Woolley & Wallis Auctioneers by Park Communications

FINE CHINESE & JAPANESE ART

亞洲藝術精品

TUESDAY 20 TH MAY 2025

ASIAN ART SPECIALISTS & CONTACTS FOR THIS AUCTION

John Axford MRICS

Head of Asian Art +44 (0)1722 424506 jea@woolleys.live

Jeremy Morgan

Asian Art

+44 (0)7812 601098 jm@woolleys.live

Alexandra Aguilar

Japanese & Asian Art

+44 (0)1722 424583 aa@woolleys.live

For general enquiries and condition reports, please email the department administrators:

Michelle Yu Sale Administrator Olivia Jones Sale Administrator

Email: asianart@woolleys.live

Telephone: +44 (0)1722 424571 +44 (0)1722 424591

新浪微博 @艾思福

Instagram: @woolleyandwallisasianart @woolleyandwallissalerooms

Facebook: @woolleyandwallis

X: @woolleywallis

Pinterest: Woolley and Wallis

Freya Yuan-Richards

Chinese Paintings & Asian Art

+44 (0)1722 424589 fyr@woolleys.live

Front Cover: lots 128 & 127

Back Cover: a selection of highlights from the Alexander Collection

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

FINE CHINESE ART

亞洲藝術精品 LOTS 1-130

TUESDAY 20TH MAY 2025

10.00aM

BUYER’S PREMIUM

See paragraphs 4 & 5 of our conditions of business at www.woolleyandwallis.co.uk for additional charges on the final hammer prices.

本公司提供免費網上即時競投，請在5月19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 for lots 1-130. This deposit will allow the online bidder to bid up to a maximum of £50,000 in total at this auction.

FINE JAPANESE ART

日本美術 LOTS 200-265

LIVE ONLINE BIDDING - FREE OF CHARGE bid.woolleyandwallis.co.uk

Please register by 12 noon on Monday 19th May.

TUESDAY 20TH MAY 2025 AT APPROX. 1.30pM, FOLLOWING FINE CHINESE aRT

There will be no deposit required for this sale

The sales to be conducted at our Castle Street Salerooms, SP1 3SU

預展將於Old Sarum展廳舉行 (如圖) ，

拍賣將於公司總部Castle Street舉行。

VIEWING

Viewing in London (highlights)

17 Clifford Street, 2nd Floor W1S 3RQ

Saturday 10th May 11.00am – 4.00pm

Sunday 11th May 11.00am – 4.00pm

Monday 12th May 11.00am – 4.00pm

Viewing at our Old Sarum Galleries

Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

Friday 16th May 10.00am – 5.00pm

Saturday 17th May 10.00am – 1.00pm

Monday 19th May 10.00am – 4.00pm

SPECIALIST DEPARTMENTS

Please dial +44 (0)1722 followed by the number listed below

ASIAN ART

John Axford MRICS 424506

Alexandra Aguilar 424583

Freya Yuan-Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu 424571

Olivia Jones 424591

20TH CENTURY DESIGN

Michael Jeffery 424505

Zoe Smith 446955

AFRICAN & OCEANIC ART | ANTIQUITIES

Will Hobbs 339752

Molly O’Reilly 446980

JEWELLERY

Marielle Whiting FGa 424595

Jonathan Edwards FGaa (Consultant) 424504

Jacob Carpenter 424586

Freya Miller

BRITISH AND CONTINENTAL CERAMICS & GLASS

Clare Durham 424507

Molly O’Reilly 446980

CHINESE PAINTINGS & CALLIGRAPHY

Freya Yuan-Richards 424589

Michelle Yu 424571

FURNITURE, WORKS OF ART & CLOCKS

Mark Yuan-Richards 411854

Neil Grenyer MRICS 446974

Jim Gale 339161

Sarah Stone 339161

Victoria Elwell 339161

JAPANESE ART

Alexandra Aguilar 424583

Olivia Jones 424591

MEDALS & COINS, ARMS & ARMOUR

Ned Cowell 341469

Molly O’Reilly 446980

PAINTINGS

Victor Fauvelle 446961

Ed Beer 446962

Victoria Sturgeon 446970

Heidi Easton 446970

SILVER

Rupert Slingsby 446956

Archie Swann 446959

Becky Tilly-Tricket

VALUATIONS FOR INSURANCE & PROBATE

Jeremy Lamond MRICS FRSa 424502

Frances Woodhams

Hannah Farthing 446965

CLIENT SERVICES

Ruth Pike (Client Services Manager) 424500

Julie Langstaff

Gemma Pointer

Riin Rohtla-Szeverenyi

Demi Jueno-Chapman

Sarah Lancaster

MARKETING

Chloe Davie 446951

PRESS

Sandie Maylor +44 (0)7976 311172

ACCOUNTS

Ania Antkowiak 424565

BOARD OF DIRECTORS

John Axford MRICS Chairman

Natalie Milsted FCCa Managing Director

Alexandra Aguilar Director

ASSOCIATE DIRECTORS

Ed Beer

Ned Cowell

Clare Durham

Victor Fauvelle

Will Hobbs

Michael Jeffery

Jeremy Lamond MRICS FRSa

Rupert Slingsby

Marielle Whiting FGa

Freya Yuan-Richards

Mark Yuan-Richards

SPECIAL ASIAN ART NOTICES

Restricted Bidding

If you wish to bid in the Fine Chinese Art and Asian Art II 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 19th May. 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：

競拍者需憑本人護照領取競投號牌，並需預繳保證金£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5月19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

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.

提前預約提取拍品

提取拍品前，請先聯絡亞洲藝術部或客戶服務部預約安排提取拍品。

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。

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

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-

TUESDAY 20TH MAY 2025 10.00aM

LOTS 1-17 & LOTS 600-624

FROM AN ENGLISH PRIVATE COLLECTION

1 A CHINESE CELADON AND RUSSET JADE ‘TIGER AND CALLIGRAPHY’ SNUFF BOTTLE

18TH/19TH CENTURY

Carved with a tiger, the reverse inscribed with a poem, the pale celadon stone with creamy white and russet markings, 5.5cm.

£500-800

Provenance: from an English private collection, acquired in the 1950s and 1960s. 十八/十九世紀青白玉雕虎鼻煙壺

來源：英國私人收藏，購於1950至1960年代。

2 A CHINESE FAMILLE ROSE ‘BOYS’ SNUFF BOTTLE

FOUR-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95

Decorated with scenes of the ‘Hundred Boys’ engaging in playful activities and holding auspicious objects, 5.5cm.

£800-1,200

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 20th July 1966.

清乾隆粉彩嬰戲圖鼻煙壺《乾隆年製》礬紅篆書款來源：英國私人收藏，1966年7月20日購於香港天和行古玩玉器（附發票複印件）。

3 A CHINESE MOULDED FAMILLE ROSE ‘PRUNUS AND BAMBOO’ SNUFF BOTTLE

SIX-CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50

Moulded and painted with a flowering prunus and bamboo branches to each side, 5.7cm.

£800-1,200

Provenance: from an English private collection, acquired in the 1950s and 1960s. 清道光粉彩竹梅雙喜鼻煙壺

《大清道光年製》礬紅篆書款

來源：英國私人收藏，購於1950至1960年代。

4 A CHINESE PALE CELADON JADE ‘LIU HAI AND TOAD’ SNUFF BOTTLE

18TH/19TH CENTURY

The pale celadon stone with russet skin, carved as the God of Wealth riding his three-legged toad and holding a string of coins, 6.5cm.

£500-800

Provenance: from an English private collection, with a copy of a quotation for The Little Shop, dated 5th October 1959.

十八/十九世紀青白玉雕劉海戲蟾鼻煙壺

來源：英國私人收藏，1959年10月5日購於香港天和行古玩玉器（附發票複印件）。

5 A CHINESE GREEN-OVERLAY WHITE AND PINK GLASS ‘PEACH’ SNUFF BOTTLE 18TH/19TH CENTURY

The bottle is carved through the green glass to form a leafy stem, the body is of opaque milky-white and pink ‘soufflé’ glass giving the impression of a ripe peach, 4.5cm.

£600-1,000

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 18th August 1962.

Cf. R Kleiner, The Golden Autumn Collection of Chinese Snuff Bottles, p.48, no.48 for a related example; see also, Moss et al., 1996-2009, vol.5, no.973.

十八/十九世紀粉白地套綠料壽桃形鼻煙壺來源：英國私人收藏，1962年8月18日購於香港天和行古玩玉器（附發票複印件）。

views

λ THREE CHINESE FAMILLE ROSE-ENAMELLED WHITE GLASS SNUFF BOTTLES QING DYNASTY

One of lobed form painted with the Bajixiang, with a Guyue xuan mark to the base, another painted with a figure riding a buffalo through a verdant landscape, the base with a four-character Qianlong seal mark, and the third painted with three quails amongst flowers, the base with a four-character Qianlong seal mark, 5.3cm max. (3)

£1,500-2,500

Provenance: from an English private collection, the quail bottle and the buffalo bottle purchased from Sotheby & Co London, 31st May 1972, lot 309 and 310, a copy of the invoice is available.

清料胎畫琺瑯歲歲平安、牧童水牛及八吉祥紋鼻煙壺一組三件《乾隆年製》、《古月軒》礬紅款來源：英國私人收藏，其中歲歲平安及牧童水牛鼻煙壺於1972年5月31日購於倫敦蘇富比編號309及310（附發票複印件）。

London, 31st May 1972

two views

Sotheby’s

LOTS 7-11

Zhou Leyuan, a prolific late 19th-century interior miniature artist and founder of the popular Beijing School of Snuff Bottle Painting, was active from 1879 to 1893 during the Guangxu reign of the Qing dynasty. Every artist from the school’s first phase owed a significant debt to Zhou, with many beginning their careers by imitating his style and even signing his name; some appeared to dedicate much of their careers to reproducing his work.

7 A CHINESE INTERIOR-PAINTED ROCK CRYSTAL ‘LANDSCAPE’ SNUFF BOTTLE

DATED 1891

Dated the xinmao year, painted with a continuous watery landscape scene with figures on bridges, signed Zhou Leyuan, 6.1cm. WITHOUT RESERVE

本拍品不設底價。

£500-800

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 6th April 1960.

辛卯（1891年）周樂元作玻璃內畫山水鼻煙壺

題識：辛卯秋月於京師，周樂元作。

來源：英國私人收藏，1960年4月6日購於香港天和行古玩玉器（附發票複印件）。

8 A CHINESE INTERIOR-PAINTED GLASS ‘LANDSCAPE’ SNUFF BOTTLE

LATE

19TH CENTURY

Painted with a continuous watery landscape scene, with a waterfall in the distance and a fisherman on a sampan, signed Leyuan, 6.7cm. WITHOUT RESERVE 本拍品不設底價。

£500-800

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 6th April 1960.

十九世紀晚期周樂元作玻璃內畫山水鼻煙壺

款識：樂元

來源：英國私人收藏，1960年4月6日購於香港天和行古玩玉器（附發票複印件）。

7 two views

8 two views

9 two views

λ A CHINESE INTERIOR-PAINTED ROCK CRYSTAL ‘LANDSCAPE’

DATED 1891

Dated the xinmao year, each side painted with figures in pavilions and sampans in a mountainous river landscape, signed Zhou Leyuan, 6.8cm. WITHOUT RESERVE 本拍品不設底價。

£500-800

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 6th April 1960.

辛卯（1891年）周樂元作玻璃內畫山水鼻煙壺題識：辛卯重陽月寫於都門三十六疏齋，周樂元。

來源：英國私人收藏，1960年4月6日購於香港天和行古玩玉器（附發票複印件）。

λ TWO CHINESE INTERIOR-PAINTED GLASS SNUFF BOTTLES

20TH CENTURY

One dated the renchen year, painted with a landscape scene and insects amidst vegetables; the other decorated with a bird and insects, each with a signature of Zhou Leyuan, 6.8cm and 5.8cm. (2) WITHOUT RESERVE 本拍品不設底價。

£600-1,000

Provenance: from an English private collection, acquired in the 1950s and 1960s.

仿周樂元玻璃內畫鼻煙壺來源：英國私人收藏，購於1950年代至1960年代。

10 two views

A CHINESE INTERIOR-PAINTED ROCK CRYSTAL ‘BIRDS AND FLOWERS’ SNUFF BOTTLE

DATED 1892

Dated the renchen year, decorated with swallows flying amidst a gnarled branch of blossoming peonies, signed Zhou Leyuan, 5.5cm. WITHOUT RESERVE 本拍品不設底價。

£500-800

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 6th April 1960.

壬辰（1892年）周樂元作玻璃內畫富貴長春鼻煙壺題識：壬辰重陽月寫於京師，周樂元。

來源：英國私人收藏，1960年4月6日購於香港天和行古玩玉器（附發票複印件）。

11 two views

SNUFF BOTTLE

LOTS 12-15

Ma Shaoxuan (1867-1939), also known as Ma Guangjia, one of the most technically accomplished artists of the Beijing School of Snuff Bottle Painting, is known for his figural scenes, monochromatic portraits, and depictions of collections of fragmentary paintings and calligraphic inscriptions, on his snuff bottles.

λ A CHINESE INTERIOR-PAINTED GLASS ‘HUNDRED ANTIQUES’ SNUFF BOTTLE

DATED 1899

One side painted with two fan paintings along with fragments of calligraphic inscriptions and ink rubbings in the bapo themes, dated the jihai year, signed Ma Shaoxuan, 6.5cm.

WITHOUT RESERVE

本拍品不設底價。

£800-1,200

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 6th April 1960.

己亥（1899年）馬少宣作玻璃內題蘭亭序集畫百歲圖鼻煙壺

題識：永和九年，歲在癸丑，暮春之初，

會於會稽山陰之蘭亭，

修褉事也，群賢畢至，少長咸集。

此地有崇山峻嶺，茂林修竹。馬少宣。

來源：英國私人收藏，1960年4月6日購於香港天和

行古玩玉器（附發票複印件）。

λ A CHINESE INTERIOR-PAINTED ROCK CRYSTAL ‘LIU HAI’ SNUFF BOTTLE

DATED 1896

Dated the bingshen year, decorated with Liu Hai holding a string of cash and a three-legged toad, the reverse with a calligraphic description of the scene, signed Ma Shaoxuan, 6.4cm.

WITHOUT RESERVE

本拍品不設底價。

£800-1,200

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 6th April 1960.

丙申（1896年）馬少宣作玻璃內題詩劉海戲蟾鼻煙壺

題識：丙申仲春，赤腳蓬頭不計年，十洲三島任蹁躚，

蓬萊久隔人間世，常伴金蟾會眾仙。

於京師作，馬少宣。

來源：英國私人收藏，1960年4月6日購於香港天和行古玩玉器（附發票複印件）。

12 two views

13 two views

A CHINESE INTERIOR-PAINTED GLASS ‘BOY AND WATER BUFFALO’ SNUFF BOTTLE

EARLY 20TH CENTURY

One side is painted with a snowy scene with a boy and a water buffalo beneath two flying swallows, the reverse bears a calligraphic inscription describing the scene, signed Ma Guangjia and Shaoxuan, 6.2cm. WITHOUT RESERVE 本拍品不設底價。

£800-1,200

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 23rd October 1963. 二十世紀早期馬少宣作玻璃內畫牧童水牛鼻煙壺題識：慈約仁兄先生雅玩，溪邊寒食飛雙燕，柳外斜陽有一牛，綠林野屋，花竹精神，脫有形似，明月前身。弟馬光甲。

來源：英國私人收藏，1963年10月23日購於香港天和行古玩玉器（附發票複印件）。

14 two views

A CHINESE INTERIOR-PAINTED GLASS ‘ELEPHANT’ SNUFF BOTTLE

DATED 1901

Dated the xinchou year, one side painted with a black elephant bathing in front of a bridge, the reverse with a poetic inscription describing the scene, signed Ma Shaoxuan, 6.2cm.

WITHOUT RESERVE 本拍品不設底價。

£800-1,200

Provenance: from an English private collection, with a copy of an invoice for The Little Shop, dated 23rd October 1963.

辛丑（1901年）

馬少宣作玻璃內題陋室銘畫太平有象鼻煙壺題識：辛丑秋日仿八大山人筆法。

錄陋室銘，山不在高，有仙則名，水不在深，有龍則靈，

斯是陋室，惟吾德馨。苔痕上瑎綠，草色入簾青，談笑有鴻儒，往來無白丁，馬少宣。

來源：英國私人收藏，1963年10月23日購於香港天和行古玩玉器（附發票複印件）。

15 two views

LOTS 16-17

Ye Zhongsan (1875–1945) is regarded as one of the top four artists of the Beijing School of Snuff Bottle Painting. His students, Wang Xisan and Liu Shouben, as well as his granddaughter, Ye Shuying, are also renowned artists in snuff bottle painting.

16 λ THREE CHINESE INTERIOR-PAINTED GLASS SNUFF BOTTLES LATE QING DYNASTY

One dated the wuxu year (1898), decorated with grasshoppers and a fisherman climbing a tree in an attempt to catch a catfish; another dated the xinchou year (1901), depicting six horses beneath willow trees; and the third dated the jiawu year (1894), showing figures in a watery landscape, each signed Ye Zhongsan, 6cm max. (3)

WITHOUT RESERVE

本拍品不設底價。

£500-800

Provenance: from an English private collection, acquired in the 1950s and 1960s.

清晚期葉仲三作玻璃內畫鼻煙壺一組三件

來源：英國私人收藏，購於1950至1960年代。

16 two views

λ A CHINESE INTERIOR-PAINTED HAIR CRYSTAL ‘FISH’ SNUFF BOTTLE

DATED 1905

Dated the yiji year, each side painted with swimming goldfish, signed Ye Zhongsan, 5.6cm.

WITHOUT RESERVE 本拍品不設底價。

£500-800

Provenance: from an English private collection, acquired in the 1950s and 1960s.

乙巳（1905年）葉仲三作玻璃內畫九如圖鼻煙壺題識：乙巳桃月，葉仲三作。

來源：英國私人收藏，購於1950至1960年代。

17 two views

λ A RARE CHINESE FAMILLE ROSE ‘LOTUS’ SNUFF BOTTLE

C.1800-30

The flattened pear-shaped body painted with a lotus pond, one side with a frog and the other with a crane, the base with a mark reading Langgan Xian Guan, ‘Pavilion of the Langgan Immortal’, 7.2cm.

£1,000-2,000

Provenance: purchased from Robert Kleiner on 1st November 2002, a copy of the invoice is available.

Langgan was the name of a Manchu general of the Plain Blue Banner called Jueluo. He rose to be Governor General of Yunnan and Guizhou in the Jiaqing period (1796-1820).

The Langgan tree was a mystical tree in which phoenix nested, on top of a tall peak in the South of China. Many poems were written about this tree. This bottle therefore probably belonged to Juelao and would have been acquired by him during or after his Governorship which would have given him sufficient status to order a personal bottle from Jingdezhen.

1800-1830 粉彩鶴銜蓮鼻煙壺《瑯玕仙館》礬紅款

來源：2002年11月1日購於Robert Kleiner（附發票複印件）。

LOTS 19-25

FROM THE RAMFIELD COLLECTION

λ A CHINESE INTERIOR-PAINTED ROCK

CRYSTAL SNUFF BOTTLE

DATED 1889

Dated the jichou year, each side painted with figures in a watery landscape with distant mountains, signed Zhou Leyuan, 6cm.

£2,000-3,000

Provenance: from the Ramfield Collection, purchased from Robert Hall, 13th March 2006, a copy of the invoice is available.

己丑（1889年）周樂元作玻璃內畫山水鼻煙壺題識：己丑仲秋月周樂元。

來源：Ramfield收藏，2006年3月13日購於Robert Hall （附發票複印件）。

19 two views

20 A CHINESE RED-OVERLAY GLASS ‘BAT AND BUTTERFLY’ CALLIGRAPHIC SNUFF BOTTLE

18TH/19TH CENTURY

Probably Yangzhou school, the semi-translucent white body carved with a bat and a butterfly in red overlay glass, the reverse with a poem describing the scene, with two seals, one reads Zhu and the other Wen, 5.3cm.

£2,000-3,000

Provenance: from the Ramfield Collection, purchased from Robert Kleiner, 20th December 2005, a copy of the invoice is available.

十八/十九世紀涅白地套紅料福壽鼻煙壺

來源：Ramfield收藏，2005年12月20日購於Robert Kleiner（附發票複印件）

20 two views

A CHINESE SAPPHIRE-BLUE OVERLAY GLASS ‘LONGEVITY’ SNUFF BOTTLE 18TH/19TH CENTURY

Attributed to the Imperial Beijing glassworks, the slender milky-white body decorated with blue glass overlay of blossoming lotus beneath a crane grasping a tally in its beak, the reverse depicts a carp exhaling swirling clouds that support a pavilion on the Island of the Immortals, surrounded by three bats, 8cm.

£2,000-3,000

Provenance: from the Ramfield Collection, purchased from Robert Kleiner.

Cf. Christie’s New York, 15th March 2017, lot 465 for an ochre-overlay white glass snuff bottle with a similar design.

十八/十九世紀涅白地藍料海屋添壽圖鼻煙壺來源：Ramfield收藏，購於Robert Kleiner。

λ A CHINESE AGATE SNUFF BOTTLE AND A JADE ‘BUTTERFLY’ SNUFF BOTTLE

18TH/19TH CENTURY

The agate bottle with a smooth, flattened ovoid body, with the translucent stone of an even pale tone; the pebble-form jade bottle decorated with butterflies and gourd leaves picked out in the brown areas of the olive-green stone, 5cm and 6.3cm. (2)

£2,000-3,000

Provenance: from the Ramfield Collection, the agate bottle formerly from the Albemarle Collection; the jade bottle formerly from the John Pugh Collection, both were purchased from Robert Hall.

十八/十九世紀瑪瑙及玉雕瓜瓞綿綿鼻煙壺一組兩件

來源：Ramfield收藏，購於Robert Hall。

瑪瑙鼻煙壺為Albemarle舊藏；玉雕瓜瓞綿綿鼻煙壺

為John Pugh舊藏，都購於Robert Hall。

23 A CHINESE OVERLAY RED GLASS SNUFF BOTTLE

19TH CENTURY

The ruby-red glass body with black and white overlay glass, each side carved with a scaly carp, with a pair of animal mask handles to the sides, 5.9cm.

£2,000-3,000

Provenance: from the Ramfield Collection, purchased from Robert Kleiner.

十九世紀寶石紅地套黑白料年年有餘鼻煙壺

來源：Ramfield收藏，購於Robert Kleiner。

λ A CHINESE BLUE-OVERLAY GLASS SNUFF BOTTLE

QIANLONG 1736-95

The flattened ovoid body decorated with bamboo, plantain trees, chrysanthemums, pine tree and rockwork, all reserved on a translucent white ground suffused with many bubbles, 5.7cm.

£2,000-3,000

Provenance: from the Ramfield Collection, formerly from the Dickson Collection, then purchased from Robert Kleiner, 10th December 2005, a copy of the invoice is available.

清乾隆雪霏地套藍料竹報長壽紋鼻煙壺

來源：Ramfield收藏，Dickson舊藏，2005年12月10日，購於Robert Kleiner（附發票複印件）。

TWO CHINESE OVERLAY GLASS SNUFF BOTTLES

19TH CENTURY

Each with a rectangular milky-white body, one decorated with the horses of Mu Wang in pink glass, with an inscription reading ba jun tu; the other with a three-character couplet in apple-green glass, reading jin she le shu hua yuan; each with a song seal mark, 7.2cm and 6.5cm. (2)

£2,000-3,000

Provenance: from the Ramfield Collection, the larger bottle formerly from the Albemarle Collection; the other formerly from the John Ault Collection; both were later purchased from Robert Kleiner, 13th and 14th December 2005, copies of the invoices are available.

十九世紀涅白地套紅料穆王八駿及套綠料詩文鼻煙壺一組兩件

來源：Ramfield收藏，於2005年12月13及14日購於Robert Kleiner，套紅料鼻煙壺為Albemarle舊藏，套綠料鼻煙壺為John Ault舊藏。（附發票複印件）。

λ A CHINESE CARVED WHITE GLASS ‘LANDSCAPE’ SNUFF BOTTLE LATE 18TH/EARLY 19TH CENTURY

Finely carved on each side with a hut amidst rocks forming a natural bridge over a stream, with a pine tree, plantain trees and a lotus pond, 5.9cm.

£1,500-2,500

Provenance: from an English private collection, Yorkshire, purchased by Robert Hall from Sotheby’s Hong Kong, 27th May 2013, from the Bloch collection, part VI, lot 232; previously Robert Chang and Gerd Lester.

十八/十九世紀涅白料淺浮雕山水樓台紋鼻煙壺來源：英國約克郡私人收藏，由Robert Hall 購於香港蘇富比，2013年5 月27日瑪麗及莊智博鼻煙壺珍藏：第六部分，編號232，之前由張宗憲及Gerd Lester收藏。

λ A CHINESE JASPER ‘LONELY SCHOLAR’ SNUFF BOTTLE

1780-1850

The deep green stone with red and black inclusions, one darker inclusion looking like a silhouette of a solitary scholar, the material well hollowed, 6cm.

£1,500-2,000

Provenance: from an English private collection, Yorkshire, purchased from Robert Hall, 3rd March 2015, previously Robert Kleiner and John Ault.

1780-1850 碧石素鼻煙壺

來源：英國約克郡私人收藏，2015年3月3日購於Robert Hall，

Robert Kleiner and John Ault舊藏。

28 A RARE CHINESE PINK AND GREEN-OVERLAY GLASS SNUFF BOTTLE

YANGZHOU SCHOOL, DATED 1857

Carved in low relief with three ducks in a pond and butterflies beneath a willow tree and a seal which reads ‘ zhengke’ (really can), the reverse with three deer and rocks beside a tree, with an inscription that reads ‘xiaozhuan’ (Made on an Autumn day in the dingsi year 1857), 5.4cm.

£1,500-2,500

Provenance: from an English private collection, Yorkshire, purchased from Laurence Souksi at Espace 4, Paris, 21st September 2021; previously the Collection du Commandeur, Paris and then Robert Hall, London.

丁巳（1857年）揚州作粉底套綠料松鹿同春鼻煙壺

來源：英國約克郡私人收藏，2021年9月21日購於巴黎Laurence Souksi，之前由倫敦Robert Hall及巴黎du Commandeur收藏。

29 A CHINESE JADE ‘MONKEY AND SACK’ SNUFF BOTTLE 1780-1850

Carved as a tied sack with a large chrysanthemum to one side and a monkey clambering up the other side, 7cm.

£2,000-3,000

Provenance: from an English private collection, Yorkshire, purchased from Susan Page, 11th May 2018; previously Bob Chasin, Los Angeles. 1780-1850 灰白玉雕靈猴獻壽包袱形鼻煙壺來源：英國約克郡私人收藏，2018年5月11日購於Susan Page，之前為洛杉磯Bob Chasin舊藏。

λ A CHINESE CELADON JADE SNUFF BOTTLE 18TH/EARLY 19TH CENTURY

The flattened rectangular body carved in relief with a leafy branch of peaches beneath a single bat, picked out in the russet-coloured skin, 5.8cm.

£2,000-3,000

Provenance: from an English private collection, Yorkshire, purchased from Clare Chu at Asian Art Studio, Los Angeles, 6th November 2017.

十八/十九世紀早期青白玉雕福壽鼻煙壺來源：英國約克郡私人收藏，2017年11月6日購於洛杉磯Clare Chu的亞洲藝術藝廊。

λ A CHINESE YELLOW JADE ‘TWO DEER’ SNUFF BOTTLE

1760-1850

Carved in low relief to one side with two deer in a landscape, 5cm.

£2,000-3,000

Provenance: from an English private collection, Yorkshire, purchased from CG Knapton Ltd, 15th May 2015.

1760-1850 黃玉雕雙鹿鼻煙壺

來源：英國約克郡私人收藏，2015年5月15日購於CG Knapton Ltd。

32 A CHINESE WHITE JADE ‘DOUBLE HAPPINESS’ SNUFF BOTTLE

1750-1820

Carved in low relief to each side with xuangxi characters, the sides carved with lion-mask ring handles, 6cm.

£1,500-2,000

Provenance: from an English private collection, Yorkshire, purchased from Laurence Souksi at Espace 4, Paris, 19th December 2019; previously from an old French collection.

1750-1820 白玉雕雙喜紋鼻煙壺來源：英國約克郡私人收藏，2019年12月19日購於巴黎Laurence Souksi，之前為法國私人舊藏。

ANONYMOUS (QING DYNASTY)

LUOHAN

A Chinese scroll painting, ink and colour on paper, with a collector’s seal, which reads Ben Ba Wan Liu Qian Fa, 40cm x 36cm.

£500-800

Provenance: from the collection of Jean Brediam (d.1949), who was the Director General of the Municipal Services of the French Concession in Shanghai until 1940. In 1946, he returned to China and was appointed the head of the Shanghai office of the French Economic Mission.

佚名（清）羅漢圖設色紙本鏡框

鈐印：本八萬六千法

來源：Jean Brediam收藏（逝於1949年）。他曾擔任上海法租界市政總署署長，直至1940年。1946年，他再次返回中國，並被任命為法國經濟使團上海辦事處負責人。

ZHAO SHAO’ANG (1905-98) NINE CARP IN THE WATER

A Chinese painting, ink and colour on paper, inscribed and dated Autumn in the jiawu year, signed Shao’ang, with an artist’s seal reading Shao’ang, framed and glazed, 96cm x 42cm.

£1,000-2,000

趙少昂（1905-1998）九如圖設色紙本鏡框題識：宇基仁弟定九如圖，甲午新秋少昂題記。

鈐印：少昂

ATTRIBUTED TO ZHAO YONG (QING DYNASTY)

LITERARY GATHERING

A Chinese scroll painting, ink and colour on silk, signed Zhao Yong, with an artist’s seal which reads Zhao Yong, with two collectors’ seals, which read Xiang Zijing jia zhencang and Xiang Molin jian cang zhang, 173cm x 47cm.

£800-1,200

Provenance: from the collection of Jean Brediam (d.1949), who was the Director General of the Municipal Services of the French Concession in Shanghai until 1940. In 1946, he returned to China and was appointed the Head of the Shanghai office of the French Economic Mission.

趙雍（傳）文會圖設色絹本立軸款識：吳興趙雍製。

鈐印：趙雍藏印：項子京家珍藏、項墨林鑒藏章來源：Jean Brediam收藏（逝於1949年）。他曾擔任上海法租界市政總署署長，直至1940年。1946 年，他再次返回中國，並被任命為法國經濟使團上海辦事處負責人。

36 ATTRIBUTED TO SHEN QUAN (QING DYNASTY)

BIRDS AND BAMBOO

A Chinese scroll painting, ink and colour on silk, inscribed and signed, with two illegible seals, 181cm x 97cm.

£800-1,200

Provenance: from the collection of Jean Brediam (d.1949), who was the Director General of the Municipal Services of the French Concession in Shanghai until 1940. In 1946 he returned to China and was appointed the Head of the Shanghai office of the French Economic Mission.

沈銓（傳）竹林鳥語設色絹本立軸題識：歲次癸祁嘉平月擬元人摹，南蘋沈銓。

來源：Jean Brediam收藏（逝於1949年）

。他曾擔任上海法租界市政總署署長，直至1940年。1946年，他再次返回中國，並被任命為法國經濟使團上海辦事處負責人。

AFTER QIAN GU (QING DYNASTY) PURIFICATION AT THE ORCHID PAVILION

A Chinese scroll painting, ink and colour on silk, inscribed and dated the gengzi year, signed Qian Gu, with an artist’s seal, 103cm x 40.5cm. £800-1,200

Provenance: from the collection of Jean Brediam (d.1949), who was the Director General of the Municipal Services of the French Concession in Shanghai until 1940. In 1946, he returned to China and was appointed the Head of the Shanghai office of the French Economic Mission.

錢榖（傳）蘭亭修契圖設色絹本立軸題識：蘭亭修契圖，庚子暮春之初畫於磬室山堂，錢榖。

來源：Jean Brediam收藏（逝於1949年）。他曾擔任上海法租界市政總署署長，直至1940 年。1946年，他再次返回中國，並被任命為法國經濟使團上海辦事處負責人。

λ A SMALL CHINESE INLAID-HUANGHUALI ‘BIRDS AND FLOWERS’ DISH PROBABLY 18TH CENTURY

The shallow circular dish with gently curving sides, embellished with inlaid mother of pearl and soapstone, painted to depict a sparrow perched on a flowering prunus branch, 11.5cm.

£1,500-2,000

十八世紀（可能）黃花梨雕嵌百寶喜上眉梢小碟

λ A SMALL CHINESE INLAID-HUANGHUALI BOX, GUANPIXIANG QING DYNASTY

The hinged cover inlaid in soapstone and mother of pearl with two birds perched on a leafy bamboo branch issuing from rocks, their crests detailed in coral, above a single drawer with metal fittings and side handles, 14.5cm x 17.2cm x 17.2cm.

£3,500-4,500

清黃花梨嵌百寶花鳥紋官皮箱

40 A CHINESE CARVED BAMBOO ‘SCHOLAR AND CRANE’ BRUSHPOT, BITONG 17TH/18TH CENTURY

The cylindrical brushpot carved in relief with a scene of a scholar and two acolytes in a rocky landscape, one holding a box, the other gesturing towards a crane in flight above a gnarled pine tree, with a hardwood rim and stand, 13.7cm overall.

£3,000-5,000

Cf. Spink, Bamboo and Wood Carvings of China and the East, p.11 and R Soame Jenyns, Chinese Art, p.262, pl.197 for a related brushpot depicting a similar scene. See also Sotheby’s New York, 15th September 2010, lot 355 for another comparable example.

十七/十八世紀竹雕松下高士圖筆筒

A LARGE CHINESE BAMBOO ‘IMMORTALS’ MOUNTAIN CARVING 18TH/19TH CENTURY

Carved as a craggy mountainscape detailed with pavilions amongst wutong and pine trees, the front with a group of Immortals climbing up the mountain to bear gifts to The Queen Mother of the West, Xiwangmu, who rides above on a phoenix with her attendant, the reverse carved with further Immortals holding tribute gifts, with a wood stand, 32cm. (2)

£1,500-2,000

Compare a closely related bamboo ‘Immortals’ mountain of similar size in the National Palace Museum, Taipei, included in the museum’s exhibition A Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection, no. III-34; and another in the Shanghai Museum, illustrated in Chen Xiejun, Shanghai Museum, pl. 326. See also a larger related example from the Avery Brundage collection in the Asian Art Museum of San Francisco, accession no. B62M85. For further examples, see also L Tam, Chinese Bamboo Carving, Part I, pp.528-533.

十八/十九世紀竹雕西王母壽辰山子

42 λ A CHINESE HUANGHUALI RECTANGULAR LOW TABLE, KANGZHUO LATE MING/EARLY QING DYNASTY

The rectangular panelled top with a moulded edge above a plain frieze, raised on slightly splayed legs joined by stretchers, 46cm x 73cm x 43cm.

£3,000-5,000

Provenance: by repute from a Swiss ambassador in Beijing, acquired in 1950s and thence by descent.

明晚期/清早期黃花梨炕桌

來源：瑞士駐北京大使，購於1950年代，之後由後人繼承。

43 A CHINESE RECTANGULAR HARDWOOD ‘DRAGON’ TABLE QING DYNASTY

The rectangular two-panel top set within a wide frame, with a moulded and lotus petal-carved edge, the shaped apron below carved in relief with birds, rabbits, pomegranates, and flowers including chrysanthemum and lotus, with a central frieze drawer carved with a four-clawed full-faced dragon, all raised on four straight legs carved similarly with birds and foliage and with foliate motifs to the corners, 76cm x 146cm x 87cm.

£8,000-12,000

Cf. Bonhams London, 5th November 2009, lot 292 for a zitan kang table dated to the Qianlong/Jiaqing period with similarly carved full-faced dragons to the apron.

清硬木雕如意福壽龍紋方桌

FROM THE COLLECTION OF MR NICHOLAS SQUIRE (1949-2024)

44 A TIBETAN GILT-BRONZE MINIATURE FIGURE OF KING GESAR 18TH CENTURY

Wearing a long-sleeved brocade garment with high heavy boots and a traditional Tibetan hat with a finial and feathers tucked into the cap, he is adorned with jewellery, including a central medallion on his chest, he holds a lotus stem and a flaming jewel in his right hand and a ritual bow in his left, seated on two flayed human skins above a trapezoidal throne or base, 107g, 7.1cm.

£1,500-2,500

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Spink, London, 23rd September 1992, a copy of the invoice is available. A copy of a Spink valuation document dated 4th December 1992 is also available.

十八世紀銅鎏金格薩爾王坐像來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。1992 年 9 月 23 日購於倫敦古董商Spink，附發票複印件和 1992年12月 4日的 Spink 估價文件複印件。

Spink & Son Valuation 4th December 1992

45 A BRONZE FIGURE OF PADMAPANI KASHMIR, 11TH CENTURY

The Bodhisattva of Compassion seated in padmasana on a high narrow lotus throne, his right hand in abhaya mudra with his left hand holding a lotus stem, with an antelope skin covering his left shoulder and with a miniature image of Dhyani-buddha Amitabha in his crown, 262g, 9.5cm.

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Spink & Son Ltd, London, 16th December 1994, a copy of the invoice is available.

Published: Spink, Tibetan Art at Spink, 1992, no.2.

Cf. The Ashmolean Museum, accession no. EA1996.75 for a similar 11th century Kashmiri figure of Padmapani, see also The Asian Art Museum, San Francisco accession no. B86B4 for another related 11th century example.

十一世紀喀什米爾蓮華手觀音坐像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏, 1994年12月16日購於倫敦 Spink & Son （附發票複印件）。

出版: Tibetan Art at Spink, 1992年, 編號2。

Spink & Son invoice 16th December 1994

46 A TIBETAN BRONZE FIGURE OF VAJRAPANI 12TH/13TH CENTURY

The protective deity stands in pratyalidhasana, the warrior pose, leaning to his right, holding a vajra in his raised right hand while exhibiting tarjani mudra with his left hand, adorned with a tiger skin wrapped around his haunches and jewellery of writhing snakes, 973g, 16.8cm.

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Spink & Son Ltd. in 1997.

Published: Spink, Light of Compassion: Buddhist Art from Nepal and Tibet, 1997, p.18, fig.7.

Cf. The Palace Museum, Beijing for two closely related figures dated from 12th to 13th Century, illustrated in Classics of the Forbidden City: Tibetan Buddhist Sculptures, pls.120-121; for another example, see D Weldon and J Casey, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, pp.59 & 98, fig.23 and pl.16.

Vajrapani, the oldest protective deity in the Buddhist pantheon, embodies strength and serves as the vanquisher of delusion and ignorance. His fierce attributes are accentuated with a spirited naiveté, symbolising his power to overcome any harmful forces that could endanger the dharma and its followers.

十二/十三世紀銅金剛手菩薩立像

: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏，1997年購於倫敦 Spink & Son。

出版: Spink, Light of Compassion Buddhist Art from Nepal and Tibet, 1997年, 頁18, 圖7。

A TIBETAN GILT-BRONZE FIGURE GROUP OF CHAKRASAMVARA AND VAJRAVARAHI

16TH CENTURY

The four-faced twelve-armed deity depicted in yab-yum with his female consort Vajravarahi, his primary arms wrapped around his consort holding a vajra and a ghanta forming vajrahumkara mudra, the other hands holding various attributes including the head of Brahma, a damaru, a khatvanga, a kapala, a kartika and an axe, his uppermost arms stretch outwards whilst Vajravarahi holds a kapala and a kartika behind him, with a modern black stand, the figure group 167g, 8.5cm, 12cm overall. (2)

£3,000-5,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, together with a copy of a valuation from Spink & Son Ltd. dated 21st December 1998.

Cf. The Minneapolis Institute of Art, accession no. 97.156.2a,b for a related larger 15th century example.

The name Chakrasamvara translates directly to ‘Circle of Bliss’. The embrace of the esoteric deity and his consort Vajravarahi seen in the figure group offered here symbolises the union of wisdom and compassion, the two fundamental principles of Vajrayana Buddhism.

十六世紀銅鎏金勝樂金剛擁妃像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏，附1998年12月21日Spink & Son 的估價文件複印件。

Spink & Son Valuation 21st December 1998

48 A TIBETAN BRONZE FIGURE OF ACALA

14TH CENTURY

Standing in pratyalidhasana upon a double lotus base, one hand in tarjani mudra and the other wielding a sword, dressed in tiger skin and snake-shaped jewellery, his hair secured with a tiara topped by a seated Buddha, 310g, 12.5cm.

£800-1,200

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. U Von Schroeder, Indo-Tibetan Bronzes, p.184, pl.36A, for a larger 14th century Tibetan figure of a wrathful deity.

十四世紀銅不動明王立像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

A SMALL TIBETAN BRONZE FIGURE OF KUBERA 13TH CENTURY

The God of Wealth is seated on a lotus throne, holding a fruit in his right hand and a mongoose in his left, adorned with a headdress, jewellery and a garland, 109g, 6.5cm.

£500-1,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. The Lowe Art Museum, University of Michigan for a related 12th century example.

十三世紀銅財神坐像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

49 A TIBETAN GILT-COPPER FIGURE OF YAMANTAKA

16TH CENTURY

The buffalo-headed deity standing in pratyalidhasana on the back of a recumbent bull over a lotus throne, holding an S-shaped sword and a lasso, his face with bulging eyes, a third eye, flared nostrils and bared fangs, 199g, 10.5cm.

£1,000-2,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. The Cincinnati Art Museum, accession no.2015.247, for a gilt-bronze figure of Yama dated c.1700.

Yamāntaka, the Conqueror of Death in Vajrayana Buddhism, is a wrathful manifestation of the bodhisattva Manjushri. In this fierce form, he defeats Yama, the God of Death, symbolising the end of samsara (the cycle of rebirth) that obstructs enlightenment. Yamāntaka overpowers Yama with a form even more terrifying, reflecting and surpassing his horrifying appearance. Sharing traits with Mahakala, Yamāntaka is distinguished by his blue skin and often depicted seated on a white ox.

十六世紀銅鎏金大威德金剛像

: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

51 A TIBETAN COPPER FIGURE OF KUBERA 12TH CENTURY

The God of Wealth seated on a double lotus throne, holding a fruit in his right hand and a mongoose in his left, adorned with a headdress, jewellery and a garland, 155g, 7.1cm.

£800-1,200

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

十二世紀銅財神坐像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

52 A LARGE TIBETAN ‘DRAGON’ CHEST 18TH/19TH CENTURY

Painted on a sized cotton ground with a central cartouche containing a front-facing dragon and Buddhist emblems, including a conch, an eternal knot, and a kalasha, amongst clouds and flowers, encircled by stylised flowers and red foliate scrolls within a geometric border, the short sides painted with shou characters, with iron fittings, 73cm x 142cm x 47cm.

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Published: Spink, The Mirror of Mind, Art of Vajrayana Buddhism, 1995, p.90, item 57.

十八/十九世紀漆木彩繪龍紋衣箱

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

出版: Spink, The Mirror of Mind, Art of Vajrayana Buddhism, 1995 年, 頁 90, 57號。

The Mirror of Mind Spink Exhibition Catalogue No.57

A PAIR OF TIBETAN PAINTED WOODEN DOORS

19TH CENTURY

Probably from a monastic cabinet, each door painted with Mahakala’s face below which offerings are placed in kapalas, within a border of grinning human skulls and two flayed humans skins, with a modern black stand, the doors, 86cm high x 67.5cm wide, the stand, 99cm high x 72cm wide. (2)

£600-1,000

Published: Spink, Tibetan Art at Spink, 1992, no.52.

Cf. Los Angeles County Museum of Art, accession no. M.2010.78.16 for a 19th/20th century Tibetan cabinet with similarly painted doors, see also accession no. M.2010.78.3 at the same museum for another related cabinet.

十九世紀漆木彩繪大黑天忿怒神門板來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏，1992年9月23日購於倫敦古董商附發票複印件，及Spink 1992年12月4日的估價文件複印件。

出版: Spink, Tibetan Art at Spink, 1992年, 52號。

A LARGE TIBETAN GILT AND POLYCHROME-DECORATED MANUSCRIPT COVER 15TH/16TH CENTURY

Carved in high relief, depicting Adi-Buddha Vajradhara seated on an elaborate throne, holding a ghanta and a vajra, surrounded by acolytes and mythical beasts, including Garuda, makara, and elephants, and accompanied by another ninety-four Buddhist deities seated within circular aureoles, the reverse is carved with scrollwork containing further Buddhist figures and mythical animals, encircled by a border of foliate scrolls with chaktsen, the Tibetan Buddhist emblems, together with a metal stand, 26cm x 76.5cm. (2)

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. Spink, Light of Compassion: Buddhist Art from Nepal and Tibet, 1997, pp.70-73, pl.38-39 for two comparable manuscript covers dated to the 15th century.

In the late 10th century, Tibetan monks undertook the monumental task of translating thousands of Indian Buddhist scriptures from Sanskrit into Tibetan. This effort, spanning the 11th and 12th centuries, highlights their dedication to preserving Buddhist philosophy. Sacred texts were treated with great reverence, often adorned with ornate, painted wooden covers featuring protective divine figures. These decorative covers exemplify the meticulous care and artistic devotion Tibetans applied to their sacred manuscripts.

十五/十六世紀彩繪漆金木雕千佛圖護經板來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

55 A SET OF EIGHT FRAMED TIBETAN ‘TEN WRATHFUL KINGS’ PAINTINGS 16TH/17TH CENTURY

Each of the Ten Wrathful Kings, depicted with three heads and six arms, with the upper arms holding various implements and the middle pair of arms holding phurbus, all depicted in yab-yum with their consorts and each are surrounded by flesh-eating animal-headed monsters, known as pishaci, 17.5cm x 15.5cm, framed and glazed.

£3,000-5,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Spink and Son Ltd in 1995.

Published: Spink, The Mirror of Mind: Art of Vajrayana Buddhism, 1995, p.57, no.36.

The Ten Wrathful Kings, known as dashakrodhaI in Sanskrit or khro bo bcu in Tibetan are a group of fierce deities who often appear in a number of mandalas. The Wrathful Kings depicted in the lot offered here belong to the Vajrakila mandala and include white Krodhavijaya, Krodhahumkara, Hayagriva, Mahabala, white Yamantaka, dark green Amritakundalin, blue Niladanda, blue-green Acala, red Trailokyavijaya, green Aparatija alongside their consorts as well as other figures and monsters. The Wrathful Kings are rarely depicted as separate individuals, seen in the lot offered here, making these paintings particularly unusual.

十六/十七世紀忿怒明王像一組八幅來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

出版: Spink, The Mirror of Mind, Art of Vajrayana Buddhism, 1995 年, 頁 57, 36號。

The Mirror of Mind Spink Exhibition Catalogue No.36

56 A NEPALESE GILT-COPPER FIGURE OF VISHNU 13TH/14TH CENTURY

The four-armed deity standing in samabhanga on a round pedestal, holding his attributes, the wheel, conch, mace and lotus, dressed in a diaphanous dhoti with pleated sashes, the headdress, jewellery and belts adorned with semi-precious stones, with a flaming mandorla set behind him, together with a modern rectangular stand, 1.05kg, 20cm. (2)

£4,000-6,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Deborah Ashencaen & Gennady Leonov, The Himalayan Art Gallery, on 11th June 2002. Together with a copy of a valuation document from the Himalayan Art Gallery, dated June 2002.

Cf. Bonhams New York, 16th March 2015, lot 3, for a closely related figure of Vishnu; see also U Von Schroeder, Indo-Tibetan Bronzes, p.359, pl.95E, for another related 14th Century Nepalese figure of Amoghapasa.

Vishnu, the preserver and protector of the universe, is invoked during times of great calamity. In his current form, he is depicted as a martial deity, wielding a mace and discus, along with a conch to rally troops to action. The extensive wear on the patina serves as evidence of the countless rituals this sculpture has been part of over the centuries.

十三/十四世紀尼泊爾銅漆金毗濕奴立像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏，2002年 6月11日購於Deborah Ashencaen & Gennady Leonov 喜馬拉雅藝術藝廊，附發票複印件及藝廊2002年6月的估價文件複印件。

A TIBETAN GILT-BRONZE FIGURE OF AMITAYUS 18TH

CENTURY

Seated in dhyanasana on a double-lotus base with his hands held in dhyanamudra, wearing elaborate jewellery and a dhoti, his hair is fashioned into a high chignon beneath a crown, 814g, 18cm.

£1,500-2,500

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, by repute, purchased from Deborah Ashencaen and Gennady Leonov, The Himalayan Art Gallery, 10th October 2002.

Cf. Bonhams New York, 14th March 2016, lot 47 for a related 18th century example.

Due to the popularity of Pala period sculptures (8th-12th century) during the Qing Dynasty (1644-1912), bronzes were produced in China emulating the Pala style. The lotus base with beaded rim, thick inner petals and a multi-tiered lower section seen in the figure offered here are typical features of the Pala Revival style.

十八世紀銅鎏金無量壽佛坐像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏, 2002年10 月10日購於Deborah Ashencaen and Gennady Leonov 喜馬拉雅藝術藝廊（傳）。

A TIBETAN PARCEL-GILT BRONZE FIGURE OF MANJUSHRI

17TH CENTURY

The God of Wisdom seated in dhyanasana on a double lotus base, his right hand in varanda mudra and left hand in vitarka mudra, wearing elaborate beaded jewellery, his hair arranged into a topknot secured by a foliate crown, flanked by a pair of lotus stems bearing his attributes of a sword and a book, 472g, 13.5cm.

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Deborah Ashencaen & Gennady Leonov, The Himalayan Art Gallery, 11th June 2002. Together with a copy of a valuation document from the Himalayan Art Gallery, dated June 2002.

Cf. The Complete Collection of Treasures of the Palace Museum: Buddhist Statues of Tibet, p.200, no.191 for a larger example dated 17th/18th Century.

十七世紀局部鎏金銅文殊菩薩坐像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏, 2002年6月

11日購於Deborah Ashencaen & Gennady Leonov 喜馬拉雅藝術藝廊, 附發票複印件及藝廊2002年6月的估價文件複印件。

A TIBETAN GILT-BRONZE FIGURE OF VAISHRAVANA 18TH CENTURY

The God of Wealth seated in lalitasana upon a recumbent Buddhist lion, adorned with elaborate armour and a headdress, with his left hand holding a jewel-spewing mongoose, all raised on a lotus base, 461g, 9cm.

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Deborah Ashencaen & Gennady Leonov, The Himalayan Art Gallery on 8th October 2002, a copy of the invoice is available.

Cf. A closely related example was sold in these rooms, 12th November 2024, lot 60; see also Christie’s New York, 23rd March 2022, lot 435, for a larger 18th century example.

Vaishravana, one of the Four Guardian Kings, is associated with the North and resembles the Hindu deity Kubera. As a Buddhist God of Wealth, he does not promote luxury but helps devotees rise above subsistence, enabling them to focus on spiritual growth.

十八世紀銅鎏金財寶天王俱毗羅像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏, 2002年10 月8日購於Deborah Ashencaen and Gennady Leonov 喜馬拉雅藝術藝廊（附發票複印件）。

A TIBETAN BRONZE FIGURE OF VAJRAPANI

13TH/14TH CENTURY

The protector deity standing in pratyalidhasana, holding a vajra in his right hand with the left pointing exhibiting tarjani mudra, the wrathful gesture, adorned in jewellery and a headdress, trampling two enemies beneath him, on a lotus base with a flaming aureole, 204g, 12.5cm.

£1,500-2,500

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England, purchased from Spink & Son Ltd. on 13th October 1994, a copy of the invoice is available.

Cf. The Powerhouse Museum, Australia, accession no. 2014/132/21 for a related 13th century figure of Vajrapani.

十三/十四世紀銅金剛手菩薩立像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。1994年10 月13日購於倫敦Spink & Son Ltd（附發票複印件）。

A TIBETAN BRONZE FIGURE OF VAJRAPANI 13TH/14TH CENTURY

The wrathful deity stands in pratyalidhasana upon writhing snakes, holding a vajra in his raised right hand and a small figure of Garuda in his right hand, wearing a tiger skin around his waist and a snake draped over his shoulder, his elaborate jewellery adorned with turquoise, all supported by a double lotus throne, 314g, 12cm.

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. The Palace Museum, Beijing for three similar figures dated from 13th to 14th Century, illustrated in Classics of the Forbidden City: Tibetan Buddhist Sculptures, pls.118, 120 & 121.

十三/十四世紀銅局部漆金金剛手菩薩立像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

A TIBETAN GILT-BRONZE FIGURE OF PALDEN LHAMO LATE 18TH CENTURY

The fierce Goddess seated on a saddle made of a flayed skin on a mule, with her raised right hand in ahvana mudra and a kapala in her left hand, adorned with beaded jewellery and a garland of severed heads, the face with wrathful fangs, bulging eyes, and a third eye on her forehead, with her flame-like hair secured with a headdress decorated with skulls and a serpent, with a modern perspex stand, 363g, 10cm. (2)

£800-1,200

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. Christie’s Hong Kong, 9th July 2020, lot 2708 for a closely related figure dated in the Qianlong period (1736-95), see also The Complete Collection of Treasures of the Palace Museum: Buddhist Statues of Tibet, p.197, no.188.

Palden Lhamo, the only female among the eight great Dharmapala, is a Wisdom Protector and an enlightened being. Depicted with red hair symbolising her wrathful nature, she rides side-saddle on a white mule. The mule bears an eye on its rump, marking where her enraged husband’s arrow struck after she killed their son to protect Buddhism.

十八世紀晚期銅鎏金吉祥天母班旦拉姆像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

A TIBETAN GILT-BRONZE FIGURE OF MAHAKALA

17TH/18TH CENTURY

Striding in pratyalidhasana, the principal hands holding a kartika and a kapala, the other hands with a skull rosary and adamaru drum, with a tiger skin skirt around his waist, the figure is heavily embellished with jewellery, a garland of severed heads and a necklace of snakes, the wrathful face surmounted by flame-like red hair behind a skull crown, on a modern black plinth, the figure 269g, 8cm, 14.5cm overall. (2)

£2,000-3,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. The Royal Ontario Museum, Toronto for a related but larger 17th century figure, illustrated in M Rhie and R Thurman, Wisdom and Compassion: The Sacred Art of Tibet, p.295, pl.111.

The deity Mahakala is a wrathful form of the primordial Vajradhara, the supreme essence of all Buddhas. He can be two-armed, four-armed or six-armed, as in the present lot. The six-armed Mahakala is thought to be especially powerful in his ability to destroy or conquer enemies. In his six-armed form, he is also sometimes considered as a fierce and powerful manifestation of Avalokitesvara, the Bodhisattva of Compassion.

十七/十八世紀銅鎏金大黑天立像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

A TIBETAN GILT AND PAINTED-WOOD MANUSCRIPT COVER 13TH/14TH CENTURY

The interior carved in relief with Buddha Shakyamuni and four other deities, Manjushri, Prajnaparamita, Sadaksari Lokiteshvara and Vajrapani, linked by gilt foliate scrolls within a painted border of circular designs, the reverse carved with a scrolling design within a beaded border, with a metal stand, 11.2cm high and 51.5cm wide. (2)

£500-1,000

Provenance: from the collection of Mr Nicholas Squire (1949-2024), Suffolk, England.

Cf. Spink, Light of Compassion: Buddhist Art from Nepal and Tibet, 1997, pp.62-67, pl.34-36 for three closely related manuscript covers dated to the 13th to 14th century.

During the era known as the Chidar, the later diffusion and revival in the late 10th century, Tibetans embarked on the monumental task of translating Indian Buddhist scriptures into their language. Thousands of Sanskrit texts were rendered into Tibetan, with much of this effort taking place during the eleventh and twelfth centuries. Painted wooden manuscript covers from this period reflect the meticulous care and reverence Tibetans devoted to their sacred texts.

十三/十四世紀彩繪漆金木雕護經板文殊菩薩、四臂觀音、釋迦牟尼、金剛手菩薩、般若佛母像

來源: 英國薩福克郡Nicholas Squire先生（1949-2024）收藏。

65 A TIBETAN THANGKA OF MANDALA 18TH/19TH CENTURY

Painted with five mandala surrounded by ashtamangala the Eight Auspicious Signs, against a dark-blue ground, 52cm x 44cm.

£500-1,000

Provenance: from an English private collection, acquired prior to 2000 and thence by descent.

十八/十九世紀曼陀羅唐卡來源：英國私人收藏，於2000年前入藏，之後由其後人繼承。

66 A TIBETAN THANGKA OF TSONGKHAPA AND THE REFUGE FIELD, TSHOGS ZHING 18TH CENTURY

With Tsongkhapa seated in the centre wearing a pandita hat, his right hand in vitarkamudra and holding an alms bowl in his left hand, surrounded by a hierarchical arrangement of Buddhas, bodhisattvas, protective deities and other figures, with the Panchen Lama Incarnation Lineage above, Buddha Vajradhara at the top and depictions of Mount Sumeru and the Four Continents and the Seven Jewels of Royal Power to the bottom left and right, with lines of Tibetan inscription below and further to the reverse, 77cm x 47cm.

£1,500-2,500

Provenance: from an English private collection, with a copy of an invoice for Fine Antiquities Ethnographica, The Old Drury, 187 Drury Lane, London, dated 20th December 1986.

Cf. The Rubin Art Museum, accession no. F1997.41.7 (Himalayan Art Resources no. 571) for a related 18th century example. See also the Tibet House Museum, New Delhi, for an 18th century block print image with the same inscription to the bottom (Himalayan Art Resources no. 74089).

The Field of Accumulation or Refuge Field, tshogs zhing is a format of Buddhist painting that arranges all of the teachers and deities of a particular tradition in one single painted composition as formulated by individual religious liturgical texts and traditions. The theme of Tsongkhapa (1357-1419), founder of the Gelug order, surrounded by a hierarchy of the Buddhist pantheon is commonly found in Tibetan painting from the 18th century onwards. The circular design for this style of Refuge Field composition would have likely originated in the Tashi Lhunpo Monastery of Shigatse and would have been based on the artistic and iconographic tradition of Konchog Gyaltsen, student of Panchen Lama Lobsang Chokyi Gyaltsen.

十八世紀宗喀巴大師皈依境唐卡

來源: 英國私人收藏, 附倫敦Fine Antiquities Ethnographica

1986年12月20日發票複印件。

Fine Antiquities invoice 20th December 1986

A CHINESE GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI 15TH/16TH CENTURY

Seated in dhyanasana on a double lotus throne wearing a draped robe with a foliate hem, with his left hand held in avakashamudra and his right held in varada mudra, his hair in tight curls rising to an ushnisha, 761g, 13.5cm.

£4,000-6,000

Provenance: from an English private collection, acquired prior to 2000 and thence by descent.

十五/十六世紀銅鎏金釋迦牟尼佛坐像

來源：英國私人收藏，於2000年前入藏，之後由其後人繼承。

A TIBETAN GILT-BRONZE FIGURE OF VAJRASATTVA

17TH CENTURY OR EARLIER

Seated in vajrasana flanked by two flowering lotuses on a double-lotus throne, holding a vajra in the right hand and a ghanta in the left hand, wearing an elaborate headdress and jewellery, the serene face with an inlaid urna mark, the hair with traces of blue pigment and styled in a high chignon topped with a vajra finial, 692g, 15.8cm.

£3,000-5,000

Provenance: from an English private collection, acquired prior to 2000 and thence by descent.

十七世紀或更早銅鎏金金剛薩埵菩薩來源：英國私人收藏，於2000年前入藏，之後由其後人繼承。

A TIBETAN BRONZE FIGURE OF BUDDHA SHAKYAMUNI

15TH/16TH CENTURY

Seated in dhyanasana upon a double-lotus throne, holding his left hand in dhyana mudra and touching the ground with his right hand in bhumisparsha mudra, wearing loose robes bordered by foliate motifs draped over one shoulder, his hair in tight curls rising to a ushnisha, the eyes inlaid in silver, 1.53kg, 20.5cm.

£3,000-5,000

Provenance: from an English private collection, acquired prior to 2000 and thence by descent.

十五/十六世紀銅釋迦牟尼佛坐像來源：英國私人收藏，於2000年前入藏，之後由其後人繼承。

A LARGE TIBETAN GILT-BRONZE FIGURE OF VAISHRAVANA 18TH CENTURY OR LATER

Seated in lalitasana upon a double cushion plinth, the God of Wealth holding a mongoose in his left hand and his right hand in apana mudra, dressed in a flowing dhoti, adorned with beaded jewellery, elaborate crown and a ribbon billowing around his shoulders, the base incised with a visvavajra, 4.8kg, 26.5cm.

£5,000-8,000

Provenance: formerly from the collection of Marie Joséphine de Berlaymont (1886-1954), Belgium.

十八世紀或更晚銅鎏金多聞天王坐像來源：比利時瑪麗約瑟菲娜德貝萊蒙（Marie Joséphine de Berlaymont, 1886-1954）舊藏。 71

A LARGE CHINESE GILT-BRONZE DALI KINGDOM-STYLE FIGURE OF MAHAKALA PROBABLY LATE QING DYNASTY

The wrathful four-armed guardian holding a kapala in his primary right hand, adorned with a tiara, bracelets and necklaces decorated with severed heads, skulls and snakes, his hair secured with a headdress with a seated Buddhist figure, with a fitted wood stand, 10kg, 42cm.

£4,000-6,000

Provenance: with a copy of an invoice written in French dated 5th June 1932 which can be translated to ‘Receipt for Mr Walter, Inspector General of Posts, the sum of 500 francs for the purchase of a standing statue… which comes from the temples which were destroyed during the Vietnam wars before the reconstitution…’.

晚清 (可能) 銅鎏金仿大理國大黑天立像來源: 附有一份日期為1932年6月5日以法語書寫的發票副本，其內容可譯為：「給郵政總監Walter先生收據，總額500法郎，用於購買一座立像該雕像來自於在越南戰爭前被毀壞的寺廟，之後才得以重建」。

A LARGE TIBETAN GILT-BRONZE FIGURE OF A LAMA 18TH CENTURY OR LATER

Seated in dhyanasana with his hands in dharmachakra mudra, wearing flowing monastic robes incised with scrolling clouds and flowers with foliate borders, his feet incised with the Wheel of Law, 3.1kg, 26cm.

£8,000-10,000

Provenance: formerly from the collection of Professor Madeleine Sergant (1942-2022), Belgium.

十八世紀或更晚銅鎏金喇嘛坐像

來源: 比利時Madeleine Sergant教授 (1942-2022) 舊藏。

λ A LARGE TIBETAN GILT-BRONZE REPOUSSE FIGURE OF MANJUSHRI 18TH CENTURY

Seated in vajraparyankasana on a double-lotus base, his right hand raised in karana mudra holding a flaming sword over his head, his left hand held in vitarka mudra holding a lotus spray supporting the prajnaparamitasutra, the Book of Knowledge, his face with a serene expression and an urna mark to his forehead, with pendulous earlobes and crowned with a separate five-point tiara headdress, his hair coiled into a chignon, topped with an ushnisha and with some strands draping over his shoulders, his body adorned with jewels and necklaces, wearing a robe tied at the waist with foliate borders, and with a billowing scarf around the shoulders and arms, with a visvavajra to the baseplate, 60cm.

£8,000-12,000

Provenance: purchased from Annick du Breton, Le Mans, France in the 1980s.

Cf. Bonhams London, 26th February 2008, lot 88 for a related example dated to the 18th century.

十八世紀銅鎏金錘鍱文殊菩薩坐像

來源: 1980年代購於法國利曼Annick du Breton。 72

A CHINESE SILVERED-BRONZE ‘BIRDS AND BEASTS’ MIRROR HAN DYNASTY

Cast in relief with birds and other beasts around a central raised boss, surrounded by a zig-zag border, 700g, 17cm diameter.

WITHOUT RESERVE

本拍品不設底價。

£1,500-2,500

Cf. Ancient Bronze Mirrors from the Shanghai Museum, pp.162-163, no.44 for a closely related mirror.

漢銅鎏銀鳥獸紋鏡

75 A CHINESE CLOISONNE ENAMEL REVOLVING VASE LATE QING DYNASTY

The separately cast body set with four medallions each containing a front-facing five-clawed dragon in gilt-bronze amid reticulated cloud scrolls, surrounded by cloisonné enamel lotus scrolls interspersed with bats and shou characters, the body rotating around a central core mounted on the foot with a row of stiff lappets to support the body, the flaring neck also fixed around the core with a band of interlocking ruyi-heads, flanked by two dragon handles, the rim and base with borders of key fret, the base with a De Cheng mark, 47.5cm.

£5,000-8,000

Cf. The Complete Collection of Treasures of the Palace Museum, vol.43, p.169, no.161 for a smaller related vase.

晚清掐絲琺瑯蓮托福壽紋開光瑞獅紋轉心瓶

A CHINESE LIMESTONE ‘BUDDHIST TRIAD’ STELE

NORTHERN WEI DYNASTY

Carved in high relief, the Buddha seated in dhyanasana upon a lotus pedestal, dressed in long flowing robes draped in pleats and folds over the arms and down the front, the rounded face with downcast eyes and a meditative expression, the curly hair rising to a domed ushnisha, flanked by two bodhisattvas raised on stylised flowerheads, elevated on a rectangular plinth adorned with a large central lotus bloom between a pair of Buddhist lions, the sides depicting two kneeling acolytes holding small lotus buds, while the reverse is undecorated, approximately 40kg, 47cm x 33cm x 17cm.

£5,000-8,000

Provenance: an English private collection formerly at Cliff Avenue, Cromer, Norfolk since the 1950s and thence by descent. Believed by the family to have been purchased from Margaret Jane Barclay (1861-1958) of Herne Close, Cromer, together with the entire contents of her house. Margaret’s ancestor James Barclay (1708-66) established the Barclays banking dynasty.

Cf. The Isabella Stewart Gardner Museum, no. S8w4 for a stele dated 543; see also The Journal of the Palace Museum, A Comparative Study of the Xiangtangshan Caves and Ye City Buddhist Sculptures from the Eastern Wei and Northern Qi Periods, 2020, iss.12, no.224, pp.22-26 for several closely related examples dated from Northern Wei dynasty to Northern Qi dynasty.

北魏石灰岩佛菩薩三尊造像碑來源：英國私人收藏，自 1950 年代起存放於英國諾福克郡克羅默的 Cliff Avenue，之後由其後人繼承。家族認為這件菩薩造像碑是當年從諾福克郡克羅默的Margaret Jane Barclay (1861-1958)，連同她大宅中的所有物品同時購入的。Margaret女士的祖先James Barclay (1708-66) 創建了英國 Barclays銀行王朝。

A SOUTH-EAST ASIAN THAI MARKET SILVER-GILT TEAPOT AND COVER 19TH CENTURY

The body decorated with four embossed panels containing scenes of figures engaged in everyday pursuits, beneath a tiered domed cover and bail handle, the flared foot embossed with foliage, the base with a punchmark for Yang Qinghe, 978g, 24cm. (2)

£8,000-12,000

十九世紀外銷東南亞及泰國銀鍍金開光人物故事圖提樑茶壺《楊慶和》款

A SOUTH-EAST ASIAN THAI MARKET SILVER-GILT TEAPOT AND COVER 19TH CENTURY

The body embossed with four wild animals running amidst flowers and leaves, beneath a stepped cover and bail handle, raised on a flared foot, the base with a punch mark for Sun You, 599g, 22cm. (2)

£4,000-6,000

十九世紀外銷東南亞及泰國銀鍍金花卉紋提樑茶壺《孫有》款

A RARE SOUTH-EAST ASIAN THAI MARKET SILVER-GILT TEAPOT 19TH CENTURY

The body decorated with four large embossed panels of animals and birds amidst foliage, flowers and clouds, all beneath a domed cover and bail handle, raised on a spreading base embossed with a band of stylised lappets, 1kg, 23cm. (2)

£10,000-15,000

Cf. Bonhams London, 3rd June 2015, lot 28 for a closely related example described as a ‘Royal’ tea kettle.

十九世紀外銷東南亞及泰國銀鍍金開光花鳥紋提樑茶壺

A CHINESE THAI MARKET ENAMELLED-COPPER TEAPOT AND COVER 19TH CENTURY

The body painted with three cartouches each containing a deity, surrounded by leafy tendrils against a reddish-brown ground and between stylised borders, the cover painted with foliate bands and with a stepped finial, with a shaped swing handle, all raised on a splayed foot, the interior enamelled turquoise, 25cm overall. (2)

£4,000-6,000

Provenance: previously the collection of Alvaro Martinez-Fonts.

十九世紀外銷泰國銅胎畫琺琅開光宗教人物提樑茶壺連蓋

來源: Alvaro Martinez-Fonts 舊藏。

81 A LARGE CHINESE THAI MARKET ENAMELLED-COPPER WATER BOWL AND COVER 19TH CENTURY

The U-shaped body raised on a high stepped foot, decorated with blue-bordered lappets containing floral motifs, the body decorated with similar lappets and a repeated lotus bloom design, all below a domed cover, the interior and the underside of the foot enamelled turquoise, 27.7cm. (2)

£5,000-8,000

Provenance: previously the collection of Alvaro Martinez-Fonts.

十九世紀外銷泰國銅胎畫琺瑯黃地花卉紋蓋盌

來源: Alvaro Martinez-Fonts 舊藏。

82 A CHINESE THAI MARKET ENAMELLED-COPPER JAR AND COVER 19TH CENTURY

The globular body raised on a short straight foot, decorated all over with a floral design against a yellow ground between two foliate bands to the neck and foot, the stepped cover with a further foliate bands surmounted by a knopped finial, the interior enamelled turquoise, 24.5cm. (2)

£3,000-5,000

Provenance: previously the collection of Alvaro Martinez-Fonts.

十九世紀外銷泰國銅胎畫琺瑯黃地花卉紋蓋瓶

來源: Alvaro Martinez-Fonts 舊藏。

THREE CHINESE THAI MARKET PAINTED-ENAMEL ‘LAI NAM THONG’ JARS AND COVERS 19TH CENTURY

The cosmetics jars decorated with bands of stylised gilt flower sprays on dark blue grounds, each base and cover has a central flowerhead, 7.7cm max. (6)

£2,000-3,000

Provenance: by repute acquired directly from a Princess of Thailand in the 1960s.

十九世紀外銷泰國藍地描金花卉紋蓋碗一組三件

來源: 於1960年代從泰國公主購得 (傳)。

A STRAITS CHINESE SILVER-ENAMELLED CYLINDRICAL BOX AND COVER 19TH CENTURY

The cover embossed with a central figure of a bull surrounded by writhing scaly dragons, the border and sides embossed with flowering leafy foliage, the base with a Khmer inscription and with two punchmarks for Rui Sheng, 627g, 17.5cm. (2)

£2,000-3,000

十九世紀外銷南洋銀鏨刻内填琺瑯蓋盒

《瑞生》款

A CHINESE THAI MARKET ENAMELLED-COPPER INCENSE HOLDER AND COVER 19TH CENTURY

The octagonal-section box painted with geometric bands of foliate trefoils on a yellow ground, 18.5cm. (2)

£1,500-2,500

Provenance: by repute acquired directly from a Princess of Thailand in the 1960s.

十九世紀外銷泰國銅胎畫琺瑯黃地花卉紋八棱香筒

來源: 於1960年代從泰國公主購得 (傳)。

A CHINESE WHITE AND GREY JADE ARCHAISTIC CONJOINED VASE WITH TWO COVERS 19TH CENTURY

Each section carved with a taotie mask and with loose ring handles, the covers with bird finials, 17.5cm. (3)

£1,000-2,000

Provenance: from the collection of Colonel Tom Hall (1928-2022).

十九世紀墨玉巧雕雙聯雙耳活環饕餮紋蓋瓶

來源: Tom Hall上校 (1928-2022) 的收藏。

A CHINESE SPINACH-GREEN JADE ‘PHOENIX’ VASE AND COVER 19TH CENTURY

Carved as an urn resting on rocks beside a gnarled pine tree, with lingzhi, bamboo and a phoenix around the base, the cover with a second bird holding a pine branch in its beak, together with a reticulated wood stand with similar decoration, 18.5cm. (3)

£1,000-2,000

Provenance: from the collection of Harold Wesley Hall (1888-1974) and thence by descent.

十九世紀碧玉鳳紋蓋瓶

來源：Harold Wesley Hall (1888-1974) 收藏，之後由其後人繼承。

λ A CHINESE RHINOCEROS HORN ‘LOTUS’ LIBATION CUP 18TH CENTURY

The bowl formed as a lotus leaf issuing from a slender stem, with further flowers, buds and leaves carved to the exterior, the interior with a small three-legged toad, 118g, 16.5cm.

£5,000-8,000

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.

Provenance: from the private collection of Michael and Margaret Susands.

Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.146, no.96 for a related example.

十八世紀犀角鏤雕一束蓮紋杯

來源：Michael and Margaret Susands私人收藏。

注：犀牛角的出口許可證，僅於拍賣價格達到或超過每克100美元之物品重量價值時，方予核發。

A CHINESE CELADON JADE BOULDER 17TH/18TH CENTURY

Carved to one side with a lady holding a ruyi sceptre and standing amongst banana trees and tall cliffs, with two lingzhi sprigs issuing from craggy rocks, the stone of an even celadon tone with russet veining, 15.5cm.

£2,000-3,000

Cf. Bonhams Hong Kong, 27th November 2024, lot 526 for a similarly carved celadon jade ‘luohan’ boulder dated to the 18th century.

十七/十八世紀

青白玉雕仕女圖山子

A LARGE CHINESE BLACK AND CELADON JADE CARVING OF A RECUMBENT BUFFALO

17TH CENTURY

Naturalistically carved depicting the animal resting with its legs tucked under the body, the head turned to the left, with curved horns, the tail sweeping over its haunches, the stone with grey opaque inclusions and brown striations, with a wood stand, 20.5cm. (2)

£6,000-8,000

Provenance: formerly a private collection, Queensland, Australia.

Cf. James Lin, The Immortal Stone: Chinese jades from the Neolithic period to the twentieth century, pp.49, no.36, for a late Ming dynasty example.

The water buffalo is the traditional symbol of Spring, strength and tranquillity. Its bucolic aspect evokes the simple and true life in the countryside, and as the reputed mount of the philosopher Laozi, the buffalo has strong Daoist connotations. An important animal in all rice cultivation societies, we find buffaloes depicted in art dating back thousands of years. The Chinese practice of lining the shores of lakes and rivers with bronze buffaloes dates from the Tang dynasty. It is based on the belief that Da Yu, the legendary emperor who is credited with founding the Xia dynasty (circa 2100-1600 BC), and controlled China’s floodwaters, used to place iron buffaloes beside each of his projects. The most famous is the bronze example overlooking Lake Kunming in Beijing’s Summer Palace, which was cast and then personally dedicated by the Emperor Qianlong in 1755.

十七世紀墨玉鵰卧牛擺件來源：澳大利亞昆士蘭州私人舊藏。

A SMALL CHINESE YELLOW JADE CONG-SHAPED VASE

QIANLONG 1736-95

The square-section body carved with hatched borders to either end, with a wood stand, 8.2cm. (2)

£500-700

Provenance: from an English private collection, with a copy of an invoice for Triumph Arts, dated 1st April 1957.

清乾隆黃玉琮

來源：英國私人收藏，1957 年 4 月 1 日購於香港三聯公司（附發票複印件）。

92 A CHINESE RECTANGULAR SPINACH-GREEN PLAQUE QIANLONG/JIAQING

Triumph Arts invoice 1st April 1957

Each side incised with gilt inscriptions of the ‘Continued Discourse on the Four Blessings’, Side Xulun, the stone mottled with light and dark inclusions, 29cm x 13cm.

£1,500-2,500

Side Lun (The Discourse on the Four Blessings) and Side Xulun (The Continued Discourse on the Four Blessings) were self-praising essays written by the Qianlong Emperor in celebration of his eightieth birthday. In these works he reflects on the significant achievements of his reign. The Four Blessings represent position, reward, fame, and longevity, respectively.

Provenance: from the collection of Colonel William Randall Beresford-Ash (1859-1938), of the 1st Battalion, Royal Welch Fusiliers, and thence by descent.

清乾隆/嘉慶碧玉描金《四得續論》硯屏

來源：William Randall Beresford-Ash上校 (1859-1938) 私人收藏，他曾是威爾士皇家火槍團第一營的士兵，之後由其後人繼承。

93 A RARE CHINESE RECTANGULAR WHITE JADE ‘DEER AND LINGZHI’ PLAQUE SONG DYNASTY

Carved in openwork depicting two recumbent deer resting under flourishing shrubs of lingzhi and a shou character medallion, the stone of even greyish-white tone with very minor russet markings to the reverse, 9.2cm.

£2,000-3,000

Provenance: from an English private collection, Sussex. Cf. Compendium of Collections in the Palace Museum, Jade 5, p.131, no.138 for a closely related plaque.

宋白玉鏤雕路路如意牌來源：英國薩塞克斯郡私人收藏。

94 TWO CHINESE JADEITE BELT BUCKLES 19TH CENTURY

Each carved in relief with coiled dragons, using the russet-coloured skin to pick out the details, 10cm and 9cm. (4)

£1,500-2,500

Provenance: from an English private collection, Yorkshire, both purchased from Robert Kleiner, London 10th November 2008 and 3rd November 2009; the smaller buckle previously from the collection of Pat Miller, Hawaii.

十九世紀翠玉巧色蒼龍教子帶鉤一組兩件來源：英國約克郡的私人收藏，分別於 2008 年 11 月 10 日和 2009 年 11 月 3 日購自倫敦Robert Kleiner ；較小的帶鉤為夏威夷的 Pat Miller 舊藏。

95 A FINE CHINESE APPLE-GREEN JADEITE ‘DRAGON’ BELTHOOK

QIANLONG 1736-95

The terminal carved in the form of a dragon-head with bulging eyes and baring teeth, the shaft carved in openwork with a clambering chilong grasping a sprig of lingzhi between its jaws, the stone with a bright apple-green layer above a mottled underside, 9.3cm.

£6,000-8,000

Together with a gemmological report from the Gem and Pearl Laboratory, London dated 24th January 2017 stating ‘No evidence of treatment was observed’.

Provenance: from a European private collection.

For comparable examples of apple-green jadeite belthooks of this type from the Qing dynasty, see the pair in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Qing Court: Treasures of Imperial Court, pl.92. Refer also to National Palace Museum, Royal Style: Qing Dynasty and Western Court Jewelery, p.181, no.1-3-31 for another similar example in the Shenyang Palace Museum from the 18th/19th century.

清乾隆翡翠雕蒼龍教子帶鉤來源：歐洲私人收藏。

A CHINESE PALE CELADON JADE CARVING OF AN AUBERGINE QIANLONG 1736-95

Naturalistically carved as an aubergine issuing from a leafy stem, carved to one side with a beetle, 7.5cm.

£1,000-2,000

Provenance: Katherine Hamilton, 4th Duchess of Abercorn (1905-90), by descent to her daughter Lady Moyra Campbell (née Hamilton) (1930-2020) and by descent to the present owner.

清乾隆青白玉茄子把件

來源：第四代阿伯康公爵夫人Katherine Hamilton (1905-90)，為其女兒 Moyra Campbell夫人（1930-2020）的後裔，之後由其後人繼承。

97 A CHINESE SILVER-INLAID ‘SHI SOU’-STYLE BRONZE HU-SHAPED VASE 17TH/18TH CENTURY

Inlaid in silver wire with lappets and interlocking rings below a double line border to the rim, the base with a two-character ‘Shi Sou’ mark and with a paper label for the Prof and Mrs P H Plesch Collections ‘Bv 12B’, 705g, 12cm.

£2,000-3,000

Provenance: from the collection of Professor Peter Hariolf Plesch (1918-2013) and Gerta Regina ‘Traudi’ Plesch OBE (1921-2013), acquired from Douglas Wright in January 1978.

Silver-inlaid bronzes attributed to Shi Sou are known for their exceptional quality, yet there is no recorded information confirming the identity of this maker. Believed to have been a monk active in the late Ming period (c.1620-44), it is also possible that the mark for Shi Sou could relate to a bronze studio or school.

十七/十八世紀石叟款銅錯銀仿古紋壺

來源：彼得哈里奧夫普萊施教授（1918年2月14

日－2013年3月5日）與格塔雷吉娜「特勞迪」普萊施

（1921年12月4日－2013年8月10日）的收藏，附收藏

編號Bv 12B，於1978年1月從道格拉斯賴特（Douglas Wright）處購得。

98 A CHINESE BEIJING BLUE GLASS VASE FOUR-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95

The pear-shaped body surmounted by a wide tall cylindrical neck which flares towards the rim, supported on a short flared foot, the base incised with the four-character reign mark contained within a double square, the translucent glass a deep purplish-blue colour, 25.6cm.

£2,000-3,000

Cf. R Zhang, Luster of Autumn Water: Glass of the Qing Imperial Workshop, pp.140-141, no.17 for a comparable blue vase also with a four-character Qianlong mark; see also C Brown & D Rabiner, The Robert H Clague Collection: Chinese Glass of the Qing Dynasty, pp.22-23, no.9 for another similar piece.

清乾隆藍料膽瓶

《乾隆年製》刻款

Peter and Trudi Plesch

A RARE CHINESE BEIJING YELLOW GLASS DISH FOUR-CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35

With gently curved sides rising to an everted rim, raised on a slightly tapering foot, the metal of an even egg-yolk yellow tone, 17.4cm.

£2,000-3,000

Cf. B Yang, Complete Collection of Classified Chinese Fine Arts: The Complete Works of Chinese Gold, Silver, Glass and Enamel Wares, vol.4, p.100, no.164 for a closely related Qianlong example.

清雍正雞油黃料盤

《雍正年製》刻款

100 A LARGE CHINESE FAMILLE ROSE PAINTED-ENAMEL

WALL SCONCE

18TH CENTURY

Painted in bright enamels, with a central cartouche enclosing peonies and poppies beneath a double-headed eagle and surrounded by embossed flowers, butterflies and birds, fitted with a pair of ormolu candle arms rising from a flowerhead at the base, 61cm. (3)

£5,000-8,000

The double-headed eagle symbolised the union of the Holy Roman Empire (the Habsburg Empire) with the Spanish monarchy. The double-headed eagle was the device used by The Order of St. Augustine. The Spanish Augustinians were established in Manila in the 15th century, and soon after in Macao, Mexico and India, during which time they made their first of several expeditions to China.

十八世紀銅胎畫琺瑯壁燈

101 A VERY LARGE CHINESE FAMILLE ROSE ‘FISHERMEN’ DISH

YONGZHENG 1723-35

Brightly decorated with a riverside scene featuring a group of fishermen, two wading in shallow waters picking up fish beside two large woven baskets, flanked on the left hand side by two sampans with women and children, with three further xfigures on the riverbank, all surrounded by a diaper band and the ‘Hundred Antiques’ in the cavetto, the underside with floral sprays in iron red, with a paper label for Cohen & Cohen, 49cm.

£5,000-7,000

Provenance: from a European private collection, purchased from Cohen & Cohen.

Cf. Ausstellung Chinesischer Kunst, no.1036 for a related Yongzheng famille rose dish with fishermen and a lady breast-feeding her baby, see also Bonhams London, 18th May 2023, lot 159 for another example.

清雍正粉彩漁樂圖盤

來源：歐洲私人收藏，購於Cohen & Cohen。

102 No lot

103

A CHINESE BLUE AND WHITE ‘DEER AND CRANES’ VASE

KANGXI 1662-1722

Painted in shades of intense cobalt blue, depicting a pair of cranes above a pair of spotty deer by a riverbank, amongst pine trees, craggy rocks and swirling clouds, all beneath a border of beribboned auspicious emblems, the base with a paper label for Bluett & Sons, London, 33cm.

£2,000-3,000

Provenance: from the estate of Mrs J Hiller dec’d.

清康熙青花鶴鹿同春將軍罐

來源：J Hiller莊園遺產。

104

A PAIR OF CHINESE FAMILLE VERTE SQUARE-SECTION FLASKS AND COVERS

KANGXI 1662-1722

Each side painted with shaped cartouches of figural scenes and floral designs, all set against an iron-red ground with gilt foliate decorations, the circular covers decorated with landscape scenes, one with a paper collection label for Frederick Adolphus Konig, 26.5cm. (4)

£800-1,200

Provenance: from the collection of Frederick Adolphus Konig (1867-1940) and thence by descent, an American banker of German ancestry, who emigrated to England at the end of the nineteenth century with his brother Hans Henry Konig. Frederick married Baroness Gerda (Gertrude) von Chappuis in 1906, who was a Lady-in-Waiting to Princess Marie Louise, the granddaughter of Queen Victoria.

清康熙五彩描金開光指日高升方瓶一對

來源：弗雷德里克阿道弗斯柯尼希（Frederick Adolphus Konig，1867-1940）收藏，他是一位德裔美國銀行家，於十九世紀末與其兄弟漢斯亨利柯尼希（Hans Henry Konig）移居英國。弗雷德里克於1906年與格達（格特魯德）馮夏普伊男爵夫人（Baroness Gerda (Gertrude) von Chappuis）結婚，她是維多利亞女王孫女瑪麗路易絲公主的侍女。

105 A RARE PAIR OF CHINESE BLUE AND WHITE EROTIC-SUBJECT SQUARE-SECTION VASES, FANGGU

KANGXI 1662-1722

Each vase painted with scenes from The Romance of the Western Chamber to the central section, the tall flaring necks and feet decorated with flowers, rocks and butterflies, with geometric bands of fylfots encircling the mouths and footrims, each painted with a couple engaged in amorous pursuits to the base, 26cm. (2)

£8,000-12,000

Provenance: from a British private collection, previously purchased from D & M Freedman on 16th May 2012. A copy of the invoice is available.

Cf. M Beurdeley and G Raindre, Qing Porcelain, p.67, nos.69 and 70 for a pair of related vases also with couples in coitus to the bases; see also S Marchant & Son, Exhibition of Two Hundred Years of Chinese Porcelain 1522-1722, 1998, p.82, no.65 for another similar pair.

清康熙青花春宮圖方觚一對

來源：英國私人舊藏，2012年5月16日購於D&M Freedman（附發票復印件）。

106 A PAIR OF FINE CHINESE BLUE AND WHITE ‘LADIES’ JARS AND COVERS

KANGXI 1622-1722

Each of ovoid form painted in underglaze blue, with two large panels containing houses, buildings and garden scenes with ladies and their attendants, the lower sections with bands containing stylised floral roundels and pendent lappets, the covers with precious vases and further lappet designs, the bases with artemisia leaf marks 38.5cm. (4)

£15,000-20,000

清康熙青花仕女圖蓋罐一對

107

† A RARE PAIR OF CHINESE WUCAI ‘BIRDS AND FLOWERS’ GARLIC-HEAD VASES

TRANSITIONAL C.1640

The bodies of compressed bulbous form supported on short feet below tall narrowing necks and ‘garlic-head’ shaped mouths, each painted to one side with rockwork and flowering magnolia branches against a blue ground, the other side painted with two birds in green, yellow and underglaze blue in flight above rockwork against an iron-red diaper ground, the necks and mouths similarly decorated with flowers, including lotus and peony, with bands of iron-red scrolls and single and double lines in underglaze blue, 34cm. (2)

£25,000-30,000

Cf. The Complete Collection of Treasures in the Palace Museum, vol. 38, p.123 for a related example, see also the Metropolitan Museum of Art accession no.19.28.1 for a similar vase with peonies and chrysanthemums.

明末清初五彩花鳥紋蒜頭瓶一對

108

A CHINESE FAMILLE VERTE POWDER-BLUE GROUND

FIVE-PIECE GARNITURE

KANGXI 1662-1722

Comprising: three ovoid vases and covers and two beaker vases, decorated with shaped panels containing birds, flowers, landscapes and antiques, two vases with paper collection labels for Hans Henry Konig and one with a label for Duveen, 27.5cm. (8)

£2,000-4,000

Provenance: from the collection of Hans Henry Konig (1870-1949) and thence by descent. Konig was an American banker of German ancestry, who emigrated to England at the end of the nineteenth century with his brother Frederick Adolphus Konig. Their father made his fortune from patenting a process for the hardening of rubber. Hans was a partner with his brother Frederick in the banking firm of Konig Brothers in London, and was a member of The Carlton Club and The Wellington Club.

Cf. See The Staatliche Kunstsammlungen Dresden, accession nos. PO 3272 and PO 3271 for two closely related examples.

清康熙灑藍地開光花卉紋瓶一組五件

來源：漢斯亨利柯尼希（Hans Henry Konig，1870-1949）收藏。柯尼希是一位德裔美國銀行家，於十九世紀末與其兄弟弗雷德里克阿道弗斯柯尼希（Frederick Adolphus Konig）移居英國。他們的父親因發明了一種硬化橡膠的工藝並獲得專利而致富。漢斯與其兄弟弗雷德里克在倫敦共同

經營柯尼希兄弟銀行（Konig Brothers），並是卡爾頓俱樂部（The Carlton Club）和威靈頓俱樂部（The Wellington Club）的會員。

109

A LARGE AND RARE CHINESE BLUE AND WHITE KRAAK ‘WINGED DRAGON’ DISH WANLI 1573-1620

The centre brightly painted with two striding three-clawed chilong amidst flowers, foliage and precious things, encircled by a wide border of eight large panels containing fruits, fans, and other auspicious things, the reverse inscribed in red ‘A3i’ and with the remains of various paper collectors’ labels, 50cm.

£2,500-3,500

明萬曆青花克拉克應龍紋大盤

110

A CHINESE UNDERGLAZE BLUE AND COPPER RED ‘FOUR SEASONS’ VASE

SIX-CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

The square-section body painted with panels of prunus, peony, lotus and chrysanthemum, 49.5cm.

£1,000-2,000

Provenance: from an English private collection, Hampshire.

Cf. Museum of Fine Art, Boston, accession no.13.1557 for a closely related underglaze blue and red vase.

清康熙青花釉裡紅四季花卉紋方瓶來源：英國漢普郡私人收藏。

111

A CHINESE FAMILLE VERTE ‘FOUR SEASONS’ SQUARE-SECTION VASE KANGXI 1662-1722

Heavily potted with a tapering body, surmounted by a short waisted neck, painted to each side with blossoming flowers representing the four seasons, depicting peony, lotus, chrysanthemum, and prunus, surrounded by butterflies and birds, the unglazed base with a recessed glazed square, 48.7cm.

£1,000-2,000

清康熙五彩錦上添花天圓地方瓶

來源：弗雷德里克·阿道弗斯·柯尼希（Frederick Adolphus Konig，1867-1940）收藏，他是一位德裔美國銀行家，於十九世紀末與其兄弟漢斯·亨利·柯尼希（Hans Henry Konig）移居英國。弗雷德里克於1906年與格達（格特魯德）·馮·夏普伊男爵夫人（Baroness Gerda (Gertrude) von Chappuis）結婚，她是維多利亞女王孫女瑪麗·路易絲公主的侍女。

112

A LARGE CHINESE BLUE AND WHITE ‘DEER AND CRANES’ SCROLL BOWL, JUANGANG KANGXI 1662-1722

The deep body painted with four cranes, one perches on a branch whilst the other three fly above ten deer, which are grazing amongst rockwork and pine trees, all below a narrow band of hatching to the rim, 55.5cm diameter.

£10,000-20,000

Provenance: from an English private collection, purchased c.1958 in West Sussex from a Mrs Betty Bate, an antique dealer, by the current owner’s mother. The scrollbowl formerly the property of General Sir Frederick Ivor Maxse, KCB CVO DSO DL 1862-1958, a senior British Army officer who fought in Sudan under Field Marshal Earl Kitchener of Khartoum, in the Boer War and the First World War. In 1914 he was promoted to Major-General and was appointed to the command of the 18th Division, which he led in France from 1914 to 1917. He retired in 1936 to Little Bognor, West Sussex.

For a comparable Kangxi example in blue and white and underglaze red decorated with fish, see The Staatliche Kunstsammlungen Dresden, accession

General Sir Frederick Ivor Maxse, KCB, CVO, DSO, DL (1862-1958)

Another view no. PO 968 illustrated in Eva Ströber, La maladie de porcelaine: East Asian Porcelain from the Collection of Augustus the Strong, p.54, no.20. See also Bonhams San Francisco, 29th June 2009, lot 8192 for a similar Kangxi jardinière painted with birds and foliage.

清康熙青花鶴鹿同春紋卷缸來源：英國私人收藏。大約1958年，現藏家的母親在西薩塞克斯郡從古董商貝蒂貝特夫人（Mrs. Betty Bate）處購得。此卷缸曾歸英國陸軍高級將領弗雷德裏克伊沃馬克斯爵士（General Sir Frederick Ivor Maxse, KCB CVO DSO DL, 1862-1958）所有。馬克斯爵士曾在蘇丹戰爭中於霍雷肖•赫伯特•基奇納元帥麾下作戰，並參與了布爾戰爭及第一次世界大戰。1914年，他晉升為少將，並被任命為第18師師長，率部於1914年至1917年在法國作戰。1936年，他退役並隱居於西薩塞克斯郡小博格諾（Little Bognor）。

113

A CHINESE BLUE AND WHITE MING-STYLE ‘LOTUS’ VASE, MEIPING

18TH CENTURY

The broad-shouldered tapering body surmounted by a short waisted neck, painted with large lotus blossoms and leafy scrolls between a band of pendent leaves and broad lappets on the shoulder, 31.2cm.

£2,000-3,000

十八世紀青花纏枝蓮紋梅瓶

114

A CHINESE LANGYAO-TYPE FLAMBE-GLAZED BOTTLE VASE 18TH CENTURY

The globular body covered all over in a deep-red streaked glaze draining from the rim, with a wood stand, 37cm. (2)

£2,000-3,000

Provenance: by repute, from the collection of Dorothy and Margaret Pilkington, formerly the director of the Whitworth Gallery.

十八世紀仿郎窯紅釉瓶

來源：Dorothy and Margaret Pilkington收藏，Whitworth Gallery畫廊主理人舊藏（傳）。

115

A CHINESE BLUE AND WHITE OVOID JAR, LIANZIGUAN TRANSITIONAL PERIOD C.1640

The body painted with a pheasant in flight above rockwork and foliage including bamboo, lotus and prunus, the scene contained within finely incised anhua bands, all below a band of pendent leaves,16.7cm.

£800-1,200

明末清初青花花卉紋蓮子罐

116

A NEAR PAIR OF CHINESE BLUE AND WHITE ‘FINGER CITRON AND PERSIMMON’ DISHES

EARLY KANGXI C.1680

Each painted to the centre with three large persimmon fruits and three finger citrons amongst dense leafy tendrils, all below a single line border to the rim, the exterior painted with three further fruit sprays, 34cm. (2)

£2,000-3,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa. Cf. R Krahl and J Ayers, Chinese Ceramics in the Topkapi Saray Museum, vol. III, p. 992, no 2102, accession no. TKS 15/4176 for a related example. See also The Victoria and Albert Museum, accession no. C.328-1951 for another similar example.

Both persimmon and finger citron are symbolic fruits associated with good fortune, prosperity, and blessings. The finger citron is also known as the ‘Buddha’s hand’ citron, the name deriving from its supposed similarity to the idealised, long and slender, lotus-formed fingers of Buddha. The hand-shaped form is linked to both blessings and the gesture of giving and receiving fortune. The persimmon symbolises good fortune, happiness, and success because its pronunciation is similar to the word, shi, which means ‘things’ or ‘affairs’.

清康熙早期青花事事如意盤一對

來源：南非Mark及Elizabeth Harding 收藏。

117 A PAIR OF CHINESE BLUE AND WHITE MING-STYLE DISHES

SIX-CHARACTER QIANLONG SEAL MARKS AND OF THE PERIOD 1736-95

Each painted with five shou characters within lotus blooms and surrounded by scrolling leafy tendrils, the reverse painted with three sprigs of lingzhi, 20.5cm. (2)

£1,000-2,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

清乾隆青花折枝蓮花紋盤一對

《大清乾隆年製》青花篆書款

來源：南非Mark及Elizabeth Harding 收藏。 116

118

TWO PAIRS OF CHINESE BLUE AND WHITE ‘FIGURAL’ PLATES KANGXI 1662-1722, ONE PAIR WITH KANGXI MARKS

One pair of plates decorated with figures on horseback accompanied by attendants walking behind; the other pair painted with a dignitary greeting kneeling ladies, probably Wang Baochuan, with Chenghua marks, 27cm. (4)

£2,000-3,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

清康熙青花人物故事紋盤

一組四件

《大清康熙年製》及《大明成化年製》青花楷書款

來源：南非Mark及Elizabeth Harding 收藏。

119

A FINE CHINESE BLUE AND WHITE ‘FIGURAL’ SLEEVE VASE TRANSITIONAL PERIOD C.1640

The cylindrical body finely incised with two floral anhua bands, rising to a waisted neck with a slightly everted rim decorated with borders of plantain leaves, painted with a narrative scene depicting an official and an attendant offering an osmanthus spray to a mother and son, surrounded by a troop of attendants bearing a parasol and polearms, 44.3cm.

£15,000-25,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa. The fragrant flower guihua, osmanthus, blooms during the eighth lunar month, coinciding with the Mid-Autumn Festival. It is also a homophone for nobility. The scene on this vase relates to the cherished custom of zhegui, which literally means picking an osmanthus branch. The phrase originates from a legend of a magnificent osmanthus tree flourishing in the Lunar Palace and it signifies an official’s blooming career and symbolises the heartfelt wish for gaining noble status and success in the Imperial exams.

明末清初青花折桂高中圖筒瓶

來源：南非Mark及Elizabeth Harding 收藏。

120

A FINE CHINESE BLUE AND WHITE MING-STYLE ‘LOTUS’ VASE 18TH CENTURY

The body painted with a continuous design of lotus amongst scrolling leafy tendrils, all below two bands of lappets to the waisted neck, 45.5cm.

£3,000-5,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

十八世紀青花纏枝蓮紋瓶

來源：南非Mark及Elizabeth Harding 收藏。

121

A CHINESE UNDERGLAZE BLUE AND RED AND SLIP-DECORATED BALUSTER JAR AND COVER KANGXI 1662-1722

Finely decorated with four pairs of cranes amidst lotus in different stages of bloom, issuing from large leafy stems and water weeds, the slip-decorated cranes and lotus flowers feature lightly incised details on the plumage and petals, all beneath sprays of chrysanthemum and cherry blossoms, the domed cover similarly decorated with lotus in full bloom, and the base with an artemisia mark. 40.5cm overall. (2)

£8,000-12,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa. Cf. Christie’s New York, 22rd March 2007, lot 328 for an underglaze blue and red, celadon and slip-decorated jar and cover.

The lotus, a revered theme in Chinese literati art, was likened by Song dynasty philosopher Zhou Dunyi to the scholar-gentleman, symbolising purity despite adversity. During the Ming-Qing transition, this imagery resonated with scholar-officials, reflecting resilience and hope. On the vase, the lotus, lian and reed, lu create a rebus for yilu lianke, a blessing for success in the Civil Service examinations.

清康熙青花釉裡紅一鷺蓮科將軍罐

來源：南非Mark及Elizabeth Harding 收藏。

122 A CHINESE BLUE AND WHITE ‘DEER AND CRANES’ VASE AND COVER KANGXI 1662-1722

The baluster-shaped body painted with three deer running beneath a large pine tree in a rocky landscape, with two cranes to the shoulder and a further three to the cover, 46cm. (2)

£5,000-10,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

清康熙青花鶴鹿同春將軍罐

來源：南非Mark及Elizabeth Harding 收藏。

A LARGE AND IMPRESSIVE CHINESE FAMILLE VERTE BALUSTER VASE AND COVER KANGXI 1662-1722

The body painted with a continuous hunting scene depicting equestrian figures and dogs chasing deer, hares and birds in a rocky landscape, the domed cover surmounted by a lotus bud finial, the base with a paper label for ‘Spink & Son’, 58cm. (2)

£8,000-12,000

Provenance: from a European private collection, previously Spink & Son, Summer Exhibition of Chinese Art, 1999, no.30.

Cf. Sotheby’s New York, 1st February 2023, lot 230 for a related example with a similar scene, see also Christie’s London, 16th November 1999, lot 302 for another similar vase and cover.

清康熙五彩狩獵圖將軍罐

來源：歐洲私人收藏，之前為Spink & Son，中國藝術品夏季展

覽，1999年，編號30。

Spink Exhibition Catalogue No.30

124

A CHINESE GREEN-ENAMELLED ‘DRAGON’ JAR

SIX-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95

The ovoid body rising to a rounded shoulder and a short straight neck, painted in green enamel with two five-clawed dragons chasing flaming pearls amongst clouds and stylised flames, beneath a border of the Eight Buddhist Emblems, Bajixiang, around the shoulder and a band of lotus lappets encircling the base, 20cm.

£5,000-8,000

The design seen on the jar presented here represents one of the archetypal examples of Imperial porcelain. The pattern first appeared during the Chenghua period 1465-87 and remained popular throughout the Ming and Qing dynasties. For a similar Qianlong example see the Tianminlou Collection, illustrated in Chinese Porcelain: The SC Ko Tianminlou Collection, vol.1, p.156, pl.114.

清乾隆綠彩趕珠龍紋罐

《大清乾隆年製》青花篆書款

125

A CHINESE BLUE AND WHITE ‘DRAGON’ DISH

SIX-CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

Painted to the interior roundel with a writhing five-clawed scaly dragon in pursuit of a flaming pearl amongst flames, the exterior with a further two striding dragons chasing pearls amongst flames, 21cm.

£3,000-5,000

Provenance: from an English private collection, London, purchased from Bonhams Knightsbridge, 5th November 2018, lot 31, a copy of the invoice is available.

清康熙青花趕珠龍紋盤《大清康熙年製》青花楷書款來源：英國倫敦私人收藏，2018年11月5日邦瀚斯劍士橋編號31（附發票復印件）。

A RARE CHINESE GREEN-ENAMELLED ‘DRAGON’ DISH

SIX-CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722

With shallow rounded sides raised on a slightly tapering foot, painted in green enamel within underglaze blue outlines, with a scaly five-clawed dragon in pursuit of a flaming pearl amidst flames, the reverse with a pair of further dragons striding amongst flames, 21.2cm.

£15,000-25,000

Provenance: from an English private collection, London, previously Sotheby’s Hong Kong, 24th November 1987, lot 226, a copy of the invoice is available.

Cf. Keramik Museum Princeshoff, accession no. NO 01122 for a closely related dish. See also Sotheby’s, The Pilkington Collection, 6th April 2016, lot 52 for another similar dish.

清康熙綠彩趕珠龍紋盤

來源：香港蘇富比1987年11月24日編號126，之後英國倫敦私人收藏（付發票復印件）。

Sotheby’s Hong Kong 24th November 1987, lot 262

127 A RARE CHINESE BLUE AND WHITE DOUBLE-GOURD ‘NINE DRAGON’ VASE SIX-CHARACTER JIAQING SEAL MARK AND

OF THE PERIOD 1796-1820

The large lower bulb of globular form rising to a curved waist, the upper bulb of slightly compressed globular form rising to a circular mouth, finely painted with nine five-clawed dragons chasing a flaming pearl amongst flames and swirling clouds and above turbulent rolling waves around the foot, all below a ruyi-head border to the neck, 27cm.

£10,000-20,000

Provenance: from the collection of Sir Richard Henry Chenevix Trench (1876-1954), and thence by descent. After joining the British Army and receiving training at the Royal College at Sandhurst, Trench entered the Indian Army in January 1896, later gaining the rank of Lieutenant Colonel. In 1901, he joined the Indian Political Department, serving as Resident at Mewar and later in Kashmir, as the first Assistant to the Resident in various places across India. In January 1926, Trench’s services were lent to the Government of Hyderabad. During the reign of Nizam VII, he was appointed as the Revenue Member and served for five years in Hyderabad. He was the first British officer to serve the Executive Council in Hyderabad. For his service he was appointed an O.B.E. in 1919 and was knighted in 1932.

Jiaqing vases of this type are extremely rare and only four other comparable examples are known, see Sotheby’s Hong Kong, 31st October 1974, lot 199, Sotheby’s Hong Kong 11th April 2008, lot 2831, Sotheby’s London, 7th November 2018, lot 70 and Hôtel Drouot, Gros & Delettrez, 22nd April 2022, lot 49 for similar Jiaqing examples.

清嘉慶青花九龍紋葫蘆瓶

《大清嘉慶年製》青花篆書款來源：理查亨利切內維克斯特倫奇爵士（1876-1954）收藏，之後由家族傳承。

Sir Richard Henry Chenevix Trench (1876-1954)

128

A FINE AND RARE CHINESE SACRIFICIAL-BLUE GLAZED DOUBLE-GOURD VASE

SIX-CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35

The vase with a compressed globular lower bulb rising to a slightly smaller globular upper bulb with a flared rim, the exterior covered in a sacrificial-blue glaze stopping short of the unglazed footrim which encircles the countersunk base, with a paper label reading ji xiang, 18.5cm.

£80,000-100,000

Provenance: purchased in Hong Kong in the 1990s.

Cf. Hanhai Auction, Beijing, 17th December 2007, lot 2377 for a comparable Yongzheng teadust-glaze example.

The unctuous cobalt blue glaze seen on the current vase is sometimes referred to as ‘sacrificial blue’. The glaze was first produced in Jingdezhen during the Yuan dynasty, becoming especially popular from the Ming dynasty onwards. In 1369, the Hongwu Emperor decreed that porcelain wares should be used for official sacrifices at the Imperial altars. Each altar was associated with a specific colour of porcelain, blue was used on the Altar of Heaven, red was used on the Altar of the Sun, yellow on the Altar of Earth, and white on the Altar of the Moon. During the Qing dynasty, sacrificial-blue glazed porcelains were also made as decorative furnishings for the Imperial Palace.

清雍正霽藍釉葫蘆瓶

《大清雍正年製》青花楷書款

來源：1990年代購於香港，附標簽‘吉祥’ 。

LOTS 129, 130 AND 251-260

FROM THE COLLECTION OF

WILLIAM CLEVERLEY ALEXANDER

(1849-1916)

William Cleverley Alexander was one of the most noted connoisseurs of his day. He was an accomplished draughtsman, a member of the Burlington Fine Arts Club and a founding member of the National Art Collections Fund, and was renowned for his taste in Western paintings and Asian works of art. This acclaim was noted in William Alexander’s obituary written in 1916 by the British artist and critic Roger Fry who noted the remarkable good taste which guided Alexander’s acquisition of the pieces in his collection. The collection was started in 1867 and included items from the Tang, Song, Ming and Qing dynasties. He loaned items from his collection to a number of important exhibitions, including the Burlington Arts Club exhibitions in 1895, 1896 and 1910, and the ground-breaking exhibition of Chinese Applied Art held at the City of Manchester Art Gallery in 1913. He was also an early patron of James McNeill Whistler. A large portion of his collection of Chinese ceramics was sold by Alexander’s daughters at Sotheby’s in 1931 and an important Yuan dynasty gourd-shaped vase was sold in these rooms in 2005. For further details about The Alexander Collection see Hobson, Rackham and King, Chinese Ceramics in Private Collections, where 58 pieces from the collection are illustrated.

威廉克萊弗利亞歷山大（William Cleverley Alexander，1849-1916）是當時藝壇的翹楚，以其卓越的藝術眼光聞名於世。他不僅是一位技藝精湛的繪圖師，更是伯靈頓美術俱樂部的成員，並參與創立了國家藝術收藏基金。他對西方繪畫與亞洲藝術的鑒賞力，尤其為人所稱道。1916年，英國藝術家兼評論家羅傑弗萊（Roger Fry）在為他撰寫的訃告中，特別讚揚了亞歷山大收藏中的非凡品味，稱其選物之精妙，無一不顯其獨到眼光。

亞歷山大的收藏始於1867年，涵蓋了唐、宋、明、清各個朝代的藝術珍品，件件皆為時代精華。他多次將珍藏借展於重要展覽，如 1895年、1896年及1910年的伯靈頓美術俱樂部展覽，更在1913年曼徹斯特市藝術畫廊舉辦的「中國應用藝術展」中，以其珍品驚艷四座。此外，他也是畫家詹姆斯麥克尼爾惠斯勒（James McNeill Whistler）的早期贊助人，助其藝術事業蒸蒸日上。亞歷山大去世後，他的女兒於1931年將大批中國陶瓷珍藏委託蘇富比拍賣，其中一件元代葫蘆瓶更於2005年再度現身拍場，引發眾多藏家競逐。若想深入了解亞歷山大收藏的風采，可參閱霍布森（Hobson）、拉克姆（Rackham）與金（King）合著的《私人收藏中的中國陶瓷》（Chinese Ceramics in Private Collections），書中收錄了58件珍藏的圖錄，供後人賞鑒。

129

A RARE CHINESE YELLOW-GLAZED ‘FU SHOU’ EWER AND COVER KANGXI 1662-1722

The flattened body moulded as a combined character of fu and shou, applied with a loop handle and a slender tapering spout, the cover surmounted by a blue-glazed Buddhist lion finial, 26.3cm. (2)

£4,000-6,000

Provenance: from the collection of William Cleverley Alexander (1849-1916), purchased from W. Dickinson & Son, 2nd July 1907 for £45, a copy of the invoice is available.

Cf. The Victoria and Albert Museum, accession no. C.1263-1910 for a related Kangxi winepot in the shape of a shou character in yellow enamels from the Salting Bequest.

清康熙黃釉福壽紋獅鈕執壺

來源：威廉克萊爾利亞歷山大（1849-1916）收藏，1907年7月2日以

£45的價格購於W.Dickinson & Son（附發票復印件）。

Dickinson & Son invoice 2nd July 1907

Drawing by WC Alexander

130

A RARE CHINESE UNDERGLAZE COPPER RED ‘SQUIRREL AND VINE’ MEIPING KANGXI 1662-1722

The finely potted vase decorated around the body with two squirrels hiding amongst a fruiting grapevine, between bands of stylised lotus flowerheads and leaf scrolls, the short flared neck with three flower motifs, 26.5cm.

£20,000-30,000

Provenance: purchased from John Audley, March 1913, by John Sparks, and then the collection of William Cleverley Alexander (1849-1916), purchased from John Sparks, London, 9th June 1913 for £30, stock number 4397, a copy of the invoice is available.

Cf. The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglaze Red (iii), p.180, no.164, p.181, no.165 and p.189, no.173 for related vases painted in underglaze red dated to the Kangxi and Qianlong periods.

For further information about John Audley, see R Davids & D Jellinek, Provenance, p.52.

清康熙釉裡紅松樹葡萄梅瓶

Drawing by WC Alexander John Sparks invoice 9th June 1913

來源：1913年由John Sparks購於John Audley，之後威廉克萊爾利亞歷山大（1849-1916）收藏，1913年6月9日以£30價格購於倫敦John Sparks，編號4397（附發票復印件）

FINE JAPANESE ART 日本美術

LOTS 200-265

TUESDAY 20TH MAY 2025

AT APPROX. 1.30pM

FOLLOWING FINE CHINESE ART

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CHRONOLOGY OF JAPAN

Jōmon Period

ca.10,000 BC-ca.300 BC

Yayoi Period

ca.300 BC-552 AD

Asuka Period 552-645

Nara Period 645-794

Heian Period 794-1185

Kamakura Period 1185-1333

Muromachi Period 1333-1573

Namboku-Chō Period 1336-1392

Momoyama Period 1568-1615

Bunroku Era 1592-1596

Keicho Era 1596-1615

Edo Period 1615-1868

Kan’ei Era 1624-1644

Kanbun Era 1661-1673

Genroku Era 1688-1704

An’ei Era 1772-1781

Tenmei Era 1781-1789

Kansei Era 1789-1801

Kyowa Era 1801-1804

Bunka Era 1804-1818

Bunsei Era 1818-1830

Tenpo Era 1830-1844

Koka Era 1844-1848

Kaei Era 1848-1854

Ansei Era 1854-1860

Man’ei Era 1860-1861

Bunkyu Era 1861-1864

Genji Era 1864-1865

Keio Era 1865-1868

Meiji Era 1868-1912

Taisho Era 1912-1926

Showa Era 1926-1989

Heisei Era 1989-2019

Reiwa Era 2019-present

200 A JAPANESE INLAID-IRON CYLINDRICAL BOX AND COVER BY ASAI OF KYOTO (DATES UNKNOWN) MEIJI ERA (1868-1912)

The cylindrical body raised on four spreading feet; decorated all-over with a dense design rendered in gold nunome-zogan and silver takazogan on an iron base; the body with four shaped panels depicting huts and pagodas in verdant landscapes, one with Mount Fuji in the background; the panels framed by foliate scrolls, brocade designs and diaper; the cover with three roundels enclosing two dragons and a ho-o bird or phoenix bordered by clouds, and surmounted by a finial simulating a tied ribbon with tassels; the base with concentric bands of further geometric and foliate patterns and the interior gilded; the base signed Kyoto Asai sei, 12cm. (2)

£2,000-3,000

See Bonhams London, 6 November 2014, lot 362 for an inlaid-iron tea kettle by Asai of Kyoto also decorated with landscapes.

201

A JAPANESE INLAID-IRON DISH BY KOMAI OTOJIRO OF KYOTO (1842-1917) MEIJI ERA (1868-1912)

Decorated with the sankin-kotai procession of a daimyo and his retinue to Edo, the procession of samurai depicted in diminishing sizes amongst pine trees to create an impression of perspective; some on horseback, others on foot, carrying a palanquin, banners, boxes and other paraphernalia; all rendered in gold, silver and copper on the black ground; the base with the dragonfly mark for Komai Otojiro and sealed Nihon koku Kyoto ju Komai, 18.5cm.

£1,500-2,000

200 mark

201 mark

202

A FINE JAPANESE MINIATURE SHODANA (DISPLAY CABINET) BY

FUJII YOSHITOYO (B.1868) MEIJI ERA

(1868-1912)

The cabinet comprising two shelves, two drawers and a pair of hinged doors enclosing a further three drawers with chrysanthemum-shaped handles; decorated all-over with dense designs of flowers and brocade patterns, with seven panels to the front and reverse depicting shrines, pavilions, thatched buildings and ships sailing close to the shore, the side panels depicting a peacock and two chickens amongst foliage and rockwork, the interior of the hinged doors decorated with two scaly dragons, one with a sacred jewel; the base with a ten-character mark reading Dai Nihon Tokyo Fujii Yoshitoyo saku, 14cm x 16.5cm x 7cm. (6)

£6,000-8,000

Fujii Yoshitoyo, born in Kyoto, was the founder of the Fujii Damascene Company. He was most famous for his 1/50 scale model of the Kinkakuji temple in Kyoto, sent to the Japan-British Exhibition in 1910. It is said to have taken him four years to complete and cost him 15,000 yen.

202 mark

202 open

203 A JAPANESE BRONZE OKIMONO OF A MAN WITH A FAN BY THE MIYAO EISUKE COMPANY OF YOKOHAMA MEIJI ERA (1868-1912)

The man dressed in robes with designs of crane-shaped mon and flowers, the details highlighted in gilt, standing with his right arm raised holding a large Okame mask fan, his left down by his side carrying a box; signed in a gilt rectangular reserve Miyao with the seal Ei; attached to a wood stand decorated in gold takamaki-e; the figure, 18cm, 21.5cm overall. (2)

£1,500-1,800

Under its founder Miyao Eisuke, The Miyao Company of Yokohama became one of the most prolific workshops of the Meiji era, specialising in ornamental cast-bronze sculptures mainly for the export market.

204 A JAPANESE BRONZE OKIMONO OF A FALCONER BY THE MIYAO EISUKE COMPANY OF YOKOHAMA MEIJI ERA (1868-1912)

The figure dressed in robes decorated with flower-shaped mon, with a falcon sitting obediently on his right hand as he gazes to the left, his left hand holding a baton; signed to the reverse in a gilt rectangular reserve Miyao with the seal Ei; attached to a wood stand decorated in gold takamaki-e; the figure, 15cm, 19.5cm overall.

£1,500-1,800

Takagari is the Japanese word for falconry. It was a status sport, reserved for wealthy nobles who could afford to buy and care for the expensive birds, with military connotations, as a visual representation of strength and one’s ability to harness the power and beauty of nature.

205

A JAPANESE BRONZE OKIMONO OF A LANTERN HANGER BY THE MIYAO EISUKE COMPANY OF YOKOHAMA MEIJI ERA (1868-1912)

The figure dressed in robes decorated with flower-shaped mon and wearing a hat, his right hand holding a fan and his left raising a lantern adorned with three characters, the details picked out in gilt; signed Miyao to the reverse; attached to a wood stand decorated in gold takamaki-e with a ho-o bird and karakusa scrolls; the figure, 16.3cm, 21cm overall.

£1,500-1,800

203 mark

mark

A FINE AND IMPRESSIVE THREE-VASE GARNITURE BY THE MIYAO EISUKE COMPANY OF YOKOHAMA MEIJI ERA (1868-1912)

Composed of three parcel-gilt bronze vessels, two a pair of baluster vases and the third of rounded form with dragon handles and a cover; all three decorated with panels of samurai in various outdoors settings to one side, the other with birds in flight or wading amongst lotus; all reserved on the same leiwen archaistic pattern and with gilded formal borders; the central vase raised on a base of flowering prunus branches modelled in the round, and the cover topped with the figure of a fisherman holding a net; all three vessels signed Miyao; 52cm and 36cm. (5) WITHOUT RESERVE

£12,000-15,000

Provenance: from the collection of Aubrey Furniss (b.1932), and thence by descent. During his life, Furniss amassed a large and eclectic collection including English miniatures, gold coins, stamps, Doulton, Satsuma, Japanese bronzes and Chinese snuff bottles.

207 A JAPANESE INLAID-BRONZE VASE

MEIJI ERA (1868-1912)

The tall baluster body raised on a flared foot, with a straight neck and monster-shaped handles; decorated to one side with a phoenix and paulownia and the reverse with another bird perched amongst maple leaves; all rendered in mixed metals including silver, gold and shakudo; 31.2cm.

£800-1,200

208

A TALL JAPANESE BRONZE VASE BY KIMURA TOUN (MURATA SEIMIN II) MEIJI ERA (1868-1912)

Modelled as a woven ikebana basket on four bamboo-form feet, the body decorated with insects including spiders, crickets, beetles, grasshoppers and butterflies, the two side handles modelled as bamboo stems, the base signed Kimura Toun Chu, 33cm.

£1,500-1,800

During the later years of his life, Kimura Toun became particularly popular in the West, notably amongst Parisian Japoniste circles. The famous French writer and collector Edmond de Goncourt (1822-1896) referred to him as the ‘soft bronze artist’, and examples of his work can be found in the Musée Cernuschi in Paris, acquired in the 1870s.

208 mark

209

A PAIR OF JAPANESE INLAID-BRONZE VASES

MEIJI ERA (1868-1912)

Of rectangular section with scrolling side handles; both decorated with shaped panels containing insects fluttering amongst leafy persimmon, hibiscus and peony branches, below diaper bands to the rims, all rendered in silver, copper and gold inlaid on the dark bronze ground, both 18.2cm. (2)

WITHOUT RESERVE

£500-800

210

A JAPANESE INLAID-BRONZE KORO AND COVER BY THE INOUE COMPANY OF KYOTO

MEIJI ERA (1868-1912)

The body of the incense burner raised on three tall feet in the form of mythological beasts; decorated in relief and inlaid in bronze, silver, copper and gold with three swallows in flight between leafy branches of wisteria; the domed reticulated cover similarly worked with butterflies, surmounted by a knop in the form of a chrysanthemum bud; signed to the base with a seal reading Inoue sei, 13.3cm. (2)

£1,500-1,800

210 mark

211 A LARGE JAPANESE BRONZE KORO (INCENSE BURNER) MEIJI ERA (1868-1912)

The two-tiered cylindrical body supported on three shaped feet and raised on a circular base; the side applied with a depiction of Monju Bosatsu on the back of a large lion dog, the reverse with Fugen Bosatsu on an elephant; with winged dragon-shaped handles and the cover topped with the legendary warrior Yamato Takeru and a dragon, the prince sat on a rocky outcrop and gesturing a mudra; the base signed Seifusai chu with kao, 61.5cm overall. (3)

£800-1,200

See Christie’s, New York, 15th September 1999, lot 181 for another bronze koro by Seifusai.

212 A JAPANESE BRONZE OKIMONO BY YOSHIYAMA / HŌZAN MEIJI ERA (1868-1912)

The charming model depicting a child cradling a small chick, a larger chicken following him; signed at the back; raised on a fitted wood stand; 37.5cm overall. (2)

£500-800

211 mark

212 mark

A JAPANESE SILVER OKIMONO OF TWO WAGTAILS BY GYŌUN (B. C.1870)

TAISHŌ OR SHŌWA, EARLY 20TH CENTURY

The two birds depicted perching on a base shaped as logs lashed together, with details picked out in gilt; the reverse with a rectangular plaque signed Gyōun saku, 41cm. (3)

£1,800-2,200

213 mark

214 A JAPANESE BRONZE OKIMONO OF A MINOGAME BY ICHIOKA SHIUN (B.1879) MEIJI PERIOD (1868-1912)

The mythical turtle depicted with long seaweed growing from the top of its shell and trailing behind it, its head slightly turned to the right; the underside realistically cast and inscribed with a three-character mark reading Shiun, 15.5cm.

£500-800

215 A JAPANESE BRONZE OKIMONO BY SEIKO 20TH CENTURY

The charming model depicting a puppy playfully tugging at the ties of a straw hat, its paw resting gently on the inside; signed Seiko saku, 20cm.

£500-800

214 mark

216

A SMALL JAPANESE SILVER JIZAI OKIMONO (ARTICULATED MODEL) OF A SPINY LOBSTER 19TH OR 20TH CENTURY

Naturalistically modelled with a fully articulated body, the surface of the exoskeleton intricately worked; the long antennae, eyes and limbs all fully articulated, signed Hiroyoshi underneath, in a tomobako wood box, 21cm. (2)

£500-1,000

217

A JAPANESE SILVER KODANSU BY MIYAMOTO MEIJI ERA (1868-1912)

The small chest of typical rectangular form, the sides decorated with two swallows, one in flight and the other perched on a branch amongst flowering sprays of chrysanthemum, prunus, rose and branches of bamboo; the hinges with scrolling tendrils and with a trefoil loop handle to the top, the door with a chrysanthemum-shaped handle opening to reveal three drawers in lacquer with further chrysanthemum-shaped handles, lined in green velvet; the base stamped jungin (pure silver) and Miyamoto, 13.2cm x 10cm x 11.5cm. (4)

£1,800-2,200

216 mark

217 mark

218 A JAPANESE INLAID-SILVER AND SHIBUICHI VASE BY MASACHIKA

MEIJI ERA

(1868-1912)

The pear-shaped body set on a gently splayed foot with a silver base, the cylindrical neck in silver simulating a running glaze draining from the everted rim; the body decorated with a sparrow in flight and fruiting branches of persimmon, inlaid in gold and shakudo; the side signed Masachika koku, 18.2cm.

£1,200-1,500

219 A FINE JAPANESE ENAMELLED SILVER VASE BY YUSHIN MEIJI ERA (1868-1912)

The slender trumpet-shaped body with a foliate foot and rim, elegantly decorated at the waist with a band of shippo-tsunagi cash design with four-petalled flower details, the body embellished with floral scrolling tendrils rendered in colourful enamels, signed Yushin koku underneath, 21.7cm.

£1,500-1,800

220 A FINE JAPANESE CLOISONNE VASE ATTRIBUTED TO INABA NANAKO MEIJI ERA (1868-1912)

Of bulbous form, elegantly decorated with two large butterflies and a smaller one in flight, colourfully depicted in polychrome enamels and gold and silver wires on a striking teal ground; with formal borders above the foot and to the neck; the foot and rim mounted in silver and the inside of the rim and base gilded, 10.4cm; together with a Spink & Son Ltd box and a copy of the receipt. (3)

£1,000-2,000

Provenance: purchased from Spink & Son Ltd, 9th November 1990.

Published: Japanese Art at Spink, Autumn 1990, p.33 no.56.

220 Spink & Son Ltd catalogue, 1990

LOTS 221-222

FROM THE COLLECTION OF CAMILLE GORGÉ, SWISS AMBASSADOR TO JAPAN

CAMILLE GORGÉ (1893-1978)

Gorgé was Switzerland’s Ambassador to Japan between 1940 and 1945, at a time when most foreign diplomats had left the country. The Swiss Government asked him to stay to maintain the safety of two hundred compatriots still living there. Gorgé navigated the delicate situation despite constant threats of arrest and mounting acts of xenophobia. He also served as mediator between the Japanese Empire and the Allied Powers on matters of common interest. This involved arranging exchanges of civilians, diplomats, and POWs, and negotiating on behalf of over twenty Allied countries, including the UK and the USA. His diary, which he kept during the entirety of this difficult posting, has since been published and makes for compelling reading.

TWO SIGNED OFFICIAL PORTRAITS OF THE JAPANESE EMPEROR AND EMPRESS SHŌWA ERA, 20TH CENTURY

Depicting Hirohito, Emperor Shōwa (1901-89) and Nagako, Empress Kōjun (1903-2000); the gelatine silver prints each signed in kanji; the Emperor’s portrait mounted in a silver presentation frame marked ‘950 Sterling K. Uyeda’; both photographs 24cm x 18cm, the frame 34.3cm x 26.7cm. (2) £2,000-3,000

Provenance: from the collection of Camille Gorgé (1893-1978), Swiss Ambassador to Japan between 1940-45, and thence by descent.

222

A LARGE AND IMPRESSIVE JAPANESE CLOISONNE VASE BY

TAMURA MEIJI ERA (1868-1912)

The double-handled body raised on a flaring foot and with a wide neck; elegantly decorated with two large medallions enclosing peacocks to one side and cranes to the reverse; with further panels of shishi playing with brocade balls to the neck, all reserved on a complex ground of shippo-tsunagi cash design, flowers and scrolling tendrils, and with formal bands of lappets to the foot; the base with an elaborate mark reading ‘Respectfully made by Tamura’; with a wood stand; the vase 46cm, 56cm overall. (2)

£3,000-5,000

Provenance: from the collection of Camille Gorgé (1893-1978), Swiss Ambassador to Japan between 1940-45, and thence by descent.

J Earle, Meiji no Takara, Treasures of Imperial Japan, the D. Khalili Collection, Enamel, vol.III, nos.71, for a related vase of the same shape by Tamura.

222 mark

223

A JAPANESE KO-IMARI EARLY-ENAMELLED JAR

EDO PERIOD (1615-1868), 17TH CENTURY

The bulbous body with a short straight neck, decorated in red and green enamels with a fantastical bird perched on a weeping willow; with red concentric rings to the neck and above the foot, 18.5cm.

£400-600

224

A JAPANESE EARLY-ENAMELLED BOTTLE VASE

EDO PERIOD (1615-1868), 17TH CENTURY

The tall pear-shaped body raised on a short straight foot; painted in yellow, green and aubergine enamels with stylised peonies and other flowers issuing from craggy rockwork, the reverse with butterflies; 29cm.

£2,000-3,000

225 A JAPANESE AI-KAKIEMON DISH

EDO PERIOD (1615-1868), 17TH/18TH CENTURY

The decagonal body decorated in underglaze blue with a lady and her attendant in a river landscape, with palm trees beside them and a flowering prunus tree above; a man observing them from a small boat moored to the side; the rim painted with a border of lappets and with a brown edge; the reverse with karakusa scrolls and a fuku mark to the base, 33cm; together with another dish of the same design. (2)

£2,000-3,000

Cf. Akinori Hiwatashi, Kyushu Ceramics

Museum exhibition of The Shibata Collection, Part 5, no. 95, p.177 for a related dish.

226 A LARGE JAPANESE IMARI BOWL AND TWO COVERS EDO PERIOD

(1615-1868),

18TH CENTURY

Typically painted in underglaze blue, gilt, red and orange enamels; all three decorated with pavilions in luxuriant landscapes, flowers, fruiting sprays, phoenix and other formal designs; 44cm max. (3)

£1,000-2,000

Cf. C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.107, no.111 for another example of a large Imari covered bowl in Twickel Castle, Delden.

LOT 227

FROM THE COLLECTION OF HELEN ESPIR

227 A JAPANESE KAKIEMON-STYLE ENAMELLED VESSEL THE PORCELAIN EDO PERIOD

(1615-1868), LATE 17TH CENTURY

Of tall square-section form, the top ridged and with a circular aperture; the sides decorated with a man resting, smoking a pipe beside bundles of twigs, a large rock beside him issuing many flowers and leaves; the other faces with birds in flight, further flowers, one lion dog and a phoenix; all rendered in colourful enamels, some added later; the base with a label reading ‘Stockspring Antiques, The Dragon and the Quail’, 18.2cm. WITHOUT RESERVE

£400-600

Provenance: from the Helen Espir Collection. Helen Espir is a renowned collector and connoisseur of Chinese and Japanese ceramics, with a particular interest in European-decorated pieces. Her book ‘European Decoration on Oriental Porcelain, 1700-1830’ is viewed as the reference on the subject. Woolley & Wallis offered the collection for sale on 12th November 2014, in a dedicated auction which attracted buyers from around the world.

Exhibited: Stockspring Antiques, The Dragon and the Quail, London, 2000, n.37.

The vessel is probably adapted from a tokkuri (sake bottle), or a water bucket.

Helen Espir at the launch of her book in 2005

228

A TALL SATSUMA VASE BY OKAMOTO RYOZAN FOR THE YASUDA COMPANY

MEIJI ERA (1868-1912)

Painted with a central band of ten figures, including three children and two beauties, at play within a verdant river landscape with pavilions and thatched buildings in the background, all between bands of millefleurs design enclosed by bamboo fences to the neck and lower body, the rim and foot with borders of brocade patterns, the base signed Dai Nihon Kyoto Tojiki Goshigaisha Ryozan beneath the Yasuda Company trade mark, 24cm.

£800-1,200

229

A PAIR OF JAPANESE SATSUMA VASES BY KOSHIDA MEIJI ERA (1868-1912)

Both with a tall baluster body raised on a short flared foot, each delicately painted with a procession of many worshippers, possibly for the Kenda Matsuri near Tokyo; some pulling large floats topped with figures of various Shinto deities; with borders of brocade patterns and key fret; both with a mark to the base for Koshida, 21.5cm. (2)

WITHOUT RESERVE

£1,200-1,500

Provenance: from the collection of Aubrey Furniss (b.1932), and thence by descent. Purchased from Chancery Antiques, London, 3rd April 1997; a copy of the invoice is available. During his life, Furniss amassed a large and eclectic collection including English miniatures, gold coins, stamps, Doulton, Satsuma, Japanese bronzes and Chinese snuff bottles.

230 A LARGE JAPANESE SATSUMA DISH BY OGURUSU

MEIJI ERA (1868-1912), 20TH CENTURY

The well richly painted with three long rectangular panels, the left one enclosing a white fantastical bird perched on rockwork amongst peonies, wisteria, and other blossoms; the central panel depicting a kimono-clad beauty with her attendants observed by onlookers, with prunus blossoms above; the third with worshippers on the steps of a pavilion, possibly the Tōshō-gū Shinto shrine located in Nikkō; all three reserved on a ground of shippo-tsunagi coin designs, stylised chrysanthemum, prunus flowers, and elaborate brocade patterns; signed Ogurusu tsukuru, 28.5cm.

£600-800

231 A SMALL JAPANESE SATSUMA BOWL BY KINKOZAN

MEIJI ERA (1868-1912)

The rounded sides decorated all-over to the interior and exterior with the ‘Thousand Faces’ pattern, with details of the figures’ clothes and accoutrements picked out in gilt; the foot rim with a border of brocade pattern, the base signed Kinkozan, 15.2cm.

£800-1,200

231 two views

231 mark

230 mark

A LARGE JAPANESE BLUE AND WHITE VASE BY MAKUZU KŌZAN

MEIJI ERA (1868-1912), C.1900

(1842-1916)

Of tall baluster shape, with a flared foot and a wide mouth, decorated in underglaze cobalt blue with a continuous landscape, with many pine trees disappearing in the distance and mountains towering above; the base with a large mark reading Makuzu gama Kōzan sei, 58.5cm.

£2,500-3,500

Cf. O Impey and J Seaman, Japanese Decorative Arts of the Meiji Period, p.24, no.10, for another baluster vase by Kōzan in the collection of the Ashmolean Museum, also painted in underglaze blue with trees and mountains. The author notes that ‘Kōzan was making very large vases from the 1890s onwards’. Also, see K Emerson-Dell, Bridging east and west: Japanese ceramics from the Kōzan studio, Selections from the Perry Foundation, for other examples of large underglaze blue and white vases with landscapes. The author points out that these oversized pieces were often selected to represent the best of Japanese porcelain at International Exhibitions at the turn of the 19th century. See p.14 for a similar vase at the Walters Art Gallery, originally purchased at the Panama-Pacific International Exposition, San Francisco, 1915.

232 mark

233

A TALL JAPANESE LACQUERED WOOD ZUSHI (PORTABLE SHRINE)

EDO PERIOD (1615-1868)

The case lacquered black with a domed top and four bracket feet, the metal fittings decorated with scrolling foliate motifs; the doors opening to reveal the Amida Triad comprising of Amida Buddha, Kannon Bosatsu and Seishi Bosatsu, each raised on lotus pedestals and framed by a stylised nimbus, the interior gilded, 28.5cm x 21cm x 14.5cm.

£400-600 234

234

A JAPANESE LACQUERED WOOD ZUSHI (PORTABLE SHRINE) EDO PERIOD (1615-1868)

The case lacquered black with metal fittings, the doors opening to reveal Amida Nyorai (Amida Buddha) seated on a lotus throne before a lotus-shaped mandala, with his long flowing robes loosely draped across his torso, the interior gilded and the doors painted in polychrome with Monju Bosatsu, seated holding an upraised sword, and Fugen Bosatsu, holding a lotus flower, 11.5cm x 7.5cm x 5.5cm.

£400-600

235

A JAPANESE LACQUERED WOOD FIGURE OF MIROKU BOSATSU MUROMACHI PERIOD (1333-1573)

Seated in padmasana wearing a flowing draped robe, with the right hand holding a lotus flower, the left hand raised in abhaya mudra, with a glass bead to the forehead, byakugō; wearing an elaborate metalwork headdress with glass beads, hokan, and ornate necklace, munakazari; raised on a rectangular stepped plinth with an inscription to the reverse, possibly reading Rokusun, Uwa Senzan; the figure, 13.5cm, 23cm overall. (2)

£2,500-3,500

With a copy of a radiocarbon dating certificate from RCD Lockinge stating that the figure dates from the 14th-15th century.

236

A TALL JAPANESE GILT-BRONZE FIGURE OF KANNON BOSATSU

POSSIBLY ASUKA PERIOD (538-710)

The Bodhisattva of Mercy is depicted standing on a double-lotus throne, holding a jewel in her hands; she wears a tenne draped over her forearms and beaded jewellery; her headdress features the image of Amida Nyorai; 37.8cm.

£800-1,200

The pose is reminiscent of the Guze Kannon figure in the Yumenodo Pavilion, Horyu-ji, Ikaruga, Nara, dated to the early 7th century. Also, see the Tokyo National Museum, access. n-167, for another comparable Asuka-period figure holding a sacred jewel.

237

No lot

238

A JAPANESE LACQUERED WOOD FIGURE OF AMIDA NYORAI (AMIDA BUDDHA)

PROBABLY EDO (1615-1868)

The Buddha of Limitless Light with his eyes downcast in a serene expression, seated in padmasana on a lotus throne before a large kohai (mandala) carved with scrolling clouds and three small seated bodhisattvas, his hands resting before him in dhyana mudra, his long flowing robes loosely draped across his torso; all raised on a circular stepped base carved with foliate panels and cloud-shaped feet, with remnants of gilt lacquer, 47.5cm overall. (3)

£500-1,000

239

A JAPANESE LACQUER KOGO (INCENSE BOX, TRAY AND INNER BOXES)

EDO/MEIJI, 19TH CENTURY

Of rectangular shape with an overhanging cover, decorated in gold and silver hiramaki-e, takamaki-e and nashiji with figures wearing Heian-style garments sat on a veranda; with the mon (crest) for the Shimazu family repeated across the surface; the sides with pine, prunus and bamboo beside a stream, and further mon; with gilt-metal fittings suspending silk tasselled cords; a small tray inside with six miniature lidded boxes, the cover of each decorated with a different auspicious object; 10.2cm x 11.8cm x 13.8cm. (15)

£500-800

Provenance: from a private collection, Hampshire.

240

A JAPANESE LACQUERED VASE BY THE ZOHIKO COMPANY

MEIJI OR LATER, 20TH CENTURY

Of baluster form, the body decorated with a carp in relief swimming amongst water weed and gentle waves, following two tadpoles inlaid in mother of pearl, the carp’s eye also inlaid in mother of pearl; with a metal liner; the Zohiko elephant mark in gilt to the base, 32cm. (2)

£1,200-1,500

The Zohiko Company is a highly respected and long-established Kyoto lacquerware (urushi) company with a rich history, founded in 1661.

241 A GOOD JAPANESE INLAID AND LACQUERED WOOD PANEL

MEIJI

ERA (1868-1912)

In the style of Miura Kenya (1821-89); the large rectangular panel made of cedar wood and embellished in low relief with a view of a forlorn thatched hut, with jardinières discarded around it; the pots rendered in a variety of colours, some in ceramic; two visible inside the hut containing small flowering prunus; marked with the red lacquer seal Kan or Mitsuaki in the lower right corner; the reverse with two paper labels for the Greenfield Collection; 56.5cm x 79.8cm.

£8,000-12,000

241 label

241 mark

243 λ A LARGE JAPANESE WOOD NETSUKE OF A TIGER

MEIJI ERA, 19TH CENTURY

Depicted seated on its haunches, turning its head to the left and with its long tail curled over its back; the detail of its fur naturalistically depicted and with the eyes inlaid, signed in a rectangular tablet underneath, possibly Fumiyoshi, 4.7cm.

£400-600

Provenance: formerly in the Mark and Elizabeth Harding Collection, South Africa. Purchased from Gallery de Chine, 1st January 1978. A copy of the invoice is available.

Ivory Act 2018 exemption certificate, ref. PDJ43MEM.

242 λ THREE JAPANESE WOOD NETSUKE MEIJI ERA, 19TH CENTURY

The first depicting Kanshin crawling between the legs of a bully, with two baskets of fish behind them, one forming the himotoshi, 4.2cm; another carved as a seated rakan arranging his topknot whilst looking in a mirror, with inlaid rings around the himotoshi, 3.1cm; the third depicting a cooper, 3.3cm. (3)

£500-800

Provenance: formerly in the Mark and Elizabeth Harding Collection, South Africa. Kanshin was originally a Chinese prince called Han Xin (231-196 BC) who famously consented to the humiliation of crawling between the legs of a fisherman rather than fight with a man of lowly rank.

Ivory Act 2018 exemption certificate, ref. FNQ7S59B.

244

A JAPANESE WOOD NETSUKE OF A BLIND MASSEUR MEIJI ERA (1868-1912)

Carved as a blind masseur holding a strengthening stone, a tumour on the back of his head, his lifeless eye inlaid, signed Gyokkei in a tablet at the base, 4.5cm.

£300-500

Provenance: formerly in the Mark and Elizabeth Harding Collection.

Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, pp.84-85 for a biography of Gyokkei and two other examples of blind masseurs by the same carver.

Ivory Act 2018 exemption certificate, ref. HBRWK6RL.

243 mark

244 mark

245

λ TWO JAPANESE WOOD NETSUKE OF MASKS

MEIJI ERA, 19TH CENTURY

The first in red and black negoro lacquer, possibly depicting Shōjō; the other a cluster of nine masks, including Okame, Hannya and Okina, with minute details inlaid, 4.7cm and 4.4cm. (2)

£400-600

Provenance: formerly in the Mark and Elizabeth Harding Collection, South Africa. Ivory Act 2018 exemption certificate, ref. QGWVHE51.

246

A JAPANESE SAISHIKI (PAINTED WOOD) MASK OF A NIŌ (BUDDHIST GUARDIAN KING) MEIJI ERA, 19TH CENTURY

Possibly carved in hinoki (cypress wood), the surface painted in red pigment over gesso; the deity is depicted grimacing with a furrowed brow, the reverse with a three-character signature, possibly for Tessai, and an unidentified paper collection label; 6cm.

£500-800

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

246 mark

246 label

246

247

A TALL WOOD NETSUKE OF GAMA SENNIN

MEIJI ERA, 19TH CENTURY

The Immortal depicted standing, happily smiling whilst lifting his large pet toad over his head; typically wearing a coat of mugwort leaves and loose robes, his long sleeves billowing in the wind, 14.7cm.

£400-600

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

248

A TALL JAPANESE SAISHIKI (PAINTED WOOD) NETSUKE OF RYUJIN MEIJI ERA,

19TH CENTURY

In the style of Yoshimura Shuzan, depicting the bearded Dragon King standing, holding a sacred jewel and wearing loose robes revealing his protuberant ribs; a dragon clambering upon his back and resting its chin on his head, 9.5cm.

£1,000-2,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

The original netsuke model of the Dragon King was first illustrated in the Soken Kisho in 1781.

Cf. Hirokazu Arakawa, The Go collection of Netsuke, Tokyo National Museum, p.9, nos.1&2 for another figure of Ryujin in the Baron Go Seinosuke Collection.

A

JAPANESE BOXWOOD NETSUKE OF AN OX BY OKATOMO

EDO PERIOD (1615-1868), 18TH CENTURY

The large reclining beast with the legs neatly tucked underneath its body, the hair realistically rendered and with a tether attached to its nose; the surfaces stained and the eyes inlaid; signed Okatomo underneath, 6.2cm.

£3,000-5,000

With a copy of a letter from Barry Davies attesting that the netsuke was borrowed for the exhibition ‘Netsuke Classics’, 1990.

Provenance: from the Mark and Elizabeth Harding Collection, South Africa. Previously in the collection of George Weil (b.1938).

Illustrated and discussed in Barry Davies Oriental Art, Netsuke Classics, no.35, 1990. The author remarks: ‘As previously mentioned, reclining cows and oxen by Okatomo are quite rare, and those rendered in wood especially so’. Also, see B Hurtig, Masterpieces of Netsuke Art, no.857 p.204 where it is illustrated together with other pieces from the Weil Collection.

Please note the original ivory eyes mentioned in Barry Davies’s catalogue have been professionally replaced with swine tooth and dark bovine horn.

249 mark

B. Hurtig, Masterpieces of Netsuke Art, no.857, p204

B. Davies, Netsuke Classics, 1990, no.35

250

λ A FINE JAPANESE SHIBAYAMA INRO, OJIME AND MANJU NETSUKE MEIJI ERA, 19TH CENTURY

The five-case lacquer inro richly decorated with inlays in aogai (mother of pearl), coral, hardstones, stained ivory and tortoiseshell on the kinji gold lacquer ground; each side with a bird in flight above chrysanthemum and other flowers, the top and bottom embellished with further flowerheads and scrolling tendrils; the ojime and netsuke decorated with similar depictions of swallows and other birds also rendered in a variety of inlaid materials, including cloisonné; the netsuke with a mother of pearl plaque reading Shibayama Soichi; the inro 9.5cm.

£1,500-1,800

Provenance: the private collection of a lady and gentleman, Derbyshire. Previously in the Charles A Greenfield Collection, no.212. Acquired from Demaree and Dorothy Bess; previously in the collection of William Wilberforce Winkworth who acquired it from the Edward Gilbertson Collection, sold at Glendining and Co, 1917, no. 314.

Published:

E Gilbertson, Selections from the Descriptive Catalogue of Japanese Netsukes and Japanese Miscellanies in the Gilbertson Collection, no.4809.

Glendining and Co., London, auction catalogue of the E Gilbertson Collection, 1917, no.314.

A J Pekarik, Japanese Lacquer, 1600-1900: Selections from the Charles A. Greenfield Collection, The Metropolitan Museum of Art, New York, no. 102, fig. 115. Eskenazi Ltd, The Charles A. Greenfield Collection of Japanese Lacquer, pp.230-231, no. 140.

Exhibited: Japanese Lacquer, 1600-1900: Selections from the Charles A. Greenfield Collection, The Metropolitan Museum of Art, New York, 4th September - 9th October 1980, no. 102.

* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned a pre-1918 outstandingly high artistic, cultural or historical value exemption certificate, Ref. No. IHUOG99G

250 two views

and Co auction catalogue, 1917

Signature The Metropolitan Museum of Art, The Charles A Greenfield collection exhibition catalogue

Glendining

LOTS 251-260 FROM THE JAPANESE ART COLLECTION OF WILLIAM CLEVERLEY ALEXANDER

WILLIAM CLEVERLEY ALEXANDER (1849–1916)

Alexander was a wealthy British banker, collector and patron of James Abbott McNeill Whistler. Perhaps better known for his collection of Chinese Art (which included an important Northern Song bowl now at the British Museum, known as the ‘Alexander bowl’), his oriental collecting started with Japanese Art. His ledgers, rigorously kept over the years, present a fascinating and extensive record of his purchases, which ranged from ukiyo-e prints by Hokusai, to Ninsei pottery, tsuba, and other types of artworks. The receipts kept in the Alexander Archive show that he bought from a wide variety of dealers and art galleries. It seems however that John Sparks was his favourite supplier, at a time when the dealership was still called the ‘Japanese Fine Art Depot’. Lots 255, 258, and 260 offered here come with a copy of the original invoice from John Sparks.

Alexander was also an accomplished draughtsman: he recorded lots 252, 253, 257, 255, 258 and 260 in his notebooks by carefully drawing them (see p.112). The sketches often feature the name of the shop where the piece was purchased, alongside its price (written in the CUMBERLAND code, where C=£1, U=£2, etc.).

For more information on Alexander’s Chinese Art collecting, see p.77-79. Also, see lots 129 and 130 included in the Fine Chinese Art sale, also from the Collection of William Cleverley Alexander.

251

λ TWO JAPANESE LACQUER AND AOGAI (MOTHER OF PEARL INLAYS) INROS EDO PERIOD, 17TH/18TH CENTURY

The first a four-case inro decorated to both sides with reishi-head panels resembling a gunbai fan enclosing confronting dragons, all rendered in takamaki-e, hiramaki-e, koban and minute mother of pearl (aogai) square inlays, reserved on a ground of scrolling tendrils; the cords passed through silver rings either sides of the inro, and with monster heads above and below; attached to a wood ojime carved as a rotund shishi, a small movable wood ball in its mouth and curling around a coral bead, and with a lacquered wood netsuke modelled as an entertainer holding a drum; the other a four-case Somada School inro decorated with aogai inlays on the lustrous black roiro ground, one side with a pavilion by a cliff, a lake with sailing boats visible in the distance, and the other with a large pine tree and further rockwork; 6.9cm and 9.6cm. (2)

£600-800

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent.

Exhibited: The inro with dragons at Burlington Fine Arts Club, London, 1894, no.22.

Cf. See Eskenazi Ltd, The Charles A. Greenfield Collection of Japanese Lacquer, pp.40-41, no. 7 for a closely related inro, previously in the Raymond Bushell and Dr T. Shrine Collections.

252

λ A COLLECTION OF FOUR JAPANESE LACQUER INROS

EDO/MEIJI, 18TH/19TH CENTURY

Variously decorated with birds, flowers and insects, two with agate ojime; one a five-case inro with a flowering prunus tree, the blossoms depicted in pink and white enamels; another a four-case inro with fireflies rendered in lacquer and with large mother of pearl eyes, horn and other inlays; the third with many gold sparrows perched on snow-covered branches and in flight amidst falling snow, the snowflakes cleverly rendered in silver hiramaki-e lacquer on the black roiro ground, a label inside reading ‘Reynolds, 26/11/87, C.E.’; attached to a wood netsuke carved as a monkey stroking a giant peach, its eyes inlaid in metal, signed Issai; the last a smaller three-case inro decorated with further birds, with coral and turquoise inlays; 9.3cm. (4)

£1,200-1,500

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent.

*This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. Z2F9QGVN

251 two views

252 two views

252 mark

253 A COLLECTION OF JAPANESE LACQUER PIECES

EDO/MEIJI, 18TH/19TH CENTURY

Comprising a lacquered emu egg kōbako (incense box), the side delicately embellished in gold and silver lacquer with chrysanthemum mon and scrolling tendrils, the inside fully lacquered in gold and the flat base with a paper collection label mentioning ‘Liberty, July 78’; another small kōbako in the shape of a bird, its head resting on its back, realistically depicted in gold hiramaki-e lacquer, the inside with nashiji, another label underneath for ‘Hewett, 19/7/77, C.CE’; another small box of circular shape, the cover decorated with three porcelain butterflies framing a mother of pearl inlay; a small aubergine-shaped tray with calligraphy and a sakazuki (sake cup) decorated with prunus flowers floating on the surface of a river, rendered in gold lacquer on the bright orange-red ground; 10.7cm. (8)

£600-800

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent. The lacquered egg mentioned in the Alexander Archive as having been purchased from Liberty’s, July 1878, for £5, and the bird kōbako from Hewett, 19 July 1977, for £1.15.

254

λ A COLLECTION OF JAPANESE SAGEMONO (HANGING OBJECTS)

EDO/MEIJI, 18TH/19TH CENTURY

Including: a large rectangular tabako-ire (tobacco pouch) made of thick fabric embroidered with floral designs and with a large metal clasp, engraved with Immortals amongst clouds and signed Tenmin o with kao for Asama Tenmin (b.1799); a tonkotsu (tobacco pouch) made from a turtle carapace, with a lacquered lid and attached to two brushes and a small scoop; a kinchaku (fabric pouch) with a glass ojime and a netsuke made of a section of bamboo; and a small velvet pouch, possibly Chinese; 18cm max. (4)

£600-800

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent.

Cf. Eskenazi, Japanese Netsuke, Ojime and Inro from a private European collection, p. 139, no. 164 for a netsuke by Tenmin.

253 Alexander’s drawing of the bird kōbako

255

λ A JAPANESE LACQUER KŌBAKO (INCENSE BOX) AND FROG TONKOZU (TOBACCO BOX)

EDO/MEIJI, 19TH CENTURY

The box shaped as a large butterfly, its open wings rendered in woods of different colours, tortoiseshell, and mother of pearl inlays, the reverse with a label reading ‘J. Sparks, 2/10/93, C.CD’; the tobacco box modelled as a disgruntled amphibian, its legs tightly tucked underneath its body, signed Gyokko underneath, 9.8cm and 6.5cm. (3)

£800-1,200

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent. The butterfly box purchased from John Sparks, 2nd October 1893, for £1.10. A copy of the original invoice is available.

Cf. G Lazarnick, Netsuke & Inro Artists, and How to read their signatures, vol.I, pp.421-22 for two netsuke bearing the same signature.

256 A JAPANESE KŌBAKO (INCENSE BOX) AND A LACQUER TRAY

MEIJI ERA (1868-1912), 19TH CENTURY

The rectangular box and cover elegantly raised on short feet, decorated in black, red and gold lacquer hiramaki-e, nashiji and takamaki-e, the lid embellished with a gnarly prunus tree with large blossoms and other plants; the sides with feathers, some details inlaid in mother of pearl; containing a small tray decorated with wisteria and trailing tendrils, and three inner boxes, two with flowers and one with paulownia mon; together with a larger lacquer tray, adorned with a small frog amongst lotus leaves, a large flower beside it, the reverse decorated with small fish amongst seaweed to the rim, with three labels at the back, one with William Cleverley Alexander’s monogram; both the box and tray stored in a silk pouch, the box 4cm x 9.2cm x 6.3cm, the tray 10.2cm x 13cm. (12)

£800-1,200

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent.

255 John Sparks invoice for the box, 2nd October 1893

256 Alexander’s drawing of the lacquer tray

257

λ A COLLECTION OF JAPANESE GOLD LACQUER PIECES

EDO/MEIJI, 18TH/19TH CENTURY

Including a saya (sheath) inro, the outer casing decorated with many figures at leisure in a garden wearing Heian-style garments, probably a scene from the Genji Monogatari (Tale of Genji); one side with a goshoguruma (ox-drawn carriage) with travellers visible inside, all rendered in gold hiramaki-e, nashiji and kirikane, the five-case inro inside in gold maki-e and the inside in nashiji; another piece a two-case inro, simulating a kinchaku (drawstring bag) encasing a pottery chaire (tea caddy and lid) with a fake lacquer lid topped with a branch of coral, the mock fabric decorated with large flowerheads and scrolling tendrils, with an agate ojime and a wood netsuke carved as a turtle with amber eyes; the last item a circular kobako box decorated with birds, flowers and rocks, containing four smaller boxes embellished with further blossoms and scrolling tendrils, all rendered in gold and silver himaraki-e and kirikane; the box encased in a metal hinged frame for use as a sagemono, together with a silk pouch, 9.8cm max. (12)

£800-1,200

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent.

258 A SMALL COLLECTION OF JAPANESE METAL PIECES

EDO/MEIJI,

18TH/19TH CENTURY

Comprising: two miniature yatate (writing sets) netsuke shaped as double gourds, both with a paulownia leaf to the side opening to reveal a small compartment, and with a screw-on stopper; the largest in copper and shakudo, with a ring attachment to the waist and a brush inside; the other with leaves and scrolling vines; and two models of crickets, one with a two-character signature underneath, 9.4cm max. (4)

£600-800

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent. One of the crickets purchased from John Sparks, 9th December 1896, for £2.10. A copy of the original invoice is available.

258 John Sparks invoice, 9th December 1896

259

A RARE JAPANESE KINCHAKU (POUCH) AND EN-SUITE ASHTRAY NETSUKE

EDO PERIOD (1615-1868)

The lower part of the unusual drawstring bag formed as a miniature menpō (face mask), modelled in various metals and the moustache in real hair, signed Tomonaga underneath; attached to a stag antler ojime (bead) and to a helmet-shaped ashtray netsuke, the bowl gilded; with a paper collection label reading ‘Alexander 4’, the kinchaku 10.5cm.

£1,000-1,500

Provenance: the collection of William Cleverley Alexander (1849-1916), and thence by descent.

260

A JAPANESE MYŌCHIN JIZAI OKIMONO MODEL OF A PRAWN

EDO PERIOD (1615-1868), 18TH/19TH CENTURY

The iron crustacean realistically depicted, with fully movable tail, claws and legs; signed Myōchin to the side, 13.5cm.

£2,000-3,000

Provenance: from the collection of William Cleverley Alexander (1849-1916), and thence by descent. Originally purchased from John Sparks, 6th May 1897, for £14. A copy of the original invoice is available.

260 John Sparks invoice, 6th May 1897

260 mark

259 mark

FROM HEATH HOUSE, HAMPSHIRE

261

A COLLECTION OF SIX JAPANESE LACQUERED JINGASA (WAR HATS) EDO/MEIJI, 19TH CENTURY

Variously decorated with niō (Buddhist guardian kings), Chinnan Sennin, dragons, and insects; some with mon (family crests); 46.3cm max. (6)

£500-1,000

From the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

262 A JAPANESE IKI-NINGYO MODEL OF AN ARCHER MEIJI ERA (1868-1912)

Realistically modelled with glass eyes; the samurai is depicted standing, wearing a full armour with red lacing, a kabuto (helmet) and a menpo (face mask), holding a tall bow; together with miniature arrows, a campaign stool and a flag with the paulownia mon (crest); raised on a flat wood base; the figure 41cm, in a wood box. (approx. 20)

£300-500

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

263 A LARGE COLLECTION OF DOLL’S HOUSE PORCELAIN MINIATURES MOSTLY MEIJI (1868-1912)

Comprising: six Satsuma pieces, decorated with beauties and flowers; and many Hirado and Arita blue and white miniatures in a wide variety of shapes, including twenty-two boxes and covers, saucers, bowls, models of hibachi, bottles and others; variously painted with flowers, figures, landscapes and formal designs; together with a number of Continental porcelain miniatures, 7.7cm max. (approx. 190)

£300-500

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

264

A COLLECTION OF JAPANESE ITEMS

EDO/MEIJI, 18TH/19TH CENTURY

Comprising: a Japanese o-yoroi (composite suit of armour), with a kabuto (helmet) signed Miyata Katsusada saku, attributed to Miyata Katsusada (1653-c.1727); another kabuto; a pair of red kote (sleeves); a red and gold lacquered paper fan and an hinomaru (Japanese flag); all contained in a large European wooden chest. (a lot)

£1,000-2,000

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

Katsusada was the 6th master of the Miyata school of armour makers and trained in the Saga Prefecture (Kyushu). He later became retained by the Lord of Nabeshima and moved to Edo (Tokyo) in 1707. See the Louvre Abu Dhabi, access. no. LAD 2018.007, for an armour bearing the coat of arms of the Feudal Lord Nabeshima Yoshishige, signed Miyata Katsusada (1654-1730). Also, see the Walters Art Museum, Baltimore, access. no.51.598, and the Worcester Art Museum, Worcester (USA), access. 2014.66.1, for other examples of dō (breastplates) by the same maker.

265

AN EXTENSIVE SET OF LACQUERED MINIATURES FOR THE HINA MATSURI (DOLLS’ OR GIRLS’ DAY FESTIVAL)

EDO/MEIJI, 19TH CENTURY

Comprising a very large number of pieces decorated in gold hiramaki-e lacquer on a black roiro ground, painted with leafy scrolls and stylised flowers; including various pieces of furniture such as a variety of chests, shodana (shelves), and other tansu (cabinets); one enclosing a collection of miniature books inscribed with calligraphy; a norimono (palanquin) with bamboo blinds elaborately painted to the interior; paper lanterns, a toilet set, bundai (writing tables), several suzuribako (writing boxes), fubako (document boxes) and many others, some pieces with metal mounts; all contained in two large kimono storage boxes, similarly decorated in gold and black lacquer with flower designs; the two trunks approx. 36cm x 39cm x 58cm. (a lot)

£1,000-2,000

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

264 mark in helmet

JAPANESE ART

TUESDAY 20 TH MAY 2025

ASIAN

ART II

WEDNESDAY 21ST MAY 2025

MEDALS & COINS, ARMS & ARMOUR

TUESDAY 3RD JUNE 2025

A fine and rare pair of Spanish ‘Madrid Lock’ convertible pistols from the collection of His Royal Highness Prince Augustus Frederick, K.G., K.T., G.C.B., G.C.H., Duke of Sussex (1773-1843)

Estimate £20,000 - 30,000*

WEDNESDAY 4TH JUNE

AUCTION INFORMATION

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LOT SYMBOLS

VAT

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ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ 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 £1,000 and the maximum royalty payable on any single lot is £12,500.

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.

Royalties for Droit de Suite are as follows:

4% Up to £50,000

£50,000.01 - 200,000

£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 £12,500

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.

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100% of the inks used are vegetable oil based, 95% of press chemicals are recycled for further use and, on average 99% of any waste associated with this production will be recycled and the remaining 1% used to generate energy.

This document is printed on Magno Satin and Magno Gloss, both made of material from well-managed, FSC®-certified forests and other controlled sources.

VALUATIONS

Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount.

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 clients’ needs.

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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

PROBATE VALUATIONS

We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

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

Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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

Woolley & Wallis Salisbury Salerooms Ltd.

51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Registered in England No.02998482

VAT No: 631 9832 29

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

AUCTION CALENDAR

MAY

1st Silver & Objects of Vertu (Day Two)

20th & 21st Asian Art, Chinese Paintings & Japanese Works of Art

JUNE

3rd Medals & Coins, Arms & Armour

4th Modern British & 20th Century Art

18th Fine Arts & Crafts

JULY

1st The Butler Hoard

2nd & 3rd Furniture, Works of Art & Clocks

9th & 10th Fine Jewellery

15th & 16th Silver & Objects of Vertu, including the Michael Baggott Collection (Part I)

SEPTEMBER

2nd British and Continental Ceramics & Glass

3rd Old Masters, British & European Paintings

17th Arts of Africa, Oceania and the Americas

Dates may be subject to change

+44 (0)1722 424500 enquiries@woolleys.live

51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR NOVEMBER 2025 AUCTIONS A JAPANESE NETSUKE OF GAMA SENNIN BY NAITO TOYOMASA SOLD FOR £42,800*