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Treasures from the Summer Palace May 19th 2011

Duke’s AUCTIONEERS SINCE 1823

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CHINESE CERAMICS AND WORKS OF ART INCLUDING TREASURES FROM THE SUMMER PALACE Thursday, May 19th, 2011 at 11 am

Catalogues £30.00 (by post) Photography by Jonathan Gooding

www.sofaa.org


Duke’s

A Chinese hardwood carving of a lohan on a lion with Imperial poem and date 1761, Qianlong, 102mm high.

AUCTIONEERS SINCE 1823

Sold for £382,400

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LOCATION AND CONTACT INFORMATION MILL

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Welcome to the Dorchester Fine Art Salerooms, which are centrally located in the county town, close to the main Dorchester South railway station. Trains run hourly to London Waterloo (approximately 2 hours 30 minutes) and there are airports at Bournemouth, Exeter and Southampton. The Saleroom is surrounded by a pay and display car park. If you require further information please refer to the buyer’s guide on page 13, visit our website, or contact Stephanie Smith.

TrAVEL INfOrM ATION By train Train/Fare enquiries: 0845 748 4950 Credit Card Ticket sales: 0845 600 0650 By taxi Bobs Cars: 01305 269500 Silverline Cars: 01305 267107

Duke's Fine Art Salerooms Weymouth Avenue, Dorchester, Dorset, DT1 1QS Tel: 01305 265080 Fax: 01305 260101 Email: enquiries@dukes-auctions.com www.dukes-auctions.com

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Duke’s AUCTIONEERS SINCE 1823

area representatives Wiltshire & Cranborne Chase Sir Michael Salt, Bt (01258) 860259 The Isle of Wight Anthony Blest (01983) 760460 Devon Chris Bolton F.R.I.C.S. (01297) 32351 Cornwall Charles Cox (01840) 261085

Bristol & North Somerset Michael Liversidge (01305) 265080

Hampshire Robert Nevin (01962) 866681

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VIEWING: Saturday 14th May 9.30am – 12pm Monday 16th May 9.30am – 5pm Tuesday 17th May 9.30am – 7pm Wednesday 18th May 9.30am – 5pm and on the morning of the auction

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bid live online at www.the-saleroom.com 12

See our terms and conditions of sale


BUYERS INFORMATION

Registration:

I f you wish to bid at this auction you will need to register and provide proof of identity. If you intend to bid on lots marked with a ● you will be required to pay a deposit, which will be refunded within 7 working days (without interest) if you are not successful. For more information and a registration form please contact the auctioneers.

Commission bids: If you are unable to attend the auction in person we will be pleased to execute commission (absentee) bids on your behalf. Lots will be purchased as cheaply as allowed by other bids and reserves. Commissions must be received at least 48 hours before the auction.

Telephone bidding: If you wish to bid on a major lot over the telephone we will do all we can to assist you, but lines should be booked at least 48 hours before the auction.

Online bidding: If you pay a deposit online bidding is available for this sale at www.the-saleroom.com. All you need is a computer or laptop, and an internet connection. Please refer to our terms and conditions of sale for charges. Internet bidding is not permitted on premium lots marked with a ● in the catalogue.

Condition reports: An indication of condition is not generally printed in the catalogue, but prospective buyers are welcome to request a condition report up to 48 hours before the auction. Please bear in mind that whilst we endeavour to provide an accurate representation the ultimate responsibility is with the buyer and we strongly recommend you personally view any lots on which you intend to bid.

Illustrations: If you would like a more detailed image of an illustrated lot, or an image of an item which is not illustrated, we will be delighted to send them by email. Requests must be received at least 48 hours before the auction.

Terms and Conditions: It is important that you read our terms and conditions of sale at the back of this catalogue in conjunction with the glossary of cataloguing terms.

Payment: Lots will not be released until we have received cleared funds in payment. We are delighted to accept debit and credit cards, but there is a 3% surcharge on credit card transactions. Buyer’s Premium:

19.5% plus VAT on the hammer price.

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1. A PAIR OF CHINESE “CANTON” FAMILLE ROSE VASES with square baluster bodies and conforming covers enamelled in polychrome and gilt with panels of elegant figures in palatial buildings and on terraces, on a gilt ground strewn with butterflies, fruit and flowers, the sides with handles modelled with standing figures and the covers with figural finials, early 19th century, 21.25” high (4)

Provenance: Private Collection, Somerset. £4,000-£6,000

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2. A PAIR OF CHINESE BLUE AND WHITE VASES with baluster-shaped bodies decorated with lotus flowers and leafy tendrils, with variations in the decoration, both now with carved and pierced wood covers, the porcelain Kangxi, 18.5” high overall (2). Provenance: Major General Sir Eric Stanley Girdwood KBE, CBE, CMG and thence by descent. Private Collection Dorset. £3,000-£4,000

3. A CHINESE BLUE AND WHITE VASE with a baluster-shaped body decorated with phoenix amidst blossoming foliage and leafy tendrils, Kangxi, 13.75” high.

Provenance: Private Collection, East Dorset. £500-£1,000

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4. A CHINESE FAMILLE VERTE VASE with a slightly tapering square-section body enamelled in polychrome with landscapes with deer, combative buddhistic lions and mythical beasts, on a green ground with precious objects on the shoulders, the cylindrical neck reduced, Kangxi, 16” high.

Provenance: Private Collection, East Dorset. £800-£1,600

5. A CHINESE VASE with a bulbous body enamelled with panels of birds amidst rockwork and flowers and swooping beneath a gnarled pine tree, on a ground of leafy tendrils and lotus flowers enclosed by borders of feathery leaves and flowers, the sides with moulded buddhistic lion mask handles, the front with a rectangular panel containing a six character Wanli mark in iron red, the base with an old drill hole and metal mount for use as a lamp, 14.5” high.

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Provenance: Private Collection, Dorset. £500-£1,000


6. A PAIR OF CHINESE FLAMBÉ BUDDHISTIC LIONS, each beast seated on its’ haunches and with curly eyebrows and beards, Qing, 15.25” high.

Provenance: Private Collection, East Dorset. £1,000-£2,000

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7. A PAIR OF CHINESE FAMILLE VERTE TAZZAE, each enamelled in polychrome with a vase of flowers surrounded by precious objects enclosed by geometric border, the underside decorated in iron red, green and black with sprays of flowers and the flared stands decorated in iron red with a key pattern band and stylised leaves, Kangxi, 8.75” dia. (2)

Provenance: A West Dorset Manor House.

£1,000-£2,000

8. A SET OF TEN CHINESE FAMILLE VERTE PLATES enamelled in polychrome with the eight flying horses of the Emperor Mu Wang, within green diaper borders incorporating yellow flowers reserved with four thick panels containing flowers, the underside of each decorated in underglaze blue with an archaistic vessel enclosed by a double circle, Kangxi, 8.5” dia. (10)

Provenance: A West Dorset Manor House.

£1,000-£2,000

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9. A RARE CHINESE TEAPOT modelled as a hen and young covered in yellow, green and aubergine glazes, the base with old collector’s inscriptions in ink, Kangxi, 5” high. Provenance: The Dewar family, Perthshire, Scotland and thence by descent. Literature: For a similar teapot see Regina Krahl, ‘Chinese Ceramics – The Anthony de Rothschild Collection”, published 1996, no. 230 illustrated on page 409.

10. A PAIR OF CHINESE FAMILLE VERTE SQUARE DISHES enamelled with fish swimming amidst aquatic plants, the underside of the rim with sprays of flowers, the base of each with a four character “hallmark”, Kangxi, 5.25” wide (2) Provenance: The underside of each with an old collector’s label inscribed “SK 341”, for the S.E. Kennedy Collection. The Dewar Family, Perthshire, Scotland and thence by descent.

£1,000-£2,000

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£1,500-£2,500


11. A CHINESE LEAF-SHAPED DISH of naturalistic form with gilt veins and delicate black markings, the turquoise glazed base with an iron-red Daoguang seal mark and of the period, 8.5” long, on a hardwood stand. Provenance: The Dewar Family, Perthshire, Scotland and thence by descent.

£500-£1,000

12. A CHINESE BLUE AND WHITE WALL VASE with a baluster-shaped body decorated with flowering branches, the back of the neck with a six character Wanli mark and of the period, now mounted on a hardwood stand, 14.25” high including the stand

Provenance: Private Collection, Aberdeen, Scotland.

£500-£1,000

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13. A PAIR OF CHINESE PLATES enamelled in green and gilt with stylised peonies, tassels, leafy scrolls, back and characters, on a blue ground, the reverse of each decorated in iron-red with five stylised bats, the centre with an iron red Daoguang seal mark and of the period, 9.25” dia. (2). Provenance: Private Collection, Aberdeen, Scotland.

14. A CHINESE PLATE enamelled in polychrome with a branch of blossoming foliage on a turquoise ground, the reverse with five bats in iron red, the centre with an underglaze blue Qianlong seal mark and probably of the period, 8” dia.

Provenance: Private Collection, Aberdeen, Scotland.

£500-£1,000

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£500-£1,000


15. A CHINESE PLATE enamelled in polychrome with three butterflies and scattered sprays of flowers, the reverse with a band of iron red bats, the centre with an iron red Xianfeng seal mark and of the period, 9.75” dia.

£500-£1,000

16. A PAIR OF CHINESE SAUCER DISHES enamelled in iron red and green with bats surrounding a central emblem within a flowering vine and the reverse decorated in brightly coloured enamels with characters within formalised borders, the base of each with an iron-red Jiaqing seal mark and of the period, 6.75” dia. Provenance: Private Collection, Aberdeen, Scotland and the reverse of each with various old collector’s labels including two inscribed in ink 41/2.

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£1,000-£2,000


17. A PAIR OF CHINESE “DRAGON” BOWLS decorated in underglaze blue and polychrome enamels with phoenix and scaly five-clawed dragons contesting flaming pearls beneath a border containing precious objects and flowers, the interiors also decorated with dragons amidst green scrolls, the base of each with an underglaze blue Qianlong seal mark and of the period, 5.25” dia. (2)

Provenance: A West Dorset Manor House

£3,000-£6,000

18. A CHINESE “DRAGON” BOWL decorated in underglaze blue and polychrome enamels with phoenix and scaly five-clawed dragons contesting flaming pearls beneath a border containing precious objects and flowers, the interior also decorated with dragons amidst green scrolls, the base with an underglaze blue Qianlong seal mark and of the period, 6” dia.

Provenance: A West Dorset Manor House.

£2,000-£3,000

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19. A CHINESE YELLOW-GROUND BOWL decorated en grisaille with four circular landscape panels highlighted with polychrome enamels on an anhua yellow ground enamelled in polychrome with stylised flowers, leaves and scrolls, the interior enamelled in polychrome with a central wheel-shaped medallion incorporating flowers, the base with an underglaze blue Daoguang seal mark and of the period, 6” dia.

Provenance: Private Collection, Aberdeen, Scotland.

£5,000-£10,000

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20. A LARGE CHINESE STEM CUP AND COVER enamelled in iron red with dragons contesting flaming pearls, the domed cover with a pierced mandarin duck finial, on a reverse-tapering circular stem, the underside of the lid and the interior of the bowl with an iron red Qianlong seal mark and of the period, 8” high (2).

Provenance: Private Collection, Aberdeen, Scotland.

£1,000-£2,000

21. A CHINESE “SANG DE BOEUF” VASE with a globular body, the flared cylindrical neck and a “stepped” circular foot covered in an even red glaze, the base incised with a six character Guangxu mark and probably of the period, 17.75” high.

Provenance: Private Collection, Devon.

£500-£1,000

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22. A CHINESE “DOUCAI” BOTTLE VASE decorated with scaly five-claw dragons contesting flaming pearls amidst cloud-scrolls with crashing waves below, the neck with a rectangular panel containing a four character Chenghua mark in underglaze blue, the base unglazed, 23” high.

Provenance: Private Collection, Devon.

£1,000-£2,000

23. A PAIR OF CHINESE BOWLS, the exteriors decorated with scaly dragons amidst flowers on a turquoise ground and the interiors each with a central flower and a yellow ground rim overpainted with flowering tendrils, the base of each with a Guangxu seal mark in iron-red and of the period, 4.75” dia. (2).

Provenance: Private Collection, Swanage, Dorset.

£300-£500

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24. A PAIR OF CHINESE “BOYS” VASES enamelled in polychrome and gilt with a procession of young boys with musical instruments, the base of each with a four character iron red Hongxian (1915-1916) mark and of the period, 7.5” high (2)

Provenance: Private Collection, West Dorset.

£1,000-£2,000

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25. A CHINESE YELLOW GLAZE “DRAGON” DISH incised with a scaly five-claw dragon, a flaming pearl and cloud scrolls, the base with a large underglaze blue Qianlong seal mark and of the period, 15” dia., with a carved hardwood stand inset with a pale celadon jade panel carved and pierced with a jardinière of flowers. The stand 8.5” wide across the front. Provenance: Private Collection, East Dorset.

£2,000-£4,000

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26. A PAIR OF CHINESE VASES AND COVERS of globular form enamelled in green and black with scaly dragons contesting flaming pearls amidst cloud scrolls, enclosed by formalised borders, the neck with a continuous band of precious objects and the cylindrical covers decorated with dragons, the bases with iron-red Daoguang seal marks and of the period. One 8.5” high and the other 8” high (2) Provenance: Sidney Marriot, Esq. and thence by descent. Private Collection, Sway, Hampshire.

27. A CHINESE “DOUCAI” VASE with a globular body decorated with leafy tendrils and stylised peonies and chrysanthemums within formalised scroll borders, the base with an underglaze blue six character Zhengde mark enclosed by a double circle, 4.5” high.

Provenance: Private Collection, East Dorset.

£500-£1,000

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£1,000-£2,000


28. A CHINESE “DOUCAI” BOWL decorated with circular panels of scaly five-clawed dragons surrounded by cloud scrolls with colourful cruciform cloud scroll panels between, the base with an underglaze blue six character Kangxi mark enclosed by a double circle and of the period, 5.75” dia. Provenance: The Laird of Invercauld, Ballater, Aberdeenshire, Scotland and thence by descent.

£8,000-£15,000

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29. A CHINESE COPPER-RED AND WHITE BOWL with a “U”-shaped body boldly painted in copper red with three large lingzhi sprays, on a short tapering foot, the base with an underglaze blue six character Yongzheng mark enclosed by a double circle and of the period, 6” dia. Provenance: Acquired from Hugh Moss Ltd on 9th April 1970 for £80.

Private Collection, West Country,

£8,000-£15,000

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30. A CHINESE IRON RED AND WHITE ALTAR VASE with a baluster body and a domed foot, painted in iron red with lotus branches between pendant forked leaves and vertical stiff leaves, the slightly flaring neck with clusters of six dots below a key pattern band and the domed foot with panels of lotus, Qianlong, 8.5” high

Provenance: Private Collection, West Country.

An identical vase can be seen in the painting by Castiglione in the National Palace Museum showing the Emperor in the shade of a pine tree with a table set with some of his treasures, illustrated in “China - The Three Emperors 1662 - 1795” published by the Royal Academy of Arts. There is another example in the British Museum. The shape of this Imperial vase is derived from early Ming blue and white and green enamel examples.

£25,000-£40,000

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31. A CHINESE GREEN “DRAGON” BOWL, the exterior finely incised with two large fiveclaw dragons chasing a flaming pearl, on an anhua ground of rocks and foaming waves, the slightly everted rim with a thin line and the interior with another scaly dragon amidst cloud and fire scrolls, the base with an underglaze blue six-character Zhengde mark enclosed by a double circle and of the period, 8” dia. Provenance: Sold Christies 5th July 1983 Lot 293 for £2,190.

Private Collection.

Other examples are illustrated in “Enamelled Wares to the Ming Dynasty”, National Palace Museum, Book II, Plate 3 and Soane Jenyns “Ming Pottery and Porcelain”, page 79.

£8,000-£15,000

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32. A CHINESE “LEMON-YELLOW” BOWL, the finely potted body covered in a yellow glaze of even lemon tone, the interior white, the base with an underglaze blue six character Yongzheng mark enclosed by a double circle and of the period, 4.75” dia.

Provenance: Private Collection, Wiltshire.

The quality of the potting and the brilliance of the yellow glaze probably indicates that this bowl was made in the Palace kilns for Imperial appreciation. £15,000-£25,000

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33. A CHINESE “CLAIR DE LUNE” DOUBLE GOURD VASE, covered in an even glaze of delicate hue, the base with an underglaze blue Qianlong seal mark, and an old collector’s label “PJ Donnelly”, 11.25” high. Patrick Donnelly was a noted collector and connoisseur of Chinese monochrome ceramics. He was widely published and the author of Blanc de Chine – The Porcelain of Tehua and Fukien”, published London, 1969.

£5,000-£10,000

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34. A CHINESE FAMILLE ROSE “BOYS” VASE, the baluster body finely enamelled with a continuous scene of boys at play in a courtyard garden between bands of pendant ruyi lappets, the spreading base and tall cylindrical neck with scrolling lotus on a yellow ground, the neck flanked by two archaistic dragon handles highlighted in iron red and gilt, the interior and base covered in a turquoise glaze, probably Republic, but the base with an iron-red Jiaqing seal mark, 12.5” high.

£8,000-£12,000

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35. A CHINESE BLUE AND WHITE MOON FLASK, the circular body elaborately painted on each side with an overall pattern of geometric panels forming a medallion, the centre with a scrolled stem of lotus in a star-shaped panel surrounded by indented panels containing flowers and serrated leaves, in turn surrounded by hexagonal panels of flowerheads interspersed with elongated hexagonal panels of interlaced lozenges, the outer border consisting of wave patterns forming the corners of a large hexagon interspersed with pairs of narrow panels of flower scrolls, all enclosed by a double circle, the rounded edges of the flask with composite flower scrolls divided by bossed decorated with lotus petals, the handles springing from Jui shaped terminals on the shoulders supporting the bulbous mouth which is decorated with interlocking cloud collars enclosing formal motifs above small florets in a band around the short neck, the splayed foot with pendant trefoils and a lower band containing clusters of seven dots, the unglazed base with a central domed recess, the underglaze blue of strong tone with numerous areas showing the heaped and piled effect, Yongle or later, 11.25” high, with a fitted “huali” wood collector’s box and cover, carved to fit the vase, 12.5” high.

There are very few published early Ming Dynasty blue and white vases of this form and the present example is larger than the others. The rarity of such vases can probably be attributed to the tremendous difficulties in achieving a satisfactory shape during the firing process. The form of the present vase is very distinctive and the decoration was undoubtedly inspired by Islamic glass, or metalwork. There is a slightly larger Syrian brass canteen dating to the mid-thirteenth century in the collection of the Freer Gallery, Washington DC, which is remarkably close to the present vase with a bulb-shaped mouth and similar “S”-form handles, but lacking the flaring foot. The Islamic inspired decoration is also found on other examples attributed to the Yongle period, including those in the Percival David Foundation at the British Museum, the Palace Museum Beijing and the National Museum Taipei. Another from the Reach Family Collection was sold by Eskenazi in 1989. We are grateful to a number of authorities for their kind assistance in cataloguing this lot, including Anthony du Boulay FSA and Giuseppe Eskenazi.

This magnificent Bianhu has caused great excitement and much discussion. A number of eminent authorities have accepted it as a rare and remarkable survival, whilst others have questioned whether it dates from the Yongle period. 40


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36. A FINE CHINESE “DING WARE” BOWL, the interior carved as a flowerhead with overlapping petals with delicate veining and covered in an even white glaze pooling slightly around the footrim, the undulating rim now with a gold metal mount, Song, 3.75” dia.

Dynasty (AD960 - AD1279). Ding wares were sent to the Imperial Court as tribute as early as AD980. The exquisite incised decoration on the present example is characteristic of the early period.

 iterature: J. Harrison-Hall: “Ding and Other White L Wares of Northern China” in “Pottery in the making: world-8”, published by the British Museum Press, London 1997, pages 182-187.

£30,000-£40,000

Provenance: An old Japanese collection. Private Collection, London.

This exquisite bowl was produced at the Ding Kilns in Hebei Province, Northern China, whose white porcelain is considered one of the “Five Great Wares” of the Song

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37. A CHINESE BLUE AND WHITE MOONFLASK with a flattened globular body and slightly waisted cylindrical neck flanked by two undulating lug-handles, painted on the front and back in shades of cobalt blue with leafy peach branches laden with fruits between bands of fleur de lis, the neck with a lotus spray and the handles with classic scrolls, Ming, 15th century, 12.5” high

The present flask may be compared to two early Ming examples in the Topkapi Saray Museum, illustrated by Krahl and Ayers in “Chinese Ceramics in the Topkapi Saray Museum”. One painted with flowers (TKS 15/1403, page 422) and the other with carnations and asters (TKS 15/1401), page 423. Another early 15th century flask in the Palace Museum, Beijing, was illustrated in “The Complete Collection of Treasures of the Palace Museum - Blue and White Porcelain with Underglaze Red (I)”, no. 99. This example is decorated with camellia. £30,000-£50,000

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38 and 39 are spare lots.


40. A CHINESE BRONZE GOLD INLAID “HU” VASE of archaistic form decorated with taotie masks and stiff leaves containing geometric patterns, the sides with cylindrical “arrow-vase” handles with silver inlay, early Qing , 15” high A group of vessels with similar inlay copying archaic originals from the Brooks Bequest and the Salting Bequest are illustrated as plate 40 in “Later Chinese Bronzes” by Rose Kerr, published by the Victoria and Albert Museum, London 1990. £4,000-6,000

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41. A CHINESE IVORY BRUSHPOT with a reticulated body finely carved with figures in pagodas on terraces and working on calligraphic scrolls and seated in the shade of blossoming trees inhabited by long-billed birds, the foot with flowers surrounded by leafy tendrils, Qing, 6.5” high

Provenance: Private Collection, Wiltshire

The exquisite quality of the workmanship on the present brushpot may be compared to a reticulated box in the collection of the Asian Art Museum of San Francisco (B62M48) attributed to the 18th century. On the basis of comparison with similar examples of openwork preserved in both Beijing and Taipei, an attribution to a Palace workshop has been suggested. The present brushpot may also be compared to a cylindrical box from the collection of Sir Victor Sassoon (Chinese Ivories Trust) illustrated as figure 91 in “Chinese Ivories from the Shang to the Qing”, published by the Oriental Ceramic Society, London 1984. £1,000-£2,000

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42. A PAIR OF CHINESE BRONZE ALTAR CANDLESTICKS with square-section baluster stems cast and pierced with mythical beasts within crashing waves enclosed by key pattern borders, the upper part of the stems circled by scaly dragons and the bases with four “S”-scroll supports issuing from the mask of a horned mythical beast, with a finely incised manes, on squared bases, with traces of gilt, the underside of each base with a rectangular panel containing a six character dedicatory mark, probably Qianlong, 10.5” high (2) Provenance: Apparently acquired at a house sale near Midhurst in West Sussex in the 1960’s.

Private Collection, East Dorset.

£1,000-£2,000

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43. A SET OF EIGHT CHINESE BRONZE IMMORTALS, each standing holding an attribute, on an oval base cast with wave scrolls and lingzhi, late Ming/early Qing, 15” high (8)

Provenance: Private Collection, East Devon.

£6,000-£10,000

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44. A CHINESE SILVER-GILT VASE of baluster form, chased and repoussé with stylised flowers on a delicately stippled ground, the neck and foot rim with bands of stylised leaves and concentric circles, the base with a seal mark in a rounded rectangular panel, Qing, 4.5” high. Provenance: Private Collection, East Dorset.

45. A CHINESE IVORY PAGODA, the nine storey hexagonal pagoda raised on a shallow balustraded platform behind a mountain gate and surmounted by an eleven-disc steeple, each storey surrounded by fretwork balustrades and topped with a sloping gabled roof and protruding dragon-fish eaves suspending bells, the platform decorated with two figures and bamboos, Qing, 20.5” high, with a glass dome.

£4,000-£6,000

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£500-£1,000


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46. A PAIR OF CHINESE CARVED STONE GUARDIAN LIONS, each elongated beast with well-defined rib cage, a cascading mane and a curling tail, on a rectangular plinth base, probably Northern Wei, 9”

Provenance: Private Collection, West Dorset.

£2,000-£4,000

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47. A CHINESE EXPORT IVORY AND BONE PAGODA incorporating intricately carved and pierced panels and pendant bells on each of the seven tiers, the terraced base with numerous figures enclosed by an elaborate fence, Qing, 24” high, with a glass dome Provenance: A gift to the vendor’s mother from a sea captain and thence by descent. Private Collection, Dorset.

£1,000-£2,000

48. A CHINESE GILT BRONZE PHOENIX MOUNT standing on one leg with outstretched wings, with some slight verdigris patination of exposed areas of the metal, probably Tang, 4.25” high

Provenance: Private Collection, West Sussex.

£1,000-£2,000

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49. A RYUKYUAN LACQUER AND MOTHER OF PEARL CIRCULAR TRAY decorated with five clawed dragons contesting a flaming pearl surrounded by cloud scrolls, the rim with precious objects tied with ribbon separated by geometric panels composed of hexagonal medallions containing six stylised six-petal flowers, the reverse plain, Ryukyu Islands, 18th century, 13.75” dia.

Lacquered trays of this type were used by the Ryukyuan Court in the 18th and 19th centuries and were sent as “tribute” to the Court of the Emperor of China. An example of such is in the Palace Museum, Beijing. Another is in the Urasoe Art Museum, Japan, which is a similar size to the present example. £5,000-£8,000

This exquisite tray may be compared to a larger dish, also decorated with a pair of dragons, from the collection of The Metropolitan Museum of Art, New York, the promised gift of Florence and Herbert Irving (L1992 39 11).

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50. A CHINESE CLOISONNÉ VASE decorated in polychrome with archaistic phoenix taotie masks, tendrils and stylised flowers, the interior of the flared neck decorated with colourful lotus flowers issuing from leafy tendrils on a turquoise ground, the exterior with notched flanges, 17th century, 23.25” high. This monumental vase may be compared to a pair of ceremonial vessels illustrated in “Chinese Cloisonné: The Pierre Uldry Collection”, published in English in the US in 1989, plate 119, formerly from the collection of Maria Callas.

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51. A RARE CHINESE RHINOCEROS HORN CARVING of a crouching chimera with head turned across the back, the finely carved wings with hooked ends, the horn of a dark caramel tone with lustrous patination, probably late Ming/early Qing, 2.25”

£5,000-£10,000

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52. A CHINESE “IMPERIAL” SOAPSTONE PANEL painted with birds perched on rockwork from which sprouts branches of blossom and fruit, probably Qianlong , 18.5” x 33.5” Provenance: The collection of Rosemary Lazenby and thence by descent.

Private Collection, Herefordshire.

Mrs Rosemary Lazenby, the widow of a Gloucestershire landowner, who died in 1987, left an extremely fine collection of 18th century Chinese mirror paintings to the nation. The collection may be seen at Marble Hill House in Twickenham, South West London.

£12,000-£18,000

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53. ASCRIBED TO SHEN ZHOU A landscape with mountains shrouded in mist and a solitary figure in a building beside a lake, with a figure in a boat on the water and trees sprouting from the bank, with inscription and seal mark, 18.75� x 25.5� Provenance: The back of the mount bears an old collection label (no. 227) in German describing the work as a landscape in the style of Mi Sei (1051-1107). There is also a collection label for the Gulbenkian Museum, Durham.

The collection of Peter Rawson.

56


57


54. ATTRIBUTED TO SHEN QUAN (1682 - c.1762)

 scroll painted with deer in a landscape, inscribed and A dated in accordance with the year 1750, 41.75” x 15.75”.

Provenance: Private Collection, North Devon.

This hanging scroll was authenticated by Hugh Moss, 12 Bruton Street, London W1 on 9th November 1976. Shen Quan was born in the Kangxi period in the Zhejiang area. He was born in poverty and apprenticed from an early age. It is said that a Japanese “Daimyo” once saw a painting of horses by him and was so impressed that he invited Shen to Nagazaki to teach him to paint. Shen stayed in Japan for three years and his paintings were greatly admired there and became very influential.

£15,000-£25,000

58


59


55. ATTRIBUTED TO GU JIANLONG (1606–1687) A dignitary seated on a chariot pulled by dogs floating through cloud scrolls with attendants, a cliff beyond, extensively inscribed, 56.25” x 20.5”.

Provenance: Private Collection, North Devon.

This hanging scroll was authenticated by Hugh Moss, 12 Bruton Street, London W1 on 9th November 1976. Gu Jianlong is a renowned painter, who served at the Court of the Emperor Kangxi.

£15,000-£25,000

60


56. A CHINESE GILT BRONZE “CHAMPION” LANTERN in the form of two conjoined tapering square vases, each with a flaring neck and standing on a spreading base joined by an archaistic design of a spread-winged eagle surmounting a crouching bear, the necks pierced with ruyi amidst scrolling foliage and the rims with key pattern bands, Qianlong, 10.25” high.

£3,000-£5,000

57 and 58 are spare lots.

61


59. A CHINESE “WHITE” JADE BRUSH WASHER carved as a branch of magnolia blossom, the stone of even tone with a lustrous polish, Qianlong, 2.5”, with a fitted hardwood stand. Provenance: The Dewar Family, Perthshire, Scotland and thence by descent..

60. A CHINESE SOAPSTONE FIGURE OF A FEMALE DEITY standing holding a sceptre wearing flowing robes, etched with cloud scrolls and floral sprays highlighted in polychrome, on an octagonal soapstone plinth with incised decoration, 17th/18th century, 9” high.

Provenance: Private Collection, Wiltshire.

£1,000-£2,000

62

£800-£1,500


61. A CHINESE SOAPSTONE FIGURE of Guan Yin, standing wearing flowing robes etched with cloudscrolls and geometric patterns, her hair piled in a high chignon, a fruit in her right hand and a basket containing lingzhi in her left hand, 17th/18th century, 14.5” high. Provenance: The collection of Victor Rienaecker. A gift to the vendor from John Carruth, Canon of Salisbury Cathedral. Victor Rienaecker of Oxford was a renowned collector of Chinese ceramics and works of art, including soapstones. His collection was sold at Sotheby’s on 14th April 1937.

£2,000-£4,000

63


62. A PAIR OF CHINESE WHITE JADE BANGLES of plain form, the stone of even tone with some scattered snow-white inclusions, Qing, 3.75” dia. and a Chinese pale celadon bangle with some “emerald” green clouding, Qing, 3.25” dia. (3). Provenance: The collection of Kenneth Hubert Mew (1887-1946) and thence by descent.

63. A CHINESE ROCK CRYSTAL BUDDHISTIC LION, the striding beast with head turned back with fangs bared, with finely incised fur and details, probably Qianlong, 4.5” long. Provenance: The collection of Kenneth Hubert Mew (1887-1946) and thence by descent.

£1,000-£2,000

64

£500-£1,000


64. A CHINESE “WHITE” JADE VASE, the flattened baluster body carved with interlocking scrolls and the neck with pierced “S”-scroll handles, one side carved with bamboo sprouting from pierced rockwork inhabited by a long-billed bird, probably Qianlong, 5.75” high.

£1,000-£2,000

65. A CHINESE MOTTLED SPINACH JADE FIGURE OF A LADY holding a flowering branch in one hand, a tassel of her robe in the other, the stone with even black mottling, probably late Qing, 7.75” high. Provenance: Acquired from Christie’s, London, January 26th, 1976, Lot 169 for £550 and sold with the original invoice.

65

£500-£1,000


66. A CHINESE PALE CELADON JADE OF A BUDDHISTIC LION, the head turned across the back, the mane, jowls and bushy tail with finely incised fur, the stone of even tone with brown inclusions to the brow and tail, probably Ming, 2,75” and another jade of a recumbent feline, 2.25”. (2) Provenance: The Dewar Family, Perthshire, Scotland and thence by descent.

£500-£1,000

66


67. A CHINESE “YELLOW” JADE HORSE AND MONKEY GROUP, the recumbent beast with one foreleg raised as though disturbed, with a finely incised mane and tail and hair either side of the spine, the monkey clambering over the horse’s hindquarters with long limbs and incised hair either side of the spine, the semi-translucent stone of fine yellowishgreen tone with slight brown inclusions, Qing, 3”. For another group of a monkey on a horse’s back from the collection of The Palace Museum, Beijing see “The Complete Collection of Treasures of the Palace Museum”, Jadeware (III) published Hong Kong 1995, plate 91. For similar examples see Chung, Michaelson & So, “Chinese Jade Animals”, no. 152, pages 166-167 and Youngman “The Youngman Collection: Chinese Jades from Neolithic to Qing”, no. 113.

£40,000-£60,000

67


68. A CHINESE CELADON JADE FIGURE OF A RECUMBENT HORSE with defined rib cage and a finely carved mane, the stone of greyish tone with some lighter inclusions, Ming or later, 6” long. For a comparable jade horse see “Chinese Jades from the Collection of Stanley Charles Knott”, published by the Norton Gallery and School of Art, West Palm Beach, Florida, 1942.

£2,000-£4,000

68


69. A CHINESE “WHITE” JADE CARVING OF LYCHEES, the finely carved fruit attached to a leafy branch, the stone of even tone with some snowy white inclusions, Qianlong, 3.5”

The Lychee is symbolic of romance and love.

£40,000-£60,000

69


70. A CHINESE “PALE CELADON” JADE CENSER AND COVER, the domed cover and shallow cup-shaped body carved and pierced with branches of blossoming peonies, the upright handles similarly carved, on a circular foot carved with a simple band of lappets, the lustrous stone with some paler mottling, Qing, 7.5” across the handle This superb incense burner and cover may be compared to an example from The Palace Museum, Beijing (Gu100 440) illustrated as no. 228 in “China - The Three Emperors 1662-1795”, Exhibition Catalogue 12th November 2005 - 17th April 2006, the Royal Academy of Arts, London.

This style of openwork vessel became particularly popular towards the end of the Qianlong Emperors’ reign. The spirit of antiquarianism during his reign including a reinterpretation of the function of antiquities. The basic shape of this vessel refers back to the Western Zhou (1050-770BC), but shapes were assimilated and translated into an entirely new and highly original idiom during the Qing Dynasty when they were used for perfume or incense. The peony, which is the principal design feature of this vessel, is regarded by the Chinese as an emblem of wealth and distinction. As one of the four flowers of the seasons, together with the lotus, plum tree and chrysanthemum, the peony is the flower of spring. £30,000-£50,000

70


71. A CHINESE OR MOGHUL PALE CELADON JADE BOX AND COVER of trefoil form, the sides carved in low relief with a band of leafy flowering plants and the cover with three more complex plants in each lobe centred by a bud finial on a ground of three acanthus leaves, the translucent stone of pale celadon colour, 18th century, 3”. For related jade boxes see the “Catalogue of the Special Exhibition of Hindustan Jade in the National Palace Museum”, plate 59, pages 240-241 and “The Complete Collection of Treasures of the Palace Museum” Jadeware (III) no. 220, page 267. £6,000-£10,000

71


72. A FINE CHINESE “WHITE” JADE BRUSHWASHER carved as three chilong climbing over the rim of a lotus, the translucent stone of even colour with slight brown mottling and a lustrous polish, Qianlong, 4.5”

£12,000-£18,000

72


THE M AT H E S ON J ADE B OW L

73


73. A MAGNIFICENT CHINESE “SPINACH GREEN” JADE BOWL of exceptional proportions, the body carved with a continuous band of branches of peaches and blossom inhabited by bats and with two bosses carved with a bat swooping above two peaches attached to a leafy branch, the projecting handles with fruit and blossom and ringdrop handles, the stone of even tone with attractive lighter cloud-like markings and a lustrous polish, 17th/18th century, 14.5” across the handles, on a hardwood stand.

Provenance: The collection of Sir Kenneth Matheson.

 xhibited: Illustrated in a Spink & Son Exhibition E catalogue. The catalogue is undated, but was probably produced in the 1920’s or 1930’s. The bowl was attributed to the Kangxi period and priced at £475.

£80,000-£150,000

74


75


74. A CHINESE CELADON JADE “DRAGON” CUP STAND of rectangular form with a slightly recessed base and four canted corners, boldly carved and the interior with two writhing dragons amidst lingzhi scrolls flanking a central circular receptacle, the raised rim incised with a key pattern band, the highly polished translucent stone of mottled yellowish-green tone, late Ming, 8.25” wide. The present cup stand is almost identical to another in The Palace Museum illustrated in “The Complete Collection of Treasures of The Palace Museum”, Jade (II) no. 196.

£4,000-£6,000

76


treas u r es fr om the s umme r pala c e

77


The following lots (75–86) were acquired by Captain James Gunter and have descended from him to the vendors. Captain Gunter served with the King’s Dragoon Guards in China in 1860 and during this campaign he commanded “G” troop. Captain Gunter’s grandfather and namesake, James Gunter (1745–1819), was a confectioner, fruit grower and scientific gardener, and created one of the great residential estates of West London.

78


79


75. A SET OF CHINESE IVORY CHOPSTICKS, the scabbard finely engraved with a figure holding a fan in the shade of blossoming prunus and leafy shrubs and the reverse with a stag and a bat amidst cloud scrolls, the gilt metal mounts repoussé and chased with dragons amidst scrolls, within key pattern bands and the knife with an olive green jade handle, Qing, 12”.

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£400-£600

76. A SET OF CHINESE IVORY CHOPSTICKS finely engraved with a figure beneath leafy and blossoming trees, feathery leaves and fruit with chased gilt metal mounts, Qing, 11.5” long.

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£400-£600

77. A SET OF CHINESE IVORY CHOPSTICKS AND A KNIFE with an olive green jade handle, the wooden case with carved geometric decoration and gilt metal mounts chased and repoussé with chilong amidst scrolls on a stippled ground, Qing, 12” long.

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£400-£600

80


81


78. A CHINESE “WHITE” JADE CUSHION-SHAPED BOX AND COVER of rounded rectangular form, the stone of even tone with a lustrous polish, Qianlong, 2.5”

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£10,000-£20,000

82


79. A CHINESE JADEITE BELT HOOK of archaistic form carved as a chilong with protruding eyes, the upper section of the stone of good apple green colour, the lower part white, Qianlong, 3.75”, retaining the base of the original silk-lined case.

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£4,000-£6,000

83


80. A FINE CHINESE CELADON JADE “CHIME” of archaistic form carved as a stylised double headed dragon with panels of dedicatory script, the translucent stone of olive green tone with some russet inclusions, Qianlong, 4.5”

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent. The inscriptions include an apocryphal mark “Made in the Jian’an year (196-220)”. Another inscription describes the sound of the jade chime when one strikes it and the seal reads “forever safekeeping”.

£5,000-£10,000

84


85


81. A MAGNIFICENT CHINESE “YELLOW” JADE PENDANT carved as an archaistic dragon with finely carved and incised detail, the stone of even yellow tone with a lustrous polish, Qianlong, 5” x 4.75”

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£30,000-£50,000

86


87


82. A CHINESE “WHITE” JADE VASE with a dragon climbing around the elongated bottle-shaped body, the cover carved with a key-pattern band and surmounted by a seated buddhistic lion with a bushy tail, Qianlong, 5.75” high.

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£1,000-£2,000

88


89


83. AN EXCEPTIONAL CHINESE “WHITE” JADE VASE, the flattened baluster body carved with emblems and characters amidst stylised blossoming foliage, the neck with a band of archaistic stylised leaves containing scrolls and with mask and ring handles carved as mystical beasts, the foot with a key pattern band, the stone of even tone with very slight brown markings with a lustrous polish, Qianlong, 8.25” high.

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent.

£50,000-£100,000

90


91


84. A CHINESE “WHITE” JADE BOWL, the handles formed as two hydra climbing over the rim, the long scrolling tails wrapping around the body, the stone of even tone with slight brown markings and with a lustrous polish, Qianlong, 5.25” across the handles,

Provenance: The Summer Palace.

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent. This cup may be compared to a smaller example in the Qing Court Collection attributed to the Ming Dynasty illustrated as plate 190 in “The Complete Collection of Treasures of the Palace Museum”, Jadeware (II), published Hong Kong 1995.

£10,000-£20,000

92


93


85. AN EXCEPTIONAL CHINESE “WHITE” JADE CUP AND SAUCER, the cup with scroll handles surmounted by recumbent stags and the body finely carved with a band of pendant tassels around the rim, the saucer in the form of a lotus with a raised central section carved with a “shou” emblem and the rim with a key pattern border, the stone of pure and even tone and with a lustrous polish, Qianlong. The saucer 5.25” wide and the cup 4.5” across the handles (2).

Provenance: The Summer Palace.

This exquisite cup and saucer may be compared to a similar example in the Qing Court Collection illustrated as plate 106 in “The Complete Collection of Treasures at The Palace Museum”, Jadeware (III), published in Hong Kong in 1995. The stag symbolises longevity and is said to be the only animal capable of finding the sacred “Fungus of Immortality”. In Chinese art the deer is depicted with court officials and it is said that this signifies a wish for fame, recognition and a long successful career. £100,000-£200,000

Captain James Gunter of the Kings Dragoon Guards, who was in command of “G” Troop in China in 1860 and thence by descent. 

94


95


96


97


86. A FINE GEORGE III GOLD, ENAMEL AND DIAMOND-SET WATCH made for the Chinese market, signed “William Anthony, London, no. 1751”, the exterior of the case set with a central rosecut diamond within a border of diamond-set leaves with diamonds between, on a damascened blue enamel ground and enclosed by subsidiary enamelled border picked out in duck egg blue, red and white, the outer border set with two bands of seed pearls and the suspension loop with conforming decoration, the white enamel dial with a sweep seconds hand and Roman numerals in black with Arabic numerals 15, 30, 45 and 60 at the quarters, enclosed by a double border of seed pearls, London 1796, 95mm, together with a key enamelled with a young girl with a bird in a basket on one side and a kneeling boy on the other, in a fitted case.

Provenance: The Summer Palace 1860.

The interior of the watch with an inscription indicating that it was acquired by Captain James Gunter of the Kings Dragoon Guards in October 1860 William Anthony (1765-1844) worked in Red Lion Street, St. John’s Square, Clerkenwell, and specialised in watches for the Chinese market. This example is particularly magnificent and on a large scale. It was almost certainly given as tribute to the Emperor Qianlong by the English Royal Family during the reign of King George III, but it post-dates the Macartney Embassy to Beijing of 1793 by three years. The Emperor Qianlong was well known for his passion for European works of art and his particular fondness for watches, which he considered amongst his most cherished possessions.

£50,000-100,000 98


99


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Duke’s AUCTIONEERS SINCE 1823

GLOSSARY OF CATALOGUING TERMS The auctioneers are always pleased to discussed individual lots with prospective purchasers prior to the auction and will provide condition reports on request. Please bear in mind, however, that condition reports are subjective and we earnestly request potential purchasers to inspect personally any lot on which they intend to bid. Use of inverted commas around a word, or phrase, indicates that the piece, or object, may not be what it is purporting to be, or it may be an old-fashioned term of art no longer in use. If you are in doubt, our specialists are available prior to the auction to offer guidance and advice. With 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 inspect personally any items on which they intend to bid to ensure the colour meets with their expectation. Measurements are all approximate and should be verified by intending purchasers. Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements are statements of opinion and not to be taken as statements, or representations, of fact. Duke’s reserve the right, in forming their opinion, to consult and rely upon any expert, or authority, reasonably considered by them to be reliable. PAINTINGS, DRAWINGS AND PRINTS

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

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Duke’s AUCTIONEERS SINCE 1823

CONDITIONS OF SALE Duke’s carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1 DEFINITIONS In these Conditions: (a) “auctioneer” means the firm of Duke’s or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Duke’s accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2 BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3 INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4 THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon of 19.5% plus VAT on the premium at the rate imposed by law. 5 VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. *VAT payable at 5.00% on the hammer price and 17.5% on the buyers premium. 6 PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in cash or in such other way as is agreed by us. (2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7 TITLE AND COLLECTION OF PURCHASES (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (3) No purchase can be claimed or removed until it has been paid for. 8 REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (f) to retain that or any other Lot sold to you until you pay the total amount due;

(g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9 THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. 10 COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11 WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12 AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13 TERMS OF SALE The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14 DESCRIPTIONS AND CONDITION (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15 FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. 16 GENERAL We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (1) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. (3) Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (4) Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. (5) Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. (6) English law applies to the interpretation of these Conditions.

Live Bidding Duke’s Auctioneers offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale. You will be asked for a deposit to bid online at this auction. In completing the bidder registration on www.the-saleroom.com and providing your credit card details (unless alternative arrangements are agreed with Duke’s Auctioneers) you: 1. authorise Duke’s Auctioneers, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and 2. confirm that you are authorised to provide these credit card details to Duke’s Auctioneers through www.the-saleroom.com and agree that Duke’s Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale. Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price. It will not be possible to bid on premium lots ● online. Clicking the bid button is a commitment to buy. Important notice regarding registration If you wish to bid at this auction you will need to register and provide proof of identity. If you intend to bid on premium lots marked with a ● you will be required to pay a deposit, which will be refunded within 7 working days (without interest) if you are not successful. For more information and a registration form please contact the auction.

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Duke’s AUCTIONEERS SINCE 1823

BIDDING FORM I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part. I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue.

Name...................................................................................................

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Lot No:-

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£’s

Lot No:-

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101

103


Duke’s AUCTIONEERS SINCE 1823

BIDDING FORM I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part. I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue.

Name...................................................................................................

Tel.........................................................................................................

Address...............................................................................................

Mobile................................................................................................

..................................................................................................................

Signed.................................................................................................

Lot No:-

£’s

£’s

Lot No:-

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101

104


Duke’s AUCTIONEERS SINCE 1823

8


Duke's Summer Palace