Woolley & Wallis Auctioneers

FINE CHINESE PAINTINGS

& WORKS OF ART 中國書畫及藝術品 TUESDAY 27TH JULY 2021

Lot 191

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 Alexandra Aguilar 424583 Amber Lees 424571

Jeremy Lamond MRICS ASFAV FRSA Paul Viney ASFAV (Consultant) Amanda Lawrence

CHINESE PAINTINGS & CALLIGRAPHY

Ruth Pike (Office Manager) Sarah Bennie Megan Corbett Leyanne Hind Nicola Young

Freya Yuan-Richards Amber Lees

424589 424571

JAPANESE WORKS OF ART Alexandra Aguilar

424583

424505 446955

411854 339161 446974

BOARD OF DIRECTORS

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

MEDALS & COINS, ARMS & ARMOUR 341469

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446959

ACCOUNTS

JEWELLERY

Ned Cowell

MARKETING

424507 446964

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

446961 446962 446970

Sharon Ringwood Anna Gentleman

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

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

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

AFRICAN AND OCEANIC ART, ANTIQUITIES Will Hobbs

339752

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

Sally Trench

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Sarah Stone

GENERAL OFFICE

CASTLE GATE RECEPTION

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424598 424509 424509

Front Cover: Lot 9 part lot Back Cover: Lots 98, 99, 100 and 101

FINE CHINESE PAINTINGS

& WORKS OF ART 中國書畫及藝術品 TUESDAY 27TH JULY 2021 9.30am

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

at our Castle Street Salerooms, SP1 3SU Jeremy Morgan +44 (0)7812 601098 jm@woolleyandwallis.co.uk

VIEWING Viewing will be by appointment. Please contact the department to make an appointment. 煩請閣下提前預約參觀預展，以避免不必要的等候。 Viewing in London (highlights) 17 Clifford Street, 2nd Floor W1S 3RQ Sunday 18th July Monday 19th July

11.00am – 4.00pm 11.00am – 4.00pm

Viewing in Salisbury Saturday 24th July Monday 26th July

10.00am – 1.00pm 10.00am – 5.00pm

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

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 26th July. 本公司提供免費網上即時競投，請在7月26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.

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

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

JAPANESE ART 日本藝術品 Alexandra Aguilar +44 (0)1722 424583 aa@woolleyandwallis.co.uk

LIVE ONLINE BIDDING - FREE OF CHARGE

威立士網上競投 bid.woolleyandwallis.co.uk Please register by 12 noon on Monday 26th July.

Instagram: @woolleyandwallisasianart @woolleyandwallissalerooms Facebook: @woolleyandwallis Twitter: @woolleywallis

新浪微博 @艾思福

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Lot 38

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 26th July. 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 請閣下務必妥善保管拍賣號牌，請勿借予他人使用。 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7月26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 26th July.

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.

VAT Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided. 增值稅退稅 注：由於英國稅務海關總署（HMRC）已撤銷零售出口法案（Retail Export Scheme），本公 司將無法提供手持出口增值稅退稅文件（C88）機場退稅單。 若您慾退增值稅，您的拍品必須由貨運公司運送，並且必須由運輸公司提供有效的出口文件。

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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 中國書畫及藝術品 TUESDAY 27TH JULY 2021 9.30AM

Lot 99

FINE CHINESE PAINTINGS

中國書畫

LOTS 1-8

1 AFTER CUI QUE (MING DYNASTY) MID-AUTUMN FESTIVAL

2 CHEN SHU (QING DYNASTY) CATS AT PLAY

A Chinese painting, ink and colour on silk, with a signature reading Cui Que, with two collectors’ seals and one illegible seal, mounted on board, 35cm x 20.8cm.

A Chinese painting, ink and colour on silk, inscribed and signed, dated 3rd March of the jiachen year, with one illegible seal, framed and glazed, 100cm x 37cm.

£300-500

£1,000-2,000

崔慤（款） 玉兔賞月 設色絹本 冊頁

陳書（款）耄耋圖 設色絹本 鏡面

款識：崔慤。 鈐印：向子京家珍藏、天籟閣、一印漫渙不清。

款識：碧逗狸奴眼，紅妝鹿女半。翻粉舞䗮蝊，庭院正飛赮。甲辰春 三月三日，南樓老人陳書繪圖。 鈐印：一印漫渙不清。

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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

3 ANONYMOUS (LATE QING DYNASTY) MONKEYS AND LUOHANS

4 ATTRIBUTED TO LU ZHI LOTUS

A Chinese painting, ink and colour on silk, framed and glazed, 100.5cm x 35cm.

A Chinese painting, ink and colour on paper, inscribed and with a signature reading Lu Zhi, dated to summer of the bingyin year, with two artist’s seals, framed and glazed, 104cm x 30cm.

£500-800

£1,000-2,000

佚名（晚清）羅漢圖 設色絹本 鏡面

Provenance: from an English private collection, London.

陸治（傳）蓮池圖 設色紙本 鏡面 款識：蓮開宮治年年盛，香染斑衣葉葉新。願借琴音奏清雅，薰風凉殿壽雙親。丙寅夏 日臨宋人本並錄原題。包山陸治。 鈐印：陸氏叔平、包山子。 來源：英國倫敦私人收藏。

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5 ZENG MI (1935-) LANDSCAPE A Chinese painting, ink and colour on paper, inscribed and dated summer of the yichou year, signed with one artist’s seal, framed and glazed, 92cm x 62.5cm.

£300-500 Provenance: from the collection of Sir George and Lady Bain.

曾宓 （1935-）山水 設色紙本 鏡面 款識：乙丑初夏三石廔主。 鈐印：一印漫渙不清。 來源：Bain紳士伉儷收藏。 6 HUANG CHUNYAO (1925-2007) MISTY AUTUMN LANDSCAPE A Chinese painting, ink and colour on paper, inscribed and dated autumn of the gengwu year, together with a Japanese painting of a frog and nine other Chinese paintings variously depicting flowers, figures, animals and other subjects, each framed and glazed, 68cm x 137cm max. (11)

£1,000-2,000 Provenance: from the collection of Professor Anne Birrell (1950-2020). Professor Birrell taught Chinese and Chinese literature at Cambridge University and the City University of New York. Her publications include Popular Songs and Ballads of Han China, New Songs from a Jade Terrace, and Chinese Mythology: An Introduction.

黃純堯等 山水 一組十一件 來源：Anne Birrell（1950-2020）教授收藏。Birrell曾在劍橋大學及紐 約市立大學教授中文及中國文學。

part lot illustrated 10

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

7 ATTRIBUTED TO SONG WENZHI CLOUDS AMIDST THE YELLOW MOUNTAINS A Chinese painting, ink on paper, inscribed and dated 5th October 1979, signed Wenzhi, with three artist’s seals, framed and glazed, 32cm x 99cm.

£3,000-5,000 宋文治（傳）黃山雲 水墨紙本 鏡面 款識：黃山雲，一九七九年十月五日作，婁山文治。 鈐印：宋灏之印、太倉人也、文治。

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8 ANONYMOUS (19TH CENTURY) PROCESSION A Chinese handscroll painting in two sections, gouache and gilt on paper, inscribed in gilt, each framed and glazed, each section 38.5cm x 141cm. (2)

£6,000-8,000 Provenance: formerly Summerfield House, Exmouth, Devon.

佚名（十九世紀） 四季民樂圖 設色紙本 鏡面 來源： 英國德文郡Exmouth的Summerfield House舊藏。

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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

WANG QI (1884-1937) Wang Qi is widely regarded as one of the most outstanding porcelain painters of his time. Active during China’s Republic Period, Wang Qi was an instrumental figure in aiding the revitalisation of the Chinese porcelain industry during the aftermath of the Taiping Rebellion and fall of the Qing dynasty. Wang Qi, along with seven other leading artists of the time, formed a society entitled ‘The Full Moon Society’, although this has now come to be known as the ‘Eight Friends of Zhushan’ (Zhushan Bayou). These friends would meet on the 15th day of each month to drink wine and to exchange ideas on art, with a popular topic being their thoughts and experiences concerning the painting of porcelain. Each of these artists specialised in their own subject and had their own distinctive style, with Wang Qi characteristically engaging with folkloric figures and imbuing his work with an iconoclastic and imaginative virtuosity.

王琦（1884-1937） 四件瓷板的粉彩皆用料考究，顏色秀雅且筆致細膩。其人物造型不僅生動且鬚髮刻畫細緻，神情逼真有趣。衣物場景搭配恰到好處，使整個畫 面栩栩如生。王琦（1884-1937），別號濤迷道人，齋名匋匋齋，尤善繪人物，師從鄧碧珊，並學習海派畫家錢慧安的繪畫風格，又吸收了西方 油畫技法繪製人物臉部。之後因極其喜愛揚州八怪黄瘿瓢的畫風，故以其書畫入瓷。王琦為珠山八友之首。珠山八友是民國年間景德鎮包括王 琦，王大凡，汪野亭等八位繪瓷大家。他們在1928年結成‘月圓會’以瓷會友，抒發胸志，影響近代文人瓷畫的進程，並對中國陶瓷藝術發展 及傳承做出巨大貢獻。此組拍品為民國瓷板大師王琦於1931年繪製之精品。 9 A SET OF FOUR RARE CHINESE ENAMELLED PORCELAIN RECTANGULAR PLAQUES BY WANG QI (1884-1937) DATED 1931 Each finely painted with a figure beneath an inscription, one decorated with the poet Li Bai holding a wine cup, another depicting a scholar seated by a pile of books with a wrapped qin resting on his lap, one with Zhong Kui trying to catch a flying bat, the fourth with the Immortal Li Tieguai gazing at smoke emerging from a gourd, all dated to the xinwei year, each signed Xichang Taomi Sanren Wang Qi, each with two seals reading Wang Qi and Taomi, the reverse of each inscribed with a number code, all contained within wood frames, each approx 43cm x 25.5cm excluding frame, 46cm x 29cm including frame. (4)

£30,000-50,000 Provenance: from the collection of Colonel Timothy Van Rees, purchased from Mr Wong, a dealer on Cat Street, in Hong Kong c.1968. Colonel Van Rees served with the Welsh Regiment in Hong Kong from 1966 to 1969, and again from 1971 to 1973. He arrived as a Captain and left as a Major, and also sat as a magistrate during his time there. Colonel Van Rees was introduced to Mr Wong by a senior policeman called Taff Hunt.

Cf. D S Howard, A Tale of Three Cities: Canton, Shanghai & Hong Kong, p.259, no.357 for a comparable smaller plaque by Wang Qi which was sold at Sotheby’s London on 7th November 2007, lot 483; see also Bonhams London, 10th November 2011, lot 585 for another similar plaque by Wang Qi also depicting Li Tieguai.

王綺製人物故事瓷板 一組四件 來源：Timothy Van Rees上校收藏。1968年 左右，從香港摩羅街的一位黃姓古董商處購 得。Van Rees上校於1966-1969年及1971-1973 年，在威爾士軍團駐香港部隊服役。黃先生 是由Taff Hunt介紹給Van Rees上校的。

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This plaque depicts the celebrated Tang dynasty poet Li Bai (701-762) and is entitled ‘Making a toast to the moon’. Li Bai is often portrayed with wine and is sometimes referred to as ‘The Drunken Poet’. The inscription explains that this plaque is painted in the style of Huang Shen (1687-1722), who was a Qing dynasty painter and artistic innovator best known for being one of the Eight Eccentrics of Yangzhou (Yangzhou Ba Gua). It is dated to early summer of the xinwei year (1931).

銘文：舉杯問月 時在辛未仲夏月上浣 仿黃慎之法 西昌匋迷散人王琦寫於珠山客次。 鈐印:王琦、匋迷。

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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

The long inscription on this plaque tells the tale of an unnamed old man during the Zhou dynasty. The man, dressed in a deerskin coat tied with rope, was playing music on the qin when Confucius came across him whilst on his journey to Taishan. Confucius asked the old gentleman why he was so happy and he replied, “I am happy for many reasons. Of all the living creations in this world, humans are the greatest, and I am a human. This is the first reason I am happy. Men and women are different, and men are superior to women. I am a man, and so this is the second reason I am happy. There are people who are blind and there are those who do not live through infancy. I have lived well for ninety years, so this is the third reason I am happy. Scholars often face poverty, and death is the final step in life. I am content living in these normal conditions and waiting for my final call, so why should I be worried?” Confucius then exclaimed, “How wonderful that you can comfort yourself in such a way!”

This plaque is dated to early autumn of the xinwei year (1931).

銘文：周榮啟期，不知何許人。鹿裘帶索，鼓琴而歌。孔子遊泰山，見而問曰：“先生何樂也？”曰：“吾樂甚多：天生萬物，人為貴，吾得 為人，一樂也；男女之別，男尊女卑，吾得為男，二樂也；人生有不見日月、不免繈褓者，吾行年九十矣，三樂也；貧者士之常，死者人之 終，居常以待終，何不樂也？”孔子曰：“善乎！能自寬者也。” 辛未初秋西昌匋迷散人王琦。 鈐印:王琦、匋迷。

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This plaque depicts Zhong Kui, the demon queller and vanquisher of ghosts. The title in the inscription may be translated as ‘cleansing the atmosphere with pushang wine’.

This type of wine has been used in China since ancient times as a repellent against insects and other small disease-carrying animals. It is traditionally drunk, painted on people’s foreheads and placed in the corners of people’s homes, particularly on the Dragon Boat Festival, which is regarded as the height of summer when the greatest number of insects are around. Due to its cleansing qualities, the wine was also believed to dispel evil spirits. Here, the idea of wine driving away troublesome creatures is a metaphor for Zhong Kui warding off evil spirits and acting as the protective guardian of people’s homes. The flying bat on this plaque is also significant as the word for ‘bat’, fu, is homophonous with that for ‘good fortune’. The upside down bat is symbolic of the saying fu dao le, which means ‘good fortune has arrived’. Zhong Kui trying to catch the bat indicates he is grasping good fortune and will send people happiness. The imagery on the plaque therefore symbolises Zhong Kui driving away the evil and welcoming good things. The plaque is dated to early summer of the xinwei year (1931).

銘文：蒲觴滌氛，時在辛未夏月上澣西昌匋迷散人王琦寫意。 鈐印：王琦、匋迷。

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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

The seated figure on this plaque is Li Tieguai, one of the Eight Immortals of Daoism. Li Tieguai is often portrayed as an old beggar known for being benevolent to the poor and sick. Here, he is depicted making pills of immortality in his bottle gourd to alleviate people’s suffering and save their lives. The double-gourd is his attribute and one of the Eight Daoist Emblems (Anbaxian).

As with the plaque depicting Li Bai, the inscription states that this plaque is also painted in the style of the Qing dynasty painter Huang Shen (1687-1722).

It is dated to summer of the xinwei year (1931).

銘文：自量糊塗客煉丹濟世人，□朵辛未夏月略師黃慎之法，西昌匋迷散人王琦寫於珠山客次。 鈐印：王琦、匋迷。

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10 λ A CHINESE ARCHAISTIC RHINOCEROS HORN ‘CHILONG’ LIBATION CUP 17TH/18TH CENTURY The flared body decorated with stylised taotie masks reserved on a leiwen ground, carved in relief to one side with a curved handle, with two cat-like chilong clinging to the rim, their bifurcated tails trailing over the exterior, with key fret encircling the rim, all reserved on a short oval base, 17cm, 219g.

Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight.

£5,000-8,000 Provenance: from the collection of George and Cornelia Wingfield Digby and thence by descent. George and Cornelia Wingfield Digby started buying Chinese and Japanese art, notably porcelain, in the early 1950s, and they continued to build their collection over the next 40 years. George Wingfield Digby (1911-1989) joined the Victoria & Albert Museum’s textile department in 1934 and later served as keeper between 1947 and 1972. He expanded the V & A’s textile collection considerably during his time there and wrote three books on the subject. He also released three further publications on different fields of art, including The Work of the Modern Potter in England (1952), which his wife Cornelia played a large part in assisting him write. In addition to their extensive Asian art collection, they also acquired a significant number of pieces of studio pottery which were lent to Tate, St Ives in 1993. George and Cornelia lived in Palace Gardens Terrace, London, and they regularly bought from art dealers on Kensington Church Street as well as those outside London. After retiring, they settled in Dorset and part of their Chinese and Japanese art collection was exhibited at Sherborne Castle for 25 years.

Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.49, no.2 for a related example.

十七/十八世紀 犀角雕螭龍紋杯 來源：George and Cornelia Wingfield Digby收藏。他們從1950年代初就開始收藏中國及日本 藝術品，對瓷器尤為熱愛，之後的40年裏他們陸續購入他們的藏品。George Wingfield Digby

11 λ A CHINESE ARCHAISTIC RHINOCEROS HORN ‘CHILONG’ LIBATION CUP 17TH/18TH CENTURY Carved to the exterior with a band of taotie masks reserved on a finely incised leiwen ground, with lappets radiating from the central design, the handle formed as a large chilong gazing over the rim into the interior, with two further chilong clambering over the body, the beasts detailed with their bifurcated tails, with a band of key fret encircling the rim, the rim interior carved as large petals, all raised on a short flared foot, 11.6cm, 144g.

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.

£6,000-10,000 Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.82, no.35 for a comparable cup also with a lobed body and a chilong-shaped handle.

十七/十八世紀 犀角雕螭龍紋杯 注：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。

（1911-1989）在1934年加入了維多利亞及艾爾伯特博物館（簡稱V&A博物館）的織品部門 之後又分別在1947年至1972年擔任管理員。在職期間，George使得V&A博物館織品收藏體 系得到質的飛躍，並以此為基礎出了三本書。之後在1952年又和他妻子共同出版了一本關 於英國現代製瓷的書。他們的英國瓷器收藏曾在1993年出借給St Ives的Tate博物館。他們曾 住在倫敦Palace Gardens Terrace，所以大部分亞洲藝術藏品購於肯辛頓教堂街的古董店。退 休之後搬去了多塞特郡，一部分的亞洲藏品曾出借給Sherborne城堡展覽了25年。 注：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。

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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

12 A RARE CHINESE GILT-BRONZE MODEL OF A RAM MING/EARLY QING DYNASTY The sheep depicted reclining propped up on its two front legs, its raised head surmounted by two large ribbed horns, its wool cast with many tight curls, detailed with finely incised hairs to its head and legs, 12.8cm, 1.6kg.

£8,000-12,000 Cf. Sotheby’s Hong Kong, 8th April 2014, Gods and Beasts - Gilt Bronzes from the Speelman Collection, lot 84 for a related 15th century gilt-bronze figure of a standing ram.

明/清早期 銅鎏金公羊

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13 A CHINESE TWO-COLOUR LACQUER RECTANGULAR ‘SCHOLARS’ TRAY 19TH CENTURY Carved in cinnabar lacquer with scholars drinking tea and playing music in a fenced garden, the setting rich with many shrubs and trees including pine and plantain, with mountains and swirling clouds visible in the distance, all set against black geometric designs, the cavetto with cartouches enclosing floral sprays amidst rockwork, all raised on four short feet, 40.3cm.

£1,200-1,500 十九世紀 剔彩高仕圖紋盤

14 FIFTEEN CHINESE WOOD CARVINGS CONTAINED IN A PARCEL-GILT PEWTER BOX QING DYNASTY OR LATER Probably aloeswood, the carvings formed as lingzhi, fruits, vegetables, seeds and nuts, the circular box decorated to the cover with phoenix and other birds amongst blossoming peony branches, the birds depicted flying under clouds and the sun incised with the character ri, with an inscription on silk to the underside of the cover, 12cm max, the box 34.5cm, 4.2kg overall. (17)

£5,000-8,000 The inscription to the cover is a poem about the items and states that they are carved in chen xiang. The inscription is dated to the guihai year and the seal mark reads Jiaqing yu bi.

清或更晚 木雕百果清供 一組十五件

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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

15 A CHINESE WOOD ‘LANDSCAPE’ LIBATION CUP QING DYNASTY OR LATER Probably aloeswood, the naturalistically formed body flaring towards the rim, carved in relief to the exterior with a rocky mountain landscape, with houses, pine, wutong trees and other plants dispersed throughout the setting, dated autumn of the jiayin year, with a signature reading Jiang Chunbo zhi, 13.5cm.

£3,000-4,000 清或更晚 木雕角杯

16 A CHINESE GOLD-MOUNTED WOOD RECTANGULAR ‘PRUNUS’ PENDANT QING DYNASTY OR LATER Probably aloeswood, carved in openwork with blossoming prunus branches amidst bamboo, the plaque mounted in gold set with a bamboo-form loop for suspension, the metal inscribed to two sides with the characters you mei wei jue xiao yuan huang and jian zhu zhen cheng jun zi tang, the base marked Qianlong yu ti, the wood plaque 7cm, 74g overall.

£2,000-3,000 清或更晚 金鑲木雕梅竹紋挂件 銘文：間竹真稱君子堂，有梅未覺小園荒。 《乾隆御題》。

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17 A GOOD CHINESE CINNABAR LACQUER QUATRELOBED ‘SCHOLARS’ VASE QIANLONG 1736-95 Carved with four rectangular panels containing scholars conversing in gardens, their attendants carry the gentlemen’s musical instruments and gather peaches and lingzhi, the rocky setting rich with pine and wutong trees, the scenes surrounded by stylised lotus blooms set amongst scrolling foliage, with large pendant leaves enclosing archaistic scrolls to the flared neck and foot, the lappets reserved on a finely incised diaper ground, together with a wood stand, 41cm. (2)

£4,000-6,000 Provenance: by direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017).

Cf. Carving the Subtle Radiance of Colours: Treasured Lacquerware in the National Palace Museum, p.155, no.166 for a very similar vase; see also Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics, Winter Exhibition 2001, pp.98-99, no.128 for another comparable vase.

清乾隆 剔紅開光高仕圖瓶 來源：Gordon W Quance LLM（1931-2017) 及Sylvia Quance（逝於2020年9月20日）收藏。

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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

18 A GOOD CHINESE CINNABAR LACQUER ‘BAJIXIANG’ BOX AND COVER 18TH CENTURY With an elongated hexalobed body, carved to the cover with a scene of two scholars playing weiqi beneath a pine tree in a rocky landscape, a further figure stands between them watching the game as a young attendant brings over a dish of peaches, the sides carved with cartouches enclosing sprays of magnolia, mallow, finger citron, peony and other branches, with the Eight Auspicious Buddhist Emblems dividing the panels, all reserved on a ground of finely incised diaper, with black lacquer to the interior and base, the base with a paper label for Spink & Son Ltd, 17.2cm. (2)

£25,000-30,000 Cf. Christie’s Hong Kong, 29th April 2002, lot 576 for a similarly shaped Qianlong box also carved with the Eight Auspicious Buddhist Emblems surrounding a central panel enclosing figures; see also Sotheby’s London, 15th May 2019, lot 80 for a comparable elongated quatrelobed box from the Qianlong period also decorated with a figural scene surrounded by the Bajixiang and similar floral panels.

十八世紀 剔紅八吉祥高仕圖紋蓋盒 附Spink & Son Ltd標籤。

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19 A RARE TIBETAN-STYLE GILT AND BLACK LACQUER EWER AND COVER, DUOMUHU 18TH CENTURY The tall cylindrical body set with a slender spout to one side, with four raised bands and mounts suspending chains to form the handle, decorated in gold lacquer on a black ground with many roundels formed as blossoming branches, the flowers including orchids, chrysanthemums, lotus and prunus, the cover surmounted by a finial shaped as a crouching lion dog, 47.7cm. (2)

£4,000-6,000 Provenance: from the collection of the late Hubert René Joseph Georges Faure (1919-2020). Hubert Faure was the first husband of Elizabeth (Bessie) de Cuevas, who married when she was nineteen. Bessie was the daughter of Margaret Rockefeller, granddaughter of John D Rockefeller.

This form of ewer is known in Chinese as a duomuhu and it is derived from the Tibetan bey lep. Bey lep literally translates as ‘container for butter’, but these vessels were also used to store milk, wine and milk tea in Lamaist monasteries. The shape is believed to have first appeared in China during the Yuan dynasty and, after little use in the Ming dynasty, was revived under the reign of the Kangxi Emperor (1662-1722) during the Qing dynasty. His interest in Tibet and Tibetan Buddhism led to the resurgence of the duomuhu form, notably in metalwork and porcelain.

Cf. The Complete Collection of Treasures of the Palace Museum, Lacquer Wares of the Qing Dynasty, p.182, no.135 for a comparable gold and purple lacquer duomuhu in the Qing Court Collection; see also pp.152-153, no.111 for a Qianlong period twin-dish decorated with comparable floral medallions in gold on a black lacquer ground.

十八世紀 黑漆描金多穆壺 來源：Hubert René Joseph Georges Faure (1919-2020)收藏，購 於二十世紀初（傳）。他是Elizabeth (Bessie) de Cuevas的第一 任丈夫。Bessie是Margaret Rockefeller的女兒，John D Rockefeller 的外孫女。

20 A LARGE CHINESE CINNABAR LACQUER OCTAGONAL-SECTION ‘SANXING’ BOX AND COVER 16TH/17TH CENTURY The cover with a scene of the Fu Lu Shou standing on clouds, the deities float above a pavilion set amidst tempestuous waters and craggy rocks, with a pair of cranes in flight around the building, the sides carved with panels enclosing boys playing in landscapes and blossoming flowers reserved on diaper, all raised on a flared foot decorated with floral sprays, 27cm. (2)

£3,000-5,000 Cf. Sotheby’s London, 13th May 2015, lot 117 for a comparable box and cover.

十六/十七世紀 剔紅福祿壽紋蓋盒

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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

21 A FINE CHINESE IMPERIAL CLOISONNE TRIPOD INCENSE BURNER AND COVER, DING QIANLONG 1736-95 The exterior decorated with lappets containing archaistic scrolls and stylised lotus sprays, with bosses formed as flowerheads contained between raised bands above, with two upright loop handles decorated with mythical beast masks rising from the rim, the cover pierced with a continuous band of scrolling lotus, surmounted by an openwork ovoid finial formed as a ferocious dragon writhing amongst swirling clouds, all raised on three tall cylindrical feet, 24.7cm, 1.1kg. (2)

£30,000-40,000 Provenance: purchased from Cambridge Antiques, Cheltenham in the 1970s.

Cf. Compendium of Collections in the Palace Museum, Enamels, 3, Cloisonné in the Qing Dynasty (1644-1911), p.213, no.178 for a related tripod incense burner with a similar finial; see also the collections of the Metropolitan Museum of Art, accession no.81.1.625a, b, and the Victoria & Albert Museum, accession no.13-1894 for comparable tripod incense burners of a similar shape; see also H Garner, Chinese and Japanese Cloisonné Enamels, pl.70 for another incense burner with a similar finial.

清乾隆 御製銅胎掐絲琺瑯三足鼎 來源：1970年代購自位於英國Cheltenham的Cambridge古董店。

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22 A CHINESE GOLD AND SILVER INLAID BRONZE TRIPOD INCENSE BURNER, DING 16TH/17TH CENTURY The body decorated with taotie masks in silver against a gold leiwen ground, with two upright loop handles rising from the flat everted rim, the interior with four characters reading Fu Zuo Bao Yi, with pendant leaves to each of the three tall feet, the mouth 14cm, 19.5cm max, 2.2kg.

£800-1,200 十六/十七世紀 錯金銀饕餮紋三足鼎

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23 A CHINESE BRONZE ‘PEACHES’ INCENSE BURNER 17TH/18TH CENTURY Cast as four large peaches, the two upright loop handles formed as branches, decorated in relief to two sides with further small peaches growing amongst large leaves, with a six character Xuande mark to the base, the mouth 9cm, 14.5cm max, 1.2kg.

£500-800 十七/十八世紀 銅鎏金壽桃紋爐 《大明宣德年製》仿款

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

24 A CHINESE BRONZE VASE MING DYNASTY

25 A CHINESE BRONZE ‘MYTHICAL BEASTS’ INCENSE BURNER 17TH/18TH CENTURY

The slender pear-shaped body rising to a broad flared mouth, cast in relief with a band of key fret contained between two narrow ridges, all raised on a flared foot, 17.2cm, 341g.

Cf. Christie’s London, 5th June 1973, lot 252 for a similar late Shang example.

Decorated in relief with a band enclosing winged dragons, flying horses, phoenix and other fantastical creatures, the beasts set against a ground of fine rolling waves, with continuous scrolls encircling the rim and to the flared foot, the two loop handles formed as stylised dragons, the base with a six character mark reading Yun Jian Hu Wenming zhi, the mouth 14cm, 20cm max, 1.6kg.

明 銅花觚

£4,000-6,000

£800-1,200

Cf. Christie’s Hong Kong, 1st June 2011, lot 3946 for a comparable parcel-gilt piece with the same design.

十七/十八世紀 銅瑞獸紋爐 《雲間胡文明製》款

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26 A CHINESE LACQUERED AND SILVERED-BRONZE MIRROR PROBABLY LIAO DYNASTY Decorated to the exterior with a pair of butterflies and floral sprays in silver, the design reserved on a black lacquer ground, 22.6cm, 442g.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£400-600 Provenance: formerly the Mengdiexuan Collection, Sotheby’s Hong Kong, 4th October 2011, lot 2429.

Exhibited: Noble Riders from Pines and Deserts: The Artistic Legacy of the Qidan, Art Museum, The Chinese University of Hong Kong, 2004, p.380, no.VII:39, and also Adornments of The Noble Riders: The Elegant Lifestyle of the Khitan Royals, National Silk Museum, Hangzhou, p.8.

辽（可能） 水銀背漆地花蝶紋銅鏡 來源：香港蘇富比2011年10月4日·夢蝶軒收藏·編號2429。 展覽：《松漠風華：契丹藝術與文化》，香港中文大學文物館，2004年編號 VII:39,頁380。 《金冠玉飾錦繡衣：契丹人的生活和藝術》，中國絲綢博物館，杭州2010年， 頁8。 注：此件拍品為無低價起拍。 27 A CHINESE BRONZE WINE FLASK HAN DYNASTY The compressed oval body surmounted by a short waisted neck, with two stylised mythical beast masks suspending loose rings to the ends, all raised on a gently flaring rectangular foot, 30.5cm across, 3.2kg.

£1,000-2,000 Provenance: from an English private collection, London, purchased from Christie’s London on 8th December 1986, lot 76. A copy of the invoice is available.

漢 銅扁壺 來源：英國倫敦私人收藏，購於倫敦佳士得1986年12月8日·編號76。附發票複印件。

Christie’s London invoice 8th December 1986

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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

28 A RARE CHINESE SILVER INLAID IRON ‘THREE FRIENDS OF WINTER’ ZHADOU LATE MING DYNASTY The compressed body and flared neck decorated with scenes of scholars and their attendants engaged in various activities by a lake, with bamboo, prunus, pine and rockwork dispersed throughout the setting, all raised on a short spread foot inlaid with simple flowers on a continuous band of waves, 11.4cm dia, 519g.

£3,000-5,000 Provenance: from a private collection, UK and USA, purchased from Sotheby & Co, London, on 13th May 1969, lot 18. The original label and a copy of the invoice are available.

明晚期 錯銀歲寒三友紋渣斗 來源：英國及美國私人收藏，購於倫敦蘇富比1969年5月13 日·編號18。附標籤及發票複印件。

Sotheby & Co invoice 13th May 1969

29 A PAIR OF CHINESE ARCHAIC BRONZE PEAR-SHAPED VASES, HU EASTERN ZHOU DYNASTY Each raised on a short foot and surmounted by a waisted gently flaring neck, the bodies decorated in relief with grids of tied rope, each with two handles formed as stylised mythical beasts suspending loose rings, one with a small paper label which reads ren shui, each with an inscription to the base reading ‘T P 12930 53548 C B I?’, 33cm, 3.8kg and 4kg. (2)

£3,000-5,000 Provenance: from the collection of the late Hubert René Joseph Georges Faure (1919-2020), by repute acquired in the first half of the 20th century. Hubert Faure was the first husband of Elizabeth (Bessie) de Cuevas, who married when she was nineteen. Bessie was the daughter of Margaret Rockefeller, granddaughter of John D Rockefeller.

Cf. J So, Eastern Zhou Ritual Bronzes from the Arthur M Sackler Collections, pp.244-245, no.41 for a comparable Eastern Zhou hu; see also pp.217-219 and pp.246-247 for further bronze vessels with similar ‘rope grid’ designs; see also G W Weber Jr, The Ornaments of Late Chou Bronzes: A Method of Analysis, pp.200-201, no.37 for another related bronze with ‘rope’ decoration in the collection of the Musée Guimet, Paris; see also Sotheby’s London, 2nd March 1971, lot 55 for another similar vase dated to the late Zhou dynasty.

東周 銅銜環壺 一對 來源：Hubert René Joseph Georges Faure (1919-2020)收藏，購於二十世紀初（傳）。他是Elizabeth (Bessie) de Cuevas的第一任丈夫。Bessie是 Margaret Rockefeller的女兒，John D Rockefeller的外孫女。

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30 ANONYMOUS (19TH CENTURY) RIVER SCENES OF CAIHONG BRIDGE AND WUYAN BRIDGE Two Chinese paintings, gouache on paper, each framed and glazed, 57cm x 76.5cm. (2)

£2,000-3,000 Provenance: J A P Charrington Esq (d.1979), Hampshire, and thence by descent.

佚名（十九世紀）婺源橋景 設色紙本 鏡面兩幅 來源：英國漢普郡J A P Charrington先生（逝於1979）收藏。

31 ANONYMOUS (19TH CENTURY) FLOODED LANDSCAPE A Chinese painting, gouache on paper, framed and glazed, 44cm x 61cm.

£1,500-2,500 Provenance: J A P Charrington Esq (d.1979), Hampshire, and thence by descent.

佚名（十九世紀） 風景畫 設色紙本 鏡面 來源：英國漢普郡J A P Charrington先生（逝於1979）收藏。

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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

32 A CHINESE REVERSE GLASS PAINTING 18TH CENTURY The rectangular panel painted with two ladies seated by the bank of a river, one holds a fishing rod as the other lifts the handle of a basket, with a bird perching on a tree above them, with distant houses across the river, contained within an elaborate 19th century gilt-wood frame carved as a castle, 47cm x 35cm.

£4,000-6,000 Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).

十八世紀 玻璃加彩仕女圖掛屏 來源：Raymond Smith KBE紳 士（1917-2002）及Smith女士 （1918-1996）收藏。

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33 A MASSIVE CHINESE HARDWOOD ‘CHILONG’ SCREEN QING DYNASTY OR LATER Probably in zitan, the rectangular panel set with many bronze cat-like chilong scrambling amongst naturalistically formed gnarled rootwood, with stylised swirling clouds to the reverse, the scene contained within a hardwood frame carved to the sides with archaistic scrolls, the wood stand similarly decorated with archaistic motifs, the ends carved with vases containing chrysanthemum blooms and fruiting peaches above finger citron, 74cm x 76cm overall. (2)

£20,000-30,000 Cf. The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), p.197, no.172 for a slightly smaller screen carved with a very similar stand and decorated with inlaid jade figures to the deep panel.

清或更晚 硬木雕福壽赤龍紋屏

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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

34 A CHINESE HONGMU DOUBLE SCHOLAR’S CHAIR LATE QING DYNASTY Carved with interlocking circles and symbols for money, of open pole construction, 95.2cm x 99.5cm x 47cm.

£2,000-3,000 清晚期 紅木雕筆干椅 35 A CHINESE HARDWOOD TABLE 19TH CENTURY The rectangular top incised with key fret to the edges, with archaistic scrolls to the frieze, the four legs carved with ruyi-head motifs and terminating in scrolling ends, the four feet joined by humpback stretchers, 75cm x 72.5cm x 42.5cm.

£1,000-2,000 十九世紀 硬木雕如意供桌

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36 A CHINESE PADOUK LOW TABLE LATE 19TH CENTURY The panelled top above a scroll-decorated frieze and a pierced apron carved with peaches and interlocking lappets, on scroll feet, 39.5cm x 210.2cm x 48.3cm.

£2,000-3,000 十九世紀晚期 花梨木雕長凳

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36

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Spink & Son invoice 30th April 1970

37 A CHINESE HARDWOOD TABLE QIANLONG 1736-95 The circular top carved with key fret to the side, the frieze decorated in openwork with scrolling leafy branches, all raised on five cabriole legs united by an undertier decorated with ruyi-heads, 71.5cm x 50cm x 50cm.

£3,000-5,000 Provenance: by direction of the executors of the late Sylvia Quance (d.20th September 2020). Formerly the Kerrys Collection; and then the collection of Gordon W Quance LLM (1931-2017). Purchased from Spink & Son Ltd on 30th April 1970. The original invoice is available.

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硬木雕花幾 來源：Gordon W Quance LLM（1931-2017) 及Sylvia Quance（逝於2020年9月20日）收藏。The Kerrys舊 藏。1970年4月30日購於Spink & Son，附發票複印件。

38 A CHINESE HONGMU ALTAR TABLE KANGXI 1662-1722 The rectangular top with raised scroll ends, the frieze carved with stylised cloud spandrels, all raised on slightly splayed trestle legs pierced with large rectangular panels enclosing ruyi-head shaped cloud motifs, 86.5cm x 109cm x 43cm.

£30,000-50,000 Provenance: from an English private collection, London, purchased from Nicholas Grindley Works of Art on 9th May 1986. A copy of the invoice is available.

Cf. R D Jacobsen & N Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, pp.126-127, no.42 for a comparable 17th century huanghuali table; see also Christie’s Hong Kong, 28th November 2012, lot 2023 for a 17th century table carved with similar decoration to the legs; see also The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (I), pp.156-157 for a related Ming dynasty huanghuali table of a similar shape.

清康熙 紅木雕供桌 來源：英國倫敦私人收藏，1986年5月9日購於Nicholas Grindley古董店。復發票複印件。

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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

Nicholas Grindley invoice 9th May 1986

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39 A PAIR OF CHINESE CLOISONNE PEAR-SHAPED VASES, YUHUCHUNPING 19TH CENTURY Each decorated with large flowering branches of peony and chrysanthemum growing amidst rockwork, the design set against a turquoise geometric ground, with bands of ruyi-heads encircling the flaring rims, each with stylised lotus sprays to the rim interior, with simple blossoms to the short feet, one with an inscription to the base reading ‘Lot 121’ and a date for 16/12/78, 30cm, each 1.5kg. (2)

£1,500-2,500 十九世紀 銅胎掐絲琺瑯花卉紋玉壺春瓶 一對 40 A PAIR OF CHINESE ZITAN AND HARDWOOD HEXAGONALSECTION CANDLESTICK HOLDERS ON STANDS 19TH CENTURY The zitan baskets carved with shou characters surrounded by swirling clouds, each with a removable metal liner to the interior, raised on tall hardwood stands pierced with stylised billowing clouds and carved with birds perching on blossoming branches, each stand surmounted by a circular metal mirror, one incised with a crane beneath a pine tree, the other with a butterfly and birds amidst prunus, 1.8m high. (2)

£3,000-5,000 十九世紀 紫檀及硬木雕燭台 一對

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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

41 A LARGE CHINESE CLOISONNE ‘BAJIXIANG’ GOURD-SHAPED PANEL QING DYNASTY OR LATER Decorated in relief with the characters da ji picked out in gilt, surrounded by the Eight Auspicious Buddhist Emblems set amongst butterflies and bamboo leaves, all reserved on a turquoise ground, contained within a wood frame carved with a large bat and fruiting gourd vines, with lacquered and gilt ribbons to the sides, 81.5cm, 7kg.

£2,000-3,000 清或更晚 銅胎掐絲琺瑯大吉掛瓶 42 A MASSIVE CHINESE BRONZE ‘LION DOG’ INCENSE BURNER AND COVER LATE QING DYNASTY The mythical creature cast seated on its haunches turning its head to dexter, depicted with its mouth open wide revealing its tongue and pointed teeth, with its front right paw resting upon a separate pierced brocade ball, the cover formed as a section of the beast’s bony back and flowing fur, the end of its tail removable, with traces of gilding to the animal’s body, all raised on a wood base carved with many leaves, 61cm wide, approx 30kg excluding stand. (5)

£1,000-2,000 清晚期 銅獅子繡球香薰

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43 A CHINESE WOOD FIGURE OF GUANYIN QING DYNASTY

44 A CHINESE SOAPSTONE FIGURE OF GUANYIN AND CHILD 17TH/EARLY 18TH CENTURY

The deity carved seated in dhyanasana with her hands resting upon her lap, wearing simple robes and an elaborate necklace, her hair adorned with a crown and veil, bearing a serene expression on her face, 20.5cm.

The smiling goddess sits holding a boy clutching a sceptre on her lap, she wears loose robes finely incised with clouds and stylised waves, with areas of gilt and red lacquer to their clothes, with her hair piled in a chignon adorned with a veil and hairpiece, together with a wood stand, 13.4cm. (2)

£2,000-3,000 清 木雕觀音坐像

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£1,000-1,500 十七/十八世紀 壽山石雕觀音送子像

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44A 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)

£4,000-6,000 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; 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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FROM THE COLLECTION OF SIR RAYMOND SMITH KBE (1917-2002) AND LADY SMITH (1918-1996) LOTS 32, 45, 47, 85, 138 & 160 Raymond and Dorothy Smith met in Caracas, Venezuela, in 1939 whilst Raymond was serving as Attaché at the British Embassy liaising with the US on behalf of British Security. They married the following year shortly before returning to the UK. Dorothy then worked for the Ministry of Information in London and Raymond served with the Intelligence Corps in France and various countries in the Far East.

After the end of the Second World War, Raymond and Dorothy returned to Venezuela where they made their home. Raymond became a consultant representing various Defence and Aviation companies including British Aerospace, Marconi Plessey and Rolls Royce among others. In 1960, he was awarded the CBE and subsequently in 1967 the KBE for services to British exports.

Raymond and Dorothy maintained close ties with the UK and they frequently travelled to London, becoming avid art collectors. Their Old Master and Impressionist works collection included two examples by Canaletto amongst many other artworks. Their wide-ranging collections, including their collection of Chinese Art, were acquired from the mid 1960s through to the 1980s, principally from Sotheby’s and Christie’s in London.

Sir Raymond collecting his KBE with Lady Smith and their children at Buckingham Palace, 1967

45 A PAIR OF CHINESE CLOISONNE ‘LUDUAN’ INCENSE BURNERS AND COVERS 19TH CENTURY Each cast as a luduan, their horned heads forming the hinged covers, each with its mouth agape revealing its tongue and sharp fangs, brightly decorated with large scrolls and geometric designs reserved on a ground of royal blue scales, with loose bells and tassels suspending from their collars, the mythical beasts standing upon sinuous snakes, with six character Xuande marks to the bases, each together with a pierced wood stand, 35cm, each 6.5kg. (4)

£20,000-30,000 Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996), acquired in a London auction c.1975.

Cf. Compendium of Collections in the Palace Museum, Enamels, 3, Cloisonné in the Qing Dynasty (1644-1911), p.57, no.24 for a pair of Qianlong period cloisonné luduan also with snake-like creatures at their feet.

十九世紀 銅胎掐絲琺瑯甪端香爐 一對 來源：Raymond Smith KBE紳士（1917-2002）及Smith女士（1918-1996）收藏。1975年左 右，購於倫敦一家拍賣行。

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46 A PAIR OF CHINESE LACQUERED-BRONZE FIGURES OF BODHISATTVAS LATE MING DYNASTY Each seated upon a recumbent mythical beast raised on a lotus pedestal, one depicting Manjusri with an alms bowl and books at his shoulders, the other cast as Avalokiteshvara flanked by a bird and a vase, each with one hand raised before his chest and the other lowered in shuni mudra, wearing elaborate crowns and robes adorned with strings of beads, 31.4cm and 31.8cm, 4.8kg and 5.1kg. (2)

£1,000-2,000 明晚期 銅加彩菩薩像 一對 47 A CHINESE LACQUERED AND GILT-WOOD FIGURE OF BUDDHA DIPANKARA LATE MING DYNASTY Carved seated in dhyanasana upon a double lotus base, he holds his hands before his chest in dharmachakra mudra, dressed in loose robes decorated in low relief with scrolling lotus, bearing a serene expression on his face, his urna set with a small jewel, 27cm high.

£4,000-6,000 Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).

明晚期 木加彩燃燈佛 來源：Raymond Smith KBE紳士（1917-2002）及Smith女士 （1918-1996）收藏。

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48 A LARGE CHINESE LACQUERED AND GILT-BRONZE FIGURE OF SKANDA MING DYNASTY The figure stands with his feet apart and his hands held before him, wearing an elaborate helmet and suit of armour, with a celestial scarf flowing around his body, decorated all over in red lacquer heightened with gilt, all raised on a lacquered wood stand formed as craggy rocks, the figure 41.3cm, 7kg. (2)

£10,000-20,000 Provenance: Christie’s London, 10th November 2015, lot 247.

Cf. Sydney L Moss Ltd, The Second Bronze Age: Later Chinese Metalwork, no.9 for a related bronze Daoist deity.

明 銅加彩韋陀立像 來源：倫敦佳士得2015年11月10日·編號247。

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49 TWO MINIATURE CHINESE GILT-BRONZE FIGURES OF BUDDHIST DEITIES QING DYNASTY One depicting Vaishravana, the God of Wealth and Guardian of the North holding a rat in his left hand whilst he lifts his right hand in karana mudra, the other cast as a crowned deity seated upon a bearded goat, the figure holding one hand before his chest in abhaya mudra, 3.5cm and 3.4cm, 31g and 20g. (2)

£800-1,200 清 黃財神及天王坐像 一組兩件 50 A TIBETAN GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI PROBABLY 16TH CENTURY Depicted seated in dhyanasana, he holds his left hand upon his lap in dhyana mudra and touches the ground with his right hand in bhumisparsha mudra, wearing loose robes bordered by foliate motifs and bands of small bosses draped over one shoulder, his well-defined face flanked by elongated earlobes, with his hair cast in tight curls, 20.3cm, 1.9kg.

£10,000-15,000 十六世紀（可能） 銅鎏金釋迦摩尼像

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51 A MASSIVE TIBETAN GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI POSSIBLY 16TH CENTURY Cast seated in dhyanasana with one hand held in dhyana mudra and the other in bhumisparsha mudra, he wears robes adorned with strings of beads and incised with floral motifs to the edges, his composed face framed by his pierced elongated earlobes, the urna between his arched eyebrows picked out with a turquoise jewel, 58cm high, 33kg.

£30,000-50,000 Provenance: formerly the collection of Mr Adrianus Cornelis Maria Verhelst (b.26th February 1955), The Netherlands.

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.

Cf. Christie’s New York, 18th September 2018, lot 51 for a smaller Buddha Shakyamuni possessing similar markings and features.

十六世紀 （可能） 銅鎏金釋迦摩尼像 來源：荷蘭Adrianus Cornelis Maria Verhelst（生於1955年2月26日）舊藏。

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FROM THE COLLECTION OF PROFESSOR PETER HARIOLF PLESCH (1918-2013) AND GERTA REGINA “TRAUDI” PLESCH OBE (1921-2013) AND THENCE BY DESCENT LOTS 52-57, 146 & 213 Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste.

Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire.

In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system.

Peter and Traudi Plesch

Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.

52 A CHINESE ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI SHANG DYNASTY The flattened pear-shaped body gently flaring at the rim, decorated with a band of fine scrolls, with a pictograph for fu to the interior, the spread foot cast with four bosses and geometric designs, the interior of the foot with a paper label for the Prof and Mrs P H Plesch Collections, no.Bv12, 11.3cm, 482g.

£2,500-3,500 Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch OBE (4th December 1921-10th August 2013), collection no.Bv12. The bronze was purchased in summer 1961 from A Lemp, Zurich, and had previously been presented by the Chinese Government to a German individual for his services rendered.

商 青銅觯 來源:Peter Hariolf Plesch教授(1918年2月14 日-2013年3月5日) 和Gerta Regina ‘Traudi’ Plesch OBE (1921年12月4 日-2013年8月10日)收 藏·編號Bv12。據他們 的收藏筆記記載，此件青銅觯於1961年購於蘇 黎世。在此之前是中國政府送給一個為中國做 出貢獻的德國人。附收藏標籤。

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53 A LARGE CHINESE CELADON JADE SQUARE-SECTION VASE, FANGGU SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The raised central section supported on a slender spread foot, surmounted by a tall neck flaring at the rim, with the reign mark incised and picked out in gilt to the rim, the greyish stone with white striations and black flecks, the base with a paper label for the Dr and Mrs P H Plesch Collections, no.Hv27, 27.5cm.

£8,000-12,000 Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch OBE (4th December 1921-10th August 2013), collection no.Hv27, acquired from Spink & Son’s December 1981 exhibition of jade, no.62.

Illustrated: Spink & Son Ltd, An Exhibition of Fine Jade, December 1981, p.19, no.62.

清乾隆 青白玉雕方觚 《大清乾隆年製》款。 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏·編號Hv27。附收藏標籤。購於1981年12月

Spink & Son catalogue 1981

Spink & Son 的玉器展，編號62。

著錄：Spink & Son Ltd，玉器精品展，1981年12月，頁19，編號62。

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54 A CHINESE ‘SHI SOU’ SILVER INLAID BRONZE ‘DRAGON’ VASE 17TH/18TH CENTURY

55 A CHINESE KNIFE WITH A PALE CELADON JADE HANDLE 18TH/19TH CENTURY

The tall ovoid body decorated with two dragons writhing amongst swirling clouds as they chase flaming pearls, with crashing waves below the mythical beasts, the body flanked by two lion mask handles, with continuous bands to the shoulder and waisted neck, the base with a mark reading Shi Sou and a paper label for the Prof and Mrs P H Plesch Collections, no.Bv31, 30.3cm, 2.6kg.

With a metal blade, cast with endless knots to the end, the handle carved in jade, the stone with some white mottling and pale russet inclusions, with a paper label for the Prof and Mrs P H Plesch Collections, no.Hm30, 25.7cm, 56g overall.

£1,000-1,500 Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch OBE (4th December 1921-10th August 2013), collection no.Bv31, purchased from Sotheby’s London on 21st July 1969, lot 83.

十七/十八世紀 錯銀銅趕珠龍紋瓶 《石叟》款。 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和 Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收

£500-800 Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch OBE (4th December 1921-10th August 2013), collection no.Hm30. The knife was purchased as part of an eating set from Spink & Son in December 1968.

十八/十九世紀 青白玉柄匕首 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和 Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收

藏·編號Hm30。據他們的收藏筆記記載，此件匕首在1968年12月購 於Spinks。附收藏標籤。

藏·編號Bv31。倫敦蘇富比1969年7月21日·編號83。附收藏標籤。

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56 A CHINESE ‘SHI SOU’ SILVER INLAID BRONZE TRIPOD INCENSE BURNER 18TH CENTURY

57 A CHINESE ‘SHI SOU’ SILVER INLAID BRONZE BRUSH REST AND A BRUSH WASHER 18TH CENTURY

The compressed body decorated with eleven characters reserved on a geometric ground, with two upright loop handles rising from the flat everted rim, all raised on three feet inlaid with floral motifs, the base with a two character mark reading Shi Sou, with a paper label for the Prof and Mrs P H Plesch Collections, no.Bh13hl, the mouth 12.1cm, 12.6cm max, 802g.

The brush rest formed as a mountain range with five peaks, decorated to one side with a bat amongst swirling clouds, the brush washer with a compressed body, decorated with a geometric band and small circles encircling the rim, each with a mark reading Shi Sou, with paper labels for the Prof and Mrs P H Plesch Collections, nos.BM9A and Bh8A, 8.6cm and 7.7cm, 125g and 193g. (2)

£800-1,200

£1,000-1,500

Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch OBE (4th December 1921-10th August 2013), collection no.Bh13hl, purchased from Crichton, London, in February 1970.

Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch OBE (4th December 1921-10th August 2013), collection nos.BM9A and Bh8A. The brush washer purchased from Ushida Woodblock Printing Co, Kyoto in October 1967. The brush rest bought in Cat Street, Hong Kong.

十八世紀 錯銀銅香爐 《石叟》款。 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和 Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收 藏·編號Bh13hl。1970年2月購於倫敦Crichton。附收藏標籤。

Exhibited: the brush washer exhibited in the Oriental Ceramic Society’s exhibition The Chinese Scholar’s Desk, 17th to 18th century, the Ashmolean Museum, Oxford, 1st October-31st October 1979, no.32.

Cf. R Kerr, Later Chinese Bronzes, pp.64-65, no.50 and P Moss, In Scholar’s Taste, p.214, no.150 for comparable brush rests.

十八世紀 錯銀筆山及筆洗 一組兩件 《石叟》款。 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和 Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏·編號Bm9A及Bh8A。筆洗1967年購於京都，筆山購於香港摩羅 街。附收藏標籤。 展覽：東方瓷器協會，中國文房：十七至十八世紀。牛津阿什莫林博 物館，1979年10月1-10月31日·編號32。

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58 A RARE CHINESE IMPERIAL BRONZE ACUPUNCTURE FIGURE YONGZHENG 1723-35 Depicted standing tall, with a rounded stomach and slender limbs, the well-defined face cast with a pointed nose and wrinkles to the forehead, with black lacquer to the long straight hair, pierced with many apertures across the entire body, together with a silk-mounted stand, 25.9cm, 1.1kg. (2)

£15,000-20,000 Provenance: acquired from Gérard Levy, 7eme Biennale des Antiquaires, Paris, in 1974.

Figures of this type were used by doctors and acupuncturists to practise their needle skills.

Cf. Sotheby’s London, 16th May 2012, lot 164 for a similar Yongzheng acupuncture figure dated to 1729; see also the collection of the Science Museum, London, no.A156197 for another comparable example.

清雍正 御製銅針灸人體模型 來源：1974年購於巴黎Gérard Levy，7eme Biennale des Antiquaires。

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FINE CHINESE JADE

& HARDSTONE CARVINGS LOTS 59-103

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PROPERTY OF AN ENGLISH GENTLEMAN LOTS 59-68 59 A CHINESE PALE CELADON JADE ‘FROG AND LOTUS’ PENDANT 17TH/18TH CENTURY Carved as a frog seated upon a lotus leaf surrounded by seed pods, the leaf finely detailed with its veins, the stone of an even tone with some small russet markings, 4.5cm.

£1,000-1,500 Provenance: from an English private collection; purchased from Marchant on 7th October 1997.

十七/十八世紀 青白玉雕佩 來源：英國私人收藏，1997年10月7日購於Marchant馬錢特。

60 A CHINESE WHITE JADE CARVING OF LINGZHI 18TH CENTURY Formed as two lingzhi fungus, one worked as a mature plant, the other with seed pods, with large furling leaves to the underside, the pale stone with russet markings, 5.7cm.

£1,000-1,500 Provenance: from an English private collection; purchased from Marchant on 5th May 2004.

十八世紀 白玉雕靈芝擺件 來源：英國私人收藏，2004年5月5日購於Marchant馬錢特。

61 A CHINESE PALE CELADON JADE CARVING OF A LOTUS SEED POD QIANLONG 1736-95 Carved as an insect with long antennae resting on a large lotus pod, with a smaller seed pod to the side, the underside with long intertwining stems and large leaves detailed with veins, the stone of an even tone with some minor inclusions, 5.5cm.

£800-1,200 清乾隆 青白玉雕蓮蓬擺件

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62 A CHINESE PALE CELADON JADE CARVING OF THREE GEESE QIANLONG 1736-95 Formed as three geese grasping branches of lotus in their beaks, the birds finely incised with their wing feathers, the underside worked with swirling waves, with russet markings in the stone, 10.8cm.

£4,000-6,000 Provenance: purchased from Marchant on 22nd January 2003.

Illustrated: Spink, Chinese Jade, 1998, p.42, no.73.

清乾隆 青白玉雕鵝銜蓮擺件 來源：2003年1月22日購於Marchant馬錢特。 出版：Spink，Chinese Jade，1998，頁42，編號73。

63 A CHINESE PALE CELADON JADE CARVING OF A BOY RIDING AN ELEPHANT QING DYNASTY OR EARLIER The stocky elephant depicted standing four-square with its head slightly turned to the right, the smiling boy holds a vase as he kneels upon the animal’s back, with a bird perching next to the child, the stone with some light russet markings, together with a wood stand with a label for S Marchant & Son, 70th Anniversary Exhibition of Post-Archaic Chinese Jades, 1995, no.79, 5.2cm. (2)

£1,500-2,000 Provenance: formerly an English private collection; purchased from Marchant on 22nd July 1996.

Illustrated: S Marchant & Son, Seventieth Anniversary Exhibition of Post-Archaic Chinese Jades, 1995, p.60, no.79.

Cf. Ip Yee, Chinese Jade Carving, no.153 for an elephant of similar style from the collection of Mr and Mrs P Chu; see also Marchant, 85th Anniversary Exhibition of Chinese Jades from Tang to Qing, pp.110-111, no.82 for another jade carving with the same iconography formerly in the Rothschild family collection.

清或更早 青白玉雕太平有象擺件 來源：英國私人舊藏，1996年7月22日購於Marchant馬錢特，附馬錢 特70週年展標籤。 出版：S Marchant & Son, Seventieth Anniversary Exhibition of Post-Archaic Chinese Jades，1995，頁60，編號79。

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64 A CHINESE WHITE JADE ‘GOOSE’ PLAQUE YUAN/MING DYNASTY The oval plaque decorated in openwork with a swooping goose amongst lotus blooms and leaves, the bird carved and incised with details of its plumage, with three small waves below, the pale stone with some minor grey inclusions and white mottling, 8.4cm.

£2,000-3,000 Provenance: purchased from Marchant on 7th October 1997.

Cf. R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p.46, no.43 for a comparable example; see also Marchant, 85th Anniversary Exhibition of Chinese Jades from Tang to Qing, p.51, no.29 for a similar plaque pierced with a flying goose and lotus; see also H K F Hui & T Y Pang, Virtuous Treasures: Chinese Jades for the Scholar’s Table, p.142, no.73 for a related Jin dynasty plaque from the Michael S L Liu collection.

65 A CHINESE PALE CELADON JADE CIRCULAR ‘LOTUS’ BOX AND COVER 17TH/18TH CENTURY Delicately carved in openwork with a roundel enclosing a lotus flowerhead to the cover, the sides pierced with scrolling foliage, all raised on a short straight foot, the pale stone with some small dark specks, with a paper label for Marchant to the base, together with a wood stand, 5.9cm. (3)

£3,000-4,000 Provenance: from an American West Coast private collection; purchased from Marchant on 7th October 1997.

十七/十八世紀 青白玉鏤雕纏枝蓮紋蓋盒 來源：美國私人收藏，1997年10月7日購於Marchant馬錢特。

元/明 白玉鏤雕春水佩 來源：1997年10月7日購於Marchant馬錢特。

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66 A CHINESE IMPERIAL SPINACH-GREEN JADE ZHADOU AND COVER QIANLONG 1736-95 The straight sides and domed cover carved in low relief with shuangxi characters, the flat everted rim shaped as a flowerhead, decorated with five bats in flight amongst chrysanthemum sprays, all surmounted by a compressed finial worked as a shou medallion encircled by ruyi-heads, the dark green stone with black specks and pale inclusions, with paper labels for Marchant, 13.5cm. (2)

£6,000-8,000 Provenance: formerly an American private collection, New York; purchased from Marchant on 20th October 2004.

Cf. Compendium of Collections in the Palace Museum, Jade, vol.10, p.258, no.206 for a similarly formed jade spittoon and cover.

清乾隆 碧玉雕大婚渣斗 來源：美國紐約私人收藏，2004年10月20日購於Marchant馬錢特。

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67 A CHINESE CELADON JADE CARVING OF A LOTUS SEED POD 17TH CENTURY

68 A CHINESE BROWN AND CELADON JADE ‘DRAGON’ FINIAL MING DYNASTY

Formed as a large lotus pod with seven raised seeds, with a leaf trailing over the top and a smaller seed pod to one side, they rest upon a large lotus leaf which curls at the edges, the stone of a sea green tone with white and russet markings, together with a wood stand, 8.6cm. (2)

Carved with a scaly dragon writhing amongst swirling clouds as it chases a flaming pearl, with breaking waves and jagged rocks below, all raised on an oval foot, the interior hollowed from the underside, with a paper label for S Marchant & Son, London, 2005, Chinese Jades from Han-Qing, no.22, together with a wood stand, 8cm. (2)

£2,000-3,000 Provenance: from a private collection, Oxfordshire; purchased from Marchant on 16th April 2003.

十七世紀 青玉雕蓮蓬擺件 來源：英國牛津私人收藏，2003年4月16日購於Marchant馬錢特。

£6,000-8,000 Provenance: formerly an English private collection; purchased from Marchant on 12th October 2005.

Illustrated: S Marchant & Son, 80th Anniversary Exhibition of Chinese Jades from Han to Qing, 2005, p.31, no.22.

The dragon is a zodiac animal and became the symbol of the Emperor. It represents power, renewal and benevolence and is often seen in pursuit of a flaming pearl, symbolising the pursuit of longevity.

Cf. R Keverne, Jade, p.144, fig.38 for a similar Ming dynasty finial.

明 青玉雕趕珠龍紋爐頂 來源：英國私人收藏，2005年10月12日購於Marchant馬錢特，附標 籤。 出版：S Marchant & Son, 80th Anniversary Exhibition of Chinese Jades from Han to Qing，2005，頁31，編號22。

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69 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.

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.

Sir Archibald John Boyd (c.1889-1959)

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。

70 A CHINESE PALE CELADON JADE ‘RUYI-HEAD’ BRUSH WASHER QIANLONG 1736-95 Carved as the head of a lingzhi, the sides and base incised with simple scrolls, with an incised ridge to the flat rim, all raised on five slightly splayed feet, the base with a paper label for Marchant, Jade 2015, 90th Anniversary Exhibition, no.1, together with a wood stand, 10.8cm. (2)

£5,000-7,000 Provenance: formerly an important French collection.

Illustrated: Marchant, 90th Anniversary Exhibition, Ninety Jades for 90 Years, pp.8-9, no.1.

The lingzhi, also known as the Fungus of Immortality, resembles the head of a ceremonial wish-granting sceptre called a ruyi, which means ‘as you wish’.

Cf. Ip Yee, Chinese Jade Carving, An Exhibition Jointly Presented by the Urban Council, Hong Kong and the Min Chiu Society, Organised by the Hong Kong Museum of Art, pp.254-255, no.228 for a related ruyi-form brush washer.

清乾隆 青白玉雕如意紋筆洗 來源：重要法國舊藏。 出版：Marchant, 90th Anniversary Exhibition，Ninety Jades for 90 Years，頁8-9，編號1。

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71 A CHINESE PALE CELADON JADEITE ‘ENDLESS KNOT’ BELT BUCKLE QING DYNASTY Carved in openwork as a large endless knot, finely incised with the details of the rope, worked with two fylfots to the centre and a pair of bats to the edges, the stone with some faint green areas and specks, 8.8cm.

£600-800 清 青白玉雕如意結佩

72 A CHINESE WHITE JADE ‘BADGERS’ PENDANT 18TH CENTURY 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 Provenance: from an English private collection, West Sussex, acquired by the current owner during various tours of duty between 1968 and 1985.

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 白玉雕雙歡佩 來源：英國西薩塞克斯私人收藏，1968-1985年在旅遊時購得。

73 TWO CHINESE PALE CELADON JADE ‘BIRDS’ PENDANTS QING DYNASTY One carved in openwork with a pair of pheasants facing each other, they surround a shaped panel enclosing the characters tong xin, with a peony flowerhead below, the other pendant decorated in relief with two stout birds beneath a blooming lotus, with the characters ji xiang to the reverse, 5.8cm and 5.4cm. (2)

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

清 青白玉雕錦上添花及吉祥如意佩 一組兩件 來源：皇家空軍中校F W Hilton（1990年代逝世），之後由其家人繼 承。

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74 A SMALL CHINESE PALE CELADON JADE ‘TWIN-FISH’ DISH QIANLONG/JIAQING Carved in relief to the centre with a pair of fish, worked with a slightly recessed base, the greyish-green stone with some small russet inclusions, 8.5cm.

£500-1,000 清乾隆/嘉慶 青玉雕雙魚洗

75 A CHINESE PALE CELADON JADE CARVING OF LINGZHI QING DYNASTY Formed as two large mushrooms with smaller lingzhi growing around them, with an insect resting on the largest cap, the stone with some minor russet inclusions, 8cm.

£300-500 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

Cf. Marchant, 85th Anniversary Exhibition of Chinese Jades from Tang to Qing, p.89, no.63 for a comparable Qianlong jade carving also formed as a small insect resting upon lingzhi.

清 青白玉雕靈芝擺件 來源：西約克郡私人收藏，購於1970-80年代。

76 A CHINESE WHITE JADE ‘DRAGON’ HAT FINIAL MING DYNASTY Carved in openwork with a sinuous dragon coiling itself amongst many flowering leafy branches, the beast with its mouth slightly agape revealing its sharp fangs, all raised on a gently domed oval base, the slightly convex underside with four small holes for attachment, 6.5cm across.

£500-1,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

明 白玉雕穿花龍爐頂 來源：西約克郡私人收藏，購於1970-80年代。

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77 A CHINESE CELADON AND RUSSET JADE ‘MONKEYS’ GROUP 18TH/19TH CENTURY

78 A SMALL CHINESE WHITE AND BLACK JADE CARVING OF CATS QING DYNASTY OR LATER

Deeply carved with three monkeys climbing over rocks, pine and lingzhi, they reach out for a bunch of peaches, with the monkeys picked out in a brown section of the stone, together with a reticulated wood stand, 9cm. (2)

Formed as two reclining cats facing each other, with a small kitten clambering on one of their backs, the largest feline carved in a white section of the stone, the two smaller cats picked out in black jade, together with a wood stand, 3.8cm. (2)

£800-1,200 Provenance: from the collection of John Brunel-Cohen (dec’d).

十八/十九世紀 青玉雕靈猴獻壽擺件 來源：John Brunel-Cohen收藏。

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£1,500-2,500 清或更晚 黑白玉雕耄耋之壽擺件

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

79 A CHINESE WHITE JADE ‘TIANJI’ VASE LATE QING DYNASTY/REPUBLIC PERIOD The heavenly bird carved standing upon rocks, its wings detailed with chilong masks and archaistic scrolls, with a ribbon held in its beak, depicted supporting a large vase on its back, the vessel decorated with taotie masks to the body, with loose rings suspending from the bird’s breast and the vase’s animal-shaped handles, the pale stone with some russet inclusions, together with a wood stand carved in openwork with flowering peony branches, 19.5cm. (2)

£4,000-6,000 Provenance: formerly a private collection, London, formed c.1959-1963. This vase was purchased from Chuen Koo Chai Dealers in Chinese Arts & Curios, Hong Kong, on 4th December 1963. A copy of the invoice is available.

A certificate of identity dated 6th December 1963 from The Curios, Furniture & Miscellaneous Utensils & Hardware Merchants & Employees Association, Hong Kong & Kowloon, is also available. Lots 79-84 and 692-694 are all from the same collection.

清晚期/民國 白玉雕天雞尊 來源：倫敦私人舊藏，1963年12月4日購於香港尊古齋（附發票複印件）。 Chuen Koo Chai invoice 4th December 1963

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80 A CHINESE APPLE GREEN JADEITE CARVING OF A HORSE REPUBLIC PERIOD

81 A CHINESE PALE CELADON JADE ‘MOUNTAIN’ BRUSH REST MING/QING DYNASTY

The horse depicted in a recumbent pose with its head raised, its tail and mane detailed with finely incised hairs, the pale stone with vivid green and russet markings, together with a wood stand, 20.3cm. (2)

Formed as a rocky mountain range, incised with stylised rolling hills to the reverse, the stone of a pale greenish tone with some dark specks and inclusions, together with a wood stand carved with the Three Friends of Winter, 20cm. (2)

£2,000-3,000

£2,000-3,000

Provenance: formerly a private collection, London, formed c.1959-1963. The horse was purchased from Chuen Koo Chai Dealers in Chinese Arts & Curios, Hong Kong, on 27th May 1959. A copy of the invoice is available. Lots 79-84 and 692-694 are all from the same collection.

Provenance: formerly a private collection, London, formed c.1959-1963. This brush rest was purchased from Chuen Koo Chai Dealers in Chinese Arts & Curios, Hong Kong, on 4th December 1963. A copy of the invoice is available. A certificate of identity dated 6th December 1963 from The Curios, Furniture & Miscellaneous Utensils & Hardware Merchants & Employees Association, Hong Kong & Kowloon, is also available. Lots 79-84 and 692-694 are all from the same collection.

民國 翡翠雕馬 來源：倫敦私人舊藏，1959年5月27日 購於香港尊古齋（附發票複印件）。 Chuen Koo Chai invoice 27th May 1959

Cf. Compendium of Collections in the Palace Museum, Jade, vol.9, p.81, no.68 for a related brush rest carved as mountains.

Chuen Koo Chai invoice 4th December 1963

明/清 青白玉雕筆山 來源：倫敦私人舊藏，1963年12月4日購於香港尊古齋（附發票複印 件）。

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82 A CHINESE APPLE GREEN JADEITE OVAL BRUSH WASHER LATE QING DYNASTY/REPUBLIC PERIOD Carved in relief with large leaves and flowering branches growing from rockwork, the reverse with a spray of blossoming orchids, all raised on a short straight foot, the greyish stone with vibrant green and russet markings, together with a wood stand inlaid with wire scrolls, 14.5cm. (2)

£2,000-3,000 Provenance: formerly a private collection, London, formed c.1959-1963. The brush washer was purchased from Chuen Koo Chai Dealers in Chinese Arts & Curios, Hong Kong, on 4th December 1963. A copy of the invoice is available. A certificate of identity dated 6th December 1963 from The Curios, Furniture & Miscellaneous Utensils & Hardware Merchants & Employees Association, Hong Kong & Kowloon, is also available. Lots 79-84 and 692-694 are all from the same collection.

清晚期/民國 翡翠花卉紋筆洗 來源：倫敦私人舊藏，1963年12月4日 購於香港尊古齋（附發票複印件）。

83 A CHINESE ARCHAISTIC BLACK AND WHITE JADE POURING VESSEL, YI 18TH CENTURY Decorated in low relief to the exterior with taotie masks and stylised mythical beasts, the short spout formed as an animal with its mouth open, the curved handle carved with a dragon mask, all raised on a flared oval foot, the stone with rich black and greyish-white sections, with some minor russet specks, together with a wood stand, 16.7cm. (2)

£2,000-3,000 Provenance: formerly a private collection, London, formed c.1959-1963.

Lots 79-84 and 692-694 are all from the same collection.

十八世紀 黑白玉雕匜 來源：倫敦私人舊藏，1959-1963年代。

Chuen Koo Chai invoice 4th December 1963

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84 A RARE CHINESE PALE CELADON JADE WRIST REST MOUNTED IN A WOOD BOX THE JADE MING/QING DYNASTY, THE BOX LATER The hinged cover of the rectangular box inset with the jade wrist rest, the jade formed as a partially opened scroll, decorated with sinuous chilong amidst swirling designs, the reverse of the wrist rest with a poem about the Emperor, the exterior of the box decorated with crushed eggshell, the base of the box with a mark in inlaid wire which reads jing xing zhai, the jade 15.8cm, the box 5cm x 21.2cm x 12.1cm.

£4,000-6,000 Provenance: formerly a private collection, London, formed c.1959-1963. This lot was purchased from Chuen Koo Chai Dealers in Chinese Arts & Curios, Hong Kong, on 27th May 1959. A copy of the invoice is available. Lots 79-84 and 692-694 are all from the same collection.

Cf. The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, p.183, no.167 for a comparable wrist rest.

明/清 木雕嵌白玉盒 《景行齋》款。 來源：倫敦私人舊藏，1959年5月27日購於香港尊古齋（附發票複印件）。

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Chuen Koo Chai invoice 27th May 1959

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

85 A CHINESE CELADON JADE ‘PHOENIX’ BRUSH WASHER QING DYNASTY The peach-shaped vessel carved in high relief with a phoenix in flight amidst flowering blooms, with furling leaves and twisting branches forming the foot, the stone of a greyish tone with some inclusions, 16.7cm.

£200-300 Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).

清 青白玉雕鳳戲牡丹桃型洗 來源：Raymond Smith KBE紳士（1917-2002）及Smith女士 （1918-1996）收藏。 86 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。 87 A CHINESE APPLE GREEN JADEITE ‘LION DOGS’ PENDANT QING DYNASTY The rectangular pendant carved in relief and pierced with two lion dogs in a rocky setting, they sit beneath pine trees and a bat perched above, with lingzhi growing in the landscape to the reverse, cleverly worked with the creatures picked out in vibrant green sections of the pale stone, 5.6cm.

£2,500-3,500 Provenance: from a private collection, London.

清 翡翠雕獅子繡球佩 來源：倫敦私人收藏。

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88 EIGHT SMALL CHINESE ARCHAISTIC CELADON AND YELLOW JADE ‘ANIMAL’ PENDANTS PROBABLY QING DYNASTY Variously carved as stylised birds, mammals, and mythical creatures, their bodies decorated in shallow relief with archaistic scrolls, all with small drilled holes for suspension, with calcification and russet and white inclusions, 5.5cm max. (8)

£2,000-3,000 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） 青白玉及黃玉雕瑞獸擺件 一組八件 來源：David Taylor（1876-1958）收藏。Taylor先生是一 位成功的蘇格蘭商人。他出生於北愛爾蘭，在貝爾法斯 特長大，其名下有很多商務樓、店面、農場及股份。此 組拍品為Taylor先生在二十世紀初期去東亞旅行時購得。

89 FIVE SMALL CHINESE ARCHAISTIC CELADON JADE CARVINGS PROBABLY QING DYNASTY Comprising: a xi terminating in a dragon head, a square-section le incised with stylised human faces, and three pendants, one formed as a recumbent dragon, another as a reclining pig, the third carved as a stylised figure, the stone of each with some calcification, 7.6cm max. (5)

£2,000-3,000 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） 玉雕仿古佩 一組五件 來源：David Taylor（1876-1958）收藏。Taylor先生是一位成功的蘇格蘭商人。他出生於北愛爾蘭，在貝爾法斯特長大，其名下有很多商務樓、店 面、農場及股份。此組拍品為Taylor先生在二十世紀初期去東亞旅行時購得。

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90 A CHINESE PALE CELADON JADE ‘MYTHICAL BEASTS’ WATERPOT LATE QING DYNASTY The compressed body worked with a smooth surface, decorated in relief with a scaly dragon and a chilong clambering over each end, the stone with some minor white and russet inclusions, together with a wood stand, 12.8cm. (2)

£1,500-2,500 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts. Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

清晚期 青白玉雕龍紋洗 來源：Jackie Somerville-Roberts收藏。Jackie 的父親Leo Clasen，曾在鋼鐵行業工作，在 1945-1965年開始收藏。

91 A CHINESE PALE CELADON JADE CARVING OF TWO MANDARIN DUCKS QING DYNASTY Formed as a pair of Mandarin ducks gazing at each other, each bird detailed with a crest and feathers on their wings, with large lotus blooms and leaves around them, the pale greyish stone with some russet inclusions, together with a wood stand, 14.9cm. (2)

£1,500-2,500 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts. Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

清 青白玉雕蓮池鴛鴦擺件 來源：Jackie Somerville-Roberts收藏。Jackie 的父親Leo Clasen，曾在鋼鐵行業工作，在 1945-1965年開始收藏。

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92 A CHINESE ROSE QUARTZ STANDING FIGURE QING DYNASTY The old man depicted standing dressed in loose robes, he holds a basket of flowers in one hand and a staff terminating in a dragon’s head in the other, wearing a simple hat on his head, he bears a serene expression on his face, together with an openwork wood stand, 16cm. (2)

£1,500-2,500 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

93 A CHINESE ARCHAISTIC SPINACH-GREEN JADE VASE AND COVER LATE QING DYNASTY Shaped as a pouring vessel flaring at the rim, the central raised band carved with taotie masks, with pendant leaves incised to the neck and foot, decorated in relief with an animal mask suspending a loose ring, with a bearded chilong crouching on the cover, the stone of a dark green tone with black inclusions, together with an openwork wood stand inlaid with silver wire, 17.3cm. (3)

£500-800

清 芙蓉石雕花神 來源：Jackie Somerville-Roberts收藏。Jackie的父親Leo Clasen，曾在鋼

Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

鐵行業工作，在1945-1965年開始收藏。

清晚期 碧玉雕饕餮螭龍紋蓋瓶 來源：Jackie Somerville-Roberts收藏。Jackie的父親Leo Clasen，曾在鋼 鐵行業工作，在1945-1965年開始收藏。

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94 THREE SMALL CHINESE CELADON JADE ITEMS QING DYNASTY One carved in pale celadon jade as a shallow dish with a foliate rim, another worked in celadon jade as a bird resting by a lotus atop a large conch shell, the stone with russet mottling and inclusions, the third carving formed as twin-fish, with a flower to one side, one fish picked out in a brown section of the stone, the other in pale celadon, 9.3cm max. (3)

£400-600 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

清晚期 玉雕花口碟、鷸蚌及魚擺件 一組三件 來源：Jackie Somerville-Roberts收藏。Jackie的父親Leo Clasen，曾在鋼 鐵行業工作，在1945-1965年開始收藏。 95 A LARGE CHINESE GREY JADE INCENSE BURNER AND COVER LATE QING DYNASTY/REPUBLIC PERIOD The shallow body carved in low relief with a band of lappets, the domed cover pierced with stylised lotus scrolls, with panels enclosing precious Buddhist objects and raised animal masks encircling the rim, all raised on a flared foot, the pale stone with dark specks and inclusions, together with a reticulated wood stand, 16.7cm dia. (3)

£1,500-2,500 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

清晚期/民國 青白玉雕蓮花紋香爐 來源：Jackie Somerville-Roberts收藏。Jackie的父親Leo Clasen，曾在鋼 鐵行業工作，在1945-1965年開始收藏。 69

96 A CHINESE PALE CELADON JADE PEAR-SHAPED VASE QING DYNASTY

97 A CHINESE CELADON JADE ‘BOULDER’ CARVING QING DYNASTY

The compressed body raised on a short foot, carved in low relief to each side with roundels enclosing flowering branches of peony and prunus, the neck flanked by sprays of pierced lingzhi, the pale stone with some minor white mottling and russet inclusions, 13.5cm.

Naturalistically formed as a craggy rock, carved to one side with a pine tree and crane perching on one leg, the reverse with lingzhi, the stone of a greenish tone with russet inclusions, together with a wood stand, 12cm. (2)

£500-800 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

清 青白玉雕如意富貴紋瓶 來源：Jackie Somerville-Roberts收藏。Jackie的父親Leo Clasen，曾在鋼 鐵行業工作，在1945-1965年開始收藏。

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£1,000-2,000 Provenance: formerly the collection of Mrs Jackie Somerville-Roberts.

Mrs Somerville-Roberts’ father Leo Clasen, from Luxembourg, was in the steel industry and formed his collection between c.1945 and 1965.

清 青白玉雕松鶴延年山子 來源：Jackie Somerville-Roberts收藏。Jackie的父親Leo Clasen，曾在鋼 鐵行業工作，在1945-1965年開始收藏。

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

98 A FINE CHINESE WHITE JADE LIBATION CUP 18TH CENTURY The body decorated with archaistic mythical beast masks below key fret, the spout carved as the head of a creature with its mouth open, with a further snake-like animal in relief below, the handle formed as a boy standing on swirling clouds as he clings to the rim, all raised on four ruyi-head shaped feet, with a paper label for Bluett & Sons London to the base, the pale translucent stone with some light russet inclusions, together with a wood stand, 11.2cm. (2)

£8,000-12,000 Provenance: from the collection of Dennis Howarth, and thence by descent to his daughter Connie Tattersall. Purchased from Bluett & Sons on 21st May 1952 for £28. The cup was supplied to Bluett’s by Dr Cheng Te-K’un.

十八世紀 白玉雕童子瑞獸紋杯 來源：Dennis Howarth收藏，之後由其女兒Connie Tattersall繼承。1952 年5月21日以£28價格購於Bluett & Sons，此杯由鄭德坤教授提供給 Bluett & Sons（附標籤）。

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99 A FINE TALL CHINESE CELADON JADE OVOID VASE 18TH CENTURY The slender body swelling at the centre, carved in low relief to the shoulder with a band of archaistic taotie masks divided by stylised sprays, with two tubular handles flanking the neck, the stone with some minor russet inclusions and white mottling, with a paper label for Spink & Son Ltd to the recessed base, together with a signed copy of Jade by Roger Keverne, with a dedication to Gordon and Sylvia Quance by Roger Keverne dated 18th February 1992, 25.8cm. (2)

£3,000-5,000 Provenance: by direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017). Purchased from Spink & Son Ltd on 16th December 1963. The original invoice is available.

Illustrated: R Keverne, Jade, p.151, fig.56.

十八世紀 青白玉雕饕餮紋瓶 來源：Gordon W Quance LLM（1931-2017) 及Sylvia Quance（逝於2020年9月20日）收藏。1963年12月 16日購於Spink & Son Ltd（附發票複印件及標籤）。

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Spink & Son invoice 16th December 1963

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

100 A FINE AND RARE CELADON JADE GLOBULAR VASE 18TH CENTURY Described as Ottoman by Roger Keverne in Jade, the globular body surmounted by a short gently flaring neck, carved with two loop handles emerging from six-petalled flowerheads, all raised on a short spread foot, with a paper label for Spink & Son Ltd to the base, the greyish-green stone with some russet inclusions, together with a wood stand raised on five feet, 13cm across. (2)

£1,500-2,500 Provenance: by direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017). Purchased from Spink & Son Ltd on 27th June 1966.

The original invoice, which describes the vase as Mughal, is available.

Illustrated: R Keverne, Jade, p.293, fig.39.

十八世紀 青白玉雕雙耳瓶 來源：Gordon W Quance LLM（1931-2017) 及Sylvia Quance（逝於2020年9月20日）收藏。1966 年6月27日購於Spink & Son Ltd （附發票複印件及標籤）。 Spink & Son invoice 27th June 1966

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101 A CHINESE CELADON JADE ‘MYTHICAL BEASTS’ TRIPOD INCENSE BURNER AND COVER QIANLONG 1736-95 The compressed circular body carved in low relief with archaistic scrolls divided by flanges, flanked by two handles shaped as winged pixiu, the domed cover surmounted by a circular finial worked as a chilong twisting amidst swirling clouds, all raised on three tapering feet, with a paper label for Spink & Son Ltd to the base, the greyish stone with dark inclusions, together with a wood stand pierced with prunus branches, 15.2cm across. (3)

£2,000-3,000 Provenance: by direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017). Purchased from Spink & Son Ltd on 21st February 1966. The original invoice is available.

清乾隆 青白玉雕瑞獸三足爐 來源：Gordon W Quance LLM（1931-2017) 及Sylvia Quance（逝於2020年9月20日）收藏。1966年2月 21日購於Spink & Son Ltd （附發票複印件及標籤）。

Spink & Son invoice 21st February 1966

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102 A CHINESE CELADON JADE ‘DRAGON’ INCENSE BURNER AND COVER QIANLONG 1736-95 The compressed body and domed cover decorated in low relief with archaistic taotie masks, with dragon head-shaped handles suspending loose rings to two sides, the finial carved in openwork as a coiled dragon grasping a sacred pearl, all raised on a flared foot incised with a key fret band, the stone of a pale green tone with some white and russet inclusions, with a paper label for Spink & Son Ltd to the base, 15.5cm across. (2)

£2,000-3,000 Provenance: by direction of the executors of the late Sylvia Quance (d.20th September 2020). From the collection of Gordon W Quance LLM (1931-2017). Purchased from Spink & Son Ltd on 29th June 1967.

The original invoice is available.

清乾隆 青白玉雕饕餮紋銜環香爐 來源：Gordon W Quance LLM（1931-2017) 及Sylvia Quance（逝於2020年9月20日）收藏。 1967年6月29日購於Spink & Son Ltd （附發票複印件及標籤）。

Spink & Son invoice 29th June 1967

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103 A CHINESE ARCHAISTIC PALE CELADON JADE VASE AND COVER, HU QING DYNASTY OR LATER The flattened pear-shaped body carved in low relief with large leaf-shaped lappets, with a band of taotie masks reserved on a leiwen ground to the shoulder, the neck flanked by two handles formed as stylised dragons, the rim and flared foot incised with bands of key fret, with further lappets and key fret to the cover, surmounted by an oval finial, the pale stone with brown and white inclusions, 27.3cm. (2)

£4,000-5,000 清或更晚 青白玉雕仿古饕餮紋蓋瓶 104 No lot

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FINE CHINESE CERAMICS LOTS 105-191

Lot 121

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FROM THE COLLECTION OF LADY KATE DAVSON (1938-2020) LOTS 105-110 Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby’s Works of Art Department in 1959. She travelled widely for Sotheby’s and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James’s. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain’s abolition of the Slave Trade in 2007.

Lady Davson (1938-2020) in May 2010 at the Porzellansammlung in the Zwinger in Dresden.

105 A PAIR OF CHINESE BLUE AND WHITE MOULDED VASES KANGXI 1662-1722 The ovoid bodies moulded with tall petal-shaped panels painted with branches of prunus, peony and other blossoming flowers growing amidst rockwork, the slender necks flanked by handles formed as animal masks suspending loose rings, with artemisia leaves to the bases, 24.6cm. (2)

£1,000-2,000 Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).

清康熙 青花花卉紋瓶 一對 來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

106 A PAIR OF CHINESE POWDER BLUE-GROUND EWERS AND COVERS KANGXI 1662-1722 With pear-shaped bodies, each set with a loop handle and a slender spout joined to the neck with a moulded S-shaped scroll, the flat covers surmounted by simple ovoid finials, decorated with mottled dark blue glazes enhanced with traces of floral decoration in gilt, the interiors and bases glazed white, 20.5cm. (4)

£1,000-2,000 Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).

清康熙 藍釉壺 一對 來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

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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

107 A CHINESE BLUE AND WHITE BEAKER VASE, GU TRANSITIONAL C.1640 Painted to the upper register with a man fishing beneath a willow tree in a river landscape, a boy and a lady carrying baskets over her shoulders look onwards, the scene divided by craggy rocks and swirling clouds, the slightly raised central section decorated with three floral sprays, with a band of stylised leaves above the foot, 43.2cm.

£6,000-10,000 Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).

Cf. R S Kilburn, Transitional Wares and Their Forerunners, p.89, no.65 for a related blue and white beaker vase decorated with birds and flowers above floral sprays and plantain leaves; see also Christie’s New York, 19th-20th September 2013, lot 1317 for a comparable vase also painted with a figural scene.

明末清初 青花人物故事紋花觚 來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

reverse view

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108 A CHINESE ENAMELLED AND GILT-DECORATED CHOCOLATE POT AND COVER 18TH CENTURY The conical body gently tapering towards the top, set with a loop handle and a curved spout, painted with a large panel depicting a figure and an ox by a river, the scene surrounded by en grisaille flowers reserved on a rich gilt ground, with similar decoration to the cover, 21.5cm. (2)

£1,000-2,000 Provenance: formerly the Winkworth Collection; and then the collection of Lady Kate Davson, née Kate Foster (1938-2020).

十八世紀 五彩水牛圖壺 來源：Winkworth舊藏，Kate （Davson）née Kate Foster 女士收 藏(1938-2020)。

109 A CHINESE BLANC DE CHINE ‘CHILONG’ TEAPOT AND COVER KANGXI 1662-1722 Decorated in relief with a simple tied ribbon and two chilong clambering over the cylindrical body, one beast arching its back to form the handle, the other with its mouth agape acting as the spout, the flat cover surmounted by a metal bird-shaped finial and joined to the teapot with metal mounts, 17.5cm overall.

£500-1,000 Provenance: formerly Marchant; and then the collection of Lady Kate Davson, née Kate Foster (1938-2020).

Cf. C J A Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, p.240, no.272 for a similar example.

清康熙 德化螭龍紋茶壺 來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

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110 A NEAR PAIR OF CHINESE BLUE AND WHITE YEN YEN VASES 19TH CENTURY Each painted with a continuous scene of scholar-officials engaged in various activities in a rocky wooded landscape, the gentlemen admire scrolls, play weiqi, drink tea and converse in the setting, with mountainous riverscapes and lines of calligraphy to the tall flaring necks, each with a four character mark reading nei fu dai zao to the base, 45.4cm and 44.7cm. (2)

£800-1,200 Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020).

十九世紀 青花人物故事紋鳳尾尊 一組兩件 來源：Kate （Davson）née Kate Foster 女士 收藏(1938-2020)。

111 A PAIR OF CHINESE BLUE AND WHITE VENETIAN GLASS STYLE BOTTLE VASES KANGXI 1662-1722 Each with a compressed body surmounted by a tall neck flanked by openwork strap handles, painted with large floral and foliate sprays, with broad bands of birds perching in branches to the flaring rims, 26.2cm. (2)

£500-1,000 Cf. W R Sargent, Treasures of Chinese Export Ceramics from the Peabody Essex Museum, pp.122-123, no.35 for another vase of this type; see also S Marchant & Son, Recent Acquisitions 2003, p.55, no.36 for another pair of vases with the same design.

清康熙 青花花卉紋長頸瓶 一對

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112 A CHINESE BLUE AND WHITE BALUSTER VASE AND COVER KANGXI 1662-1722 Decorated with jardinières containing scrolling peony branches and flowerhead-shaped panels enclosing blossoms, with cartouches of further flowers to the cover, shoulder and encircling the foot, the cover with a foliate rim and a compressed knop, with an artemisia leaf within double rings to the base, 53cm. (2)

£2,000-3,000 清康熙 青花花卉紋將軍罐

113 A LARGE CHINESE UNDERGLAZE BLUE AND RED ‘CHICKENS AND POMEGRANATES’ VASE, MEIPING 19TH CENTURY The ovoid body tapering towards the foot and surmounted by a short waisted neck, decorated with a cockerel and four hens beneath a fruiting pomegranate tree, the large fruits detailed with areas of their skin peeled back revealing the many seeds inside, with a paper label for Hugh M Moss Ltd to the base, together with a bronze and wood stand formed from two sections, 53.4cm. (3)

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

Cf. Christie’s London, 6th November 2012, lot 267 for a comparable slightly smaller meiping decorated with bats and fruiting peach branches; see also Christie’s London, 5th November 2013, lot 449 for another similar meiping of the same size painted with flocks of swallows amongst leafy branches.

十九世紀 青花釉裡紅多子多福梅瓶 來源：英國西約克郡私人收藏，1970-1980年代，購於Hugh Moss。

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114 A PAIR OF RARE AND LARGE CHINESE CANTON FAMILLE ROSE ‘HISTORICAL FIGURES’ VASES 19TH CENTURY Brightly decorated in enamels and gilt, painted with many figures beneath their titles, with many precious objects set amongst the figures including vases, musical instruments, fans, scrolls and endless knots, with applied chilong to the tall cylindrical ribbed necks, each with a moulded lingzhi spray to one side, with rich bands of butterflies amongst flowers and fruits encircling the rims and flared feet, 63.1cm. (2)

£8,000-12,000 These vases are decorated with portraits of various figures from throughout Chinese history. Many of the characters are included in the Wu Shuang Pu, also known as the ‘Table of Peerless Heroes’, which was a book of woodblock prints compiled by Jin Guliang in the 17th century. The book contains forty portraits of heroes and heroines who lived between the Han and the Song dynasties. Figures depicted on these vases also featured in the Wu Shuang Pu include the Qin and Han dynasty Confucian scholar Fu Sheng (c.260-c.170 BC), the influential poet Tao Yuanming (365-427 AD), the military and political leader Xian Furen (c.512-602 AD), and the celebrated Han dynasty historian Sima Qian (c.145-c.86 BC), here portrayed under his courtesy name Sima Zichang. The vases also depict other historical figures not included in the Wu Shuang Pu, such as the beautiful Bao Si (c.792-771 BC), who was the concubine of King You of the Western Zhou, and the Song dynasty performer Qin Cao (1073-1098).

Cf. Christie’s London, 9th May 2017, lot 131 for a pair of ‘Wu Shuang Pu’ vases with comparable decoration; see also Christie’s South Kensington, 11th November 2015, lot 723 for another pair of vases with a similar design.

十九世紀 粉彩人物故事紋瓶 一對

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115 A PAIR OF SAMSON FAMILLE VERTE ‘LION DOGS’ BOTTLE VASES 19TH CENTURY Each painted to the exterior with lion dogs playing with brocade balls in a landscape, with bands of scrolling flowerheads and ruyi-heads to the shoulders, each surmounted by a tall slender neck, with bands of diaper encircling the gently flared rims, raised on ormolu stands, 43cm excluding stands, 48.5cm overall max. (2)

£2,000-3,000 Provenance: from the collection of the 8th Lord Abinger, Inverlocky Castle.

Cf. C J A Jörg, Famille Verte: Chinese Porcelain in Green Enamels, p.43, no.33 for an 18th century Chinese bottle vase with a similar design in the collection of the Rijksmuseum, Amsterdam.

十九世紀 五彩獅子繡球長頸瓶 一對 116 A CHINESE CELADON-GROUND ‘HUNDRED ANTIQUES’ BALUSTER VASE KANGXI 1662-1722 Painted with four large medallions in underglaze blue, two contain precious objects including archaic vessels, furniture and scholars’ objects, the others enclose insects in flight amidst blossoming flowers and rockwork, the panels reserved on a pale green ground engraved with dragons amongst peony flowerheads, together with a pierced wood cover, 33cm. (2)

£1,500-2,500 清康熙 青花綠地開光博古圖紋將軍罐

115

117 A CHINESE CELADON-GROUND ‘EIGHT HORSES’ YEN YEN VASE KANGXI 1662-1722 The baluster-shaped body surmounted by a tall flaring neck, decorated in slip, underglaze blue and copper-red with the Eight Horses of Mu Wang, the horses gallop, lounge and graze in a landscape, with a tall pine tree growing amidst craggy rocks to one side, the design set against a sage green ground, with simple blue double rings to the white base, 44.3cm.

£6,000-8,000 Cf. Marchant, Exhibition of Kangxi Underglaze Blue and Copper-Red, pp.90-91, no.29 for another celadonground yen yen vase painted with the Eight Horses of Mu Wang; see also J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.II, pp.500-501, no.1272 for an ormolu-mounted rouleau vase with a comparable design; see also Sotheby’s New York, 20th March 2018, lot 370 for a pair of similarly decorated gu vases.

清康熙 青花綠地穆王八駿紋鳳尾尊

116

84

117

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118 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。 119 A CHINESE FAMILLE VERTE YEN YEN VASE KANGXI 1662-1722 Painted with a pheasant crouching on rockwork amongst large peony blooms, with insects and smaller birds flying above, the tall flaring neck similarly decorated with blossoming peony and chrysanthemum branches growing around rocks, with iron-red geometric bands to the rim, shoulder and foot, the base with an underglaze blue double ring, 40.4cm.

Wing Commander F W Hilton (d.1990s)

£1,000-2,000 清康熙 五彩錦上添花紋鳳尾尊

118

119

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120 A LARGE CHINESE FAMILLE VERTE ‘BIRDS AND FLOWERS’ BALUSTER VASE KANGXI 1662-1722 The body painted with three rows of interlocking panels, the scenes depicting butterflies fluttering and magpies perching amongst many blossoming flowers including hydrangea, magnolia, lotus, prunus, poppies and camellia, the shoulder with blue and yellow ruyi-heads reserved on a green ground, with chrysanthemum and peony scrolls to the short neck and encircling the finial, the matched cover decorated with two cartouches enclosing mythical beasts and three containing further blooms, 56.7cm. (2)

£8,000-12,000 清康熙 五彩花鳥紋將軍罐

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121 A FINE CHINESE FAMILLE VERTE ‘LADIES’ BASIN KANGXI 1662-1722 The well painted with a large roundel enclosing a seated gentlewoman and her attendants watching a dancer perform as a large group of women play accompanying music, they play horns, drums, pipes and other instruments, with cartouches enclosing mythical beasts, a deer and flowers to the rim, the panels divided by further blooms and butterflies, together with an old photograph of the item from S Marchant & Son, 38.4cm.

£3,000-5,000 Provenance: S Marchant & Son. Cf. Marchant, 90th Anniversary Exhibition of Qing Porcelain from Private Collections, pp.16-17, no.7 for a comparable famille verte basin decorated with a figural scene surrounded by cartouches reserved on floral diaper; see also Sotheby’s New York, 19th March 2013, lot 180 for another related basin; see also J P Stamen and C Volk, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp.50-51, no.10 for a related large famille verte dish decorated with a dancing lady and musicians performing at a banquet.

清康熙 五彩人物故事紋盆 來源：購於S Marchant & Son馬錢特。

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122 A CHINESE FAMILLE VERTE KENDI KANGXI 1662-1722

123 A CHINESE FAHUA VASE, MEIPING 16TH CENTURY

The body moulded with large petal-shaped panels painted with blossoming leafy branches, with similar decoration to the tall fluted neck, the bulbous spout formed as a lotus bloom, moulded with two bands of lotus petals picked out in red and yellow enamels encircling the foot, 19.6cm.

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.

£3,000-4,000 Cf. A du Boulay, Christie’s Pictorial History of Chinese Ceramics, p.228, no.3 for a pair of similar pieces from the collection of Captain E G Spencer-Churchill, M C which were sold by Christie, Manson and Woods Limited in their auction of The Northwick Park Collection on 24th May 1965, lot 6.

£5,000-6,000 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.

十六世紀 法華釉花卉梅瓶

清康熙 五彩花卉紋軍持

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124 A CHINESE FAMILLE VERTE ‘PHOENIX’ BOTTLE VASE KANGXI 1662-1722

125 A CHINESE WUCAI BALUSTER VASE AND COVER TRANSITIONAL C.1640

The ribbed globular body painted with two phoenix in flight amidst blossoming peony branches, the slender neck decorated with lotus sprays and lappets enclosing butterflies on a green ground, with areas of detail picked out in gilt, 25.2cm.

Painted to the exterior with a continuous scene of bamboo, peonies and chrysanthemum blooms, with birds in flight amongst the plants, the design reserved on an iron-red ground of fine circles, the short neck decorated with stylised lappets, the cover painted with further blossoming flowers growing amongst rockwork, 33.2cm. (2)

£1,000-2,000 清康熙 五彩鳳戲牡丹長頸瓶

£3,000-4,000 明末清初 五彩四季花卉紋將軍罐

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126 A CHINESE BLUE AND WHITE JAR, LIAN ZI GUAN TRANSITIONAL C.1640 The ovoid body rising to a short straight neck, painted with a bird in flight amidst leafy branches, with a branch of finger citron and rockwork to the reverse, all supported on a short circular foot, 15.9cm.

£1,000-2,000 明末清初 青花富貴長壽蓮子罐 127 A CHINESE BLUE AND WHITE ‘KUI XING’ BOWL QING DYNASTY The barrel-shaped body decorated with a repeating design of the deity of examinations Kui Xing leaping amidst stylized clouds and constellations, the shoulder painted with the Chinese titles of The Book of Rites, The Spring and Autumn Annals, The Book of Changes, and the Classic of Poetry, 22.2cm.

126 two views

£500-1,000 Provenance: from the collection of J A P Charrington Esq (d.1979), Hampshire, and thence by descent.

Cf. S Marsh, Brushpots: A Collector’s View, pp.190 and 248 for two brushpots also decorated with Kui Xing; see also p.204 for an article about Kui Xing.

清 青花魁星點斗小缸 來源：英國漢普郡J A P Charrington先生（逝於1979）收藏。 128 A RARE CHINESE BLUE AND WHITE ‘LANDSCAPE’ DISH C.1660 The deep body rising from a short gently tapering foot to a flared rim, painted to the centre with a young scholar writing an inscription on a post as his lover stands by holding his inkstone, with a horse and an attendant carrying their possessions beside them, all in a mountainous river landscape, the underside decorated with a figure seated on a sampan in another vast landscape, with small dwellings dispersed throughout the setting, the base with a six character mark reading Qi shi bao ding zhi zhen, 17.4cm.

£2,000-3,000

127

The scene depicts the Han dynasty poet Sima Xiangru (179-117 BC). When he was a poor young scholar, Xiangru eloped with his beloved Zhuo Wenjun, the daughter of a wealthy gentleman. Humiliated, her father refused to support the couple, and so they lived in poverty making a living by running a roadside wine shop. Having been encouraged by his wife, Xiangru went to seek his fortune in the capital, Chang’an. Xiangru parted from Wenjun on the bridge leading to the city and vowed that he would not cross the bridge again unless he did so riding in a carriage drawn by four horses, having made his fortune. This scene shows Xiangru writing this vow on a pillar by the bridge as Wenjun holds his inkstone.

Xiangru impressed the Emperor in the capital and had a successful career at court. He later returned home in his horse-drawn carriage and was received with great honour. The story is regarded as a tale of inspiration, demonstrating how hard work and ambition can lead to great success.

Cf. Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.64-65, no.43 for a related blue and white dish with the same mark; see also J P Stamen and C Volk, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp.84-85, no.25 for a similar Kangxi mark and period dish; see also Sotheby’s London, 15th May 2019, lot 138 for a famille verte dish painted with the same scene.

1660年代 青花相如题柱紋碟

《奇石寶鼎之珍》款。

128 90

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129 A CHINESE BLUE AND WHITE OVOID ‘QILIN’ VASE TRANSITIONAL C.1640

130 A CHINESE BLUE AND WHITE ‘QILIN’ SLEEVE VASE TRANSITIONAL C.1640

Painted with a scaly qilin seated in a rocky fenced garden, with stylised flames around the mythical beast, the landscape rich with leafy plantain trees, with mountains visible in the distance, together with a wood cover pierced with flowering prunus, 27.4cm. (2)

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.

£3,000-4,000 明末清初 青花麒麟罐

£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.

明末清初 青花麒麟送子紋花觚 來源：購於1980年代。

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131 A CHINESE BLUE AND WHITE ‘DRAGON’ BOWL, DOULI WAN KANGXI 1662-1722 The flared body raised on a short straight foot, painted to the interior with two dragons in pursuit of flaming pearls encircling a central scaly beast, the exterior similarly decorated with two dragons and their sacred jewels flying above crashing waves, with a six character Chenghua mark to the base, 18.5cm.

£800-1,200 清康熙 青花趕珠龍紋斗笠碗

132 A CHINESE BLUE AND WHITE ‘LION DOGS’ OVOID VASE 18TH CENTURY The tall body rising to a short gently flaring neck, painted to one side in underglaze blue with two lion dogs standing beneath a pine tree, the mythical beasts surrounded by rockwork, with three bats in flight above, the base with a paper label for Hugh M Moss Ltd, together with a wood stand, 40.7cm. (2)

133 A CHINESE BLUE AND WHITE VENETIAN GLASS STYLE BOTTLE VASE KANGXI 1662-1722 The compressed circular body surmounted by a tall neck flanked by handles pierced with scrolls and petals, painted with flowering blooms and leafy sprays, the flared rim encircled by birds perching in branches, 26.2cm.

£1,000-2,000

£2,500-3,500

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

Cf. W R Sargent, Treasures of Chinese Export Ceramics from the Peabody Essex Museum, pp.122-123, no.35 for another vase of this type; see also S Marchant & Son, Recent Acquisitions 2003, p.55, no.36 for a pair of vases with the same design.

十八世紀 青花獅子瓶 來源：英國西約克郡私人收藏，1970-1980年代，購於Hugh Moss。

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清康熙 青花花卉紋長頸瓶

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134 A COLLECTION OF CHINESE BLUE AND WHITE ITEMS KANGXI 1662-1722 Comprising: ten moulded tea bowls and saucers painted with phoenix, qilin and other animals, and ten side dishes variously decorated with ladies and boys, nine with six character marks reading qi yu bao ding zhi zhen, one with a six character Chenghua mark, 16cm max. (30)

£1,000-2,000 清康熙 青花杯及碟 一組三十件 135 A CHINESE BLUE AND WHITE ‘BUDAI HE SHANG’ OVOID VASE KANGXI 1662-1722 Painted to one side with the Laughing Buddha clutching a sack as he sits upon an elephant, the setting filled with many precious objects and antiques, with a bird perched in front of a large fan decorated with blossoms to one side, the reverse with a panel enclosing a figural scene, together with a wood stand and an openwork wood cover, 20.4cm high. (3)

136 A CHINESE BLUE AND WHITE ‘PRECIOUS OBJECTS’ OVOID VASE KANGXI 1662-1722 Decorated with four large cartouches, each enclosing two fans painted with a figure in a garden and a building, with antiques, scrolls and books surrounding the scenes, the panels divided by bunches and branches of blooming flowers, with bands of further floral designs to the shoulder and foot, the base marked with a beribboned precious object, with a paper label reading ‘ex collection Lord Chesterfield Beningbrough’, together with a wood cover, 29.2cm. (2)

£800-1,200 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清康熙 青花開光博古圖紋罐 來源：英國西約克郡私人收藏，1970-1980年代。

£300-500 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清康熙 青花布袋和尚紋罐 來源：英國西約克郡私人收藏，1970-1980年代。

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137 A LARGE CHINESE BLUE AND WHITE ‘PHOENIX’ DISH KANGXI 1662-1722 Rising from a tapering foot to an everted rim, painted with a central phoenix being encircled by eight further mythical birds, they fly with their long tail feathers trailing behind them, the underside similarly decorated with four phoenix, with an artemisia leaf contained within double rings to the base, together with a wood stand, 33.3cm. (2)

£2,000-3,000 清康熙 青花九鳳紋碟

138 A LARGE CHINESE BLUE AND WHITE ‘PHOENIX AND PEONY’ DISH KANGXI 1662-1722 The deep sides rising from a tapering foot to a slightly everted rim, painted to the centre with a pair of phoenix perching on rockwork, large peonies blossom around the mythical birds, with two insects in flight above, with a channelled footrim, the base with a paper label for Sydney L Moss Ltd, London, 33cm.

£1,500-2,500 Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).

清康熙 青花鳳戲牡丹紋碟 來源：Raymond Smith KBE紳士（1917-2002）及Smith女士 （1918-1996）收藏。附倫敦Sydney L Moss Ltd標籤。

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139 A CHINESE LONGQUAN CELADON ‘LOTUS’ DISH MING DYNASTY

140 A LARGE CHINESE LONGQUAN CELADON DISH MING DYNASTY

The shallow body rising to a flat everted rim, carved with a central floral medallion encircled by six scrolling lotus flowers, with a band of key fret to the rim, all decorated in an olive green glaze, together with a wood stand, 19.2cm. (2)

The heavily potted body rising from a short tapering foot to a lipped rim, the slightly domed well contained within a simple ring, with a band of moulded narrow petals radiating from the centre to the cavetto, decorated all over in an olive green glaze, together with a later wood stand, 41cm. (2)

£1,000-2,000

£1,500-2,500

Provenance: from the collection of Mary Colinet (née Skiotis), and thence by descent, purchased from Forbidden City Chinese Fine Art, Hong Kong.

Mary Colinet was born in Beijing on 20th August 1928. She married her husband Paul Colinet in Tianjin in September 1947 and later left Tianjin for France in 1953. Mary collected Chinese art and antiques, particularly during the period between 1964 and 1975 when she lived in Hong Kong. Mary spoke Greek as her first language and was also proficient in Mandarin, English and French.

Provenance: from the collection of Mary Colinet (née Skiotis), and thence by descent, purchased from Luen Chai Curios Store, Hong Kong, on 23rd December 1967. A copy of the invoice is available. Mary Colinet was born in Beijing on 20th August 1928. She married her husband Paul Colinet in Tianjin in September 1947 and later left Tianjin for France in 1953. Mary collected Chinese art and antiques, particularly during the period between 1964 and 1975 when she lived in Hong Kong. Mary spoke Greek as her first language and was also proficient in Mandarin, English and French.

明 龍泉青釉纏枝蓮紋碟 來源：Mary Colinet (née Skiotis)收藏，之後由其家人繼承。購於香港 紫禁城古董店。1928年8月20日 Mary出生於北京，1947年9月與Paul Colinet在天津喜結連理，之後於1953年離開天津移居法國。Mary的收

藏是在1964-1975年在香港定居期間購買的。豐富的人生經歷使得她 精通希臘語、中文、英語及法語四國語言。

明 龍泉青釉碟 來源:Mary Colinet (née Skiotis)收藏，之後由其家人繼承。購於香港古 董店（附發票複印件）。1928年8月20日 Mary出生於北京，1947年 9月與Paul Colinet在天津喜結連理，之後於1953年離開天津移居法

國。Mary的收 藏是在1964-1975年在香港定居期間購買的。豐富的人 生經歷使得她 精通希臘語、中文、英語及法語四國語言。

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141 A CHINESE CIZHOU ‘DEER’ PILLOW PROBABLY SONG DYNASTY Painted in black with a panel enclosing a recumbent deer surrounded by tufts of grass, with stylised floral motifs to the sides, the design reserved on a cream ground, the base with an impressed mark reading Zhang Jia zao, 27.1cm.

£2,000-3,000 Provenance: Christie’s New York, 19th-28th April 2016, lot 26.

Cf. The Complete Collection of Treasures of the Palace Museum, Porcelain of the Song Dynasty (I), pp.170-173, nos.154-156 for related Cizhou pillows with Zhang Jia zao marks.

宋（可能） 磁州窯蔍紋枕 來源：紐約佳士得2016年4月19-28日·編號 26。

142 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

143 A CHINESE LONGQUAN CELADON TRIPOD INCENSE BURNER 15TH/16TH CENTURY The compressed body rising to an everted rim, the body decorated with narrow raised bands, all supported on three feet shaped as stylised lion masks, 15.3cm.

£400-600 Provenance: formerly the collection of Wladimir Simon Semcesen (1906-1969), who visited China in the early 1950s when this piece was purchased.

十五/十六世紀 龍泉青釉三足爐 來源：Wladimir Simon Semcesen (1906-1969)收藏，1950年代早期去中 國遊玩期間購得此件拍品。

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144 A CHINESE SANCAI SQUARE DISH LIAO DYNASTY The flared body rising to a barbed rim, moulded to the centre with a chrysanthemum bloom surrounded by four large leaves, with eight further panels enclosing flowers to the cavetto, decorated in green and amber against a cream ground, the base left unglazed, 12.4cm.

£2,000-3,000 Provenance: formerly a Japanese private collection; Uragami Sokyu-do Co, Ltd, Tokyo.

Cf: The Complete Collection of Treasures of the Palace Museum, Porcelain of the Song Dynasty (I), pp.278-279, no.253 for a similar dish; see also R Krahl, Chinese Ceramics from the Meiyintang Collection, vol.1, pp.174-175, no.311 for another comparable example.

遼 三彩方碟 來源：日本私人舊藏，購於Uragami Sokyu-do Co, Ltd。

145 A CHINESE JIAN BOWL SONG DYNASTY

146 A CHINESE JIAN BOWL SONG DYNASTY

The deep conical body decorated in a thick ‘hare’s fur’ glaze, with thin brown streaks draining from the rim against a rich black ground, the short straight foot left unglazed, 12.5cm.

£1,000-2,000

Decorated in a ‘hare’s fur’ glaze with brown streaks draining from the rim, with five further brown splashes to the interior, all reserved on a black ground, with a paper label for the Prof and Mrs P H Plesch Collections, no.Ch19C, with three characters reading Liu Jiusheng encircling the unglazed foot, 18.6cm.

宋 建窯兔毫盞

£2,000-3,000 Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina “Traudi” Plesch O.B.E. (4th December 1921-10th August 2013), collection no.Ch19C, purchased from Bluett’s at the Antique Dealers Fair of 1965 for £145.

宋 建窯兔毫盞 銘文：劉九圣。 來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和 Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日） 收藏·編號Ch19C。1965年在古董展銷會上，以£145的價格購於 Bluett’s。附收藏標籤。

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147 A CHINESE INSCRIBED PEWTER-ENCASED YIXING SQUARE-SECTION ‘PRUNUS’ TEAPOT AND COVER QING DYNASTY Flaring towards the foot, one side incised with flowering prunus, the reverse with an inscription reading liang qi xiang ke ai, shuang feng pin you zhen, set with an upright tapering spout and a wood loop handle, with a jade knop to the cover, the interior with a four character seal mark reading Yang Pengnian zhi, 14cm. (2)

£1,000-2,000 Provenance: from the collection of Christopher Blair-Myers Esq.

清 楊彭年款紫砂包錫梅花紋壺 《楊彭年製》仿款。 銘文：兩旗香可愛，雙鳳品尤珍。梧高。 來源：Christopher Blair-Myers先生收藏。

148 A CHINESE INSCRIBED PEWTER-ENCASED YIXING HEXAGONAL-SECTION ‘BAMBOO’ TEAPOT AND COVER, SANXIANGHU QING DYNASTY Decorated to one side with leafy bamboo branches, the reverse with an inscription reading wei qing shi wei, lian quan ji er yin zhi yu hua sheng xian, set with celadon jade to the handle, spout and knop, the interior with a seal mark reading Shi De Tang, 15.5cm. (2)

£1,000-2,000 Provenance: from the collection of Christopher Blair-Myers Esq.

清 紫砂包錫三鑲壺 《世德堂》款。 銘文：為清詩為，廉泉汲而飲之羽化升仙。芒庵。 來源：Christopher Blair-Myers先生收藏。

149 A CHINESE INSCRIBED PEWTER-ENCASED YIXING OVOID TEAPOT AND COVER QING DYNASTY One side with calligraphy reading ying heng qiu shui jing, xiang san wu feng qing, hua yan san ren, the reverse inscribed qing quan peng huo huo, fang fu ke ren xin, wuzi ji ri, xiao shan, with a curved spout and silver wire inlaid wood loop handle, dated the wuzi year corresponding to 1828, the cover surmounted by a jade finial, with a mark reading Peng Nian to the interior, 15.5cm. (2)

£1,000-2,000 Provenance: from the collection of Christopher Blair-Myers Esq.

清 楊彭年款紫砂包錫壺 《彭年》仿款。 銘文：影橫秋水靜，香散午風清。華嚴散人。 清泉烹活火，芳馥可人心。戊子及日。曉山。 來源：Christopher Blair-Myers先生收藏。

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150 A CHINESE INSCRIBED PEWTER-ENCASED YIXING SQUARE-SECTION ‘ORCHID’ TEAPOT AND COVER, SANXIANGHU QING DYNASTY The body tapering towards the rim, incised to one side with an orchid spray, with calligraphy to the reverse, the handle, spout and knop set with jade, with an impressed mark to the interior reading chu ru da ji, 14.4cm. (2)

£1,000-2,000 Provenance: from the collection of Christopher Blair-Myers Esq.

清 紫砂包錫三鑲壺 《出入大吉》款。 銘文：宋品。曉露秋竿翠欲清。雪岩。 來源：Christopher Blair-Myers先生收藏。

151 A CHINESE INSCRIBED PEWTER-ENCASED YIXING HEXAGONAL-SECTION TEAPOT AND COVER, SANXIANGHU QING DYNASTY The bell-shaped body decorated to one side with a bird perching on leafy branches, incised with calligraphy to the reverse, the loop handle and tapering spout set with jade, the cover surmounted by a jade knop, with a seal mark reading Fan Luceng zhi, 15cm. (2)

£1,000-2,000 Provenance: from the collection of Christopher Blair-Myers Esq.

清 紫砂包錫三鑲壺 《范祿曾製》款。 來源：Christopher Blair-Myers先生收藏。

152 A CHINESE INSCRIBED PEWTER-ENCASED YIXING RUYI-HEAD SHAPED TEAPOT AND COVER QING DYNASTY Incised with lines of calligraphy to both sides, with a curved spout, the wood loop handle decorated with scrolls in silver wire, the square-section cover surmounted by a jade finial, with a mark reading Yang Pengnian zhi to the interior, 17.3cm. (2)

£1,000-2,000 Provenance: from the collection of Christopher Blair-Myers Esq.

清 紫砂包錫如意壺 《楊彭年製》仿款。 銘文：清賞。持此如意壺，應多快心事。芒田 真趣。持此小壺天騰如意。芒田 來源：Christopher Blair-Myers先生收藏。

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153 A CHINESE PEACHBLOOM GLAZED BEEHIVE-SHAPED WATERPOT, TAIBAIZUN LATE QING DYNASTY The domed body rising to a short waisted neck, decorated to the exterior with a mottled peach-coloured glaze, the interior and base glazed white, with a six character Kangxi reign mark in underglaze blue to the base, 13.1cm.

£800-1,200 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清晚期 豇豆紅釉太白尊 《大清康熙年製》楷書仿款。 來源：英國西約克郡私人收藏，1970-1980年代。

154 A CHINESE CELADON GLAZED BRUSHPOT, BITONG 18TH/19TH CENTURY The wide cylindrical body moulded with a raised lip encircling the rim, decorated all over in a subtle mint-green glaze, the unglazed base with a glazed recessed circle to the centre, 16.3cm dia.

£2,000-3,000 十八/十九世紀 青釉筆筒

155 TWO SMALL CHINESE FLAMBE GLAZED VASES AND A CLAIR-DE-LUNE WATERPOT QING DYNASTY Each vase of meiping form with a rich crackled red glaze, the smaller vase flecked with streaks of lavender, each vase with a label for John Sparks Ltd to the base, the waterpot with an applied chilong clambering on the body, the beast gazing over the rim into the interior, decorated all over in a pale blue glaze, the base with a six character Yongzheng mark, 15.4cm max. (3)

£400-600 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, the two vases purchased from John Sparks.

清 紅釉梅瓶及天藍釉螭龍水盂 一組三件 來源：英國西約克郡私人收藏，1970-1980年代。梅瓶購於John Sparks。

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156 A PAIR OF CHINESE PEACHBLOOM GLAZED TAPERING VASES, LIUYEZUN LATE QING DYNASTY Each vase surmounted by a slender waisted neck flaring at the rim, the bodies decorated with mottled peach-coloured glazes flecked with dark green specks, with six character Kangxi marks in underglaze blue to the bases, each together with a wood stand, 15cm. (4)

£800-1,200

157 A SMALL CHINESE ROBIN’S EGG GLAZED VASE LATE QING DYNASTY The ovoid body surmounted by a tall slender neck which flares at the rim, decorated all over in a turquoise and dark blue marbled glaze, one side with two paper labels, 13.2cm.

£150-250 清晚期 爐均釉長頸瓶

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

清晚期 紅釉柳葉尊 一對 來源：英國西約克郡私人收藏，1970-1980年代。

158 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 Provenance: formerly a Japanese private collection.

清雍正 孔雀綠螭龍紋瓶 來源：日本私人收藏。

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159 A LARGE CHINESE COPPER-RED ‘DEER’ VASE, MEIPING 18TH CENTURY

160 A CHINESE WHITE GLAZED PEAR-SHAPED VASE 18TH CENTURY

Painted with a continuous scene of a stag and a doe standing amongst rocks, they gaze back at a third deer crouching beneath a pine tree, with birds in flight and perching in branches above, with bands of stylised dragons amidst scrolling branches of lingzhi encircling the shoulder and foot, the short waisted neck painted with simple blossoms, 45.5cm.

Carved with flowers growing amongst scrolling leafy branches, the design contained between bands of ruyi-heads and lappets, the neck decorated with pendant leaves, with two applied handles shaped as ruyi sceptres, 30.8cm.

£3,000-5,000 Provenance: from an English private collection, London.

十八世紀 釉裏紅鹿紋梅瓶 來源：英國倫敦私人收藏。

£400-600 Provenance: from the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996).

Cf. Bonhams Hong Kong, 28th November 2017, lot 30 for a pair of related Qianlong mark and period white glazed carved bottle vases also with ruyi-shaped handles.

十八世紀 白釉刻划花紋雙耳瓶 來源：Raymond Smith KBE紳士（1917-2002）及Smith女士 （1918-1996）收藏。

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161 A CHINESE COPPER-RED ‘SAN DUO’ VASE, MEIPING 18TH CENTURY Painted with three large sprays of fruiting branches bearing peaches, pomegranates and finger citron, the design set above a band of pendant leaves, the shoulder decorated with spearheads and key fret, with flowerheads to the short gently flaring neck, 35.5cm.

£8,000-12,000 Provenance: from the collection of Lady Molly McAlpine (d.1987), and thence by descent. According to the family, the vase was purchased from Thomas Goode & Co. Peaches, pomegranates and finger citron together form the san duo, or the Three Abundances, which are long life, many sons and blessings. The peach represents longevity, whilst the pomegranate is a symbol of many sons because of the fruit’s many seeds. The Chinese word for finger citron, foshou, is homophonous with fushou, meaning good fortune and long life.

Cf. The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (III), p.189, no.173 for a Qianlong mark and period copper-red meiping similarly decorated with sprays of the san duo; see also S Jenyns, Later Chinese Porcelain, pl.XXII, no.2 for a smaller comparable Qianlong vase painted with fruit from the Garner Collection; see also Christie’s Hong Kong, 29th May 2007, lot 1465 for a small 18th century example also painted with the san duo; see also Sotheby’s Hong Kong, 8th April 2011, lot 3132 for a related underglaze red ‘phoenix’ meiping with a similar band of plantain leaves above the foot.

十八世紀 釉裏紅三多紋梅瓶 來源：Molly McAlpine女士收藏（逝於1987年），之後由其家人繼承。據其家人回憶此件拍品購於Thomas Goode & Co。

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162 A CHINESE BLANC DE CHINE FIGURE OF BUDDHA 18TH/19TH CENTURY Depicted seated with his legs crossed in dhyanasana, with one hand resting upon his lap and the other held in shuni mudra, dressed in flowing robes draped over one shoulder and tied at the waist, his upper body and right arm adorned with elaborate strings of beads, the necklace centred by a large fylfot, all raised on a double lotus base decorated with raised bosses and blossoms, with an impressed four character mark to the reverse reading Bo ji yu ren, 33cm.

£4,000-6,000 Cf. P J Donnelly, Blanc de Chine, pl.76A for a related figure; see also Sotheby’s New York, 11th-12th September 2012, lot 89 and Christie’s New York, 20th-21st March 2014, lot 2162 for two further comparable figures.

十八/十九世紀 德化白釉佛坐像 《博及漁人》款。 163 A SMALL CHINESE GE-TYPE BRUSH WASHER QING DYNASTY Shaped as a cong, the compressed square-section body surmounted by a circular rim, decorated all over in a greyish glaze with many dark and russet crackles, all supported on a short circular foot, 6.3cm.

£200-300 Provenance: from the collection of Mrs Elizabeth Walter, née Hall (d.2021).

清 哥窯琮式水盂 来源：Elizabeth Walter, née Hall女士（逝於2021年）收藏。 164 A CHINESE IMPERIAL BLUE GLAZED DISH SIX CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50 The shallow body raised on a slightly tapering foot, decorated to the interior and exterior with a dark cornflower blue glaze, the rim left white, the white base painted with the reign mark in underglaze blue, 16.2cm.

£1,500-2,000 清道光 藍釉碟 《大清道光年製》青花篆書款。

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165 A CHINESE COPPER-RED GLAZED PEAR-SHAPED VASE, YUHUCHUNPING SIX CHARACTER XIANFENG MARK AND OF THE PERIOD 1851-61 Rising from a short foot to a waisted neck which flares at the rim, the exterior decorated all over with a deep cherry-red glaze, the interior and base glazed white, with the reign mark in underglaze blue, 30cm.

£1,500-2,500 Cf. The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, p.30, no.27 for a comparable vase from the Tongzhi period.

清咸豐 紅釉玉壺春瓶 《大清咸豐年製》青花楷書款。

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166 A FINE CHINESE IMPERIAL FAMILLE ROSE ‘LADIES’ BOWL SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908

167 A CHINESE IMPERIAL BLUE AND WHITE ‘LOTUS’ BOWL SIX CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50

The deep body raised on a short foot, delicately painted in enamels with scholars and many beauties in a garden, with potted plants, garden seats and scholars’ objects dispersed throughout the scene, with calligraphy above a large jardinière containing bamboo and rockwork to one side, the rim highlighted in gilt, with a turquoise glaze to the interior, the base with the reign mark in underglaze blue, with labels reading ‘Brun Van-Baal collection’, ‘Vanderven Vanderven Oriental Art 507’ and ‘Refuge Diepenveen/Bu Deventer’, 21.2cm.

The U-shaped body flaring at the rim, painted to the exterior with stylised lotus flowerheads set amidst scrolling leafy tendrils, the blooms divided by bats and shuangxi characters, all raised on a short foot painted with simple double rings, 21.3cm.

£8,000-12,000

Cf. Christie’s London, 11th May 2010, lot 223 for an identical example; see also Christie’s London, 11th May 2011, lot 739 for another Daoguang bowl of this type; see also Sotheby’s Hong Kong, 30th-31st May 2019, lot 432 for a pair of Daoguang mark and period bowls with this design.

The inscription on this bowl is an extract from the poem Li Ren Xing, or ‘Ode to Beautiful Ladies’, by the esteemed Tang dynasty poet Du Fu (712-770). Through its satirical portrayal of the fair imperial ladies and their luxurious lifestyles at court, the poem unveils the corruption of the upper class during the Tang dynasty. The lines on this bowl may be translated as ‘with a dignified and refined air without artifice, their embroidered silk garments glow in the twilight of spring.’

£4,000-6,000 Provenance: from an English private collection, purchased from Robert Kleiner c.1997.

清道光 青花纏枝蓮紋碗 《大清道光年製》青花篆書款。 來源：英國私人收藏，1997 年購於Robert Kleiner。

清光緒 粉彩仕女圖碗 《大清光緒年製》青花楷書款。

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168 A FINE CHINESE IMPERIAL FAMILLE ROSE MEDALLION BOWL SIX CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820 The U-shaped body rising from a straight foot to an everted rim, brightly enamelled with many roundels of stylised floral motifs scattered over the exterior, with some of the medallions enclosing fruit, the base with the reign mark in iron-red, 21.5cm.

£10,000-15,000 Provenance: purchased from Dominic Jellinek in June 1999.

Cf. The Complete Collection of Treasures of the Palace Museum, Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, p.77, no.67 for a similarly decorated Yongzheng bowl; see also Christie’s Hong Kong, 7th July 2003, lot 586 for a pair of Qianlong bowls with a comparable design.

清嘉慶 粉彩皮球花紋碗 《大清嘉慶年製》礬紅篆書款。 來源：1999年從Dominic Jellinek處購得。

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169 A CHINESE ENAMELLED AND GILT-DECORATED PORCELAIN MODEL OF THREE BOYS REPUBLIC PERIOD The three children sit together on a black pedestal painted with stylised turquoise, blue and red stars, the central boy with his arms outstretched, his right hand resting on one boy’s mouth and his left upon the other’s chest, the children highlighted in gilt, with a paper label for Hugh M Moss Ltd to the base, together with a wood stand, 12.2cm. (2)

£500-1,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Hugh Moss.

民國 五彩描金心口如一鎮紙 來源：英國西約克郡私人收藏，1970-1980年代，購於Hugh Moss（附 標籤）。

170 A CHINESE FAMILLE ROSE FLARED CUP REPUBLIC PERIOD

171 A CHINESE ENAMELLED BOTTLE VASE 20TH CENTURY

Finely painted with a large spray of peony, prunus, chrysanthemum and other flowers, the slightly recessed base with a paper label for Hugh M Moss Ltd, 7cm dia.

The ovoid body tapering towards the foot and surmounted by a tall cylindrical neck, painted with an insect resting on bamboo amongst blossoming branches, with an inscription to the reverse, dated to summer of the bingzi year, the base with a four character mark reading Jingdezhen zhi, with a paper label for Wain Antiques, 19.7cm.

£200-300 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Hugh Moss.

民國 粉彩花卉紋杯 來源：英國西約克郡私人收藏，1970-1980年代，購於Hugh Moss（附 標籤）。

£1,000-1,500 二十世紀 五彩花卉紋瓶 《景德鎮製》款。

two views

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two views

172 A MINIATURE CHINESE FAMILLE ROSE ‘BOYS’ GOURD-SHAPED VASE, HULUPING REPUBLIC PERIOD Decorated to each side with a panel enclosing two boys playing in a garden, with roundels painted en grisaille with river landscapes above, the scenes divided by stylised blooms and archaistic beasts, all flanked by two slender strap handles, with a four character Qianlong mark to the base, 10cm.

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

Cf. The Complete Collection of Treasures of the Palace Museum, vol.39, Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, p.42, no.35 for a comparable Qianlong mark and period vase of a similar shape and size painted with Western figures on a yellow ground; see also B Liao, Dianya Fuli: Gugong Cangci, p.18, no.29 for another related Qianlong piece in the collection of the National Palace Museum; see also H Moss, By Imperial Command: An Introduction to Ch’ing Imperial Painted Enamels, pl.73 for a larger Qianlong period example in the Victoria & Albert Museum, ref.C219-1931.

民國 粉彩嬰戲圖綬帶葫蘆小瓶 來源：英國西約克郡私人收藏，1970-1980年代。

173 A RARE CHINESE FAMILLE ROSE CONDIMENT POT AND COVER FOUR CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The square-section lobed body decorated in enamels, underglaze blue and gilt, finely painted with scholars and their attendants in fenced gardens, the scenes contained between moulded bands of ruyi-heads and stylised lappets, all raised on a flared foot shaped as four ruyi-heads, the interior and base glazed turquoise, the cover decorated with floral motifs and surmounted by a finial highlighted in gilt, together with a fitted wood stand pierced with foliate scrolls, 5.5cm across. (3)

£2,000-3,000 Provenance: formerly the collection of Ambassador Richard Mayer von Achenbach (1883-1956).

清乾隆 粉彩人物故事紋小盒 《乾隆年製》礬紅篆書款。 來源：外交官Richard Mayer von Achenbach （1883-1956） 舊藏。

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174 A CHINESE FAMILLE ROSE YELLOW-GROUND GOURD-SHAPED ‘BUTTERFLIES’ VASE, BAOFUPING LATE QING DYNASTY/REPUBLIC PERIOD

175 A CHINESE BLUE AND WHITE ‘DRAGON’ BOTTLE VASE SIX CHARACTER QIANLONG MARK AND PERHAPS OF THE PERIOD

Finely painted to the exterior with many butterflies in flight, decorated in relief with a ribbon detailed with gilt medallions tied around the body, all reserved on a pale lemon-yellow sgraffito ground incised with flowers, all raised on a moulded base decorated with ruyi-heads, the interior and base glazed turquoise, with a four character iron-red Qianlong mark to the base, 31.7cm.

Painted to the exterior with many archaistic dragons contained between ruyi-heads and lappets, with stylised foliate sprays and pendant leaves to the tall broad neck, the rim encircled by a band of crashing waves, all raised on a short foot decorated with a continuous scroll, 26.5cm.

£1,500-2,500 Provenance: from an English private collection, Cornwall.

清晚期/民國 黃地粉彩蝴蝶紋葫蘆型包袱瓶 《乾隆年製》礬紅楷書款。 來源：英國康沃爾私人收藏。

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£800-1,200 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

清乾隆（可能）青花如意龍紋瓶 《大清乾隆年製》青花篆書款。 來源：英國西約克郡私人收藏，1970-1980年代。

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176 A PAIR OF CHINESE FAMILLE ROSE CORAL-GROUND ‘PEONY’ BOWLS SIX CHARACTER XUANTONG MARKS AND OF THE PERIOD 1908-11 Each painted with three panels enclosing large peony flowerheads against a yellow ground, the designs framed by elegant blue flowers growing from leafy branches, all reserved on a bold coral ground, the bases with the reign marks in underglaze blue, each with a paper label for Douglas J K Wright Ltd, Curzon Street, 11.2cm. (2)

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

Cf. S Marchant and Son, Exhibition of Nineteenth Century Mark and Period Porcelain, 1991, p.67, no.72 for a pair of Guangxu mark and period bowls with the same design.

清宣統 珊瑚紅地開光牡丹紋碗 一對 《大清宣統年製》青花楷書款。 來源：英國西約克郡私人收藏，1970-1980年代，購於Douglas Wright（附標籤）。

177 A CHINESE FAMILLE ROSE CELADON-GROUND ‘DRAGON’ TEAPOT AND COVER PROBABLY GUANGXU The cylindrical body painted with two iron-red dragons flying over a raging sea, with a band of bats, peaches and shou medallions above, suspended from two metal loop handles, the cover painted with a further two mythical beasts, all reserved on a pale bluish-green ground, the base with a six character Daoguang mark, 17.8cm. (2)

£1,000-2,000 清光緒（可能） 五彩福壽龍紋壺 《大清道光年製》青花楷書仿款。

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

179 A CHINESE BLUE AND WHITE ‘ROMANCE OF THE WESTERN CHAMBER’ DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

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.

Painted to the centre with Scene 14 (Book 4) of the Romance of the Western Chamber, depicting the future scholar Zhang kneeling down asking the seated maid Hongniang to deliver his love letter to her mistress, with four cartouches enclosing peaches against a diaper ground encircling the rim, the underside decorated with two rocky landscapes, 21cm.

£500-1,000 Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Bluett’s.

清雍正 鬥彩蓮池鴛鴦紋碟 《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 Bluett’s。

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£800-1,200 Provenance: formerly an English private collection.

Cf. C J A Jörg, Famille Verte: Chinese Porcelain in Green Enamels, p.100 for a description of this scene.

清康熙 青花西廂記碟 《大清康熙年製》青花楷書款。 來源：英國私人收藏。

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180 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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181 A PAIR OF CHINESE BLUE AND WHITE ‘PEACH’ MOONFLASKS, BAOYUEPING 19TH CENTURY With compressed circular bodies, each moulded with peach-shaped panels to the principal sides, painted with scenes of bats in flight amongst fruiting peach branches, the designs surrounded by continuous scrolls of flowering lotus, with bands of lingzhi to the sides, each surmounted by a short waisted neck flanked by two applied strap handles terminating in moulded ruyi-heads, with six character Daoguang marks to the bases, 24.8cm. (2)

£6,000-8,000 Provenance: acquired in the 1970s.

Cf. Sotheby’s London, 19th June 1984, lot 351 for a single Daoguang mark and period moonflask of this type; see also Illustrated Catalogue of Ch’ing Dynasty Porcelain, pl.112 for another Daoguang flask with this pattern in the collection of the National Palace Museum; see also The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (III), p.162, no.148 for a Jiaqing mark and period moonflask with the same design; see also Christie’s New York, 14th September 2012, lot 1450 for a Qianlong example.

十九世紀 青花如意福壽抱月瓶 一對 《大清道光年製》青花篆書款。 來源：購於1970年代。 182 No lot

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183 A PAIR OF CHINESE DOUCAI ‘SAN DUO’ VASES, MEIPING LATE QING DYNASTY/REPUBLIC PERIOD Each painted with sprays of finger citron, peaches and pomegranates, the fruiting branches divided by flowering chrysanthemums, peonies and prunus, all contained between bands of upright pendant leaves and panels enclosing blossoms, with six character Tongzhi marks to the bases, each together with a wood stand, 19.3cm. (4)

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

清晚期/民國 鬥彩三多紋梅瓶 一對 《大清同治年製》青花楷書款。 來源：英國西約克郡私人收藏，1970-1980年 代。

184 A PAIR OF CHINESE WUCAI ‘SAN DUO’ BOWLS LATE QING DYNASTY The flaring bodies raised on short straight feet, each painted in enamels and underglaze blue with sprays of peaches, pomegranates and finger citron, with three bats above a band of broad leaves to the reverse of each, the bases with six character Wanli marks, one with a paper label for lot 83, 29/10/73, each together with a wood stand, 19.7cm. (4)

£2,000-3,000 Provenance: from a private collection, UK and USA, purchased from Christie’s London on 29th October 1973, lot 83. A copy of the invoice is available.

清晚期 五彩三多紋碗 一對 《大明萬曆年製》青花楷書仿款。 來源：美國及英國私人收藏，購於倫敦佳士 得1973年10月29日·編號83（附發票複印 件）。

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

£1,500-2,500 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 《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。

186 A SMALL CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISH SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908 Decorated to the centre with two incised dragons picked out in aubergine and green enamel, the beasts contest a sacred pearl amidst stylised flames, with sprays of peaches and blossoms to the cavetto, the underside with two further dragons divided by lingzhi branches, 10.8cm.

£1,000-1,500 Provenance: formerly the collection of Henry Mazot (1882-1956). Henry Mazot 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.

Cf. Marchant, Qing Mark and Period Monochromes and Enamelled Wares, 1981, no.29 for a comparable Daoguang piece; see also The British Museum, registration no.PDF.777 for a similar Kangxi dish on loan from the Sir Percival David Foundation of Chinese Art; see also G Avitabile, From the Dragon’s Treasure, Chinese Porcelain from the 19th and 20th centuries in the Weishaupt Collection, p.117, no.165 for a Xuantong example.

清光緒 黃地綠褐彩趕珠龍紋碟 《大清光緒年製》款。 來源：Henry Mazot （1882-1956）舊藏，由家族繼承。Mazot先 生於1920年代在北京的印支銀行工作，之後升任為總 裁。Mazot家族在1946年的時候離開北京去了法國。大部 分瓷器藏品都封存在集裝箱內並一直保留在地下室內。直 至他們的孫女繼承了他們的房子之後於2015年的聖誕節期 間才被打開。

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187 A LARGE CHINESE IMPERIAL BLUE AND WHITE ‘DRAGON’ BRUSH WASHER SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The deep sides decorated with two sinuous five-clawed dragons writhing over tempestuous waters, with stylised flames and clouds surrounding the mythical beasts, the base with a recessed glazed medallion painted with the reign mark in underglaze blue, 26.5cm dia.

£8,000-12,000 Provenance: from the collection of Wing Commander F W Hilton (d.1990s), and thence by descent. According to an accompanying card, the bowl was purchased from Riddett and Adams Smith on 4th February 1964 at a sale of the J W Richardson collection of Chinese porcelain, which was formed when Richardson was resident in Beijing at the end of the 19th century.

Cf. S Marchant & Son, Exhibition of Qing Mark and Period Blue and White, no.27, and Exhibition of Imperial Porcelain of Kangxi, Yongzheng and Qianlong, p.74, no.50 for two smaller pieces with this design; see also Marchant, Recent Acquisitions 2010, pp.82-83, no.46 for another example included in a more recent exhibition; for comparable Qianlong mark and period pieces sold at auction, see Sotheby’s Hong Kong, 11th July 2020, lot 3612, Sotheby’s New York, 12th September 2018, lot 149, and Christie’s New York, 22nd March 2007, lot 333; see also H Garner, Oriental Blue & White, pl.83A for a similarly decorated Tongzhi mark and period piece from the B C Tattenhall Collection.

清乾隆 御製青花海水龍紋筆洗 《大清乾隆年製》青花篆書款。 來源：皇家空軍中校F W Hilton（1990年代逝世），之後由其家人繼承。據家族提供筆記記載：1964年2月4日，購於Riddett and Adams Smith的J W Richardson收藏中國瓷器專場拍賣。J W Richardson曾於十九世紀末在北京居住。

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188 A CHINESE IMPERIAL UNDERGLAZE BLUE AND RED ‘BAXIAN’ BOWL SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95

189 A CHINESE IMPERIAL YELLOW-GROUND ‘DRAGON’ SAUCER DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

Finely painted with the Eight Immortals in underglaze blue, they hold their attributes as they cross over a tempestuous copper-red sea, with a medallion enclosing Shoulao and his deer to the well, all raised on a short straight foot decorated with key fret, with the reign mark to the base in underglaze blue, 22.3cm.

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.

£3,000-5,000 Provenance: Foxcote House, Warwickshire.

Cf. Christie’s New York, 15th September 2017, lot 1263 for another Qianlong mark and period bowl with this design; see also Sotheby’s New York, 23rd September 2020, lot 537 for another example.

清乾隆 御製青花釉裏紅八仙過海碗 《大清乾隆年製》青花篆書款。 來源：英國沃里克郡Foxcote莊園舊藏。

£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.

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。Mazot先生於1920年代在北京的印支銀行工作， 之後升任為總裁。Mazot家族在1946年的時候離開北京去了 法國。大部分瓷器藏品都封存在集裝箱內並一直保留在地下 室內。直至他們的孫女繼承了他們的房子之後於2015年的 聖誕節期間才被打開。

Foxcote House, Warwickshire

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190 A CHINESE IMPERIAL IRON-RED ‘DRAGON’ WINE CUP SIX CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50 The deep body raised on a short foot and gently flaring towards the rim, painted with two scaly five-clawed dragons in flight over crashing waves, with stylised clouds dividing the two beasts, the design contained between simple cobalt blue rings, the base with the reign mark in underglaze blue, 6cm dia.

£3,000-5,000 Provenance: from the collection of Lilian Colston (1852-1931), and thence by descent. Lilian was the daughter of Edward Colston (1822-1864) and Louisa Murray (1826-1900). She was an avid collector of antique furniture and items of curiosity. Lilian is remembered as a charitable woman and beloved family member.

Cf. Christie’s New York, 2nd December 1989, lot 384 for a pair of Daoguang mark and period cups with the same design; see also Christie’s London, 5th November 2013, lot 461 for another pair from the Daoguang period; see also The British Museum, registration no.PDF B711 for a Tongzhi mark and period example on loan from the Sir Percival David Foundation of Chinese Art; see also the Victoria & Albert Museum, accession no.803-1883 for another Tongzhi example; see also S Marchant and Son, Exhibition of Nineteenth Century Mark and Period Porcelain, 1991, p.56, no.58 for a Tongzhi mark and period cup with the same design and p.63, no.68 for a pair of Guangxu mark and period examples.

清道光 礬紅趕珠龍紋杯 《大清道光年製》青花篆書款。 來源：Lilian Colston （1852-1931）舊藏，之後由其家族繼承。

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191 A MASSIVE CHINESE BLUE AND WHITE ‘DRAGON’ MOONFLASK QIANLONG 1736-95 Painted to each side with a large confronting dragon writhing amidst swirling clouds and stylised flames, with a further small dragon emerging from crashing waves below, the mythical beasts surrounded by many flying bats, the short neck decorated with beribboned precious objects and flanked by two handles terminating in moulded ruyi-heads, with bands enclosing further bats and wispy clouds encircling the garlic-head mouth and flared foot, 48.3cm.

£20,000-30,000 Provenance: from an English private collection, Suffolk, since the 1940s, and thence by descent.

The image of an old and young dragon together forms the saying cang long jiao zi, which means ‘an old dragon teaching its young.’ This motif expresses the wish that an official position will be passed down through the generations from father to son. In addition to ceramic decoration, the imagery is frequently found on Ming and Qing dynasty belthooks, where the old dragon forms the hook whilst the young dragon stands on the shaft facing him.

Cf. The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, p.278, no.254 for a comparable moonflask with a similar design in doucai.

清乾隆 青花蒼龍教子抱月瓶 來源：1940年代英國薩福克私人收藏，之後由其後人繼承。

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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

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FINE JEWELLERY THURSDAY 15TH JULY 2021 珠寶精品拍賣 2021年7月15日

A pair of mid 19th century ruby and diamond drop earrings Estimate £15,000 - 20,000* Provenance: Edith Vane-Tempest-Stewart, Marchioness of Londonderry (1878-1959), thence by direct family descent Portrait by Philip de László. © National Trust Images

十九世紀 紅寶石及鑽石耳墜

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

FURNITURE, WORKS OF ART & CLOCKS WEDNESDAY 22ND SEPTEMBER 2021 歐洲家具、鐘錶及藝術品拍賣 2021年9月22日

An Anglo-Chinese huanghuali pedestal desk, late 18th / early 19th century Provenance: A Private Collection. Purchased from Ciancimino, 104 Mount Street, London, 5th March 1984 Estimate £3,000 - 5,000* 十八/十九世紀 外銷黃花梨寫字台

ENQUIRIES Mark Yuan-Richards +44 (0) 1722 411854 | myr@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.

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.

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.

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.

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.

Alban Shipping +44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk Kimdan Ltd +44 (0)7973 389436 andy@kimdan.co.uk Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester 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.

EXPORTING YOUR PROPERTY FROM THE UK If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination.

It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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.

We reserve the right to add storage charges to all lots 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。 如果您要將拍品運出英國，請留意在目的地國家可 能需要支付進口稅、關稅和其他費用，賣家需承擔 確保貨物可以合法進口到目的地的責任。 注：由於英國稅務海關總署（HMRC）已撤銷零 售出口法案（Retail Export Scheme），本公司將 無法提供手持出口增值稅退稅文件（C88）機場退 稅單。 若您慾退增值稅，您的拍品必須由貨運公司運送， 並且必須由運輸公司提供有效的出口文件。

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. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

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 27TH JULY 2021 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 ���������������������������������������������������� ID may be required even if you have bid with us before.

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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

中國書畫及藝術品 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 JULY 6th & 7th

Furniture, Works of Art & Clocks

13th & 14th Silver & Objects of Vertu 15th

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR NOVEMBER 2021 AUCTION

Fine Jewellery

27th & 28th Asian Art, Chinese Paintings &

Japanese Works of Art

AUGUST 11th & 12th Old Masters, British & European Paintings 24th

Arts & Crafts

25th Design

SEPTEMBER 8th

The Robin Simpson Collection of Commemorative Ceramics

22nd

Furniture, Works of Art & Clocks

OCTOBER 5th & 6th

Silver & Objects of Vertu

7th

English & European Ceramics & Glass

20th

British Art Pottery & Design

NOVEMBER 9th & 10th Upper Slaughter Manor, The Collection of

Micheál & Elizabeth Feller 17th & 18th Fine Jewellery 23rd

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

24th

Asian Art II

Dates may be subject to change +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*

www.woolleyandwallis.co.uk