Chinese Paintings, Calligraphy and Prints by Bonhams

Chinese Paintings, Calligraphy and Prints New York | March 24, 2026

Chinese Paintings, Calligraphy and Prints 尺素乾坤：中國書畫暨古籍善本擷珍 New York | Tuesday March 24, 2026 at 9am ET

BONHAMS

111 W 57th Street New York, NY 10019 bonhams.com

SALE NUMBER 31869

Lots 500 - 639 ILLUSTRATIONS

Front Cover: lot 544 Inside Front Cover: lot 622 Inside Rear Cover: lot 574 Rear Cover: lot 603 PREVIEW

Wednesday March 18, 10am-5pm Thursday March 19, 10am-5pm Friday March 20, 10am-5pm Saturday March 21, 10am-5pm Sunday March 22, 10am-5pm Monday March 23, 10am-5pm

INQUIRIES

Bruce MacLaren Global Head Chinese Paintings and Calligraphy +1 (917) 206-1677 Bruce.MacLaren@Bonhams.com Dessa Goddard US Head, Asian Art +1(415) 503-3333 Dessa.Goddard@Bonhams.com Krystal K. Liu 劉琨華 Associate Specialist +1 (212) 644-9135 Krystal.Liu@Bonhams.com Dick Lin 林國華 Associate Specialist +1(415) 503-3264 Dick.Lin@Bonhams.com Coco Li 李佳莹 Sale Coordinator +1 (646) 866-3208 Coco.Li@Bonhams.com Suki Chen 陳書琪 Preview Worker Suqi.Chen@Bonhams.com

BIDS

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Please note that lots with a “T” next to the lot number are subject to an import tariff of 7.5%. The buyer will be required to pay the import tariff, which is included in the purchase price, along with sales tax, if applicable. The amount of the import tariff due is a percentage of the value declared upon entry into the United States (it is not based on the final bid price). Bidders interested in “T” lots should contact Bonhams prior to the sale to determine the amount of the import tariff.

International Chinese Paintings Team Global Bruce MacLaren Global Head, Chinese Paintings Dessa Goddard US Head, Asian Art Asaph Hyman Global Head, Chinese Art Colin Sheaf Consultant

Hong Kong

Jingjing Qiao Hong Kong Rex Lin Hong Kong Jennifer Wang Hong Kong

Clare Wong Hong Kong

U.K.

U.S. Jian Wang Hong Kong Edward Luper London, New Bond Street Krystal Liu New York Dick Lin San Francisco

Sydney

Asia Pacific Management Team Yvett Klein Sydney Julia Hu Hong Kong Bobbie Hu Taipei Kimiko Tominaga Tokyo

Wang Jie Shanghai Blair Zhang Beijing Vivian Zhang Beijing Yunwen Sung Singapore

Index 畫家索引 A

AFTER LAN YING AFTER LANGSHINING AFTER LU ZHI AFTER WANG JIAN AFTER WANG ZHENPENG AFTER WU ZHEN ALFRED KOEHN ANONYMOUS ATTRIBUTED TO QIU YING ATTRIBUTED TO WANG HUI ATTRIBUTED TO ZHENG XIE

BADA SHANREN

CAI YUANPEI CANTON SCHOOL CHEN DOUWEN CHEN XIWEN CHENG QUAN CHENG SHIFA

DONG SHOUPING DONG ZUOBIN DU HONGNIAN

EMPEROR QIANLONG

FANG YULU

GE JINNIANG GU YUAN GUAN LIANG GUAN PINGHU

藍瑛（款 512 郎世寧（款） 569 陸治（款） 507 王鑑（款） 509 王振鵬（款） 503 吳鎮（款） 500 阿爾弗雷德·科恩 620 佚名 501,502, 505, 506, 515 – 520, 617 仇英（款） 504 王翬（款） 538 鄭燮（款） 513 八大山人（朱耷）蔡元培廣東外銷畫派陳斗文陳希文程荃程十髮

510 531 514, 516 523 577 534 590, 591

董壽平董作賓杜鴻年

586 529 632, 633

乾隆帝

524

方于魯

602

葛金烺古元關良管平湖

615 630 592 566

HE SHAOJI HU SHI

MENG LIN MIAO GUYING

PRINCE YONGXING PU HUA PU RU

QI BAISHI QUE LAN

REN BONIAN

SHI LU SONG YIREN

TANG YUN

WANG FANGYU WANG GAI WANG JIQIAN (C.C. WANG) WANG MINGMING WANG SHUYI WANG YIN WANG ZHEN WENG TONGHE WU CHANGSHUO

XIE ZHILIU XU BEIHONG XU SHIPING

YANG WEIQUAN YAO WENZAO YE GONGCHAO YU YOUREN

孟麟繆谷瑛

608 567

成親王永瑆 533 蒲華 563 溥儒 553,556, 559, 573, 575, 580, 402 齊白石 558,572, 574, 578, 579 闕嵐 522 任伯年

562

石魯宋依仁

622 511

唐雲

582

王方宇王槩王己千王明明王樹藝王寅王震翁同龢吳昌碩

598 611, 613 596, 597 593 621T 612 568 535 564, 565

謝稚柳徐悲鴻徐世平

583 552 599

楊渭泉姚文藻葉公超于右任

594 562 542 554, 555

何紹基 526 胡適 Z ZENG YOUHE (TSENG YU-HO/BETTY ECKE) 曾佑和 600 530 ZHANG DAQIAN 張大千 544-551, 570, 581, 585, 637 HU YINGLIN 胡應麟 601 ZHANG NAIQI 張迺耆 521 HU ZHENGYAN 胡正言 603 -605 ZHANG SHANZI 張善孖 539 HUANG BINHONG 黃賓虹 576 ZHANG SHUQI 張書頎 541, 571 HUANG JUNBI 黃君璧 557, 560, 561 ZHANG ZHENQI 張禎麒 633 HUANG JUNSHI 黃君寔 543 ZHAO SHAO’ANG 趙少昂 588, 589 J ZHAO WUJI (ZAO WOU-KI) 趙無極 638 JIANG JIESHI (CHIANG KAI-SHEK) 蔣介石 532 ZHENG XIAOXU 鄭孝胥 528 JIN NONG 金農 606 ZHU QIZHAN 朱屺瞻 587 ZOU LU 鄒魯 540

KANG YOUWEI

LI CHAO (CHIU LI） LIANG QICHAO LIU SHIRU LIU YONG LU YANSHAO

康有為爲李超梁啓超劉世儒劉墉陸儼少

536, 537 595 527 508 525 584

Chinese Paintings, Calligraphy and Prints Lots 500-639

PROPERTY FROM A VIRGINIA PRIVATE COLLECTION 弗吉尼亞州私人收藏 500 AFTER WU ZHEN Gentleman in a Pavilion with Plum Trees Album leaf, mounted and framed, ink and light color on silk, inscribed with a poem and with a spurious signature reading Meidaoren, with one illegible seal and one collector’s seal of Xu Fu (born 1836). 12 x 9 5/8in (30.5 x 24.5cm) $3,000 - 5,000

Provenance Christie’s New York, 18 September 2013, lot 916 Personal Collection of J.T. Tai (Jun Tsei Tai, 1911-1992) and Ping Y. Tai (1915-1998) （款）吳鎮樓閣人物冊頁一幀淺絳水墨絹本畫框款識：林下仙姿縞袂輕。水邊高韻玉盈盈。細香撩髩風無賴。瘦影寒窓自有情。夢斷羅浮春信遠。雪消姑射曉寒清。飄零自避芳菲節。不為高樓笛裡聲。梅道人。鈐印：漶漫不清

6 | BONHAMS

PROPERTY OF A DISTINGUISHED COLLECTOR 顯赫私人珍藏 501 ANONYMOUS, MING DYNASTY Palace Lady Embroidering Ink and color on silk, laid on board and framed, with a spurious signature Wenju, and a collector’s seal. 42 x 19 5/8in (106.5 x 50cm) $5,000 - 7,000 佚名（明代）仕女織錦圖設色絹本貼板畫框

501 PROPERTY OF A DISTINGUISHED COLLECTOR 顯赫私人珍藏 502 ANONYMOUS, MING DYNASTY Emperor Minghuang Drinking with Li Bai Ink and color on silk, laid on board and framed, unsigned and absent of seals. 45 1/2 x 25 1/4in (115.5 x 64cm) $5,000 - 7,000 A similarly composed painting-but currently mounted in a horizontal handscroll format--is in the collection of the Museum of Fine Arts, Boston and dated to the early 15th century. The MFA painting was acquired in 1908, and it was one of a group of important works acquired for the collection by Okakura Kakuzo (1862-1913), who purchased in Japan the previous year. 佚名（明代）唐明皇與李白人物圖設色絹本畫框

502 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A NEVADA PRIVATE COLLECTION 内華達州私人收藏

PROPERTY FROM A NEW YORK COLLECTION 紐約珍藏

503 AFTER WANG ZHENPENG Blue/Green Landscape Horizontal handscroll, ink and color on silk, inscribed and signed Wang Zhenpeng with an artist’s seal and four collector’s seals, appended with five colophons by Zhang Jian, Deng Wenyuan, Xu Ben, Zhao Wen, and Shi Yan, with a total of six calligrapher’s seals. 14 1/4 x 101in (36 x 256.5cm)

504 ATTRIBUTED TO QIU YING, (CIRCA 1494-1551/1552) Vimalakirti Preaching the Dharma Horizontal handscroll, ink and mineral pigments on silk, signed Qiu Ying Shifu and an artist’s seal, with four collector’s seals, the outer titleslip dated wuyin and signed Shen Yujun (1882-1982). 112 1/4 x 14in (285 x 35.5cm)

$10,000 - 15,000

Provenance Collection of Li Zuoxian (1807-1876)

Provenance Spink, London, 1979, by repute Nevada private collection （款）王振鵬卷裱為鏡心

谿山初夏

$7,000 - 10,000

設色絹本

（傳）仇英（約1494-1551/1552）詰所說經長卷設色絹本手卷

維摩

手

款識：王振鵬摹唐人筆鈐印：振鵬藏印：鄭氏明德、□□逸史、平生真賞、子孫保之尾跋一：右王孤雲〈谿山初夏圖〉，筆法圓勁，樹不秀□，為真跡無疑。其有山人，或買書，或携琹，態度態從容，景色清曠，令人置身□□，不亦玩物適情之一助耶？張簡。鈐印：吳郡張簡

題簽：仇十洲繪維摩説法圖神品，戊寅（1938）嘉平沈裕君（1882-1982）題籖。款識：仇英實父製鈐印：十州藏印：（李）竹朋鑒定文嘉、平生真賞、項墨林父秘笈之印

503 (detail)

來源：李佐賢（1807-1876）舊藏

尾跋二：江干草閣帶林巒，誰識江深五月寒。最是晚山妝宿雨，碧雲千叠上欄干。鄧文原。鈐印：鄧文原印尾跋三：畫家以人物為難，人物以工緻為難，至於描寫態度，曲盡形容，非胸中自具一境界，則筆下未有不踰矩者也。孤雲處士王振鵬筆法本自高古，而摹擬人情往往入神。此卷尤爲愜意之作，信可寳之，若天球大貝也。東海徐賁識。鈐印：幼文尾跋四：到場山頂何山麓，上徹雲峰下幽谷。我從山中窟中來，尚愛此山看不足。陂陂行盡白漫漫，青山忽作龍蛇盤。山高無風松自響，誤認石齒號驚湍。山僧不放山泉出，屋底清池照瑶席。階前合抱香入雲，月裏僊人親手植。出山廽望翠雲鬟，碧瓦朱欄縹緲間。白水田頭問行路，小谿深處是何山。高人讀書夜達旦，至今鶴鳴前邨外。我今欣向山中住，坐對此圖深贊嘆。昂吉題。鈐印：起文尾跋五：民瞻石巖曾觀。鈐印：石民瞻氏、石岩之印來源：倫敦斯賓克拍賣行，1979年（據藏家）内華達州私人收藏

8 | BONHAMS

504 (detail)

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A NEW YORK COLLECTION 紐約珍藏 505 STYLE OF QIU YING Song of Everlasting Sorrow Hanging scroll, ink and color on silk, absent artist’s signature and seals, with two collector’s seals of Prince Yi Hongxiao (1722-1778). 75 1/2 x 37 1/2in (192 x 95.5cm) $10,000 - 15,000 Provenance Collection of Prince Yi Aisin Gioro Hongxiao (17221778) Sotheby’s New York, Fine Chinese Paintings and Calligraphy, 23 March 1998, lot 12 佚名

東山携妓

設色絹本

立軸

藏印：（愛）怡親王寳、明善堂覽書畫印記來源：怡親王愛新覺羅·弘曉（1722-1778）紐約蘇富比，「中國古代書畫」，1998年3月23 日，拍品編號12

10 | BONHAMS

PROPERTY FROM A NEW YORK COLLECTION 紐約珍藏 506 ANONYMOUS Tao Yuanming Returning Home Horizontal handscroll, ink on paper, nine panels of painting and seven panels of calligraphy, mounted continuously as a horizontal handscroll, the paintings with nine collector’s seals, the final calligraphic panel with two calligrapher’s seals; mounted with a calligraphic frontispiece, signed and sealed Kwong Lam (born 1939), and a colophon with five inscriptions, three by Fan Zhijie (1872-1957), the final inscription signed Kwong Lam, dated 2019. 11 7/8 x 221 3/8 (30 x 562.2cm), the painting and calligraphy only, exclusive of frontispiece and colophones $5,000 - 7,000

506 (detail)

Provenance Christie’s New York, Fine Chinese Paintings and Calligraphy, 24 March 1998, lot 133 佚名歸去來辭人物圖卷水墨紙本手卷

PROPERTY BEING SOLD TO BENEFIT STANLY COUNTY HABITAT FOR HUMANITY 作品收益將捐贈予斯坦利郡仁人家園 507 AFTER LU ZHI Lotus Garden Scene Originally four panels, now mounted as a single hanging scroll, ink and color on silk, signed Lu Zhi with two artist’s seals. 44 x 49 1/4in (112 x 125cm) $2,000 - 3,000 （款）陸治荷塘清景設色絹本立軸

507

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

509

508 PROPERTY OF A BERKELEY, CALIFORNIA TRUST 加州伯克利信托收藏 508 LIU SHIRU (1517-1601) Ink Plum Blossom, 1601 Ink on silk, framed, inscribed, dated Wanli xinchou, signed Xuehu Liu Shiru, with three artist’s seals. 36 x 53.5in (91.5 x 136cm) $15,000 - 25,000 Along with Chen Lu (fl. 1440) and Wang Qian (fl. 1500), Liu Shiru was traditionally classified as one of three direct followers of the ink plum (momei) painting master Wang Mian (1287-1359). Born in Shanyin, Zhejiang province, Liu Shiru devoted himself to painting ink plum from childhood, and his younger contemporary Wang Siren (1576-1646) noted that during Liu Shiru’s lifetime that spanned nine decades, he painted ink plum for eight. The present composition, painted in his last year, is a testament to Wang Siren’s statement. Liu Shiru’s aesthetic approach is memorialized in his woodblock-printed illustrated painting volume Xuehu Meipu (Snow-Lake’s Plum Manual), which includes reproductions of his own compositions, in addition to testimonials by those in his artistic circle.

12 | BONHAMS

劉世儒（1517-1601）

暗香疏影

水墨絹本

畫框

一六〇一年作

款識：月殘疎影淡，天霽暗香浮。雪湖劉世儒寫于萬曆辛丑，時年八十有五。鈐印：銕玉樓、一白文圓印漶漫難辨、雪湖□□

510 PROPERTY FROM A NEW YORK COLLECTION 紐約珍藏 509 AFTER WANG JIAN Landscape Horizontal handscroll, ink and color on paper, bearing an artist’s inscription dated bingshen and signed Wang Jian with two artist’s seals and seven collector’s seals; mounted with a colophon, dated xinhai and signed Zheng Yi, with two calligrapher’s seals. 13⅝ x 116⅞in (34.6 x 296.9cm), the painting only, exclusive of the colophon

510 BADA SHANREN (ZHU DA, 1626-1705) Bird Hanging scroll, ink on paper, signed Bada Shanren with an artist’s seal and a collector’s seal. 13 1/2 x 12 7/8in (34.3 x 32.7cm) $10,000 - 15,000

$2,500 - 4,000

Provenance Collection of Chen Jide (1819-1871)

（款）王鑑山亭清遠設色紙本手卷

八大山人（朱耷，1626-1705）

款識：向欲趙文敏鵲華秋色，純師董巨複後見叔明水邨圖，酷似其舅，餘個作此捲，何望古人得免畫家習氣，便原足矣擲筆爲之惘然。丙申初秋遊暑半塘僧捨，王鑑。鈐印：題跋: 渺淼湖光萬疊山，峰巒湧翠水潺湲；喬鬆曲徑高人隱，藉問誰堪覔徃還。辛亥仲春於漚華館中題，南漪散人正詣.

款識：八大山人鈐印：驢

孤禽

水墨紙本

立軸

藏印：曾鼎山房法書名畫來源：陳驥德（1819-1871）舊藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A PRIVATE NEW YORK COLLECTION 紐約私人收藏 511 SONG YIREN (EARLY QING DYNASTY) Landscape Ink on silk, laid on board and framed, inscribed by the artist and signed Song Yiren, with two artist’s seals, the reverse of the painting with an artist’s biography, ink on silk, dated renshen and signed Zhang Wei, with three calligrapher’s seals. 24 1/4 x 33 1/2in (61.5 x 85cm) $3,000 - 5,000 宋依仁（清代早期）山水水墨絹本貼版畫框

14 | BONHAMS

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人珍藏 512 AFTER LAN YING Scholar under Autumn Trees Hanging scroll, ink and color on silk, bearing a signature reading Lan Ying, with two artist’s seals and a collector’s seal. 58 7/8 x 20 1/2in (149.5 x 52cm) $3,000 - 5,000 （款）藍瑛（1584-1664後）高士秋林圖設色絹本立軸款識：丁醜夏日朝八十，蜨叟藍瑛畫： PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人珍藏 513 ATTRIBUTED TO ZHENG XIE (1693-1766) Bamboo Folding fan, mounted as a hanging scroll, ink on paper, signed Banqiao Zheng Xie, with an artist’s seal. 9 x 21 1/4in (23 x 54cm) $7,000 - 10,000 Provenance Collection of the Atelier Woodson The seal on the current lot, Zheng Lan 鄭蘭 is the same as the impression recorded in Shanghai Museum ed., Zhongguo Shuhuajia Yinjian Kuanzhi Vol. II 中國書畫家印鑒款識·下, Beijing, 1993, artist no. 1077, seal no. 17, p. 1453. （傳）鄭燮（1693-1766）

竹石

水墨紙本

扇面裱為立軸

款識：板橋鄭燮鈐印：鄭蘭來源：子木軒珍藏本拍品上所鈐「鄭蘭」印收錄於上海博物館編《中國書畫家印鑒款識· 下》（北京：文物出版社，1993），藝術家編號1077，印鑒編號17 ，頁1453。

512

513 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A PRIVATE WASHINGTON D.C COLLECTION 華盛頓特區私人收藏 514 ¤ CANTON SCHOOL, EARLY 19TH CENTURY Four Tea Cultivation and Production Paintings Four paintings, gouache on paper, unsigned and without artist’s seals, each painting illustrating a stage in the tea production process. 12 3/4 x 17 1/4in (32.5 x 44cm), each (4). $4,000 - 6,000 To be sold without reserve Provenance Nicolo Melissa Antiques, New York, 1 December 2020 Steinwurtzel Collection, Washington, D.C.

16 | BONHAMS

廣州外銷畫茶事圖水粉紙本畫框共四幅來源：纽约Nicolo Melissa Antiques藝廊，2020年12月1日 Steinwurtzel收藏, 華盛頓哥倫比亞特區 Please note this Lot is to be sold at No Reserve. 本拍品不設底價。

515 ANONYMOUS, 17TH/18TH CENTURY Heavenly Kings Tianwang Two paintings, both framed and glazed, each ink and mineral pigments on silk, with a donor inscription 59 3/4 x 28 1/2in (151.5 x 72.5cm) (2). $5,000 - 7,000 佚名（十七至十八世紀）天王像二幅礦物顔料絹本鏡框款識一：信士王希臣男王道官劉氏款識二：信女李門彭氏男李茂榮喬氏

515 PROPERTY FROM A CONNECTICUT PRIVATE COLLECTION 康涅狄格州私人收藏 516 TWO EXPORT PAINTINGS DEPICTING DEITIES Anonymous, Guangdong school, circa 1796 Two paintings, framed and glazed, ink and gouache on paper with gilt highlights, unsigned and absent of seals. 19 x 13 1/2in (48.5 x 34.5cm), the larger (2). $2,000 - 4,000 Provenance From the Estate of Beatrice S. Bartlett (1928-2024), Yale University professor of Chinese history These two works reliably date to the last decades of the 18th century. The composition of the two seated figures also appears as leaf no.6 in a 1796 album depicting the grounds and principal statuary of Haizhuang Si in Guangdong. According to labels of the reverse of the frames, these two leaves were once part of an album purchased by William Beckford (1760-1844) at a February 1798 London auction.

516

佚名廣州外銷畫道教人物圖水彩紙本鏡框二幅約一七九六年作來源：耶魯大學中國歷史學教授白彬菊（19282024）遺産 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

517 QING COURT ARTIST (LATE 18TH/EARLY 19TH CENTURY) Album leaves of a Qing Noble Five album leaves, individually matted, framed and glazed, ink and color on silk, absent signatures and seals. 14 x 17in (35.5 x 43.2cm), each (5). $20,000 - 30,000 佚名清宮廷畫家末/十九世紀初

18 | BONHAMS

滿清貴族行樂圖

設色絹本

鏡框五幅

十八世紀

Xingle tu (paintings pleasure scenes) represents a distinctive genre within xiezhen (realistic) portraiture, in which figures are depicted within quotidian or idealized settings that project cultivated identity and refined taste. Such compositions emphasize the literati ideal of maintaining a spirit inclined toward nature and leisure despite the constraints of official life. This pictorial tradition gained popularity among imperial and scholarly circles during the Ming and Qing dynasties and reached particular refinement under the Yongzheng (r. 1722-1735) and Qianlong (r. 1735-1796) emperors, exemplified by imperial “disguised pleasure” album such as the Yinzhen Xingle Tu (Yongzheng Emperor’s Amusement) album in the Palace Museum, Beijing.

The present album was originally more extensive, though several leaves are now separated or lost. The five surviving pages portray pursuits of the same Manchu nobleman. One scene depicts an early spring excursion with his attendants. Another shows him playing yezi xi leaf cards with his sons. A further leaf presents the rare theme of sword appreciation. The green-dyed sharkskin scabbard with finely chased gilt mounts corresponds to materials favored in the Qianlong period, also frequently depicted in Ziguangge Gongchen Xiang (Portraits of Meritorious Officers from the Hall of Purple Splendor), underscoring the work’s strong period character. An autumn hunting scene follows, with the nobleman riding a white horse attended by eleven retainers bearing falcons and firearms. The final leaf depicts the sitter at leisure within a garden courtyard, admiring blossoms from different seasons. Though only five leaves survive, the album vividly conveys the subject’s cultivated refinement alongside martial accomplishment, revealing both literary elegance and aristocratic vitality.

「行樂圖」是「寫真」肖像畫中別具意趣的一門，置人物于生活化或理想化的造景之中，以凸顯畫中主人公雖身處樊籠、心向林泉的文人意趣。此類圖式於明清時期風行於皇室與文士階層，至雍正、乾隆年間更發展出別開生面的帝王變裝行樂冊，如北京故宮所藏《胤禛行樂圖冊》等。本拍品原冊當有數頁散佚，現存五頁分繪同一滿洲貴胄之四時樂事。雖僅五幅殘頁，然其文韜武略、涵養胸襟，於筆墨間躍然紙上。其一繪初春楊柳曉發時，主人攜侍從四人驅車郊野，踏青訪勝；其二畫主人與四子圍坐書亭內玩葉子戲，亭中陳設一展其深諳漢人士大夫「琴棋書畫」四藝之趣，青銅香鼎、朗窯花樽、宣德銅爐錯落其間，足供清賞；其三為人物故事圖中罕見題材賞劍圖，侍童三人各呈一劍，主人拔劍細審，劍鞘以染綠鯊魚皮為之，鎏金鏨花，工致非凡。此類材質之劍鞘尤盛於乾隆朝御製腰刀，除傳世實物可證外，在《紫光閣功臣圖》中亦屢見描繪，足見其時代特徵鮮明；其四則為秋景狩獵，主人身著行服、乘白馬前行，身後從者十一人，或擎獵隼，或荷獵槍；其五則繪閑坐庭院花草間，賞四季花卉，春之水仙、夏之菡萏、秋之蜀葵、海棠等，共聚一園。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE GUHUANGE COLLECTION 黃蕙英女士「古歡閣」珍藏 518 ANONYMOUS (19TH CENTURY) Portrait of A Princess Hanging scroll, ink and color on paper, unsigned and absent of seals. 76 3/8 x 37 5/8in (194 x 95.5cm) $150,000 - 250,000 Provenance The Guhuange Collection 佚名

滿清貴族女子朝服像

來源：「古歡閣」藏

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設色紙本

立軸

十九世紀

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

Summer court robe of a prince’s wife in brown, corresponding to the robe worn by the lady depicted in the present lot (illustration form Huangchao Liqi Tushi, album, leaf 3, the British Library)

Kerchief of a prince’s wife in sky blue, corresponding to the kerchief depicted in the present lot (illustration from Huangchao Liqi Tushi, album, leaf 11, the British Library

大英圖書館藏《皇朝禮器圖式》清内府彩繪本冊頁，頁三之「皇子福晉夏朝袍」，為五爪龍所香色朝炮，與本拍品中朝袍一致，朝袍如此者尚有親王、世子及郡王之福晉、固倫公主、和碩公主、郡主及縣主。

大英圖書館藏《皇朝禮器圖式》清内府彩繪本冊頁，頁十一之「皇子福晉綵帨圖」，所用「月白色」與本拍品中綵帨一致，綵帨用此色者尚有親王、世子及郡王之福晉、固倫公主、和碩公主、郡主及縣主。

Although the specific identity of this sitter cannot be pinpointed, there are several revealing details that indicate she was an individual of high status within the Qing imperial lineage. Adorned with the full court dress and jewelry of a titled lady, she is dressed in her winter robes, with the shoulder cape, collar, cuffs, and hem trimmed with sea otter fur, likely imported from North America. Her hat is further adorned with a gold filigreed finial decorated with a single Manchurian pearl, reinforcing her status as either a princess or consort. The three earrings that hang from each ear denote her being a bannerwoman, and her whitened face and dot of red on the lower lip are typical of the make-up trends of elite women within the court during the 19th century. Around her neck is a torque (lingyue), inlaid with lapis and Manchurian pearls, an accessory of ranked Manchu women. This torque has seven visible pearls of a presumptive nine, less than the eleven that would have been worn by a full empress. Upon her lavishly painted robe is the required three stranded court necklace, crossing at center front, presumably fashioned of coral, stone or glass beads. The long sky blue kerchief (caishui)--here with a motif of millet--was an essential part of formal court regalia as dictated by the Huangchao liqi tushi first written in 1759, and another aspect of her clothing that points to the sitter’s position within the inner circles of the palace.

雖畫中女子身分未明，但僅從描繪的細節便知其地位顯赫。女子著冬朝服正襟危坐，朝褂「色用石青，片金緣」，綉文前為正龍，下為立龍二，間以五色雲，下幅八寳平水。「朝袍用香色，披領及袖皆石青，片金緣，冬加海龍緣，肩上下襲朝褂處亦加緣」，綉文兩肩行龍各一，「下幅八寳平水」。朝袍「披領行龍二，袖端正龍各一，袖相接處行龍各二。」華服之外，佩「朝服朝珠三盘，蜜珀一，珊瑚二」。亦佩「綵帨月白色」，綉文為谷紋。「冬朝冠，薰貂為之，上綴朱緯，頂鏤花金座」，中飾東珠，上銜紅寶石。一耳戴三鉗，昭示其旗人血統。面龐敷白、下唇點朱，則是十九世紀滿清貴婦典型的妝容時尚。頸間懸綴有青金石與東珠的領約，「鏤金為之，東珠七」，較皇后朝服所用之十一為少。

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鑒於其朝服上均用五爪龍，朝袍為香色，且綵帨用月白而非綠色，知其身份在皇子福晉或其之下，貝勒夫人及郡君之上。參考：允祿等，《皇朝禮器圖式》卷六及卷七，浙江圖書館藏本清乾隆，《皇朝禮器圖》彩繪本，大英圖書館藏本趙爾巽等，《清史稿·輿服志二》，〈皇貴妃朝冠〉及〈皇子福晉朝冠〉

PROPERTY FROM THE GUHUANGE COLLECTION 黃蕙英女士「古歡閣」珍藏 519 ANONYMOUS (LATE QING DYNASTY) Biographies and portraits of Cuyen (1580-1615) and Family, 18th century Album leaves mounted as a horizontal handscroll, beginning with a calligraphic inscription of Cuyen’s biography in regular script, ink on paper, signed Amintu with two calligrapher’s seal and a connoisseur’s seal of C.C. Wang (1907-2003); the portrait, ink and color on silk, unsigned and absent of seals; followed by four additional biographies of Cuyen’s third son Nikan (1610-1652), eldest grandson Lambu (1642-1679), second great-grandson Wuyou (1661-1709) and third great-great-grandson Fuhong (1693-1735), each accompanied by a portrait. Each calligraphy piece approximately: 19 1/4 x 36 1/4in (48.8 x 92cm); The second calligraphy piece: 19 x 83 7/8in (48.3 x 213cm); Each portrait approximately: 19 x 10 3/4in (42 x 27.3cm) $10,000 - 15,000 Provenance The Guhuange Collection

阿敏圖/佚名畫師褚英一門五代傳並冬吉服小像六幀水墨紙本/設色絹本手卷十八世紀設色絹本阿敏圖跋一：〈阿爾哈圖土門貝勒傳〉貝勒諱褚英（1580-1615），太祖高皇帝之長子也。（詳文不錄）四世孫阿敏圖謹撰並書。鈐印：阿敏圖印、覺齋鑒賞印：季遷鑒定阿敏圖跋二：〈和碩敬謹莊親王傳〉王諱尼堪（1610-1652），阿爾哈圖土門貝勒[諱褚英]第三子，太祖高皇帝之孫也。（詳文不錄）玄孫阿敏圖謹撰並書。鈐印：阿敏圖印、覺齋阿敏圖跋三：〈原襲封和碩敬謹莊親王傳〉王諱蘭布（1642-1679），和碩敬謹莊親王之長子也。（詳文不錄）曾孫阿敏圖謹撰並書。鈐印：阿敏圖印、覺齋阿敏圖跋四：〈輔國公傳〉輔國公諱無憂（1661-1709），原襲封和碩敬謹莊親王[諱蘭布]之仲子也。（詳文不錄）孫阿敏圖謹撰並書。鈐印：阿敏圖印、覺齋阿敏圖跋五：〈鎮國將軍傳〉鎮國將軍諱傅弘（1693-1735），乃輔國公[諱無憂]之第三子也。（詳文不錄）男阿敏圖謹撰並書。鈐印：阿敏圖印、覺齋題簽：清代皇室名將圖錄，阿敏圖跋。「古歡閣」珍藏來源：「古歡閣」珍藏

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PROPERTY FROM A TEXAS PRIVATE COLLECTION 德克薩斯州私人收藏 520 ANONYMOUS (EARLY 19TH CENTURY) Views of Hangzhou An album of forty leaves, ink and color on silk, or ink on silk, including twenty leaves of paintings and twenty leaves of calligraphy describing the site and the connection with the Qing emperors, each leaf with a typewritten English translation of the Chinese calligraphy, the last translation signed by Professor Jui-chang Kuo and dated October 1947, with a total of three collector’s seals on the final calligraphy leaf. 9 x 8in (23 x 20.5cm), each leaf $6,000 - 8,000 佚名（清代早期）杭州景圖冊設色絹本冊頁四十開

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 521 ZHANG NAIQI (18TH-19TH C.) Mynah Birds among Cypresses, 1825 Hanging scroll, ink and light color on paper, inscribed by the artist and dated Daoguang fifth year, and signed Zhang Naiqi with three artist’s seals. 88 1/2 x 46 1/2in (225 x 118cm) $20,000 - 30,000 Provenance Council, Beijing, Classical Chinese Painting, 4 June 2013, lot 500 (offered as Zhang Yu, 1734-1803) 張迺耆（生卒年不詳）立軸一八二五年作

八百迎春

淺設色紙本

款識：道光五年八月中旬，白下壽民張迺耆冩鈐印：壽民（白）、迺耆之印、壽民（朱）來源：北京匡時，「古代繪畫」，2013年6月4日，拍品編號500（圖錄誤作「張敔（1734-1803）」之作）

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PROPERTY OF F. SUIE ONE, CO., PASADENA, CALIFORNIA 加州帕薩迪納F. SUIE ONE, CO. 收藏 522 QUE LAN (1758-1844) Ladies in a Garden Pavilion Ink and color on silk, laid onto board and framed signed by the artist Que Lan with an artist’s seal and a collector’s seal. 41 x 21 1/4in (104.1 x 54cm) $3,000 - 5,000 闕嵐（1758-1844）仕女賞花圖設色絹本貼板畫框款識：闕嵐製。鈐印：雯山鑒藏印：漶漫難辨

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

523

524

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人珍藏 523 CHEN DOUWEN (EARLY QING DYNASTY) Calligraphy in Running Script Hanging scroll, ink on paper, inscribed by the artist and signed Xiaolu Chen Douwen, with three artist’s seals. 54 3/8 x 18 1/2in (138 x 47cm)

524 THE QIANLONG EMPEROR (1711-1799) Calligraphy in Running Script, 1791 Mounted for framing, ink on gold painted paper, dated xinhai and signed Yubi with two artist’s seals. 39 x 18 3/4in (99 x 47.7cm)

$1,500 - 2,500

$8,000 - 12,000

Chen Douwen was from the Xiaolu Mountain region in Guangdong province, similar to the early Ming dynasty calligrapher Chen Xianzhang (1428-1500). Although a family connection between the two has yet to be discovered, Chen Douwen adopted the earlier calligrapher’s aesthetic approach and bold, expressive style.

乾隆帝（1711-1799）七九一年作

陳斗文（清代初期）行書條屏水墨紙本立軸

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御題詩行草書條屏

水墨描金紙

鏡心

一

款識：勝日江山千里秀，鍾靈畫棟四時幽。天光明滅青峯外，疎影橫斜古渡頭。終是謝公游冶處，殊非逸士賦詩樓。應須寄語江中客，斯地最宜歇晚舟。乾隆辛亥季春上澣日，御筆。鈐印：乾隆宸翰、信天主人

525

526 PROPERTY OF A GENTLEMAN 紳士珍藏

525 LIU YONG (1720-1805) Calligraphy in Running Script, 1762 Hanging scroll, ink on treated paper, dated renwu, signed Liu Yong with one of his seals, and a collector’s seal, with an outer titleslip by Fu Zengxiang (1872-1949) with two of his seals. 35 x 12 1/2in (89 x 32cm) $3,000 - 5,000

526 HE SHAOJI (1799-1873) Calligraphy in Running Script Hanging scroll, ink on paper, inscribed by the artist and signed He Shaoji with two artist’s seals. 30 3/4 x 14 1/4in (78 x 36.2cm) $5,000 - 7,000 何紹基（1799-1873）行書五言詩條屏水墨紙本立軸

劉墉（1720-1805）行書七言上元詩水墨粉箋立軸一七六二年作款識：冰凍春池那凍泉，行宮原構溪前，到來人日仍逢倍，對去蟾徽欠邊。翠火落時篆每疊，燈舞處陣偏。圓光含元玉如鏡，有照中，無醜與妍。禦製詩。素泉行宮迭壬午土元前夕韻。劉墉

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A WEST COAST PRIVATE COLLECTION 美國西海岸私人珍藏 527 LIANG QICHAO (1873-1929) Calligraphy in Running Script Hanging scroll, ink on woodblock printed paper, inscribed by the artist and signed Liang Qichao with two artist’s seals. 51 1/2 x 13in (131 x 33cm) $4,000 - 6,000 梁啓超 (1873-1929) 節臨聖塔序行書條屏水墨紙本立軸款識：幼懷貞敏，早悟三空之心；長苞神情，先通四忍之行。鬆風水月，未足比其清華。節臨聖塔序。梁啓超

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PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人珍藏 528 ZHENG XIAOXU (1860-1938) Calligraphy in Running Script, 1918 A set of four hanging scrolls, ink on paper, the final panel dated wuwu and signed by the artist Xiaoxu with two of his seals. 69 1/4 x 17 3/4in (176 x 45cm) (4). $6,000 - 8,000 鄭孝胥（1860-1938）行書四聯屏水墨紙本立軸一九一八年作款識：戊午夏日孝胥。鈐印：鄭孝胥印、蘇戡

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

529

530

PROPERTY FROM A VIRGINIA PRIVATE COLLECTION 弗吉尼亞州私人收藏 529 DONG ZUOBIN (1895-1963) Calligraphy in Oracle Bone Script, 1949 Mounted for framing, ink and cinnabar on paper, inscribed by the artist and dated jizhou, signed Dong Zuobin, with two of his seals. 24 ½ x 9 ½ in (62.2 x 24cm) $1,000 - 1,500

530 HU SHI (1891-1962) Calligraphy in Running Script, 1948 Hanging scroll, with a dedication to Zhang Chonghe (Chang Ch’ungho, 1914-2015) and her spouse, Hans Frankel (Fu Hansi, 1916-2003) on the occasion of their marriage, signed Hu Shi, with one of his seals. 23 x 12 3/4in (58.5 x 32.3cm) $7,000 - 10,000

董作賓（1895-1963）甲骨文書法硃砂水墨紙本鏡心一九四九年作胡適（1891-1962）行書書法水墨紙本立軸一九四八年作款識：武丁時卜骨，一版正反兩麵皆有文字，筆畫中塗飾硃墨相映鮮麗。己醜初秋，董作賓鈐印：彥堂，董作賓

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款識：願天下有情人終成眷屬。漢思先生，充和女士，婚禮。胡適鈐印：胡適之印 Chang Chong-Ho and Hans Frankel met on the campus of Peking University in 1947 and were married the following year. Immigrating to the United States in 1949, the couple eventually settled in New Haven, Connecticut at Yale University in 1961. Hans taught Chinese poetry and literature, and Chung-Ho was a lauded poet, calligrapher and kunqu opera singer, in addition to also teaching at Yale. Hu Shih had a close connection with the couple, and at the time of their wedding, he was Chancellor of Peking University, at that time known as National Peking University.

531 CAI YUANPEI (1868-1940) Letter Written on letterhead from St. John’s University, ink on paper, signed Cai Yuanpei with one seal; together with a diploma from St. John’s Middle School, presented to Wang Pi-te, dated 1940, with a photograph of the recipient and an embossed seal. 11 x 8 1/4in (28 x 21cm) (2). $5,000 - 7,000 蔡元培（1868-1940）信札及民國時期文憑一紙信文：傅然亮先生大鑒，今晨返滬奉誦二十四日惠書敬悉。。。。文略。款識：蔡元培啓，三月二十三日。鈐印：蔡元培印聖約翰大學附屬高級中學畢業證書畢業學生：王弼德畢業日期：民國二十九年六月六日

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A VIRGINIA PRIVATE COLLECTION 弗吉尼亞州私人收藏 532 JIANG JIESHI (CHIANG KAI-SHEK, 1887-1975) Calligraphy Horizontal scroll, mounted for framing, ink on gold fleck paper, inscribed with a dedication, and signed Jiang Zhongzheng, with an artist’s seal. 15 3/4 x 31 5/8in (40 x 80.5cm) $2,500 - 4,000 蔣介石（1887-1975）書法橫屏水墨灑金紙鏡心款識：”同舟共濟” 納尓遜先生，蔣中正。鈐印：蔣中正印

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The Collection of C.T. Feng and Family 馮執正及家族藏珍 Lots 533 - 543

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 533 PRINCE YONGXING (CHENG QIN WANG, 17521823) Calligraphy in Running Script Folding fan, ink on gold fleck paper, signed Cheng Qing Wang with two artist’s seals, and three collector’s seals, the speckled bamboo frame elaborately carved with a landscape 7 1/2 x 21 7/8in (19 x 55.5cm) $3,000 - 5,000 成親王（永瑆 1752-1823）草書詩句水墨灑金紙竹刻成扇鈐印：成親王、詒晉齋藏印：沈氏能毅 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 534 CHENG QUAN (19TH CENTURY) Calligraphy in Seal Script, 1842 A set of four hanging scrolls, ink on paper, signed Hengshan Cheng Quan, dated Daoguang renyin, with a dedication, and three artist’s seals. 82 5/8 x 19 1/2in (210 x 50cm), each panel $6,000 - 9,000 Provenance Sotheby’s New York, 20 March 2014, lot 505 Cheng Quan was from Anhui Province and was a disciple of the calligrapher and seal carver Deng Shiru (1743-1805), as evinced by this skillfully written calligraphy. The text for the calligraphy is Gu Yewang’s (519-581) “Preface to Tiger Hill Mountain”. 程荃（十九世紀）篆書四聯屏水墨紙本立軸一八四二年作 36 | BONHAMS

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 535 WENG TONGHE (1830-1904) Calligraphy in Running Script, 1894 Ink on red paper, framed and glazed, dated jiawu, signed Weng Tonghe with and artist’s seal. 23 1/2 x 23 1/2in (59.5 x 59.5cm) $3,000 - 5,000 翁同龢（1830-1904）福祿壽喜水墨紅箋鏡框一八九四年作款識：「福祿壽喜」，甲午正月，翁同龢

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

536

537

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 536 KANG YOUWEI (1858-1927) Couplet in Running Script A pair of hanging scrolls, ink on red gold fleck paper, signed Kang Youwei with two applied artist’s seals. 67 x 14 1/2in (170 x 36.8cm), each panel $15,000 - 25,000 Provenance Collection of the late Chinese Ambassador C. T. Feng (1899-2000), thereafter by descent 康有為（1858-1927）

行楷四言聯

水墨灑金紅箋

立軸成對

款識：天人四時吉祥止，花木一溪文字香。康有為鈐印：康有為印、維新百日出亡十六年三周大地游遍四洲經三十一國行六十萬里來源：前國府駐外大使馮執正（1899-2000）舊藏，繼由其後人遞藏 38 | BONHAMS

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前大使馮執正（1899-2000）及家族藏珍 537 KANG YOUWEI (1858-1927) Calligraphy in Running Script Hanging scroll, ink on paper, signed by the artist Kang Youwei with three artist’s seals. 66 3/4 x 18 1/8in (169.5 x 46.1cm) $7,000 - 10,000 康有爲（1858-1927）行書書法水墨紙本立軸款識：載取白雲歸去，問誰留楚珮，弄影蒲洲？康有為。鈐印：御賜天斿堂、康有爲印、維新百日出亡十六年三周大地游遍四洲經三十一國行六十萬里

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 538 ATTRIBUTED TO WANG HUI (1632-1717) Landscape after Wang Meng and Juran, 1715 Hanging scroll, ink and light color on paper, inscribed by the artist and dated yiwei and signed Gengyan Wang Hui with three artist’s seals, and three collector’s seals. 35 1/4 x 17 1/8in (89.5 x 43.5cm)

（款）王翬（1632-1717）立軸一七一五年作

長松高士圖

淺設色紙本

款識：長松高士圖，乙未三月，仿黃鶴山樵筆，兼用巨然遺意。耕煙王翬。鈐印：上下千年、王翬之印、石谷子

$8,000 - 12,000

藏印：許右私印、翼蓭、高陽許氏珍藏

Provenance Collection of the late Chinese Ambassador C. T. Feng (1899-2000), thereafter by descent

來源：前國府駐外大使馮執正（1899-2000）舊藏，繼由其後人遞藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

Chinese Consul General C.T. Feng greets General Dwight D. Eisenhower at the formation of The United Nations in 1945. 1945年，聯合國成立，時任駐外大使的馮執正與德懷特·艾森豪威爾（後任美國第34届總統）會晤。

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 539 ZHANG SHANZI (1882-1940) Tiger, Dedicated to C.T. Feng (1899-2000), 1940 Ink and color on paper, unmounted but framed, inscribed by the artist and dated to New Years’, 1940, with a dedication to Zhiheng (C.T. Feng 1899-2000) and Yaoyi (Edith Kwok Feng, 1898-1997) and signed Huchi Zhang Shanzi with two artist’s seals and two collector’s seals. 26 3/4 x 17 3/8in (68 x 44cm) $5,000 - 8,000 Provenance Gift of the artist, thereafter by descent 張善孖（1882-1940）裝框一九四〇年作

為馮執正伉儷寫虎嘯叢間

設色紙本

木闆

款識：大中華民國二十九年二月，似執正先生，曜儀夫人博教，虎痴張善子。鈐印：張善子印、虎痴藏印：馮執正印、馮執正印來源：前駐外大使馮執正（1899-2000）舊藏，惠贈自藝術家本人，繼由其後人遞藏。 40 | BONHAMS

This painting bears a dedication to Feng Zhizheng (C.T. Feng, 18992000), a high-ranking diplomat with the Republic period government, and his wife, Edith Kwok Feng (1898-1997). C.T. Feng held the position of Chinese Consul General in Calcutta, India, and during World War II, he served the same role in San Francisco. This painting was created on New Year’s in 1940 (likely in San Francisco) when Zhang Shanzi was on his 1939-1940 tour throughout North America to fundraise for war relief amidst the difficult years of the second Sino-Japanese War. In 1945, C. T. Feng was appointed Ambassador to Mexico, and lot 541, Zhang Shuqi’s Bird and Flower, marks the occasion of this appointment in the artist’s inscription. C.T. Feng was from a distinguished line of scholars, with his seventh-generation ancestor Feng Chengxiu serving as a tutor to the Qianlong Emperor, who traveled on one of the emperor’s illustrious Southern Inspection Tours. 本幅上款題贈馮執正（C.T. Feng, 1899-2000）及其夫人郭曜儀（Edith Kwok Feng, 1898-1997），馮氏為民國時期資深外交官，曾任中華民國駐印度加爾各答總領事，第二次世界大戰期間復任駐舊金山總領事。此畫創作於一九四〇年元旦（地點或為舊金山），時值張善孖於一九三九年至一九四〇年巡遊北美，為艱難抗戰時期募款賑濟之際。一九四五年，馮執正奉派出使墨西哥，本場拍品541號張書旂所作花鳥，其上題識即誌此榮任之事。馮氏出身書香門第，其上溯七世祖馮成修（1702-1796），曾為清高宗乾隆帝侍講學士，並隨聖駕南巡，傳為士林佳話。

540

541

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍

540 ZOU LU (TSOU LU, 1885-1942) Orchid, Dedicated to C.T. Feng (1899-2000), 1941 Hanging scroll, ink on paper, inscribed by the artist with a dedication to Zhizheng (C.T. Feng), dated xinsi, signed Zou Lu with three artist’s seals and two collector’s seals. 25 1/2 x 9 3/4in (64.6 x 24.8cm)

541 ZHANG SHUQI (1899-1956) Bird and Flower, Dedicated to C.T. Feng, (1899-2000), 1943 Hanging scroll, ink and color on paper, inscribed by the artist and dated 32nd year (of the Republic) and signed Zhang Shuqi with an artist’s seal, with a second artist’s inscription dated 34th year (of the Republic), with a dedication to Feng Zhizheng (C.T. Feng) on the occasion of his appointment as ambassador to Mexico in 1945, signed Shuqi with an artist’s seal and two collectors seals of Feng Zhizheng. 40 1/8 x 15 1/8in (102 x 38.5cm)

$600 - 1,000 Provenance Gift of the artist, thereafter by descent 鄒魯（1885-1942）墨蘭圖水墨紙本立軸一九四一年作款識：執正先生雅教，辛巳春，鄒魯寄贈鈐印：鄒魯長壽、海濱畫蘭、海濱辛巳之作藏印：馮執正印、馮執正印來源：藝術家本人惠贈，繼由其後人遞藏

$3,000 - 5,000 Provenance Gift of the artist, thereafter by descent 張書旂（1899-1956）贈馮執正先生花鳥一幅設色紙本立軸一九四三年作款識一：卅二年浦江，張書旂。鈐印：書旂款識二：卅四年執正先生榮膺墨國大使，別離在即誌此奉贈，聊作紀念幸一笑存之。弟書旂並誌時同客金門。鈐印：書旂藏印：馮執正、馮執正 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 542 YE GONGCHAO (GEORGE KUNG-CHAO YEH, 1904-1981) Calligraphy in Running Script, Dedicated to C.T. Feng (1899-2000) A couplet, mounted for framing, ink on paper, with a dedication to Zhizheng, signed Ye Gongchao, with two artist’s seals. 51 1/4 x 10 3/4in (130.5 x 27.2cm), each (2). $600 - 1,000 Provenance Gift of the artist, thereafter by descent 葉公超（1904-1981）贈馮執正先生行書對聯水墨紙本鏡心

542 PROPERTY OF THE LATE CHINESE AMBASSADOR C.T. FENG (1899-2000) AND FAMILY 前駐外大使馮執正（1899-2000）及家族藏珍 543 HUANG JUNSHI (K.S. WONG, BORN 1934) Calligraphy in Cursive Script Hanging scroll, ink on paper, inscribed by the artist and signed Huang Junshi with three artist’s seals. 50 3/8 x 25 1/4in (128 x 64cm) $1,500 - 2,500 黃君實（1934年出生）草書王維詩水墨紙本立軸一九九六年作款識：丙子秋月書王摩詰詩宮律，黃君實。鈐印：山濤居士、黃氏君實、松雲堂

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The Collection of Paul Cheng-Tzu Mao 茅承祖藏珍 Lots 544 - 551

Paul Cheng-tzu Mao (1922-2012), consulate representative of the Republic of China in San Francisco, was a strong supporter of Asian artists in the Western United States from the early 1970’s through the early 2000’s. His work promoting Chinese arts made him a well-known figure among Chinese artists especially in the San Francisco Bay area. His personal interactions included well known artists such as Zhang Daqian, Huang Junbi (1898-1002) and Au Ho-nien (1935-2024). When Zhang Daqian returned to San Francisco in 1963, he brought with him plants and over 3,000 pounds of garden rocks from Taiwan. Paul Mao personally met him at the airport and assisted in facilitating their entry. He also cultivated long term friendships with non-Asian artists of note, including a long personal relationship with Ansel Adams (1902-1984). In addition to his work among the artist community, he also promoted Chinese cultural outreach events including the Oroville Chinese Temple in California, built in 1863, as well as events commemorating the contribution of Chinese workers on the construction of the transcontinental railroad. 茅承祖曾任舊金山領事，自七十年代初至千禧年初，一直致力于支持美國西部亞洲藝術家群體的發展。他因積極推廣广中華藝術而為群衆所知，尤在舊金山灣區華人文藝界享有盛譽。與之往來的藝壇名家包括張大千、黃君璧（1898-1991）、歐豪年（1935-2024）等。茅氏亦與非華裔藝術家交誼深厚，如攝影大師安塞爾·亞當斯（Ansel Adams 1902-1984）。除推動藝術交流外，茅承祖還積極籌辦中華文化推廣活動，並参與加州列聖宮（Oroville Chinese Temple）的保存工作，以及為紀念鐵路華工貢獻的相關活動。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（1922-2012）藏珍 544 ZHANG DAQIAN (1899-1983) Red Lotus Dedicated to Mr and Mrs Mao Cheng-tzu (1922-2012), 1974 Mounted for framing, ink and color on paper, inscribed by the artist and dated 63rd year (of the Republic) jiayin, with a dedication to Cheng-tzu and Kuo-chien, and signed Daqian Zhang Yuan with five artist’s seals. 27 x 52 3/4in (68.5 x 134cm) $100,000 - 150,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent. In the present lotus painting with a horizontal composition, broad washes of ink are freely applied to form expansive lotus leaves, their edges subtly suffused with light indigo tones. The sturdy, upright stalks rise with weight and strength, supporting the leaves as they spread gracefully like canopies above the water. Amid the surging rhythm of ink-washed foliage emerges a richly colored red lotus in full bloom, accompanied by two buds. The tradition of presenting lotus paintings as auspicious gifts to married couples dates back to antiquity. Zhang Daqian painted this work for Mr. and Mrs. Mao as an expression of his blessings for their marital harmony and mutual devotion. 張大千（1899-1983）為茅承祖伉儷寫紅荷設色紙本鏡心一九七四年作款識：六十三年甲寅九月，寫似承祖吾兄、國潔夫人儷賞，大千張爰同客美洲。鈐印：張爰之印、大千居士、大千世界、得心應手、環蓽盦來源：茅承祖（1922-2012）舊藏，直接得自藝術家，繼由其後人遞藏至今。此橫幅荷花，以潑墨舖洒大片荷葉，再以花青暈葉緣，荷莖厚重挺拔，撑起荷葉亭亭如蓋，墨葉翻涌的池塘里露出一朵嬌艷欲滴的紅荷及两株花苞。以荷贈夫妻的傳統古已有之，張大千作此贈茅氏伉儷，祝意二人和美同心。1963年，張大千自台灣歸舊金山，隨身携花木及三千餘磅奇石，行李多達二十八件，茅承祖親赴機場相迎，並協助辦理入境通關事宜，足見二人交情。

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CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（1922-2012）藏珍 545 ZHANG DAQIAN (1899-1983) Landscape with Waterfall, Dedicated to Mao Cheng-tzu (1922-2012), 1974 Mounted for framing, ink and color on paper, inscribed by the artist and dated the Double Ninth Festival in the sixty-third year/jiayin of the Republic period, with a dedication to Cheng-tzu, signed Zhang Daqian, with two artist’s seals. 18 1/2 x 29 3/4in (47 x 76cm) $100,000 - 150,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent. 張大千（1899-1983）為茅承祖寫秋山松瀑設色紙本鏡心一九七四年作款識：六十三年甲寅重九，病久初療，寫似承祖吾兄，幸恕其拙劣不工也。大千弟張爰，年七十有六。鈐印：張爰、大千居士來源：茅承祖（1922-2012）舊珍，直接得自藝術家，繼由其後人遞藏至今。

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CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（19222012）藏珍 546 ZHANG DAQIAN (1899-1983) Calligraphy in Running Script, for Mao Cheng-tzu (1922-2012), 1978 Hanging scroll, ink on paper, inscribed by the artist and dated wuwu and signed Yuan, with two artist’s seals, with a second, dedicatory inscription to Mao Cheng-tzu dated gengshen (1980) and signed Daqian di Zhang Yuan with a third artist’s seal, the titleslip inscribed by the artist and dated the 67th year (of the Republic period). 42 1/2 x 17 7/8in (108 x 45.3cm) $15,000 - 18,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent. 張大千（1899-1983）為茅承祖寫行書本立軸一九七八年作

水墨紙

張大千題簽：六十七年（1978）書種梅小詩款識一：綴玉苔枝乞百根，橫斜看到長成邨。殷勤說與兒孫輩，識得梅花是國魂。環蓽庵種楳，戊子長夏，八十叟爰。款識二：越二年，庚申（1980）之夏，兒子葆蘿自渼西濱石邨社歸台灣省。待二月又將別去，言念老友。承祖仁兄，無以將意，壁間掇此，囑為贈呈，即乞教正。大千弟張爰，摩耶精舍。鈐印：張爰之印、大千居士、張爰大千父來源：茅承祖（1922-2012）舊藏，直接得自藝術家，繼由其後人遞藏至今。

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547

548

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（1922-2012）藏珍

547 ZHANG DAQIAN (1899-1983) Bamboo, Orchid and Rock, 1978 Unmounted, ink and light color on paper, inscribed by the artist and dated 67th year (of the Republic), signed Zhang Yuan Daqian, with three artist’s seals. 41 1/2 x 19 3/8in (105.5 x 49cm)

548 ZHANG DAQIAN (1899-1983) Ink Bamboo, 1978 Ink on paper, unmounted, inscribed by the artist, dated the 67th year (of the Republic), and signed Yuan, with three artist’s seals. 41 7/8 x 19 1/2in (106 x 49.5cm)

$30,000 - 50,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent.

$30,000 - 50,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent. 張大千（1899-1983）

張大千（1899-1983）作

美意延年

淺設色紙本

軟片

雙竹

水墨紙本

軟片

一九七八年作

一九七八年

款識：六十七年□□雲河小榭寫，蜀郡張爰大千，時年八十。鈐印：戊午、張爰之印、大千居士來源：茅承祖（1922-2012）舊藏，直接得自藝術家，繼由其後人遞藏至今。

款識：種竹茅齋頭，春深護新筍。晨昏對此君，寒綠蔭衾枕。我思王子猷，高意有誰領。六十七年春二月既望，八十叟爰。鈐印：戊午、張爰之印、大千居士來源：茅承祖（1922-2012）舊藏，直接得自藝術家，繼由其後人遞藏至今。 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（1922-2012）藏珍 549 ZHANG DAQIAN (1899-1983) Pink Lotus, 1978 Unmounted, ink and color on paper, inscribed by the artist and dated to the 67th year (of the Republic), singed Yuan, with a total of five artist’s seals. 19 5/8 x 41 1/2in (49.8 x 105.6cm) $70,000 - 100,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent.

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張大千（1899-1983）八年作

水殿風來暗香滿

設色紙本

軟片

一九七

款識：水殿風來暗香滿，六十七年二月，摩耶精舍製，八十叟爰。鈐印：己亥己巳戊寅辛酉、大千豪髮、戊午、張爰之印、大千居士來源：茅承祖（1922-2012）舊珍，直接得自藝術家，繼由其後人遞藏至今。

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（1922-2012）藏珍 550 ZHANG DAQIAN (1899-1983) Bird on a Red-leaf Branch, 1978 Unmounted, ink and color on paper, inscribed by the artist and signed Yuan, with two artist’s seals. 33 1/2 x 17 7/8in (85 x 45.5cm) $30,000 - 50,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent. 張大千（1899-1983）軟片一九七八年作

紅葉栖禽

設色紙本

款識：秋思婆娑近已疎，乍寒況是夕陽餘。二三如醉經霜葉，得似坡翁覓酒初。八十叟爰鈐印：張爰之印、大千居士來源：茅承祖（1922-2012）舊藏，直接得自藝術家，繼由其後人遞藏至今。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PAUL CHENG-TZU MAO (1922-2012) 茅承祖（1922-2012）藏珍 551 ZHANG DAQIAN (1899-1983) Scholar and Plantain, 1982 Unmounted, ink and light color on paper, inscribed by the artist with two inscriptions, the first at age eigthy-four, signed Yuan, the second inscription with a dedication, with a total of six artist’s seals. 35 1/2 x 17 7/8in (90.2 x 45.2cm) $25,000 - 40,000 Provenance Collection of Paul Cheng-tzu Mao (1922-2012), acquired directly from the artist, thereafter by descent. 張大千（1899-1983）軟片一九八二年作

蕉蔭觀暑

淺設色紙本

款識一：手種芭蕉滿屋除，清如陰水政須渠。殷勤囑付休輕剪，留（與）衰翁作草堂。八十四叟爰。鈐印：一隻眼、摩耶精舍、壬戌、張爰之印、大千居士款識二：「留」字下又忘「與」字，吾真老矣，大千又記。鈐印：張大千長幸大吉又日利來源：茅承祖（1922-2012）舊藏，直接得自藝術家，繼由其後人遞藏至今。

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The Collection of Yi Kuo-Juei 易國瑞將軍藏珍 Lots 552 - 557

Born in Changsha, Hunan Province, Yi Kuo-juei (1906-1990) was a lieutenant general of the Kuomintang and an officer of the Republic of China Air Force. He received his early military training at the Whampoa Military Academy and later graduated from the Lujun (Army) University. Over the course of his career, he held several important posts, including Commander of the Chengdu Air Force General Station, Acting Commander of the Chengdu Military Region, Deputy Commander of the First Air Force of the Republic of China Air Force, and Deputy Director of the General Political Warfare Bureau of the Ministry of National Defense. Following the Nationalist government’s relocation to Taiwan in 1949, Yi continued his military service and, during the 1950s, was recognized as a national hero (kenan yingxiong) by Chiang Kai-shek (1887-1975) in recognition of his distinguished achievements. 易國瑞（1906-1990），字震澤，湖南长沙人，國民党高級將領，中華民國空軍軍官。早年入黃埔軍校接受軍事訓練，後畢業于陸軍大學。在其軍事生涯中，易氏歷任成都空軍軍區副司令及代司令、中華民國空軍第一空軍副司令、國防部總政治作戰局副局长等要職。1949 年國民政府遷台后，易國瑞繼續服役，並于1950年代因功勛卓著獲蔣介石（1887-1975）頒「克難英雄」勛章。

Portrait of Yi Kuo-juei 易國瑞像

Yi Kuo-juei receiving “National Hero” award from Chiang Kai-shek 蔣介石為易國瑞頒發“克難英雄”勛章

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF YI KUO-JUEI (1906-1990) 易國瑞（1906-1990）藏珍 552 XU BEIHONG (1895-1953) Galloping Horse, Dedicated to Yi Kuo-juei (19061990), 1946 Hanging scroll, ink on paper, inscribed by the artist, with a dedication to Kuo-juei, dated the thirty-fifth year of the Republic period, signed Beihong, with an artist’s seal. 27 1/8 x 16 1/8in (69 x 41cm) $60,000 - 80,000 Provenance Collection of Yi Kuo-juei (1906-1990), acquired directly from the artist, thereafter by descent. 徐悲鴻（1895-1953）為易國瑞寫騰驤水墨紙本立軸一九四六年作款識：國瑞先生惠教，卅五年大暑，悲鴻。鈐印：徐悲鴻來源：易國瑞（1906-1990）舊藏，直接得自藝術家，繼由其後人遞藏至今。 In the late 1930s to early 1940s, Yi Kuo-juei relocated with his family to Sichuan following an official reassignment. During the same period, Xu Beihong made frequent visits to Chongqing, Sichuan Province, and resided for a time. It was likely under these circumstances that the two became acquainted. The present lot depicts Xu Beihong’s most iconic subject, the galloping horse. The horse is captured leaping in the air, its four legs tightly beneath its body as it surges forward. With its head slightly turned to the left, and its mane and tail streaming in motion, the horse conveys extraordinary vitality and momentum. The work may also be understood as an auspicious symbolism of success in the recipient’s career. 二十世紀三十年代末至四十年代初，易氏因職位調動，携家眷居四川，而徐悲鴻亦恰在同一時期屢赴重慶，並于四十年代初遷居沙坪壩及磐溪，二人當在此段時間相交。本拍品繪徐氏最具代表性的奔馬題材，該馬精瘦健碩，四足凌空縮起，馬首左瞻，鬃、尾飛揚，縱橫馳騁，取駿馬騰空一躍的瞬間贈時任空軍副司令的易氏，似亦有敬祝上款人平步青雲之意。除徐悲鴻外，易氏亦與齊白石、溥儒、于右任等藝壇名家交好，其夫人羅協邦之閨友張鬱廉（1914-2010）即為黃君璧弟子，其女易榕青亦從名師學畫。

54 | BONHAMS

PROPERTY FROM THE COLLECTION OF YI KUO-JUEI (1906-1990) 易國瑞（1906-1990）藏珍 553 PU RU (1896-1963) Landscape, Dedicated to Yi Kuo-juei (1906-1990) Hanging scroll, ink and light color on paper, inscribed by the artist, with a dedication to Kuo-juei, signed Xinyu, with an artist’s seal. 23 1/2 x 9 3/4in (59.5 x 24.8cm) $12,000 - 18,000 Provenance Collection of Yi Kuo-juei (1906-1990), acquired directly from the artist, thereafter by descent. 溥儒（1896-1963）淺設色紙本立軸

為易國瑞寫皇甫冉詩意

款識：寥落人家少，青冥鳥道深。國瑞先生正，心畬。鈐印：溥儒來源：易國瑞（1906-1990）舊藏，直接得自藝術家，繼由其後人遞藏至今。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

554

555

PROPERTY FROM THE COLLECTION OF YI KUO-JUEI (1906-1990) 易國瑞（1906-1990）藏珍

554 YU YOUREN (1879-1964) Poem by Wei Zhuang (836-910) in Cursive Calligraphy, Dedicated to Yi Kuo-juei (1906-1990) Mounted, framed and glazed, ink on paper, inscribed by the artist, with a dedication to Yi Kuo-juei, signed Youren, and with an artist’s seal. 30 9/16 x 15 7/16in (77.6 x 39.2cm)

555 YU YOUREN (1879-1964) Poem in Cursive Calligraphy Dedicated to Yi Kuo-juei (1906-1990) Hanging scroll, ink on paper, inscribed by the artist, with a dedication to Kuo-juei, signed Yi Youren, and with an artist’s seal. 37 3/4 x 12 3/4in (96 x 32.3cm)

$6,000 - 8,000 Provenance Collection of Yi Kuo-juei (1906-1990), acquired directly from the artist, thereafter by descent.

$6,000 - 8,000 Provenance Collection of Yi Kuo-juei (1906-1990), acquired directly from the artist, thereafter by descent. 于右任（1879-1964）

于右任（1879-1964）鏡框

為易國瑞寫草書韋莊五言律詩

款識：國瑞先生正，「月照臨官渡，鄉情獨浩然。鳥棲彭蠡樹，月上建昌船。市散漁翁醉，樓深賈客眠。隔江何處笛，吹斷綠楊煙。」右任，韋莊詩。鈐印：右任來源：易國瑞（1906-1990）舊藏，直接得自藝術家，繼由其後人遞藏至今。 56 | BONHAMS

為易國瑞寫草書七言詩

水墨紙本

立軸

水墨紙本款識：斜陽圍聽說場詞，我亦曾驅十萬師。破碎河山開國史，飄零風雨出軍詩。海中故部沈蒼兕，雲裡殘旌失素霓。歲自周天天自醉，紅牆銀漢隔秋思。國瑞先生法正，于右任。丘倉海先生秋懷。鈐印：右任來源：易國瑞（1906-1990）舊藏，直接得自藝術家，繼由其後人遞藏至今。

PROPERTY FROM THE COLLECTION OF YI KUO-JUEI (1906-1990) 易國瑞（1906-1990）藏珍 556 PU RU (1896-1963) Landscape/Calligraphy in Semi-cursive Script Dedicated to Yi Kuo-juei (1906-1990) The painting mounted on board, framed and glazed, ink and light color on paper, inscribed by the artist and signed Xinyu, with an artist’s seal; the calligraphy mounted as a hanging scroll, ink on paper, with a dedication to Zezhen (Yi Kuo-juei), signed Xinyu, with an artist’s seal. Painting: 12 1/2 x 22 1/8in (31.8 x 56.2cm) (2). $5,000 - 7,000 Provenance Collection of Yi Kuo-juei (1906-1990), acquired directly from the artist, thereafter by descent. 溥儒（1896-1963）淺設色紙本鏡框

繞堤輕舟/為易國瑞寫行草

繞堤輕舟款識：繞堤生古木，流水過輕舟。心畬鈐印：溥儒來源：易國瑞（1906-1990）舊藏，直接得自藝術家，繼由其後人遞藏至今。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF YI KUO-JUEI (1906-1990) 易國瑞（1906-1990）藏珍 557 HUANG JUNBI (1898-1991) Waterfall Dedicated to Yi Kuo-juei (1906-1990), 1957 Hanging scroll, ink and color on paper, inscribed by the artist, with a dedication to Kuo-juei, dated dingyou, signed Huang Junbi, with two artist’s seals. 21 1/2 x 11 7/8in (54.5 x 30cm) $3,000 - 5,000 Provenance Collection of Yi Kuo-juei (1906-1990), acquired directly from the artist, thereafter by descent. 黃君璧（1898-1991）爲易國瑞寫瀑布設色紙本立軸一九五七年作款識：國瑞先生雅正丁酉元月黃君璧。來源：易國瑞（1906-1990）舊藏，直接得自藝術家，繼由其後人遞藏至今。

58 | BONHAMS

Property from the Estate of Professor Wallace S. Johnson, Jr (1932-2007) Lots 558 - 561 Offered at no reserve

Born in Hampton, Virginia, Wallace S. Johnson Jr. received his Bachelor of Arts from Johns Hopkins University in 1957. He pursued legal studies at National Taiwan University between 1962 and 1964, and later earned a doctorate from the University of Pennsylvania in 1968. His postgraduate training included further study at Harvard Law School and the University of Munich. Johnson began his academic career as an assistant professor in 1965 and joined the University of Kansas, where he was promoted to associate professor in 1972. From 1977 onward, he served as professor of East Asian Languages and Cultures, contributing significantly to the study and teaching of East Asian history and civilization. 華萊士·約翰森（Wallace S. Johnson Jr）教授生於美國維吉尼亞州漢普頓市，1957年取得約翰霍普金斯大學文學學士學位。1962年至1964年間，赴國立台灣大學攻讀法律，其後於 1968年獲賓夕法尼亞大學博士學位，期間先後於哈佛法學院與慕尼黑大學深造。1965年始任助理教授，而後進入堪薩斯大學任教，1972年升任副教授。自1977年起，他出任該校東亞語言文化系教授，畢生致力於東亞歷史與文化的研究與教學，貢獻卓著。 PROPERTY FROM THE COLLECTION OF PROFESSOR WALLACE S. JOHNSON JR (1932-2007) 華萊士·約翰森（WALLACE S. JOHNSON JR, 1932-2007）教授藏珍 558 ¤ QI BAISHI (1864-1957) Gourds and Insects, 1947 Hanging scroll, ink and color on paper, inscribed by the artist and dated dinghai and signed Baishi with four artist’s seals. 36 7/8 x 18in (93.5 x 45.5cm) $30,000 - 50,000 To be sold without reserve Provenance Acquired in Taiwan, early 1960’s Estate of Professor Wallace S. Johnson Jr (1932-2007) 齊白石（1864-1957）七年作

葫蘆蟋蟀

設色紙本

立軸

一九四

款識：丁亥八十七歲，白石客京華。鈐印：白石翁、白石、大匠之门、吾年八十八來源：二十世紀六十年代購藏於台灣華萊士·約翰森（Wallace S. Johnson Jr, 1932-2007）教授遺產 *本拍品不設底價

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PROFESSOR WALLACE S. JOHNSON JR (19322007) 華萊士·約翰森（WALLACE S. JOHNSON JR, 1932-2007）教授藏珍 559 ¤ PU RU (1896-1963) Calligraphy in Running Script Hanging scroll, ink on paper, signed Xishan Yishi Pu Ru with two artist’s seals. 44 1/4 x 15in (112.5 x 38cm) $6,000 - 9,000 To be sold without reserve Provenance Collection of Professor Wallace S. Johnson Jr (1932-2007) Acquired in Taiwan, early 1960’s 溥儒（1896-1963）塞上曲行書條幅水墨紙本立軸釋文：隴首動寒色，長城界朔寸。落日照平沙，石如君馬黃。營門有秋氣，邊歌多慨慷。連馬邑鼙鼓出漁陽，平原不見人上河。梁石塞上曲一首。款識：西山逸士溥儒。鈐印：溥儒之印、心畬翰墨本拍品不設底價。

60 | BONHAMS

PROPERTY FROM THE COLLECTION OF PROFESSOR WALLACE S. JOHNSON JR (19322007) 華萊士·約翰森（WALLACE S. JOHNSON JR, 1932-2007）教授藏珍 560 ¤ HUANG JUNBI (1898-1991) Landscape, 1963 Hanging scroll, ink and color on paper, inscribed by the artist and dated guimao and signed Baiyuntang Huang Junbi with three artist’s seals. 39 1/4 x 13 1/2in (99.6 x 34.5cm) $4,000 - 6,000 To be sold without reserve Provenance Collection of Professor Wallace S. Johnson Jr (1932-2007) Acquired in Taiwan, early 1960’s 黃君璧（1898-1991）雲山逸境設色紙本立軸一九六三年作款識：突兀數峰碧，天公雨乍收，人象溼雲裹，山氣已成秋。癸卯春日於白雲堂，黃君璧鈐印：來源：華萊士約翰遜二世（Wallace S. Johnson Jr）教授（1932–2007）舊藏 1960年代初購於臺灣本拍品不設底價。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE COLLECTION OF PROFESSOR WALLACE S. JOHNSON JR (19322007) 華萊士·約翰森（WALLACE S. JOHNSON JR, 1932-2007）教授藏珍 561 ¤ HUANG JUNBI (1898-1991) Lansdcape and Calligraphy, 1963 Hanging scroll, ink and color on paper, inscribed by the artist and dated guimao, and signed Baiyuntang Huang Junbi with three artist’s seals, mounted with a calligraphic passage, ink on paper, signed Huang Junbi with three artist’s seals. 38 x 21 1/4in (96.5 x 54cm) the painting 9 x 21 1/4in 23 x 54cm), the calligraphy $7,000 - 10,000 To be sold without reserve Provenance Acquired in Taiwan, early 1960’s Collection of Professor Wallace S. Johnson Jr (1932-2007) 黃君璧（1898-1991）立軸一九六三年作

挾筇覓句

設色紙本

款識：紅塵擾擾滿人間，十日應無一日閒。羨教茂林蒼壁下，挾筇漫步對青山。癸卯春日於白雲堂，黃君璧。鈐印：南海黃氏、君璧好鈢、白雲堂詩堂：花近高樓傷客心，萬方多難此登臨。錦江春色來天地，玉壘浮雲變古今。北極朝廷終不改，西山寇盜莫相侵。可憐後主還祠廟，日暮聊為梁父吟。清秋幕府井梧寒，獨宿江城蠟炬殘。永夜角聲悲自語，中天月色好誰看。風塵荏苒音書絕，關塞蕭條行路難。已忍伶俜十年事，強移棲息一枝安。偶錄杜詩二首，黃君璧。鈐印：白雲堂、黃君璧印、君翁來源：二十世紀六十年代購藏于台灣華萊士·約翰森（Wallace S. Johnson Jr, 1932-2007）教授舊藏 *本拍品不設底價

62 | BONHAMS

PROPERTY FROM A CALIFORNIA PRIVATE COLLECTION 加州私人珍藏 562 REN BONIAN (1840-1896); YAO WENZAO (19TH/20TH CENTURY) Bird and Flower; Calligraphy 1885 Folding fan, the painting ink and color on gold paper, inscribed by the artist with a dedication to Jingwu, dated Guangxu yiyou signed Bonian Ren Yi, with an artist’s seal and a collector’s seal; reversed by calligraphy in running script, with dedication to Jingwu, signed Yao Wenzao with a calligrapher’s seal; with a fitted wood storage box signed and sealed Tianwai Daoren (Nishimura Tomijirō, late 19th century). 6 3/4 x 20 1/2in (17.5 × 52cm) $3,000 - 4,000 任伯年（1840-1896）花鳥，姚文藻（十九至二十世紀）行書句水墨設色金紙全扇帶盒一八八五年作款識：靜武仁兄大雅之屬，光緒乙酉二月，伯年任頤。鈐印：任伯年款識：靜武仁兄大人正，姚文藻詩草。鈐印：漶漫難辨

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 563 PU HUA (1834-1911) Ink Bamboo, 1904 Ink on paper, four-panel floor screen with spotted bamboo frames, each panel mounted and glued to board, inscribed by the artist on each panel with one seal, signed Zuoying Pu Hua, Xushan yeshi Pu Hua and Zuoying (twice), dated jiachen on the third panel. 56 3/8 x 15in (143.2 x 38.1cm) each panel $20,000 - 30,000 Provenance Sotheby’s, New York, Fine Classical Chinese Paintings & Calligraphy, 15 September 2016, lot 738

64 | BONHAMS

蒲華（1834-1911）九〇四年作

墨竹

水墨紙本

貼板裝斑竹框四聯屏風

一

款識：（一）昨自西湖䦨醉歸，沿山密蓧亂牽衣。搖舟已下金沙港，囬首清風在翠微。作英蒲華。鈐印：蒲華印信（二）勁莭高秋，胥山野史蒲華。鈐印：蒲作英（三）不可一日無此君。甲辰新秋，倣吳仲圭筆法，作英。鈐印：蒲華詩書畫印（四）我亦有亭修竹裏，也應歸去聽秋聲。作英。鈐印：蒲華之印來源：紐約蘇富比，「中國古代書畫」，2016年9月15日，拍品編號738

564

565

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 564 WU CHANGSHUO (1844-1927) Moonlit Magnolia after Li Shan (1686-1756), 1921 Hanging scroll, ink on gold paper, inscribed by the artist and dated xinyou, singed Wu Changshuo, with two artist’s seals, the silk mount inscribed by Lu Yanshao (1909-1993) and signed Lu Yanshao, with two calligrapher’s seals. 48 3/16 x 20 7/16in (122.4 x 51.9cm)

565 WU CHANGSHUO (1844-1927) Peony and Rock, 1915 Hanging scroll, ink and color on paper, inscribed by the artist, dated yimao, and signed Anji Wu Changshuo, with three artist’s seals. 55 x 12 5/8in (139.5 x 32.2cm)

$12,000 - 18,000

吳昌碩（1844-1927）

Provenance Collection of the Atelier Woodson

款識：寶盤紅玉生樓臺，乙卯春仲，安吉吳昌碩。鈐印：吳昌石、吳俊之印、歸仁里民

吳昌碩（1686-1756）作

庭前月色

水墨泥金紙

立軸

$8,000 - 12,000 石畔牡丹

設色紙本

立軸

一九一五年作

一九二一年

款識：庭前月色，擬復堂筆意，吳昌碩畫，時辛酉秋，年七十八。鈐印：俊卿大利、缶廬陸儼少（1909-1993）題裱跋：昌碩先生安吉人氏，西泠印社首位社長，上海畫派領袖。吳派篆刻創始人，詩書印無一不精，沙孟海評其書畫大起大落、遒潤峻險，余觀此幅水墨玉蘭，用筆雄渾，書法遒勁，不愧爲一代大師，所作實乃精品，可寶藏之也，因題數語，後學陸儼少於海上就新居。鈐印：宛若、陸儼少來源：子木軒珍藏 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

567

566 THE COLLECTION OF ‘THE SILENT TRAVELLER’: PROPERTY FROM THE ESTATE OF CHIANG YEE (1903-1997) 「啞行者」雅藏：蔣彜（1903-1997）遺珍 566 GUAN PINGHU (1897-1967) Reading by a Lamp, 1926 Hanging scroll, ink and color on silk, Inscribed by the artist with a long inscription, dated bingyin, and signed Guan Ping with four artist’s seals and a collector’s seal. 37 x 15in (94 x 38cm) $3,000 - 5,000 管平湖（1897-1967）燈影書聲設色絹本立軸一九二六年作款識：「西湖誌捲之四十六-支如增小青傳」「女聊齋誌異捲三-小青傳」鈐印：平湖、技只？百、管平、吉厂

567 MIAO GUYING (1875-1955) Two Chrysanthemum paintings, 1932 Two hanging scrolls, ink and color on paper, each inscribed by the artist and dated renshen (1932) signed Youli Shanren Guying Miao Pusun with two artist’s seals. $2,500 - 4,000 Provenance Estate of Chiang Yee (1893-1977), thereafter by descent. 繆谷瑛（1875-1955）菊花二幅設色紙本立軸一九三二年作款識：晚香寒翠。擬南田先生小變其法。壬申秋日由里山人谷瑛繆莆孫寫菊于滬。鈐印：繆、莆孫款識：霜餘增艷。壬申秋日由里山人谷瑛繆莆孫。鈐印：繆、谷瑛五十後書畫章

66 | BONHAMS

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 568 WANG ZHEN (1867-1938) Amitabha, 1936 Hanging scroll, ink and color on paper, inscribed by the artist and dated bingzi, signed Wang Zhen, with an artist’s seal. 48 1/4 x 16 3/8in (122.5 x 41.6cm) $5,000 - 7,000 Provenance Collection of the Atelier Woodson 王震（1867-1938）一九三六年作

無量壽佛

設色紙本

立軸

款識：瑞像發圓光，荒山坐空寞。煩惱佈海揚，靈台如洞鑿。種果成舍利，積福掛瓔珞。我佛無量壽，壽踰千歲鶴。丙子冬月，佛弟子王震鏡敬寫。鈐印：一亭父來源：子木軒珍藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

569 AFTER LANG SHINING (GIUSEPPE CASTIGLIONE) Troating for Deer at Chengde Summer Palace, Early 20th century A large format horizontal handscroll, beginning with a frontispiece, ink on gold painted paper, with a spurious seal; followed by a multilingual titleslip, ink on silver painted paper, with two spurious seals; followed by the painting, ink and color on silk, inscribed and signed Lang Shining with two artist’s seals and two spurious imperial collection seals; followed by an inscription in Manchurian, ink on gold painted paper with three seals, and a paper manufacturer’s seal; followed by an inscription in Chinese, signed Zhang Tingyu with two calligrapher’s seals, a collector’s seal, and a paper manufacturer’s seal; followed by a colophon signed Shen Deqian, ink on gold painted paper with three seals, and a paper manufacturer’s seal; with a stamp of the customs office at the Paris Orly Airport on the reverse. 20 1/4 x 51in (51.4 x 130cm); 21 1/4 x 160in (53.2 x 406cm); 20 3/4 x 52in (52.7 x 132cm); 20 3/4 x 52in (52.7 x 132cm) $20,000 - 30,000

Provenance Collection of Oveta Smith Lucy, Katy, Texas Compare to three horizontal scrolls of similar style, likely produced by the same workshop: Leaving the Palace on a Hunt, sold at Bonhams, San Francisco, 24 June 2014, lot 8342, deaccessioned from the Portland Art Museum, Portland, Oregon; Archery Competition at Ziguangge, sold at Bonhams, San Francisco, 19 December 2016, lot 8022; Victory Banquet at Ziguangge, sold at Bonhams, New York, 14 September 2015, lot 8169. （款）郎世寧

山莊哨鹿圖

設色絹本

手卷

二十世紀初

畫心款識：海西臣郎世寧恭寫鈐印：世、寧藏印：靜宜園、乾隆御覽之寳引首：山莊哨鹿鈐印：乾隆宸翰隔水四語題簽：山莊巡狩御妃扈蹕獲鹿圖（滿文、蒙古文及藏文不錄）藏印：古希天子、八徵老念之寶尾跋一：（滿文，不錄）藏印：乾隆御覽之寳

68 | BONHAMS

尾跋二：〈御製哨鹿賦並序〉賦者，古詩之流。詩以言志，其有不能盡言之志，則賦可以申之。我皇祖昔喜哨鹿，朕冲齡隨侍，習聞其事，年來乃親試為之。嘉其有合於聖經，顧古人無賦之者，故不愧無文。其辭曰：「伊白露宵中之候，正伊尼孶尾之時，生不息焉。洪鈞運而難測？物雖蠢也，氣機至而咸知，故三序則牝牡各從其類，惟中秋斯牝牡各嫓其妃。强有力者，不惟挾兩而累十。弱無能者，或乏獨匹以相隨。或依林而命侶，或據嶺而分畿，或悍害而傲眾，或謹守而自持，或豪敓而攘彼，或竊取以私其，萬態紛其莫窮。一以音而宣之，於是虞人善因聲以察情，爰體情以斆聲。喜金風之颯爽，値玉宇之晶明。霜重而不言其冷，露濃而不覺其零。陵嶮峨而如登袵席，冐蒙茸而不異戶庭。慮吾遊之晏起，虞原獸之怠鳴。夙戒僕而携從，欣戴月而披星。舍彼寬衣，宜兹短服。荷長哨於左肩，出象首於右簏。躐嶒陟嵕，沿谿穿谷。攀蘿兮豈辭胼手，履石兮何妨馗足。蓋以暢兹心神，詎惟饕其口腹。於焉蹵乎崔嵬，軼彼嵾嵳。上千丹楓之巘，下視白雲之隈。上風餮切之避忌，陽林晃耀則紆迴。就叢薄之蔽翳，反獺裘而毰毸。眾條理焉畢會，乃得傑雄之爭匹者。呦踉蹡而徐來，角八叉兮嶷嶷。耳雙聳兮濕濕，挺强項兮莫攖。矗靈鼻兮善鼻䶋。始嚇侶兮自閑，乃妬異兮矜急。既漎漎兮疾赴，復䳮䳮兮少戢。蓋屢試兮絶猜，遂鋭志兮直入。爾其動林無形，匪風有響。適其將至，撇爾懼往。奮角思觸，瀏睨爭長。則在夫能哨者，善達變以隨機，比用中而執兩。或激其怒兮使進，或示以弱兮令放。惟察情之喜怒，迺應聲而低仰。蓋用心於既專，斯通靈而不爽。既然矣，無動無慮，不徐不遽。驀黶合之前陳，徙應叱而少住。屏營收息，量卑揣髙。傍斗窺星，度兮以毫。審度發機，馥焉中膏。命處擇肥，登於大庖。若夫多疑旁剔，既進中止。膽劣心狷，狐猜狼視。未交戰而長跳，敺叢樾而如駛。則亦比之窮寇之莫追，又何必焚林而盡取哉。蓋嘗研精哨鹿之理，而知五德焉。取一以新，匪二以頻，仁也。逆者斃之，去者寘之，義也。爰登簠簋，爰嘏福履，禮也。招之即至，獲之即遂，智也。呼哨以進，射宿凛訓，信也。如是者，蓋有合於聖人之洪道，而又豈潘岳耽盤流遁之所試，相如子虛上林之所嘲也哉。」臣張廷玉敬書。鈐印：臣廷玉、聖朝樂事藏印：乾隆御覽之寳裝池款識：江南織造奴才李誠恭製

尾跋三：「序届宵中大地秋，丹崖翠嶂景清幽。」白露之候，為麋鹿求牡之時。羣雄於崖谷間爭雄長，虞人每至其期，肖其聲而以哨鳴之，則羣鹿集焉，因而獵耴，其所獲倍於常時。「人歌正始乾坤大，物感皇天雨露稠。」今上每届秋日，萬幾之暇，有率臣工哨鹿之舉，蓋耴聖人田獵因時耴，不傷獸獵不焚林之義，且我皇祖曾喜為亦思繼祖考之義也。「風靜中原遑待逐，澤周九有不須搜。」聖人出震四海，一統正中天。景運之時，華夏承平遐邇。向化固已無逐鹿之爭，更何待搜林而敺哉。「聖人洪道承皇祖，禮樂因時異豫游。」今上既循舊典為哨鹿更〈御製哨鹿賦〉，唐皇富麗，古今無兩。次命西臣郎世寧製圖以紀盛擧，誠如聖言，合於聖人之洪道，深得仁義禮智信之五德者也。「奉勅恭賦」侍郎臣沈德潛。鈐印：一朵紅雲、沈德潛印藏印：乾隆御覽之寳裝池款識：江南織造奴才李誠恭製裝池款識：萬壽盛典重裝，奴才滕保監工。紙背見法國巴黎奧利機場海關辦事處蓋章：Douane Françaises, Bureau d’Orly 4 來源：奧維塔·史密斯·露西（Oveta Smith Lucy）女士舊藏，德克薩斯州凱蒂市可對比三卷風格裝池均近似、或為同一畫坊所製手卷：〈離宮巡狩圖〉，原爲波特蘭藝術博物館（Portland Art Museum）所藏，于 2014年6月24日經舊金山邦瀚斯釋出，拍品編號8342；〈西苑校射圖〉，舊金山邦瀚斯，2016年12月19日，拍品編號8022；〈紫光凱宴圖〉，紐約邦瀚斯，2015年9月14日，拍品8169。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

570 ZHANG DAQIAN (1899-1983) Landscape, 1927 Hanging scroll, ink and color on paper, inscribed by the artist and dated dingmao, signed Daqian Jushi Yuan, with two artist’s seals. 40 3/8 x 12 3/4in (102.5 x 32.2cm) $12,000 - 18,000 張大千（1899-1983）

煙樹江帆

設色紙本

立軸

一九二七年作

款識：天開影墮滄波裏，峰峭深埋宿霧中。來去片帆齊上下，舟人穩使八方風。丁卯春月，大風堂作，大千居士爰。鈐印：張爰私印、大千鈢

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PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 571 ZHANG SHUQI (1899–1957) Gibbons and Pine, 1940 Hanging scroll, ink and light color on silk, inscribed by the artist and dated gengchen, signed Shuqi with an artist’s seal. 51 x 20in (129.5 x 50.8cm) $8,000 - 12,000 Provenance Collection of the Atelier Woodson 張書旂（1899-1957）一九四一年作

雪猿

淺設色絹本

立軸

款識：伯天吾兄粲正，庚辰，弟書旂。鈐印：書旂來源：子木軒珍藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

572 QI BAISHI (1864-1957) Chicks Ink on paper, framed and glazed, inscribed by the artist and signed Baishi Laoren with two seals, one impressed, one embossed. 13 3/8 x 13 3/8in (34 x 34cm) $7,000 - 10,000 齊白石（1864-1957）小鷄與蟲水墨紙本鏡框款識：白石老人畫于華。鈐印：齊璜、齊白石（鋼印）

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573 PU RU (1896-1963) Court Courtesans of the Former Shu, after Tang Yin, 1940 Hanging scroll, ink and color on paper, inscribed by Pu Ru replicating Tang Yin’s original inscription, followed by a signature reading Tang Yin, with two of Pu Ru’s seals, with a second inscription, dated gengchen, and signed Xishan Yishi Pu Ru with an artist’s seal and a collector’s seal. 40 1/2 x 21in (103 x 53.5cm) $8,000 - 12,000 The original Tang Yin painting, on which this composition is based, is now in the collection of the Palace Museum, Beijing, accession number 新00146600.

溥儒（1896-1963）九四〇年作

仿唐寅〈王蜀宮妓圖〉

設色紙本

立軸

一

仿款：蓮花冠子道人衣，日侍君王宴紫微。花柳不知人已去，年年閗綠與爭徘。蜀後主每於宮中裹小巾，命宮妓衣道衣，冠蓮花冠，日尋花柳以侍酣宴。蜀之謠已溢耳矣，而主之不挹注之，竟主濫觴。俾後想搖頭之令，不無扼腕。唐寅。鈐印：溥儒之印、溥儒款識：庚辰冬日臨六如居士真夲，西山逸士溥儒。鈐印：溥儒之印、心畬

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 574 QI BAISHI (1864-1957) Rooster and Chicks, 1947 Hanging scroll, ink and color on paper, inscribed by the artist and dated dinghai and signed Baishi Laoren Qi Huang, with two artist’s seals, and a collector’s seal. 33 1/4 x 15in (84.5 x 38cm) $20,000 - 30,000 Provenance Collection of Alice Boney (1901-1988) 齊白石（1864-1957）

雄雞將雛

款識：丁亥冬，白石老人齊璜畫。鈐印：齊大、寄萍軒藏印：龐耐珍藏來源：龐耐（1901-1988）舊藏 74 | BONHAMS

設色紙本

立軸

一九四七年作

(detail)

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 575 PU RU (1896-1963) Cinnabar Pine Trees Horizontal scroll, mounted for framing, cinnabar ink on paper, inscribed by the artist and signed Xinyu with one of his seals. 5 1/8 x 41 7/8in (13 x 106.2cm) $12,000 - 18,000 Provenance Collection of the Atelier Woodson 溥儒（1896-1963）

朱松

硃砂紙本

橫幅

款識：西山昆明湖墻外舊有松柏數株，被伐殆盡，僅存二株。山中人即樹為屋，賣卜者居焉，若靈光之巋然獨存者。心畬鈐印：溥儒之印來源：子木軒珍藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

576 HUANG BINHONG (1865-1955) Landscape, 1952 Hanging scroll, ink and color on paper, inscribed by the artist and dated renchen, and signed Binhong, with an artist’s seal. 36 7/8 x 10in (93.5 x 25.5cm) $10,000 - 15,000 黃賓虹（1865-1955）

嶺下讀書

設色紙本

立軸

一九五二年作

款識：棲霞嶺下，寓齋讀書，嵐翠掩映幾案間。漫興冩此，壬辰八十九叟，賓虹。鈐印：黃賓虹

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(detail 局部)

PROPERTY FROM A NEW YORK PRIVATE COLLECTOR 紐約收藏 577 CHEN XIWEN (B.1964) Eighty-Seven Immortals after Wu Daozi, 1987 Horizontal handscroll, ink on paper, mounted with a frontispiece of calligraphy after Qi Baishi (1864-1957), with two painted seals, the frontispiece inscribed by the artist, dated dingmao (1987) and signed Xiwen with an artist’s seal, mounted with a colophon by the artist after Xu Beihong (1893-1953). 10 1/2 x 65 1/2in (26.8 x 166.5cm) $7,000 - 10,000 Provenance New York private collection

陳希文（1964年生）

八十七神仙

水墨紙本

手卷

一九八七年作

陳希文引首款識一：八十七神仙卷，八十八歲齊璜。繪印：悔烏堂、白石款識二：丁卯季嵗末，製於北京，希文。鈐印：希文之印陳希文尾跋款識：（仿徐悲鴻跋，文不錄）廿七年八月，悲鴻題於獨秀峯下之美術學院，先一日，倭寇炸毀湖南大學，吾書至此正警報至桂林。來源：紐約私人收藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A WEST COAST PRIVATE COLLECTION 美國西海岸私人珍藏 578 QI BAISHI (1864-1957) Longevity Peaches Hanging scroll, ink and color on paper, inscribed by the artist and signed Jieshan Laoren Baishi, with two seals, additional inscription by Li Kuchan (18991983), signed Chan with a seal, with two collector’s seals. 26 x 12in (66 x 33cm) $25,000 - 40,000 Provenance Collection of Suma Yakichirō (1892-1970) Collection of Xia Yan (1900-1995) West Coast Private Collection 齊白石（1864-1957）

壽桃

設色紙本

立軸

款識：借山老人白石鈐印：齊白石、人長壽李苦禪（1899-1983）題跋：直分文野本天成，性情由來筆自功。恩師白石□所畫，至見之如同立眼前耳，當寳之，禪拜題。鈐印：李氏苦禪藏印：（須）昇龍山人、（夏）仁和沈氏曾藏來源：須磨彌吉郎（1892-1970）舊藏夏衍（1900-1995）舊藏美國西海岸私人收藏本幅亦鈐「昇龍山人」須磨彌吉郎（1892-1970）印，須磨氏，日本秋田縣人，自幼雅好書畫篆刻，齋曰「梅花草堂」。後加入日本外務省，上世紀二、三十年代獲派中國，先後駐京、穗、滬、寧等地使領館，累遷至南京總領事。在華期間，廣交畫壇名家，除獲寫贈外，亦向畫家訂製乃至廠肆搜求，匯集作品包羅南北各派，以所藏齊白石之精，享譽中外，京都國立博物館館藏有其舊藏近現代書畫近千件。

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PROPERTY FROM A PRIVATE SOUTHERN CALIFORNIA COLLECTION 南加州私人收藏 579 QI BAISHI (1864-1957) Promotion: Rooster and Cockscomb, 1943 Hanging scroll, ink and color on paper, inscribed by the artist and titled in seal script, signed Xingziwu Laomin with three artist’s seals, the outer titleslip likely in the artist’s own hand, dated the thirtysecond year of the Republic era (1943). 69 5/8 x 26in (177 x 66cm) $30,000 - 50,000 Provenance Sze Yuan Tang Collection Bonhams Hong Kong, Chinese Paintings, 2 March 2022, lot 12 Private Southern California collection 齊白石（1864-1957）一九四三年作

加官

設色紙本

立軸

款識：「加官」，杏子塢老民晨興一揮。鈐印：借山翁、木居士、曾經灞橋風雪簽條：「加官圖」，齊白石作於民國卅二年。來源：「思源堂」珍藏香港邦瀚斯，「中國書畫」，2022年3月2日，拍品編號12 南加州私人收藏思源堂主人自上世紀六十年代初開始在香港生活，因鍾愛中國藝術，舉凡書畫、玉器、青銅、陶瓷等皆悉心蒐集，近半世紀而不倦，漸成大觀。思源堂主尤其鍾愛齊白石，因其畫中尋常生活物像，信手拈來，寓意美好，生趣盎然。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 580 PU RU (1896-1963) Calligraphy in Running Script Hanging scroll, ink on gold fleck paper, inscribed by the artist with a dedication, and signed Pu Ru, with three artist’s seals. 29 5/8 x 10 14in (75.4 x 26.2cm) $4,000 - 6,000 Provenance San-ee Art Gallery, Singapore Formerly in a Singapore private collection, acquired from the above 溥儒（1896-1963）紙立軸

草書自作詩二首

水墨灑金

款識：列嶂苔□近斗牛，湯泉蒸氣掩松楸。天邊似見燕山月，夜照乘□濁水流。瓊樹花飛須掩關，星壇雲凈鶴飛還。為誰久住人間世，但食松根便永年。笑堂先生屬錄近詩，溥儒。鈐印：天籟、舊王孫、溥儒來源：新加坡三餘畫店新加坡私人收藏，購藏自上述畫店

80 | BONHAMS

PROPERTY FROM A NORTH AMERICA PRIVATE COLLECTION 北美私人收藏 581 ZHANG DAQIAN (1899-1983) Peony Fan painting, mounted for framing, ink and color on paper, inscribed by the artist with a dedication, and signed Daqian Jushi, with two artist’s seals. 7 3/4 x 21 1/4in (19.5 x 54cm) $10,000 - 15,000 Provenance North America private collection 張大千（1899-1983）

牡丹

設色紙本

扇面

款識：百寶闌干護曉寒，沉香亭畔若為看。春來誰作韶華主，管領群芳是牡丹。家任先生法家屬之，大千居士爰並書於大風堂下。鈐印：張爰之印、大千來源：北美私人收藏

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 582 TANG YUN (1910-1993) Lotus Hanging scroll, ink and color on paper, inscribed by the artist and signed Tang Yun, with an artist’s seal. 25 3/4 x 12 7/8in (65.5 x 32.5cm) $4,000 - 6,000 Provenance California private collection. 唐雲（1910-1993）荷花設色紙本立軸款識：採蓮人已去，依舊暗香來，杭人唐雲。來源：加州私人舊藏 PROPERTY FROM A DISTINGUISHED COLLECTOR 583 XIE ZHILIU (1910-1997) Lotus, 1979 Ink on paper, mounted, matted, framed and glazed, inscribed and dated jiwei, and signed Zhuangmuweng Zhiliu with five artist’s seals. 14 x 26 3/4in (36 x 68cm) $4,000 - 6,000 謝稚柳（1910-1997）清霞晨曦水墨紙本鏡框一九七九年作款識：「清霞晨曦」。己未，壯暮翁稚柳題舊作。

582

583 82 | BONHAMS

PROPERTY OF A GENTLEMAN 紳士珍藏 584 LU YANSHAO (1909-1993) Ink Lotus Dedicated to Guo Zhengping Hanging scroll, ink on paper, inscribed by the artist with a dedication to Dr. Zhengping, signed Lu Yanshao with three artist’s seals and a collector’s seal of Zou Moxian, the outer titleslip inscribed by Zou Moxian, dated 2007, with two calligrapher’s seals. 27 1/8 x 20 1/8in （69 x 51.2cm） $18,000 - 25,000 Provenance Collection of Zou Moxian Rongbaozhai, Shanghai, Chinese Paintings and Calligraphy from the Collection of Muxian Ju (Zou Moxian), 30 June 2013, lot 1095

Zou Moxian, also named Muxian, was originally from Mexian Guangdong, and was a disciple of Lu Yanshao, and also studied painting with Xie Zhiliu (1910-1997), Xu Bangda (1911-2012) and Tang Yun (1910-1993). In 1988, he founded Dunhuang Yishu Gongsi (Dunhuang Art Company). 陸儼少（1909-1983）

為郭正平寫墨荷

水墨紙本

立軸

款識：正平醫師正，陸儼少寫。鈐印：嘉定陸氏、儼少之印、愛新就新藏印：慕賢珍藏題簽：陸儼少先生水墨荷花軸，丁亥（2007）初，沪上慕賢藏題。鈐印：鄒、慕賢來源：鄒模賢舊藏上海榮寶齋，「翰墨因緣—慕賢居藏書畫雅玩」，2013年6月30日，拍品編號1095 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 585 ZHANG DAQIAN (1899-1983) Chrysanthemums, 1969 Mounted for framing, ink and color on paper, inscribed by the artist with a dedication and dated jiyou, signed Yuan with three artist’s seals. 27 x 10 7/8in (68.5 x 27.5cm) $18,000 - 25,000 Provenance Poly, Hong Kong, Fine Chinese Paintings and Calligraphy [II], 1 April 2019, lot 696 張大千（1899-1983）一九六九年作

秋菊

設色紙本

鏡心

款識：興來寫菊似塗鴉，誤作枯藤纏數花。墨落一時收不住，石棱留得一拳斜。洪生吾兄哂正，己酉元月初四日，爰翁。鈐印：蜀郡、張爰印、大千世界來源：香港保利，「中國書畫（二）」，2019年4月1日，拍品編號696

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PROPERTY OF A GENTLEMAN 紳士珍藏 586 DONG SHOUPING (1904-1997) Ink Pine Tree, 1993 Hanging scroll, ink on paper, inscribed by the artist and dated to his ninetieth year, signed Dong Shouping with an artist’s seal; with an inscribed wood box. 43 1/4 x 26 3/8in (110 x 67cm) $5,000 - 7,000 Provenance Japanese private collection 董壽平（1904-1997）松水墨紙本立軸一九九三年作款識：南山看高松，直上數千尺。寫古人對句，九十翁董壽平。鈐印：董壽平

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY OF A GENTLEMAN 紳士珍藏 587 ZHU QIZHAN (1892-1996) Grapes Mounted for framing, ink and color on paper, inscribed by the artist and dated dingsi and signed Qizhan with two artist’s seals. 33 x 21in (84 x 53.5cm) $3,000 - 5,000 Provenance Shanghai/California private collection 朱紀瞻（1892-1996）葡萄設色紙本鏡心款識：紀瞻。丁巳春畫於上海鈐印：來源：上海/加州私人舊藏

587

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 588 ZHAO SHAO’ANG (1905-1998) Red Flower, 1984 Mounted for framing, ink and color on paper, inscribed by the artist, signed Shao’ang, with two artist’s seals. 13 1/2 x 14 1/8in (34.5 x 36cm) $3,000 - 5,000 趙少昂（1905-1998）紅花與蟲設色紙本鏡心一九八四年作款識：壬子秋少昂。鈐印：趙 588

PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 589 ZHAO SHAO’ANG (1905-1998) Cicada, 1984 Mounted for framing, ink and light color on paper, inscribed by the artist, signed Shao’ang, with two artist’s seals. 18 x 24 3/8in (45.7 x 62cm) $4,000 - 6,000 Provenance Collection of the Atelier Woodson 趙少昂（1905-1998）

竹蟬

淺設色紙本

鏡心

一九八四年作

款識：如何肯到清秋日，已帶斜陽又帶蟬，少昂時年八十。鈐印：趙、少昂

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來源：子木軒珍藏

590 PROPERTY FROM A PRIVATE TEXAS COLLECTION 德克薩斯州私人珍藏 590 ¤ CHENG SHIFA (1921-2007) Goldfish; Hens Two paintings, each ink on paper and individually framed and glazed, each signed Shifa with one or two artist’s seals. 13 3/4 x 19in (35 x 48.5cm), each $2,000 - 3,000 To be sold without reserve Provenance Formerly in the collection of Professor Dominic Man-Kit Lam (b.1947) 程十髮 (1921-2007) 雙魚圖/母雞圖水墨紙本鏡框兩幅款識一：十髮寫。款識二：十髮。鈐印：來源：林文傑教授（b.1947）舊藏本拍品不設底價。 PROPERTY FROM A PRIVATE TEXAS COLLECTION 德克薩斯州私人珍藏 591 CHENG SHIFA (1921-2007) Girl and Deer Ink and color on paper, hanging scroll, inscribed and signed Cheng Shifa, with three artist’s seals. 26in x 16¾in (66 x 43cm) $4,000 - 6,000 Provenance Formerly in the collection of Professor Dominic Man-Kit Lam (b.1947) 程十髮（1921-2007）

雄鹿少女

設色紙本

立軸

款識：程十髮寫。鈐印：十髮、雲間程潼、雲間來源：林文傑教授（b.1947）舊藏

591

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

592 GUAN LIANG (1900-1986) Opera Scene of the legend of the White Snake Dedicated to Yan Jingwen (1905-1987), 1984 Hanging scroll, ink and color on paper, inscribed by the artist with a dedication, dated jiazi, and signed Guan Liang with one artist’s seal. 36 5/8 x 24 3/8in (93.2 x 61.8cm) $10,000 - 15,000 關良（1900-1986）為嚴景文寫白蛇傳戲曲人物設色紙本立軸一九八四年作款識：景文仁兄留念，甲子五月冩於紐約，關良。鈐印：關良嚴景文（1905-1987），江蘇蘇州人，乃上海商界鉅子。上世紀四十年代，他在滬創辦萬源紗號，曾任永大銀行經理、統一紗廠董事等職。五七年移居香港。嚴氏雅好書畫，收藏量豐質精。

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PROPERTY FROM THE STEVEN M. ERICKSON (1943-2024) ESTATE 斯蒂文·艾利克遜（1943-2024）遺珍 593 ¤ WANG MINGMING (BORN 1952) Li Tieguai, 1985 Hanging scroll, ink and color on paper, inscribed by the artist and dated yichou, signed Mingming with three artist’s seals. 53 1/4 x 26 1/4in (135 x 66.5cm) $3,000 - 5,000 To be sold without reserve 王明明（1952年生）鐵拐李僲設色紙本立軸一九八五年作款識：鐵拐李僲，乙丑年春月，明明戲書於京華。款識：古趣、王明明印、家在蓬萊閣畔本拍品不設底價。 Steven Malum Erickson had a lifelong interest in Chinese culture and painting. Afforded an opportunity to visit China in 1984 and 1986 as a student at the University of Minnesota Duluth, Mr. Erickson attended the inaugural United States / Zhejiang Meishu Xueyuan, now Zhongguo Meishu Xueyuan, (Chinese Academy of Arts) shortterm Training Programs for the study of Chinese landscape painting in Hangzhou, under the guidance of esteemed artists such as Lu Yanshou and Sha Menghai (1900-1992). Thereafter, Mr. Erickson made numerous trips to China in the years that followed, and at his home in Seattle, he hosted Chinese artists who visited the United States. Among his friends in the art world, Xu Bing (b. 1955), Gu Wenda (1955-2008) and Wang Dongling (b. 1945) were all welcomed to his Pacific Northwest home. In 2018, he was invited as a representative of international alumni to speak at the opening ceremony of the exhibition “All Art Under the Sun: The 40th Anniversary of Education for Overseas Students at the China Academy of Art (1978-2018).” Returning to his alma mater for the occasion was a deeply moving experience for him. Mr. Erickson passed away in July 2024 at the age of 81. 斯蒂文·摩倫·艾利克遜對中國文化及書畫的喜愛淵源深厚，一九八四年盛夏，艾利克遜先生便作為首批美國學生，遠赴杭州參與浙江美術學院（現中國美術學院）開展的「外國短訓班」，進修中國繪畫。二十四位來自明尼蘇達州德盧斯大學的學生，在陸儼少、沙孟海（1900-1992）等名師筆墨氤氳、金石鏗鏘的課堂，領略東方美學的魅力。或是意猶未盡，或是漸入佳境，一九八六年，艾利克遜先生懷揣對中國繪畫的更深渴求再度來杭，並在往後的時間裡，多次往來中美。他亦常於西雅圖宅邸款待到訪的中國藝術家，徐冰、谷文達及王冬齡都是其座上賓。二〇一八年，中國美術學院舉辦〈四海藝同 1978-2018：中國美術學院來華留學教育40年〉展，特邀艾利克遜先生作為早歲來華留學生代表致辭。再次回到母校，艾利克遜先生亦感慨良多。二〇二四年七月，艾利克遜先生與世長辭，享年八十有一，中國美院為此特發文緬懷。

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

594 ¤ YANG WEIQUAN (1855-?) Broken Cultural Relic, 1898 Hanging scroll, ink and color on paper, inscribed by the artist and dated jisi, dedicated to Ziwen and signed Rongcheng Li Weiquan, with two artist’s seals. 39 3/8 x 15 3/4in (100 x 40cm) $2,000 - 3,000 To be sold without reserve 楊渭泉（1855-？）錦灰堆設色紙本立軸一八九八年作款識：《抱殊守缺》，己巳暮春望五月，子文先生法家指正，榕城楊渭泉。鈐印：楊、渭泉本拍品不設底價。 PROPERTY FROM A NEW YORK PRIVATE COLLECTION 紐約私人收藏 595 LI CHIU (LI CHAO, B. 1957) The Rebirth of Bapo Painting Album of seven double leaves, ink, color, burn marks and color paper collage on paper, inscribed by the artist, signed Li Chao five times, Chao twice, with twenty-nine artist’s seals. 12 13/16 x 11in (32.6 x 27.9cm) each double-leaf $1,200 - 1,800 李超（1957年生）七開

八破圖重生

水墨設色及火焰拼貼紙本

冊頁

款識：（封面）鈐印：乙巳八破圖重生。殘卷第二號。

594

（開一）李超題。鈐印：子木八破圖，第二卷。鈐印：半百學童抱樸者，返本還真，少私寡欲，不求雕飾。拙者，貌似不工，實乃大巧若拙之境。非笨劣，乃自然渾成；非粗疏，實歲月磨礪，吉厚靜穆。李超識。鈐印：李（開二）鈐印：甲子學童、乙巳抱殘守缺。鈐印：心如水殘蝕，李超意。鈐印：超李超塗寫歐陽修〈醉翁亭記〉散文于紐約子木軒。鈐印：甲辰（開三）醉翁。朱松。鈐印：子木醉翁之意不在酒，在乎山水之間也。山水之樂，得之心而寓之酒也。超。鈐印：甲辰、超（開四）鈐印：荷魂、木子、細超裝表塗。昏日殘荷，超。鈐印：塗鴉（開五）鈐印：李、超、惡墨、君子之風、肖形印風高亮節。

595

（開六）鈐印：李超惡墨。鈐印：子木逐雲，李超寫。鈐印：李（開七）鈐印：子木軒山影淚痕。殘紙零墨，本擬棄之。撮拾拼貼，忽成新境。舊筆得續命，廢稿遂重生。因以冊曰，八破圖之重生，以誌寸心。李超造境。鈐印：子木

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（封底）鈐印：子木軒

597

PROPERTY FROM THE MAN-CHUNG WANG FAMILY COLLECTION 王孟鐘家族藏珍 596 WANG JIQIAN (C.C. WANG, 1907-2003) Landscape, 1972 Ink and color on paper, mounted and framed, inscribed by the artist and dated renzi, and signed Wang Jiqian with two artist’s seals Wang Jiqian xi and Shiqiao cun li renjia. 23 1/2 x 29 1/2in (59.7 x 75cm) $4,000 - 6,000 王己千（1907-2003）山水設色紙本鏡框一九七二年作款識：壬子十二月王己千鈐印：王己千璽、石橋邨裏人家 PROPERTY FROM THE MAN-CHUNG WANG FAMILY COLLECTION 王孟鐘家族藏珍 597 WANG JIQIAN (C.C. WANG, 1907-2003) Bamboo Landscape Scroll, mounted and framed, ink on paper, inscribed with a dedication and signed by the artist, Wang Jiqian with an artist’s seal reading wuyan moxi. 60 x 18 3/4in (152.4 x 47.6cm)

596

$3,000 - 5,000 王己千龍孫解箍圖水墨紙本鏡框款識：龍孫解箍，寫為雪岑兄嫂新居補壁，王紀千鈐印：無言墨戲 598 WANG FANGYU (1914-1997) Calligraphy in Clerical Script Ink on paper, framed and glazed, with three artist’s seals. 20 3/4 x 25 1/2in (52.5 x 64.5cm) $1,000 - 1,500 王方宇（1914-1997）隸書二字水墨紙本鏡框鈐印：食雞跖廬、王方宇印、墨舞

598

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE GUHUANGE COLLECTION 黃蕙英女士「古歡閣」珍藏 599 XU SHIPING (1952-2024) Landscapes, 1997 Album of eight leaves, each ink or ink and color on paper, each leaf with an artist’s inscription, several leaves dated dingchou, each leaf signed Xu Shiping, with one, two or three artist’s seals, the titlepage inscribed by Wang Jiqian (1907-2003) at 91 years old and signed by the calligrapher Wang Jiqian with three calligrapher’s seals, the outer titleslip inscribed by the artist and signed Shiping with an artist’s seal. 11 7/8 x 17 3/4in (30 x 45cm), each leaf $15,000 - 25,000 Provenance The Guhuange Collection Xu Shiping was born in Shanghai in 1952, and he began his study of art with his father Xu Boqing (1926-2010), a highly regarded calligrapher. In addition to studying traditional Chinese landscape painting with Ying Yeping (1910-1990) and Xie Zhiliu (1910-1997), Xu Shiping was introduced to Western painting at Shanghai Meishu Xueyuan. In 1983, Xu Shiping relocated to New York City and continued his study of traditional Chinese painting with Wang Jiqian (C.C. Wang, 1907-2003), where he was afforded the opportunity to copy from Song and Yuan dynasty masterworks from Wang Jiqian’s esteemed collection. In 2001 Xu Shiping’s paintings were included in a prestigious group exhibition at Kaikodo Galleries in New York City, see Kaikodo Journal XXI: Ten, November 2001. In 2024 a joint exhibition of Xu Shiping and Xu Boqing’s work was held at Holly’s Space, Shanghai. 徐世平（1952-2024）山水冊九九七年作

水墨/設色紙本

推蓬冊頁八開

一

徐世平題簽：雁蕩山人徐世平山水冊，世平自題。鈐印：世平王己千（1907-2003）題首：「千巖萬壑」，王己千書於紐約，時年九十一。鈐印：溪岸草堂、王季遷、己千翰墨（一）款識：雁荡徐世平畫。鈐印：世平（二）款識：丁丑春日，雁荡徐世平畫。鈐印：世平（三）款識：丁丑春日，偶效宋人法成此圖，雁荡徐世平。鈐印：世平、雁蕩徐氏（四）款識：丁丑徐世平作。鈐印：世平、雁蕩徐氏、世平書畫（五）款識：谿山秋曉，丁丑春日，戲擬元人法成此，雁荡徐世平。鈐印：世平、雁蕩徐氏、世平（六）款識：丁丑春日，雁荡徐世平畫。鈐印：世平（七）款識：丁丑春日，雁荡徐世平畫。鈐印：世平（八）款識：雪山蕭寺，丁丑春日，徐世平。鈐印：世平、雁蕩徐氏來源：紐約黃蕙英女士「古歡閣」藏

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CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM A PRIVATE NEW YORK COLLECTOR 紐約藏珍 600 ZENG YOUHE (TSENG YU-HO, BETTY ECKE, 1924-2017) The Mushroom’s Home, 1960 Ink, acrylic, and paper collage on paper affixed to Masonite, signed He, with an artist’s label on the reverse in English “The Mushroom’s home”. /1960./Honolulu./Tseng Yu-ho /3460 Kaohinani Dr/ Honolulu/17.H/ Water color collage./tel. 61422. 48 1/2 x 24in (121.9 x 61cm) $7,000 - 10,000 Provenance Downtown Galleries, New York, label to the reverse Dr. Freeman, acquired from the above Estate of Janak Kendry (1938-2025) Exhibited Honolulu, Ala Moana Center, The Home Builders Association, 4th Annual Home Show, May 1960 (as ‘Mushrooms’ Home’). Nebraska Art Association, March - April 1961. 曾幼荷（1924-2017） “蘑菇之家” 水墨壓克力顔料紙本拼貼一九六一年作曾佑和（1924-2017）蘑菇之家貼紙本木板一九六〇年作

水彩/丙烯/拼

簽名：荷來源：紐約下城藝廊（Downtown Gallery, 1926-1970），據畫框背面標簽弗里曼博士（Dr. Freeman），購藏自上述藝廊加拿大籍印度裔藝術家賈納卡·坎崔（Janak Kendry, 1938-2025）遺產 Lot 600 is a dated example of Tseng Yu-Ho working in the Dsui Hua (assembled painting ) mode. Employing not only ink and color pigments, but also layering additional paper, bark and other materials, the artist takes an innovative approach to the tradition Chinese landscape. Influenced through relationships with European artists like Max Ernst, Tseng Yu-Ho sought a new direction in Chinese painting. At the same time, she sought to convey the deepest roots of Chinese culture. The repeating tree-form motif—an archaic pictorial character-reflects the artist’s interest in early Chinese script styles. Tseng Yu-Ho further explored this theme in her 1963 publication Some Contemporary Elements in Classical Chinese Art. In her own words a “picture book” that linked affinities of current avant garde aesthetics with longstanding principals in traditional Chinese aesthetics.

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Chinese Prints Lots 601 - 638

China has been preeminent in the development of print technology. The earliest extant prints on paper date to the Tang dynasty (618-907), but the refinement of the oldest works suggest techniques that had been employed and perfected for generations prior. The production of multiple, identical images and texts fostered the spread of Buddhism to a wide populace, indelibly impacting Chinese visual and spiritual culture, as well as the culture of China’s closest neighbors. Alongside sacred texts and images, printing technology quickly adapted to suit secular purposes, and as a medium, printing developed wide ranging applications that expanded the medium to greater forms of artistic expression.

These refined images were not simply colored, but masterfully displayed subtle gradations of tone in the individual hues. Remarkably complicated in the process, the printing techniques successfully imitated the finer nuances of brushwork, effectively mimicking the painter’s hand. Accompanying the images, the replication of the textual passages also displayed a wide variety of calligraphic styles, capturing the dynamic rhythm and finesse of the brush aesthetic with such fidelity that even a connoisseur of calligraphy would appreciate the subtleties. In addition, printers also brought dimension to the images, by lightly embossing the paper for select details using

By the close of the Ming dynasty (1368-1644), print culture flourished throughout China, and Nanjing, Suzhou, Hangzhou and Huizhou were all major publishing centers. Scores of private presses produced not only the classics, but illustrated novels, dramatic works, philosophical texts, as well as large pictorial sheets, catering to scholars and the wealthy, elite strata of society. Sumptuously illustrated volumes such as the Fangshi Mopu The Fang Family Book of Ink ( Lot 602) that celebrated Fang Yulu’s (1541-1608) fancy ink cake designs testify to the scholarly audience who would have appreciated these books. Similarly, the increasing popularity of painting manuals Huapu--books offering aesthetic models to teach and inspire and artists—provided informed approaches to depicting flowers, bamboo, rocks and landscapes, and found a receptive class of amateur artists eager to support a thriving print industry.

This complex production process and magnificent final product determined Shizhuzhai Shuhuapu to be a luxury commodity for elite members of society. Visually striking, text and image reflected the numerous necessary steps, from talented painters who created the compositions, expert woodworkers who carved the blocks, to skilled printers who managed the process. The success and reception of the Shizhuzhai Shuhuapu extended beyond China’s geographic borders, and the colorful images became a true international sensation. In addition to the Shizhuzhai Shuhuapu being reprinted in Japan, the techniques displayed had a direct and profound influence on the Japanese Ukiyo-e movement in the decades that followed. Other Chinese Huapu were also reissued by local Japanese press, (lot 611), with later reprinted editions sometimes appearing nearly immediately after the Chinese original (Lot 612).

By the 17th century, the printing in the Jiangnan region innovated radically with the introduction of polychrome color printing--employing multiple colors for a single image. Whereas the tradition of monochrome woodblock prints had been culturally ensconced for centuries, color printing represented an important technological and aesthetic breakthrough which would resonate around the globe. Shizhuzhai Shuhuapu Ten Bamboo Studio Painting Manual (lot 603, 604, 605), is one of the finest examples of early color printing. The first edition runs (Lot 603), produced from original blocks between 1633-1703, created prints showcasing as many as five different colors. Using advanced printing techniques that relied on multiple blocks, the result was a major step from black and white images hand-painted with splotches of color.

In the second half of the 19th century, lithography was introduced to China, once again altering the print industry. This new medium allowed for inexpensively reprinting earlier woodblock issued editions in far greater quantity, as well as allowing for broader distribution. (lot 613) The visual landscape also changed as a result of this new form of printing as offset lithography became the preferred media for mass market advertising. Colorful and inexpensive to produce, ‘poster culture’ showcased quickly changing fashions and a new metropolitan culture along with the changing image of women in society (Lot 617).

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a technique called gauffrage (拱花 ).

Despite the introduction of new printing technologies, traditional woodblock printing techniques perpetuated into the 20th century with studios like the Beijing-based Rongbaozhai “Studio of Glorious Treasures”. Established in 1672, Rongbaozhai holds a prominent position in China’s historic printing culture, and during the Republic period they relied on time-honored techniques to reproduce the paintings of modern 20th century masters such as Qi Baishi and Zhang Daqian (lots 618, 620, 628, 629) as well as continuing the tradition of producing woodblock prints to celebrate the Lunar New Year in 1949 and the years to follow. (Lots 624-626) In the 1930’s and 1940’s, Chinese prints seized a new function, becoming a vehicle for broadcasting political messages. Artists at the Lu Xun Academy in Yan’an adopted the woodcut media to boldly broadcast revolutionary ideals with overt political messages calling for social change. Artists such as Wang Shuyi (Lot 621) and Shi Lu (lot 622) found this form of aesthetic expression particularly well-suited to illustrate injustice, labor, suffering, poverty and war. Unlike earlier print studios in Nanjing and Suzhou, which relied on specialists at each phase of the process, the artists at the Lu Xun academy designed, cut, and printed their own blocks, and their use of oil-based inks endowed the prints with a distinctive sheen. With the onset of the second half of the twentieth century, Du Hongnian (lots 632, 633) and other artists continued to explore the potential of woodcut prints for graphic art and design. Like the work of his contemporaries, Du Hongnian’s earlier work often focused on timely political ideals, whereas his later output interpreted the landscapes and natural wonders of China, specifically Heilongjiang province, where he was based from 1958. Chinese prints on paper tend to be fragile, and very often they were made for purely ephemeral purposes, so surviving examples--even from recent periods--can be quite scarce. However, Chinese print culture is a key element in global art history. In recent years, the reception and study of Chinese prints have been the focus of several museum exhibitions, symopisia and academic studies. At the same time, several major museums, most notably the Metropolitan Museum of Art in New York and the Cleveland Museum of Art in Ohio, have been the beneficiary of important acquisitions of Chinese prints, building their permanent collections, and assuring this important genre will be preserved and appreciated.

Recent Studies and Exhibitions on Chinese Prints: Cordula Bischoff and Petra Kuhlmann-Hodick: La Chine – Die ChinaSammlung des 18. Jahrhunderts im Dresdner Kupferstich-Kabinett, Staatliche Kunstsammlungen, Sandstein Verlag, 2021 Thomas Ebrey, “The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting,” The East Asian Library Journal 14, no. 1 (2010): 1-119 Anne Farrar and Kevin McLoughlin Handbook of the Colour Print in China, 1600-1800, Brill, 2022. Feng Jicai 冯骥才Zhongguo muban nianhua jicheng 中国木版年画集成, Zhonghua shuju, 2011. T. June Li and Suzanne E. Wright Gardens, Art, and Commerce in Chinese Woodblock Prints, Huntington Library, 2016 Liu Yu劉禹 and Weng Lianxi翁連溪. 歐洲馮氏藏中國古代版畫叢刊圖目 The von Der Burg Collection of Ancient Chinese Printing. Wenwu chubanshe, 2020. Clarrisa Von Spee The Printed Image in China: from 8th to the 21st Centuries, British Museum, 2010. Zhang Yezhu张烨著, 洋风姑苏版研究 the Study of Western-Influenced Gusu Prints, Wenwu chubanshe, 2012. 桃花塢木板年畫的嬗變与影响 The Evolution and Influence of Suzhou Taohuawu Woodblock New Years Pictures, Suzhou Meishuguan, 4 February to 19 April 2026 .

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

中國在印刷技術的發展史上佔有舉足輕重的地位，現存最早的紙本印刷品可追溯至唐代。當時的印刷工藝已臻化境，表明有唐以前，印刷術已歷數代人革故鼎新。通過大批量複製圖文，佛教在廣大民眾中的傳播一日千里，不僅對中土視覺藝術與精神文化影響深遠，也給鄰邦文化烙上了不可磨滅的印記。除了宗教典籍圖像，印刷術亦應用於世俗圖文創造，且不斷拓展範疇，並最終發展出更為多元的藝術表現形式。明代末期，印刷文化蓬勃發展，遍及全國。其中，南京、蘇州、杭州與徽州皆為重要的出版中心。眾多私家書坊如雨後春筍，其業務不僅涵蓋經典文獻的印刷，更出版繡像小說、戲曲作品、哲學論著等，並印製大幅圖版，以滿足文人雅士與上層精英的需求。如《方氏墨譜》（拍品 602）這類裝幀精美的版刻書籍，記錄了方于魯（1541-1608）所製的考究墨錠紋樣，反映了當時文人對此類書籍的鑑賞需求。同時，供「傳移模寫」之用的啓蒙畫譜也日益流行，多有花鳥、竹石、山水等題材的筆法圖例，獲得廣大業餘畫家的青睞，進一步推動了印刷業蒸蒸日上。至十七世紀，江南地區的印刷技術迎來重大革新。隨著餖版水印技術的問世，實現了對單張圖像的「隨類賦彩」。此前數百年，單色木刻版畫已耕耘出深植於本土文化的傳統，彩色印刷的出世標誌著技術與美學的突破，其影響將遠至邦外。《十竹齋書畫譜》（拍品603、604、605）即為早期彩色套印的典範之作，其初版初印本（拍品603）製於崇禎六年（1633）至康熙四十二年（1703）間，已可呈現多達五種色彩，與過去單色印刷時代，只能在墨印後，再由手工繪染。現藉助先進的套版印刷術，這些精印版畫不僅著色精工，且巧妙保留各色調的細膩層次，以模仿真實筆墨的微妙韻致，宛如畫者親筆揮就，其工藝之繁複精湛令人讚嘆。除了圖版，對題書頁的書風亦配合畫風而變，精準再現了書法藝術的節奏韻律與筆墨神采，即便鑑賞名家亦會為其精妙之處傾心。此外，更以拱花技法，在紙面輕壓出凹凸紋樣，為特定細節增添立體效果。

98 | BONHAMS

《十竹齋書畫譜》製作工序龐雜（單頁分不同色調、印版可先後印刷六七十次），成品精妙入神，實則為上層高雅絕俗之流專享的奢侈藏品。為達到如此圖文並茂的妍麗效果，自畫工構圖、刻工雕版到印工套色等每道工序都需層層匠心。《十竹齋書畫譜》的成功與聲譽遠播海外，其色彩斑斕的圖像風靡一時。此書不僅在東瀛屢經重刊，其套印技法更直接影響了其後數十年間浮世繪版畫的發展。其他中國畫譜亦被日本書坊爭相覆刻（如拍品611），甚至在原刻問世後不久，和刻翻刻本即迅速面世（如拍品612）。十九世紀後半葉，石版印刷技術傳入中國，再次改寫了印刷業的面貌。這項新技術不僅能大批量且能廉價地複印早期木刻書籍，且其傳播範圍遠超以往（拍品613）。隨著石印技術的普及，中國的視覺文化亦隨之變革，彩色石印漸成大眾市場廣告海報的主流媒介。這種絢麗繽紛的海報文化，既展現了瞬息萬變的時尚潮流與新興都會風情，也記錄了社會中女性形象的不斷演變（拍品617）。儘管新式印刷技術相繼問世，以北京榮寶齋為代表的傳統木刻水印作坊，依然延續至二十世紀。榮寶齋肇始於清康熙十一年（1672），原名「松竹齋」，後取「以文會友，榮名為寳」之意改為榮寶齋，設「帖套作」機構，自刻、自印、自銷，其在中國悠久的印刷文化中佔有舉足輕重的地位。民國時期，榮寶齋運用傳承有緒的古老技法，精心複製齊白石、張大千等二十世紀畫壇巨匠的作品（拍品618、620、628、629），並於 1949年後持續印製賀歲木版年畫（拍品624-626）。二十世紀三四十年代，版畫在中國被賦予了全新的使命，成為傳播政治理念的載體。延安魯迅藝術學院的藝術家們，運用木刻這一媒介，大膽宣揚革命理想，以鮮明的政治訴求呼籲社會變革。諸如王樹藝（19171999，作品見拍品621）與石魯（1919-1982，作品見拍品622）等藝術家，發現這種媒介尤為適合刻畫表現社會不公、勞作苦楚、貧困艱艱與生靈塗炭等題材。與早先南京、蘇州等地畫坊在製作流程中依賴專門工匠不同，魯藝的藝術家們親自完成畫稿、刻版與拓印的全過程，他們所選用的油墨，使作品呈現出獨特的光澤。

進入二十世紀後半葉，杜鴻年（1928-1998，作品見拍品632、633）等藝術家持續探索木刻版畫在圖像藝術與設計領域的表現潛力。與同輩藝術家相似，杜鴻年早期創作多聚焦於具有時代意義的政治題材，而其後期作品，則致力於詮釋中國的山水與自然奇觀，他自1958年起定居黑龍江省，該地的風貌給予他無限靈感。紙本版畫質地脆弱，且許多作品于創作之初便未考慮長久留存，因而即便為近世之作，能流傳至今且品相完好者，均屬鳳毛麟角。中國版畫文化是全球藝術史中不可或缺的一環，近年來，中國版畫的傳播與研究屢成博物館展覽、學術研討會及研究項目的焦點，並有數家重要博物館，如紐約大都會藝術博物館、俄亥俄州的克利夫蘭藝術博物館等，相繼獲贈珍貴的中國版畫以豐富館藏，確保此一重要藝術門類得以永續保存、踵事增華。

近期有關中國版畫的研究及展覽一覽：「灼灼其華·之子于歸——桃花塢木板年畫的嬗變与影响」，蘇州美術館，2026年2月4日至4月19日安妮·法勒（Anne Farrar）、馬凱文（Kevin McLoughlin）編，《中國套色版畫手冊：1600-1800》（Handbook of the Colour Print in China, 1600-1800），博睿學術出版社，2022 科爾杜拉·比紹夫（Cordula Bischoff）、佩多拉·庫爾曼-霍迪克（Petra Kuhlmann-Hodick）編，《中國 – 德累斯頓版畫收藏館十八世紀中國藏品》，德國德累斯頓國家藝術收藏館（Staatliche Kunstsammlungen Dresden），Sandstein Verlag出版社，2021 劉禹、翁連溪主編，《歐洲馮氏藏中國古代版畫叢刊圖目》，北京：文物出版社，2020 李關德霞、蘇珊娜·莱特編，《中國木版畫中的園林、藝術與商業》（Gardens, Art, and Commerce in Chinese Woodblock Prints），亨廷頓圖書館出版社，2016 張燁著，《洋風姑蘇版研究》，北京：文物出版社，2012 冯骥才主編，《中国木版年画集成》二十二卷，北京：中華書局，2011 史明理（Clarrisa Von Spee）編，《八至二十一世紀中國印刷圖像》（The Printed Image in China: from 8th to the 21st Centuries），倫敦：大英博物館出版社，2010

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 601 HU YINGLIN (1551-1602) GUANYIN DASHI CIRONG WUSHISAN XIAN XIANG ZAN (53 MANIFESTATIONS OF THE COMPASSIONATE GUANYIN) Late Ming/Early Qing dynasty Three leaves from the original set of fifty-three, woodblock prints on paper, two pictorial leaves and one leaf of calligraphy, one leaf hand-colored 12 3/8 x 12in (31.5 x 30.5cm) 12 3/8 x 12in (31.5 x 30.5cm) 10 5/8 x 9 1/4in (27 x 23.5cm) (3). $2,000 - 3,000 Provenance Collection of Charles Frederick Ramus (19021979), former curator of prints at the Denver Art Museum 鬍應麟 (1551-1602) 觀音大士慈容五十三現象贊木刻版畫紙本冊頁三開明末清初來源：Charles Frederick Ramus（1902–1979）舊藏，丹佛藝術博物館版畫部前策展人

601 (detail, one of three images illustrated)

Also known as the Pu Sa Xiang Du, this depiction of various manifestations of the Bodhisattva Guanyin was compiled and edited by Ming dynasty scholar Hu Yinglin. Pairing text and image to describe these phenomena, the book is an important primary source for Ming Buddhist beliefs, illustrates the impact of Daoism and other native Chinese beliefs that intertwined with Buddhist thought. PROPERTY FROM F. SUIE ONE, CO., PASADENA, CALIFORNIA 加州帕薩迪納F. SUIE ONE, CO. 收藏 602 FANG YULU (1541-1608) FANGSHI MOPU Huizhou, Late Ming/ Early Qing Dynasty Volume one only, Guobao “National Treasures” from the original set of six volumes, with two collector’s seals. 11 3/8 x 7in (29 x 18cm) $1,000 - 1,500 方于魯（1541-1608）方氏墨譜紙本存一卷線裝明末初清

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Together with the Chengshi Moyan (The Cheng Family Catalogue of Ink), the Fangshi Mopu (The Fang Family Book of Ink) was one of two illustrated woodblock printed texts produced in Huizhou during late Ming dynasty dedicated to the topic of fancy ink cake designs. The fact that two extravagantly in-depth studies were published during the same period and place on an identical topic is indicative of the widespread influence of literati culture during the Late Ming, as well as a nod to the industry of ink production in the Huizhou. Although the two publications were considered rival works, both books relied on the artist Ding Yunpeng (1518-1618) for his illustrations.

PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 603 HU ZHENGYAN (1584-1674) SHIZHUZHAI SHUHUAPU (TEN BAMBOO STUDIO COLLECTION OF CALLIGRAPHY AND PAINTING), ca. 1633-1703 during 1633-1703 Ink and color woodblock prints on paper, twenty double leaves, comprising twenty pictorial leaves of rocks and twenty calligraphic leaves, from the first edition, first superstate. 10 3/4 x 10 7/8in (26.4 x 27.7cm), each leaf (20). $100,000 - 150,000

Provenance The You Wei Du Zhai Collection Published Thomas Ebrey and Sara Yeung, “Painters, Poets, and Printers of the Ten Bamboo Studio Collection of Calligraphy and Painting: Multiple Exemplars, Multiple Issues,” in Handbook of the Colour Print in China, 1600-1800, Brill: Leiden-Boston, 2022, pp. 37-54. Exhibited Eight double leaves: “Splashes of Color: Chinese Woodblock Prints from the You Wei Du Zhai Collection,” Portland Art Museum, Oregon, 24 June-9 October 2016.

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

101

Shizhuzhai Shuhuapu (Ten Bamboo Studio Collection of Calligraphy and Painting), first issued in 1633 in Nanjing, is among the earliest books printed in multiple colors. Under the direction of the versatile editor Hu Zhengyan, more than thirty painters and some one hundred twenty poet calligraphers contributed designs and texts. The resulting 356 leaves were arranged in eight volumes, each devoted to a category of nature studies: orchids, bamboo, plums, ink flowers (round compositions), scholar’s rocks, birds, and fruit, together with an introductory volume. No complete set of the original prints survives, and even partial sets are extremely rare. In “The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting” (2010), Thomas Ebrey identifies ten editions and superstates of the work. The first edition, printed from the original woodblocks for the pictorial leaves, comprises four “superstates.” The first superstate was printed from 1633 to approximately 1703. The second, dating from 1703 to about 1775, is distinguished by the addition of a one-page advertisement. The third superstate was printed from around 1790 to 1879, followed by a fourth superstate bearing a cover page dated 1879. The remaining six editions, all dating to the 19th century, are recut versions. The present twenty pictorial prints, each paired with a calligraphy leaf, are exceptional and likely among the earliest surviving editions from the original blocks. Only two other sets appear comparably early: an eighteen-leaf group in the British Museum, acquired piecemeal in the 1930s, argued to be “very early” in The Printed Image in China: from 8th to the 21st Centuries, and a twenty-leaf “Plum” volume in the Christer von der Burg Collection.

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Discussed in detail in the Handbook of the Colour Print in China, 16001800, the present sheets represent masterpieces of the art of Chinese printing. Ten Bamboo Studio introduced the techniques of shading and overprinting to achieve a loose and exuberantly painterly effect. Shading, created by partially wiping color off an inked block, mimics brush washes and varying degrees of pressure of the brush, while overprinting (layering different tones or hues of ink) yields a broader and more subtle palette. Within this group, rocks are the dominant motif. Most leaves derive from the “Scholar’s Rocks” volume, with additional leaves from the “Introductory” and “Round Design (Ink Flowers)” volumes. Leaves from the latter have been modified to harmonize with the rest: the circular border around each image and the frame around the accompanying poem have been removed, traces of which remain visible when the sheets are held to the light. Uniquely, this is the only known set in which the prints were never folded down the center, and this refinement applies to both pictorial and calligraphy leaves. Other indicators of a deluxe issue include blown-ink effects on leaf VI-14 (Fig.1) and a light embossing on leaf I-16 (Fig.2), time-consuming and expensive touches abandoned in later printings. References: “Splashes of Color: Chinese Woodblock Prints from the You Wei Du Zhai Collection,” Portland Art Museum, Oregon, 2016. Thomas Ebrey, “The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting,” The East Asian Library Journal, Vol. 14, No. 1 (2010): 1-119.

胡正言（1584-1674）輯《十竹齋書畫譜》選輯冊頁二十開四十頁一六三三年至一七〇三年印

彩色套印紙本

來源：「有味讀齋」珍藏出版：托馬斯·埃佈里（Thomas Ebrey）及莎拉·楊（Sara Yeung）著，〈《十竹齋書畫譜》中的畫匠、詩人及刻工：版本流變及其它〉（Painters, Poets, and Printers of the Ten Bamboo Studio Collection of Calligraphy and Painting: Multiple Exemplars, Multiple Issues），收錄于《中國套色版畫手冊：1600-1800》（Handbook of the Colour Print in China, 1600-1800），2022年，頁37-54 展覽：其中八開：《潑彩：有味讀齋藏中國木刻版畫》（Splashes of Color: Chinese Woodblock Prints from the You Wei Du Zhai Collection），俄勒岡州波特蘭藝術博物館，2016年6月24日至10月9日開一：（畫頁）款識：周鼎。鈐印：周鼎（書頁）款識：性與煙雲合，偏宜近水涯。看來光怪最，深畏米顛知。經有九題。鈐印：行一開二：（畫頁）款識：厲穎。鈐印：士木（書頁）款識：忽尋蒼翠深，巉巉立孤石。藉爾白玉姿，對此青霞客。周嘉冑（1582-1658）。鈐印：江左

開三：（畫頁）款識：高友。鈐印：高友之印（書頁）款識：巧將岩壑筆頭拈，宛欲生雲可辟炎。昨接寄來鄉信道，敬亭山失一峯尖。其一。譜出巑岏勝琢成，白欺良玉擊無聲。不須雨露揩顔色，恰與圖書共逸情。其二。右題畫宣石二絕，宛陵王鏤鼎並書。鈐印：龍光開四：（畫頁）款識：高陽。鈐印：高陽、秋父（書頁）款識：維摩小員嶠，寫出米家謠。妙在一拳多，態韻但可尋。頫卬備透漏，橫側皆崎崟。綴以虎鬚卉，譜向平泉陰。濕如垂丹霤，欝若篆玄霠。臺天蓀足隱，子墨誠可欽。嗟余秉幽尚，對此生遐心。張學懋。鈐印：四愚開五：（畫頁）鈐印：高陽之印（書頁）款識：突兀影欲動，㟏岈勢亦顛。古雲封遏面，怪質小於拳。閒楮落空翠，枯毫生冷煙。飛來何處是，移向米家船。楊文驄（1596-1646）。鈐印：龍友開六：（畫頁）鈐印：高陽之印（書頁）款識：〈叠書石銘〉高秋父所畫似叠書狀。異藏玉笥，璞藴嫏嬛。不從外討，而獨中含。結為綺石，霞堆百函。靈文珤錄，詎兹塊然。煉而吞之，脈望并鮮。二酉歸空，李贅五籤。西泠梅臣何偉然。鈐印：仙郎

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

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開七：（畫頁）鈐印：高陽之印（書頁）款識：叢桂蒼蒼，芙容嶷嶷。只尺千峰，神遊萬里。莫春舟中漫書，王秉人。鈐印：□舜開八：（畫頁）鈐印：高陽之印（書頁）款識：臨流搦管散雲煙，削出玲瓏別有天。清供好懸書畫舫，何須酲酒問平泉。嶺南盧原。鈐印：原父開九：（畫頁）鈐印：高陽之印（書頁）款識：〈題王大癡畫意石〉割英之腴而奏理若疎，標崑之致而綰结則孚。通雲走霧，宣巧失其貞；冒蘚襲斑，燕珍嗤其誣。吾喜聞而造焉，其錦村之文乎？鏤冰乎，謫星乎，幻而托以象焉者乎？執癡公而問之，是從何處飛來？笑而應曰：五指獨有，千峰或無。程奎書。鈐印：冗度氏開十：（畫頁）鈐印：高陽之印（書頁）款識：〈英石銘〉雲根煙截，墨雨初縣。巉屼夜走，突落青蓮。罡風勁吹，靈光疾穿。穎揭鬼工，粵嶠失妍。于爾索照，與草同玄。張世和。鈐印：介天開十一：（畫頁）鈐印：高陽之印（書頁）款識：嵌空岩竇碧氤氲，猶帶霜灘舊水紋。仙客蔚樓閒弄月，笛聲吹裂洞庭雲。吳猷。鈐印：吳猷開十二：（畫頁）鈐印：高陽之印（書頁）款識：嵐靄在襟袖，非圖無是奇。助松增老韻，伴竹有新知。似舞還如醉，疑雲復類芝。青蒼色不染，黄石可為師。題畫石，文震亨。鈐印：震亨 104 | BONHAMS

開十三：（畫頁）鈐印：高陽之印（書頁）款識：〈雪石贊〉謂太璞不琱，胡為屑作瑶。謂太素不淆，胡然疊作潮。爾質其穎，爾光則冷。若擲地而有聲，即補天而無影。試大一拳之觀，截取蛾眉之頂。山陽王汝沐九仙書。鈐印：九仙開十四：（畫頁）鈐印：高陽之印（書頁）款識：隱文如豹，瘦蛟為龍。婉乎含美人之心，傲乎矜道士之客。□哉米顛，吾獨攫羣玉乎袖中。□安崔表。鈐印：公超開十五：（畫頁）鈐印：高陽之印（書頁）款識：探奇無過石玲瓏，秀骨雲姿盡寫空。貞介果堪稱作丈，披圖猶是起清風。鵡水孫庭隽。鈐印：孫旻開十六：（畫頁）鈐印：高陽之印（書頁）款識：摩挲餘縐瘦，敲處散寒聲。髻影層尖出，雲根淺竇生。防飛圖屢秘，作供恠閒擎。莫訝同顛癖，開囊觸彩驚。大鄣郝之璧。鈐印：子荊開十七：（畫頁）鈐印：高陽之印（書頁）款識：〈梅花道人畫意石〉十竹齋中一片石，突兀何年巨靈擘。倘非織女機上支，或是王維腕中出。蒼蘚蒙茸碧草芊，梅花道人神可傳。靈怪時時雲氣旋，羡君能親筆與研。我呼為丈應自然，仍具袍笏拜其前，君不見，米家顛。練江閔景賢。鈐印：士行開十八：（畫頁）款識：程勝。鈐印：六無（書頁）款識：怪石嶙峋虎豹蹲，虬柯蒼翠蔭空林。亦知匠石不相顧，閱歷歲華多蘚痕。嚴陵應趙書。鈐印：石麐

開十九：（畫頁）款識：高陽。鈐印：高陽、秋父（書頁）款識：疊石是何年，誰移造化權。九疑生足底，三峽在樽前。仿佛高于案，分明別是天。但教能壁立，一任小如拳。甲子（1624）立秋日書，夜郎楊文驄（1596-1646）。鈐印：龍友

本拍品版經《中國套色版畫手冊：1600-1800》詳考，堪稱中國早期套色印刷藝術之典範。《十竹齋書畫譜》首創餖版拱花技藝，通過分色套印與疊印營造出疏朗奔放、宛若天成的繪畫效果。分色套印之法，係將雕版局部擦淡以模擬水墨渲染與筆觸輕重。疊印之法，則以不同墨色層層套疊，從而拓展色階層次，使畫面愈見細膩微妙。

開二十：（畫頁）款識：竹村汪建寫。鈐印：竹邨（書頁）款識：瑤潢浴日，金峙翔烟。寓爾形於蕭齋几案之間，遊吾神於寥廓壺中之天。紫荊山人王秉人，書於石頭城下。鈐印：□舜

尤足珍者，此為目前所知唯一未經中線對摺的彩印冊頁，圖版與書法對頁均如此。此外，「有味讀齋」齋主標注為VI-14之葉（圖一：高陽畫，文震亨題書頁），以吹彈墨法，呈現石面及草面苔點的不同質感；而I-16葉（圖二：高陽畫，張學懋題書頁），則見芋葉用淺拱花痕法。此二種皆爲耗工費時之求精工藝，後期印本中已不復見，可知本拍品確為初印精本。

《十竹齋書畫譜》最初于明崇禎六年（1633）由安徽休寧胡正言于南京鷄籠山梓印畢，是中國最早的彩色套印圖籍之一。胡氏集畫師三十餘人、詩書家約百二十人共襄盛舉，終成譜八卷，凡三百五十六幅，分列竹譜、墨華譜、石譜、翎毛譜、梅譜、蘭譜、果譜等七類，外加書畫譜一卷為綱領。原版初印之本今已無全帙存世，即零冊散頁亦屬稀見。據托馬斯·埃佈里（Thomas Ebrey）於《十竹齋書畫譜版本系統考辨》（The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting, 2010）中研究，該譜可析為十種版本及四個版次階段。初版係指圖版使用原版刷印者，共歷四個版次：第一版次自明崇禎六年（1633）迄約康熙廿四年（1703）；第二版次約康熙廿四年（1703）至乾隆四十年（1775），新增一頁；第三版次約乾隆五十五年（1790）至光緒五年（1879）；第四版次則見封面款署光緒五年（1879）。其餘六種版本，皆屬十九世紀重刻本。本拍品搜羅彩印圖版奇石二十幅，大多出自〈石譜〉，間採〈書畫譜〉及〈墨華譜〉中數頁。為求整體形式一致，出自〈墨華譜〉的數頁因原圖有圓形邊框及題詩外框，經巧妙改製後被移除，然對光細看，刪削痕跡隱約可辨。此二十土每圖皆配以書法對頁，品質絕倫，應屬存世最早的初版初印遺珍。據目前所知，僅有兩套可與之頡頏：一為大英博物館庋藏之十八葉散頁（二十世紀三十年代陸續入藏），《八至二十一世紀中國印刷圖像》（The Printed Image in China: from 8th to the 21st Centuries）一書稱其「年代極早」；另一為瑞典收藏名家馮德保（Christer von der Burg）珍藏之二十葉〈梅譜〉一卷。

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PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 604 HU ZHENGYAN (1584-1674) SHIZHUZHAI SHUHUAPU (TEN BAMBOO STUDIO COLLECTION OF CALLIGRAPHY AND PAINTING) ca. 1703-1775 Ink and color woodblock prints on paper, some leaves with later added hand-written inscriptions, 173 leaves in total, comprising 71 leaves matted for framing (70 pictorial leaves and 1 calligraphy leaf), 102 leaves unmounted (39 pictorial leaves and 63 calligraphy leaves); 109 pictorial leaves and 64 calligraphy leaves, 10 pictorial leaves from the “Introductory” volume, 36 from the “Orchid” volume, 27 from the “Bamboo” volume, 16 from the “Plum” volume, and 20 from the “Scholar’s Rocks” volume. Each leaf approximately 10 x 11 3/4in (25.4 x 29.9cm) $100,000 - 150,000 Provenance The You Wei Du Zhai Collection Published Thomas Ebrey and Sara Yeung, “Painters, Poets, and Printers of the Ten Bamboo Studio Collection of Calligraphy and Painting: Multiple Exemplars, Multiple Issues,” in Handbook of the Colour Print in China, 1600-1800, Brill: Leiden-Boston, 2022, pp. 37-54, under private collection #3.

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胡正言（1584-1674）輯《十竹齋書畫譜》套色水印紙本鏡心七十一頁/軟片一百〇二頁共計約一百七十三頁畫譜共計約一百〇九頁：其中《書畫譜》十頁、《蘭譜》三十六頁、《竹譜》二十七頁、《梅譜》十六頁、《石譜》二十頁書譜共計約六十四頁來源：「有味讀齋」珍藏出版：托馬斯·埃佈里（Thomas Ebrey）及莎拉·楊（Sara Yeung）著，〈《十竹齋書畫譜》中的畫匠、詩人及刻工：版本流變及其它〉（Painters, Poets, and Printers of the Ten Bamboo Studio Collection of Calligraphy and Painting: Multiple Exemplars, Multiple Issues），收錄于《中國套色版畫手冊：1600-1800》（Handbook of the Colour Print in China, 1600-1800），2022年，頁37-54，私人收藏編號三

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PROPERTY FROM THE COLLECTION OF JOHN STORY JENKS (1876-1946) 約翰·斯托里·詹克斯（JOHN STORY JENKS, 18761946）藏珍 605 HU ZHENGYAN (1584-1674) SHIZHUZHAI SHUHUAPU (TEN BAMBOO STUDIO COLLECTION OF CALLIGRAPHY AND PAINTING), ca 1703-1775 Four traditional string bound volumes in a cloth case, 234 leaves in total, 98 pictorial leaves and 136 calligraphic leaves, first edition, second superstate, comprising: Volume I, thirty-one leaves of calligraphy and seventeen leaves of images (sixteen leaves from the “Introductory” volume and thirty-two leaves from the “Round Designs” volume); Volume II, twenty-two leaves of calligraphy and twenty leaves of images (all from the “Fruit” volume); Volume III forty-five leaves of calligraphy and thirty-seven leaves of images (forty leaves from the “Bamboo” volume and forty-two leaves from the “Plums” volume); Volume IV thirty-nine leaves of calligraphy and twenty-three leaves of images (thirty-two leaves from the “Birds” volume and thirty leaves from the “Scholar’s Rocks” volume), the final leaf of volume IV with an inscription in seal script by Yang Zhaojun (1881-1943) dated wushen (1928) with three of his seals, the outer titleslip in seal script signed Aqian (Yang Zhaojun) with a calligrapher’s seal, and a total of ten total collector’s seals. 9 1/2 x 11in (24.2 x 28cm) each leaf $20,000 - 50,000 Provenance Collection of Yang Zhaojun (1881-1943) Collection of John Story Jenks (1876-1946), Philadelphia, thence by descent in the Jenks family. 110 | BONHAMS

The first edition, second superstate of the Shizhuzhai Shuhuapu, was described by Thomas Ebrey as “perhaps the most beautiful set of prints ever made.” According to Ebrey, this example closely corresponds to the set in the collection of the Harvard–Yenching Library, catalogued with the date ‘1715.’ The majority of the leaves, with the exception of the Prefaces, are printed from the original blocks. Most leaves of the complete set are present; only the “Orchid” volume is entirely lacking, which is least appealing. John Story Jenks (1876–1946) was a Philadelphia banker, noted collector of Chinese art, and a trustee of the Philadelphia Museum of Art.

胡正言（1584-1674）輯《十竹齋書畫譜》套色水印紙本一函四冊綫裝本約一七七五年印共計約二百三十四頁含畫譜九十八頁書譜一百三十六頁楊昭雋（1881-1943）題書函封面：《十竹齋畫譜》，原版原印，至佳之本，阿潛題。鈐印：楊昭雋印冊一約四十八頁，畫譜十七頁、書譜三十一頁其中〈書畫譜〉十六頁、〈墨華譜〉三十二頁題簽：《十竹齋書畫譜》改裝為四巨冊，〈第一冊〉。鈐印：净樂室藏印：潛盦、楊昭雋印、楊潛庵藏

冊四約六十二頁，畫譜二十四頁、書譜三十八頁其中〈翎毛譜〉三十二頁、〈閲石譜〉三十頁題簽：《十竹齋書畫譜》〈第四冊〉。鈐印：楊昭雋印藏印：潛盦（二鈐）、楊昭雋印（二鈐）、净樂室楊昭雋尾跋：海東五色版，視此猶縣□，搜盡流離，欲錄二本無。戊辰（1928）二月廿有五日，戲仿山谷體成此二十字題之，潛盦。鈐印：攖盦、楊昭雋、阿潛記書來源：楊昭雋（1881-1943）舊藏約翰·斯托里·詹克斯（John Story Jenks, 1876-1946）舊藏，繼由其後人遞藏

冊二約四十二頁，畫譜二十頁、書譜二十二頁，均出自〈果譜〉題簽：《十竹齋書畫譜》〈第二冊〉。鈐印：潛盦藏印：潛盦、楊昭雋印冊三約八十二頁，畫譜三十七頁、書譜四十五頁其中〈竹譜〉四十頁、〈梅譜〉四十二頁題簽：《十竹齋書畫譜》〈第三冊〉。鈐印：阿潛無咎藏印：潛盦（二鈐）、楊昭雋印（二鈐）、楊潛庵藏

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PROPERTY FROM A CALIFORNIA PRIVATE COLLECTION 加州私人珍藏 606 ¤ JIN NONG (1687-1764) JIN XIANG XIAOPIN Qianlong Period Four traditional string bound woodblock printed volumes in a blue cloth slipcase, the outer title slip inscribed with a collector’s seal, with a collector’s seal on the first page of the first volume. 5 1/2 x 3 1/4in (13.8 x 8.5cm) $800 - 1,200 To be sold without reserve 金農（1687-1764）《巾箱小品》紙本一函四冊線裝本清乾隆刻本本拍品不設底價。 PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 607 SHANG QI XUANSI ZHONGHE BIAN 18th/19th century Four traditional string bound woodblock printed volumes in a case, consisting of: Jin Guliang, Wu shuang pu; Er miao, Manual for Bamboo painting associated with Su Dongbo; Dongpo yi yi, Calligraphy by Su Dongpo Guan zi pu, Manual for playing game of Go, with a total of six collector’s seals. 9 5/8 x 6 1/8 (24.5 x 15.5cm)

606

$4,000 - 6,000 Provenance Shanghai Guopai, 13 December 2000, lot 0045 This set of four books on relatively diverse topics has been issued together since the 18th century. Although these editions are rarely dated, with the publisher often not identified, this set is identical with a copy held at the University of California Berkeley East Asian library, which is cataloged as being between 1720 and 1820. 賞奇軒四種合編線裝紙本一函四冊十八/十九世紀來源：中國上海國際商品拍賣，2000年12月13日，拍品編號0045。 607

PROPERTY FROM A MARYLAND PRIVATE COLLECTION 馬里蘭州私人收藏 608 ¤ QUANPU TONGZHI Meng Lin, Zhigu Tang, 1833 Sixteen traditional string bound volumes, woodblock print on paper, illustrating the numismatics of successive Chinese dynasties. 11 3/4 x 7in (30 x 17.6cm) $1,200 - 1,800 To be sold without reserve Provenance Acquired by a Western diplomat in Beijing, 1930’s

608

The history of numismatics studies in China dates to the 6th century, although the earliest extent text--Qianzhi--dates to the Song Dynasty. With the rise of epigraphy studies (Jinshixue) in the middle Qing dynasty, scholars and calligraphers took a renewed interest in archaic forms of written script, and early metal coins provided a wealth of source material. 孟麟撰《泉布統誌》九卷年刊 *本拍品不設底價

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木刻紙本

十六冊綫裝本全

一八三三

609 WUBAI LUOHAN XIANGZAN Guangxu period Five traditional string bound volumes in a case, ink rubbings on paper, taken from stone carvings at the Zhusheng Temple, Nanyue, Hunan. 11 3/8 x 7in (29 x 18cm) $3,000 - 5,000 五百羅漢像贊一函五冊線裝紙本拓本清光緒

609 PROPERTY FROM THE PENG BO ZHAI COLLECTION 「蓬勃斋」藏珍 610 CALLIGRAPHIC RUBBINGS JIANG-TIE 18th/19th century Twelve volumes, ink on paper, with wooden book covers, with one collector’s seal. 13 x 7 3/4in (33 x 19 5/8cm) $5,000 - 7,000 《絳帖》拓本十八至十九世紀共十二冊鋻藏印：寬齋藏《絳帖》是北宋慶曆法至嘉祐年間（1049-1063）由潘師旦在絳州（今山西新絳）摹刻的重要書法叢帖，共二十卷，為宋代三大名帖之一。鑒藏印主人應是指市河寬齋(1749-1858),日本江戶時代著名詩人、漢學家。

610

PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 611 WANG GAI (ACTIVE 1677-1705) KAISHIEN GADEN (JIEZIYUAN HUAZHUAN) Osaka, 1881 Complete, with twenty-three traditional string bound volumes total, in five original cloth cases and an archival case. Approximately 7 1/2 x 5in (19 x 12.7cm) each volume $1,000 - 1,500 王槩（活躍於1677-1705）輯《芥子園畫傳》本全大阪得一堂刻一八八〇年至一八八一年刊

六函二十三冊綫裝

611

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PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 612 WANG YIN (1832-1892) YEMEI SHIPU (YABAI SEKIFU) Maekawa Zenbee, Osaka, 1881 Two traditional string bound volumes in original case, woodblock print on paper. 10 5/8 x 6 1/4in (27 x 16cm) $800 - 1,200 王寅（1832-1892）《冶梅石譜》線裝兩冊大阪前川善兵衛一八八一年

612

Wang Yin (Wang Yemei) was a key figure in late 19th century book publishing circles in Suzhou and Shanghai. Establishing the famed Dongbi Shanfang publishing house, the texts produced used traditional woodblock printing and were known for their high-quality illustrations. The Yemei Shipu, a painting manual for rocks was first published in Hefei, Anhui Province in 1880. Remarkably, the next year, this Japanese edition was published in Osaka, Japan. The publisher, Maekawa Zenbee also enjoyed a lofty reputation, and collaborating with other artists, he reprinted several other Chinese titles, catering to local interest in Chinese culture. PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 613 WANG GAI (ACTIVE 1677-1705) JIEZIYUAN HUAPU Shanghai, 1887-circa 1920s A collection of various editions of the Mustard Seed Garden Painting Manual, a total of twenty-one traditional string bound volumes in five cloth cases, lithograph prints on paper. 10 1/8 x 6in (26 x 15.5cm), 17 volumes; 7 7/8 x 5 3/4in (20 x 13.5cm), 4 volumes $1,000 - 1,500 王槩（約1677-1705）《芥子園畫傳》十八函五十二冊綫裝本石版印刷紙本上海各書局一八八七年至約一九二〇年代

613

When lithography was introduced to China in the late 19th century, it dramatically altered the print industry. In Shanghai alone, over fifty lithographic presses were operating by the final years of the Qing dynasty, a testament to the strong demand. Along with new publications, earlier woodblock printed volumes were reproduced in lithograph form. For a publication like the Jieziyuan Huapu, these later lithographed editions were not simply reprints, as they incorporated new paintings by popular contemporary artists such as Chao Xun (1852-1917), Yu Li (1862-1922), Wu Guxiang (1848-1903), and Wang Yin (c.1832-c1892). PROPERTY FROM A BERKELEY, CALIFORNIA TRUST 加州伯克利信托收藏

614

614 A COLLECTION OF PAINTING MANUALS HUAPU Qing dynasty Thirteen volumes total, Including two volumes Jupu and Meipu from the Jieziyuan Huazhuan in a case, dated Qianlong renwu (1782); four volumes Cao Chong Hua Hui and Mao Feng Hua Hui, from the Jieziyuan Huazhuan in a case, undated, but likely late 18th century; five volumes Kaishien gaden in a case, Japan, circa 1800; one volume, Zhupu from the Shi Zhu Zhai Huapu undated; one volume, Tian xia you shan tang hua yi Yongzheng 2nd year (1724). 10 5/8in (27cm); 11 3/8in (29cm); 10 5/8in (27cm); 8 7/8in (22.5cm); 11 1/4in (28.5cm) (5). $2,000 - 3,000 清代《芥子園畫傳》《十竹齋畫譜》《天下有山堂畫藝》古籍善本共五套

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PROPERTY FROM A CALIFORNIA PRIVATE COLLECTION 加州私人珍藏 615 AI RI YIN LU SHU HUA LU Ge Jinlang (1837-1890), 1910 Six traditional string bound volumes with wood covers, the first volume with a written inscription dated 1935, with two collector’s seals, the outer titleslip inscribed with a date of Xuantong gengwu (1910), with a calligrapher’s seal. 11 1/2 x 6 3/4in (29.2 x 17.2cm) $3,000 - 4,000 Provenance Guji Shudian, Shanghai, 25 May 1956 (receipt) 葛金烺 (1837-1890) 愛日吟廬書畫錄一函六冊線裝紙本一九一〇年作來源：上海古籍書店，1956年5月25日

615

PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 616 BAIHUA SHIJIAN PU Wenmeizhai, Tianjin, 1911 Two volumes in a case, woodblock print in color on paper, dated Xuantong san nian, with three collector’s seals. 11 3/8 x 7in (29.5 x 18cm) $3,000 - 5,000 This collection of decorated paper for stationary was published by Wenmeizhai in Tianjin in 1911. Featuring the illustrations of Zhang Zhaoxiang (fl. 1892-1907), the book focuses solely on floral images. In addition to color printing, the book also uses the gauffrage (gonghua) technique of lightly embossing the paper in low relief for added aesthetic effect. Baihua Shijian pu is discussed and illustrated in Phillip Hu Visible Traces, Rare Books and Special Collections from the National Library of China, New York, 2000, no 23, pp. 97-100, where it is noted that numerous different copies of this book were produced, although the content varied from one to the other.

616

《百華詩牋譜》木刻版紙本共二冊天津文美齋一九一一年出版

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PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 617 ANONYMOUS Bathing Beauties, circa 1920’s Four lithographic prints, ink and color on paper, unsigned and absent of printer marks. 21 x 15 1/2in (53.5 x 39.2cm), each (4). $2,000 - 3,000 佚名海邊的美人版畫四幀設色紙本約1920年作

116 | BONHAMS

PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 618 BEIPING RONGBAOZHAI JIANPU Beijing, Rongbaozhai, 1935 Two traditional string bound volumes, woodblock color print on paper, some pages embossed, featuring paintings by Qi Baishi, Zhang Daqian, Wang Xuetao, among others, each volume with a previous owner’s inscription dated Showa 21 (1945). 12 1/2 x 8 3/8in (32 x 21.2cm) $3,000 - 5,000 The tradition of decorated “letter paper” jianpu, i.e. paper printed with a design for the purpose of stationary or writing poetry, dates to the Tang Dynasty (618-907), although it surged in popularity during the late Ming dynasty with the publication of Luoxuan Biangu Jianpu in 1626, followed by Shizhuzhai Jianpu in 1644. In 1933 the artist Lu Xun (18811936) collaborated with the archaeologist and scholar Zheng Zhenduo (1898-1958) to publish Beiping Jianpu to great fanfare. Shortly thereafter, Rongbaozhai-- which owed many of the blocks and designs that were used in Beiping Jianpu--released Beiping Rongbaozhai Jianpu in response to the overwhelming demand for the earlier version.

618

《北平榮寶齋箋譜》北京榮寶齋出版社線裝紙本兩本一九三五年出版 PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 619 SHIBIJIA SHIXIAN PU Chengdu, 1945 Two volumes in a cloth case, woodblock printed on paper, including paintings by Qi Baishi, Zhang Daqian, Chen Banding, Huang Junbi, and others, edited by Zhang Boying, this copy numbered #894. 11 3/8 x 7in (29 x 18cm) $2,500 - 4,000 成都詩婢家詩牋譜一函兩冊木版水印一九四五年作 PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 620 ALFRED KOEHN LETTER PAINTINGS CHINESE LETTER-PAPER WITH WOODBLOCK PRINTS FROM PAINTINGS BY CH’I PAI-SHIH The Lotus Court, Beijing, 1947 One volume, with sixty tipped-in Rongbaozhai woodblock prints of Qi Baishi paintings, with a loose English table of contents, bookplate of Madame Natalia Du Breuil (1890/1891-1966). 14 3/8 x 10 1/2in (36.5 x 26.5cm)

619

$2,000 - 3,000 Alfred Koehn was a German diplomat drawn to Asia through his interest in botanical studies. First in Japan, he later lived in a Beijing hutong “The Lotus Court” from 1937-1949, where he produced a number of fine press editions relating to Chinese culture, frequently supplementing his books with locally produced woodblock prints and papercuts. The Rongbaozhai woodblock prints featured in this volume are printed heavier paper stock, indicating they were likely a special order from Rongbaozhai. Although Koehn produced several titles at the Lotus Court, most of his print runs were tiny, and there are few copies from each book extant today. The present lot is exceptionally rare, with Worldcat listing only two copies, at the Bibliothèque Nationale de France and Staatsbibliothek zu Berlin. A third copy, in the Hamburg Museum, was donated to the Museum by Koehn. The present lot was from the library of Madame du Breuil, was a White Russian emigre who lived in Beijing from 1918 and owned an antique shop known as “Old Cathay 古奇行”-on Legation Street, before she relocated to Hong Kong prior to 1949.

620 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

117

Peter Townsend (Tang Xun, 1919-2006) Collection 唐遜（1919-2006）珍藏 Lots 621-622 are from an esteemed collection of early 20th century Chinese woodcuts assembled by Peter Townsend. Born in Canterbury England, Townsend acquired his keen interest in China as a young man. After one year at Oxford University, he travelled to Asia on a Quaker mission with a volunteer ambulance service. Residing in China from 1941 to 1951, he lived in Chongqing, Chengdu, Shanghai and Beijing. A firsthand witness to the revolution, he served as a wartime correspondent for the New Statesman, the BBC, and other English language news outlets. His decade of experiences would provide the narrative for his important publication China Phoenix, (Jonathan Cape, London, 1955), which shared his unique perspective of this monumental decade in China’s modern history. Whilst in China, Townsend also formed his important collection of woodcut prints. The origins of his collection began with a meeting at Soong Qingling’s home in Chongqing, when Zhou Enlai presented Townsend with woodcut. On several occasions after their first meeting, Zhou Enlai gave Townsend others including examples by Wang Shuyi--with the goal that the images and inherent messages would be shared and broadcast outside of China. Townsend later credited Zhou Enlai’s initial gift as the impetus to collect more prints, and while in China, he sought out additional examples and traveled to meet members of the China Woodcut Artists’ Association. In 1985, the National Gallery of Australian acquired the Peter Townsend collection of over 250 prints. The prints offered in this sale represent duplicate examples, and thus they were not included in the 1985 NGA accession. Today, Townsend’s Chinese Woodcuts at the NGA are recognized as among the most significant collections of Chinese wartime woodcuts, along with holdings at the British Museum, London, and the Picker Museum at Colgate University, Hamilton New York. Since their acquisition by the NGA, the Townsend collection of Chinese woodcuts have been the focus of dedicated exhibitions as well as international workshops that have focused on the aesthetics and significance of this form of expression.

拍品621T至622T出自唐遜（Peter Townsend）珍藏二十世紀早期中國木刻版畫，唐遜生於英格蘭坎特伯雷城，青年時期便對中國產生了濃厚興趣。于牛津大學就讀一年後，他隨公誼會救護車隊前往亞洲服務。1941年至1951年間，他旅居中國，先後於重慶、成都、上海及北京生活。他曾擔任《新政治家》周刊、英國廣播公司及其他英語媒體的戰地記者，是中國現代史上這一重要時期的親歷者。這十年間積累的經歷，為其代表作《中國鳳凰》（China Phoenix，倫敦喬納森· 凱普出版社，1955年）提供了敘事素材，使該書以獨特視角再現了中國現代史上這十載嬗遞。旅居中國期間，唐遜開始建立其木刻版畫收藏。此一舉動緣起其於重慶在宋慶齡（1893-1981）寓所的一次會面，時周恩來（1898-1976 ）總理當面贈予唐遜一幅版畫。此後數度會面，周恩來又陸續相贈，希冀將這些圖像及其承載的訊息傳揚至中國境外，這其中便包括王樹藝等人的作品。唐遜後來表示，正是周恩來的這份贈禮，啟發了他廣泛蒐集版畫的念頭。短居中國期間，他積極尋訪更多佳作，更親往拜會木刻研究會的成員。 1985年，澳洲國家美術館購入逾250幅唐遜舊藏版畫。本場拍賣呈獻之版畫，係該批藏品中的複本，故未納入當年國家美術館的入藏之列。時至今日，該館中的唐遜舊藏中國木刻版畫已與倫敦大英博物館、紐約漢密爾頓科爾蓋特大學（Colgate University）匹克美術館（Picker Art Gallery）之珍藏齊名，被公認為中國抗戰木刻版畫最重要的收藏之一。自入藏澳洲國家美術館以來，這批藏品屢屢成為專題展覽與國際研討會的焦點，深入探討此一藝術形式的審美特質與時代意義。關於澳洲國家美術館所藏唐遜珍藏中國木刻版畫的全面評述，參見策展人克萊爾·羅伯茨（Claire Roberts）撰寫的〈戰爭所繪：澳洲國家美術館藏唐遜珍藏中國現代木刻版畫〉Drawn by War: The Peter Townsend Collection of Modern Chinese Woodblock Prints in the National Gallery of Australia，收錄于《澳大利亞與新西蘭藝術雜誌》 Australian and New Zealand Journal of Art 第24卷，2024年，頁254 至272。

For a comprehensive overview of Peter Townsend’s collection of Chinese woodcuts at the NGA see Claire Roberts “Drawn by War: The Peter Townsend Collection of Modern Chinese Woodblock Prints in the National Gallery of Australia” Australian and New Zealand Journal of Art volume 24, 2024, pp 254-272

621T WANG SHUYI (1917-1999) Woodcut Prints, 1940’s Six prints, ink on paper, each mounted and matted, including: Mending a Bridge, 1942, titled Xiu Qiao and signed Wang Shuyi in Chinese characters and pinyin on the lower margin; The Man who Disappeared, 1945 titled Yuzhong and signed Wang Shuyi in Chinese characters and pinyin on the lower margin; Writing on the Prison Floor, 1946 titled Yuzhong and signed Wang Shuyi in Chinese characters and pinyin on the lower margin; Old Man, 1947 titled Laoren signed Wang Shuyi in Chinese characters and pinyin on the lower margin; Selling Coals, 1940’s titled Maihuo with a long inscription on the lower margin; Market, 1940’s, titled Shiji and signed Wang Shuyi in Chinese characters and pinyin on the lower margin. 7 5/8 x 11in (19.5 x 28cm); 12 1/4 x 8 1/4in (31 x 21cm); 8 7/8 x 10 7/8in (22.5 x 27.5cm); 8 5/8 x 7 5/8in (22 x 19.5cm); 8 5/8 x 10 5/8in (22 x 27cm); 7 5/8 x 11 1/4in (19.5 x 28.5cm) (6). $6,000 - 8,000 118 | BONHAMS

王樹藝（1917-1999）年代作

版畫

木刻紙本

鏡心六幀

二十世紀四十

（一）款識：〈修橋〉，王樹藝 Wang Shu-yi；刻款：W, 42 （二）款識：〈獄中〉，王樹藝 Wang Shu-yi；刻款：W, 1945 （三）款識：〈獄中〉，王樹藝 Wang Shu-yi；刻款：W, 1946 （四）款識：〈老人〉，王樹藝 Wang Shu-yi；刻款：W （五）款識：〈賣火〉，四川的冬天，行人多手提「烘爐」以取暖，街上就有專門出賣炭火的人，經常給人們以溫暖；刻款：W （六）款識：〈市集〉，王樹藝 Wang Shu-yi；刻款：W 來源：唐遜（1919-2006）舊藏

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622T SHI LU (1919-1982) Two Woodcut Prints, 1938-1949 Two woodcut prints, ink on paper, each mounted and matted, including: A Meeting of Heroes titled in pencil Qunying Hui and signed Shi Lu on the right margin; Shanbei Farm titled in pencil Shanbei nongjia and signed Shi Lu on the lower margin. 8 5/8 x 13in (22 x 33cm); 6 1/4 x 8in (16 x 20.5cm) $4,000 - 6,000 石魯（1919-1982）四九年

版畫

木刻紙本

（一）款識：羣英會，石魯作（二）款識：陝北農家，石魯作

120 | BONHAMS

鏡心二幀

一九三八至一九

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PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 623 XINNIAN HUAXUANJI Dazhong Meishu, Beijing, 1949 Twelve colored woodblock prints, lacking the original cover, featuring the prints of Yan Han, Jin Lang, Zhang Ting, among others. 11 1/8 x 7 7/8in (29 x 20cm) $4,000 - 6,000 《新年畫選集》大眾美術出版社北京一九四九

623 PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 624 XINNIAN HUAXUANJI NEW YEAR PICTURES KATALOG NOVOGODNICH KARTIN Beijing, Rongbaozhai, 1950, series 501 One volume, twenty-two loose color woodblock prints, with four color lithograph prints, each print captioned in Chinese, several prints also captioned in Mongolian, with a forward in English and Russian, and an English cataloging of “The Marriage of the River-God”. 13 3/8 x 10in (34 x 25.5cm) $5,000 - 7,000 《新年畫選集》北京榮寶齋出版社一夾二十二頁設色紙本一九五〇年出版

624 PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 625 XINNIAN HUAXUANJI NEW YEAR PICTURES KATALOG NOVOGODNICH KARTIN Beijing, Rongbaozhai, 1950, series 502 One volume, twenty-nine loose color prints, each print captioned in Chinese, Russian and English, with an introduction in English and Russian. 13 3/8 x 10in (34 x 25.5cm) $5,000 - 7,000 《新年畫選集》北京榮寶齋出版社一夾二十九頁設色紙本一九五〇年出版

625 122 | BONHAMS

626

627

628 629 PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏

PROPERTY FROM A PRIVATE VIRGINIA COLLECTION 弗吉尼亞州私人珍藏

626 XINNIAN HUAXUANJI Beijing, Rongbaozhai, 1951, series 505 One volume, ten loose color prints, each print captioned in Chinese, Russian and English, the prints numbered sequentially from 31 to 40. 13 3/8 x 10 1/4in (34 x 26cm)

628 BEIJING RONGBAOZHAI XINJISHI JIANPU Rongbaozhai, Beijing, 1955 Two traditional string bound volumes in an original cloth case, color woodblock prints on paper, featuring the paintings of Qi Baishi, Tang Di, Ma Jin, Yan Bolong, Wu Zheng, among others, the outer title slips printed with Qi Baishi’s calligraphy. 12 1/2 x 8 1/2in (31.5 x 21.5cm)

$4,000 - 6,000 《新年畫選集》北京榮寶齋出版社設色紙本一九五一年出版五零五號 PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 627 XINBEIJING HUAJI Beijingshi Wenxue Yishu, Beijing, 1952 Eight loose color woodblock prints, each captioned in Chinese, Russian, French and English, with a preface in Chinese, Russian, French and English, collector’s seal on each on the print sheets. 12 1/2 x 9 7/8in (32 x 25cm) $1,200 - 1,800 《新北京畫集》北京市文學藝術出版社設色紙本一九五二年出版

$1,500 - 2,500 《北京榮寶齋新記詩牋譜》北京榮寶齋出版社設色紙本一九五五年出版 Provenance Purchased at an estate sale, 1970’s PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 629 BEIJING RONGBAOZHAI SHIJIANPU Beijing, Rongbaozhai, 1957 Four volumes in original case, color woodblock prints on paper, featuring the paintings of Qi Baishi, Cao Kejia, Wang Xuetao, Ma Jin, among others. 12 1/4 x 8 1/2in (31 x 21.5cm) $5,000 - 7,000 《北京榮寶齋詩牋譜》北京榮寶齋出版社設色紙本一九五七年出版

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PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 630 GU YUAN (1919-1996) For Peaceful Reconstruction, We Must Stop the Aggression of American Imperialism, 1950 Ink and watercolor on paper, framed and glazed, signed by the artist Gu Yuan with an artist’s seal, with an additional artist’s inscription on the silk mount in ball point pen, signed <i>Gu Yuan</i> with an artist’s seal; together with a captioned poster of the painting, also framed and glazed; along with a letter from the artist’s daughter. Painting: 28 1/8 x 42 1/4in (71.5 x 107.3cm); Poster: approximately 30 1/4 x 41 3/4in (76.8 x 106cm) (2). $120,000 - 180,000 Published People’s Daily, 28 November 1950, p.1 (fig.1) China Pictorial, February 1952 (fig.2) 古元（1919-1996）製止美帝侵略魔爪一九五〇年作附古元之女古安村手稿文章一函五幀

水彩紙本/套色版畫

鏡框二幅

水彩畫心款識：古元。鈐印：古元裱邊款識：製止美帝侵略魔爪，古元。鈐印：古元版畫款識：製止美帝的侵略行爲，我們才能進行和平建設。古元作，人民畫報社印。出版：《人民日報》，1950年11月28日第一版（圖一）《人民畫報》，1952年2月刊（圖三）

124 | BONHAMS

Original watercolour 水彩原作

Printed 印刷海報

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Fig.1 The present work published in People’s Daily, 28 November 1950, p.1 圖一本作發表于《人民日報》，1950年11月28日第一版 Completed in the year of its creation, this work by Gu Yuan was issued 古元此幅作品在創作完成同年便由《人民畫報社》發行，當年印量甚 by the People’s Pictorial Publishing House in a large edition and widely 巨，廣為張貼於全國城鄉、工廠、礦山及學校之顯眼處，成為一個時 distributed throughout the country. It was prominently displayed in 代的視覺印記。作品在發行前夕，出版社為強化宣傳效果，徵得古元 urban and rural areas alike, including factories, mines, and schools, 同意，將水彩作品原題《制止美帝的魔爪》改為更具號召力的海報長 becoming a visual emblem of its era. 題《制止美帝的侵略行為，我們才能進行和平建設》。題目的轉變，恰反映了當時藝術創作與社會動員之間的密切關聯。 The composition devotes three quarters of the pictorial space to the commanding figure of a worker, presented as a symbolic embodiment 此作構圖以四分之三畫面呈現一名工人的形象，以此作為人民的象 of the people. With a powerful hand, the worker firmly grips the wrist 徵。畫中工人以強健大手緊緊扼住侵略者的手腕，姿態堅定有力，充 of the aggressor, his resolute stance charged with visual tension. 滿視覺張力。背景則以暖色調描繪鞍山鋼鐵廠的建設景象——高爐聳 The background, rendered in warm tones, depicts the dynamic 立、煙囪吐煙，一派熱火朝天。這番場景實有所本；一九四九年古元 reconstruction of the Anshan Iron and Steel Factory, with towering 曾赴鞍山鋼鐵廠，與工人同住同勞動達半年之久，深刻體會工業建設 structures and smoking chimneys conveying an atmosphere of 的蓬勃氣象。他將此間積累的素材，融入《鞍山鋼鐵廠的修復》、《 fervent industrial activity. In 1949, Gu Yuan spent six months at the 咱們是工廠的主人》等版畫創作，而此作亦可見其延續，使政治宣傳 Anshan Iron and Steel Factory, living and laboring alongside workers 主題具備了紮實的生活基礎。 and gaining first-hand insight into the momentum of industrial reconstruction. The material gathered during this period informed his 關於原稿流傳，據其女兒古安村回憶：「建國初期及之後相當長的一 other prints of this subject, and the present lot continues this trajectory. 段時間，出版社有一不成文規定：所有採用稿件，原稿概不退還。故古元該階段創作的連環畫、宣傳畫、年畫及插圖，雖發表數量甚多， Regarding the survival of the original manuscript, the artist’s daughter, 原稿能保存至今者僅極少數。」此作歷經歲月而存留，益顯其珍貴。 Gu Ancun, later recalled that in the early 1950s and for a considerable 徐悲鴻在《新藝術運動之回顧與前瞻》中嘗言：「吾於是想念木刻家 time thereafter, original works submitted for publication would not 古元。彼謹嚴而沉著之寫實作風，應使其同道者，知素描之如何重 be returned by publishing houses. As a result, although Gu Yuan 要。」古元此作，正體現了這種沉穩紮實的藝術追求，既有寫實根 produced a substantial number of illustrations and posters during this 基，亦不失理想光輝。 period, only a very small number of original works have survived. The preservation of the present work through the passage of time further underscores its rarity and significance. Xu Beihong (1895-1953) wrote in an essay that, “I think of the woodcut artist Gu Yuan. The rigorous and composed realism in his works should remind his contemporaries of the importance of drawing.” The present work exemplifies this steadfast artistic discipline, uniting a solid foundation in realism with an idealistic radiance befitting its historical moment. 126 | BONHAMS

Fig.2 The present work published in China Pictorial, February 1952

圖三本作發表于《人民畫報》，1952年2月刊 CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

127

PROPERTY FROM THE YOU WEI DU ZHAI COLLECTION 「有味讀齋」雅藏 631 VARIOUS ARTISTS, 20TH CENTURY A Lot of Prints, 1960s, Duoyunxuan, and other publishers A total of fourteen prints, including works by Li Hua (1907-1994), Chen Tianran (1926-2018), Cheng Shifa (1921-2007), Ye Jianming (Lu Yi, 1933-), Zhao Mingyuan (1930-), Zhu Qinbao (1934-), Wang Yongyang (1934-), all unsigned, several of the prints with Duoyunxuan labels, four of the prints dated 1962, six prints by unidentified artists, all absent artist’s signatures. 20 1/2 x 15in (52 x 38cm), the largest (14). $1,000 - 1,500

631

PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 632 DU HONGNIAN (1928-1998) Lot of 15 woodcuts 1960-1964 A lot of fifteen colored woodcuts, oil bound color on paper, each titled and signed in pencil on the lower margin, eight prints with an artist’s seal, the individual prints dated 1960 (3), 1961 (4), 1962 (2), 1963 (2), and 1964 (4). 27 3/4 x 26 1/8in (70.5 x 66.2cm), the largest $4,000 - 6,000 Provenance Acquired through the family of the artist

632

128 | BONHAMS

PROPERTY OF BATTLEDORE LTD 「巴特爾多爾」珍藏 633 DU HONGNIAN (1928-1998) Landscapes and Figures, 1975-1982 A lot of ten colored woodcuts, oil bound color on paper, each print titled and signed in pencil on the lower margin, seven with an artist’s seal, one undated, the others dated 1975, 1980 (3), 1981 (2), 1982 (2); together with one woodcut print by Zhang Zhenqi (1934-2020), dated 1973. 33 x 22 1/2in (84 x 57.5cm), the largest (10). $2,000 - 3,000 Provenance Acquired through the family of the artist

張禎麒（1934-2020）母校來信油彩設色紙本軟片一幀一九七三年作杜鴻年（1928-1998）版畫精選油彩設色紙本軟片九幀含新的高度山林之歌一九七五年作冬一九八〇年作江上炊菸一九八〇年作鬆鶴一九八〇年作北方的春天一九八一年作風雪牧羊一九八一年作綠洲一九八二年作龍𠘰山谷一九八二年作鈐印：杜鴻年來源：得自藝術家家屬

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

129

PROPERTY FROM A CALIFORNIA PRIVATE COLLECTION 加州私人珍藏 634 ¤ QINDING MIDIAN ZHULIN SHIQU BAOJI XUBIAN Tanshi Ouzhai Yin, 1948 Forty traditional string bound volumes, volumes 1-4 comprising the Midian Zhulin, volumes 5-40 comprising the Shiqu Baoji Xubian, photolithic reprint of the original woodblock edition. 10 1/4 x 6 1/2in (26 x 16.5cm) $1,000 - 2,000 To be sold without reserve 欽定秘殿珠林石渠寶笈續編（全四十冊） 634

Please note this Lot is to be sold at No Reserve. 本拍品不設底價。

PROPERTY FROM A NEW YORK COLLECTION 紐約珍藏 635 GUGONG MINGHUA SANBAI ZHONG THREE HUNDRED MASTERPIECES OF CHINESE PAINTING IN THE PALACE MUSEUM Taichung, National Palace Museum, 1959 Six traditional string bound volumes, in two cases, copy no. 1022/1500. 17 3/8 x 12 1/2in (44 x32cm) $1,000 - 1,500 《故宮名畫三百種》兩函六冊國立故宮博物院一九五九年來源：波士頓史古纳拍賣行（Skinner Inc.），2014年4月27日，拍品編號887 美國韋爾斯利學院（Wellesley College）中國藝術教授，Anne DeCoursey Clapp舊藏

635

Provenance Skinner Auctions, 27 April 2014, lot 887 Collection of Anne DeCoursey Clapp, Professor of Chinese Art, Wellesley College

PROPERTY FROM THE SA FAMILY COLLECTION 薩氏家族收藏 636 ZHANG DAQIAN (1899-1983) DAFENGTANG MINGJI, 1978 Lianjing chubanshe, Taipei, 1978 Four volumes, a complete set with original case, showcasing the collection of the artist Zhang Daqian. 15 3/8 x 11in (39 x 28cm) $500 - 800 《大風堂名蹟》全四集台北聯經出版事業公司一九七八年

636

130 | BONHAMS

PROPERTY FROM A NORTHERN CALIFORNIA PRIVATE COLLECTION 北加州私人收藏 637 ¤ ZHANG DAQIAN (1899-1983) Lingzhi and Narcissus, 1977 Two porcelain plates, silk screen printed with a Zhang Daqian composition, dated dingsi signed Zhang Daqian Yuan, with three seals, the underside stamped “ ‘Not for Resale’ Made in Taiwan Rep of China”, with a seal Datong Ciqi. 14 1/2in (37cm), Diameter (2). $2,000 - 3,000 To be sold without reserve Provenance Acquired directly from Editions Press, by an investor in The Masterworks of Chang Dai-chien, 1974-1975 two series of lithographs. 637

張大千（1899-1983）芝仙祝壽設色絲網印刷瓷盤兩件一九七七年製款識：「芝仙祝壽」，六十六年丁巳二月寫頌，生昌世講六秩晉九華誕，張大千爰。鈐印：張爰之印、大千居士、長共天難老來源：藏家為拍品895之版畫項目出資方之一，直接得自該版畫出版方 Editions Press Please note this Lot is to be sold at No Reserve. 本拍品不設底價。

PROPERTY FROM A BERKELEY, CALIFORNIA TRUST 加州伯克利信托收藏 638 ZHAO WUJI (1921-2013) Paysage au Soleil, 1950 Ink and color lithograph on paper, framed and glazed, with an inscription in pencil, numbered 63/200 and signed Wu Ji Zao. 21 5/8 x 14 7/8in (55 x 37.5cm) $2,000 - 3,000 趙無極（1921-2013）無題版畫鏡框鉛筆簽名：無極ZHAO 版數：63/200 Published Ågerup 39

638

CHINESE PAINTINGS, CALLIGRAPHY AND PRINTS |

131

Current scholarship in the fields of Chinese Paintings and Calligraphy does not permit unqualified statements as to Authorship or date of execution. The limited right of rescission contained in the ‘Buyer’s Agreement’ of Appendix 2 does not apply to Chinese Paintings. Nonetheless, if within twenty-one days of the sale of any such lot, the original purchaser gives written notice to Bonhams that the lot is a forgery and within fourteen days after giving such notice, the original purchaser returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is forgery, Bonhams will rescind the sale and refund the purchase price received. For this purpose, a ‘forgery’ is defined as a work created with the intent to deceive.

鑑於現有中國書畫研究之侷限，無法對其作者及創作年代作出絕對確切之論斷。附件二「買家協議」所載有關有限權利之撤銷交易條款，不適用於中國書畫拍賣品。惟不受前揭限制，若買方於拍賣成交日起二十一日內，就該拍賣品為贗品一事向邦瀚斯提出書面通知，並於發出該通知後十四日內，將該拍賣品以其出售時之狀態返還予我方，且能提出足以令邦瀚斯信納之證據，證明該作品確為偽造，邦瀚斯將撤銷該次交易並退還已收取之購買價款。「贗品」在上述語境中指以蓄意欺騙為目的而作的作品。

132 | BONHAMS

Conditions of Sale These Conditions of Sale (as defined below) constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale and sold by Bonhams and the sellers of such property for whom Bonhams acts as agent. By registering to bid and/or by bidding on or buying any property offered in the auction, you agree to be bound by these Conditions of Sale. As used herein, the term “Conditions of Sale” includes (a) the terms and conditions contained in this document, (b) if online bidding is available for the subject auction, the Conditions of Website use at www. bonhams.com/ WebTerms which terms and conditions are incorporated by reference herein, (c) the Lot Symbols Key, and (d) the additional information contained in the Buyer’s Guide, and any other notices published for this auction, in each case as may be amended prior to or during the auction by saleroom notices published in writing or made by oral announcement. Any post-auction sale of property offered in this auction shall be made subject to these same Conditions of Sale. The terms “Bonhams,” “we,” “us” and “our” refer to Bonhams & Butterfields Auctioneers Corp., a Delaware corporation. The terms “you” and “your” refer to the auction registrant, bidder or buyer of a lot, as applicable. On occasion, Bonhams or one of its affiliated companies within the Bonhams Group may have an ownership or equivalent economic interest in an item of property, in whole or in part, which interest will be indicated by the ▲ symbol next to the lot number. 1. As used herein, the term “hammer price” means the price at which a lot is successfully knocked down to the buyer (or, for online-only sales, the price acknowledged by Bonhams’ online bidding system). A PREMIUM, retained by us and payable by the buyer, shall be calculated based on the hammer price and payable in addition to it (the “buyer’s premium”). The following buyer’s premium rates shall apply to each lot: (a) For all auctions except those listed below in subparagraphs 1.(b)-(d): 28% OF THE FIRST $50,000 OF THE HAMMER PRICE, PLUS 27% OF THE AMOUNT OF THE HAMMER PRICE ABOVE $50,000 UP TO AND INCLUDING $1,000,000, PLUS 21% OF THE AMOUNT OF THE HAMMER PRICE ABOVE $1,000,000 UP TO AND INCLUDING $6,000,000, PLUS 14.5% OF THE AMOUNT OF THE HAMMER PRICE ABOVE $6,000,000. (b) For Wines and Spirits auctions: a flat 25% OF THE HAMMER PRICE. (c) For Coins and Banknotes auctions: a flat 20% OF THE HAMMER PRICE. (d) For Arms and Militaria auctions: a flat 17.5% OF THE HAMMER PRICE. Additionally, a 3rd-party bidding platform fee (the “3rd-party bidding platform fee”) equal to 4% OF THE HAMMER PRICE shall be payable by buyers whose successful bid is submitted via 3rd-party bidding platforms, including Invaluable, Live Auctioneers, The Saleroom and Lot-tissimo. The term “purchase price” means the aggregate of (a) the hammer price, (b) the buyer’s premium, (c) any 3rd-party biding platform fee, and (d) unless the buyer is exempt by law from the payment thereof, any state or local sales tax (or compensating use tax) and other applicable taxes or duties. With regard to New York sales tax, please refer to the “SALES AND USE TAX” section of these Conditions of Sale.

2. In order to bid at the sale, prospective bidders must submit to Bonhams a completed bidder registration and any other requested information or references. New bidders and bidders who have not recently updated their registration information must pre-register to bid at least two (2) business days before the sale. Individuals will be required to provide governmentissued proof of identity and proof of address. Entity clients will be required to provide documentation including confirmation of entity registration showing the registered name, confirmation of registered address, documentary proof of officers and beneficial owners, proof of authority to transact on behalf of the entity and governmentissued proof of identity for the individual who is transacting on the entity’s behalf. We may also request a financial reference and/ or deposit from bidders before approving the bidder registration. In the event a deposit is submitted, and you are not the successful bidder, your deposit will be returned to you. If you are the successful bidder, any such deposit will be credited to offset the appropriate portion of the purchase price. We reserve the right to request further information, including regarding the source of funds, in order to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks we may require) to our satisfaction. If our bidder identification and registration procedures are not satisfied, we may, in our sole discretion, decline to register any bidder or reject any bid or cancel any sale to such bidder. Every bidder shall be deemed to act as a principal unless prior to the commencement of the sale there is a written acceptance by Bonhams of a bidder registration form completed and signed by the principal which clearly states that the authorized bidding agent is acting on behalf of the named principal. Absent such written acceptance by Bonhams, any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid. Every bidder shall be responsible for any use of its assigned paddle or bidding account, regardless of the circumstances. For all auctions and sales, should your bid be successful, you irrevocably agree to pay the full purchase price. We are not responsible for any errors that you make or that are made through your bidding account in placing a bid on a lot. 3. You represent and warrant that: (i) you have provided to us, or will provide upon request, true and correct copies of valid identification and proof of residence and, if applicable, financial and/or corporate documents; (ii) neither you, your principal (if applicable, and subject to Bonhams’ prior written acceptance pursuant to paragraph 2 above), nor any individual or entity with a beneficial or ownership interest in either the purchased property or in the purchase transaction is on the Specially Designated Nationals List maintained by the Office of Foreign Assets Control of the U.S. Department of the Treasury nor subject to any other sanctions or embargo program or regulation in effect in the United States, European Union, England and Wales, or other applicable jurisdictions (such programs and regulations, collectively, “Sanctions”); (iii) if you are acting as an agent for a principal, you have conducted appropriate due diligence into such principal, and agree that Bonhams shall be

entitled to rely upon such due diligence, you will retain adequate records evidencing such due diligence for a period of five (5) years following the consummation of the sale, and will make these records available for inspection upon Bonhams’ request; (iv) neither the purchase transaction (including your bidding activity) nor the purchase funds are connected with nor derive from any criminal activity, and they are not designed to nor have they or shall they, violate the banking, anti-money laundering, or currency transfer laws or other regulations (including without limitation, import-export laws) of any country or jurisdiction, or further any other unlawful purpose, including without limitation collusion, anti-competitive activity, tax evasion or tax fraud; and (v) property purchased by you or your principal (if applicable) hereunder is not and will not be transferred to or used in a country in contravention of any Sanctions. You acknowledge and agree that we may rely upon the accuracy and completeness of the foregoing warranties. 4. On the fall of the auctioneer’s hammer (or, for onlineonly sales, on the close of the lot by Bonhams’ online bidding system), the highest bidder accepted for the lot shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred. Unless otherwise agreed, payment in good, cleared funds is due and payable within five (5) business days following the auction sale. Whenever the buyer pays only a part of the total purchase price for one or more lots purchased, we may apply such payments or any deposits, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due. Title in any purchased property will not pass until full and final payment has been received by Bonhams. Accounts must be settled in full before property is released to the buyer. In the event property is released earlier, such release will not affect the passing of title or the buyer’s obligation to timely remit full payment. We reserve the right to refuse to accept payment from a source other than the registered bidder or buyer of record. Once an invoice is issued, we cannot change the buyer’s name on an invoice. Payment for purchases must be made in the currency in which the sale is conducted. Bonhams’ preferred payment method is by wire transfer. For final purchases exceeding US $25,000, all payments must be in the form of wire transfer unless other arrangements have been approved in advance. For final purchases below US $25,000, payment may also be made in or by the following methods: (i) Cash. Please note that the amount of cash that can be accepted from a given buyer is limited to US $5,000 per auction sale (whether by single or multiple related payments). If the amount payable exceeds that sum, the balance must be paid by another method. (ii) Cashier’s check, money order, or personal check with approved credit drawn on a U.S. bank. A processing fee will be assessed on any returned checks. (iii) Visa, MasterCard, American Express or Discover debit or credit card issued in the name of the buyer or record. Only one debit or credit card may be US/MAIN/30.4.2025

Conditions of Sale - continued and warranties as set forth in paragraph 3 above; (ii) we, in our sole discretion, determine that such transaction might be unlawful or might subject Bonhams or the seller to any liability to any third party; or (iii) there are any other grounds for cancellation under these Conditions of Sale.

used for payment of an account balance. This method of payment may not be available to first time buyers. To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the account of the buyer, in our possession. We also retain all rights of a secured party under the Uniform Commercial Code (which shall mean the New York Uniform Commercial Code, except where the Uniform Commercial Code of another state governs the perfection of a security interest in collateral located in that state), and you agree that we may file financing statements without your signature. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the seller by law, we may at our election: (a) hold the buyer liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the seller arising out of the buyer’s breach; (b) cancel the sale, retaining as liquidated damages all payments and deposits made by the buyer; (c) cancel the sale and/or resell the purchased property, at public auction and/or by private sale, and in such event the buyer shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages; and/or (d) reveal the buyer’s identity and contact details to the seller. In addition, where two or more amounts are owed in respect of different transactions by the buyer to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the buyer. If all fees, commissions, premiums, hammer prices and other sums due to us from the buyer are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law. 5.

We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale (or, for online-only sales, explicitly stated in the lot description), all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner we, as auctioneer, may decide. In the event of any dispute between bidders, or in the event we, as auctioneer, doubt the validity of any bid, we, as auctioneer, shall have sole and final discretion either to determine the successful bidder, re-open the bidding, or to cancel the sale and re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects. We further reserve the right to cancel the sale of any property if: (i) you are in breach of your representations

If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the buyer or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the buyer and shall in no event include any compensatory, incidental or consequential damages.

All lots in the catalog are offered subject to a reserve unless otherwise indicated in the catalog. The ¤ symbol next to the lot number denotes no reserve. The reserve is the confidential minimum hammer price at which such lot will be sold and it does not exceed the low estimate value for the lot. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the seller, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid up to the reserve to protect such interest. If any opening or subsequent bid is below the reserve for a lot, the auctioneer (or, for online-only sales, on the close of the lot by Bonhams’ online bidding system), may reject such opening bid and withdraw the item from sale. SELLERS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

Other than as provided in the “LIMITED RIGHT OF RESCISSION” section of these Conditions of Sale with respect to identification of authorship, all property is sold “AS IS” and any statements contained in the catalog or in any advertisement, bill of sale, announcement, condition report, invoice or elsewhere as to period, culture, source, origin, media, measurements, size, quality, rarity, provenance, importance, exhibition and literature of historical relevance, merchantability, fitness for a particular purpose, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS, WARRANTIES, OR ASSUMPTION OF LIABILITY. Neither Bonhams nor the seller shall be responsible for any error or omission in the catalog description of any property. No employee or agent of Bonhams is authorized to make on our behalf or on that of the seller any representation or warranty, oral or written, with respect to any property.

10. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth herein, and, if applicable, as further specified in the “Buyer’s Guide” portion of the catalog. Lots designated with a “W” and associated purchased lots, if not removed promptly following sale, will be transferred to an offsite warehouse at the buyer’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Purchased property that is permitted to remain onsite at Bonhams’ facility must be removed at the buyer’s expense not later than 5:00 p.m. local time five (5) business days following the date of the sale. If not so removed, a storage fee of US $5.00 per lot per day will be payable to us by the buyer beginning at the close of the 14th day following the sale, and we may thereafter transfer such property to an offsite warehouse at the buyer’s risk and expense. Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the buyer and at the buyer’s

entire risk, as are the identification, application for, and cost(s) of obtaining any necessary export, import, restricted material (e.g. endangered species) or other permit for such lots. 11. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or our licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent. Bonhams and the seller make no representation or warranty as to whether the buyer acquires any copyrights on the purchase of an item of property. 12. Bonhams may, in our discretion, as a courtesy and free of charge, execute bids on your behalf if so instructed by you, provided that neither Bonhams nor our employees or agents will be liable for any error or default (whether human or otherwise) in doing so or for failing to do so. Without limiting the foregoing, Bonhams (including our agents and employees) shall not be responsible for any problem relating to telephone, online, or other bids submitted remotely through any means, including without limitation, any human error, telecommunications or internet fault or failure, or breakdown or problems with any devices or online platforms, including third-party online platforms, regardless of whether such issue arises with our, your, or such third-party’s technology, equipment, or connection. By participating at auction by telephone or online, bidders expressly consent to the recording of their bidding sessions and related communications with Bonhams and our employees and agents, and acknowledge their acceptance of these Conditions of Sale as well as any additional terms and conditions applicable to any such bidding platform or technology. 13. These Conditions of Sale shall bind the successors and assigns of all bidders and buyers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. No act or omission of Bonhams, its employees or agents, nor any failure thereof to exercise any remedy hereunder, shall operate or be deemed to operate as a waiver of Bonhams’ rights under these Conditions of Sale. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable. 14. You accept and agree that Bonhams will hold and process your personal information and may share and use it as required by law and as described in, and in line with Bonhams’ Privacy Policy, available online at http://www. bonhams.com/legals/9945/. If you desire access, update, or restriction to the use of your personal information, please email data.protection@bonhams.com. 15. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed by and construed and enforced in accordance with the laws of the State of New York. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the seller by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth in the “MEDIATION AND ARBITRATION PROCEDURES” section of these Conditions of Sale.

US/MAIN/30.4.2025

Conditions of Sale - continued SPECIAL TERMS AND CONDITIONS FOR WINES AND SPIRITS AUCTIONS a. Bidders and buyers must be at least 21 years of age to participate in the auction and have the legal authority to buy, receive and possess the alcoholic beverage lots offered in the sale. Each winning bidder shall present satisfactory legal documentation that he or she is at least 21 years of age. In the case of a purchaser that is a corporation, partnership or similar entity, the person receiving the purchased lots on its behalf must meet the foregoing requirements. b. All payments for purchased property must be made directly to Bonhams. Accounts must be settled in full before property will be released. All purchases must be removed from the off-site, third-party storage facility designated in the “COLLECTION OF PURCHASES FROM WINE AND SPIRITS AUCTIONS” section of the Buyer’s Guide, where it is stored in climate-controlled conditions, within 30 days of the auction. Bonhams accepts no responsibility or liability for any damage to property that is not collected more than 14 days after the auction. Any property not so collected will incur storage charges, starting on day 15, at the then applicable rates charged by the third-party facility where sold property is stored for post-sale collection by buyers. Such third-party storage facility may charge, and the buyer agrees to pay, storage fees per lot, on a daily or a monthly basis. If any property has not been collected within 30 days from the date of sale, at the option of Bonhams the property may be transferred to and stored at a bonded warehouse the buyer’s sole risk and expense, and the buyer agrees to pay all transfer and storage expenses associated therewith. c. Packing and handling of purchased lots are the sole responsibility of the buyer. Buyer will bear the cost and risk of any packing, pick-up, shipping, insurance and any applicable taxes thereon. Bonhams assumes no liability for assisting with any packing, shipping or insurance arrangements. Packing and handling arrangements may be available through the third party storage facility where the property is stored for post-sale collection or through other third party service providers. Buyers must arrange for such services directly with the third party provider independently at the buyer’s sole risk and expense. Bonhams and the sellers will not be liable for any acts or omissions of any packers or carriers, whether or not recommended by us. d. Bonhams makes no representations as to the legal rights of anyone to ship or import alcoholic beverages into or within any state or jurisdiction. Purchasers are required to comply with their respective states’ or jurisdictions’ regulations regarding the importation, exportation and shipment of alcoholic beverages, and purchasers are solely responsible for the importation, exportation and shipment of alcoholic beverage products purchased. All alcoholic beverage property, however shipped or received, requires the recipient to be in possession of photo identification confirming that he or she is 21 years of age or older. In addition, many jurisdictions prohibit the importation, or limit the quantity, of alcoholic beverages entering such jurisdiction, and some jurisdictions require the purchaser, seller and/or shipper to obtain certain permits or licenses prior thereto. It is the purchaser’s sole responsibility to determine whether any such restrictions, limitations or prohibitions are applicable prior to bidding and to obtain any required permits or licenses, and any delay in obtaining or the denial of any such permit or license shall not serve as

the basis for any cancellation or rescission of any purchase made hereunder or any delay in making full payment for the purchase when due. e. All Wines and Spirits lots are sold in Massachusetts and title passes to the buyer in Massachusetts. All sales are subject to applicable taxes.

SPECIAL TERMS AND CONDITIONS FOR COINS AND BANKNOTES AUCTIONS a. Bonhams has utilized adjectival, descriptive grading to describe the conditions of coins and banknotes in the catalog rather than the Sheldon numerical scale. Grading is subjective and open to interpretation. Prospective bidders are encouraged to make their own examination of the numismatic lots offered and not rely on any other party’s opinion as to grade or other attributes, as opinions differ and grading standards change over time. b. Many of the numismatic lots have been graded by third party grading service(s) including but not limited to PCGS, NGC, and/or ANACS. To the extent Bonhams provides such grading information in the cataloguing of a lot, it does so without any express or implied warranty or guarantee, and such information’s inclusion does not mean that Bonhams or the seller agrees or disagrees with the information that such third party grading service(s) have provided. Bonhams and its sellers shall not be bound by any prior or subsequent opinion or certification (or lack thereof) by any third party grading service, and bidders on numismatic lots hereby acknowledge and agree that any such opinion or certification (or lack thereof) shall not be used as the basis for any attempted rescission of sale. THE BUYER ASSUMES ALL RISKS RELATING TO GRADING, CONDITION, RARITY AND VALUATION OF NUMISMATIC LOTS. c. Catalog illustrations of numismatic lots may not be to scale or reflect the depicted items’ actual size.

SPECIAL TERMS AND CONDITIONS FOR ARMS AND MILITARIA AUCTIONS a. Certain classifications of firearms require licensures and/or are subject other regulatory restrictions. Prospective bidders are responsible for checking with their local (e.g. state) regulatory authorities regarding any applicable restrictions and/or license/ permit requirements before bidding. Each lot offered in the sale will be classified as “Antique Pre1899,” “Curio/Relic,” Modern firearm,” or “Modern handgun.” Firearms classified as “Antique Pre-1899” do not require any licensing to purchase and can be released directly to the buyer. Firearms classified as “Modern firearm” or Modern handgun” will only be released to persons possessing a valid Federal Firearms Dealer License. Firearms classified as “Curio/Relic” may be released to persons possessing a valid Federal Firearms Dealer License or persons possessing a valid Federal Firearms Collector of Curios and Relics License. Items that meet the age requirements but have been altered from their original configuration may NOT be delivered on a Federal Firearms Collector of Curios and Relics License. The transfer of certain types of firearms (including without limitation handguns and certain rifles) to residents may be regulated by certain state (including Massachusetts) laws. It is the prospective buyer’s responsibility to determine the legality of possession or ownership of any firearms, including transference of such, in his or her state of residence prior to bidding. Additionally, some states have restrictions

on transfers to persons holding a Federal Firearms Collector of Curios and Relics License. If you determine after purchasing a firearm that it is not transferrable in your state, Bonhams will not cancel the sale and you will be responsible for payment in full b. Persons holding a valid Federal Firearms Dealer License may take possession of any purchase on the day of the sale upon presenting a signed copy of their Federal Firearms Dealer License provided payment to Bonhams has been made in full. If a person holding a Federal Firearms Dealer License is sending an agent to pick up purchased lot(s), that agent must be a bona fide, paid employee of the company. c. If you possess a valid Federal Firearms Collector of Curios & Relics License, any purchased lots that qualify as such may be transferred directly to you at time of pickup. You must provide a signed copy of your current Federal Firearms Collector of Curios & Relics License at time of pickup. A Massachusetts resident presenting a Federal Firearms Collector of Curios & Relics at time of pickup must also present a copy of their valid Massachusetts License to Carry, Firearms Identification Card, or Machine Gun License. d. If you are a Massachusetts resident and are the successful bidder on a firearm classified as “Curio/ Relic,” “Modern firearm,” or “Modern handgun” and do not possess a valid Federal Firearms License, you must arrange for the transfer of the firearm from Bonhams to a dealer in Massachusetts holding a Federal Firearms Dealer License of your choice who will then conduct the necessary background check and document the transfer in accordance with Massachusetts law. Any such fees charged by a dealer are solely the responsibility of the buyer. e. If you live in a state other than Massachusetts, you must arrange for the shipment of firearms lots classified as “Curio/Relic,” “Modern firearm,” or “Modern handgun” to a dealer in your state holding a Federal Firearms Dealer License who will then transfer the firearm to you. A holder of a valid Federal Firearms Dealer License who lives in another state is permitted to pick up firearms lots designated as “Curio/Relic,” “Modern firearm,” or “Modern handgun.” A holder of a valid Federal Firearms Collector of Curios & Relics License who lives in another state is permitted to pick up firearm lots designated as “Curio/Relic” at Bonhams’ Marlborough office. Some states have restrictions on transfers to Federal Firearms Collector of Curios & Relics license holders. It is the buyer’s responsibility to be familiar with all applicable laws and regulations. To purchase with a Federal Firearms Collector of Curio & Relic License, the firearm must be listed as acceptable on the ATF list for collectors of curios, accessible at: https://www.atf.gov/file/128116/ download and https://www.atf.gov/file/2026/ download. Buyers are responsible for checking all regulatory authorities regarding any applicable restrictions and/or license/permit requirements before shipping any lot.

SALES AND USE TAX New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the buyer resides or does business. Buyers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the US/MAIN/30.4.2025

Conditions of Sale - continued property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freightforwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

LIMITED RIGHT OF RESCISSION If within one (1) year from the date of sale, the original buyer (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the UPPERCASE TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within ten (10) days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the seller monies owed him in connection with the sale, the original purchase price will be refunded. If, prior to receiving such notice from the original buyer alleging such defect, we have paid the seller monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the seller to pay the balance of the original purchase price to the original buyer. Should the seller fail to pay such amount promptly, we may disclose the identity of the seller and assign to the original buyer our rights against the seller with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as seller’s agent with respect to said lot shall automatically terminate. The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The buyer hereby accepts the benefit of the seller’s warranty of title and other representations and warranties made by the seller for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION. “Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the UPPERCASE TYPE heading of the catalog entry for the lot. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) Chinese, Japanese and Korean paintings and calligraphy (unless, within 21 days of the sale of any such lot, the original buyer gives written notice to Bonhams alleging that the lot is a counterfeit and within ten (10) days after giving

such notice returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a counterfeit), as current scholarship in these respective fields does not permit unqualified statements as to Authorship or date of execution; (c) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the UPPERCASE TYPE heading identifying the Authorship; (d) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (e) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (f) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication. For purposes of subsections (a) and (b) above, “counterfeit” is defined as a work created with intent to deceive.

LIMITATION OF LIABILITY EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE SELLER MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE BUYER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE BUYER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES. IN NO EVENT SHALL THE AGGREGATE LIABILITY OF BONHAMS AND ITS SELLER TO A BUYER EXCEED THE PURCHASE PRICE ACTUALLY PAID FOR A DISPUTED ITEM OF PROPERTY.

MEDIATION AND ARBITRATION PROCEDURES (a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share the fees and expenses of mediation. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent mediation, arbitration or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern. (b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in

or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national or international arbitration service agreed to by the parties, and shall be selected as follows: (i) If the arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on an arbitration service, the arbitration shall be conducted by Judicial Arbitration and Mediation Services, Inc. (“JAMS”) or another national or international alternative dispute resolution (“ADR”) provider of Bonhams’ choice, and the arbitrator shall be selected in accordance with JAMS’ Streamlined Arbitration Rules and Procedures or the rules of the other ADR provider selected by Bonhams. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions. (c) Unless otherwise agreed to by the parties or provided by the published rules of the arbitration service: (i) The arbitration shall occur within 60 days following the selection of the arbitrator; (ii) The arbitration shall be conducted in New York, New York; and (iii) Discovery and the procedure for the arbitration shall be as follows: A. All arbitration proceedings shall be confidential; B. The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences; C. Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with New York law; D. Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days; E. The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof. To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitration.

LOT SYMBOLS KEY The lot symbols used in the catalog have the following meanings: ¤ No Reserve Unless indicated by the ¤ symbol next to the lot number (or bearing an explicit statement such as “No Reserve” or “Without Reserve”), which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum hammer price that the seller is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value. ▲ Bonhams’ Ownership Interest in Property Offered at Auction The ▲ symbol indicates that Bonhams or one of its affiliated companies within the Bonhams Group US/MAIN/30.4.2025

Conditions of Sale - continued owns the lot in whole or in part or has an economic interest equivalent to an ownership interest in the lot. ∏ Bidding by Interested Parties We will mark the lost with the ∏ symbol when a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot. Such interested parties may be beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party who is recognized as the successful bidder on a lot must pay the purchase price in full and is subject to these Conditions of Sale. ○ Guaranteed Property/Third Party Irrevocable Bid The ○ symbol indicates that the seller of the lot has been guaranteed a minimum price for its property by Bonhams or by a third party, or jointly by Bonhams and a third party (called third party guarantor). Such guaranteed minimum price may apply only to the lot or on an aggregate basis to all or a portion of the seller’s consigned property, which may be offered in one or more auctions. Bonhams and/or any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. The third party guarantor typically provides an irrevocable written bid on the guaranteed lot prior to the auction at a level that ensures the lot will sell. If there are competing bids at the auction, the third party guarantor may also bid a higher amount than the irrevocable bid submitted. In exchange for sharing or assuming in full this risk, Bonhams may compensate the third party guarantor by paying it a fixed and/or contingent financing fee based on the hammer price achieved. Where the third party guarantor is the successful bidder on the lot, the financing fee for providing the bid may be netted against the full purchase price owing, and in such

case Bonhams will report the purchase price net of such financing fee. Third party guarantors are required by Bonhams to disclose their financial interest to anyone whom they are advising in connection with the guaranteed lot. Ω Import Duty The Ω symbol indicates that the lot is subject to US Customs duty or tariff and/or related import fees payable by the buyer as part of the purchase price. Please refer to the Specialist Department managing the auction for details. Y Restricted Materials A lot with the Y symbol has been identified at the time of cataloguing as made of or containing certain restricted plant or animal material such as tortoiseshell, coral, whalebone, Brazilian rosewood or certain types of reptilian or other exotic skins, fur or feathers woods that may be subject to import or export restrictions or may otherwise require the granting of one or more export or import licenses or certificates, or that may be subject to similar restrictions regulating intrastate or interstate transport or trade within the United States at the state or federal level, or may be banned from export or import altogether by some countries. Please refer to paragraph 10 in the Conditions of Sale or to the Specialist Department managing the auction for details. ↂ Lot Shown with a Display-Only Part A lot with the ↂ symbol may be pictured or displayed with a component, such as a stand, a watchband, or snuff bottle stopper, that is shown for display purposes only and is not part of the lot being offered for sale. In certain instance, the display-only component may be made of or incorporate restricted materials and may be available for personal pick-up, free of charge (separate from the purchased lot) from the saleroom location where the lot was sold. Please refer to paragraph 10 in the Conditions of Sale or to the Specialist Department managing the auction for details.

W Oversized Lot The W symbol indicates that the lot is oversized or otherwise such that it must be collected from our designated warehouse. Please refer to the Offsite Sold Property Storage section of the Buyer’s Guide for details. P Premium (“Purple Paddle”) Lot Subject to Restricted Bidding Lots bearing the “P” symbol will not be available for online bidding, and bidders wishing to register to bid on such lots must do so in advance and may be required to provide a bank letter of reference or other credentials in advance of being permitted to bid on the lot. If you will not be attending the auction in person, contact the Specialist Department managing the auction or Bonhams’ Client Service Office at least one business day in advance of the auction date to arrange a telephone bid or an absentee bid. Lot symbols appear adjacent to the subject lot number in the catalog and are provided as a convenience to bidders; we do not accept any liability for errors or omissions in marking lots.

IMPORTANT NOTICE TO BIDDERS Starting on June 28, 2025, the import into the European Union (“EU”) of non-EU origin property of a certain age (and in some categories, property above a certain value) is subject to additional EU regulatory requirements. It is the Buyer’s sole and exclusive responsibility to investigate whether property (including any lot) meets the requisite regulatory criteria for import into the EU and to obtain any relevant import(er) license or statement. Please note that this process is governed by local authorities and may take time. Regardless of any delay in the obtaining of an import(er) license or statement, or denial thereof, purchased lots shall be paid for in accordance with the Conditions of Sale, and any such delay or denial shall not serve as the basis for cancellation or rescission of any sale. Prospective buyers are advised to obtain information from the relevant regulatory authorities regarding import restrictions, requirements, and costs prior to bidding. Certain third-party agents may be available to assist the buyer in attempting to obtain the appropriate import(er) license or statement, however, there is no assurance that any necessary licenses or statements can be obtained.

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Buyer’s Guide BUYING AND BIDDING AT AUCTION

Whether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or contact our Client Services Department at Tel: 1-800-959- 4383 (toll free, within the US) or Tel: 1-908-707-0077 (outside the US).

Catalogs Before each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us. Previews Auction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request and are strongly recommended for all intending bidders who cannot view the property in person. Estimates Bonhams’ catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates Reserve Unless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the seller is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value. Auction House’s Interest in Property Offered at Auction On occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number(s). Bonhams may also offer property for a seller that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a ○ symbol next to the lot number(s). Bidding at Auction You must be 18 years old or over to bid. At Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, or via email. Irrespective of previous bidding activity a valid Bonhams’ client account is required to participate in bidding activity. You will be required to provide government issued proof of identity, proof of residence, and if you are a company, your certificate of incorporation or equivalent documentation with your name and registered address, proof of your current address, documentary proof of your beneficial owners and directors, and proof of authority to transact. We may also request a financial reference and/or deposit from you

before allowing you to bid. By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale. Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, from online bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer (or, for online-only sales, Bonhams’ online bidding system) may also execute bids on behalf of the seller up to the amount of the reserve, but never above it. We assume no responsibility for failure to execute bids for any reason whatsoever. In Person If you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount. Absentee Bids As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest hammer price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest hammer price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/ us, at offsite auction locations and at our Los Angeles, San Francisco and New York galleries. By Telephone We can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale Online We offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www. bonhams.com/us for details. In order to bid online in a sale, you must be 18 years old or over and you must register to bid via MyBonhams.com. Once you have registered, you should keep your account details strictly confidential and not permit any third party to access your account on your behalf or otherwise. You will be liable for any and all bids made via your account. Please note payment must be made from a bank account in the name of the registered bidder. Online Bidding Registration for Individuals: Enter your full name,

email, residential address, date of birth and nationality and provide a valid credit card in your name which will be verified via Stripe before you are able to bid. If your credit card fails verification, you will not be permitted to bid and you should contact the Client Services Department for assistance. We may in addition request a financial reference and/or deposit from you prior to letting you bid. If you are bidding as agent on behalf of another party, you agree: (i) to disclose this fact to the Client Services Department; (ii) to provide such information as we require to enable us to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks) on that third party; and (iii) that where your bid is successful, you are jointly and severally liable with that other party for the full amounts owing for the successful bid (whether or not you have disclosed that fact or the identity of the principal). Where you

are the successful bidder for any lot with a hammer price equal to or in excess of US $10,000, and if you have not provided such documents previously, you will be required to upload or provide to the Client Services Department your government issued photo ID and (if not on the ID) proof of your address before the purchased lot can be released to you. Notwithstanding the foregoing, we reserve the right to request ID documentation from any bidder or buyer and to refuse to release any purchased lot until such documentation is provided. Online Bidding Registration for Companies or Other Legal Entities:

You must select the option to set up a business account and then provide your full name, email, residential address, date of birth and the full name of the entity. You must provide a credit card for verification either in your name or the name of the entity but payment must be made from an account in the entity’s name. If your credit card fails verification, you will not be permitted to bid and should contact the Client Services Department for assistance. We may, in addition, require a bank reference or deposit prior to letting you bid. For all successful bids, we require the entity’s certificate of formation/incorporation or equivalent documentation confirming the entity’s name and registered address, documentary proof of each beneficial owner owning 25% or more of the entity, and proof of your authority to transact before the lot can be released to you. We reserve the right to request any further information from any bidder that we may require in order to carry out any identification, anti-money laundering or anti-terrorism financing checks conducted by us. We may at our discretion postpone or cancel your registration, not permit you to bid and/or postpone or cancel completion of any purchase you may make. Bid Increments

For live auctions, Bonhams generally uses the following increment multiples as bidding progresses: $50-200...................................by $10s $200-500.................................by $20/50/80s $500-1,000..............................by $50s $1,000-2,000...........................by $100s $2,000-5,000...........................by $200/500/800s $5,000-10,000….....................by $500s $10,000-20,000......................by $1,000s $20,000-50,000......................by $2,000/5,000/8,000s $50,000-100,000....................by $5,000s $100,000-200,000..................by $10,000s above $200,000......................at auctioneer’s discretion For online-only auctions, Bonhams generally uses the following increment multiples as bidding progresses: $50-200..................................by $10s $200-500................................by $20/40/60/80s $500-1,000.............................by $50s $1,000-2,000..........................by $100s $2,000-5,000..........................by $200/400/600/800s $5,000-10,000........................by $500s $10,000-20,000......................by $1,000s $20,000-50,000......................by $2,000/4,000/6,000/8,000s $50,000-100,000....................by $5,000s $100,000-200,000..................by $10,000s above $200,000......................at auctioneer’s discretion

The auctioneer (or, for online-only sales, Bonhams’ online bidding system) shall have full discretion, as outlined in the Conditions of Sale to split or reject any bid at any time.

US/MAIN/30.4.2025

Buyer’s Guide - continued Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter. Buyer’s Premium A buyer’s premium is added to the winning hammer price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning hammer price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price. Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment. All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk. Payment Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within five (5) business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. Sales Tax Buyers must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice if Bonhams is required to collect and remit sales tax in the subject jurisdiction based on our local nexus and applicable law, unless a valid resale number has been furnished. If you wish to use your resale license please contact the Client Services Department for our form. Regulated Species Materials The export of a lot from the United States or import into certain countries may be subject to export or import regulations, licensure and/or other restrictions; in particular, lots containing plant or animal materials such as tortoiseshell, coral, whalebone, Brazilian rosewood or certain types of reptilian or other exotic skins, fur or feathers, irrespective of age or value, may require the granting of one or more export or import licenses or certificates, or may be banned from import altogether by some countries. Moreover, the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country. Lots that contain such regulated species materials may also not be eligible for exportation or for re-importation into the United States. In addition, resales of lots containing certain regulated species materials may be subject to restrictions in some jurisdictions. Lots noted in the catalog with a “Y” next to the lot number contain one or more such regulated plant or animal materials, however lots containing regulated material may lack the Y notation. It is the buyer’s responsibility to investigate any such restrictions and to obtain any relevant export or import licenses. Please note that this process is governed by local authorities and may take considerable time. Regardless of any delay in the obtaining of an export/import license or certificate or denial thereof, purchased lots shall be

paid for in accordance with the Conditions of Sale, and any such delay or denial shall not serve as the basis for cancellation of any sale. Prospective buyers are advised to obtain information from the relevant regulatory authorities regarding export and import restrictions, requirements, and costs prior to bidding. Prospective buyers should also check with their local (e.g. state) regulatory authorities regarding any local restrictions and/or permit requirements that may apply with respect to purchases of regulated species materials. Certain third-party agents may be available to assist the buyer in attempting to obtain the appropriate licenses and/or certificates. However, there is no assurance that any necessary licenses or certificates can be obtained. Please contact the relevant Specialist Department for a suggested list of shipping agents prior to placing a bid if you are uncertain as to whether a lot is subject to export/import license or certificate requirements or related restrictions. COLLECTION OF PURCHASES Scheduling an appointment and payment in full prior to arrival will facilitate the quick release of your property. For your convenience, pre-allocated 30-minute collection time slots are available by appointment Monday through Friday between 9am – 4:30pm local time.

Shipping & Removal Buyers are to review the Offsite Sold Property Storage section (below) for information regarding lots that will be removed to the offsite warehouse of Door To Door shortly after the sale. These designated lots must be collected by the buyer from Bonhams (at the designated premises where the sale occurred) prior to the day and time designated in the Offsite Sold Property Storage section, or from Door To Door thereafter. If buyers of these designated lots also buy other lots, these lots may also be removed to the warehouse of Door To Door, so all lots remain together and customers can collect or ship from one location. All other items will remain at Bonhams for a period of 14 days, after which time they may be transferred to offsite storage at the buyer’s risk and expense. Offsite Sold Property Storage All lots marked with a “W” in the catalogue are oversized and subject to additional storage and shipping as set forth below. Lots not so listed will remain at Bonhams; provided, however, THAT IF BUYERS OF W LISTED LOTS ALSO BUY OTHER NON-LISTED ITEMS, THESE OTHER LOTS WILL ALSO BE REMOVED TO THE WAREHOUSE OF DOOR TO DOOR, so that all lots remain together and buyers can collect their entire purchases from one location. For any questions please refer to the Bonhams Client Services Department.

If you are sending a third party to collect, please provide details to our Client Services Department prior to your scheduled pickup or we will be unable to release your property.

The transfer of lots to the warehouse of Door To Door is at the buyer’s risk and expense. For sold lots removed to Door To Door, there will be transfer and Full Value Protection charges due immediately upon transfer and daily storage charges will begin to accrue five (5) business days after the transfer.

To schedule collection of purchases:

• For property from NEW YORK Sales and LOS

The per-lot charges of Door To Door Services are as follows (plus any applicable sales tax):

ANGELES auctions: please contact our Client Services Department at Tel: 1-800-959-4383 (toll free, within the US) or Tel: 1-908-707- 0077 (outside the US), or via email at invoices.us@bonhams.com.

FURNITURE/LARGE OBJECTS Transfer ………...$75 Daily storage …..$10 Full Value Protection (on Hammer + Premium + tax): 0.3%

• For property form BOSTON Sales and

MARLBOROUGH auctions: please use the online scheduler, available at https://skinner. appointlet.com/, or contact our Client Services Department at Tel: 1-508-970-3000 or via email at bids@bonhamsskinner.com.

SMALL OBJECTS Transfer…..….....$37.50 Daily storage…...$5 Full Value Protection (on Hammer + Premium + tax): 0.3%

For an additional fee, Bonhams may provide packing and shipping services for certain items. If you wish to receive a Bonhams’ shipping quote, please indicate this at the time of registration. Carriers are not permitted to deliver to P.O. boxes. International buyers are responsible for all import/ export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases. Handling and Storage Charges Storage charges of US $5 per lot, per day will begin accruing for any lots not collected within 14 calendar days of the auction. Bonhams reserves the right to remove uncollected sold lots to the warehouse of Door To Door at the buyer’s risk and expense. Handling and storage and Full Value Protection fees will apply, as further set forth in the Offsite Sold Property Storage section (below).

Please note, Door To Door does not accept liability for damage or loss due to negligence or otherwise, exceeding the stated value of such goods, or at its option the cost of repairing or replacing the damaged or missing goods. A.

NEW YORK Sales (and New York Online Sales). Unless you are otherwise notified:

• W lots (and additional purchases) from sales occurring on Tuesdays and Wednesdays will be transferred to offsite storage at Door To Door on the proximate Thursdays. You may collect W lots from Bonhams by 5pm Eastern Time on Wednesdays. Purchases will be available for collection on Fridays of the same week from Door To Door.

• W lots (and additional purchases) from sales occurring on Thursdays, Fridays and Mondays will be transferred to offsite storage at Door To Door on the proximate Tuesdays. You may collect

US/MAIN/30.4.2025

Buyer’s Guide - continued

W lots from Bonhams by 5pm Eastern Time on Mondays. Purchases will be available for collection on Wednesdays from Door To Door.

or unusually shaped need to be collected in person. We shall have professional discretion when the circumstance arises.

Collections appointments must be booked 24 hours in advance with Door To Door (subject to full payment of all outstanding amounts due to Bonhams and Door To Door).

Collection Full payment must be received and processed by Bonhams following the close of the auction, prior to release of any purchases.

Address: Door To Door Services 50 Tannery Rd. Somerville, NJ 08876

All purchases must be paid for and removed from Gordon’s premises within 30 days of the auction at which they were purchased. Any property not collected within 14 days of the auction in which it was purchased will be subject to storage charges at the then applicable rates charged by Gordan’s starting on day 15 following the auction. The buyer agrees to pay such storage charges which may be calculated and invoiced per lot on a daily or monthly basis. Any applicable payments to Gordon’s or other designated third party shipper must be paid for in full prior to the release of property.

LOS ANGELES Sales (and Los Angeles Online Sales)

• You will be notified in advance of the sale of

the date and time of the removal of W lots (and additional purchases) to the Door To Door warehouse. Please be advised that removal may occur the day following the day of the sale. Collections appointments must be booked 24 hours in advance with Door To Door (subject to full payment of all outstanding amounts due to Bonhams and Door To Door). Address: Door to Door Services 6280 Peachtree St. Commerce, CA, 90040

For more information regarding storage, shipping, or collection from Door To Door please contact Door To Door directly at auctions@dtdusa.com. Payment Payments for purchased lots must be made directly to Bonhams. Door To Door will not release property unless the buyer has paid Bonhams in full. All charges for handling and storage due to Door To Door must be paid by the time of collection from their warehouse. Payment may be made by cash, check, or credit card. Please contact Door to Door in advance to ascertain the amount due. Lots will only be released from the Door To Door warehouse upon production of a “Release Order” obtained from the Cashier’s Office at Bonhams. The removal/storage and/or shipment by Door To Door of any lots will be subject to their standard Conditions of Business, which can be found at https://www.dtdusa. com/terms-and- conditions and are available upon request from the Bonhams Client Services Department or from Door To Door directly. COLLECTION OF PURCHASES FROM WINES AND SPIRITS AUCTIONS All alcoholic beverage property, however collected, shipped or received, requires the recipient to be in possession of photo identification confirming that he or she is at least 21 years of age. Subject to the terms set forth in this section and in the Conditions of Sale, we will make your purchase(s) available for collection in a manner that is commercially reasonable and facilitates the safe handling of the property. The inherent nature of fine wine and spirits requires that due care be taken in storage and handling. We request your partnership in making sure no harm arises during storage or collection. Bottles that are old

All purchases must be collected from climate-controlled, off-site storage at the location designated below (unless otherwise noticed to you in writing after the auction). Collection is available only by prior appointment at:

importation, exportation and shipment of alcoholic beverage products purchased. Many jurisdictions prohibit or limit the importation of alcoholic beverages, and some jurisdictions require the buyer, seller and/ or shipper to obtain certain permits or licenses prior thereto. It is the buyer’s sole responsibility to determine whether any such restrictions, limitations or prohibitions are applicable prior to bidding and to obtain any required permits or licenses. It is the buyer’s sole responsibility to collect purchased property or to make independent arrangements for collection and delivery service, and to ensure that such service provider is duly licensed or permitted to transport wine and/or spirits, as the case may be, to the relevant destination. Such third party services shall be independent of Bonhams, and shall be solely at the buyer’s risk and expense. Bonhams and the sellers will not be liable for any acts or omissions of any packers or carriers, whether or not recommended by us. Such packers or carriers may carry their own insurance and any claim for lost or damaged property should be addressed directly to them.

Gordon’s Fine Wines Baker’s Best 150 Gould Street Needham, MA 02494 Please schedule your collection with Gordon’s Fine Wines (“Gordon’s”) directly using the automated scheduler (included with your payment confirmation email which you will receive from Bonhams) at least three (3) business days in advance of your desired collection appointment day. For questions please contact wine@ bonhams.com or staff@gordons.com. Contact staff@ gordons.com for additional storage or delivery services. Full payment of all applicable charges must be received prior to release of any purchases. Purchased property will only be released to those over 21 years of age. Valid government issued proof of age will be required. For any third-party collections (i.e. collection by the buyer’s authorized agent), an Authorized Release Form must be signed by the buyer of record and submitted to Gordon’s prior to collection. Local Delivery As an ancillary, third-party service, subject to availability, buyers may independently engage Gordon’s directly for the packing and delivery of purchases inside Route 495 for a fee. Deliveries are generally available Monday through Friday during normal business hours. All costs associated with delivery must be paid to Gordon’s directly. Buyers must arrange for such services directly with Gordan’s (or any other the third party service provider of buyer’s choice). Such services shall be independent of Bonhams, and shall be solely at the buyer’s risk and expense. Bonhams will not be liable for any acts or omissions of any packers or carriers, whether or not recommended by us. Such packers or carriers may carry their own insurance and any claim for lost or damaged property should be addressed directly to them. Purchases will only be delivered to, and must be signed for by an individual who is no less than 21 years of age, and presents satisfactory age identification. Shipping Buyers are required to comply with their respective states’ or jurisdictions’ regulations regarding the importation, exportation and shipment of alcoholic beverages. Buyers are solely responsible for the

US/MAIN/30.4.2025

Auction Registration Form

(Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Chinese Paintings, Calligraphy and Prints

Sale date: March 24, 2026

Paddle number (for office use only)

Sale no. 31869

Sale venue: New York

General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding. Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

General Bid Increments: $10 - 200 .....................by 10s $200 - 500 ...................by 20 / 50 / 80s $500 - 1,000 ................by 50s $1,000 - 2,000 .............by 100s $2,000 - 5,000 .............by 200 / 500 / 800s $5,000 - 10,000 ...........by 500s

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids. Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference. Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services. If successful I will collect the purchases myself Please contact me with a shipping quote (if applicable) I will arrange a third party to collect my purchase(s) Please email the completed Registration Form and requested information to: Bonhams Client Services Department 111 W 57th Street New York, New York 10019 Tel +1 (212) 644 9001 bids.us@bonhams.com

$10,000 - 20,000 .........by 1,000s $20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s $50,000 - 100,000 .......by 5,000s $100,000 - 200,000 .....by 10,000s above $200,000 ...........at the auctioneer’s discretion The auctioneer has discretion to split any bid at any time.

Customer Number

Title

First Name

Last Name

Company name (to be invoiced if applicable) Address City

County / State

Post / Zip code

Country

Telephone mobile

Telephone daytime

Telephone evening Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number. E-mail (in capitals) By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client

I am registering to bid as a trade client

Resale: please enter your resale license number here

We may contact you for additional information.

SHIPPING Shipping Address (if different than above): Address: _____________________________________

Country: _____________________________________

City: _________________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded. Type of bid (A-Absentee, T-Telephone)

Lot no.

Brief description (In the event of any discrepancy, lot number and not lot description will govern.) If you are bidding online there is no need to complete this section.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

MAX bid in US$ (excluding premium and applicable tax) Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS. Your signature:

Date: NY/MAIN/02.26

The Francine and Bernard Wald Collection of Fine Snuff Bottles, Part III New York | March 23, 2026, 2pm ET

ENQUIRIES Michael C. Hughes +1 917 206 1628 michael.hughes@bonhams.com bonhams.com/chineseart

Download Bonhams app for iOS & Android

Fine Japanese & Korean Art New York | March 25, 2026

INQUIRIES +1 212 461 6516 jeff.olson@bonhams.com bonhams.com

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide

Download Bonhams app for iOS & Android

KATSUSHIKA HOKUSAI (1760-1849) Edo period (1615-1868), circa 1830-1831 10 3/16 x 15 1/16in (25.9 x 38.3cm) $250,000 - 350,000 *

The Trudy and John Neville Cohen Collection of Chinese Snuff Bottles and Jade Carvings Online, London | 8 - 18 May 2026

ENQUIRIES +44 (0) 20 3988 6372 juliette.hammer@bonhams.com bonhams.com/chineseart

Download Bonhams app for iOS & Android

Bonhams 111 W 57th St New York, NY 10019 +1 212 644 9001 bonhams.com AUCTIONEERS SINCE 1793