品務必要在截止日期前送達我 們拍賣行，且所有費用將由您來承擔。我們可 以在運送過程中幫助您但是本公司不承擔運輸 中發生任何狀況的責任。
丟失和損傷保險：我們沒有為客戶準備FSA的 保險，但本公司用拍品的最低估價作為保護承 擔責任賠償。我們會收取成交價的1.5%作為 責任賠償的保險費用，如果您的拍品沒有成交 那麼我們會以估價的中間值為標準收取費用。 如果您不需要這項服務，那麼您將承擔丟失和 損傷的風險，直到買家取走該拍品。
插圖：插圖的費用由您來承擔。若我們覺得拍 品需要插圖會尋求您的允許，我們會事先通知 您。但所有圖像和文字說明的版權都屬本公司 所有。
我們可以賣出低於拍品預訂價，但我們會支付 您該拍品的保留價。但如果您給予本公司‘裁 決’的權利，我們會同意以低於預訂價10%的 價格出售。
敬請您務必在拍賣前提供給我們您需要的 保留價。保留價必須是我們認為合理的成 交價格，本公司有權利下降不合理的高保 留價。
電器拍品：這些拍品需要詳細的安全證明和防 火安全證明。若發現拍品有安全隱患，該拍品 將不被進行競投，我們有權要求您取走該拍 品。
室內裝飾品：室內裝飾品如果發現有防火 安全隱患，根據Provisions of The Torts (Interference with Goods) Act 1997, Schedule 1 條例，我們有權要求您取走該拍 品。
10. 拍品描述：請告知我們正確的拍品資訊，包括 拍品來源等等。對於拍品的描述的正確性有嚴 格的責任賠償，且在很多情況下您將承擔該責 任。如果您沒有反對我們對您的拍品描述，我 們將假定您同意您已認可。若競買人發現拍品 描述和實際拍品不符我們將退還買家所付金 額。我們必須引提醒您，即使您確實不知道拍 品描述和實際不相符也必須遵循該條例。 11. 未成交的物品：如果拍品沒有成交，可以在您 的允許下在下一次拍賣中再次進行競投。如果 我們認為該拍品無法賣出，請您務必儘快從本 公司提貨，因為我們有權向您徵收倉庫儲存 費。 12. 撤拍和買入的物品：撤拍或自行買入的拍品若 已列入圖錄或已經開始印刷，則應支付保留價 或者圖錄中最低估價的10%的傭金加上VAT增 值稅。 13. 拍賣條例：您所有同意的物品將根據拍賣條例 進行出售，您或者仲介有權出售該物品。如違 反該條例您將承擔我們、買家和第三方的所有 損失和賠償。
威立士索爾茲伯裏拍賣有限公司是與競買人、賣家 和在拍賣現場的人進行業務運作。拍賣條例可以從 這裡參考查閱。 1. a)
‘蓄意偽造’是指一件仿品試圖偽造原創作 者、時期、年紀、年代、文化或來源於圖錄 中描述的不同，而在拍賣當天拍出了與該仿 品的本身價值不符的價格。
您可以授權要求我們取消傭金和所有相關 費用，但是我們有權利保留買家所支付的 傭金和相關費用所產生的利息。
您可以授權我們在拍賣結束印業當天進行 私下協議出售沒有成交的拍品，但我們可 以收取和拍賣成交時同樣的傭金和費用。
15. 存儲：我們對任何不能馬上上拍的物品不負 責，且我們有權收取每天£2 儲存費。如果三 個星期以後還是沒有前來領取，我們有權利出 售該物品並收取相關費用。 16. 結算：通常拍賣結束以後28天內可以完成款項 結算，除非買家未付款。
在拍賣官的決定下，競買人出價最高且被拍 賣官接受的競買人才能成為該物品的買家。 下錘則表示賣家和買家之間的拍賣合約已經 達成。
競買人會被我們視作委託人。我們有權利為 賣家競投到其設定的保留價，且有權利拒絕 任何競投。
買入價格：競買人需要付成交價和傭金（每件 拍品的成交價首£500,000 取25%，另外超過 £500,000 上部份收取12%）+ VAT增值稅
增值稅：根據法律規定，買家所有成交的拍品 的成交價上要支付VAT增值稅。（具體信息請 查閱買家須知的增值稅部份）
14. 扣除賣家傭金和費用以及保留買家傭金和利息 的權利： （a）
b） 買家需要付清我們計算出的應付金額，包括以 您或您仲介名義下的所有款項。 7. a)
所有權和領取已購買物品： 物品的所有權只有在您付清全部應付金額之 後才能被轉移。
您需要在拍賣結束後三個工作日付清金額， 且取走物品以後所發生的所有責任都由您來 擔當。
如果有買家沒有全部付清應付金額，根據條 例我們作為賣家仲介和拍賣行可以執行以下 權利和提醒：
如果重新賣出拍品（通過拍賣或私人交涉成 交），您就要承擔所有重新拍賣所造成的任 何高於您的成交價的部份歸賣家所有。
v) vi) vii)
您拍品的運送、存放和投保的費用都由您承 擔，至於存放地點可以在我們的儲藏室或者 其他地方。 如果沒有在拍賣結束後三個工作日內付款， 我們將以每個月1.5%的比率收取利息。 直到您付清所有的應付金額，我們才能取消 利息的收取。 在今後的任何拍賣中，不接受您做出的競 投，或在接受任競投之前加一些必要條件。
viii) 申請出售任何其他拍品的收益，或在將來您 在結算的時候，可以行使留置權。 1b) 我們作為賣家的仲介和拍賣行，我們執行以上 的權利和提醒是爲了做出合理的補償。 9.
第三方責任：所有現場的公眾人員都必須注意 現場的安排和安全隱患。拍賣官、我們的員工 和都不對任何的死亡和人員傷亡負責（除法律 認定是我們的疏忽外）。
10. 委託拍賣：雖然我們建議買家參加拍賣現場對 所有競投負責，但如果需要我們可以為買家進 行競投。工作人員將參考底價，盡力以最低價 進行競投。如果威立士收到兩個或以上相同價 格的書面競投，則以最先與本公司簽訂委託競 投協定者為成功競投者。 11. 所有權保證和有效性：賣家向拍賣行和您保 證，物品的所有權和出處是該買家，且物品不 受任何第三方索賠。 12. 仲介：拍賣行通常作為仲介不履行任何買家和 賣家的義務。 13. 銷售條例：買家將在委託拍賣之時起承認履行 所有委託條款。 14. 描述和條例： a)
拍品充分查看和調查的機會。競買人將會對我 們的描述有不同的見解。我們承諾，任何此類 意見會被相當誠實合理的接受。
在我們尋找對拍品正確的描述的時候，可能不 能對每個拍品都做到最詳盡的調查。在拍賣開 始之前競買人和他們的鑒定師會被給予對每件
15. 偽造者：儘管有之前的條件，但任何拍品被證 明是蓄意偽造，或可以在拍賣結束後21 以內 原封不動的與相關證明材料一起歸還於我們。 如果我們認可您提供的資料證據可以證明該拍 品存在蓄意偽造的事實，我們將退還您所付的 傭金和成交價。但是如果1 從成交日起，眾學 者和鑒定專家都認可圖錄中的描述。或者2 您 個人無法提供一個更好的解釋給我們，那麼根 據條例您就沒有權利要求我們退還拍品。 常規信息 16. 我們有絕對權利拒絕任何人士進入拍賣場地進 行拍賣。 17. (a) 所有損壞賠償責任和毀約所帶來的費用都 應該酌情賠償給賣家和拍賣行。 (b) 這種權利可以由拍賣行和其員工或賣家強 制執行。 18. 任何對買家、賣家、競買人和觀展人的通知都 會都以第一類郵件的方式在48 時內寄到其提 供給我們的地址。 19. 圖錄描述中出現的特殊名詞都會在術語表中做 詳細解釋。 20. 任何沒有節制的拖延或延長競投時間的買主或 賣主我們會合情做出一定的讓步。 21. 英國法律可以用於解釋這些條例。 圖畫、素描、平板印刷、雕刻品和印刷 任何關於作者、歸屬，出處，時期，年份， 來源和情況的敘述都是一件的聲明。不能把 他當做事實敘述。公司有權利敘述意見用來 提供相對可靠的顧問資訊。 書籍 如果發現書籍收藏中的描述和插圖中被證明 有一些缺陷，請您以書面的形式解釋該收藏 的問題，并在14天內退回該收藏。在圖錄 中已經提及或在拍賣該物品之前指出的缺陷 都不予接受。另外包括書中空白處、半個標 題、廣告、書籍裝訂損壞、水漬和污漬。
SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1.
Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.
Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.
Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.
The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.
VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.
We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).
Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.
Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.
Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.
10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash). 12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges. TERMS OF CONSIGNMENT FOR SELLERS 1.
Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.
Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.
Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.
Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.
Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.
Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.
We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve.
Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8.
Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.
Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.
10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.
sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2.
(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque five weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale. CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1.
In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot
INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.
THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.
14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.
BIDDING PROCEDURES AND THE BUYER
(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.
VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).
(a) (i) (ii) (b)
Immediately a lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in pounds sterling Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.
TITLE AND COLLECTION OF PURCHASES
(a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8.
REMEDIES FOR PURCHASES
(a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;
(viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.
THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.
10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.
benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions. 22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it. PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary
12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION
Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category. Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. After Edward Lear: In our opinion a copy of a known work of the artist. The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. Dimensions are given height before width. Pictures are framed unless otherwise stated.
(a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.
(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.
ARTIST’S RESALE RIGHT / DROIT DE SUITE
Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the
(d) (e) (f) (g) (h) (i)
Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000
PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: •
By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU.
By email – firstname.lastname@example.org
By telephone – +44 (0)1722 424599
HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: •
THE CATEGORIES OF PERSONAL DATA WE COLLECT
THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: •
In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: •
• • • •
• • •
We may collect the following personal data about you: • • •
• • • • •
your name and contact details including address, telephone and email address; your image, as captured by CCTV, if you attend our premises; personal identification documents, including copies of governmentissued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); account details and other information relating to your transactions/ dealings with us and your use of our Services; payment details such as credit card and bank account details; credit and payment history (where you open an account with us as a buyer or bidder); information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.
We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.
to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.
to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; to deal with any concerns or feedback you may have in the performance of the Services; for our internal business record keeping and processes; to seek advice on our rights and obligations, including obtaining legal advice; to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; to customise our website and marketing communications in line with your particular interests or preferences; to collect money owed to us or our consignors; to carry out background and credit checks in relation to bidders and buyers.
In this respect we will provide your data to the following: • • • • •
our professional advisors; thesaleroom.com; debt collection agencies; third parties who assist us with our marketing; our website and email management software provider.
LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • •
to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; in order to assist with investigations (including criminal investigations) carried out by competent authorities;
In this respect we will provide your data to the following: • •
external auditors; the police and other competent authorities, including HMRC;
HOW LONG YOUR INFORMATION IS KEPT
We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.
Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.
In particular: • •
SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: •
if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);
if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);
We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.
in relation to CCTV images taken when you attend our premises, we will retain these for a few months; in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.
YOUR LEGAL RIGHTS Under the DPA you have the following rights: • • • • • •
to obtain access to, and copies of, the personal data that we hold about you; to require that we cease processing your personal data if the processing is causing you damage or distress; to require us not to send you marketing communications. to require us to correct the personal data we hold about you if it is incorrect; to require us to erase your personal data; to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.
Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk
WILTON & WARMINSTER
CENTRAL CAR PARK
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INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.
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Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount. AS
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For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.
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A354 DORCHESTER WEYMOUTH & BLANDFORD
Woolley and Wallis valuations are accepted by all leading insurance companies. PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof. We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Amanda Lawrence 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500. DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM E
MARLBOROUGH & SWINDON
Old Sarum Park
WOOLLEY & WALLIS Castle Gate WOOLLEY & WALLIS Salisbury Salerooms
WOOLLEY & WALLIS
1st Self Access Storage
A345 Castle Rd
Clifford Street, Mayfair
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Sarum Business Park
Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX
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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU
17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)
Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.
Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.2998482 VAT No: 631 9832 29
Design & Production by
EXCELLENCE IN DESIGN & PRINT
Absentee Bid Form Fine Chinese Paintings & Works of Art
PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order
12th November 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/ or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. BUYER’S PREMIUM Each lot is subject to a buyer’s premium of 25% plus VAT at 20% Billing Name (please print) ____________________________ ____________________________________________________ Address ____________________________________________ ____________________________________________________ ____________________________________________________ _________________________ Postcode _________________ Daytime Telephone __________________________________ Email_______________________________________________ All accounts must be settled within 21 days. ID is required for all first time bidders. Signature ___________________________________________
Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508
Brief Description of lot
Price excluding buyer’s premium & VAT
書面競投表格 中國藝術品 買家佣金 每件拍品收取25%的買家佣金+增值稅（20%）
敬請以本公司的名義為競買人進行競投，以 下所填的價錢上限不包括拍品所需的任何 買家保險價和任何VAT增值稅。這些拍品 會以圖錄上說明的底價以上的拍賣價成交。 競買人資料 （請用英語大寫字母書寫） 姓： 名：
使用借記卡付款沒有手續費，但各類銀行信用卡都將會有 2%+VAT稅的手續費，新買家付款是將需要提供身份證或護 照。
Salisbury Salerooms (威立士拍賣行), 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508
AUCTION CALENDAR OCTOBER 29th
Fine Silver & Objects of Vertu
NOVEMBER 12th & 13th Asian Art, Chinese Paintings & Japanese Works of Art 20th
Medals & Coins, Arms & Armour
British Art Pottery
FREE VALUATION MORNINGS First Friday of the month 10am-1pm. No appointment necessary.
NEXT VALUATION DATES 1st November, 6th December & 7th February (No valuation day in January)
Modern British & 20th Century Art
Furniture, Works of Art & Clocks
21st & 22nd Silver & Objects of Vertu 23rd
FEBRUARY 4th & 5th
The Judith Howard Collection of Sèvres Porcelain
Tribal Art & Antiquities
Old Masters, British & European Paintings
Clarice Cliff, Art Deco & Design
Dates may be subject to change
+44 (0) 1722 424500 email@example.com 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium
The Grand View of Chao Mountain by Zhang Daqian (1899-1983), SOLD FOR £2.64MILLION*
WOOLLEY & WALLIS
SALISBURY FINE CHINESE PAINTINGS & WORKS OF ART
TUESDAY 12TH NOVEMBER 2019
Tuesday 12th November 2019