Woolley & Wallis Fine Chinese Paintings & Works of Art

FINE CHINESE PAINTINGS

& WORKS OF ART 中國字畫及藝術品 TUESDAY 10TH NOVEMBER 2020

Lot 121

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ASIAN ART

VALUATIONS FOR INSURANCE & PROBATE

John Axford MRICS ASFAV 424506 Jeremy Morgan +44 (0)7812 601098 Amber Lees 424571 Sarah Lopez-Ferreiro 424591

Jeremy Lamond MRICS ASFAV FRSA 424598 Paul Viney ASFAV 424509 Amanda Lawrence 424509

CHINESE PAINTINGS & CALLIGRAPHY

Janice Clift (Office Manager) Sarah Bennie Megan Corbett Pauline Jones Nicola Young

Freya Yuan-Richards Amber Lees

424589 424571

JAPANESE WORKS OF ART Alexandra Aguilar Sarah Lopez-Ferreiro

424583 424591

424505 446955

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

CASTLE GATE RECEPTION MARKETING Sally Trench

446959

ACCOUNTS 424507 446964

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

Ruth Pike Sharon Ringwood

BOARD OF DIRECTORS 411854 339161 411854

JEWELLERY

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Charlotte Glyde FGA 424586

Paul Viney ASFAV Non-Executive Director

MEDALS & COINS, ARMS & ARMOUR

Janice Clift Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Mark Yuan-Richards

Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

ASSOCIATE DIRECTORS

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

Catalogue £20.00 (£25.00 by post) (£30.00 by post outside Europe)

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk 2

424500

Sally Litherland

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

GENERAL OFFICE

Front Cover: Lot 124 Back Cover: Lot 10

FINE CHINESE PAINTINGS

& WORKS OF ART

ASIAN ART 中國藝術品 John Axford +44 (0)1722 424506 jea@woolleyandwallis.co.uk

中國字畫及藝術品 TUESDAY 10 10.30am

TH

NOVEMBER 2020

at our Castle Street Salerooms, SP1 3SU

VIEWING BY APPOINTMENT

Jeremy Morgan +44 (0)7812 601098 jm@woolleyandwallis.co.uk

Amber Lees +44 (0)1722 424571 aml@woolleyandwallis.co.uk

Sarah Lopez-Ferreiro +44 (0)1722 424591 slf@woolleyandwallis.co.uk

煩請閣下提前預約參觀預展，以避免不必要的等候。 Friday 6th November Saturday 7th November Monday 9th November

CHINESE PAINTINGS 中國字畫及油畫 Freya Yuan-Richards +44 (0)1722 424589 fyr@woolleyandwallis.co.uk

There will be no viewing on the day of the sale.

Please contact the department to make an appointment.

JAPANESE ART 日本藝術品

SEE OUR WEBSITE FOR UPDATED COVID-19 GUIDANCE

Alexandra Aguilar +44 (0)1722 424583 aa@woolleyandwallis.co.uk

IMPORTANT CHANGES TO OUR BIDDING PROCEDURE Please note that, owing to the recent introduction of Money Laundering Regulations, clients wishing to bid in this auction are likely to be asked to provide two forms of identification. This applies to both new and existing clients.

BUYER’S PREMIUM See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices.

Telephone Bidding Requests for telephone bidding may not be accepted after 12 noon on Monday 9th November. 本公司提供免費網上即時競投，請在11月9日中午12點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。 注：所有網絡買家需要支付至少£5,000的保證金。 網上競投總金額的限額為£50,000。 Online bidders may be required to pay a deposit of £5,000.

This deposit will allow the online bidder to bid up to a maximum of £50,000 in total at this auction.

LIVE ONLINE BIDDING - FREE OF CHARGE

威立士網上競投 bid.woolleyandwallis.co.uk Please register by 12 noon on Monday 9th November.

Instagram: @woolleyandwallisasianart @woolleyandwallissalerooms Facebook: @woolleyandwallis Twitter: @woolleywallis Pinterest: Woolley and Wallis

新浪微博 @艾思福

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Lot 46

SPECIAL ASIAN ART NOTICES Restricted Bidding If you wish to bid at this auction you will need to register and provide proof of identity and of your address and provide photographic ID. You may be asked to pay a deposit of £5,000.

Any deposit must be paid by debit card or bank transfer. Woolley and Wallis must have cleared funds no later than 12 noon on Monday 9th November. If you are not successful you will be refunded (without interest) within seven working days.

ONLINE BIDDERS MAY BE REQUIRED TO PAY A DEPOSIT OF £5,000.

THIS DEPOSIT WILL ALLOW THE ONLINE BIDDER TO BID UP TO A MAXIMUM OF £50,000 IN TOTAL AT THIS AUCTION. 網絡競投需向本公司支付£5000押金，網上競投總金額的限額為£50,000。 特別提示： 競拍者須憑本人護照領取競投號牌，并預交保證金£5000 請務必妥善保管自己的競投號牌，不得將自己的競投號借於他人使用。 若他人使用其號牌競投相應拍品，競買者需承擔全部法律責任。 注：註冊拍賣截止時間為11月9日中午12點整。 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 may not be accepted after 12 noon on Monday 9th 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察拍品。純為方便買家威立士可以在拍賣開始前提供品相報 告，但未記載的品相報告並不代表其品相完美，如果您有需要請聯繫我們咨訊相關信息。 Collection of lots by appointment only Please contact the department to arrange collection of lots.

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CHRONOLOGY OF CHINA 中國歷代年表

NEOLITHIC 新石器時代 c.6500-1700 BC XIA DYNASTY 夏 c.2100-1600 BC SHANG DYNASTY 商 c.1600-1100 BC ZHOU DYNASTY 周 c.1100-221 BC Western Zhou 西周 c.1100-771 BC Eastern Zhou 東周 770-256 BC Spring and Autumn Period 春秋 770-476 BC Warring States Period 戰國 475-221 BC QIN DYNASTY 秦 221-206 BC HAN DYNASTY 漢 206 BC-AD 220 Western Han 西漢 206 BC-AD 8 Eastern Han 東漢 AD 25-220 THREE KINGDOMS 三國 220-280 Wei 魏 220-265 Shu Han 蜀漢 221-263 Wu 吳 222-280 JIN DYNASTY 晉 265-420 Western Jin 西晉 265-317 Sixteen Kingdoms 十六國 304-439 Dong Jin 東晉 317-420 SOUTHERN DYNASTIES 南朝 420-589 Liu Song 劉宋 420-479 Southern Qi 南齊 479-502 Liang 梁 502-557 Chen 陳 557-589

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NORTHERN DYNASTIES 北朝 386-581 Northern Wei 北魏 386-534 Eastern Wei 東魏 534-550 Western Wei 西魏 535-556 Northern Qi 北齊 550-577 Northern Zhou 北周 557-581 SUI DYNASTY 隋 581-618 TANG DYNASTY 唐 618-907 FIVE DYNASTIES 五代 907-960 Later Liang 後梁 907-923 Later Tang 後唐 923-936 Later Jin 後晋 936-946 Later Han 後漢 947-950 Later Zhou 後周 951-960 LIAO DYNASTY 遼 907-1125 SONG DYNASTY 宋 960-1279 Northern Song 北宋 960-1127 Southern Song 南宋 1127-1279 JIN DYNASTY 金 1115-1234 YUAN DYNASTY 元 1271-1368

MING DYNASTY 明 1368-1644 Hongwu 洪武 1368-1398 Jianwen 建文 1399-1402 Yongle 永樂 1403-1425 Hongxi 洪熙 1425 Xuande 宣德 1426-1435 Zhengtong 正統 1436-1449 Jingtai 景泰 1450-1456 Tianshun 天順 1457-1464 Chenghua 成化 1465-1487 Hongzhi 弘治 1488-1505 Zhengde 正德 1506-1521 Jiajing 嘉靖 1522-1566 Longqing 隆慶 1567-1572 Wanli 萬曆 1573-1620 Taichang 泰昌 1620 Tianqi 天啟 1621-1627 Chongzhen 崇禎 1628-1644 QING DYNASTY 清 1644-1911 Shunzhi 順治 1644-1661 Kangxi 康熙 1662-1722 Yongzheng 雍正 1723-1735 Qianlong 乾隆 1736-1795 Jiaqing 嘉慶 1796-1820 Daoguang 道光 1821-1850 Xianfeng 咸豐 1851-1861 Tongzhi 同治 1862-1874 Guangxu 光緒 1875-1908 Xuantong 宣統 1908-1911 REPUBLIC OF CHINA 中華民國 1912HONGXIAN (YUAN SHI KAI) 洪憲 （袁世凱）1915-1916 PEOPLE’S REPUBLIC OF CHINA 中華人民共和國 1949-

FINE CHINESE PAINTINGS

& WORKS OF ART 中國字畫及藝術品 TUESDAY 10TH NOVEMBER 2020 10.30AM

Lot 94

FINE PAINTINGS & CALLIGRAPHY

中國字畫

LOTS 1-15

1 AFTER LUO PIN (LATE QING DYNASTY) A LUOHAN RIDING AN ELEPHANT

2 AFTER WEN JIA (LATE QING DYNASTY) SCHOLARS UNDER PINE TREES

A Chinese painting, ink and colour on silk, inscribed and with a signature reading Luo Pin, with two artist’s seals, 66cm x 32.5cm.

A Chinese painting, ink and colour on paper, inscribed and dated the jiaxu year, with a signature reading Wen Jia, with two artist’s seals and one collector’s seal, framed and glazed, 108cm x 51cm.

£1,000-2,000 Provenance: from an English private collection, acquired c.1920s, and thence by descent.

羅聘（傳） 騎象羅漢 設色絹本 立軸 款識：乾隆庚戌秋八月摹龍眠原本，兩峯羅聘。 鈐印：羅聘、遯夫。 來源：英國私人收藏，購於1920年代之後由家人傳承。

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£500-700 文嘉（傳） 松下論道 設色紙本 鏡面 款識：古人畫所以工專而業精非畫師也，縉紳子弟陶情悅性。天地間 山水花鳥無一非畫稿，從吾所將二為之所謂，不求佳而自佳耳，今則 多欲以畫自給，皇皇尊惟恐不洽於時譽，朝脫稿而夕已裝潢，雖丹碧 耀日而風趣然矣。甲戌五月，休承文嘉並記。 鈐印：文嘉之印、文休承印、芸湧珍藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

3 AFTER LANG SHINING/GIUSEPPE CASTIGLIONE (19TH CENTURY) CHRYSANTHEMUM A Chinese painting, ink and colour on paper, the signature reading chen Lang Shining gong hua, with two artist’s seals, together with another painting of chrysanthemum in a basket, ink and colour on paper, with a signature which reads chen Yu Sheng gong hua, with two artist’s seals, both framed and glazed, 82cm x 38cm and 58cm x 32cm. (2)

£1,000-2,000 Provenance: from the collection of Alexander Gordon Stephen (1862-1924), and thence by descent. The pictures are now in the collection of his descendant Colonel Sir James Lindsay.

Alexander Stephen was born in Banff, Aberdeenshire. After working as an apprentice at the Town and Country Bank in Aberdeen, he joined the Hong Kong and Shanghai Banking Corporation (HSBC) in 1882. Stephen was then transferred to Hong Kong, Singapore and Shanghai, where he was appointed as manager in 1912.

He subsequently became chief manager in Shanghai in 1920. During his time at HSBC Shanghai, Stephen commissioned three pairs of bronze lions, which are still displayed at the HSBC buildings in Hong Kong, Shanghai and London. The lion on the left-hand side of each pair is popularly known as Stephen in memory of him.

郎世寧及余省（傳） 菊花 設色紙本 鏡面兩件 款識：臣郎世寧恭畫、臣余省恭畫。 鈐印：臣世寧、恭畫、臣、省。 來源：亞歷山大·戈登·史蒂芬（1862-1924）收藏，之後由家人陸軍上校James Lindsay紳士收藏。 史蒂芬先生生於蘇格蘭阿伯丁郡，在阿伯丁城市銀行工作一段時間之後，1882年他加入了匯豐銀行的 倫敦辦公室。之後被調任至香港、新加坡及上海辦公室工作，並在1912年升任上海辦公室經理，在 1920年他再次升任為上海辦公室總裁。於他在上海任職期間，他委託定制了三對銅獅，現在仍舊展示 在香港、上海及倫敦辦公室，其中一隻以史蒂芬的名字來命名以紀念他的功績。

Alexander Gordon Stephen (1862-1924) 9

4 JI LIANG (1849-?)

BOOK OF SEAL IMPRESSIONS FROM THE QIN HE TANG COLLECTION A set of eight albums with wooden covers, dated the Guangxu xinchou year (1901), each 22.5cm x 13cm. (8)

£200-300 繼良（輯）《琴鶴堂印譜》 鈐印本 白紙線裝 八冊一函 註: 輯篆者繼良，曾任浙江金華府知府，琴鶴堂主人，善金石書 畫，博學嗜古，此印譜為其集近人印及自刻印五百餘方，歷經十 年匯錄而成，並由吳受福題名。每冊前刊光緒辛丑牌記，並附琴 鶴堂主人水影一幅。

5 SHEN QUAN (LATE QING DYNASTY) WANG XIZHI EXCHANGING CALLIGRAPHY FOR GEESE A Chinese fan painting, ink and colour on silk, inscribed and signed Shen Quan, with two artist’s seals, together with a Ming dynasty leaf-shaped painting depicting the drunken poet Li Bai, ink and colour on silk, signed with one artist’s seal, 24.5cm dia and 19.5cm x 30cm. (2)

£300-400 Wang Xizhi was a famous calligrapher alive during the Jin dynasty. According to legend, Wang Xizhi practised the art of calligraphy so diligently that the river he washed his inkstone in eventually became black with the leftover ink. This painting depicts an episode where a Daoist monk asks Wang Xizhi to write the Huang Ting for him. In exchange for his highly skilled labour, Wang Xizhi requested that the monk give him geese as payment, as he particularly admired the long slender necks and elegance of these birds.

沈全（晚清）及佚名（明） 黃庭換鵝 設色絹本 扇面兩幀 款識：臨池洗研墨生波，右軍書法妙如何。煩君寫得黃庭卷，欲 學山陰也贈鵝。璧如沈全。 鈐印：臣、全。

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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

6 ATTRIBUTED TO WANG YUANQI LANDSCAPE AFTER MI FU

7 SIMA ZHONG (19TH CENTURY) A PERCH IN A BASKET

A Chinese scroll painting, ink on paper, the title-slip reads Wang Litai fang Mi Youren shan shui xiao fu, inscribed and signed Litai Qi, with three artist’s seals, 39cm x 25.5cm.

A Chinese painting, ink on paper, inscribed and signed Zhong, with an artist’s seal which reads Sima Zhong yin, framed and glazed, 28.5cm x 20cm.

£2,000-3,000 Provenance: Christie’s Hong Kong, 25th April 2004, lot 398.

王原祁（傳） 仿米家山水 水墨紙本 立軸 署簽：王麗台仿米友仁山水小幅。 款識：仿米敷文，麗台祁。 鈐印：王原祁印、麗台、埽華菴。 來源：香港佳士得2004年4月25日·編號398。

£300-500 Provenance: formerly an English private collection, acquired in Hong Kong c.1950s.

司馬鐘 鱸魚 水墨紙本 鏡面 款識：半江紅樹賣鱸魚，鐘作。 鈐印：司馬鐘印。 來源：英國私人舊藏，1950年代購於香港。

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8 ANONYMOUS (LATE QING DYNASTY) PORTRAIT OF GUANYIN

9 AFTER TANG YIN (19TH CENTURY) BEAUTIES IN A GARDEN

A Chinese painting, delicately painted with gold ink and colour on black silk, 65.5cm x 32cm.

£300-500

A Chinese scroll painting, ink and colour on silk, inscribed and with a signature reading Tang Yin, the title-slip by Li Shi reads Tang Liuru xian sheng shi mei tu miao pin zhen ji, with two artist’s seals and two collector’s seals, 175cm x 82cm.

佚名（晚清） 觀音菩薩造像 金粉絹本 立軸

£1,000-2,000 Provenance: from an English private collection, acquired in the early 1980s.

唐寅（傳） 十美圖 設色絹本 立軸 署簽：唐六如先生十美圖妙品真跡，李氏珍藏。 款識：蘇台唐寅製。 鈐印：六如居士、唐寅。 來源：英國私人收藏，購於1980年代早期。

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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

10 QIAN SONGYAN (1899-1985) A MAJESTIC VIEW OF THE THREE GORGES A Chinese scroll painting, ink and colour on paper, inscribed and signed Qian Songyan at age 83, with two artist’s seals, 87cm x 47.5cm.

£2,000-3,000 Provenance: Bonhams London, 8th June 2004, lot 53.

錢松喦（1899-1985） 三峽壯觀 設 色紙本 立軸 款識：三峽壯觀，錢松喦作時年八 十三。 鈐印：錢、松喦。 來源：倫敦邦瀚斯2004年6月8日·編 號53。

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11 SHI DAWEI (1950-) FIGURES ON HORSEBACK A Chinese painting, ink and colour on paper, inscribed and dated Chinese New Year of the gengwu year (1990), signed Dawei, with two artist’s seals, framed and glazed, 33cm x 45cm.

£500-800 施大畏（1950-） 騎馬人物圖 設色紙本 鏡面 款識：庚午新春大畏畫於滬上長樂樓。 款識：施大畏書、和諧。

12 ATTRIBUTED TO GUAN LIANG LU ZHISHEN AND WU SONG FROM THE WATER MARGIN Two Chinese paintings, ink and colour on paper, both inscribed and with signatures reading Guan Liang, dated the dingsi year (1978), each bearing one artist’s seal, 36.5cm x 30.5cm. (2)

£1,000-2,000 關良（傳） 魯智深醉打山門及武松打虎 設色紙本 兩冊頁 款識：文俊同志屬，丁巳關良。文俊同志屬正，關良作於涳江。 鈐印：關良、關良。

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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

13 AFTER BIAN SHOUMIN (19TH CENTURY) GEESE AND REEDS A Chinese scroll painting, ink and colour on paper, inscribed and with a signature reading Bian Shoumin, with two artist’s seals, the title-slip reads Bian Yigong lu yan, Bu Ru Xue Zhai zhen cang, 93cm x 29.5cm.

£200-300 Provenance: formerly an English private collection, acquired in Hong Kong c.1950s.

邊壽民（傳）蘆雁圖 設色紙本 立軸 款識：不受人間握栗呼，橫空渺渺下平蕪。影留靜渚蹤難系，書破高 雲字欲無。河朔草深多羽箭，江南水淺足茭蘆。憑君問詢盟鷗侶，臥 穩寒塘十里湖。葦間居士邊壽民。 鈐印：邊、壽民。 來源：英國私人舊藏，1950年代購於香港。

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DR GORDON FRYERS AND DR ROSEMARY FRYERS LOTS 14-17

Dr Gordon Fryers (1922-2008) and Dr Rosemary Fryers (1922-1994) moved to Singapore in 1946 after they had both qualified as doctors, and their time there introduced them to Chinese art and culture. However, the Fryers did not start collecting seriously until the 1960s when Gordon’s experiences on his many international business trips rightly led him to believe that China would one day play a crucial role in the world economy and that its art would subsequently become highly desirable. With this remarkable foresight in seeing Chinese art as an investment opportunity, Gordon and Rosemary gradually built up their collection over a fifteen-year period in the 1960s and 70s, buying from leading auction houses and dealers. Albeit a clever financial move, Gordon and Rosemary’s collecting was by no means without passion, and they both developed a keen interest in the subject. Whilst Rosemary was drawn to ceramics and various works of art, Gordon favoured jades and marvelled at the outstanding craftsmanship behind these pieces.

Fryers伉儷收藏 1946年Gordon Fryers及其夫人Rosemary Fryers獲取醫生證書之後搬去了新加坡，在那裡他

們接觸到了中國藝術品及文化。然而他們在1960年代之前並沒有開始收藏中國藝術品，當 Gordon多次到訪中國並確信中國將有一天會在世界經濟的舞台上扮演重要的角色時，他開

Dr Gordon Fryers and Dr Rosemary Fryers

始了對中國藝術品的投資之旅。他們陸續在1960到1970年代開始建立他們自己的收藏體 系，主要從重要拍賣及著名古董商那裡購買。當然除了Gordon非凡的經濟頭腦，更是由於 Fryers伉儷對中國藝術品的熱愛。Rosemary鐘情於中國瓷器及藝術品，而Gordon更喜愛中國 玉器的精巧雕工。

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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

14 ANONYMOUS (QING DYNASTY) SERICULTURE AND IMPERIAL CONCUBINES IN A GARDEN Two Chinese paintings, ink and colour on silk, one bearing four collectors’ seals, each framed and glazed, 29cm x 102cm. (2)

£2,000-3,000 Provenance: from the Fryers Collection of Chinese Art.

佚名（傳）織絹圖 設色絹本 鏡面兩件 款識：項叔子、項墨林鑒賞章、項氏墨林、一印漫漶不清。 來源：Fryers伉儷亞洲藝術品收藏。

15 ATTRIBUTED TO TANG YIN (MING/QING DYNASTY) SERICULTURE A Chinese painting, ink and colour on silk, inscribed and with a signature reading Tang Yin, with one illegible seal, framed and glazed, 150cm x 55cm.

£3,000-5,000 Provenance: from the Fryers Collection of Chinese Art.

唐寅（傳） 織絹圖 設色絹本 鏡面 款識：曾讀幽風七月篇，遲遲日景麗光天。新蠶未起先宜洛，盤滿明 波人滿川。蘇臺唐寅。 款識：一印漫漶不清。 來源：Fryers伉儷亞洲藝術品收藏。

detail of the inscription 17

16 A LARGE CHINESE ARCHAIC CELADON JADE BI WESTERN ZHOU DYNASTY The disc carved with a circular opening to the centre, the celadon stone with a large dark streak and an area of calcification, all raised on an elaborate fitted wood stand with a paper collection label reading ‘134’ to the underside, 23.8cm. (2)

£10,000-15,000 Provenance: from the Fryers Collection of Chinese Art, collection no.134, purchased from René Kitchen Ltd, London, on 6th March 1970. A copy of the invoice is available.

Cf. Mostra D’arte Cinese Venezia 1954, p.64, no.186 for another related Zhou dynasty bi; see also The National Palace Museum, A Catalogue of the National Palace Museum’s Special Exhibition of Circular Jade, no.45 for a similar smaller example dated to the Western Zhou dynasty.

西周 玉璧 來源：Fryers伉儷亞洲藝術品收藏，編號134。1970年3月6日購於倫敦René Kitchen公司，附發 票複印件。 René Kitchen Ltd invoice 6th March 1970

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17 λ A CHINESE RHINOCEROS HORN ‘LOTUS AND GRAIN’ LIBATION CUP 18TH CENTURY The exterior carved in relief with ears of grain amongst large lotus flowers and leaves, their long trailing stems all tied together with ribbon, with three small birds in flight amidst the blooms, the base worked as a furling lotus leaf, with a paper collection label reading ‘150’, together with a wood stand, 11cm, 81g. (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.

£7,000-10,000 Provenance: from the Fryers Collection of Chinese Art, collection no.150, purchased from René Kitchen Ltd, London, on 1st May 1970. A copy of the invoice is available.

The Chinese words for lotus, he, and an ear of grain, sui, are homophonous with the words for ‘harmony’ and ‘year’ respectively. Therefore, the two images together symbolise the wish of living in harmony year after year.

Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.147, no.97 for another cup with the lotus and grain motif.

十八世紀 犀角雕蓮花紋杯 來源：Fryers伉儷亞洲藝術品收藏，編號150。1970年5月1日購於倫敦René Kitchen公司，附發 票複印件。 註：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

René Kitchen Ltd invoice 1st May 1970

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18 λ A PAIR OF LARGE CHINESE IVORY MODELS OF PAGODAS 18TH/EARLY 19TH CENTURY Each formed as a seven-tiered hexagonal-section pagoda in a fenced garden, the towers delicately decorated with flowers and geometric designs, the tiled roofs with bells suspending from the corners, with a worshipping figure seated inside each tier, the gardens below rich with stained lingzhi, rockwork, bamboo, plantain and finger citron trees, with an official and his attendants standing before each gate, all raised on pedestals finely carved with cartouches enclosing sprays of various fruits and flowers, 67cm. (2)

£8,000-12,000 Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.III, p.912, nos.2067 and 2068 for a pair of very similar pagodas; see also R Kerr, P Allen & C Shih, Chinese Ivory Carvings: The Sir Victor Sassoon Collection, p.326, no.T72 for another comparable example.

十八/十九世紀早期 象牙雕寶塔 一對

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19 A CHINESE CLOISONNE MODEL OF AN ELEPHANT LATE QING DYNASTY The white elephant stands turning its head to sinister, its saddle blanket decorated with fruits and precious objects over crashing waves, with a vase decorated with antiques upon the animal’s back, the ears removable, together with a wood stand, 35cm, 3.2kg. (4)

£8,000-12,000 Provenance: formerly the collection of Mr le Marquis du Prat de Nantouillet, c.1900.

The image of an elephant carrying a vase represents the rebus taiping youxiang which carries the sentiment of wishing for peaceful times.

An elephant with a vase is a visual embodiment of this expression, as the Chinese words for vase (ping) and elephant (xiang) are homophonous with two words in the saying.

Cf. Christie’s South Kensington, 23rd January 2007, lot 231 for a similar cloisonné elephant.

清晚期 銅胎掐絲琺瑯太平有象 來源：1900年代Mr le Marquis du Prat de Nantouillet舊藏。

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20 A CHINESE CLOISONNE RECTANGULAR ‘LANDSCAPE’ PANEL 18TH/EARLY 19TH CENTURY Decorated with dwellings and pavilions dispersed through a stylised rocky landscape rich with pine trees, detailed with cranes, a pair of deer and figures in a field, 44cm x 52.5cm, 5kg.

£3,000-4,000 Cf. H Brinker & A Lutz, Chinese Cloisonné: The Pierre Uldry Collection, no.299 for a smaller cloisonné landscape panel; see also Roger Keverne, Summer Exhibition 2008, pp.82-83, no.63 for a circular panel decorated with a similar scene.

十八/十九世紀 銅胎掐絲琺瑯山水掛屏 21 A LARGE CHINESE JI CHI MU STAND 18TH CENTURY With a square wood top, the frieze carved with stylised bats surrounded by openwork archaistic scrolls, decorated in red, black and gold lacquer with floral sprays and scrolls, the four tall legs joined with stretchers, 81.5cm x 47cm x 47cm.

£3,000-4,000 Provenance: from an American private collection and thence by descent, acquired prior to 1977.

十八世紀 雞翅木雕花几 來源：美國私人收藏，購於1977年之前。

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view from above

22 A SMALL CHINESE MOTHER OF PEARL INLAID LACQUER TABLE LATE MING DYNASTY The top decorated with a scene of scholars and their attendants in pavilions by a river, they play go, admire a tall standing crane, and aid a figure on a sampan bring the raft to the riverbank, with a recumbent stag and doe reclining in the garden, the landscape rich with bamboo, willow, pine and peach trees, decorated to the frieze with cartouches enclosing floral scrolls on a diaper ground, all raised on four short feet, 12.5cm x 55cm x 36cm.

£2,000-3,000 Cf. Tangible Splendour: The Chi Chang Yuan Collection of Lacquer with Mother-of-Pearl Inlay, pp.70-71 for a 16th/17th century low table also with scholars in a garden; see also Sotheby’s London, 12th May 2010, lot 100 for another related 16th century low table.

明晚期 褐漆嵌螺鈿炕桌

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23 A CHINESE BROWN-GROUND KESI ‘NINE DRAGON’ ROBE QING DYNASTY Finely worked in gold threads with nine dragons in pursuit of flaming pearls over crashing waves and stylised rocks, the central confronting dragon writhing above a large basket of peaches, with crested cranes and bats in flight amidst ruyi-head shaped clouds and precious Daoist and Buddhist objects, the design reserved on a reddish-brown silk ground, all above vivid lishui waves, with yellow silk to the interior, 219cm across, 140cm long.

£3,000-5,000 清 褐地緙絲九龍紋袍

24 λ A CHINESE CANTON TORTOISESHELL RECTANGULAR SEWING BOX AND COVER 19TH CENTURY The exterior carved in relief with a summer scene of many figures engaged in daily life, they fish, enjoy boating and relax in gardens and pavilions, the interior with a removable inner tray divided into fifteen compartments, they contain various implements, with a lock fitting to the front and two metal handles to the sides, all raised on four short feet, 8cm x 21cm x 13cm.

£7,000-9,000 Provenance: from a private collection, London.

Cf. D S Howard, A Tale of Three Cities: Canton, Shanghai & Hong Kong, p.194, no.255 for a comparable tortoiseshell piece described as a work box.

十九世紀 廣東製玳瑁雕蓋盒 來源：倫敦私人收藏。

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25 A RARE CHINESE IMPERIAL GOLD-GROUND SILK ‘FIVE DRAGON’ RUG LATE QING DYNASTY Decorated with a central medallion enclosing a blue confronting dragon in pursuit of a flaming pearl, with four further sinuous dragons to the corners, the beasts surrounded by stylised lotus scrolls, with a band of key fret encircling the design, all bordered by flowerheads and auspicious Buddhist emblems, woven to one end with the five characters Jingren Gong bei yong, 2.7m x 1.8m.

£3,000-5,000 Provenance: purchased at auction in the 1980s or 1990s.

Jingren Gong, or ‘The Palace of Great Benevolence’, is one of the palaces in the Forbidden City. Jingren Gong was built in 1420 and it was used as the residence of Imperial concubines during the Ming and Qing dynasties. The Kangxi Emperor was born in this palace.

Cf. Sotheby’s Paris, 18th June 2020, lot 28 for a very similar carpet inscribed Taihe Dian bei yong.

清晚期 御製黃地絲製五龍毯 來源：1980或1990年代購於拍賣會。 25

26 A CHINESE BEIJING TURQUOISE GLASS MALLET-SHAPED VASE QING DYNASTY

27 A CHINESE BAMBOO FIGURE OF SHOULAO 17TH/18TH CENTURY

The squat cylindrical body surmounted by a tall neck, the opaque glass of a pale greenish-blue colour, with a four character Qianlong mark contained within a square incised to the recessed base, 18.3cm.

The God of Longevity carved seated on a rocky pedestal, depicted dressed in long robes with a cheerful expression on his face, he holds a branch of lingzhi in his left hand, with three boys at his feet, one holds a bowl of peaches, another supports the third child who raises a bat up towards Shoulao, with a crouching deer to the reverse, 17.7cm.

£1,500-2,500 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清 孔雀綠料長頸瓶 《乾隆年製》款 來源：英國西約克郡私人收藏，1970年代至80年 代。

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£4,000-5,000 Cf. J Chi, Uncanny Ingenuity and Celestial Feats, The Carvings of the Ming and Qing Dynasties, Bamboo, Wood, and Fruit Stones, pp.87-88, no.21 for a related 18th century bamboo figure of Shoulao seated on rockwork with one child at his feet; see also Christie’s Hong Kong, 27th May 2008, lot 1887 for another comparable carving depicting Shoulao with many boys.

十七/十八世紀 竹雕壽老像

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28 A CHINESE SOAPSTONE ‘SCHOLARS’ TABLE SCREEN QING DYNASTY The yellow stone worked as a square panel raised on a stand, carved to one side with three scholars standing beneath a pine tree in a mountainous river landscape, one figure points up to the carnelian-coloured sun above, the reverse decorated in relief with a blossoming prunus branch set between two vases, 14.2cm x 14.8cm.

£3,500-4,500 清 壽山石雕山水人物硯屏

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29 A SMALL CHINESE CLOISONNE ‘LOTUS’ VASE FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The ovoid body tapering towards the foot and surmounted by a short waisted neck, decorated with four large lotus flowerheads set amidst foliage and smaller flowers, the design reserved on a turquoise ground and contained within bands of dark blue ruyi-heads, with further floral motifs to the shoulder, neck and short spread foot, the base incised with the four character reign mark, 9.5cm, 191g.

£3,000-5,000 Cf. Compendium of Collections in the Palace Museum, Enamels, 2, Cloisonné in the Qing Dynasty (1644-1911), p.194, no.150 for a similar Qianlong mark and period vase.

30 A CHINESE CLOISONNE ‘LOTUS’ WATERPOT MING DYNASTY The compressed circular body decorated with large stylised lotus flowerheads growing amidst scrolling leafy tendrils, the design reserved on a turquoise ground, with gilt to the interior and the base, 6.5cm, 164g.

£500-1,000 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

明 銅胎掐絲琺瑯纏枝蓮紋水盂 來源：Jackie Somerville-Roberts舊藏。

清乾隆 銅胎掐絲琺瑯折枝蓮紋小瓶 《乾隆年製》楷書款

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31 A CHINESE THREE-COLOUR CINNABAR LACQUER ‘PEACHES’ BOX AND COVER 18TH/EARLY 19TH CENTURY Carved in relief with blossoming and fruiting peach branches, the peaches finely incised with floral diaper, the large leaves picked out in dark green, all reserved on a subtle yellow diamond diaper ground, with bands of fylfots to the sides of the box and cover, the interior and base lacquered black, 11.6cm. (2)

£5,000-8,000 Cf. S Kwan, Chinese Lacquer, The Muwen Tang Collection Series, vol.20, pp.324-325, no.120 for a comparable pair of boxes with a lychee design; see also Carving the Subtle Radiance of Colours: Treasured Lacquerware in the National Palace Museum, p.168, nos.187-188 for further similar examples decorated with lotus and peaches respectively.

十八/十九世紀早期 剔三彩壽桃紋蓋盒

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32 A CHINESE PALE CELADON JADE SNUFF BOTTLE 18TH CENTURY One side worked in low relief with a seated figure drinking wine in a sampan, he boats down a river by cliffs and beneath pine and swirling clouds, the reverse undecorated and carved following the natural shape of the stone, all raised on a short oval foot, the stone with some inclusions and small russet markings, 6.6cm.

£2,000-3,000 十八世紀 白玉雕山水人物紋鼻煙壺 33 FOUR CHINESE ARCHER’S RINGS 18TH CENTURY

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One carved in pale celadon jade with four square panels enclosing birds, another worked in spinach-green jade with four medallions containing horses against a pierced diaper ground, the largest in lapis lazuli with roundels enclosing the characters ji xiang ru yi against scrolls, the fourth pierced with sinuous dragons in yellow glass, 3.3cm max. (4)

£5,000-8,000 十八世紀 白玉、碧玉、青金、黃料扳指 四件 34 A CHINESE WHITE JADE INSCRIBED SNUFF BOTTLE QIANLONG/JIAQING Of flattened form, the rectangular body surmounted by a short cylindrical neck, finely incised to each side with four lines of calligraphy, the inscriptions heightened with gilt, all raised on a short oval foot, the stone with some pale mottling and inclusions, 6.3cm.

£5,000-8,000

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Provenance: from the collection of Jasper Rose (1930-2019). Rose was educated at King’s College, Cambridge and later co-authored the 1964 book ‘Camford Observed: An Investigation of the Ancient Universities in the Modern World’, which was an account of university life at Oxford and Cambridge. He was a founding faculty member of the University of California, Santa Cruz, and a professor of art and history. Rose worked at UCSC’s Cowell College for many years and then briefly at Porter College before retiring in 1986 as an emeritus professor.

He passed away in 2019 in Bath, where he had lived for some years before his death.

One side of the snuff bottle is inscribed with the poem Lu Zhai (‘Deer Park’) by the Tang dynasty poet Wang Wei, whilst the poem on the other side is Zhong Nan Wang Yu Xue (‘On Seeing the Snow Peak of Zhongnan’) by the Tang poet Zu Yong.

清乾隆/嘉慶 白玉雕詩文鼻煙壺 銘文：終南陰嶺秀，積雪浮雲端。林表明霽色， 城中增暮寒。 空山不見人，但聞人語響。返景入深林，復照青 苔上。 來源：Jasper Rose（1930-2019）收藏。Rose曾經 參與加勒佛尼亞大學的建立。

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35 A RARE CHINESE IMPERIAL ENAMELLED GLASS ‘PRUNUS’ SNUFF BOTTLE FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The flattened globular body surmounted by a short gently tapering neck, finely painted all over with many twisting gnarled branches of white prunus blossoms and buds, the design reserved on a black ground, with gilt to the rim and oval foot, the base with the reign mark in blue enamel, 5.3cm.

£15,000-20,000 The decoration on this snuff bottle was achieved by applying each coloured enamel separately to the plain glass body and firing successively at the appropriate temperature for each colour. The technical process of firing painted enamels on glass was significantly more challenging than that for porcelain or metal objects. As the melting point of glass is similar to that of enamel, accurate temperature control was crucial: if the temperature was too high then the glass body would melt, but if it was too low, then the enamel would not bond to the glass with the desired colour. Enamelled glass snuff bottles are, therefore, considerably rarer than their porcelain or metal-bodied counterparts.

Cf. The Complete Collection of Treasures of the Palace Museum: Snuff Bottles, p.83, no.131 for a similarly decorated Yongzheng mark and period metal-bodied enamel snuff bottle and p.92, no.141 for a Qianlong period metal-bodied snuff bottle painted with flowering prunus branches on a red ground; see also Harmony and Integrity: The Yongzheng Emperor and his Times, p.197, no.II-25 for another Yongzheng metal-bodied example with similar decoration in the collection of the National Palace Museum; see also Limpid Radiance: A Special Exhibition of Glass Artifacts from the National Palace Museum Collection, p.205, no.231 for another Qianlong period enamelled glass snuff bottle decorated with flowers on a black ground.

清乾隆 御製料胎畫琺瑯墨地白梅花鼻煙壺 《乾隆年製》藍料楷書款 鼻煙壺呈扁瓶型，橢圓形底以藍料寫有《乾隆年製》宋體字款。口沿及圈足鎏金。繪整柱白梅滿佈於黑地瓶身，黑白對比強烈，梅枝舒展，花 朵及花蕾分佈其間、錯落有致。帶銅鍍金雕龍蓋。 鼻煙由歐洲傳入中國後，為使來自西方珍貴的煙草粉不受潮變質，小口廣腹的各式鼻煙壺成為清代各皇宮貴族的新寵。清代宮廷製作的玻璃胎 畫琺瑯鼻煙壺無疑是最有特色的創燒。因玻璃與琺瑯兩者熔點相近，燒製琺瑯時溫度必須控制精準，而每種顏料的熔點又不盡相同，溫度過低 即導致發色不夠，溫度太高則料胎器型則可能變形。一件玻璃胎畫琺瑯琺瑯壺，常需要反復多次進行燒造，以致成品率不高而彌足珍貴。 此件乾隆梅花繪製精美，花心以淡綠及嫩黃色點染，纖細礬紅花蕾絲絲分明，淡雅清新。清代康雍乾三代均有以梅花為題材做鼻煙壺，但其風 格各異，此畫片較前兩朝更為枝繁花茂，別具一格。參見《故宮博物院文物藏品全集·鼻煙壺》，商務印書館，2003年1月，頁83，編號131， 一件雍正時期的畫琺瑯黑底白梅圖鼻煙壺，及頁92編號141，一件乾隆畫琺瑯紫地梅花圖鼻煙壺。

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36 A CHINESE ARCHAISTIC PARCEL-GILT BRONZE GU-SHAPED VASE 17TH CENTURY Cast with taotie masks against a leiwen ground, the upper and lower sections with raised flanges, with two large upright pendant leaves to the tall flaring neck, 28.4cm, 1.5kg.

37 A CHINESE GOLD-SPLASHED BRONZE ‘TWIN-FISH’ VASE 18TH/19TH CENTURY Formed as two carp supported on their tail fins, their bellies touching, with details of their scales and fins engraved to their bodies, their agape mouths forming two openings, 32cm, 2.7kg.

£2,000-3,000 The image of two conjoined fish is one of the Eight Auspicious Buddhist Emblems, or Bajixiang.

£3,000-5,000 Provenance: from an American private collection and thence by descent, purchased from Sotheby & Co, London, on 19th May 1971, lot 29. A copy of the invoice is available.

Cf. Sotheby’s Hong Kong, 31st May 2018, lot 45 for a related bronze vase.

十八/十九世紀 銅灑金雙魚合巹瓶

十七世紀 銅局部鎏金仿古花觚 來源：美國私人收藏，購於倫敦蘇富比1971 年5月19日·編號29（附發票複印件）。

Sotheby & Co invoice 19th May 1971

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38 A LARGE CHINESE ZITAN BRUSHPOT, BITONG QING DYNASTY The cylindrical body carved in low relief with birds perched amidst prunus and bamboo in a rocky landscape, the rim encircled by a band of inlaid silver wire ‘T’ scrolls, with an inscription below describing Chen Meigong admiring this piece at the Xiang Yi An temple in Jiaxing, with a date for the second year of the Chongzhen Emperor’s reign corresponding to 1630 and a signature reading Dong Qichang, 30cm dia.

£8,000-10,000 清 紫檀雕詩文花鳥紋筆筒

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39 A CHINESE PARCEL-GILT BRONZE ‘LUDUAN’ INCENSE BURNER AND COVER 17TH CENTURY Formed as a luduan standing upon a sinuous snake, with stylised scrolls picked out in gilt to the beast’s body, the hinged cover formed as its head, it stares with bulging eyes and its mouth agape, with a single large horn to the top of its head, 27cm, 2.8kg.

£3,000-4,000 Cf. P Moss & G Hawthorn, The Second Bronze Age: Later Chinese Metalwork, nos.18 and 19 for comparable parcel-gilt bronze incense burners.

40 A CHINESE BRONZE ‘LION DOG’ INCENSE BURNER AND COVER 17TH CENTURY The stocky beast cast standing four-square with its bushy tail lifted high, the cover formed as the creature’s head, with its mouth open revealing its tongue and teeth, detailed with the hairs of its mane and thick eyebrows, 21.2cm high, 3kg. (2)

£2,000-3,000 十七世紀 銅獅香爐

十七世紀 銅鎏金甪端香爐

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41 A LARGE CHINESE PARCEL-GILT AND LACQUERED-BRONZE FIGURE OF AN ATTENDANT 16TH/17TH CENTURY The attendant stands with his feet apart and turned slightly to the right, he holds a box tied with ribbon containing an official’s seal with both hands before him, depicted wearing a tall hat, flowing robes and elaborate shoes, the figure highlighted in gilt, all raised on a square stepped pedestal picked out in red lacquer, 40.5cm, 7kg.

£10,000-12,000 Provenance: formerly a European private collection.

The figure is probably the attendant of a Daoist official and would have been positioned by the side of a larger statue of his master.

Cf. Roger Keverne, Winter Exhibition 2010, p.26, no.22 for a Ming dynasty bronze figure of an attendant raised on a similar pedestal; see also Christie’s London, 10th November 2015, lot 247 for a related 17th century lacquered and gilt-bronze model of a warrior; see also R Kerr, Later Chinese Bronzes, pp.82-85, nos.64, 65 and 69 for comparable smaller Ming dynasty bronze standing figures.

十六/十七世紀 銅加彩童子像 來源：歐洲私人舊藏。

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42 A CHINESE PARCEL-GILT BRONZE ‘ANBAXIAN’ TRIPOD INCENSE BURNER, DING 17TH/18TH CENTURY Cast in relief with the Eight Daoist Emblems on a diaper ground, the attributes set beneath a continuous band of ruyi-heads, with two upright loop handles incised with floral motifs rising from the lipped rim, each of the tall feet decorated with a large plantain leaf, the base with a six character Xuande mark, 13cm dia, 17.1cm max, 1.2kg.

43 A CHINESE GOLD-SPLASHED TRIPOD INCENSE BURNER QING DYNASTY The compressed body rising to a short waisted flared neck, with two upright loop handles rising from the rim, all raised on three short tapering feet, the base with a six character Xuande mark, the mouth 14.5cm dia, 15.5cm max, 1.2kg.

£6,000-8,000

£4,000-5,000

Cf. Christie’s Hong Kong, 31st May 2010, lot 2075 for a related gilt-splashed tripod incense burner.

Cf. Roger Keverne, Winter Exhibition 2008, pp.34-35, no.26 for an incense burner decorated in a similar style with the Hundred Antiques; see also P Lin, Chinese Incense Burners: Collection of Steven Hung & Lindy Chern, p.166, no.140 for another related item.

清 銅灑金沖天耳爐 《大明宣德年製》款

十七/十八世紀 銅局部鎏金暗八仙紋鼎式爐 《大明宣德年製》款

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44 A CHINESE GILT-BRONZE FIGURE OF AMITAYUS 18TH CENTURY

45 A TIBETAN GILT-BRONZE FIGURE OF PADMAPANI 18TH CENTURY

He sits in dhyanasana upon a rectangular flaring throne, with both hands held in dhyana mudra, he wears an elaborate crown, a necklace and body jewellery, his long robes flowing over the front of the pedestal, with a serene expression on his face, all mounted on a later wood base, the figure 18cm, 1.6kg overall.

Depicted standing in tribhanga upon a double lotus pedestal, her raised left hand clasps a lotus stem which trails by her arm and blossoms at her shoulder, with her right hand held down in vitarka mudra, she wears elaborate jewellery and a dhoti incised with scrolling leaves, her hair with traces of cold painting, with a visvavajra to the base, 21.5cm, 815g.

£4,000-6,000

£2,000-3,000

十八世紀 銅鎏金無量壽佛

Provenance: from an English private collection, West Yorkshire, purchased from Errol Manners.

十八世紀 銅鎏金蓮花手菩薩 來源：英國西約克郡私人收藏，購於Errol Manners。

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46 A LARGE SINO-TIBETAN GILT-COPPER REPOUSSE HALF FIGURE OF AVALOKITESHVARA 18TH CENTURY Formed as the lower body of the bodhisattva, depicted wearing a dhoti tied at the waist with a bow, the fabric decorated with a band of lotus scrolls to the upper section and with butterflies and bats bordering the hem, with strings of beads hanging from his waist and adorning his feet, together with a modern stand, 61cm, 15kg approx. (2)

£8,000-12,000 Provenance: formerly the collection of Ross Levett, Maine, and E Van Vredenburgh, Brussels.

Avalokiteshvara is the Bodhisattva of Compassion and a spiritual emanation of Amitabha Buddha. There are numerous variations in the visual depiction of Avalokiteshvara in different cultures and he is often represented in China as Guanyin, also known as the Goddess of Mercy. According to Chapter 25 of the Lotus Sutra, which is believed to be the earliest text presenting the doctrines of Avalokiteshvara, he hears the cries of sentient beings and works relentlessly to help those who call upon him. Thirty-three manifestations of Avalokiteshvara are mentioned, including both male and female forms.

十八世紀 銅鎏金菩薩半身像 來源：Ross Levett舊藏， 及布魯塞爾的E Van Vredenburgh舊藏。

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47 A LARGE CHINESE GILT-LACQUERED BRONZE FIGURE OF MANJUSRI QING DYNASTY Cast seated in dhyanasana upon a lotus throne, with his hands before his chest in dharmachakra mudra (the Gesture of Teaching), he holds a long lotus stem in each of his hands, one flower supports a book, the other holds up a small jar, he wears elaborate body jewellery and a tall crown, his hair picked out in blue with cold painting, with three recumbent beasts at the foot of the throne, the base marked with a visvavajra, 35.3cm, 5kg.

£15,000-20,000 Manjusri represents transcendent wisdom and it is believed that his purpose on Earth is to save people from ignorance. The lotus flower supporting a scripture in his left hand symbolises the knowledge of the Buddha.

Cf. Bonhams Hong Kong, 2nd June 2016, lot 9 for a Kangxi period gilt-lacquered bronze figure of Amitayus decorated in a similar style.

清 銅鎏金加彩文殊菩薩坐像

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48 A SMALL TIBETAN SILVER FIGURE OF WHITE TARA 15TH/16TH CENTURY Depicted seated in dhyanasana holding her right hand down in varada mudra and her left hand up in kartari mudra, with blossoming lotus flowers flanking her shoulders, her garments finely incised with scrolls, with gold cold painting to the figure’s face and torso, her body jewellery inset with turquoise-coloured beads, the figure raised on a gilt-copper double lotus throne, incised with a visvavajra to the base, 10.7cm, 453g.

£8,000-12,000 Silver was seldom used in Tibetan sculpture, as it was a rare and expensive metal considered to be extremely precious. It was usually used sparingly as inlaid decoration and cast silver figures are believed to have been made only as highly important commissions.

Cf. D Weldon & J C Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, pp.180-181, pls.44 and 44A for two comparable 15th/16th century silver figures decorated with gold pigment and raised on gilt-copper lotus bases, and see pp.178-179, pl.43 for a related parcel-gilt silver figure of Milarepa on a gilt-copper base; see also The Rubin Museum of Art, New York, object no.C2005.16.36 for a similarly decorated silver sculpture of Padmasambhava; see also Christie’s New York, 20th March 2008, lot 418 for another silver figure raised on a gilt-bronze lotus base also dated to the 15th/16th century.

十五/十六世紀 銅鎏金白度母坐像

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49 A TIBETAN GILT-BRONZE PORTRAIT OF A LAMA C.13TH CENTURY Cast seated in dhyanasana upon a gilded double lotus throne, his left hand rests on his lap in dhyana mudra whilst his right hand touches the ground in bhumisparsha mudra, he wears a ceremonial cloak and formal monastic robes worn by high Tibetan lamas on solemn occasions, the bronze high tiered throne decorated with lions, elephants, vajras, floral scrolls, silver and semi-precious stones, the original consecration plate incised with a visvavajra encircled by the Eight Auspicious Buddhist Emblems within an eight-petalled mandala, 13.4cm, 693g.

£30,000-50,000 Provenance: formerly John Eskenazi in the early 1980s; and then a UK private collection.

This sculpture possibly depicts Sangye Yarjon (1203-1272), the third abbot of the Taklung Monastery in central Tibet.

Cf. U von Schroeder, Buddhist Sculptures in Tibet, vol.2, p.1186, pl.320A for a similar example; see also S M Kossak and J C Singer, Sacred Visions: Early Paintings from Central Tibet, pp.94-95, no.19 for a 13th century portrait of Sangye Yarjon which resembles the present figure.

十三世紀 銅鎏金喇嘛坐像 來源：1980年代，由英國著名古董商埃斯肯纳齐收藏，之後英國私人收藏。

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BRIGADIER GORDON RICHARDSON, DSO, OBE (1910-1998) LOTS 50-55

Richardson joined the 2nd King Edward VII’s Own Gurkha Rifles in India in 1931 before working as an instructor at Sandhurst between 1938 and 1940. Richardson was awarded an immediate DSO in 1944 when commanding the 1st Battalion of the 2nd Gurkha Rifles during the Italian campaign at Monte Cassino. He then received a bar to this DSO later in the same year. Afterwards, Richardson served in Greece, India, Singapore, Malaya and Hong Kong. He retired from the British Army in 1964 and then spent nine years in Nepal working for the Overseas Aid Development Corporation.

Brigadier Gordon Richardson（1910-1998）將軍收藏

編號50-55 1931年 ，Richardson加入了國王愛德華八世的皇家步兵營，又在1938年至1940年期間，他擔任桑和斯特皇家 軍事學院的教官。由於他在意大利卡西諾戰役中的傑出貢獻，1944年他被授予了一枚傑出服務勛章，這種勛 章通常只授予少校級別的軍官並需要再實戰中有英勇的表現。Richardson之後又參與了在希臘、印度、新加 坡、馬來西亞及香港的護軍。1964年從英國部隊退役後，在尼泊爾海外發展關係部門工作了九年。 50 A CHINESE PALE CELADON JADE CARVING OF A BOY AND A LION DOG QIANLONG 1736-95 They crouch together resting on the large brocade ball between them, the child smiles as he clutches the ribbon tied around the ball in his hands, the mythical beast carved with bulging eyes and its teeth bared, its mane and tail detailed with finely incised fur, the stone with a few minor inclusions, together with a wood stand, 9.1cm. (2)

£2,000-3,000 Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent.

清乾隆 青白玉雕童子戲獅 來源：Brigadier Gordon Richardson（1910-1998）將軍收藏。

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Brigadier Gordon Richardson in Italy in 1944

51 A CHINESE WHITE JADE ‘LOTUS’ CARVING 18TH CENTURY Carved in openwork as two lotus blooms and large furling leaves growing around a thick curved lotus rhizome, with ribbon tying the stems and root together at the ends, the pale stone with some minor white inclusions, together with a reticulated wood stand worked with further lotus flowers and leaves, 8.2cm. (2)

£2,000-3,000 Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent.

The image of lotus blossom together with lotus rhizome conveys the wish for a happy marriage, as the Chinese word for ‘rhizome’, ou, is homophonous with that for ‘spouse’.

十八世紀 白玉雕一束蓮擺件 來源：Brigadier Gordon Richardson（1910-1998）將軍收藏。

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

52 TWO CHINESE WHITE JADE CARVINGS 18TH/19TH CENTURY One carved as a crested Mandarin duck grasping a leafy sprig in its beak, its wings detailed with archaistic motifs, together with a wood stand, the other carving formed as two persimmon fruits growing from a leafy branch, with a spray of lingzhi to the side of the larger fruit, 4.9cm and 5.3cm. (3)

£1,000-1,500 Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent.

十八/十九世紀 白玉雕鴛鴦及事事如意擺件 一組兩件 來源：Brigadier Gordon Richardson（1910-1998）將軍收藏。

53 TWO CHINESE JADE CARVINGS OF LIU HAI AND A CARVING OF A BOY 18TH/19TH CENTURY The pale celadon carving of Liu Hai worked with the Immortal carrying a broom and a gourd, he stands on cash with the three-legged toad clambering at his side, together with a wood stand, the white jade carving formed as Liu Hai with a boy on his shoulders as he stands on the toad, attached to a wood stand, the third figure carved in pale celadon jade and depicting a boy holding a long branch of lingzhi, 5.4cm max. (4)

£800-1,200 Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent.

十八/十九世紀 玉雕劉海戲蟾及如意童子擺件 一組三件 來源：Brigadier Gordon Richardson（1910-1998）將軍收藏。

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54 TWO CHINESE WHITE JADE OPENWORK PENDANTS QING DYNASTY One formed as a basket containing a large flower growing amongst leaves, the other carved as a stylised fu character, decorated to one side with two water chestnuts under a branch of blossoming prunus, with two fruiting peaches to the reverse, each together with a wood stand, 5.9cm and 4.9cm. (4)

£1,000-2,000 Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent.

清 白玉雕鏤雕牌 一組兩件 來源：Brigadier Gordon Richardson（1910-1998）將軍收藏。

55 SIX CHINESE WHITE AND CELADON JADE ITEMS QING DYNASTY Comprising: a small pouring vessel set with a loop handle, a two-handled cup decorated with a landscape scene and calligraphy, and four openwork pendants, two carved with butterflies, another with twin-fish beneath a qing, the fourth with a bat and shou character, four of the items with wood stands, 12.3cm max. (10)

£1,000-2,000 Provenance: from the collection of Brigadier Gordon Richardson, DSO, OBE (1910-1998) and thence by descent.

清 青白玉雕牌及杯 一組六件 來源：Brigadier Gordon Richardson（1910-1998）將軍收藏。

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56 A RARE CHINESE YELLOW JADE PENDANT QIANLONG 1736-95 Carved in the shape of a bell, decorated in low relief to each side with a band enclosing a pair of mythical creatures, all flanked by two sinuous archaistic dragons, with a small circular hole for suspension, 5.5cm.

£5,000-8,000 清乾隆 黃玉雕雙龍佩

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57 A LARGE CHINESE SPINACH-GREEN JADE ‘DRAGON’ BRUSH WASHER 19TH CENTURY The rounded sides carved in relief with a scaly dragon and two chilong in flight amidst stylised flames, with a band of crashing waves encircling the foot, the base with a four character Qianlong mark, the dark green stone with some pale inclusions and dark specks, together with a wood stand, 17cm. (2)

£2,000-3,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Walter Waddington, Harrogate.

十九世紀 碧玉雕趕珠龍紋筆洗 《乾隆年製》款 來源：英國西約克郡私人收藏（1970-80年代），購於 哈囉蓋特Walter Waddington。

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58 A LARGE CHINESE SPINACH-GREEN JADE ‘DRAGON’ BRUSH WASHER 19TH CENTURY The exterior carved in relief with four scaly dragons writhing amidst lingzhi-shaped clouds, all raised on a short straight foot, the dark green stone with some russet and pale inclusions, together with a wood stand, 23cm. (2)

£4,000-5,000 Provenance: formerly an American private collection.

十九世紀 碧玉雕雲龍紋筆洗 來源：美國私人舊藏。

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59 A SMALL CHINESE WHITE AND BLACK JADE CARVING OF LION DOGS QING DYNASTY OR LATER Cleverly carved with the mother lion dog picked out in a white section of the stone whilst her pup is highlighted in black, the two mythical beasts lie down looking at each other, with stylised clouds to the back of the larger creature, 5.4cm.

£600-800 清或更晚 黑白玉巧雕太獅少獅擺件

60 A CHINESE AGATE ‘PHOENIX AND PEONY’ CARVING 18TH CENTURY The mythical bird depicted standing on rockwork, it turns its head back grasping long leafy branches of peony blooms, with finely incised details to the phoenix’s feathers, with greyish-lilac and rich amber-coloured sections in the stone, 11cm.

£3,000-5,000 Cf. Compendium of Collections in the Palace Museum, Jade, vol.9, pp.152-153, no.141 for a comparable celadon jade carving of a phoenix holding a fruiting branch in its mouth; see also Roger Keverne, Summer Exhibition 2008, p.114, no.95 for another similar carving in jade.

十八世紀 瑪瑙雕鳳戲牡丹擺件

61 A CHINESE PALE CELADON JADE CARVING OF TWO GEESE 18TH CENTURY Formed as a large mother goose with her gosling at her side, the birds grasping leafy reed stems in their beaks, with archaistic scrolls to their wings, the underside incised with stylised swirling waves, the stone of an even tone with minor pale inclusions, 6.5cm.

£2,000-3,000 Provenance: from a private collection, London.

十八世紀 青白玉雕蘆雁擺件 來源：倫敦私人收藏。

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62 A CHINESE PALE CELADON JADE CARVING OF POMEGRANATES QIANLONG 1736-95 Formed as two fruits issuing from a branch, with the leaves trailing over their bodies, the larger pomegranate with a section of its skin peeled revealing its many seeds, each fruit carved with a finely defined calyx, with minor white and russet markings in the stone, together with a reticulated wood stand, 7.7cm. (2)

£7,000-8,000 The pomegranate is an auspicious motif in China as it is a symbol of fertility and abundance because of its many seeds. Pomegranates are often depicted, as on this carving, with some of their skin peeled back showing the numerous seeds inside.

This image forms the rebus liu kai bai zi, or ‘the pomegranate opens revealing one hundred sons’, and thus conveys the wish of producing many offspring.

Cf. Compendium of Collections in the Palace Museum, Jade, vol.9, p.172, no.162 for a related white jade pomegranate carving; see also Sotheby’s Hong Kong, 8th April 2013, lot 3221 and Sotheby’s London, 17th May 2019, lot 252 for two similar smaller carvings also formed as two pomegranates; see also Christie’s Hong Kong, 29th May 2013, lot 1945 for a comparable example formed as a single fruit.

清乾隆 青白玉雕榴開百子擺件

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63 A GROUP OF SEVEN CHINESE JADE ITEMS 18TH/19TH CENTURY Comprising: a pale celadon carving of a cat, a celadon pendant formed as a bird grasping a branch of lotus in its beak, a pale celadon carving of water chestnut seeds amongst leaves, a pale celadon cylindrical vessel incised with mythical beasts, a white jade pendant modelled as a bone fragment, a pale celadon jade carving of a bat clutching a disc incised fu shou shuang quan, and a white jade pendant worked as a twisting fantastical creature, four with wood stands, 6.7cm max. (11)

£2,000-3,000 Provenance: from an English private collection, West Sussex, acquired by the current owner during various tours of duty between 1968 and 1985.

十八/十九世紀 白玉雕擺件 一組七件 來源：英國西薩塞克斯私人收藏，1968-1985年期間由現藏家在旅行 途中購得。 64 TWO CHINESE WHITE JADE BI AND A SPINACH-GREEN JADE BELTHOOK 18TH/19TH CENTURY One bi disc carved in relief with two sinuous chilong and lingzhi, the other decorated with a dragon and a small stylised phoenix, each with raised bosses to the reverse, together with wood stands, the belthook terminating in a dragon head and carved with a further beast crawling over the shaft, with dark specks distributed throughout the dark green stone, 9.1cm max. (5)

£2,000-3,000 Provenance: from an English private collection, West Sussex, acquired by the current owner during various tours of duty between 1968 and 1985.

十八/十九世紀 白玉雕龍鳳璧及碧玉雕螭龍帶鉤 一組三件 來源：英國西薩塞克斯私人收藏，1968-1985年期間由現藏家在旅行 途中購得。

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65 A CHINESE YELLOW JADE CARVING OF TWO CATS 18TH CENTURY The mother cat lies curled up with her head turned to the right towards a butterfly resting on her back, her kitten clambers by her side playfully reaching for the insect with its right paw, the stone with some inclusions and dark specks, 4.6cm.

£2,000-3,000 Provenance: from an English private collection, West Sussex, acquired by the current owner during various tours of duty between 1968 and 1985.

The image of a cat, mao, and a butterfly, hudie, expresses the sentiment maodie, or ‘may you live into your seventies and eighties.’ Pieces of this type would often have been given as birthday gifts.

Cf. Compendium of Collections in the Palace Museum, Jade, vol.9, p.163, no.152 for a white jade carving of two cats and a butterfly; see also Christie’s London, 9th November 2010, lot 162 for a similar carving also in white jade.

十八世紀 黃玉雕耄耋紋擺件 來源：英國西薩塞克斯私人收藏，1968-1985年期間由現 藏家在旅行途中購得。 66 A CHINESE PALE CELADON JADE ‘GOURDS’ PENDANT 18TH CENTURY

67 A CHINESE WHITE JADE ‘BADGERS’ PENDANT 18TH CENTURY

Carved as a large gourd growing from a leafy branch which also issues a smaller fruit and trailing vines, the stone of a pale even tone, 5.1cm.

Of oval form, carved in openwork with two feline-like badgers, the animals recline together gazing back at each other, with finely incised hairs to the ends of their curled tails, the pale stone with some small russet markings, 5.1cm.

£1,000-2,000

£3,000-5,000

Provenance: from an English private collection, West Sussex, acquired by the current owner during various tours of duty between 1968 and 1985.

Provenance: from an English private collection, West Sussex, acquired by the current owner during various tours of duty between 1968 and 1985.

十八世紀 青白玉雕瓜瓞綿綿佩 來源：英國西薩塞克斯私人收藏，1968-1985年期間由現 藏家在旅行途中購得

The Chinese word for ‘badger’, huan, is homophonous with that for ‘joy’. The image of two badgers, shuanghuan, is therefore symbolic of a couple enjoying marital bliss.

Cf. Marchant, Ninety Jades for 90 Years, p.79, no.40 for a similar pendant; see also T Y Pang & J Sze, Virtuous Treasures: Chinese Jades for the Scholar’s Table, p.179, no.103 for another example.

十八世紀 白玉雕歡天喜地擺件 來源：英國西薩塞克斯私人收藏，1968-1985年期間由現藏家在旅行途中購得。

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68 SIX SMALL CHINESE ARCHAISTIC CELADON AND RUSSET JADE PENDANTS PROBABLY QING DYNASTY Formed as stylised birds, a figure, a gecko, a tiger and a rearing horse, each decorated in low relief with scrolling designs, with holes for suspension, 7.6cm max. (6)

£3,000-4,000 Provenance: from the collection of David Taylor (1876-1958) and thence by descent. David Taylor was a successful businessman of Scottish descent who was born in Northern Ireland. He resided in Belfast and owned various commercial buildings, shops and a farm. He also had a substantial portfolio of stocks and shares. These jade items were acquired by Taylor during his travels to East Asia in the early 20th century.

清（可能） 玉雕仿古小件 一組六件 來源：David Taylor （1876-1958）收藏，之後由 其家族繼承。 David Taylor曾是一個非常成功的蘇格蘭商人，出 生於南愛爾蘭，並在其首府貝爾法斯特常駐。 在那裡他購入了各種商務樓、店面及農場。之 後他在股票及股份的投資中也有涉獵。這些玉 器是Taylor在二十世紀早期於東亞進行商務考察 時購入。

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69 TWO CHINESE ARCHAISTIC YELLOW JADE ‘BIRD’ PENDANTS PROBABLY QING DYNASTY One carved as an owl standing upright with its ears pricked up, the other of flattened form and shaped as a stylised eagle spreading its wings, the birds decorated in shallow relief with scrolling motifs, each with calcification to the stone, 5cm and 7.5cm. (2)

£3,000-4,000 Provenance: from the collection of David Taylor (1876-1958) and thence by descent. David Taylor was a successful businessman of Scottish descent who was born in Northern Ireland. He resided in Belfast and owned various commercial buildings, shops and a farm. He also had a substantial portfolio of stocks and shares. These jade items were acquired by Taylor during his travels to East Asia in the early 20th century.

清（可能） 黃玉雕仿古鳥及鷹型佩 一組兩件 來源：David Taylor （1876-1958）收藏，之後由其家族繼承。 David Taylor曾是一個非常成功的蘇格蘭商人，出生於南愛爾蘭，並在其首府貝爾法斯特常 駐。在那裡他購入了各種商務樓、店面及農場。之後他在股票及股份的投資中也有涉獵。 這些玉器是Taylor在二十世紀早期於東亞進行商務考察時購入。 70 A CHINESE JADEITE ‘QUAIL’ BOX AND COVER LATE QING DYNASTY Formed as a seated quail, the bird depicted with its wings at its side and its feet tucked beneath its body, incised with fine details of its plumage, the dark green stone with black specks and vibrant green streaks, 8.2cm. (2)

£3,000-4,000 晚清 翡翠雕鵪鶉蓋盒

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

71 A CHINESE CELADON AND RUSSET JADE ‘YINGXIONG’ GROUP 18TH CENTURY Carved as a recumbent lion dog gazing at an eagle perched on its back, with the mythical beast picked out in a russet section of the stone, the steely-eyed bird of prey carved in celadon, their fur and feathers finely detailed, together with a certificate of authenticity from Gilbert Crutel, Paris, dated 3rd June 1978, 7cm.

£8,000-10,000 The imagery depicted is an interpretation of the motif of an eagle, ying, and a bear, xiong, which together form the word yingxiong, 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 203 for a 17th/18th century yellow jade carving with the same iconography.

十八世紀 青白玉雕英雄擺件 附：法國Gilbert Crutel1978年6月3日的的鑒定證書。 青白玉、瑞獅及鷹互相注視，不怒自威。鷹羽毛及獅尾紋雕琢精細，神態酷肖。鷹、熊諧音“英雄”，此類組 合最早可追溯到西漢時期，以鷹與熊的鎮紙形式出現，至明代亦為盛行，有用於一種酒器，稱“英雄合巹杯” 取其兩杯相連永不分離之意，是明代時候的創新器型，北京故宮博物院有藏類例，見《故宮博物院藏文物珍品 全集·玉器篇》，商務印書館，2003，頁259-261，編號200及201。到了明清時期，熊逐漸被演化為瑞獸，鷹有 時會化為鳳凰，巴斯東亞藝術博物館有類似展品，並錄於Angus Forsyth及Brian McElney, 《Jades from China》，巴 斯，1994年，頁365，編號292。 清代圓雕動物造型與明代相比更加活靈活現，各種動物雕像造型活潑，動作逼真並含吉祥寓意。此件英雄擺件玉 匠巧妙利用玉料原皮色做瑞獅的皮毛，與雄鷹的青白玉色行程鮮明對比，更顯活潑。這類玉雕一般可做玉玩、鎮 紙或擺件。

Gilbert Crutel Certificate of Authenticity 3rd June 1978

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72 A CHINESE CHICKEN-BONE JADE CARVING OF ZHOU YANZI 18TH CENTURY The boy carved standing holding a bucket in his left hand, with a large deer skin draped over his back and head, depicted with a cheerful expression on his face and his hair tied in two buns, 8.7cm.

£4,000-5,000 Figures of Zhou Yanzi represent filial piety. According to a Chinese folk tale, Zhou Yanzi wore a deer skin in order to mingle with a herd and obtain milk from a doe to cure his ailing father.

十八世紀 雞骨玉鹿乳奉親擺件 73 A CHINESE CELADON JADE TRIPOD INCENSE BURNER QING DYNASTY Carved to the exterior with a band of archaistic taotie masks, the body flanked by two handles issuing from the mouths of mythical beasts, the stone with some russet inclusions, together with a wood cover pierced with medallions and surmounted by a seated figure, all raised on three tapering feet, 10.8cm dia, 16cm max. (2)

£6,000-8,000 清 青白玉雕三足香爐 72

74 A CHINESE CELADON JADE FIGURE OF AMITABHA BUDDHA QING DYNASTY Carved seated in dhyanasana with his hands in dhyana mudra, his robes picked out in gilt and decorated with blossoms, the garments draped loosely over his shoulder revealing his bare chest, his sharply defined features framed by his large elongated earlobes, the stone with some white inclusions, 16.8cm.

£5,000-8,000 Provenance: from an English private collection, acquired no later than the 1960s.

Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.271, no.235 for a related jade figure of Buddha with gilt decoration to his face.

清 青白玉雕無量壽佛坐像 來源：英國私人收藏，購於1960年代之前。

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75 † A LARGE CHINESE CELADON JADE FIGURE OF BUDDHA SHAKYAMUNI MID 20TH CENTURY, THE BASE PERHAPS EARLIER Carved seated in dhyanasana with his right hand in bhumisparsha mudra, depicted wearing loose flowing robes which reveal his bare chest, his tranquil face framed by his pierced elongated earlobes, the stone of an even pale greyish-green tone, all raised on a separate beaded double lotus base with russet inclusions, 26.5cm overall. (2)

£10,000-15,000 Provenance: purchased in New York in the 1950s.

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 resolve forced Mara and his army of demons to flee; moments later, Shakyamuni attained enlightenment.

二十世紀中期 青白玉雕釋迦摩尼坐像 來源：1950年代購於紐約。

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76 A CHINESE PINK TOURMALINE ‘DEER’ PENDANT QING DYNASTY Carved in openwork with a recumbent deer grasping two lingzhi in its mouth as it gazes backwards, the stag incised with stars to its hind legs, with a bat and scroll picked out in a green section of the stone to the ends, 5.5cm.

£1,000-2,000 清 碧璽雕鹿銜靈芝佩

77 A CHINESE WHITE JADE HAIRPIN QIANLONG/JIAQING Carved in openwork with an oval panel depicting two beauties and two gentlemen standing by a building amidst scrolling foliage, with an ear pick to one end, the pale stone of an even tone, 20.8cm.

£2,500-3,500 Cf. The National Palace Museum, Shenyang Palace Museum & Cartier Collection, Royal Style: Qing Dynasty and Western Court Jewellery, p.124, no.I-2-64 for a comparable jade hairpin pierced with flowers; see also Compendium of Collections in the Palace Museum, Jade, vol.9, p.266, no.269 for another related jade hairpin.

清乾隆/嘉慶 白玉雕透雕髮簪

78 A SMALL CHINESE CELADON JADE SEAL QING DYNASTY OR EARLIER The square-section seal surmounted by a crouching bear-like creature, the underside worked with four characters reading Wu Song xian sheng, the stone with russet inclusions, 3.1cm.

£1,000-2,000 Provenance: formerly the collection of M Leong, Melbourne, Australia.

Wu Song is the artist’s name for Nie Hualing, who was a scholar during the Qing dynasty.

清或更早 青白玉雕獅鈕章 印文：五鬆先生 註：聶華齡，號五鬆先生，善詩文畫靡不精絕。

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79 A CHINESE PALE CELADON JADE BELT BUCKLE QING DYNASTY Formed as two sections, each pierced and carved in low relief with archaistic scrolls, the hook shaped as the head of a mythical beast, with a further animal mask to the other section, the stone with some russet inclusions, 12.5cm overall. (2)

£1,500-2,500 Provenance: from the collection of Wing Commander F W Hilton (d.1990s), and thence by descent.

清 青白玉雕瑞獸帶扣 來源：皇家空軍中校F W Hilton（逝於1990年 代）收藏，之後由其家族繼承。

80 A CHINESE PALE CELADON JADE CARVING OF TWO GEESE QIANLONG 1736-95 Formed as a large goose seated upon a furling lotus leaf, with a smaller bird picked out in a grey area of the stone by its side, each holds a blossoming sprig in its beak, their wings detailed with finely incised feathers, 5.8cm.

£1,000-2,000 Provenance: from an English private collection, Sussex.

清乾隆 青白玉雕鵝啣蓮擺件 來源：英國薩塞克斯私人收藏。

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SIR ARCHIBALD JOHN BOYD (c.1889-1959) AND LADY BOYD LOTS 81-83 Sir Archibald was chairman of the Metropolitan-Cammell Carriage and Wagon Company and of The Patent Shaft and Axletree Company. He was educated at Harrow and Trinity College, Oxford, and then joined the steelworks of Cammell Laird and Co, Sheffield, as a pupil in 1912. In 1929, the company merged with Vickers Ltd forming the Metropolitation-Cammell Carriage and Wagon Company, and Sir Archibald became its managing director five years later. During the Second World War, the company produced fighting vehicles and Sir Archibald was seconded to the Ministry of Supply as Director-General of Tank Production between October 1942 and December 1943. In 1950, Sir Archibald received his knighthood and he was appointed as the company’s chairman in 1956.

81 A CHINESE WHITE JADE CARVING OF TWO BADGERS QIANLONG 1736-95

Sir Archibald John Boyd (c.1889-1959)

One of the creatures depicted standing, the other crouching, they face each other grasping leafy sprigs of lingzhi in their mouths, with their ears lying flat against their heads, the hairs of their bushy tails finely incised, the stone with some minor pale inclusions, together with a wood stand, 6.3cm. (2)

£2,000-3,000 Provenance: from the collection of Sir Archibald John Boyd (c.1889-1959) and Lady Boyd, and thence by descent.

清乾隆 白玉雕如意歡天喜地擺件 來源：Archibald John Boyd（1889左右-1959）紳士伉儷收藏，之後由其家族繼承。Archibald紳士曾任 英國著名的火車及軍火公司主席。 82 A SMALL CHINESE WHITE JADE ‘MOUNTAIN’ CARVING QIANLONG 1736-95 Formed as a rocky cliff face, carved in relief to one side with a pair of deer, the stag gazing back at the doe, with small stars incised to the animals’ bodies, the reverse with a twisting gnarled pine tree, with one branch extending over the top of the cliff, the stone with some minor pale and russet inclusions, together with a wood stand, 6cm. (2)

£4,000-6,000 Provenance: from the collection of Sir Archibald John Boyd (c.1889-1959) and Lady Boyd, and thence by descent.

清乾隆 白玉雕鬆鹿同春山子 來源：Archibald John Boyd（1889左右-1959）紳士伉儷收藏，之後由其家族繼承。Archibald紳士曾任 英國著名的火車及軍火公司主席。

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83 A CHINESE CELADON JADE ‘MOUNTAIN’ CARVING QIANLONG 1736-95 Formed as rounded craggy peaks, decorated in relief to one side with a monkey holding a peach as he kneels before a seated scholar, they sit beneath wutong and pine trees, carved in openwork with a pavilion to one side and a tall tower in the distance, with a further wutong tree growing amidst rocks to the reverse, the stone with some russet and white inclusions, 15.6cm. (2)

£3,000-5,000 Provenance: from the collection of Sir Archibald John Boyd (c.1889-1959) and Lady Boyd, and thence by descent.

清乾隆 青白玉雕山子 來源：Archibald John Boyd（1889左右-1959）紳士伉儷收藏，之後由 其家族繼承。Archibald紳士曾任英國著名的火車及軍火公司主席。

another view

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84 A CHINESE BLUE AND WHITE ‘PHEASANTS’ BALUSTER VASE AND COVER KANGXI 1662-1722 Painted with a pair of pheasants perching on rockwork as blossoming peony, magnolia and hydrangea grow around them, the cover similarly decorated with floral sprays and with a continuous scrolling band to the underside, the cover with paper labels for Dickinson and Richard Pirie T Copeland, no.51, 43.5cm. (2)

£2,000-3,000 Provenance: from the collection of Gresham Copeland (d.1960s), a former partner of the Copeland manufactory, and thence by descent.

Cf. Bonhams, The Contents of Trelissick House including The Copeland China Collection, 23rd-24th July 2013, lot 52 for the pair to this vase; see also J P Stamen & C Volk, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp.168-169, no.66 for a rouleau vase with similar decoration.

85 A CHINESE BLUE AND WHITE ‘QILIN’ SLEEVE VASE SHUNZHI 1644-61 The tall cylindrical body flaring at the rim, painted with a qilin seated in a landscape amidst rockwork and plantain, with pendant leaves and sprays of pomegranate and magnolia below, 40.6cm.

£4,000-6,000 Provenance: acquired in the 1980s.

Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.1, p.128, nos.247 and 248 for two vases with similar decoration; see also R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), pp.100-101, no.53 for a related blue and white Shunzhi period sleeve vase decorated with a qilin and phoenix in a rocky landscape above scrolling lingzhi and pendant leaves.

明順治 青花麒麟送子紋花觚 來源：購於1980年代。

清康熙 青花錦上添花紋將軍罐 來源：Gresham Copeland（逝於1960年代）收藏，之後由其家族繼承。

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86 A CHINESE BLUE AND WHITE ‘BAXIAN’ YEN YEN VASE KANGXI 1662-1722 Painted to the exterior in underglaze blue with eight large cartouches, each enclosing one of the Eight Immortals standing in a fenced garden holding their attributes, the panels reserved on a carved ground of peony flowerheads blooming amidst scrolling foliage, with geometric bands encircling the rim, shoulder and foot, together with a reticulated wood stand, 43.8cm. (2)

£6,000-8,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from the Reverend G E Grime.

Cf. Oriental Ceramics: The World’s Great Collections, vol.7, Musée Guimet, Paris, pl.114 for a comparable Kangxi yen yen vase similarly painted with large cartouches enclosing the Eight Immortals on a diaper ground from the Grandidier Collection; see also R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), pp.478-479, no.309 for another similar example also with the panels reserved on diaper in the collection of the Palace Museum.

87 A CHINESE BLUE AND WHITE ‘MYTHICAL BEASTS’ BALUSTER VASE SHUNZHI 1644-61 Painted with a qilin, lion dog and third creature, possibly a xiezhi, they sit in a landscape amidst rocks and plantain, with mountainous peaks rising from a river in the distance, the short neck decorated with a band of leaves, 27.5cm.

£5,000-7,000 Provenance: acquired in the 1980s.

明順治 青花麒麟紋將軍罐 來源：購於1980年代。

清康熙 青花開光八仙紋鳳尾尊 來源：英國西約克郡私人收藏（1970-80年代），購於Reverend G E Grime。

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88 A FINE CHINESE IMPERIAL TEADUST GLAZED BOTTLE VASE, BIQIPING SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The pear-shaped body surmounted by a tall cylindrical neck, decorated all over with a dark olive-coloured mottled glaze, all raised on a flared foot, the incised reign mark contained within a slightly recessed square covered with a brown wash, 33.4cm.

£30,000-40,000 Teadust glazes, also known as cha ye mo, are usually found on reign-marked Imperial items of specific shapes and they are generally associated with the reigns of the Yongzheng (r.1723-35) and Qianlong (r.1736-95) Emperors. There was great experimentation at the Imperial Kilns in Jingdezhen during the reigns of these two emperors as potters attempted to expand the range of glazes used on fine monochrome wares. The Yongzheng Emperor is known to have been enamoured with antiquity, and so at this time there was a conscious effort to recreate and refine visual effects present on earlier ceramic pieces. Eighteenth century teadust glazes were a reinvention of earlier dark brown iron oxide glazes, which had previously been used on pieces produced at kilns in northern China, including Yaozhou, during the Tang and early Song dynasties.

Eighteenth century teadust glazes were first achieved under Tang Ying (1682-1756), who is often regarded as one of the greatest supervisors of the Imperial Kilns and is renowned for his outstanding imitation of early pieces.

Cf. R Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, pp.256-257, no.936 for a comparable Qianlong mark and period vase; see also Sotheby’s Hong Kong, 19th May 1987, lot 294 for another similar piece from the T Y Chao Collection; see also R Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, pp.47-48, no.25 for another related vase with a pale rim in the collection of the Victoria & Albert Museum; see also Christie’s New York, 17th March 2017, lot 1245 and Sotheby’s Hong Kong, 3rd October 2017, lot 3665 for further examples sold more recently at auction.

清乾隆 茶葉末釉荸薺瓶 《大清乾隆年製》篆書款

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89 A CHINESE LANGYAO BOTTLE VASE, CHANGJINGPING KANGXI 1662-1722 The bulbous pear-shaped body supported on a short slightly tapering foot, surmounted by a tall slender cylindrical neck, the exterior decorated with a rich red crackled flambé glaze scattered with pale specks, the glaze draining from the rim leaving it white and pooling to a deep burgundy at the foot, with a pale mint green glaze to the base, 40.6cm.

£8,000-12,000 The term langyao used to describe this type of glaze derives its name from Lang Tingji, who was the director of the official kilns at Jingdezhen from 1705 to 1712.

It is believed that he was responsible for the revival of monochrome glazes and that the langyao glaze developed under his supervision.

Cf. J Ayers, The Baur Collection, Chinese Ceramics, vol.3, Monochrome-Glazed Porcelains of the Ch’ing Dynasty, pl.A277 for a related vase; see also Christie’s New York, 22nd-23rd March 2018, lot 767 for another comparable vase.

清康熙 郎窯紅釉長頸瓶

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90 A CHINESE BLUE AND WHITE ‘WATER MARGIN’ ROULEAU VASE KANGXI 1662-1722 Painted with a scene from The Water Margin depicting a soldier lifting a bronze ding high above his head with one hand, with many further warriors and scholar-officials watching the spectacle, the three large windows behind looking out on to gusts of wind, a mountainous riverscape and a carp leaping from crashing waves, the scene divided by leafy trees growing amidst rocks and swirling clouds, the base with an artemisia leaf and a paper label reading ‘Ex-collection Lord Chesterfield’, 44.5cm.

£5,000-8,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from the Reverend G E Grime.

It is believed that in ancient China, the act of lifting a bronze ding was a display of absolute strength and a demonstration of virility.

清康熙 青花水滸傳人物故事紋棒槌瓶 來源：英國西約克郡私人收藏（1970-80 年代），購於Reverend G E Grime。

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91 A CHINESE FAMILLE VERTE ‘BIRDS AND FLOWERS’ ROULEAU VASE KANGXI 1662-1722 Painted with a pheasant standing on rockwork amidst peony, prunus and other blossoming flowers, with six smaller birds in flight and perched amidst the blooms, the cylindrical neck decorated with sprays of leafy branches, 48cm.

£6,000-8,000 Cf. M A Pinto de Matos, Chinese Porcelain in the Calouste Gulbenkian Collection, pp.88-91, no.17 for a comparable vase; see also Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.88-89, no.57 for a blue and white rouleau vase decorated with a similar scene.

清康熙 五彩花鳥紋棒槌瓶

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92 A FINE AND RARE SMALL CHINESE GREEN GLAZED GU-SHAPED VASE SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Rising from a spread foot to a tall flaring neck, the central section flanked by two applied animal masks suspending rings from their mouths, with a vibrant green glaze decorating the body, the rim left white, with the reign mark incised to the base, 18cm.

£8,000-12,000 Provenance: formerly the collection of Karl Wilhelm Gerdhem (1868-1932). Karl Wilhelm Gerdhem was a Swedish engineer known for his pioneering work in expanding the worldwide telephone network. He joined the Swedish telephone company SAT in 1892 and was eventually appointed as the company’s chief network engineer.

Gerdhem’s work took him to many countries, including Russia, Mexico, Argentina and China. He was sent to Beijing in 1915 to negotiate a contract for operating and supplying materials to the telephone network in Guangzhou; the negotiations, however, were unsuccessful. During his time there, Gerdhem acquired a collection of Chinese porcelain, which he brought back with him on his return to Sweden.

93 A SMALL CHINESE TURQUOISE GLAZED ‘CHILONG’ VASE YONGZHENG 1723-35 Raised on a spread foot and surmounted by a tall flaring neck, decorated with a crackled pale blue glaze, the shoulder applied with a chilong picked out in aubergine, the mythical beast with its mouth agape revealing its tongue and fangs, all above a band of moulded narrow lappets, the base left unglazed, together with a Japanese box and cover, 13.9cm.

£3,500-4,500

Cf. Marchant, 90th Anniversary Exhibition of Qing Porcelain from Private Collections, pp.45-47, nos.22-23 for two Kangxi blue and white items also from the collection of Karl Wilhelm Gerdhem.

Provenance: formerly a Japanese private collection.

清康熙 綠釉鋪首花觚 《大清康熙年製》楷書款 來源：Karl Wilhelm Gerdhem（1868-1932）舊藏。Gerdhem是瑞典工程師，他是

清雍正 孔雀綠螭龍紋瓶 來源：日本私人收藏。

全球電話網絡普及推廣的先鋒之一。1892年他加入了瑞典SAT電話公司，然後 成為了該公司的電話網管理發展部門的總工程師。他的工作為他帶來了很多商 務考察之旅的機會，其中包括俄羅斯、墨西哥、阿根廷及中國。1915年他曾被 指派至北京進行廣州電話網合作事宜會議，雖然他訪問期間並沒有談成合作， 但他在這次旅途中購入了一大批中國瓷器，並帶回了瑞典。

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94 A RARE CHINESE UNDERGLAZE BLUE AND RED POWDER BLUE-GROUND DISH KANGXI 1662-1722 Painted to the centre with a travelling monk carrying a large bundle and a fly whisk over his shoulder on a pole, the figure reserved on a mottled powder blue ground, with two large underglaze blue sprays of bamboo to the reverse, the base with a flowerhead contained in a double ring, 26.4cm.

£10,000-15,000 The dish probably depicts the warrior monk Lu Zhishen from The Water Margin.

Cf. C J A Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, pp.127-128, no.132 for a dish with the same design; see also Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.120-121, no.82 for a comparable Kangxi dish painted in underglaze blue and red with a kneeling monk against a powder blue ground.

清康熙 青花白地魯智深故事紋盤

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95 A CHINESE JIAN-TYPE TEA BOWL PROBABLY SONG DYNASTY The deep rounded sides decorated in a thick black glaze which stops short of the foot, the glaze at the everted rim of a warm brown tone, the well with an old paper label reading ‘CH 59’, together with a lacquer stand, all contained in a fitted Japanese wood box and cover, 10cm dia. (2)

£2,000-3,000 宋（可能） 建窯茶盞 96 A CHINESE JUN YAO STEM BOWL YUAN/MING DYNASTY The shallow bowl raised upon a flaring foot, decorated in a pale crackled lavender-blue glaze, with a dramatic magenta splash to the interior, the glaze thinning to a greyish-green around the rim and foot, 16.6cm dia.

£2,000-3,000 元/明 鈞窯高足碗 97 A CHINESE JIZHOU BLACK GLAZED TEA BOWL SONG DYNASTY The deep rounded sides decorated with a thick black glaze which stops short of the foot, the biscuit base left exposed, 11.1cm dia.

£1,500-2,000 Cf. D Yang & D Dai, Complete Collection of Chinese Ceramics, vol.15, Jizhou Ware, no.60 for a comparable Jizhou black tea bowl in the collection of the Jiangxi Museum.

宋 吉州窑黒釉碗

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98 A LARGE CHINESE CIZHOU-TYPE VASE YUAN DYNASTY The ovoid body tapering towards the foot, painted in brown slip with floral and foliate sprays against a cream ground, all contained between stylised continuous bands, the short gently tapering neck rising to an everted rim, 38cm dia.

£1,500-2,500 Provenance: formerly The Mount Trust; and then an English private collection, West Yorkshire, purchased from Christie’s London on 7th December 1992, lot 33.

元 磁州窯折枝花卉紋大罐 來源：Mount基金會舊藏，之後由英國西約克郡私人收藏，購於倫敦 佳士得1992年12月7日·編號33。

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99 A CHINESE DING WHITE GLAZED BOWL LATE TANG DYNASTY The shallow body rising from a short circular foot, with a raised lip encircling the rim, all decorated with a simple white glaze, the base shaped as a bi disc, with paper labels for Lally & Co and the Ronald W Longsdorf Collection, 15.7cm.

£4,500-5,500 Provenance: formerly the Ronald W Longsdorf Collection, no.911; and then J J Lally & Co, New York, no.X2251.

Exhibited: J J Lally & Co, Early Chinese White Wares: The Ronald W Longsdorf Collection, New York, 11th September-3rd October 2015, catalogue no.9; and then The Crow Museum of Asian Art of The University of Texas at Dallas, Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles, Dallas, Texas, 17th September 2016-12th February 2017, and Museo Internacional del Barroco, Puebla, Mexico, 25th March-30th July 2017 as part of the same exhibition.

Cf. The Complete Collection of Treasures of the Palace Museum: Porcelain of the Jin and Tang Dynasties, p.107, no.96 for a related Tang dynasty Ding ware bowl; see also The Palace Museum, Selection of Ding Ware: the Palace Museum’s Collection and Archaeological Excavation, pp.60-61, no.16 for another comparable bowl; see also The Complete Works of Chinese Ceramics, vol.6, Tang, Five Dynasties, p.198, no.223 for a similar Five Dynasties bowl in the collection of the Palace Museum.

晚唐 定窯撇口碗 來源：Ronald W Longsdorf舊藏，編號911; 之後紐約 J J Lally & Co，編號X2251. 展覽：J J Lally & Co， 早期白釉器：紐約Ronald W Longsdorf收藏，2015年9月11日至10月3日。

100 A CHINESE XING WHITE GLAZED BOWL FIVE DYNASTIES The deep body raised on a short flared foot, decorated to the exterior and interior with an opaque white glaze, with a splash of glaze to the biscuit base, 17.3cm.

£2,000-3,000 Provenance: purchased from Tenkouro Konijutsu, Japan.

五代 刑窯白釉碗 來源：購於日本Tenkouro Konijutsu。

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101 A RARE CHINESE DING WHITE GLAZED MALLOW-SHAPED FOOTED BOWL SONG DYNASTY The delicately potted lobed body formed as a six-petalled flowerhead, subtly decorated with an elegant ivory-coloured glaze, all raised on a short flared foot, 15.5cm.

£8,000-12,000 Cf. The Palace Museum, Selection of Ding Ware: The Palace Museum’s Collection and Archaeological Excavation, pp.180-181, no.73 for a similarly shaped six-petalled Ding dish without a foot.

宋 定窯白釉花口碗

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102 A LARGE CHINESE POTTERY MODEL OF A HORSE TANG DYNASTY The horse depicted standing proud on three legs as it raises its front right leg dramatically, with its mouth agape and nostrils flaring, its strong body defined with its muscles, with traces of black and red pigment to the surface, its tail removable, 80cm. (2) Together with a copy of the Oxford Authentication Thermoluminescence Analysis Report, sample no.C101a57, dated 21st January 2001.

£10,000-15,000 Provenance: from a deceased estate, Hampshire, purchased from E & J Frankel Ltd, New York, on 18th April 2001. A copy of the invoice is available.

唐 馬俑 來源：英國漢普郡遺產，2001年4月18日購於紐約E&J Frankel Ltd（附發 票複印件）。 附：紀年測試證書。

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103 A CHINESE CELADON GLAZED VASE 18TH/19TH CENTURY The ovoid body tapering towards the foot and surmounted by a short cylindrical neck, carved to the exterior with large blooms growing amongst scrolling leafy tendrils, the design contained between ruyi-heads and lappets, with a band of upright pendant leaves to the neck, the base glazed white, 43.5cm.

£4,000-6,000 Cf. Christie’s New York, 19th-20th September 2013, lot 1387 for a celadon glazed jar with similar carved decoration.

104 A GOOD CHINESE LONGQUAN CELADON ‘CHRYSANTHEMUM’ BOWL MING DYNASTY The deep fluted sides moulded as twenty-four narrow petals radiating from the undecorated circular well, raised on a short gently tapering foot, decorated all over with a sea-green glaze, 16.8cm dia.

£4,000-5,000 明 龍泉青釉菊瓣碗

十八/十九世紀 龍泉如意花卉紋瓶

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105 A CHINESE FAHUA VASE, MEIPING 16TH CENTURY

106 A CHINESE CELADON GLAZED SLIP-DECORATED BOTTLE VASE, BIQIPING SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95

Decorated in relief with two large floral sprays divided by insects in flight above rockwork, with precious objects and jewels set amidst garlands of beads to the shoulder, the foot encircled by a band of broad lappets, 28.9cm.

Rising from a short spread foot to a tall cylindrical neck which gently flares towards the rim, each principal side decorated in white slip with a ruyi sceptre and qing surrounded by leaves and a bat, with stylised archaistic beasts dividing the designs, all against a pale greyish-green ground, with the reign mark to the base in underglaze blue, 33cm.

£5,000-6,000

£7,000-10,000

Cf. J Harrison-Hall, Ming Ceramics in The British Museum, p.411, no.13:5 for a fahua meiping with similar raised chains to the shoulder; see also the collection of the Victoria & Albert Museum, museum no.690-1893 for a comparable vase also with floral sprays contained between lappets and beaded strings.

Provenance: from an American private collection and thence by descent.

Purchased from William Clayton Limited on 10th July 1974. A copy of the invoice is available.

十六世紀 法華釉花卉梅瓶

Cf. Christie’s New York, 14th-15th September 2017, lot 1266 for a comparable two-handled Qianlong mark and period vase with similar decoration in white slip.

清乾隆 青釉吉慶如意荸薺瓶 《大清乾隆年製》青花篆書款 來源：美國私人收藏，之後由家族繼承。1974年7月10日購於 William Clayton Limited（附發票複印件）。

William Clayton Ltd invoice 10th July 1974

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107 TWO CHINESE FAMILLE ROSE DISHES 18TH CENTURY The smaller dish decorated with a large spray of peony and finger citron, the design surrounded by bands of blue and pink diaper, the larger dish painted with a cornucopia of flowers, brightly decorated in enamels and gilt with banners, plumes and other designs encircling the rim, 20.8cm and 35.6cm. (2)

£800-1,200 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s. The ‘cornucopia’ dish purchased from John Sparks Ltd on 26th April 1982. A copy of the invoice is available.

Cf. Christie’s New York, 28th January 2013, lot 486 for another dish with a very similar cornucopia design.

十八世紀 粉彩花卉紋盤 一組 兩件 來源：英國西約克郡私人收 藏，購於1970-1980年代。其中 一件1982年4月26日購於John Sparks（附發票複印件）。

John Sparks Ltd invoice 26th April 1982

108 A PAIR OF CHINESE FAMILLE ROSE ‘EIGHTEEN LUOHANS’ DISHES QIANLONG 1736-95 Each painted to the centre with a beauty and child watching another lady play the qin, all contained within borders of gilt-decorated flowers and panels enclosing birds, with the Eighteen Luohans to the rim of each, the details highlighted in gilt, the bases with paper labels, 22.3cm. (2)

£3,500-4,500 Provenance: from an English private collection, London, purchased from H R Hancock & Sons on 17th July 1957, and thence by descent.

A copy of the invoice is available.

清乾隆 粉彩吉慶如意十八羅漢 碟 一對 來源：英國倫敦私人收 藏，1957年7月17日購於 H R Hancock & Sons（附發票複 印件）。 H R Hancock & Sons invoice 17th July 1957

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109 AN EXTENSIVE CHINESE ROUGE-DE-FER PART DINNER SERVICE C.1790 Comprising: an oval soup tureen, cover and stand, eight soup plates, nine side plates, twenty-two circular plates, two rectangular tureens and covers, four deep oval dishes, an oval dish, and a large oval dish with a pierced strainer, all decorated with figural scenes, landscape panels and cartouches enclosing birds, 40.6cm max. (53)

£10,000-20,000 Provenance: from a deceased estate, Hampshire, purchased from Christie’s London, The China Trade Sale, 5th April 2000, lot 111. A copy of the invoice is available.

1790年代 外銷瓷 一組五十三件

來源：英國漢普郡遺產，購於倫敦佳士得2000年4月5日·編號111（附發票複印件）。

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110 A RARE CHINESE IMPERIAL WUCAI ‘BOYS’ BOX AND COVER SIX CHARACTER WANLI MARK AND OF THE PERIOD 1573-1620 The barrel-shaped body painted with sixteen boys at play in a garden amidst rockwork, plantain, pine and willow trees, with stylised ruyi-head shaped clouds in the sky above them, all beneath a band of swirls encircling the rim, the cover similarly decorated with four further boys in a fenced garden, with a band of key fret to the edge, 18cm high. (2)

£30,000-40,000 Provenance: formerly the collection of Dolores Alzaga, Buenos Aires. The Alzaga Family were well-known for numerous collections, including cloisonné and Fabergé.

Ming dynasty porcelain covered boxes of this form are exceedingly rare and it is still unclear what their exact purpose was. It has been suggested that these boxes might have been used in pairs as containers for weiqi, also known as go, playing pieces. However, comparable jars also functioned as cricket cages. Porcelain cricket cages of this form, but with recessed covers, were first made for the Xuande Emperor (r.1426-35) and the popularity of the ancient sport of cricket fighting grew significantly during the Ming dynasty. The depth of this particular box would perhaps suggest that is more likely to have functioned as a cricket cage: it would have been somewhat impractical to pick out weiqi stones from such a tall container. It is also interesting to note that the barrel-shaped form later became popular in Japan, being utilised on mizusashi, or water vessels used in tea ceremonies.

Cf. R Krahl, Chinese Ceramics from the Meiyintang Collection, vol.4 (I), pp.196-197, no.1704 for a similar smaller Wanli mark and period box and cover painted with dancers; see also the collection of The Metropolitan Museum of Art, accession no.1991.253.55 for a comparable jar without its cover painted with dragons; see also Sotheby’s Hong Kong, 5th October 2016, lot 110 for another related item decorated with mythical beasts; see also R E Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, p.89, no.90 for a comparable blue and white box and cover also with dragons.

明萬曆 五彩嬰戲圖蓋罐 《大明萬曆年製》青花楷書款 來源：Dolores Alzaga舊藏，Alzaga家族是有許多很著名的收藏其中包括琺瑯彩及俄羅斯費伯奇。

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111 A CHINESE FAMILLE ROSE MOULDED BOWL YONGZHENG 1723-35 The U-shaped body moulded as a flowerhead, painted with petal-shaped panels enclosing beauties and gentlemen, the figures divided by diaper, with a floral motif to the well, all raised on five bracket feet, the base with a paper label for John Sparks Ltd, 20.1cm.

£500-1,000 Provenance: from an English private collection, West Yorkshire, purchased from John Sparks Ltd on 26th April 1982. A copy of the invoice is available.

清雍正 粉彩人物故事紋花 口碗 來源：英國私人收藏，1982年 4月26日購於John Sparks Ltd （附發票複印件及標籤）。

John Sparks Ltd invoice 26th April 1982

112 A PAIR OF CHINESE FAMILLE ROSE ‘MOGU’ DISHES SIX CHARACTER YONGZHENG MARKS AND OF THE PERIOD 1723-35 Each with a thinly potted body rising from a tapering foot to an everted rim, painted in the ‘boneless’ technique with large sprays of peony and other blossoms, with the reign marks in underglaze blue, one with the remains of a Sparks label to the base, 15.5cm. (2)

£2,000-3,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Sparks.

清雍正 粉彩花卉紋碟 《大清雍正年製》青花楷書款 來源：英國西約克郡私人收藏， 1970-1980年代購於Sparks。

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113 A CHINESE FAMILLE ROSE RUBY-BACK DISH YONGZHENG 1723-35

114 A CHINESE FAMILLE ROSE CYLINDRICAL BRUSHPOT, BITONG YONGZHENG 1723-35

The shallow body raised on a tapering foot and gently flaring at the rim, finely painted to the centre with a spray of various flowers, with an insect resting on one of the stalks, the underside coated with a rich mottled pink glaze, the base glazed white and with an old paper label, 15.7cm.

Painted to the exterior with a beauty holding a small flower in her left hand, with lotus blooms contained in a vase on a table behind her, she gazes at two boys standing by a large pile of books, one child holds a lotus leaf and a halberd, the other clutches a sceptre, with rockwork to the reverse, together with an openwork wood stand, 12.5cm.

£2,000-3,000 Cf. Sotheby’s Hong Kong, 6th April 2016, lot 91 for a related ruby-back dish with floral sprays and butterflies from the Pilkington Collection of Chinese Art.

清雍正 粉彩花卉紋碟

£1,000-2,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清雍正 粉彩人物故事紋筆筒 來源：英國西約克郡私人收藏，購於1970-1980年代。

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115 A CHINESE IMPERIAL GREEN-ENAMELLED ‘DRAGON’ DISH SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908

116 A CHINESE DOUCAI ‘MANDARIN DUCK’ DISH SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35

Painted to the centre with a writhing five-clawed dragon chasing a sacred pearl, with two further dragons in pursuit of flaming jewels against a stylised wave ground to the underside, the base with a paper label for Bluett London, 18.6cm.

Painted to the centre with a medallion enclosing a pair of Mandarin ducks swimming and flying amidst lotus blooms, the underside similarly decorated with a continuous scene, the base with the reign mark in underglaze blue and a paper label for Bluett London, 17.6cm.

£1,500-2,500

£500-1,000

Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Bluett’s.

Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Bluett’s.

清光緒 綠釉趕珠龍紋碟

清雍正 鬥彩蓮池鴛鴦紋碟

《大清光緒年製》青花楷書款 來源：英國西約克郡私人收藏，1970-1980年代購於 Bluett’s。

《大清雍正年製》青花楷書款 來源：英國西約克郡私人收藏，1970-1980年代購於 Bluett’s。

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117 A CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Incised with two dragons in pursuit of a sacred pearl amidst flames, one dragon highlighted in aubergine enamel, the other picked out in green, the underside with bunches of grapes, all reserved on a pale yellow ground, 13.2cm.

£3,000-4,000 Provenance: formerly the collection of Henry Mazot (1882-1956), and thence by descent; and then purchased directly from the family.

Henry Mazot (1882-1956) lived in Beijing from the 1920s. He worked for the Bank of Indochina there and eventually became the chairman. The Mazot family left Beijing in 1946 and returned to France, settling in Normandy. Most of the Chinese porcelain in the family collection was left in trunks in the basement of their chateau from 1946 until Christmas 2015, when Henry Mazot’s granddaughter, who had inherited the home, decided to open them.

118 A CHINESE IMPERIAL GREEN-ENAMELLED ‘DRAGON’ DISH SIX CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50 With a flared rim, painted to the centre with a medallion enclosing a scaly five-clawed dragon chasing a sacred pearl amidst flames, with two further dragons in pursuit of jewels to the reverse, the base with the seal mark in underglaze blue, 17.6cm.

£8,000-10,000 Provenance: formerly a Belgian private collection.

清道光 綠彩趕珠龍紋碟 《大清道光年製》青花篆書款 來源：比利時私人舊藏。

Cf. The British Museum, registration no.PDF.777 for a dish of the same design on loan from the Sir Percival David Foundation of Chinese Art; see also The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, pp.58-59, no.24 for another similar example.

清康熙 黃地綠褐彩雙龍戲珠碟 《大清康熙年製》青花楷書款 來源：Henry Mazot（1882-1956）舊藏，由家族繼承，之後直接 從其家族購得。

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119 A CHINESE FAMILLE VERTE BALUSTER VASE KANGXI 1662-1722 Painted with scholar-officials and their attendants in a pavilion, with two further figures conversing outside in a garden, the scene divided by leafy trees and swirling iron-red clouds, with panels enclosing fish reserved on a dense band of floral designs to the shoulder, the short neck decorated with precious objects, together with a reticulated wood cover and stand, 34.1cm. (3)

£2,500-3,500 Provenance: from the collection of Wing Commander F W Hilton (d.1990s), and thence by descent.

清康熙 五彩人物將軍罐 來源：皇家空軍中校F W Hilton（逝於1990年代） 收藏，之後由其家族繼承。

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Wing Commander F W Hilton (d.1990s)

120 A CHINESE DOUCAI BRUSHPOT, BITONG KANGXI 1662-1722 The cylindrical body decorated with two large rectangular panels enclosing figural scenes, one depicting a scholar holding a lotus flower as he greets a gentleman and a beauty, with his attendant behind him, the other scene with another scholar and his attendants, one boy carrying a qin, each scene set in a fenced garden with rockwork and clouds above, 17.5cm dia.

£15,000-20,000 Cf. Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.276-277, no.181 for a similarly decorated doucai brushpot; see also Christie’s South Kensington, 14th May 2010, lot 649 for another related item.

清康熙 鬥彩人物故事紋筆筒

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121 A RARE AND MASSIVE CHINESE GE-TYPE MOONFLASK, BAOYUEPING YONGZHENG 1723-35 The flattened body moulded to each side with a large circular central boss surrounded by nine ruyi-heads, decorated all over with a pale greenish-grey glaze suffused with dark crackles, the short cylindrical neck flanked by two applied scroll handles, all raised on a short gently flared foot, 50cm.

£10,000-20,000 Provenance: from the estate of Dikran Ouzounian (d.8th November 2011) and Seta Ouzounian (deceased), 79 Cadogan Square, London, and thence by descent.

The glaze on this imposing moonflask is an active tribute to earlier Chinese Ge wares, which were notable for their deliberate irregular crackle. Whilst the exact location of the site remains unknown, the Ge kiln is regarded as one of the Five Great Kilns (Wu Da Ming Yao) of the Song dynasty, along with Ru, Jun, Guan and Ding wares. It is, however, interesting to note that no examples of Ge pieces have been discovered in Song dynasty tombs, and so their dating is still contentious amongst modern scholars.

It is in fact possible that Ge pieces were not produced until the Yuan dynasty, perhaps as a copy of Song Imperial Guan wares.

Imitations of Ge glazes applied to porcelain bodies first appeared during the Ming dynasty, and Imperial pieces of this type were produced during the reigns of the Xuande (r.1426-35) and Chenghua (r.1465-1487) Emperors. The later Ming saw the creation of only a few exceptional pieces of this type, and it was not until the reign of the Qing dynasty emperor Yongzheng (r.1723-35) that the imitation of Ge pieces was reinvigorated and reached new levels of sophistication.

The Yongzheng Emperor is known to have been fascinated with the past and is remembered as a passionate collector of antiques. Under such a keen patron with great enthusiasm for works of art made for the Imperial Court, the potters at the Imperial Kilns in Jingdezhen carried out much research and experimentation during this period.

The workers developed an extensive range of fine monochromes including reinventions of early wares, which reflected the Yongzheng Emperor’s admiration of antiquity.

Tang Ying (1682-1756), one of the most renowned supervisors of the Imperial Kilns, is particularly associated with the production of pieces imitating early wares during this period, and he writes about the production of imitation Ru, Guan and Ge wares in his Records of Ceramic Production (Taocheng jishi).

For a more in-depth discussion on Yongzheng period copies of earlier Chinese wares, see Wang Qingzheng, Yongzheng Imitations of Guan, Ge, Ru and Jun Wares, Chinese Ceramics: Selected Articles from Orientations 1982-1998, pp.265-270.

Cf. Bonhams Hong Kong, 26th May 2007, lot 220 for a similar vase; see also Sotheby’s London, 8th November 2006, lot 173 for a comparable piece moulded with the Eight Trigrams; see also Sotheby’s Hong Kong, 28th November 1978, lot 207 for a related Guan-type moonflask with the Eight Trigrams design.

清雍正 仿哥窯抱月瓶 來源：Dikran Ouzounian（逝於2011年11月8日）及Seta Ouzounian遺產，之後由其家族繼承。 哥窯為宋朝五大名窯之一，其主要特征是釉面有大小不同的開裂紋片，是為南宋時期修內司官窯燒製的。早在宣德及成化年間的官窯已經開始 在模仿宋代哥窯開片釉，這種技術發展到清代雍正時期可謂攀上新的高峰。這不僅是雍正皇帝憶古之情的體現，更要歸功於兩位著名督窯官年 希堯與唐英。此種樣式源於波斯的金屬工藝品形狀，經改造以迎合漢人的審美。創燒於明永樂官窯，因成型時必須分別製作再粘合成器，故成 品難度極大。由此件拍品可看出當時以異材器型和古代瓷釉所重新組合而成的仿古創新之作。

The vase photographed in 1984 as a lamp at 59 Holland Park, London

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122 A CHINESE IMPERIAL FAMILLE ROSE ‘BITTER MELON’ BOWL AND COVER SIX CHARACTER DAOGUANG MARKS AND OF THE PERIOD 1821-50 The U-shaped bowl rising from a short straight foot to an everted rim, finely painted to the exterior and interior with pink butterflies in flight amidst fruiting and flowering bitter melon vines and bamboo branches, the top and underside of the cover similarly decorated, with the reign marks in underglaze blue, 11.4cm dia. (2)

£5,000-6,000 The image of butterflies, die, together with melons or gourds, gua, conveys the wish for endless generations of sons and grandsons, gua die mianmian.

Cf. Sotheby’s Hong Kong, 25th November 1980, lot 170 for a pair of similar Daoguang mark and period bowls and covers from the Edward T Chow Collection; see also Roger Keverne, Winter Exhibition 2007, pp.64-65, no.50 for another pair of Daoguang bowls and covers with this design; see also Christie’s London, 4th November 2010, lot 231 for another similar bowl and cover; see also Oriental Ceramics: The World’s Great Collections, vol.7, pl.91 for a similarly decorated Qianlong bowl in the collection of the Musée Guimet, Paris.

123 A CHINESE IMPERIAL IRON-RED ‘LOTUS’ DISH SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35 Painted to the centre with a roundel enclosing stylised lotus sprays, the underside similarly decorated with six large lotus flowerheads divided by smaller blossoms and scrolling foliage, with double lines encircling the rim and gently tapering foot, the base with the reign mark in underglaze blue, 14.8cm.

£2,000-3,000 Provenance: from the estate of Mrs Catherine Barlow (d.10th November 2019), probably gifted to her late husband Peter by Cyril Andrade in the 1970s.

清雍正 礬紅西番蓮紋碟 《大清雍正年製》青花楷書款 來源：Catherine Barlow（逝於2019年11月10日）遺產，1970年代獲贈 於其亡夫。

清道光 粉彩瓜瓞綿綿蓋碗 《大清道光年製》青花篆書款

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124 A LARGE CHINESE BLANC DE CHINE FIGURE OF GUANYIN 18TH CENTURY The bodhisattva depicted standing tall upon a large lotus leaf and flower, she holds a basket containing a fish in her right hand and clutches her skirt in her left, dressed in flowing robes adorned with long beaded chains, the jewellery embellished with floral and ruyi-head shaped pendants, with a tiara centred by a seated figure of Amitabha Buddha set in her chignon, her serene face framed by long plaits which trail over her shoulders, all above a pedestal formed as stylised crashing waves, the back with an impressed six character Wanli mark and a gourd-shaped mark reading Fujian Dehua zhizao, with a paper label for Hugh M Moss Ltd to the interior, 59.5cm.

£15,000-20,000 Provenance: from an English private collection, West Yorkshire, purchased from Hugh Moss at Grosvenor House in the 1970s.

Depictions of Guanyin holding a basket containing fish present her as the patroness of fishermen. This imagery is also associated with an episode in the tale of Guanyin and the South China Sea. In this story, the Dragon King’s third son went swimming in the sea in the form of a carp, but he was caught by a fisherman. As he was on land, the Dragon King’s son was unable to change back into a dragon and he was taken to be sold and butchered at the market. Guanyin gave her attendant Shancai all her money to buy and rescue the fish. However, the Dragon King’s son had attracted a large crowd at the market because he was the only fish still alive hours after being caught. Believing that the remarkable fish would grant the one who ate it immortality, everyone at the market bid to buy the fish. Shancai was outbid and begged the fish seller to spare the fish’s life. Shancai’s efforts were unsuccessful and angered the crowd, but Guanyin intervened, announcing loudly from afar that a life should belong to one who wishes to save it rather than one who wishes to take it. Ashamed by their desire, the people all dispersed and Shancai obtained the fish. He brought the fish to Guanyin and she returned him to the sea, allowing him to transform back into a dragon. As a token of thanks, the Dragon King sent his granddaughter Longnü to deliver the Pearl of Light to Guanyin. Longnü then asked to learn the Buddhist Dharma from Guanyin and became her disciple.

Cf. Sotheby’s New York, 16th September 2009, lot 226 for a very similar figure of Guanyin holding a basket; see also P J Donnelly, Blanc de Chine, pl.76B for another comparable 18th century figure of a similar size also with a Wanli reign mark.

十八世紀 德化白釉博及漁人觀音 《福建》、《德化製造》、《大明萬曆年製》款 來源：英國西約克郡私人收藏，1970年代購於Hugh Moss （附標籤）。

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125 A SMALL CHINESE ENAMELLED CIRCULAR ‘DRAGON’ BOX AND COVER SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908 The cover painted in iron-red and gilt with two dragons contesting a sacred pearl amidst flames and clouds, the box decorated in coloured enamels with a band of crashing waves and stylised rocks encircling the foot, the base with the reign mark and a paper label for Bluett London, 8.1cm. (2)

£1,000-2,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Bluett’s

清光緒 礬紅趕珠龍紋印盒 《大清光緒年製》礬紅楷書款 來源：英國西約克郡私人收藏，1970-1980購於Bluett’s。 126 A SMALL CHINESE FAMILLE ROSE OCTAGONAL-SECTION MOULDED ‘BOYS’ BOX AND COVER SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 Brightly decorated in enamels and gilt, the cover with a roundel enclosing nine children at play in a garden pavilion, the scene surrounded by the Bajixiang set amidst ribbons, with five bats and a fruiting peach branch amongst clouds to the box, the interior and base glazed turquoise, with the reign mark highlighted in gilt, 7.3cm. (2)

£1,000-2,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清乾隆 粉彩八棱蓋盒 《大清乾隆年製》篆書款 來源：英國西約克郡私人收藏，購於1970-1980年代。 127 A PAIR OF CHINESE IMPERIAL BLUE GLAZED BOWLS SIX CHARACTER DAOGUANG MARKS AND OF THE PERIOD 1821-50 Each decorated to the exterior with a purplish-blue glaze, the interiors and bases glazed white, with the reign marks in underglaze blue, each with a paper label for Hugh M Moss Ltd, one inscribed ‘8320’ to the foot, 15.2cm dia. (2)

£3,000-5,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Hugh Moss.

清道光 藍釉撇口碗 一對 《大清道光年製》青花篆書款 來源：英國西約克郡私人收藏，1970-1980年代購於 Hugh Moss。

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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

128 A RARE CHINESE LAQUE BURGAUTE PORCELAIN BOWL KANGXI 1662-1722

129 A CHINESE IMPERIAL YELLOW GLAZED BOWL SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

The deep body rising from a gently tapering foot to a flared rim, the exterior painted with black lacquer, with inlaid decoration depicting two scholars and an attendant in a rocky setting rich with foliage, the base with a six character Chenghua mark in underglaze blue, 9.5cm.

The U-shaped body raised on a short gently flaring foot, decorated in a cheerful egg-yolk yellow glaze, the base glazed white and with the reign mark in underglaze blue, with a paper label for Hugh M Moss Ltd, together with a wood stand, 12.7cm. (2)

£1,000-2,000

£3,000-5,000

Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Hugh Moss.

清康熙 瓷胎黑漆嵌螺鈿碗 《大明成化年製》青花楷書款 來源：英國西約克郡私人收藏，購於1970-1980年代。

Cf. Sotheby’s Hong Kong, 8th October 2013, lot 3006 for a comparable Kangxi mark and period bowl; see also Christie’s Hong Kong, 1st June 2011, lot 3701 for a pair of slightly smaller examples.

清康熙 黃釉碗 《大清康熙年製》青花楷書款 來源：英國西約克郡私人收藏，1970-1980年代購於 Hugh Moss。

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FURNITURE, WORKS OF ART & CLOCKS WEDNESDAY 21ST OCTOBER 2020 歐洲家具、鐘錶及藝術品拍賣 2020年10月21日

A rare and fine pair of Anglo-Chinese huanghuali bureau cabinets Qianlong period, c.1750-60 Estimate £80,000 - 120,000* 十八世紀 外銷黃花梨櫥一對

ENQUIRIES Mark Yuan-Richards | +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

FINE JEWELLERY TUESDAY 17TH & WEDNESDAY 18TH NOVEMBER 2020 珠寶精品拍賣 2020年11月17、18日

A gem-set ‘St Petersburg’ Tank Alongée wristwatch by Cartier Estimate £20,000 - 30,000* 卡地亞嵌寶石手錶

ENQUIRIES Charlotte Glyde | +44 (0) 1722 424586 | cg@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on +44 (0)1722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM 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.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

Alban Shipping +44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

Kimdan Ltd +44 (0)7973 389436 andy@kimdan.co.uk

Pack & Send +44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire 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 Credit cards: Visa or Mastercard

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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.

Debit cards: Delta, Switch, Connect, American Express, Union Pay

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.

Where practical, payment can be made and purchases collected during the auction.

Please enquire for the accepted exchange rate on the day of the sale.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

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, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

拍賣須知 營業時間： 週一至週五9:00-17:30 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% €50,000以下 3% €50,000.01 – 200,000 1% €200,000.01 – 350,000 0.5% €350,000.01 – 500,000 0.25% €500,000以上 最高的專利稅可以收取€10,000. 帶有‡符號的拍品需要在成交價上收取專利稅。

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 info@albanshipping.co.uk www.albanshipping.co.uk Mailboxes 01962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester Pack & Send 01635 887237 newbury@packsend.co.uk 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。

藝術品拍賣和股價協會（SOFAA）、英國皇家註冊測量師協會（RICS）

拍賣規則

競買人須知 1. 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。 2. 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。 3. 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。 4. 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 5. 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。 6. 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） 7. 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。 8. 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。

9. 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. 解釋：下文中用到‘您’代表賣家或仲介機 構，同樣‘我們’代表拍賣行。 2. 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。 3. 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。 4. 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。 5. 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。 6. 底價和我們的判斷：在拍賣會開始之前我們會 和您關於拍品的預訂價達成共識。 7. 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。

拍賣條例

保留價： （a）

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。

（b）

保留價確定之後不能被改動。

（c）

保留價被確定以後，您不能自己進行競 投。

8. 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。 9. 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。 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）

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。

（b）

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。

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. 定義 ： a) ‘拍賣官’代表威立士索爾茲伯裏拍賣公司 或他授權的拍賣官。 b) ‘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。 c) ‘成交（落錘）價’是指競拍價格超過了保 留價，而拍賣師落錘成交的價格。 d) ‘委託條款’是指威立士拍賣行規定的賣家 或仲介的條約和傭金的百分比率。 e) ‘總額’是指成交價、買家傭金，VAT增值稅 和其他費用加起來買家付款的總和。 f)

‘銷售收益’指賣家的淨收益，成交價減去 賣家傭金、VAT增值稅和其他費用的餘額。

g) ‘你，你們’等等指買家請參考條例第二 條。 2. 拍賣過程和買家: a) 競買人在競投之前，必須填妥及簽注登記表 格才能參加本公司拍賣。 b) 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。 c) 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。 3. 加價：拍賣官有權自行決定加價幅度 4. 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 5. 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） 6. 付款：拍下拍品以後： i)

如果需要請提供我們您的身份證明

ii)

以英鎊為貨幣形式付款

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. 所有權和領取已購買物品： a) 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。

b) 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。 c) 在付款之前，任何物品不能被提取。 8. 不付款或未領取已購買拍品的提醒： a) 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： i)

對您的違約進行法律訴訟程式。

ii)

撤回您從本公司競投的所有成交拍品

iii) 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。 iv) 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。 v) 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。 vi) 直到您付清所有的應付金額，我們才能取消 利息的收取。 vii) 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) 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

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。 b) 在這些條件下的成交的私人財產轉讓根據消費 者權益法視為交易。 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.

2. 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.

3. 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.

4. 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.

5. 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.

6. 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).

7. 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.

8. 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.

9. 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.

2. 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.

3. 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.

4. 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.

5. 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.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

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.

9. 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.

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. (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. DEFINITIONS 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 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. 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.

3. INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4. 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.

5. 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).

6. PAYMENT (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. (c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

7. 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 NON-PAYMENT OR FAILURE TO COLLECT 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.

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 (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’.

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

(a)

(b) (c) (d) (e) (f) (g) (h) (i)

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.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

(j) (k)

15. FORGERIES

BOOKS AUCTIONS

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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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 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

If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

Lots marked with a ‡ symbol are potentially subject to the levy

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 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 – privacyofficer@woolleyandwallis.co.uk

•

By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources:

•

From you when you: - interact with us before entering into a contract with us, for example when you express your interest in our Services; - instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; - communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; - in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

•

From third parties such as:

- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; - thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider); - sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); - shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT 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 government-issued 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.

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: • 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.

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: • 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; • the-saleroom.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;

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

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.

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 particular: • 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

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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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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.

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Woolley and Wallis valuations are accepted by all leading insurance companies.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk 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 +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

MARLBOROUGH & SWINDON

Old Sarum Park

WOOLLEY & WALLIS Castle Gate WOOLLEY & WALLIS Salisbury Salerooms

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

Old Sarum

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.02998482 VAT No: 631 9832 29

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

ABSENTEE BID FORM

FINE CHINESE PAINTINGS

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

& WORKS OF ART TUESDAY 10TH NOVEMBER 2020 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 Business 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 may be required even if you have bid with us before.

Signature �������������������������������������������������

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 Fax: +44 (0)1722 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%）

拍品編號（按 數字順序）

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：

地址：

郵編：

聯繫電話：

簽名：

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: +44 (0)1722 424500 Fax: +44 (0)1722 424508

簡要的拍品描述

競拍價格（請除去VAT 增值稅和買家保險價）

AUCTION CALENDAR NOVEMBER 10th

Fine Chinese Paintings & Works of Art, Japanese Works of Art

11th

Asian Art II

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR MAY 2021 AUCTION

17th & 18th Fine Jewellery 24th

English & European Ceramics & Glass

25th & 26th Silver & Objects of Vertu

DECEMBER 9th

Modern British & 20th Century Art

16th

British Art Pottery

JANUARY 2021 13th

Furniture, Works of Art & Clocks

26th

Silver & Objects of Vertu

28th Jewellery Dates may be subject to change

TIMED ONLINE AUCTION 19th November to 2nd December – Christmas Gifts Around 150 lots of jewellery, vertu, ceramics and small collectable items just in time for Christmas, with estimates starting at £300

+44 (0)1722 424500 enquiries@woolleyandwallis.co.uk 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*

A SELECTION OF JEWELLERY TO BE OFFERED IN THE

CHRISTMAS GIFTS SALE

AROUND 150 LOTS OF ASIAN ART, JEWELLERY, SILVER, VERTU, CERAMICS AND SMALL COLLECTABLE ITEMS JUST IN TIME FOR CHRISTMAS, WITH ESTIMATES STARTING AT £300* www.woolleyandwallis.co.uk

CHRISTMAS GIFTS TIMED ONLINE AUCTION 19TH NOVEMBER TO 2ND DECEMBER 2020

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

www.woolleyandwallis.co.uk