2023.11.06 THE ANTHONY LOVETT COLLECTION at Dore and Rees Auction Salerooms

The Anthony Lovett Collection of Fine Asian Art Monday 6 November 2023

10:30am Lots 1-47

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Head of Sale

Lee Young lee.young@doreandrees.com 01373 462257 / 07825 426555

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Catalogue

£10 (including p&p)

Dore & Rees

Auction Salerooms Vicarage Street Frome BA11 1PU 01373 462257 www.doresandrees.com

Cover illustrations

Front: Back:

lot 23 (detail) lot 1 (detail)

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Important note re illustrations

Please note that the illustrations are not necessarily to scale.

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London

Sunday 29 October Monday 30 October Tuesday 31 October

12noon to 5pm 10am to 6pm 10am to 2pm

‘In conversation with Anthony Lovett and Dr Ivy Chan’ Monday 30 October at 2pm

at Asia House, 63 New Cavendish Street, London W1G 7LP

The nearest underground stations are Great Portland Street (6 minutes walk), Oxford Circus (7 minutes), Bond Street (8 minutes); the closest bus route is No. 88.

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Frome

Friday 3 November 10am to 4pm Saturday 4 November 10am to 4pm Sunday 5 November 10am to 4pm at Dore & Rees Auction Salerooms The salerooms are centrally located in Frome,Somerset, approx. 10 minute walk from the station with direct trains from London Paddington, operated by Great Western Railways

The Anthony Lovett Collection of Fine Asian Art

Introduction I would like to say that I have had a life-long interest in Chinese ceramics, but this would not be the truth. My interest began when I acquired a few pieces of mandarin palette as decoration in my first London apartment – a mere thirty-five years ago. I was initially rather hesitant, as my budget was limited and although dealer’s windows always looked interesting, for someone just starting collecting they could also look foreboding. But in venturing in, buying and appreciating I started to learn and a whole new world opened up for me. In this respect I would like to take the opportunity to thank both Anthony Gray and Louise Guest who were kind with both their time and knowledge and have in their own way added much to this collection.

I was fortunate in that when I started collecting Kangxi porcelain I did so when much more was available in the market and prices could be judged to be more reasonable, but it was their simple beauty that always attracted me and continues to hold the appeal. It is the free style of painting, the various shades of sapphire blue and the

application of those vibrant enamels many would consider to be at their best during this period.

Whist I have been able locate a number of the narrative themes I have been greatly assisted in the search for others by Dr Ivy Chan whose knowledge and patience is hugely appreciated.

It has been difficult to part with those pieces that have become “companions” and especially those that have been elevated to “television pieces” – those of such size and tactile properties that they can be handled and appreciated whilst I watch television – a double enjoyment! However, my collecting, for a number of years, has become focused on the Transitional and Early Kangxi period and I know that it is the possibility of finding and acquiring other pieces from this period that will become the basis of my future enjoyment and knowledge.

I now hope that others will be able to appreciate and love these pieces and hopefully enjoy them as much as we have.

Anthony Lovett 10 October 2023

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A FAMILLE VERTE ‘RICE PRODUCTION’ DISH

KANGXI PERIOD (1662-1722)

康熙五彩耕織圖紋盤

with rounded and flared sides this “Rice Production Dish” is decorated with a scene of men within a courtyard carrying and sifting rice, all within a vista of rice paddies and set against a mountainous landscape. A broad band with cartouches containing stylised dragons and reserved against an alternating floral and honeycomb ground encircles this central design. The channel-foot base is glazed and has an under glaze blue lingzhi mark within a double circle.

In the left hand corner of the dish is a poem written in the classical five word and eight-stanza format and incorporating two seals – the circular one representing cultivation and the other weaving.

The poem reads: “Workers push and pull, rubbing shoulders, The millstone turns its teeth; The sieve emits the sound of thunder, Grains resembling weiqi pieces fall in a whirlwind; Forming a landscape with mountains and rivers, Small earthen hills confront each other; What was previously a huge amount of pearl-like grains, Suddenly become the spectacle in front of my eyes.”

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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© The Trustees of the British Museum

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Woodcut books. Rice growing and sericulture. Original edition, preface by Emperor Kangxi.

Hand coloured

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Note: Independent images of the daily tasks associated with tilling and weaving have a long history in China. However, the creation of a fully developed pictorial cycle only came into existence in the mid-12th century, during the latter part of the Southern Song dynasty, in the form of ““Illustrations of Tilling and Weaving” – Genzhi tu. This pictorial theme eventually initiated numerous variations and gradually became increasingly popular as the subject matter on diverse material forms.

The Gengzhi tu representations reached a high level of development during the reign of the Emperor Kangxi who expressed great interest in the agricultural activities of his empire with the establishment in 1681 of experimental rice fields on the periphery of Fengze yuan - ‘Garden of Abundant Marshes”.

During his southern inspection tour of 1689, the Kangxi emperor was presented with a version of the pictorial cycle. Duly impressed, he decided on his return to Beijing to commission an updated set, to which he would contribute a preface and poems to accompany each picture. The artist selected for the task was Jiao Bingzhen, who had acquired techniques of perspective painting and “chiaschuro” from Jesuit missionaries whilst serving in the Directorate of Astronomy. Taking as his model the Genzhi tu version, made available to him by the emperor, Jiao made certain adjustments that resulted in forty-six pictures, equally divided between two sections.

The initial printing of the revised Gengzhi tu did not take place until 1696 and thereafter several other printings were made. The preface by the Kangxi emperor was written in 41 columns of running script and subsequently engraved. The preface is then followed by twenty-three illustrations of riceplanting activities, from the soaking of seeds and ploughing to harvestrelating activities such as husking and milling. These are followed by twentythree pictures of sericulture and weaving activities, starting with the bathing of silkworm eggs through to the weaving, dying and tailoring of silk fabrics.

The five character regulated verses originally composed by Lou Shu are all placed in blank areas within the woodblock frame illustration, whilst the seven character quatrains composed by the Emperor Kangxi are superimposed on the wide upper registers.

34cm diam.

Provenance: Acquired from Christie’s South Kensington, London, September 2007, Lot 1258.

Related Examples: For an example of a dish with a similar scene see Christie’s New York, “Fine Chinese Ceramics and Works of Art”, 15 September 2017, Lot 1194.

The image is detailed in a book of forty-six wood block prints in the British Museum – Ref: 1949, 0709,0.1 - attributed to Zhu Gui and dated 1696. The inscription on the wood block print is the same as that on the above dish. £5000-£8000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A FAMILLE VERTE PLATE

KANGXI PERIOD (1662-1722)

康熙五彩仕女圖紋盤

the centre is beautifully enamelled in colours of the famille verte palette with a seated woman - elegantly dressed and coiffured, seductively poised and lovelorn. She rests one arm on a table whilst the other holds a tasselled stick that she uses to tease a coquettish cat – all possibly helping to mark the passage of time. The scene creates an illusion, drawing the viewer into an unknown interior and private world.

The border is brightly enamelled with four groups of moths, butterflies and insects, all divided by clusters of daisies, peonies, dianthus and camellia. The underside is decorated with prunus, peony and peach blossom sprays enamelled in iron-red and green. The base is glazed and has an encircled under glaze jue mark.

22.5cm diam.

Note: The scene is possibly taken from one of the “Twelve Beauties of Leisure” painted for Prince Yinzhen which precipitated the depiction of a single elegant lady as a popular subject of many mediums during the Kangxi period. The style, as here, is that of a refined courtesan culture and the feminine embodiment of Chinese culture.

Provenance: Acquired from Christie’s King Street, London, “Chinese Ceramics and Works of Art: Including Export Art”, November 2005, Lot 22.

Related Examples: For an identical pair see “Catalogue of An Important Collection of Chinese Porcelain: The Property of the late Sir Alfred Aykroyd”, Christie’s London, 17 May 1966, Lot 178. £3000-£5000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A RARE FAMILLE VERTE LANTERN

KANGXI PERIOD (1662-1722)

康熙五彩“蕭何月下追韓信”故事圖燈籠

the exterior of the lantern is delicately enamelled in the famille verte palette with a scene of Xiao He chasing Han Xin under the moonlight. The cylindrical neck and base are decorated with medallions containing flowers and scrolls all on a seeded green ground.

22.5cm high

Note: The story of Xiao He’s chase is recorded in both the Shiji – “Records of the Grand Historian” and the Hanshu “Book of Han”. Towards the end of the Qin dynasty in 206 BC, Han Xin was working in a lowly position in the army of Liu Bang – the founder of the Han dynasty. However he had become disillusioned, as despite his great military talents, he was neither trusted nor promoted and so decided to leave Liu’s force. On hearing of his desertion, Liu’s Chancellor Xiao He (d.193 BC), chased after him in order to persuade him to return, which Han Xin did on the promise of being recommended to Liu Bang. This famous event is remembered as “Xiao He chasing after Han Xin in the Moonlight” and was adapted to dramatic form in the Yuan dynasty.

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© Alamy

THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

Prince Henry, Duke of Gloucester, Portrait, circa 1919

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Provenance: Acquired From Christie’s, Paris, December 2014, Lot 22.

The Collection of Alfred Trapnell.

In “An Illustrated Catalogue of Chinese Porcelain and Pottery Forming the Collection of Mr Alfred Trapnell: Volume II” produced in 1906 the lantern is listed as item No: 497 and accompanied with the following narrative “A Chinese Lantern of thin egg-shell porcelain mounted on the back of a carved wood elephant, beautifully ornamented in Famille Verte. Round the body are officials on horseback with running attendants, the spaces between filled in with landscapes. The whole stands 22 inches high. Kang He period, 1661-1722. See Illustration, plate LXXXV.” With Frank Partridge & Sons Ltd, London.

The Collection of His Royal Highness The Prince Henry, Duke of Gloucester (1900 – 1974).

His Royal Highness, The Prince Henry, Duke of Gloucester, Knight of the Garter, Knight of the Thistle and the last Knight of St Patrick, fifth in line to succession to his great grandmother, Queen Victoria, Empress of India, was born to King George V and Queen Mary on 31st March 1900. Prince Henry was the uncle of Queen Elizabeth II and the youngest brother of King Edward VIII and King George VI. The Prince had many royal duties. In 1925 he was made a Privy Councillor and in 1929 he was assigned The Garter mission where he travelled to Asia for the first time. The mission began in Japan and the Prince was honoured with Japan’s highest order, Order of the Chrysanthemum. His later travels took him through Cairo, Aden, Colombo, Hong Kong and Canada.

In 1935 he married Lady Alice Montagu-Douglas-Scott, daughter of the Duke of Buccleuch - an old friend of his father’s – and sister of his closest friend, Lord William Scott. Three years later, The Duke and his family moved to Barnwell Manor near Peterborough which was a property previously owned by the Buccleuch family.

According to his obituary in The Times he had a “splendid collection of Chinese porcelain” and also collected sporting books and drawings. He sold 31 lots of pottery and porcelain with, additionally, works of art, at Christie’s on 20 May 1954, mostly famille verte and rose figures, and figures on the enamelled biscuit, the two provenances being recorded: Trapnell and Geoffrey Duveen. He was also a client of Spinks.

Frank Partridge (1875 – 1953) was a dealer in Chinese art with offices initially at 26 King Street, London SW1 and 741 Fifth

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Avenue, New York. After these offices were bombed in 1944, the company relocated to 144-146 New Bond Street. The son of Robert and Eliza Partridge who owned a bookmaking business in Hertfordshire, Frank founded Partridges in 1900.

He was a respected and trusted dealer to many eminent collectors, not least Sir William Burrell and was fortunate to survive the sinking of the Lusitania on 7 May 1915, unlike his friend and companion, Edgar Gorer. Partridge lent his collection to the 1935-36 International Exhibition of Chinese Art at the Royal Academy. Partridge’s received the Royal Warrant as Purveyors of fine art to Queen Mary, who was a frequent visitor to the galleries.

Alfred Trapnell (1838 – 1917) was a smelter and refiner, of Clifton, Bristol, and later of Bournemouth. He had formerly been a sea captain trading to the East, where he developed a taste for porcelain. Over a thirty year period he built up major collections of Chinese porcelain, Worcester porcelain and Bristol and Plymouth porcelains, all of which he sold, earning him the epithet of having “probably sold more collections than any man living”. He produced catalogues of both his Chinese, and Bristol and Plymouth collections. He sold the Chinese collection for a sum said to be £30,000 to Gorer, who issued the Trapnell Collection of Old Chinese Porcelain in 1906.

Related Examples: A prunus vase in the Nanjing Municipal Museum, Jiangsu Province. It was unearthed from the Muying Tomb at Niushou Mountain in Jiangning County. The main character, Xiao He, wearing a putout (a separate set of hats for officials and academics in ancient China) and light armour, is on a galloping horse. On the other side of the vase, Xiao He, wearing a robe, is taking a horse to water by its bridle. £30000-£50000

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A GREEN AND YELLOW ENAMELLED ‘DRAGON’ BOWL

KANGXI SIX CHARACTER MARK AND PERIOD

康熙黃底綠龍紋盌

resting on a small foot and decorated in green enamel on a yellow vibrant ground. On the outside are two large dragons with five claws and each chasing the sacred pearl through clouds and above tempestuous waves and rocks. The interior with a central medallion decorated with a fierce dragon.

The base is inscribed in under glaze blue with a six character Kangxi reign mark within a double circle.

14.2cm diam.

Provenance: Acquired from Christie’s, Paris, 10 June 2009, Lot 143.

Related Examples: For a similar example see “Treasures in Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty”, Page 73. For a similar example see “Important Chinese Art”, Sotheby’s Hong Kong, 3 October 2017, Lot 3729.

For a similar example see “Important Chinese Ceramics and Works of Art”, Christie’s Hong Kong, 28 November 2012, Lot 2136. For a similar example see “Chinese Monochrome Porcelain”, Christie’s King Street London, 7 June 2004, Lot 229. £8000-£12000

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A PAIR OF FAMILLE VERTE DEEP BEAKERS

KANGXI PERIOD (1662-1722)

康熙五彩“西廂記”圖紋杯一對

one beaker is decorated with a dramatic interior scene from “The Romance of the Western Chamber” depicting Cui Yingying’s maid Hongniang kneeling before Yingying’s mother.

This scene, known as “Hongniang in the Dock”, is set in an interior setting which faces a garden. Madam Cui sits on a stool in front of a screen, holding a stick as she interrogates Hongniang about Yingying’s relationship with Zhang Sheng. A small boy, Madam Cui’s son Huanlang, stands beside her. After confessing to Madame Cui about Yingying’s relationship with Zhang Sheng, Hongniang persuades Madame Cui to accept Zhang Sheng as her son-in-law, whereupon Madame Cui decides that Zhang Sheng must first take the imperial examinations and receive an official appointment before he may marry her daughter. Being witty, cunning and righteous, Hongiang plays a key role in “The Romance of the Western Chamber”. She not only delivers love letters between Zhang Shang and Yingying and arranges a rendezvous for them but also argues their case, thus influencing the outcome of their love affair and the ending to the story.

The scene on the other beaker is commonly referred to as the “Repudiation of the Billet-Doux”. It is where Zhang Sheng climbs the wall of the Western Chamber to meet Yingying, upon receiving her letter of reply only to be reproached by her, from Part 3, Act 3. The decoration here shows Yingying, sitting in a garden in a relaxed position. Her maid, Hongniang, is standing behind her with a lantern looking up at Zhang Sheng who, with the help of a willow tree, is trying to climb over the wall. The moon and a star constellation denote that the event takes place at night.

10.5cm high

Note: A woodblock print comparable to “The Romance of the Western Chamber” illustration is found in Gelin Shicui “Selected Examples of Songs and Lyrics”, published in the sixteenth year of the Shunzhi period, equivalent to 1659. This woodblock print, depicting the same episode, focuses on a close-up of the scene inside the building but leaves out the garden surroundings. The style of the composition of this woodblock print shows influence of the late Ming edition, but new features can also be detected, particularly in the elimination of the landscape background in order to concentrate on the figural subjects, a manner that became popular in the Qing dynasty.

Provenance: Acquired from Lyon & Turnbull, “Fine Asian Works of Art”, 26 June 2012, Lot 342.

The Leonard Gow Collection (1859 - 1936) Born in Glasgow in the same year his father inherited the Allan. C. Gow shipping company from his brother. Leonard eventually became a partner in Allan. C. Gow and following his father’s retirement, expanded the firm and renamed it Gow, Harrison and Company.

Gow’s exceptional Chinese collection consisted primarily of Kangxi - period porcelains. It also included examples of Yongzheng and Qianlong porcelains, jades and hardstones.

Just one month after his death in 1936, an exhibition of Gow’s entire collection was held at Kelvingrove Museum and Art Gallery in Glasgow. Alfred H Caspary of New York purchased the greater part of Gow’s collection of Chinese porcelain in 1938 and bequeathed the majority of it to the Philadelphia Museum of Art several years later.

Related Examples: A blue and white dish, dated to the Shunzhi period, is also painted with the scene of “Hongiang in the Dock”.

This is in the Ashmolean Museum, Reg. No. EA1978.847.

For a similar pair of beakers although showing different scenes from “The Romance of the Western Chamber”, see “The Collection of the late Lord and Lady Swaythling”, Christie’s London, 27 May 2022, Lot 1104. £8000-£12000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A RARE FAMILLE VERTE RECTANGULAR SHAPED DISH

KANGXI PERIOD (1662-1722)

康熙五彩“飲中八仙” 圖紋盤

the dish has a square base with the sides shelving outwards and is painted with over glaze enamels in the famille verte palette.

Two of the everted square sides are each painted with a representation of two of the “Eight Immortals of the Wine Cup” – a group of Tang dynasty poets who were also known for their love of alcohol, to the base is the rare provincial mark – Sanzhutang Ji – “The Hall of Three Wishes”. The term was first used in a poem by the celebrated Tang poet Du Fu (712-770) who was himself sometimes known as the “ninth poet”. The two representations are of Li Shizhi and He Zhizhang: Li Shizhi (d.747) – was Prime Minister during the later part of the Kaiyan era (712 – 741) and was known as the “First Minister of the Left” - with a reputation for simplicity. He was forced to retire through intrigue and at a later stage committed suicide. The painting shows Minister Li seated before a screen and drinking a cup of wine whilst an attendant offers him another cup.

He Zhizhang (665 – 744) – was a statesman, poet and calligrapher active during the reign of the Tang Emperor Xuanzong (713 – 756). Here he can be seen riding his horse in a drunken state and being supported by an attendant. In front and to the right of the horse is a well into which - according to an anecdote – he fell into whilst drunk.

The two depictions are divided by panels each decorated with a writhing dragon and both with qilong handles.

7.9cm diam.

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

Provenance: Acquired from Christie’s, Amsterdam, “Asian Ceramics and Works of Art”, 23 May 2006, Lot 299 Exhibited: “China of all Colours: Painted Enamels on Copper”, Jorge Welch Research and Publishing Lisbon/London 2015, Figure 29.

Related Examples: For a delicately enamelled wine cup depicting a similar scene of He Zhizhang on horseback accompanied by two young servants carrying his belongings see “The Imperial Sale”, Christie’s Hong Kong, 1 June 2011, Lot No: 3586.

For a wine cup decorated in under glaze blue with a similar scene of He Zhizhang on horseback, slouched to one side and supported by two attendants – one of which is carrying a foodbasket and wine ewer over his shoulder see “Chinese and Japanese Ceramics and Works of Art”, Christie’s Amsterdam, 8 December 1988, Lot No: 283. £3000-£5000

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A FAMILLE NOIRE TEABOWL AND SAUCER

glaze under and over the iron black parts was used for the “famille noire” glazes.

康熙墨彩花卉紋杯碟一組

Provenance: Acquired From Christie’s King Street, “Fine Chinese Ceramics and Works of Art: Including Export Art”, 7 November 2007, Lot 220.

KANGXI PERIOD (1662-1722)

the teabowl is enamelled to the interior with birds, insects, flowers and rockwork all within petal-shaped lappets and around a central flower-head medallion – all of which are reserved on a tomato-red ground. The exterior of the bowl is designed with both birds and prunus on a black ground.

The saucer, with both similar lappets and medallions as the bowl, is reserved on a yellow ground, with the underside having four prunus branches on a black ground. The base has under glaze blue lingzhi marks within double circles.

Diameter of saucer: 13.6cm

Note: Black glazes were created by adding iron oxide to a glaze containing lead, which produced a glaze of intense black with a green gleam as a result of the process of oxidisation caused by adding oxygen during firing. The black glaze had already been developed in Jingdezhen in the middle of the fifteenth century but disappeared until the late seventeenth century and was rediscovered around 1700. In the Kangxi period a coating in several layers made by applying an additional layer of green

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The Hon. Mrs Nellie Ionides (1883 - 1962) , No 119 and then by descent.

Daughter of a very wealthy Jewish and cultured family. Her grandfather, Marcus Samuel, launched his family fortunes by starting a business involving the sale of exotic Eastern oriental seashells and trinket boxes to wealthy Victorians.

In 1902 she married her first husband Walter Levy in a society wedding but unfortunately he died in 1923 from severe wounds suffered in the First World War. It is at this stage that Nellie became a collector of porcelain and her artistic passion brought her into contact with Basil Ionides, a grandson of the Greek ambassador to London.

Nellie and Basil Ionides were married in 1930. The newlyweds now acquired and renovated Buxted Park in Sussex, where they entertained lavishly - their guests included George V and Queen Mary, a great friend of Nellie. £400-£600

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A LARGE KANGXI FAMILLE VERTE DISH

KANGXI PERIOD (1662-1722)

康熙五彩“穆桂英挂帥“ 圖紋大盤

with gently curving sides and everted border, brightly enamelled and gilt at the centre depicting a battle scene between three female warriors all of which are on horseback, being pursued by several male warriors, both mounted and on foot. The male figures with fierce expressions, wearing armour and brandishing halberds, the female figures wearing light clothing and holding swords. Two dignitaries and a bannerman stand in the background and observe the scene, which is set in a rocky landscape. The border with six landscape cartouches is reserved on a trellis-pattern ground, the underside with an under glaze blue encircled leaf mark.

37cm diam.

Note: It is thought that the present dish is decorated with a narrative derived from the novel Yang jia jiang – “The Generals of the Yang Family” – written by Yong Damu during the Ming dynasty. The story set in the Song dynasty is a compilation of historic events interspersed with heroic anecdotes of the Yang women, including Guiying, a woman general who commanded her own army and re-captured the city of Youzhou previously fallen to the Liao cavalry. With Guiying’s wisdom and courage the Song army was able to defeat the Liao invasion.

Provenance: Acquired from Christie’s, London, “Chinese Ceramics and Works of Art: Including Export Art”, November 8 2005, Lot 77.

Related Examples: An identical dish can be found in the Victoria and Albert Museum, Salting Bequest, Museum No: C1221-1910 and in the catalogue of “An important Collection of Chinese Porcelain: The Property of the Late Sir Alfred Aykroyd”, Sotheby’s & Co, London, 17th May 1966. £6000-£8000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A FINE AND LARGE KANGXI FAMILLE VERTE BITONG

KANGXI PERIOD (1662-1722)

康熙五彩“太公釣魚”圖紋筆筒

the landscape scene depicts the reclusive sage Taigong Wang, who sits fishing on the banks of the Wei River. To his left he is approached by King Wen of Zhou accompanied by a retinue of bannermen and warriors.

15.1cm high, 17.8cm diam.

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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Note: Taigong Wang was a military strategist who served during the Shang dynasty and who eventually feigned madness in order to escape the tyranny of its last ruler, King Zhou of Shang. From that time he lived contentedly in rural retreat – daily fishing on the Wei River with a pole that reputedly only held a straight hook. It was said that only serious fishermen were depicted fishing with nets as the scholar fisherman only wished to catch an invitation to serve as a high official.

King Wen of Zhou sought out Taigong Wang in order to ask him to be his Prime Minister and thus play a crucial role in the overthrow of the corrupt Shang dynasty. The conversation between the two supposedly forms the ‘ Six Secret Teachings” - which is regarded as one of the Seven Military Classics of China.

Provenance: Acquired from Cheffins, Cambridge, September 23 2007, Lot 209.

Related Examples: Another version of this scene can be found on an under glaze blue and copper-red decorated bitong in the Palace Museum, Beijing, illustrated by Chen Runmin in “Selected Chinese Ceramics from the Palace Museum – Volume 1: Blue and White Ceramics in Shunzhi and Kangxi Periods – Qing Shunzhi Kangxi chao qing hua”, Page 344, No 222. For a Kangxi Blue and White Rectangular Tile showing the same image see “An Era of Inspiration: 17th Century Chinese Porcelains from the Collection of Julia and John Curtis”, Christie’s New York, 16th March 2015, Lot 3590. £30000-£50000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A LARGE KANGXI FAMILLE VERTE DISH

KANGXI PERIOD (1662-1722)

康熙“隋唐演義“圖紋大盤

with gently curving sides, boldly and brightly enamelled with mounted warriors in combat, each bearing a halberd and attended by flag-bearers, being watched from behind a hillock by a general and his standard-bearer, all within a floral cell and trellis pattern band reserved with ribbon emblems in cartouches, the underside with an under glaze blue square seal mark.

46.8cm diam.

Note: The scene is possibly “The Battle of Meiliang-Chuan” which is commonly referred to in the novel Shuo Tang as “The Battle of Bians versus Two Jians” - although the latter battle is fictional as neither Qin Shubao nor Yuchi Gong used a Bian or a Jian – the battle resulted in a draw. After this Li Shimin beseeched Yuchi Gong several times to join his force and he was finally moved to join him becoming a general in the fight for the Tang dynasty.

Provenance: Acquired from Christie’s, London, “Fine Chinese Ceramics and Works of Art: Including Export Art”, May 15 2007, Lot 395.

Formerly in the Collection of Hugo Meyl and sold at the Galerie Hugo Helbing, Munich, 8 and 9 July 1930, Lot 173. Hugo Meyl (1867-1939) was one of the most respected dealers in East Asian Art in Germany in the 1930’s. £10000-£15000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A SLENDER FAMILLE VERTE BALUSTER VASE

KANGXI PERIOD (1662-1722)

康熙五彩山水圖紋瓶

brightly enamelled in famille verte enamels, this rare vase is a good example of landscape painting reminiscent of the classical literati style of the Kangxi period. With a continuous scene set in a mountainous river scape with three figures in conversation about to cross a bridge. There are two further figures on the bridge that appear to be lost in thought and a solitary fisherman on a promontory below. A scholar sits in a pavilion is observing the whole scene. The composition follows a winding path that wends its way upward through mountains and streams. There is an element of theatricality in the

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presentation of humble fishermen as they eke out a living on the water to the lofty retreats of the scholarly elite who are cradled amongst the rugged mountains.

35cm high

Provenance: Acquired from Christie’s London, “Chinese Ceramics and Works of Art Including Export Art”, 9 November 2004, Lot 234.

Related Examples: For a pair of Kangxi famille verte ovoid vases detailing a similar style of landscape painting see “A Culture Revealed: Kangxi Era Chinese Porcelain from the Ji Rui Tang Collection”, Jeffrey P Stamen and Cynthia Volk with Yibin Ni, No:48, Pages 130-131 £8000-£12000

THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

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A LARGE KANGXI FAMILLE VERTE DISH

KANGXI PERIOD (1662-1722)

康熙五彩“三國演義“故事圖紋大盤

decorated with a court scene. The rim band with a seeded and leiwen background containing cartouches containing flowers alternating with rocky landscapes.

The scene is considered to be an episode from “The Romance of the Three Kingdoms” in which Consort Dong is led away by Cao Cao’s men to her execution.

46.6cm diam.

Note: Consort Dong was the daughter of Dong Cheng – the loyal supporter of Emperor Xian. Her father’s conspiracy against the warlord Cao Cao was discovered in AD 200 and he, along with his co-conspirators Zhong Ji and Wang Fu, were condemned to death along with members of their families. In spite of the fact that Consort Dong was expecting the emperor’s child and despite Emperor Xian’s strenuous efforts to intercede, Cao Cao nevertheless ordered her execution.

Provenance: Acquired from Kunsthaus Lempertz, Cologne, “Asiatic Sale”, 31 May 2005, Lot 35.

Related Examples: For a Blue and White Double Gourd vase showing the same scene see “An Era of Inspiration: 17th Century Chinese Porcelains from the Collection of Julia and John Curtis:, Christie’s New York, 16 March 2015, Lot 3535. £7000-£9000

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AN EXCEPTIONALLY FINE FAMILLE VERTE DISH WITH THREE WARRIORS

KANGXI PERIOD (1662-1722)

康熙五彩“水滸傳“人物故事圖紋盤

on the white porcelain without background or border are finely painted three figures in over glaze famille verte enamels. Two are painted in martial dress with their names inscribed in small cartouches by their sides – Yang Lin and Bai Sheng – making it clear that they are heroes from the novel Shuihu Zhuan – “The Water Margin”. The central figure, recognised by his fair and handsome face, long beard and fan is that of Wu Yong 20.3cm diam.

Note: This is one of a series of dishes painted with scenes from the Ming novel Shuihu Zhuan usually showing three finely painted figures, varying in scale but always set against a white plain ground. In 1657 this popular novel was issued in a famous edition illustrated by the artist Chen Hongshou, who had also designed a set of forty playing cards depicting heroes from the saga in the 1640s.

Bai Sheng was nicknamed “Daylight Rat” because he did not have a decent occupation and often squandered his time gambling. He was appointed as one of the scout leaders of the Liangshan after the “108 Stars of Destiny” came together in what was called the Grand Assembly. He campaigns against Liao invaders and rebel forces in Song territory following amnesty from Emperor Huizong.

Yang Lin, also known as “Sleek Leopard” due to his feline-like features, was a lone wanderer before joining Liangshan’s cavalry. He also became one of the leaders of Liangshan at the Grand Assembly.

Wu Yong, nicknamed “Knowledgeable Star”, was a wise scholar who became a leading strategist of Liangshan. He successfully recruited important heroes to join Liangshan and led the group to victory in many battles.

Provenance: Acquired from Sotheby’s Hong Kong “Fine Chinese Ceramics & Works of Art”, 8 October 2008, Lot 2648.

Formerly from Sotheby’s Hong Kong, 29 October 1991, Lot 232.

Related Examples: There are four similar dishes in the Collection of the Victoria & Albert Museum, London, all decorated with warrior-like figures in famille verte enamels. All but one are without the cartouches giving their names: Accession No: C 1196 – 1910. A dish painted with the same three characters is illustrated in “Kangxi Porcelain Wares from the Shanghai Museum Collection”, Page 205, No 132. £8000-£12000

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A RARE KANGXI SANCAI BISCUIT-GLAZED HORSE

KANGXI PERIOD (1662-1722)

康熙素三彩馬

the biscuit figure of a spotted horse is modelled in a standing position, four square on a rectangular base glazed in green, its head turned slightly sideways its applied, curled mane and tail glazed in yellow with harness and trappings in yellow, green and left in the biscuit, its saddle cloth in green, yellow and also in aubergine with darker dappled markings.

15.5cm long

Provenance: Acquired from Christie’s, New York, “The Hodroff Collection, Part II Chinese Export Porcelain from The Collection of Leo and Doris Hodroff”, January 2008, Lot 291.

Related Examples: A similar horse belonging to the Honourable Lady Ward was exhibited in the International Exhibition of Chinese Art at The Royal Academy of Arts, London November 1935 – March 1936, Cat No 1854-55.

Another similar horse can be seen in “Important Chinese Porcelain and Works of Art: The Property of the Late Hon. Mrs Nellie Ionides”, Sotheby’s London, 18 February 1964, Lot 209. £7000-£9000

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A LARGE FAMILLE VERTE ‘MYTHICAL BEAST AND PHOENIX’ DISH

KANGXI PERIOD (1662-1722)

康熙五彩瑞獸紋大盤

of saucer shape and enamelled with a phoenix in flight swooping towards a mythical beast on a terrace beside rockwork, pawlonia trees and clusters of flowers. A gilt moon appears from behind delicately enamelled cloud scrolls.

The base has an under glaze blue leaf mark within a double circle.

35cm diam.

Provenance: Acquired from Christie’s London, “The Spencer House Sale”, 8 July 2010, Lot 1022.

Possibly Sarah, 1st Duchess of Marlborough (1660-1744) and thence by descent through her daughter Anne (1683-1716), wife of Charles, 3rd Earl of Sunderland (1675 – 1722) to her favourite grandson Hon. John Spencer (1708-1746), father of John, 1st Earl Spencer (1734-1783).

The Spencer Family are an aristocratic family and from the sixteenth century, its members have held numerous titles including the Dukedom of Marlborough, the Earldoms of Sunderland and Spencer and the Churchill barony.

Two prominent members of the family during the twentieth century were Sir Winston Churchill and Diana, Princess of Wales. £10000-£15000

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A FINE AND LARGE FAMIILLE VERTE ROUEAU VASE

KANGXI PERIOD (1662-1722)

康熙五彩人物故事紋棒槌瓶

the cylindrical body, which widens towards a short shoulder and a tall wide neck with a sharply everted mouth and with a straight standing rim. It is decorated with a group of soldiers gathered around a blue-skinned demon and with an official and two attendants on a balcony above.

45cm high

Provenance: Acquired from Christie’s, New York, “Chinese Export Porcelain”, 21 January 2009, Lot 32. £20000-£30000

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EXCEPTIONALLY RARE LEMON-GLAZED LOBED BOX AND COVER

KANGXI PERIOD (1662-1722)

康熙黃釉纏枝蓮紋蓋盒一件

the box and cover are both of lobed octafoil form and the flat base has eight short feet. The cover is finely incised with scrolling lotus flowers and tendrils circling a single centred lotus flower. The sides of the box are incised with a band of alternating sprays and with the lid are covered overall with a rich yellow glaze stopping neatly at the rims.

9.4cm diam.

Provenance: Acquired from Bonhams, Bond Street, “Fine Chinese Art”, 14 May 2009, Lot 48.

Formerly in the R.H.R. Palmer Collection, Inventory No 317, where it is stated that the box was purchased in May 1934 for £45. Reginald Howard Reed Palmer (1898 – 1970) was Chairman of Huntley and Palmer 1948 – 1963 and was educated at Eton. He started collecting Chinese works of art when he married in 1924, much helped by his wife who had an equally good eye, especially for jades, and they went on to build a collection consisting of Ming and Qing porcelain, jade, ivory and lacquer. Their taste is said to have been moulded by Duveen. On a number of occasions the Palmers lent pieces to exhibitions held by the Oriental Ceramic Society. £15000-£25000

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A FAMILLE VERTE BALUSTER VASE

KANGXI PERIOD (1662-1722)

康熙五彩人物故事紋棒槌瓶

painted around the body with a scene of two officials and their attendants in a pavilion amidst rocks and beneath scrolling clouds. Two soldiers approach as they look over a wide river towards a distant procession of soldiers – some on horseback and others bearing flags. The scene is depicted below a narrow border containing reserves of lotus blossoms on a simplified wan diaper ground on the shoulder. There is a landscape scene of a sage and attendant crossing a bridge to a distant pavilion on the flared neck. The base has an apocryphal Chengua mark.

44.1cm high

Provenance: Acquired from Christie’s New York “Fine Chinese Ceramics and Works of Art Including Jades from the Fine Arts Museum of San Francisco”, 19 March 2009, Lot 756 - Property of a Park Avenue Residence Ralph M Chait Galleries, New York. £15000-£25000

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A SMALL FAMILLE VERTE BITONG

KANGXI PERIOD (1662-1722)

康熙五彩仕女圖筆筒

painted with three panels, with two elegant ladies in a fenced garden by a table observing a small boy – nearby on the grass are two wine jars. The reverse with a fan-shaped vignette containing a mountainous river landscape scene with a viewing pavilion and fishing boat beneath the yellow sun – all above a rectangular shaped vignette with a scholar seated in a fenced garden.

With a wide unglazed biscuit band encircling a recessed glazed circle.

14.3cm high

Provenance: Acquired from Christie’s New York, “Chinese Export Porcelain”, 21 January 2009, Lot 41.

Related Examples: For a similar example, but with only one panel to the reverse, see “Chinese Art”, Sotheby’s Hong Kong, 1 December 2017, Lot 329.

A panelled bitong painted with a scholar and attendant pointing to the moon in a fenced landscape is illustrated by Von Walter Bondy in “Kang-His”, No 126. £10000-£15000

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A FAMILLE VERTE CHALICE

KANGXI PERIOD (1662-1722)

康熙五彩花鳥紋圖高脚杯

the deep cup with straight sides is supported on a tall knopped stem, with straight, bulbous, waisted and convex sections, resting on a wide sloping foot.

It is painted in tones of green, turquoise-green, blue, red, aubergine and yellow enamels with outlines in black.

The stem is painted with three flower sprays in red, green and gold round the waist, white prunus blossoms reserved on a turquoise-green “cracked-ice” ground on the bulbous part above, and yellow borders with red quatrefoil floral motifs with green leaves both above and below. The foot displays a flower scroll with blue and gold star-shaped blooms among black scrolls on turquoise-green ground and a zig zag diaper border. The inside of the cup is decorated with one red-and-gold carp in the centre and a border of prunus branches and bamboo round the rim.

17.0cm high

Provenance: Acquired from Piasa, Paris, 10 June 2009, Lot 7.

Related Examples: For an identical example – but decorated with two carp to the inside of the cup – see “Chinese Ceramics: The Anthony de Rothschild Collection”, Volume 2, Item No: 175. £3000-£5000

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SMALL AND RARE FAMILLE VERTE BALUSTER VASE

KANGXI PERIOD (1662-1722)

康熙神仙人物圖紋瓶

beautiful and sophisticated with a continuous narrative decoration on the outside of the vase depicting a gathering of immortals within a fenced garden all amongst pine trees and rocks. The shoulder is painted with a trefoil-ground border and the flaring neck decorated with a fisherman in a landscape - all in the famille verte palette.

27.7cm high

Note: The scene is very similar to that on Lot 31 and remains problematic in its identification. However as with the bitong a number of the figures are easily identifiable - He He Twins, Xiao Shi and Nong Yu. Provenance: Acquired from Bonhams, Bond Street “Fine Chinese Art”, 14 May 2009, Lot 11.

Formerly The Jarras Collection, England. Formed over the ten years before the sales, the first part of which, comprising 113 lots, was sold by Christie’s in June 1990. There was also a sale at Bonhams in 2009 following the second part of the sale at Christie’s Hong Kong in 1991. £10000-£15000

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FAMILLE VERTE SEATED FIGURE OF A BOY

KANGXI PERIOD (1662-1722)

康熙彩繪童子像

finely modelled in the form of a seated laughing boy with his plump legs bent and holding a peach in his right hand. Decorated in famille verte enamels on the biscuit. Dressed in a two buttoned jacket decorated with medallion flowers in blue, aubergine, rouge-de-fer and shades of green – with breeches in turquoise. The smiling face is humorously rendered beneath a small black tuft of hair.

16cm high

Note: It is rare to find an example of a seated boy holding an object and was probably made for export along with a group of boys with virtually the same facial features and dress.

Provenance: Acquired from Guest & Gray, London, 5 February 2008.

Related Examples: A similar less detailed pair is illustrated in “Christie’s Pictorial History of Chinese Ceramics”, Anthony du Boulay, Page 289, Item No: 11, in which they are considered to be possibly “Two Laughing Fryors” mentioned in the 1688 inventory of Burghley House. The Collection of the Honourable Mrs Nellie Ionides, sold at Sotheby’s, London, 2 July 1963, Lot 50.

The Collection of Jakob Goldschmidt, Christie’s London, 29 June 1938 – Lots 45 and 46. £4000-£6000

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A FINE AND RARE FAMILLE VERTE BITONG

KANGXI PERIOD (1662-1722)

康熙“寒江獨釣“圖紋筆筒

a strong and yet delicately painted scene - free of any border or rim - depicts a lonely fisherman in a boat on the river, amid a setting of ancient hills and a simple thatched roof. The rocks and mountains outlined in black enamel in various shades of green, blue and aubergine are painted in such a way as to produce the effect of scattered light across the scene - all under an illuminated sky. The sides of the bitong represent two different aesthetics.

A ten-character inscription reads: “In the deep forest birds do not come, The boats of fishermen anchor on the far mountain stream”.

11.6cm high

Provenance: Acquired from Lempertz Cologne, “Asiatiche Kunst Auktion 892”, 8 & 9 June 2006, Lot 130.

Exhibited: In “Chinese Keramik Meisterweke aus Privatsammlungen”, an exhibition held at Museum fur Ostasiatische, Koln, 1988.

Published: Illustrated by Ulrich Weisner in “Chinese Keramik Meisterweke aus Privatsammlungen” in an exhibition held at Museum fur Ostasiatische, Koln, 1988, Page 178, No 130.

Related Examples: For another example of a bitong painted with a continuous mountain scene in the famille verte palette see “Famille Verte From Private Collections”, Marchant, October – November 2021, Page 50, No: 18. £20000-£30000

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A LARGE KANGXI FAMILLE VERTE BOWL

KANGXI PERIOD (1662-1722)

康熙五彩洞石花鳥大盌

beautifully and skilfully decorated with famille verte enamels the artistic quality and vitality of this bowl is shown in the detail of the magpies, prunus and the dramatically painted Taihu rocks and pine. The elements of the design form a rebus - the combination of magpies and prunus having the meaning “happiness without end”.

The other side of the bowl is decorated with a large stylised butterfly and small insects - the former being enamelled in black and gold - along with several blossoms of chrysanthemums in hues of gold and iron-red, all amongst rocks and sprays of bamboo. Whilst the butterfly represents summer, when depicted with chrysanthemums the combination symbolises a change of season. However when bamboo is present - as it is here - the representation is for that of a “long life”.

Inside the bowl the central medallion depicts the legend of “Carp Leaping over the Dragon Gate’’ symbolising achievements, courage and perseverance. The legend tells the

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story of the hero Dayu who built a high and steep “Dragon Gate” in order to control the flood water of the Yellow River. The force of the water brought many carp down the river and the carp were unable to swim back. The carp complained to Dayu. His wife, the Jade Emperor’s daughter, spoke with her father on behalf of the carp. The Jade Emperor promised that those carp that could leap over the Dragon Gate would become mighty dragons. Thus, in early Spring every year, herds of golden carp would gather under the Dragon Gate and try to leap over the gate in order to become dragons.

34cm diam.

Provenance: Acquired from Guest & Gray, London, 1st December 2007.

Related Examples: A very similar bowl can be found in the Philadelphia Museum of Art, Accession No: 1955–50–255. This item formed part of “The Alfred and Margaret Caspary Memorial Gift, 1955”.

A very similar bowl can be found in the Porzellansammlung, Dresden, Inventory No: PO 4617. £8000-£12000

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IMPRESSIVE FAMILLE VERTE SQUARE-SECTIONED VASE

KANGXI PERIOD (1662-1722)

康熙五彩歷史人物故事圖紋四方瓶

this tall and heavy vase is decorated on the four vertical and rectangular panels with scenes that are probably taken from the life of the Tang Emperor Xuanzong (685 - 762) A.D. The lower part of the vase is made with moulded sections luted together and in turn are luted to the shoulder and wheelthrown neck. The neck is decorated with a landscape scene, with scholarly objects on the four corners against a hatched background. The base has a glazed incised Chengua mark surrounded by an unglazed foot.

The first scene depicted on the vase - painted in beautiful detail in the famille verte palette - depicts the Tang Emperor Xuanzong and his favourite concubine Yang Guifei during their summer retreat at the Huaqing Palace.

They look on from a beautifully decorated boat as their attendants, in smaller boats, pick lotus flowers.

Two of the other scenes on the vase show the same emperor on horseback and probably also relate to stories of the Emperor Xuanzong. The battle scene could possibly be from Sui Tang Yanyi – “Legends of the Sui and Tang” – which is set during the time of Tang Xuanzong.

The fourth panel, intricately decorated with five female musicians and a dancer, possibly relates to Yang Guifei’s beautiful dancing which captivated the emperor.

47.8cm high

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THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

Note: The successful potting of square forms was a challenge having first appeared in the late Ming dynasty. In order to survive the firing, thicker walls were required to reinforce the lute lines. The Kangxi period rendering of this ambitious form attests to the confidence and technical power of the potter who not only rose to the challenge of the form but also surpassed earlier versions with long tapering sides and a gently flaring cylindrical mouth.

Provenance: Acquired from Guest & Gray, London, May 2009.

Related Examples: The same scene of Emperor Xuanzong and Yang Guifei looking on as their attendants pick lotus blossom can be seen on a Kangxi famille verte rouleau vase in “Kangxi Porcelain Wares from the Shanghai Museum Collection”, illustrated by Wang Qingzheng, No: 127, Pages: 196-197.

A very similar shaped vase – but with different narrative scenes – can be found in the Philadelphia Museum of Art, Accession: 1955-50-289. This item formed part of the “Alfred and Margaret Caspary Memorial Gift, 1955. £30000-£50000

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A GOOD FAMILLE VERTE ROULEAU VASE

KANGXI PERIOD (1662-1722)

康熙五彩人物故事圖紋瓶

this vase of cylindrical body is supported on a spreading foot, widening towards a rounded shoulder, which leads to a wide neck with an upright mouth rim. The neck is decorated with a mountain river scene whilst the body presents a well painted continuous narrative scene which is considered to be taken from the Beijing opera Hong Zong Lie Ma – “Spirited Horse with a Red Mane”.

The opera tells the story of the beggar Xue Pinggui, who gained the favour of the Tang Emperor Yizong after he tamed a fierce red-maned horse. He was subsequently commissioned and sent to Xiliang to settle a revolt. The scene on the vase probably shows the emperor sending Xue Pinggui off to battle.

Next to Xue Pinggui is considered to be his future brother-in-law Wei Hu, who was in fact scheming to cause harm to Xue Pinggui as he and his family did not want Xue to marry his sister, Wang Baochuan. The famous red maned horse, responsible for the emperor’s favour, can be viewed in the lower section of the vase.

45.7cm high

Provenance: Acquired from Piasa, Paris, “Asian Art”, 10 December 2008, Lot 83. £15000-£20000

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A PAIR OF FAMILLE VERTE OCTAGONAL VASES

KANGXI PERIOD (1622-1722)

康熙五彩侍女開光圖紋八棱瓶

two hexagonal vases, each on a high, splayed foot with footring, and with a faceted pear-shaped body with a tall neck ending in a trumpet mouth.

On each body are scallop-shaped panels filled with flowering plants, a landscape, antiquities and a “Long Eliza”, in a fenced garden, reserved on a speckled green ground with small flowers. On the necks are two lappet borders and between them two ruyi borders enclosing a section with flowers.

Inside and outside the rims are zigzag borders.

29.8cm high

Note: These two vases probably formed part of a five-piece garniture. It is interesting to note that vases of a related shape with the characteristic spreading mouth were already being made in the late 15th or early 16th century. These were probably based on Persian or North Indian metal models.

It is not known, however, if the potters revised this type in the early 18th century, or developed the shape independently, using another metal model.

Provenance: Acquired from Bonhams Knightsbridge, “Chinese and Other Asian Works of Art”, 2 November 2009, Lot 168 - A Greek private collection formed in the 1950s and 1960s and thence by descent.

Related Examples: For an almost identical pair of vases see “Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties”, by Christiaan J. A. Jorg, Page 165, Item No: 181. £4000-£6000

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A FINE BLUE AND WHITE SAUCER DISH

KANGXI SIX CHARACTER MARK AND OF THE PERIOD

康熙青花‘携琴訪友’圖紋盤

the dish with a slightly everted rim, is decorated in graded shades of cobalt blue. The scene, depicted in Kangxi style, contrasts the jagged rhythms of the pine trees and rocks against the quiet mood of the scholar who points and gazes pensively into the bubbling rapids of a cascade. He is attended by a bannerman and two young attendants - one carrying provisions and the other a qin. There are two formal abstract landscapes on the outside of the dish and the base has a Kangxi reign mark within a double circle.

27cm diam.

Note: The theme of “A scholar gazing at a waterfall”, sometimes with acquaintances or attendants and often with a pine tree, is a popular subject in Chinese classic paintings - often appearing in variations in the number of figures, their postures and actions. The popularity of the subject could be associated with the Tang poet Lai Bai’s famous work “Gazing at Mount Lu’s Waterfall”, which eulogises the dramatic landscape of Mount Lu and its impressive waterfall.

The imagery and combination of tall mountains and waterfalls is also associated with the story of the qin player Yu Boya from the Spring and Autumn period. According to legend Yu Boya once played by a river two pieces, one called “Tall Mountains” and the other “Flowing River”. When Zhong Ziqi was passing by he was impressed by the music and understood the reference to the mountains and river. Yu Boya and Zhong Ziqi became great friends and agreed to meet in the same place the following year. Sadly Zhong Ziqi died before they could meet but asked to be buried by the river so that he could hear Yu Boya’s music. Yu Boya was so devastated by the news of Zhong Ziqi’s death that he broke his qin and never played the instrument again. The story of close friendship is often recounted to demonstrate how rare and precious it is to find one’s soul mate. As this dish shows tall mountains, a waterfall and a scholar with an attendant holding a qin, it is possible that the scholar is Yu Boya on his way to meet Zhong Ziqi.

Provenance: Acquired from Chorley’s Auctioneers, Gloucestershire, June 2009.

Related Examples: For similar scene of a scholar on a rocky outcrop but on a Kangxi bitong see “Kangxi: The Jie Jui Tang Collection”, Sotheby’s, New York, March 2018, Lot 311 £4000-£6000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A FINE BLUE AND WHITE GU-SHAPED VASE

KANGXI PERIOD (1662-1722)

康熙青花“飲中八仙“圖紋花觚

the richly decorated vase is painted with a representation of the “Eight Immortals of the Wine Cup” – a group of Tang dynasty poets who were also known for their love of alcohol. The term was first used in a poem by the celebrated Tang poet Du Fu (712-770), who himself was sometimes referred to as the “ninth poet” immortal.

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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The following poets are depicted on the upper section of the vase:

Li Shizhi (d.747) – was Prime Minister during the later part of the Kaiyan era (712-741) and was known as the “First Minister of the Left “– with a reputation for simplicity. He was forced to retire through intrigue and at a later stage committed suicide. The painting shows Minister Li seated before a screen and drinking a cup of wine whilst another attendant offers him a second cup. To his left are two large wine jars.

Su Jin – was a devout Buddhist who rose to become Vice-President of the Board Revenue and tutor to the then heir apparent. In this depiction he can be seen kneeling on a rug before a statue of the Buddha. In front of him is a single wine cup.

Zhong Xu (713 – 740) - was one of the greatest cursive script calligraphers and an official during the reign of the Emperor Xuanzong. Under the influence of wine he could become oblivious to his surroundings and would often fling off his cap in the presence of the court. Here he can be seen with his hat on a small table to his left side. An attendant can be seen stretching out a piece of paper whilst the Tang emperor sits on a wooden chair smiling benignly.

The following poets are depicted on the lower section of the vase:

He Zhizhang (665-744) – was a statesman, poet and calligrapher active during the reign of the Tang Emperor Xuanzong (713-756). Here he can be seen riding his horse in a drunken state and being supported by an attendant. In front and to the right of the horse is a well into which – according to an anecdote – he fell into whilst drunk.

Li Jin – was the nephew of Emperor Xuanzong and held a prominent position in government, being titled “Prince of Ruyang “. Du Fu found the prince a congenial companion and wrote at least one long poem in his honour. Here he can be seen - unsteady in his stance – being offered a cup of wine by his attendant. There is a wine cart and a further attendant to the left of the prince.

Jiao Sui – was a man of humble descent from western China – here he can be seen seated in a landscaped garden with three others. A large pouring vessel – presumably containing wine – can be seen beneath the table.

Cui Zhonghi - styled Duke of Qi and seen here rising his goblet to the “blue heavens “. He is surrounded by two attendants - one carries a wine ewer whilst the other can be seen unwrapping a zither.

45.3cm high

Provenance: Acquired from Tennants Auctioneers Leyburn, “Three Day Spring Catalogue Sale”, 2 April 2009, Lot 124.

Related Examples: A pair of bowls with an inscription in each of the eight panels can be seen in “A Selection from the Collections of Oriental Ceramics”,

by Christiaan J.A.Jorg, Pages 92-95, No 60, There is a similar single bowl in The Avery Bundage Collection, Object ID: 2010:157. £30000-£50000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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AN EXTREMELY RARE BLUE AND WHITE JARDINIERE

KANGXI SIX CHARACTER MARK AND OF THE PERIOD

康熙青花人物故事圖紋卷缸

this well potted jardiniere with its moulded rim above an ovoid body is finely painted in fresh and vivid shades of under glaze blue. The base is glazed with a Kangxi reign mark within a double circle and is of the period.

The narrative details a warrior on horseback who appears to be greeting a sage. The warrior is flanked by guards and courtiers who are holding a banner and a script. An attendant party of further guards stand close by. All within a setting of pine trees and rockwork.

21cm high

Provenance: Acquired from Claude Aguttes, SAS, Paris “Arts d’Asie”, 26 May 2010, Lot 99.

Related Examples: For a similar Kangxi jardiniere see “Roger Kaverne Limited: Moving On”, Bonhams Bond Street, London, 11 May 2021, Lot 257. £30000-£50000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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AN EXCEPTIONAL BLUE AND WHITE CENSER

KANGXI PERIOD (1662-1722)

康熙青花神仙人物故事紋香爐

this heavily potted censer of cylindrical form is raised on three low bracket feet and decorated in detail with vibrant tones of under glaze blue. The finely painted and continuous narrative decoration on the outside of the censer depicts a gathering of immortals. In the centre of the base there is a recessed circle, which is glazed, and surrounded by a further glazed area. In the recess there is the six character mark of Chengua.

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Although the scene is problematic in its identification, a number of the figures are more easily recognised: Magu - Seen here carrying a pole with a basket of life-granting peaches. Her hair is worn in a chignon and her fingernails are shown unusually long - even talon-like and are referred to in classic Chinese poetry by the Tang poet Li Bo. A drink of her famous elixir was said to bestow perpetual youth and longevity on its recipients.

He Xiangu - One of the Eight Immortals and seen here holding a flywhisk made of an animal’s tail along with a basket of fruit. She is the only true female in the group and was made immortal at the age of fourteen. Her great beauty often associates her with the Daoist goddess Magu.

He He Twins - also referred to as the Two Gods of Harmony and Union - were Taoist immortals - one of which is seen here wearing a variegated coat. They are popular and associated with happy marriages. Legend has it that the two figures were inspired by the famous Tang dynasty hermit monks, the poet Han Shan and his companion Shi De. Both were associated with the school of Buddhism known as Chan.

Xiao Shi & Nong Yu - The former was an impoverished but highly skilled flautist whilst Nong Yu was the daughter of King Ma of Qin during the Warring Period. When playing the flute Xiao Shin was able to attract phoenixes by imitating the sound of their calls. Nong Yu fell in love with him and eventually they married. He also taught her the way to play how a phoenix calls out. After several decades male and female phoenixes would come down in response to their sounds. At a later stage King Ma built a Phoenix Terrace, where the couple would spend their time. Legend has it that several years later Nong Yu mounted a purple phoenix and Xiao Shi a red dragon and the two ascended into the heavens.

As the censer also includes the presence of a dragon and phoenix amongst swirling clouds it has been suggested that the scene could be the coming together of deities at the Phoenix Pavilion prior to the departure of Xiao Shi and Nong Yu into the heavens.

19cm high

Provenance: Acquired from Cheffins Auctions, Cambridge, United Kingdom, 26 April 2005.

Related Examples: For a very similar scene on a bitong see “Commissioned Landscapes: Blue & White and Enamelled Porcelains of the Seventeenth Century”, No. 87 £30000-£50000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A GOOD BLUE AND WHITE ROULEAU VASE

KANGXI PERIOD (1662-1722)

康熙青花人物故事圖紋瓶

the vase of cylindrical body is supported on a spreading foot and surmounted by a waisted neck and galleried rim. The neck has a band of circles and ruyi.

Finely painted in various shades of vibrant under glaze blue the narrative scene depicts a court audience in an open pavilion with warriors. The base with a double circle in under glaze blue.

48cm high

Provenance: Acquired from Holloway’s, The Banbury Auction Rooms, 29 June 2010, Lot 173. £10000-£15000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A GOOD BLUE AND WHITE SAUCER

KANGXI SIX CHARACTER MARK AND OF THE PERIOD

康熙青花‘瑞獸’紋盤

the saucer dish with its slightly everted rim is decorated in graded washes of under glaze cobalt blue. The decoration on this dish depicts a Buddhist lion in a sketchy landscape - thus establishing it as the main centre of focus. The lion is painted with a coiffure of neat curls around the head and a bushy tail. It has paws not hooves and as such is distinguished from the qilin. The Eight Buddhist Symbols also form part of the central decoration along with the underside of the dish. The base has a Kangxi reign mark within a double circle.

27cm diam.

Provenance: Acquired from Chorley’s Auctioneers, Gloucestershire, June 2009. £3000-£5000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A LARGE BLUE AND WHITE BITONG

KANGXI PERIOD (1662-1722)

康熙青花人物故事紋筆筒

of cylindrical form and with slightly concave sides rising from a slightly concave base with a small countersunk center. Deftly painted around the outside in shades of vibrant cobalt blue with a continuous scene depicting a seated dignitary receiving three scholars, flanked by a soldier and an attendant bearing a sword - all set in an open pavilion.

18.5cm high

Note: The scene is known as jia guan jin jue, meaning ‘promotion to a high rank’. Here the seated dignitary receives three decorated scholars. Each scholar in turn presents a jue wine cup, an officials boot, and a wine ewer. The word jue for wine cup is the same as the word jue in jin jue, meaning promotion through the official ranks, and cleverly plays on the double meaning in which a verbal blessing is depicted in visual form.

Provenance: Acquired from Christie’s “The Cowdray Sale: Works of Art from Cowdray Park and Dunecht House, at Cowdray Park, West Sussex”, 16 September 2011, Lot 985; Formerly from The Weetman Dickinson Pearson Collection, 1st Viscount Cowdray (1856 - 1927).

Weetman Dickinson Pearson was an industrialist and owner of the Pearson conglomerate, Liberal MP for Colchester and keen philanthropist. His business extended to South America, where he was central to the expansion of Mexico City whilst undertaking other major works in Ecuador and Colombia. His other business projects included the Blackwall Tunnel and East River Tunnels in New York, as well as the discovery of one of the world’s largest oilfields in Mexico in 1909. Lord Cowdray purchased Dunecht House, a stately mansion where he employed Ashton Webb to decorate and furnish. £8000-£12000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A RARE AND EXCEPTIONALLY LARGE KANGXI BLUE AND WHITE SCALLOPED DISH

KANGXI PERIOD (1662-1722)

康熙青花歷史人物故事紋盤

the flared sides with a scalloped rim are painted with eight panels of alternating figural and landscape design - the later with birds and insects amongst flowering trees and plants. The central panel is painted in under glaze tones of cobalt blue with a scene of two generals along with their armies before the closed gates of a city. On the ramparts are three figures - the central figure is considered to be Governor Liu Zhang and to his right Commander Dong He - who appear to be listening attentively to the warriors.

45.1cm diam.

Note: Taken from the later half of Chapter 65 of the “Romance of the Three Kingdom” the scene depicts the surrender of Chengdu by Governor Liu Zhang.

After the generals Ma Chao and his brother Ma Dai had surrendered to Liu Bei courtesy name Xuande - they went to Yi Province to convince the governor, Liu Zhang, to also surrender. On hearing that his army had already been defeated Liu Zhang ordered the gates of the city be closed but mounted the north wall to face the two brothers. Here Ma Chao successfully persuaded Governor Liu Zhang to surrender the city and territories to Liu Bei rather than subject its people to further misery.

Provenance: Acquired from Christie’s New York, “The William F Reilly Collection”, 14 October 2009, Lot 51 William F Reilly (1938 - 2008)

Riley was an American publishing and media executive who was the founder and former chairman of Primedia. During Reilly’s time at the helm of Primedia, the firm built a collection of more than two hundred magazines that included American Baby, National Hog Farmer, Chicago and New York.

Related Examples: For a similar sized dish but with a central panel offering a different scene see The Groninger Museum Collection: Inventory No: 2019.0335 £20000-£30000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A BLUE AND WHITE ‘MYTHICAL CREATURES’ VASE XUANDE SIX CHARACTER MARK, KANGXI PERIOD (1662-1722)

Provenance: Acquired from Christie’s New York, “The Hodroff Collection, Part II Chinese Export Porcelain from the Collection of Leo and Doris Hodroff”, 23 January 2008, Lot 230.

sturdily potted and made of fine white clay this vase has an elongated baluster body rising from a splayed foot supported on a shallow foot ring and a trumpet neck. The glaze on the exterior is exceptionally shiny and smooth. Because it is as slender as Guanyin, the Goddess of Mercy, it is often called a “Guanyin vase”. This shape was very popular during the Kangxi period.

Together Leo and Doris Hodroff created one of the largest and finest collections of Chinese export porcelain, which later became the subject of Ronald W. Fuchs II and David Howard’s book “Made in China: Export Porcelain from the Leo and Doris Hodroff Collection at Winterthur”. They also made significant gifts of export porcelain to the Minneapolis Institute of Art, the Norton Museum of Art, the Peabody Essex Museum and the Henry Francis du Pont Winterthur Museum. In 2007 - 2009 Christie’s New York held several sales for them that encompassed pieces from Tang dynasty pottery to modern Chinese painting.

康熙青花‘瑞獸’圖紋瓶

This rare vase is decorated in shades of inky blue with a continuous view of animals and mythical beasts romping among pine trees as clouds swirl above. The menagerie includes an elephant, two tigers, a rabbit, a horse, deer, Buddhistic lions, dragons and qilin. The underside is decorated with an under glaze six character Xuande mark within a double circle.

48.2cm high

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

Leo and Doris Hodroff

£8000-£12000

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A BLANC DE CHINE FIGURE OF ZHENWU

1ST HALF OF THE 17TH CENTURY

德化真武大帝像 17世紀

sometimes referred to as Perfect Warrior, Dark Lord of the Northern Quadrant, this warlike figure is seated on a rocky throne with his left arm raised in a gesture of deterrence – whilst a snake and the head of a tortoise project from the rocks below. He wears chest and thigh armour under his robe with a cap on his head whilst characteristic long hair falls to his shoulders.

23.5cm high

Note: One of the most important gods of the Ming dynasty and considered a special patron deity of the Ming imperial family, in particular the Yongle emperor (r. 1403-24), who credited the god for his ascension to the throne and undertook massive temple construction projects on Wudang Shan in Hubei province, the mountain sacred to the deity. The Qing imperial family also honoured the Perfected Warrior and a temple dedicated to him still stands at the northernmost hall along the central axis of the Forbidden City.

Provenance: Acquired from Lawrence’s Auctioneers of Crewkerne, Somerset, 3 November 2005, Lot 624.

Related Examples: An example of this model is in the Metropolitan Museum of Art New York, Accession No: 79.2.481

A similar example can be seen in “Blanc De Chine: Divine Images in Porcelain” by John Ayers, China Institute Gallery, New York, 2002, Item No 41, Page 90. £5000-£8000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A GOOD FAMILLE VERTE ‘WARRIORS’ SQUARE SECTIONED VASE

KANGXI PERIOD (1662-1722)

康熙五彩‘封神演義’人物故事紋四方瓶

this vase is broadest at the shoulder - where the top is curved. The sides taper towards the base, which is unglazed, as is the square recess in the centre. A short trumpet neck is placed in the centre of the top.

It is decorated in three shades of green, red, yellow, aubergine and black.

On the corners of the shoulder there are cartouches containing landscape scenes and on the neck a more stylised landscape.

54.5cm high

Provenance: Acquired from Baron Ribeyre & Associes, Paris, 9 December 2009. £20000-£30000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A SMALL FAMILLE VERTE RECTANGULAR DISH

CHENGHUA MARK, KANGXI PERIOD (1662-1722)

康熙五彩人物故事圖紋四方碟

the dish has a square base with the sides shelving outwards and is painted with over glaze enamels in the famille verte palette. The base has a glazed incised Chengua mark surrounded by a glazed foot.

8cm wide

Note: All four of the everted square sides are painted with scenes taken from Book One of the Xixiangji – “The Romance of the Western Chamber”. This was an eight-book adaption by the thirteenth century playwright Wang Shifu (c. 1250 – 1300), of the well-known love story – Xixiangji zhugongdiao – “The Story of the Western Wing in all Keys and Modes”.

In Book One the impoverished student Zhang Gong sets out with his servant to the capital in order to sit his examinations. On the way they stay one night at a monastery outside the walls of the city of Puzhou. Whilst Zhang is being shown around by the Abbott - here seen dressed in yellow robes – he encounters the beautiful Cui Yingying who is staying there with her widowed mother. He meets Yingying while she is contemplating the moon and recites a poem to her.

Provenance: Acquired from Guest & Gray, London. £3000-£5000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A FAMILLE VERTE LIBATON CUP (JUE)

KANGXI PERIOD (1662-1722)

康熙五彩爵杯

of archaic form and raised on three splayed masked feet and with a single handle to one side. The exterior with a band of dragons with a cartouche for happiness and another for longevity above four panels of landscapes. The interior with a band of further dragons and a T’ao T’ieh mask at the tip above four fish in iron-red.

8.5cm high

Provenance: Acquired from Guest & Gray, London, 2012.

Related Examples: For a similar example see the catalogue of “An Important Collection of Chinese Porcelain: The Property of the late Sir Alfred Aykroyd”, Sotheby’s & Co, London, 17th May 1966, Lot 131. £2000-£3000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A FAMILLE VERTE ‘IMMORTALS’ DISH

KANGXI PERIOD (1662-1722)

康熙五彩神仙人物圖紋盤

the dish has rounded sides and an everted rim. It is elegantly painted in three shades of green, red, yellow, aubergine, blue and black enamels. To the left an immortal, carrying a flywhisk and dressed in a harlequin gown, descends on a swirl of clouds. To the left a group of male and female courtiers look on in astonishment from a pavilion setting. The base is glazed and bears one of the “Eight Buddhist Symbols” within a double circle in under glaze blue.

36cm diam.

Note: The flywhisk became associated with certain Daoist immortals which was used to “sweep away” ignorance. Lu Dongbin and He Xianghu, both members of the Eight Immortals, were frequently depicted as carrying a flywhisk.

Provenance: Acquired from Guest & Gray, London, 2 July 2010. £6000-£8000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A RARE FAMILLE VERTE ‘FERRYMAN’ BITONG KANGXI PERIOD (1662-1722)

康熙五彩”太白醉酒”笔筒

a cylindrical bitong with a slightly convex base, which is unglazed except for the middle and the wide outer band. Decorated in famille verte enamels - on one side the poet Li Bai, leans against a barrel of wine, whilst on the other a ferryman waits in anticipation for his passenger.

12cm high, 10.5cm diam.

Note: There is a long and fanciful tradition regarding the death of Li Bai that he drowned after falling from his boat one day whilst drunk, as he tried to embrace the reflection of the moon in the Yangtze River. It maybe to this legend that the scene relates – as the moon is clearly visible and the ferryman waits in his boat.

Li Bai (701 -762) was one of the most important poets of the Tang dynasty – the period often called the “Golden Age of Chinese Poetry”. About one thousand poems attributable to Li are in existence and have been collected into the important Tang dynasty collection, Heyaue yingling ji, compiled in 753

by Yin Fan. His poems became models for celebrating the pleasures of friendship, solitude and the joys of drinking.

Provenance: Acquired from Guest & Gray, London, 9 January 2004 £4000-£6000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A SMALL FAMILLE JAUNE FOLIATE DISH

KANGXI PERIOD (1662-1722)

康熙素三彩洞石花卉紋碟

small dish with petal moulded rim and decorated to the inside with chrysanthemums amongst rocks on a yellow ground. On the reverse are three couplets of flowers on the same yellow ground.

11cm diam.

Provenance: Acquired from Geoffrey Waters, London, June 1995 Related Examples: For a similar shaped famille jaune dish see Christie’s London “Chinese Ceramics and Works of Art, Including Export Art”, 17 June, 2003, Lot 121 £500-£800

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

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A FAMILLE VERTE ‘DRAGON & PHOENIX’ MEDALLION BOWL

KANGXI SIX CHARACTER MARK AND OF THE PERIOD

康熙五彩團龍紋盌

the bowl is well potted with six steep sides that rise from a conforming base set atop a circular foot. The exterior panels are well decorated with alternating roundels of phoenix and writhing five clawed dragons, all amongst scrolling clouds and in tones of the famille verte palette. The interior is decorated with a writhing dragon and the base is glazed and bears the sixcharacter reign mark of Kangxi within a double circle in under glaze blue.

15.6cm wide

Note: The fictional dragon and the phoenix are traditional animals that symbolise auspiciousness. Along with the kylin and tortoise, they were known as the “Four Supernatural Spirits”.

Provenance: Acquired from Guest & Gray, London £4000-£6000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A RARE FAMILLE VERTE INSCRIBED HERB BRICK

KANGXI PERIOD (1662-1722)

康熙（1662-1772） 五彩高仕诗文瓷砖

this brick is rectangular in shape and luted together in hollow sections with piercings at each side for attachment. It is decorated on one side with six boys at play in a garden setting whilst watched by a number of maidens from a nearby pavilion. The detail is intricate and emphasises the fine clothing and prosperity of the gathering. All the boys are brightly dressed in loose trousers over which are worn long-sleeved shirts. Each participates in play – one riding a hobby horse, another a lotus leaf and others in childish antics. All are framed within a stylised floral ground border with ruyi heads at each of the four corners.

The reverse side is again elegantly enamelled with a landscape scene and a poetic inscription with a seal mark that can be translated as: “When rainbow crossing the sky, double bridges reshaped the reflection of early moonlight on the river. And it’s lucky to be surrounded by this beautiful nature”.

Garden “Chu” poem, by Hui An.

26cm wide, 19cm high

Note: The theme of boys playing in a garden was an established subject in the paintings of the Song dynasty (960-1279). It continued to be a favourite among artists and craftsmen of both the Ming and Qing dynasties, whilst the iconography fluctuated according to the medium and the times. The stock grouping of two boys – one holding a lotus leaf and the other riding a hobbyhorse appears on art objects until the end of the 17th century.

Provenance: Acquired from Guest & Gray, London, 29 September 2007. £5000-£8000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

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A FINE FAMILLE VERTE INSCRIBED BEAKER

KANGXI PERIOD (1662-1722)

康熙五彩侍女圖紋杯

this simple but elegant deep beaker is finely potted with steep gently flaring sides rising from a short foot. The exterior is delicately enamelled in the famille verte palette with a lady sitting in contemplation within a fenced garden.

The two-lined poetic inscription with two red seal marks on the reverse of the beaker can be translated as: “In the early morning, wake up alone without accompanies. Sitting next to the dressing table only has emptiness and resentment”.

10.5cm high

Provenance: Acquired from Sotheby’s, London, “Japanese and Chinese Works of Art”, 11 November 2004, Lot 956 Related Examples: For a similar pair of beakers – showing different scenes taken from “The Romance of the Western Chamber”, see “The Collection of the late Lord and Lady Swaythling”, Christie’s London, 27 May 2022, Lot 1104. £3000-£5000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

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116 | LEE YOUNG @ DORE & REES

47

LARGE BLUE AND WHITE ROULEAU VASE

KANGXI PERIOD (1662-1722)

康熙青花神仙人物圖紋

the vase of cylindrical body is supported on a spreading foot and surmounted by a waisted neck and galleried rim. The neck has a band of circles and ruyi. Finely painted in various shades of vibrant under glaze blue the narrative scene depicts a large bearded figure with his chest exposed and fiery eyes - holding a small cloth bag. A smaller figure approaches him carrying a large silver ingot.

48cm high

Note: The figure is that of Li Kui, a fictional figure from the Ming novel Shuihu Zhuan – “The Water Margin” – and whose nickname was “Black Whirlwind”. The narrative scene is considered to be taken from the opening paragraph of Chapter 43 of the novel in which Li Kui makes plans to travel to Baizhang Village in Yishui County in order to rescue his mother. The novel describes how he was given certain conditions by Song Jiang for his journey: (1) That he go and fetch his mother quietly (2) He could not drink on the way (3) Leave his two battleaxes behind. Having been instructed so, Li Ku then tied up some belongings, took a halberd, one large silver ingot and some small pieces of silver - all of which are detailed in the novel.

Provenance: Acquired from “The Decorative Arts Sale”, Christie’s, Amsterdam, 30 June 2009, Lot 296.

Related Examples: For a similar size rouleau vase but with an image of Kui Xing see “Art D’Asie”, Christie’s Paris, 6 July 2022, Lot 24. £8000-£12000

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

THE ANTHONY LOVETT COLLECTION, MONDAY 6 NOVEMBER 2023

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DORE & REES EST. 1868

FINE ASIAN ART 6 NOVEMBER, 1:00pm

A RARE PAIR OF TURQUOISE GROUND PUCE ENAMELLED DRAGON VASES Qianlong six character seal marks and of the period From a Private West Dorset Collection Estimate: £20,000-£40,000

London Viewing (selected highlights): Asia House, 63 New Cavendish Street, London W1G 7LP 29 October 12:00 to 17:00 30 October 10:00 to 18:00 31 October 10:00 to 14:00

Frome Viewing: 3-5 November 10:00 to 16:00

Dore & Rees Auction Salerooms Frome Somerset BA11 1PU

enquiries@doreandrees.com www.doreandrees.com 01373 462 257

Asian Chronology IMPERIAL CHINA Qin 221-207 BC Han Western Han 206 BC-AD 9 Xin AD 9-25 Eastern Han AD 25-220 Three Kingdoms Shu (Han) 221-253 Wei 220-265 Wu 222-280 Southern dynasties (Six Dynasties) Western Jin 253-316 Eastern Jin 317-420 Liu Song 420-479 Southern Qi 479-502 Liang 502-557 Chen 557-589 Northern Dynasties Northern Wei 380-535 Eastern Wei 534-550 Western Wei 535-557 Northern Qi 550-577 Northern Zhou 557-581 Sui 589-618 Tang 618-906 Five Dynasties 907-960 Liao 907-1125 Song Northern Song 960-1126 Southern Song 1127-1279 Jin 1115-1234

REPUBLICAN CHINA Republic 1912-1949 People’s Republic 1949-

Yuan Ming Hongwu Jianwen Yongle Hongxi Xuande Zhengtong Jingtai Lianshun Chenghua Hongzhi Zhengde Jiajing Longqing Wanli Taichang Tianqi Chongzhen Qing Shunzhi Kangxi Yongzheng Qianlong Jiaqing Daoguang Xianfeng Tongzhi Guangxu Xuantong

1279-1368 1368-1308 1399-1402 1403-1424 1425 1426-1435 1436-1449 1450-1456 1457-1464 1465-1487 1488-1505 1506-1521 1522-1566 1567-1572 1573-1620 1620 1621-1627 1628-1644 1644-1661 1662-1722 1723-1735 1736-1795 1796-1820 1821-1850 1851-1861 1862-1874 1875-1908 1909-1911

DORE & REES EST. 1868

THE RALPH BATEMAN COLLECTION 15 NOVEMBER, 10.30am

MOISE KISLING (1891-1953) 'FEMME EN ROUGE' Estimate: £50,000 - £70,000

London Viewing (selected highlights): Asia House, 63 New Cavendish Street, London W1G 7LP 29 October 12:00 to 17:00 30 October 10:00 to 18:00 31 October 10:00 to 14:00

Frome Viewing: 11-14 November 10:00 to 16:00

Dore & Rees Auction Salerooms Frome Somerset BA11 1PU

enquiries@doreandrees.com www.doreandrees.com 01373 462 257

Glossary of Cataloguing Terms Dore and Rees team members are always pleased to discuss individual lots with prospective purchasers prior to the auction, you are welcome to request condition reports. If you require clarification of any terms used in the catalogue please be in touch. We are pleased to discuss lots which may have been altered, repaired, or restored.

The term basically used in conjunction with a date (ie. basically 18th century) indicates that, in our opinion, the item may have undergone restoration, repair, or alteration. It also indicates that only an element of the piece may date from the period stated in the description. The absence of the term basically does not imply that an item is without restoration, repair, or alteration. The use of inverted comas around a word or phrase (i.e. “pearl”) indicates that the piece, or object, may not be what it is purporting to be (i.e. a simulated pearl). If you are in doubt, our specialists are available prior to the auction to offer guidance and advice.

For Chinese ceramics and works of art, if the catalogue states that the object in question bears a mark, but it does not state “and of the period” it indicates that we believe the lot in question may not date from the period suggested by the mark. Clearly, references to the colour of jade are subjective and again buyers are advised to personally inspect items on which they intend to bid to ensure the colour meets with their expectation.

Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements of opinion are not to be taken as statement or representations of fact. Dore and Rees reserve the right, in forming their opinion, to consult and rely upon any expert or authority reasonably considered by them to be reliable.

Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers.

Paintings, Drawings and Prints

A work catalogued with the forename(s) and surname or recognised designation of an artist is, in our opinion, a work by the artist, e.g. JOHN NASH

Attributed to JOHN NASH – in our opinion, a work of the period of the artist which may be in whole or in part the work of the artist.

Studio of JOHN NASH – in our opinion, a work by an unknown hand, which may have been executed in the studio of the artist.

Circle of JOHN NASH – in our opinion, a work from the period of the artist and showing his influence.

Follower of JOHN NASH – in our opinion, a work executed in the style but probably not necessarily by a pupil.

Manner of JOHN NASH – in our opinion, a work executed in the style of the artist but of a later date.

After JOHN NASH – in our opinion, a copy of any date after a work by the artist.

Signed/inscribed/dated JOHN NASH – in our opinion, the work has been signed/inscribed/dated by the artist.

Bears signature/inscription/date JOHN NASH – in our opinion, the signature/inscription/date are probably not by the hand of the artist.

The addition of a question mark after any of the cataloguing terms in the above glossary indicates an element of doubt.

The term 'ascribed to' may in certain cases be used to denote a traditional attribution based on style.

A work catalogued as 'School' accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Italian School, circa 1800.

All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing.

The use of inverted comas around the name of an artist, or date, in connection with a signature, or inscription (ie. signed “John Nash”) indicates that the signature, or inscription, may have been added by another hand.

Jewellery

The contents of any gemmological certificates accompanying lots in this sale are not guaranteed by Dore and Rees and we cannot be held responsible for any disagreement over the contents of the certificates after the sale, or for a retrospective change in opinion by the certificate issuer. All weights and measurements provided are approximate only.

Prospective purchasers should assume that all coloured stones sold by Dore and Rees have been treated unless otherwise stated to the contrary in the catalogue description. Stones are commonly treated to enhance their colour and clarity. Sapphires and rubies are commonly heat treated and emeralds commonly oiled. Jade/jadeite is often bleached, polymer/resin filled or dyed.

Please contact Dore and Rees for more clarification on treatment in individual lots. Items containing rubies or jade/jadeite of Burmese origin are not permitted for import by the USA

DORE & REES EST. 1868

FINE SILVER 29 NOVEMBER, 10.30am

AN EARLY AND FINE SILVER TANKARD, MADE IN KUTCH, INDIA, C.1870 Sold: £3,120, Fine Silver 29 June

London Viewing (selected highlights):: Asia House, 63 New Cavendish Street, London W1G 7LP 29 October 12:00 to 17:00 30 October 10:00 to 18:00 31 October 10:00 to 14:00 Frome Viewing: 27-28 November 10:00 to 16:00

Dore & Rees Auction Salerooms Frome Somerset BA11 1PU

enquiries@doreandrees.com www.doreandrees.com 01373 462 257

DORE & REES EST. 1868

FINE JEWELLERY AND WATCHES 29 NOVEMBER, 2:00pm

AN IMPRESSIVE MID VICTORIAN GOLD NECKLACE Set With An Important Collection of Roman Intaglios Estimate: £35,000 - £45,000

London Viewing (selected highlights): Asia House, 63 New Cavendish Street, London W1G 7LP 29 October 12:00 to 17:00 30 October 10:00 to 18:00 31 October 10:00 to 14:00

Frome Viewing: 27-28 November 10:00 to 16:00

Dore & Rees Auction Salerooms Frome Somerset BA11 1PU

enquiries@doreandrees.com www.doreandrees.com

01373 462 257

DORE & REES EST. 1868

FINE JEWELLERY AND WATCHES 29 NOVEMBER, 2:00pm To include Luxury Watches from a Private Collection

Mb&f HM4 THUNDERBOLT A rare opportunity to acquire this three dimensional horological ‘engine’ masterpiece ESTIMATE ON REQUEST

BULGARI AUTOMATIC CHRONOMETER ESTIMATE ON REQUEST

London Viewing (selected highlights): Asia House, 63 New Cavendish Street, London W1G 7LP 29 October 12:00 to 17:00 30 October 10:00 to 18:00 31 October 10:00 to 14:00

Frome Viewing: 27-28 November 10:00 to 16:00

ROLEX YACHT-MASTER II WHITE GOLD ESTIMATE ON REQUEST

ULYSSE NARDIN MAXI MARINE DIVER CHRONOMETER ESTIMATE ON REQUEST

Dore & Rees Auction Salerooms Frome Somerset BA11 1PU

enquiries@doreandrees.com www.doreandrees.com 01373 462 257

Conditions of Sale BUYERS

This document acts to confirm the terms and conditions under which Dore & Rees, acting as agent, will sell Lots by auction to Buyers on behalf of Sellers.

11. Our Status a. We act as agent to sell the Lots on the Seller’s behalf by auction. b. You will pay the Hammer Price, with Buyer’s Premium at 25% together with VAT at the prevailing rate and any applicable charges within 5 working days following the Auction in which the Lots are purchased by you. c. We will always treat your data with care, personal details are held securely and will not be sold. Our Privacy statement is available at www.doreandrees.com 12.

The Estimate a. The estimate is a guide to help you gauge how much you might have to spend to purchase the Lot. b. Estimates can change, they are not definitive and should not be thought of as the sale price. c. Estimates do not include the Buyer’s Premium or VAT at the prevailing rate and any applicable charges. d. Estimates may be altered by a saleroom notice or announcement by the auctioneer before the Lot is offered.

13. Buyer’s obligations and undertakings a. You warrant to us and to the Seller that: i. you will not bid on a Lot you do not intend to pay for ii. you have the funds to complete the purchase at the total value of Hammer Price, Buyer’s Premium together with VAT at the prevailing rate and any applicable charges; iii. the funds are not connected with any criminal activity including tax evasion, and that you are neither under investigation nor have you been charged with or convicted of money laundering, terrorist activities or other crimes iv. if the Lot you purchased is to be removed to a country outside the UK, all duties, taxes and licences on the export of the Lot are your responsibility. b. If you, the Buyer, decide to exercise your right to cancel, we are entitled to account directly to the Seller for any applicable refund and we shall retain on account amounts to compensate the Seller should the Lot be damaged or tampered with by you. c. You will indemnify us and the Seller in full on demand against all claims, costs or expenses incurred by us or the Seller as a result of any breach by you of any of the obligations in this clause.

14. Inspection of Lots a. As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Lots. We may inspect Lots and will act reasonably in taking a general view about them. However we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. b. We strongly recommend that you attend the auction viewing in person if possible. You are responsible for your decision to bid for particular Lot. If you bid on a Lot, including by telephone, absentee bid or online bidding, we will assume that you have carefully inspected the Lot and satisfied yourself regarding it’s condition.

c. Please note that the Lots (in particular second hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue (or in any saleroom notice) and/or which the inspection of a Lot by the Buyer ought to have revealed.

15. Descriptions and condition a. Our descriptions of the Lot will be based on i i. Information provided to us by the Seller of the Lot (for which we are not liable); and i ii. Our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot). b. We will give you a number opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot. c. Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.

16. Registration, Bidding and the Buyer a. You are required to register to bid by 5pm on the day before the auction. We reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a absentee bid. b. If you wish to bid on high value Lots, the registration deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. c. We reserve the right to require deposits at the point of Registration on high value Lots. Deposits are refundable after the auction if you are not a successful Bidder. d. Lots will be invoiced to the name and address on the Registration Form. e. Absentee bids may be left with us in writing indicating the maximum amount to be bid against a Lot (excluding Buyer’s Premium and/or VAT and any applicable charges).

We will execute absentee bids as cheaply as possible having regard to the Reserve (if any) and competing bids.

If two Bidders submit identical absentee bids we may prefer the first bid received (where this can reasonably be ascertained). Neither we nor our employees or agents will be responsible for any failure to execute your absentee bid, unless our failure to do so is unreasonable. f. Telephone bidding is offered on a first come first serve basis on high value lots. Neither we nor our employees or agents will be responsible for any failure to execute your telephone bid, unless our failure to do so is unreasonable. g. Bidding online is available via doreandrees.com and our auction partners EasyLiveAuction.com. Please refer to EasyLiveAuction.com for their charges and terms and conditions. h. We reserve the right to refuse to register you if you do not provide us with all the information and documentation that we ask for at our discretion.

CONDITIONS OF SALE

i. We may bid on Lots on behalf of the Seller up to one bid below the Reserve. j. We may refuse to accept any bid if it is reasonable for us to do so. k. Bidding increments will be at our sole discretion (and in line with standard auction practice). l. The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price.

Any dispute about a bid will be settled at our discretion.

We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

17. Anti-Money Laundering Regulation a. We are obliged to comply with Anti-Money Laundering regulations which apply to individuals and businesses who deal in the sales, purchases and storage of works of art with a value of €10,000 (or equivalent) or more. b. Buyers may be requested to provide photographic ID and proof of address documentation in advance of the Auction in which they are bidding in order to meet the requirements of the regulations.

18. The Purchase price a. As Buyer, you will pay: i. The Hammer Price; ii. Buyer’s Premium of 25% of the Hammer Price iii. Any artists resale right royalty payable on the sale of the Lot iv. Any VAT due11

19. VAT a. You are responsible for the payment of any VAT applicable on the Hammer Price and Buyer’s Premium due for a Lot. b. We will charge VAT at the current rate at the date of the auction.

10. Artist’s Resale Right a. From mid February 2006, living artists are entitled by law to receive a resale royalty each time their work is resold by or to and art market professional. From January 2012, the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright). Royalties will be payable to the families and the beneficiaries of these artists. b. An artwork must be resold for more than 1000 euros Hammer Price (or equivalent) to qualify for the right. The rates applicable are calculated as a percentage of the Hammer Price and are set out on a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. We reserve the right to pass all the cost to the Buyer of the qualifying artwork.

11. The contract between you and the Seller a. The contract for the purchase of the Lot between you and the Seller will be formed when the hammer falls accepting the highest bid for the Lot at the auction. b. You may directly enforce any terms in the Terms and Conditions of Sale - SELLER against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms and Conditions - SELLER. c. If you breach these Terms and Conditions – BUYER, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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wishes to bring a claim against you, we may in our discretion provide the Seller with information or assistance in relation to that claim. d. We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot) e. In addition to any other rights we may have to cancel a contract for sale under these Terms and Conditions – BUYER, in the event: i. You are in breach of your warranties in clause 3; or ii. We have not completed our enquiries pursuant to the Money Laundering Regulations and related legislation to our satisfaction; or iii. We have reason to believe that the transaction might be unlawful for any reason, or that the sale might put us under any civil or criminal liability, we may delay the completion of the sale, delay a release of a Lot or cancel the sale of a Lot.

12. Payment a. Immediately following your successful bid on a Lot you will: i. Pay to us the Total Amount Due by one of the following methods: 1. BACS 2. Debit Card 3. Cash – up to a limit of £8,000 in person 13. Title and Collection of Lots a. While you are bound by the contract for the purchase of the Lot from the fall of hammer on your successful bid, ownership in the Lot will not pass to you until you have paid us in full the Total Amount Due in cleared funds for that Lot; b. You may not claim or collect your Lot until you have paid for it and ownership has passed to you. c. You will (at your own expense) collect any Lots that you have purchased and paid for either: i. Not later than 5 working days following the day of the auction II. Not later than 5 working days following the date that we have received payment of the Total Amount Due in cleared funds, if later.

14. Storage of Lots a. If you do not collect the Lot within the time period set out in above, you will be responsible for any reasonable removal, storage and insurance charges in relation to the Lot. b. The risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot. c. If you do not collect the lot that you have paid for within 90 days after the auction we may sell the Lot. We will pay the proceeds of any such sale to you, we will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling commission at our standard rates on any such resale of the Lot.

128 | DORE & REES AUCTIONEERS 15. Remedies for non-payment or failure to collect purchases a. Please do not bid on a lot if you do not intend to buy it. If your bid is successful, these Terms and Conditions of Sale - BUYER will apply to you. This means that you will have to carry out your obligations set out in these Terms and Conditions of Sale - BUYER. If you do not comply with these Terms and Conditions of Sale - BUYER, we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures: i. Take action against you for damages for breach of contract ii. Reverse the sale of the Lot to you and/or any other Lots sold by us to you; iii. esell the Lot by auction or private treaty (in which case you will have to pay any difference between the price you should have paid for the Lot and the price we sell it for as well as the charges outlined in Clause 8.

Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller; iv. Remove, store and insure the Lot at your expense; v. f you do not pay within 5 days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the Total Amount Due; vi. Keep that Lot or any other Lot sold to you until you pay the Total Amount Due vii. Reject or ignore bids from you or your agent at future auctions or impost conditions before we accept bids from you; and / or viii. If we sell any Lots for you, use the money made on these Lots to repay any amount you owe us. b. We will act reasonably when exercising our rights under clause 7. We will contact you before exercising these rights and try to work with you to correct any noncompliance by you with these Terms and Conditions.

16. Forgeries a. A sale shall be cancelled and the Buyer shall be entitled to a refund of both the Hammer Price and the Buyer’s Premium if a Lot bought by the Buyer through our Auction is shown to our satisfaction and within 14 days of the Auction to be a forgery.

17. Data Protection a. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website.

18. Liability a. Save as set out in these Terms and Conditions, we exclude to the fullest extent permitted by law all warranties and conditions, whether express or implied by statue, common law or otherwise. b. Nothing in these Terms shall operate to exclude or limit the liability of a party in respect of death or personal injury resulting from that party’s own negligence, for fraud or for any liability that cannot be excluded or limited under applicable law. c. No party to these Terms shall be liable to any other contract, tort (including negligence) or otherwise for any indirect or consequential losses, or for any loss of profits, loss of good will, loss of revenue, loss of business or loss of anticipated savings.

d. Subject to Clauses 10.b and 10.c, our liability to you shall not exceed £5,000, unless your claim relates to an item sold through an Auction in which case our liability to you shall not exceed the greater of £15,000 or the Hammer Price for the relevant Lot. e. We will not be responsible or liable for errors and omissions to execute bids, caused by a loss of internet connection, a breakdown or interruption of the on-line bidding system, or a breakdown or failure of any internet connection, computer or IT system.

19. General a. No party shall have any liability in respect of any delay in performance or non-performance of its obligations under these Terms (other than an obligation to pay) owing to Force Majeure. If a party is affected by Force Majeure it shall notify the other parties as soon as reasonably possible, in any event within 5 days, and shall take reasonable steps to mitigate the effect of the Force Majeure. Subject to Clause 4.b, risk in the Lot remains with you at all times until risk passes to the Buyer. You will indemnify us and our employees and agents, and the Buyer (where applicable) against all losses, damages, claims, costs and expenses suffered or incurred as a result of any claim in respect of the Lot or proceeds of the sale of the Lot. b. Every person on our premises shall be deemed to be there at their own risk and, subject to clause 9.b, shall have no claim against us in respect of accident or loss, however caused. c. hese Terms are governed by in interpreted in accordance with the laws of England and Wales or the laws of Scotland or Northern Ireland if you live there). If you choose to bring proceedings in conjunction with these Terms you must do so in the courts of England and Wales, unless you live in Scotland, in which case you can choose to bring proceedings there, or in Northern Ireland, in which case you can choose to bring proceedings there. d. Any or all part of any term of these Terms that is found to be unfair or unenforceable by a court of competent jurisdiction will be treated as deleted and the remainder of the Terms will continue to govern each of our respective obligations. e. ny notice from you to us must be sent in writing to us at our address detailed on our website. f. f you elect to collect the Lot from us you will bear all associated cost, expenses and duties

CONDITIONS OF SALE SELLERS

1. Our Status a. You appoint us to act as agent to sell the Lots on your behalf by auction. b. You will pay us the Sellers Commission together with VAT at the prevailing rate. c. We will not include any Lots in an auction until they have been received by us. d. We will pay the Hammer Price, with Seller’s Commission, Loss and Damage Warranty and any other charges incurred deducted and applicable VAT applied at the prevailing rate, to you at 28 working days following the Auction in which the Lots are sold, or if later, 7 days after payment by the Buyer.

2. The Reserve a. We will agree with you the Reserve, which may be higher than the starting bid. b. We shall not publicise the Reserve. c. We may bid on your Lot up to an amount equal to the Reserve. You may not bid on your Lot under any circumstances, nor maySyou permit any person to bid on your lot on your behalf.

3. Seller’s obligations and undertakings a. You warrant to us and to the Buyer that: i. you are the sole owner of the Lot and that you have full right, title and authority to sell the Lot; ii. you have no reason to believe that it is a Forgery; iii. all Lots sold by you are sold to the Buyer with full title guarantee and free from all encumbrances; iv. you have provided to us all of the relevant information and documents in your possession or control concerning the Lot, including information about its authenticity, history, condition, prior ownership and all such information is complete to the best of your knowledge; v. if the Lot has been removed from a country outside the UK, all duties and taxes on the import of the Lot have been paid, all export and import declarations have been properly made; vi. you will pay any and all duties and taxes that may be due in connection with the sale of the Lot; vii. you have given us notice of any alterations to the Lot of which you are aware; viii. you may not withdraw a Lot from an Auction without our consent. b. If you withdraw a Lot from an Auction without our consent, you will pay to us 15% of the Lot’s estimate and any related costs within 14 days of such withdrawal. c. If the Buyer of your Lot decides to exercise their right to cancel, you agree that we shall be entitled to account directly to the Buyer for any applicable refund and we shall account to you for any sums retained on account of the Lot being damaged or tampered with by the Buyer. d. You will indemnify us and the Buyer in full on demand against all claims, costs or expenses incurred by us or the Buyer as a result of any breach by you of any of the obligations in this clause.

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4. Loss and Damage Warranty a. All Lots held with us are covered by insurance against risk of fire, burglary, water damage and accidental damage except to glass. For this we will charge you 1.5% plus applicable VAT of the Hammer Price for the Lot or the value the Lot would have achieved as assessed by the Auctioneer. b. Subject to this, risk in the Lot remains with you at all times until risk passes to the Buyer. You will indemnify us and our employees and agents, and the Buyer (where appliable) against all loss damage claims costs and expenses suffered or incurred as a result of any claim in respect of the Lot or the proceeds of the sale of the Lot. 5. Anti-Money Laundering Regulations a. We are obliged to comply with Anti-Money Laundering regulations which apply to individuals and businesses who deal in the sales, purchases and storage of works of art with a value of €10,000 or more b. Sellers may be requested to provide photographic ID and proof of address documentation in advance of the Auction in which their Lot is to be offered in order to meet the requirements of the regulations.

6. Images and Illustration a. We will take (or authorise others to take) photographs, video and/or produce images of the Lot and will own all intellectual property rights in any such images and may use them for any purpose, and you warrant that there is no restriction on our ability to do so.

7. Unsold Lots a. If at the end of the Auction, your lot is unsold (other than because it was withdrawn) the Lot will be available for After Sale offers. b. Registered Bidders may contact us and offer to purchase a Lot after the Auction. If the bid meets or exceeds the Reserve, we may authorise the sale of your Lot without contacting you and the sale will be completed as if the Lot had been sold during the Auction. If the bid is less than the Reserve, we will contact you. If you accept the bid and wish to proceed, the sale will be completed as if the Lot had been sold during the Auction. c. You may contact us at any time after the Auction to remove your Lot from the After Sale process. d. Subject to agreement with us, your unsold Lot can be reoffered at a future Auction at a revised Estimate and Reserve or can be collected by you, you are responsible for collection and transportation arrangements and costs.

8. Withdrawn Lots a. If we withdraw a Lot from Auction, we will notify you and you will collect the Lot from us within 30 days of our notification. b.You are responsible for collection and transportation arrangements and costs.

9. Forgeries A. A sale shall be cancelled and the Buyer shall be entitled to a refund of both the Hammer Price and the Buyer’s Premium if a Lot bought by the Buyer through our Auction is shown to our satisfaction and within 14 days of the Auction to be a Forgery. b. If this is the case, you shall refund to us on demand, the total amount paid to you in relation to the lot plus any costs incurred by us or by the Buyer.

DORE & REES EST. 1868

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