Fine Asian & Islamic Works of Art | Auction 05 November 2021

FINE ASIAN & ISLAMIC WORKS OF ART 5TH NOVEMBER 2021 LIVE ONLINE | LONDON

FINE ASIAN & ISLAMIC WORKS OF ART FRIDAY 05 NOVEMBER AT 10AM Sale Number LT658 LIVE ONLINE

CONTACT LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com

VIEWING IN LONDON BY APPOINTMENT 22 Connaught Street London W2 2AF Friday 29th October 10am-5pm until Thursday 4th November 10am-5pm Day of sale - closed for viewing Viewing slots are one hour long, one person per slot LIVE ONLINE WITH BIDDING BY TELEPHONE, COMMISSION AND LIVE BIDDING ONLY

BOOK A VIEWING APPOINTMENT Front Cover Lot 229 [detail]

Inside Front Cover Lot 298

To book a viewing time please either CALL +44 (0) 207 930 9115 EMAIL info@lyonandturnbull.com BOOK ONLINE www.lyonandturnbull.com/appointment-bookings

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BUYER'S GUIDE

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

BIDDING LIMITS

ENDANGERED SPECIES

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £7,000 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www.defra.gov.uk/ ahvla-en/imports-exports/cites

BIDDING & PAYMENT

COLLECTION OF PURCHASED LOTS

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. Please note no cash payments will be accepted for this auction.

FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS

25% up to £300,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue). ADDITIONAL VAT †V AT at the standard rate payable on the hammer price ‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. No VAT is payable on the hammer price or premium for books bought at auction. REGISTRATION All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration: 1– G overnment issued photo ID (Passport/Driving licence) 2– P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction. CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale. IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

STORAGE: Items will be stored 22 Connaught Street, until Thursday 18th November at 12 midday. Thereafter we will store items at Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Tuesday 23rd November. Please ensure payment has been made prior to collection. This can be done online, cheque, bank transfer or in person at our London office - details will be shown on your invoice also. Please note we are unable to accept cash or payments over the phone. COST: Please note from Tuesday 23rd November you will be charged by our storage partners. Insurance 0.25% (all items) Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Furniture pieces - £5.50 admin fee then £2.50 per day. FOR SCOTTISH BUYERS STORAGE: Items will be stored 22 Connaught Street, until Thursday 18th November at 12 midday. Thereafter items will be transported to our Edinburgh saleroom and will be available to collect from 9am on Monday 13th December. Due to social distancing requirements all collections will be by appointment only (this applies to both carriers and personal collections). CALL 0131 557 8844 EMAIL info@lyonandturnbull.com

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MEET THE SPECIALISTS At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Grace Tu Head of Sale & Asian Art Specialist grace.tu@lyonandturnbull.com

Dr. Tsai Yiing Ing Junior Specialist & Administrator tsai.yiinging@lyonandturnbull.com

Lily Streatfeild Sale Administrator lily.streatfeild@lyonandturnbull.com

禮昂騰博拍賣會 亞洲部門 微信號: ID: Lyonandturnbull1826

買家指南

此次拍賣按照本公司的銷售條款舉辦（請參考每本圖錄末尾及本公司網站）。 如果這是您第一次參加拍賣，我們很樂意爲您提供建議。 買家佣金及其他費用

買家需支付拍賣落槌價和佣金，佣金比率如下： 300,000英鎊以内的拍品佣金為25%；

300,000英鎊之後的拍品佣金為20%。

佣金的增值稅將根據法律規定的稅率收取；

增值稅將按照法律規定的稅率收取（請參閲我們的銷 售條款）。 增值稅

†符號表示買家需支付拍賣落槌價的增值稅，依照法 律規定的稅率。

‡符號表示買家需額外支付拍賣落槌價5%的進口稅 （已降低）。 Ω符號表示買家需額外支付拍賣落槌價的標準進口 稅，依照法律規定的稅率。

所有標注【‡】及【Ω】的拍品將可能需進一步遵守進出 口條約，詳情請參閲此圖錄末尾的買家須知‘Buyers Section D.2’ 所有書籍類拍品無需支付增值稅。 提貨

拍品的包裝、運輸和保險僅限於買方 圖錄描述

所有拍品描述、尺寸和估價僅供參考。 買方有責任在 投標前檢查所有拍品，以確保拍品條件令其滿意。 我 們的專家將很樂意爲您準備品相報告和其他圖片。 這 些資料僅供參考，所有拍品均根據我們的銷售條件“ 按原樣”出售。 進/出口

買家需注意有些國家禁止含有瀕危物種成分的產品 進口，譬如犀牛角、象牙、珊瑚和玳瑁等。 因此，若買家 打算將貨物進口到另一個國家，則應在競拍前熟悉所 有相關的海關條規。 買方有責任取得任何相關的進出 口許可證。 無法獲得許可證不能成爲拖延付款的理 由。

瀕危品種

請注意有Y記號的拍品在運往歐盟以外地區可能受 到CITES條款的約束。 欲了解更多信息，請查詢www. defra.gov.uk/ahvla-en/imports-exports/cites 取貨與倉儲 國際買家及英國境內的非蘇格蘭買家

倉儲：截至11月18日星期四中午12點之前，拍品將存 放於22 Connaught Street。

客戶務必提前預約到本公司倫敦藝廊及辦事處提貨。 提貨時間：周一至周五，早上十點半到下午四點。 預約請撥打0207 930 9115，或電郵 london@ lyonandturnbull.com。 沒預約恕不受理。 注：拍賣日不開放提貨。

此後，拍品將儲存在 Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD。 電話+44(0)20 8832 2222。 買家可在11月23日星 期二上午9點開始於此倉儲地點取貨。

請確保在取貨之前已完成付款。 買家可通過在線支 付、支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完 成付款。 詳細信息也將顯示在您的發票上。 敬請注意， 我們無法通過電話接受付款。 費用：敬請注意，自11月23日星期二起，我們的倉儲合 作夥伴將向您收取費用。

小件拍品（繪畫和物件）- £2.50 手續費，然後每天增收 £1.00 傢俱及大型物件 - £5.50手續費，然後每天增收£2.50 蘇格蘭買家

倉儲：截至11月18日星期四中午12點之前，拍品將存 放於22 Connaught Street。

此後，拍品將被運送到本公司位於愛丁堡的辦公室。 買家可在12月13日星期一上午9點開始於此地取貨。 提貨時間：周一至周五，早上九點到下午五點。 預約請 撥打0131 557 8844，或電郵 info@lyonandturnbull. com。 沒預約恕不受理。

請確保在取貨之前已完成付款。 買家可通過在線支 付、支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完 成付款 –詳細信息也將顯示在您的發票上。 敬請注意， 我們無法通過電話接受付款。

競拍和付款指南 競拍註冊

所有買家必須在競拍前註冊。 註冊 信息可以親自在我們的前台，或通 過電子郵件、傳真或訪問本公司網 站提交。 請注意所有首次參加禮昂 騰博拍賣的競拍者都需要提供以下 材料以便進行註冊： 1. 由政府機關簽發的身份證件（護 照或駕照）； 2. 地址證明（水電煤帳單或銀行對 帳單）

我們有可能在拍賣前要求客戶提供 銀行證明或押金。 通過辦理競拍註 冊，買方承認他/她已閲讀、理解並 接受我們的銷售條款（可在圖錄末 尾和本公司網站查閲）。 競拍

已通過注冊的買家將獲取特殊買家 編號。 第一口出價被接受後，拍賣 官將詢問更高出價，每口叫價由拍 賣官決定。 出售的拍品將記錄在成 功競投者的賬單上，其名字及地址 將依據競拍注冊呈交的資料，並不 可轉讓。 競拍出價上限

本次拍賣出價上限為7,000英鎊。 欲 花費（落槌價）超過此上限，請於拍 賣前填寫並呈交出價上調表格，我 們將向您索取銀行證明或押金。

所有新客戶將被索取銀行證明及兩 千英鎊（£2,000）押金。

線上拍賣

此次拍賣不設現場競拍。 電話競拍

買家可以通過電話參與本公司拍 賣，此次拍賣只接受最低估價至少 3,000英鎊或以上的拍品進行電話 競標。 由於電話線路數量有限，必須 提前預訂，並最遲在2021年11月4 日（周四）之前申請註冊。 所有電話 競拍必須進行書面形式註冊，列出 欲競拍的拍品號碼和買家的電話號 碼。 我們建議您預留最高出價，在 電話無法撥通的情況下有備無患。 我們無法保證會有足夠的電話線， 或者可以在拍賣時接通電話，但會 盡我們所能進行安排。 此服務是本 公司自願提供，風險則必須由買家 承擔。 書面競拍

競拍表格可以在本公司官網取得。 填寫完的表格應在拍賣前儘快以郵 寄、傳真或電郵的方式提交。 我們將 代表您在最高限額的範圍内出價。 如果收到兩個相同的出價，則第一 位提交出價的買方有優先權。 所有 出價必須在拍賣前一小時收到。 此 項服務風險由買家承擔。 網路競拍

本公司網站刊登完整的拍賣圖錄。 競拍者可通過網站留下缺席投標， 並將收到本公司電子郵件確認其 投標。 買家也可通過本公司網站注冊在線 競拍，只需點擊拍賣日程，相關拍賣 會或任何一項拍品，并完成注冊。 相 同管道，買家亦可下載實時出價軟 件L&T Live（禮昂騰博在線） ，此項 服務不收取額外費用。 我們的在線 出價合作平臺為Invaluable、TheSaleroom、LiveAuctioneers、聯拍 在線以及易拍在線，此項服務額外 徵收費用。

付款

付款必須在拍賣後七日内完成。 在 收到全額付款之前，買家無法提貨。 付款可以通過以下方式進行： 銀行轉帳

本公司帳號信息可在拍賣帳單上查 詢，或向公司財務部門索取。 信用卡或借記卡

可以通過Visa Debit、Maestro、 Mastercard、Visa 或銀聯信用卡付 款。

銀聯只允許信用卡持有者在場的情 況下現場支付。 我們無法接受銀聯 電話及線上支付。 網上付款

本公司無法通過電話接受信用卡 付款。 請使用我們的在線支付服務 （由Opayo提供）。 您能透過本公司 發給您的電子郵電帳單中找到付款 鏈接，或者您可登錄本公司網站完 成支付。 支票

支票應簽發給禮昂騰博公司。 買家 只有在本公司成功兌現支票后才能 提貨。 買家也可以要求在拍賣前就 簽發支票。 本公司不接受第三方提 供的支票。 若通過郵寄支付，請包括 拍賣帳單上的憑單。 現金

由於2019冠狀病毒於英國爆發，出 於安全及衛生考量，此次拍賣不接 受現金支付。

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ORDER OF SALE Lot No. 1-53

SCENTED WOMEN Including A Private English Collection of Pith Paintings & Fans (lots 27-36) and A Private Scottish Collection of Lady’s Costume (lots 37-44)

54-80

Works of Art & Metalwares

81-124

Jade & Hardstones

125-132

Paintings & Works on Paper

133-282

Ceramics Including A Private Scottish Collection of Blue and White Wares (lots 208-212) and A Private English Collection of Famille Rose and Famille Verte Wares (lots 217- 231)

283-316

Japanese Art Including A Private Scottish Collection of Japanese prints (lots 294-316)

317-323

Korean & Southeast Asian Works of Art

324-327

Islamic Works of Art

328-331

Indian Art

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SCENTED WOMEN 女人.香 - The incense culture and female life in Chinese society -

For thousands of years, incense has been used in China not only for religious ceremonies but as an artistic element in daily life. Since Neolithic times, Chinese people burnt stones and wood for aromatherapy. Once more spices were introduced to China through the Silk Road during the Han dynasty (202BC – AD220), incense became widely used by nobility, literati and upper-class women in their daily life. Thought to nourish the mind as well as the spirit, incense became an aid for reading and contemplation as well as part of traditional medicine, meditation, and religious rituals. To use incense was considered elegant. During the Tang Dynasty (618-907), fragrance had become a fashion symbol for aristocratic women. As recorded in Meng Liang Lu, by Southern Song Dynasty (1127-1279) literati Wu Zimu, appreciating incense was considered one of four “graceful daily things” along with tasting the tea, creating floral decorations, and arranging paintings on walls. Scented Women is a curated selection of works of art related to incense culture and female life in Chinese society. For the practice of incense ritual, we include “Three Friends of Incense”- the incense tool vase (lots 4-6), incense burner (lots 7-11, 14, 15, 17-19, 22, 25, 26), and incense powder box (lot 12, 21, 23, 24). Lot 2 is an interesting square marble-inset stand which would have allowed the “three friends of incense” to be moved around the home as shown in the 18th century woodblocks of the novel Jin Ping Mei. Scented Women also features a number of interesting private collections including a group of 19th century Qing dynasty decorative fans (lots 29-36) followed by a series of beautiful, embroidered lady’s costume also dating from late 19th century China (lots 37-44). A collection of vibrant pith paintings depict Qing dynasty aristocratic women at court (lot 28) and paintings on various ceramics wares (lots 48-53) also gives us insight into historic Chinese women’s life.

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1 BRONZE RETICULATED INCENSE BURNER HAN DYNASTY 漢 銅鏤空香薰

the disc censer supported on a stepped stem foot issuing from a swirling ornament, the hemispherical cover cast in openwork as a mountain range surmounted by a phoenix with broken hinges, with a Japanese tomobako wooden box 11.2cm high Provenance: Private Taiwanese collection

£1,200-1,800

2 MARBLE-INSET ZITAN CORNER-LEG STAND QING DYNASTY, 18TH-19TH CENTURY 清 紫檀嵌大理石香座

the pale grey and white variegated marble top set in the moulded, rectangular frame above a narrow waist, the top supported on elegantly carved and beaded cabriole legs terminating in slightly incurved feet joined by a continuous base stretcher of conforming shape 22cm wide x 7.8cm high x 12.5cm deep Provenance: Private Taiwanese collection Note: Christie’s Elevated Beauty: Fine Chinese Display Stands from An Important Private American Collection sale on 17 Sep 2015, lot 1019

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Durable, easy to clean, resistant to both fire and water, marble-inset tops provided protection to surfaces from daily activities such as the burning of incense or pouring of wine. Portable examples, such as the present stand, would have been easily transported from the garden to the scholar’s studio and would have been essential to everyday life.

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3 BRONZE INCENSE ‘DEITY ON STAG’ BURNER MING DYNASTY, 17TH CENTURY 明 銅仙人騎鹿香薰

the horned stag depicted in a standing posture, the bewhiskered male deity sat on the back of the stag and holding a scroll in his left hand, the figure loosely fitted on the hollow-moulded animal, allowing the perfume or smoke to evaporate through the gap 18cm wide

£600-800

4 BRONZE ‘GU’ INCENSE HOLDER QING DYNASTY, 18TH19TH CENTURY 清 銅鑄觚式香瓶

of archaic ’gu’ form, supported on a stepped foot, the cylindrical body topped with a long neck terminating to an everted rim, the neck moulded with two raised bands 10cm high, 168g Provenance: Private London collection

£300-500

5 ARCHAIC STYLE BRONZE ‘CICADA’ INCENSE VASE MING TO QING DYNASTY, 17TH-18TH CENTURY 明末清初 仿古銅蟬紋香瓶

the bulbous body supported on a tall splayed foot and terminating to an everted rim, the body finely moulded in low relief with four sets of cicada motifs, a band of key-fret patterns adorned the foot, whilst another band of archaic patterns decorated the neck 10.6cm high; 193g

£400-600

6 ARCHAIC STYLE BRONZE ‘ZHI’ INCENSE VASE SONG DYNASTY

宋 仿青銅觶形香瓶

of archaic bronze ‘zhi’ form, the bulbous body supported on a tall splayed foot and terminating to an everted lipped rim, the neck finely engraved with three sets of double lines 15cm high

£600-800

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7 GILT-BRONZE CENSER QING DYNASTY, 18TH-19TH CENTURY 清 宣德款 銅鑄獅獸耳香爐

of compressed globular form, rising from a short foot to gently flared rim, flanked by lion heads as handles to both sides, the base cast with a six-character apocryphal Xuande mark 13cm wide; 617g

£2,000-3,000

8 BRONZE TRIPOD CENSER QING DYNASTY, 17TH-18TH CENTURY 清 家藏珍寶款 銅鑄香爐

the heavily cast body of compressed globular form, supported on three short feet and terminating to a lipped rim, set with a pair of ring handles, the base with a ‘Jia Cang Zhen Bao’ mark in a recessed square panel 13cm wide; 951g Provenance: Private London collection

£800-1,200

9 BRONZE TRIPOD CENSER XUANDE MARK, QING DYNASTY, 19TH CENTURY

清‘大明宣德五年監製工部官臣吳邦佐 造’款 銅鑄沖耳三足爐

the compressed bulbous body with a pair of vertical looped handles raised on three short conical feet, the base cast with a sixteen-character Xuande mark 19cm wide

£2,000-3,000

10 BRONZE ‘LION HEAD’ CENSER 宣德款 銅鑄獅耳香爐

of compressed globular form, supported on a short splayed foot and terminating to an everted mouth rim, the shoulder applied with a pair of well modelled lion-head handles, the base cast with a two-character apocryphal Xuande mark within a recessed panel 15cm wide; 1578g

£300-500

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11 LARGE BRONZE INCENSE BURNER XUANDE MARK, QING DYNASTY, 18TH CENTURY 清 宣德款 銅鑄大香爐

of compressed globular form, the body supported on a splayed foot and extending to a short neck with lipped rim, the base cast with a six-character apocryphal Xuande mark in a recess rectangular panel 28.5cm wide, 5.5kg

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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13 YELLOWISH PALE CELADON JADE CENSER WITH COVER

12 GROUP OF THREE QINGBAI BOXES AND COVERS SONG DYNASTY

宋 影青花卉紋香盒（一組三件）

each box with a domed cover impressed with different flower patterns, both the exterior and partial interior covered in a thin, translucent bluish-white glaze with a hint of a greyish tone, leaving the rims and base uncovered, exposing the white porcelain body (3)

QING DYNASTY, 19TH CENTURY 清 青白玉偏黃雕香薰帶蓋

the globular body supported on a splayed foot, each side carved in low relief with a pair of phoenixes, the shoulder flanked by a pair of dragon-head handles, the domed cover centered by a pointed crown-shaped finial and carved with four circular flower-head roundels in openwork, the pale celadon stone with yellowish tinge and russet inclusions 14.5cm wide

largest: 7.2cm diameter

Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

£400-600

£1,200-1,800

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15

LONGQUAN CELADON ‘BAMBOO’ CENSER

LONGQUAN CELADON-GLAZED TRIPOD CENSER

MING DYNASTY, 16TH CENTURY

MING DYNASTY, 15TH CENTURY

the tapering cylindrical body supported on a disc-shaped base and further adorned with three tiny feet, the body moulded with two raised ridges in imitation of bamboo section, the exterior covered in an olive-green glaze with a fine network of craquelure, leaving the interior and the base unglazed showing the buff body with orange tinge

sturdily potted with a compressed bulbous body, supported on three lion-head feet to a waisted neck and everted rim, the exterior of the body carved with double-line trellis pattern, covered overall in glossy celadon glaze

明 龍泉青釉竹節紋香爐

11.1cm diameter

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

明 龍泉青釉三足香爐

26.3cm diameter Provenance: Private English collection, Brighton, acquired from Wing Kei Curios & Porcelain, Hong Kong（永基古玩瓷器）on 7 April, 1994, with an original receipt stated the piece dated to the Ming dynasty (1465-1487)

£400-600

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16 LONGQUAN CELADON-GLAZED ‘LUDUAN’ INCENSE BURNER MING DYNASTY, 16TH-17TH CENTURY 明 龍泉青釉甪端形香薰

the mythical beast standing four-square, its round body carved with swirls issuing flames, the cover shaped as the animal’s head surmounted by a single curved horn, the mouth agape and curling mane below its chin, with bulging eyes and a snout-like nose, applied overall with a lustrous green glaze, with some kintsugi restoration, with an old Japanese wooden tomobako box 15.2cm high Provenance: Private Taiwanese collection, acquired from Japan

£1,200-1,800

17 LONGQUAN CELADON TRIPOD CENSER MING DYNASTY, 16TH CENTUYR 明 龍泉青釉三足爐

the cylindrical body supported on three tiny cabriole feet, the body slightly tapering out to a lipped rim, the centre of the base with a raised circular disc, the vessel covered overall with an olive-green glaze 10.1cm diameter

£400-600

18 BROWN-GLAZED ‘BRONZE IMITATION’ INCENSE BURNER QING DYNASTY, 18TH CENTURY 清 褐釉仿銅雙耳香爐連座

the censer moulded with a fixed tripod stand in circular form, the compressed globular body terminating to an everted rim, a pair of loop handles attached to either side, the exterior and the outer base covered overall with a glossy bronze glaze, the interior and centre of the base unglazed, revealing the greyish stoneware body 16cm wide

£400-600

19 LARGE LONGQUAN CELADON-GLAZED TRIPOD CENSER MING DYNASTY, 16TH-17TH CENTURY 明 龍泉窰青釉弦紋三足大香爐

sturdily potted with a compressed bulbous body, supported on three lion-head feet to an inverted rim, the exterior of the body carved with horizontal bands and freestyle circles in between, parallel wavy lines to the neck, covered overall in olive green celadon glaze 36.5cm diameter Provenance: Private English collection, acquired in London between 1980-90s

£800-1,200

14

20 TWO DEHUA INCENSE HOLDERS QING DYNASTY, 19TH CENTURY 清 德化立柱型香插（一組兩件）

each finely moulded on a tall stand, the square-column body extended toward a wide shoulder, terminating to a square top adorned with a four-petal flower in relief, each side of the stand engraved with ruyi clouds, the edge of the body elegantly engraved with lines (2) 11.8cm high each

£400-600

21 BLUE AND WHITE BOX WITH COVER LATE MING TO QING DYNASTY, 17TH CENTURY 明末清初 青花蟠桃紋小香盒

the domed cover painted with two peaches on a leafy branch, the exterior of the box painted with lingzhi fungus 5.3cm diameter

£400-600

22 GE-TYPE CRACKLE-GLAZED TRIPOD CENSER QING DYNASTY, 18TH-19TH CENTURY 清 仿哥釉筒式爐

of cylindrical form, supported on three feet, the body covered overall with a soft creamy-greyish glaze suffused with a fine russet crackle, leaving only the base unglazed, revealing the buff body, with a Japanese tomobako wooden box 7.2cm diameter

£400-600

23 WUCAI CIRCULAR BOX AND COVER MING DYNASTY, 16TH CENTURY 明 漳州窯五彩香盒

supported on a short foot, the domed cover naively painted with one large red circle with a band of green ring in the centre and flanked by three smaller ones, all against a geometric pattern in red, the exterior of the box similarly painted with three circles in a mirrored position 9.2cm diameter

£400-600

15

24 QINGBAI PORCELAIN ‘PHOENIXES’ BOX AND COVER SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY 南宋 青白釉雙鳳紋圓蓋盒

the domed cover impressed with a pair of phoenixes in flight, the box overall covered in a thin, translucent bluish-white glaze with a hint of a grey tone, leaving the rims and base uncovered, exposing the white porcelain body, with a wooden box 9.5cm diameter Provenance: Private Taiwanese collection

£1,000-1,500

25 BLUE AND WHITE ‘DING’ CENSER QING DYNASTY, JIAQING PERIOD

清嘉慶 青花纏枝蓮紋方鼎式帶耳香爐

of rectangular form, supported on four sturdy feet and extending to a recessed neck terminating to stepped mouth rim, painted overall with lotus in swirling tendrils, either side fitted with a removable splaying handle in a rectangular aperture 27cm high (including ears)

£400-600

26 WHITE-GLAZED CARVED ‘DAFFODILL’ INCENSE BURNER QING DYNASTY, 18TH CENTURY 清 白釉刻水仙花簋式爐

the bulbous supported on a short foot, the exterior freely carved with leafy daffodill flowers below a band of triangular pattern around the rim, covered overall with a creamy white glaze with ivory tinge, leaving only the mouth rim and foot ring unglazed, with a fitted wooden stand 10.2cm wide Provenance: Private collection, Hertfordshire

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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A PRIVATE ENGLISH COLLECTION

17

27 PAIR OF ‘BUTTERFLY AND FLOWER’ PAINTINGS ON PITH PAPER QING DYNASTY, 19TH CENTURY

清 廣東外銷蝶戀花通草畫含框（一組兩件） gouache on pith paper, each depicting a butterfly fluttering around exotic flowers, in gilt wooden frame (2) 18.2cm x 30cm; 29.5cm x 41.2cm with frame

£500-700

28 ALBUM OF SEVENTEEN FINE PAINTINGS ON PITH PAPER QING DYNASTY, 19TH CENTURY 清 廣東外銷各式人物通草畫

comprising: twelve paintings of female and male dignitaries clad in ornate court costumes and five paintings of street vendors largest: 31cm x 19.5cm; album: 37.8cm x 29.5cm

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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29 CANTON LACQUERED AND PAPER ‘BIRDS AND FLOWERS’ FAN WITH BOX QING DYNASTY, 19TH CENTURY

清 黑漆描金開光花鳥人物紋摺扇（帶漆盒）

the fan leaves brightly painted on both sides with birds and flowers, figures amongst pavilions or landscape in cartouches, each figure with finely detailed faces and applied silk clothing, the guards and sticks gilt-lacquer decorated against a black ground with small figures, with a fitted lacquer box 28cm high; box: 33cm wide

£1,000-1,500

Reverse

30 CANTON LACQUERED AND PAPER ‘LANDSCAPE’ FAN QING DYNASTY, MID-19TH CENTURY 清 黑漆描金山水人物紋折扇

the black lacquer guards decorated in gilt with figures in landscapes and floral motifs, the paper leaves painted to one side with small figures in a mountainous landscape along river banks, the other side with ‘thousand faces’ design with scenes of courtiers and attendants

Reverse

27cm high

31 CANTON LACQUERED AND PAPER ‘BIRDS AND FLOWERS’ ARTICULATED FAN

£800-1,200

QING DYNASTY, MID-19TH CENTURY 清 黑漆描金花鳥人物紋階梯式折扇

the black lacquer guards decorated in gilt with small figures in a landscape setting, the paper leaves painted to one side with birds and butterflies with flowers, the other side with ‘thousand faces’ design with small figures in a garden setting, the sticks with articulated design and gilt-lacquer decorated with figures gathering in a garden in two cartouches 30cm high

Reverse

32 CANTON LACQUERED AND PAPER ‘THOUSAND FACES’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金人物紋摺扇（含框）

the fan leaves brightly painted on one side with small figures amongst pavilions or landscape, each figure with finely detailed faces and applied silk clothing, the guards and sticks gilt-lacquer decorated against a black ground with small figures, mounted in an acrylic case fan: 24cm high; acrylic case: 59cm wide

£500-700

£700-900

19

33

Y

LARGE CANTON IVORY CARVING AND EMBROIDERY ON SILK FAN WITH BOX QING DYNASTY, 19TH CENTURY

清 象牙雕絲面刺繡花鳥圖折扇（帶漆盒） the silk fan leaves finely embroidered on both sides with birds and flowers, the guards finely carved in high relief with small figures amongst pavilions or landscape, the central six sticks out of the fourteen carved in openwork with small figures in a bamboo groove, with a fitted gilt-paint lacquer box 33.5cm high; box: 40cm wide

£1,200-1,800

34 LARGE LACQUERED AND PAPER ‘BIRD WITH FLOWER’ FAN QING DYNASTY, MID-19TH CENTURY 清 黑漆描金花鳥人物紋大折扇

the black lacquer guards decorated in gilt and red with small houses in a landscape setting, the paper leaves painted to one side with a large bird with peonies against a silvery ground, the other side with ‘thousand faces’ design with various small figures in a garden setting 41.5cm high

Reverse

£1,000-1,500

35 CANTON LACQUERED AND PAPER ‘THOUSAND FACES’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金紙面人物圖摺扇

the fan leaves brightly painted on both sides with figures amongst elaborate terraced pavilions, each figure with finely detailed faces and applied silk clothing, the guards and sticks decorated in gilt-lacquer with flowers in tendrils the guard: 25.5cm high

£500-700

36 CANTON LACQUERED AND PAPER ‘TELESCOPIC’ FAN QING DYNASTY, MID-19TH CENTURY 清 黑漆描金紙面人物圖伸縮扇

the fan leaves brightly painted on both sides with figures amongst elaborate terraced pavilions, each figure with finely detailed faces and applied silk clothing, the guards and sticks gilt-lacquer with small figures in a garden setting, the paper leaves could be moved up and down to expand the dimension of the fan 22.5cm high (shorter); 28cm high (expanded)

Reverse

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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A PRIVATE SCOTTISH COLLECTION AQUIRED IN BEIJING, 1981

37 MIDNIGHT-BLUE-GROUND SILK EMBROIDERED LADY’S OVERCOAT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 深藍地刺繡蝶戀花紋對襟外套

embroidered with evenly spaced butterflies amongst floral sprays and fruits, the sleeves finished with borders in beige silk finely decorated with peony sprays and double-gourds, lined in pale turquoise silk 146cm across shoulder, 105cm long

£400-600

38 HAN CHINESE WOMAN’S EMBROIDERED GREEN SILK PLEATED SKIRT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 綠地盤金刺繡博古紋馬面裙

the green-ground silk damask patterned with Eight-Auspicious motifs and key-fret, the front and back panels with gold-thread couching of Hundred Antiques with vases subtly enhanced by Peking Knot in blue, hemmed with black satin, topped with original white cotton waistband 97.4cm long overall

£300-500

39 HAN CHINESE WOMAN’S EMBROIDERED PERSIMMON SILK PLEATED SKIRT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 醬地刺繡蝴蝶牡丹紋馬面裙

the front and back panels embroidered in Peking Knot with peonies enclosed by flowers and butterflies, the hem covered in black satin decorated with stylised butterflies and flowers, a broad blue cotton waistband to the upper border, the back with blue silk lining 100cm long overall

£300-500

40 HAN CHINESE WOMAN’S EMBROIDERED RED SILK PLEATED SKIRT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 紅地刺繡蝴蝶牡丹紋馬面裙

the front and back panels embroidered in Peking knot with luscious peonies and butterflies, with black satin trim embroidered with sprays of flower in shades of blue, a wide cotton band to the upper border with inscriptions ‘wan’ (萬) ‘shi’er yue’ (十二月), backed with olive green silk lining 96cm long overall

£300-500

21

41 PERSIMMON-GROUND SILK EMBROIDERED LADY’S OVERCOAT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 醬地刺繡百蝶紋對襟外套

the three-quarter length jacket is embroidered with colourful butterflies all over, hemmed with ivory coloured bands depicting an idyll lady in an outdoor setting and various birds, the wide short sleeves ending with yellow silk decorated with flowers and auspicious symbols, lined in paper-thin yellow silk with a beige patch 127cm across shoulder, 110cm long

£400-600

42 BLACK-GROUND SILK EMBROIDERED LADY’S OVERCOAT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 墨地刺繡花卉紋對襟外套

embroidered in mirror image front and back with lotus, chrysanthemum, morning glory, and other flower sprays, hemmed with a beige ‘butterfly’ band before a wider floral border, the sleeves upturned to reveal a pale blue silk damask worked in Peking knot with peonies and butterflies, lined in blue silk 163cm across shoulder, 112cm long

£400-600

43 BLACK-GROUND SILK EMBROIDERED LADY’S OVERCOAT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 墨地刺繡鳳凰牡丹紋對襟外套

worked in Peking knot with blooming peonies, potted flowers, phoenixes, melons, auspicious symbols, and bats against the black silk ground, the sleeves ended with ivory-ground butterflies and peonies decorated wide bands, lined in blue silk damask patterned with repeated small motifs 139cm across shoulder, 114cm long

£400-500

44 BLACK-GROUND SILK EMBROIDERED ‘SHOU’ OVERCOAT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 墨地盤金刺繡鶴鹿團壽紋對襟外套

embroidered in couched gold-wrapped thread with roundels of ‘Shou’ enclosed by stylised bats, further with various forms of ‘Shou’ character, bats and lingzhi fungus, the centre with a square panel depicting a crane and deer, all above a hem of cresting waves and the, lined in blue silk 140cm across shoulder, 105cm long

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

22

SCENTED WOMAN CONTINUED 45 REVERSE GLASS MIRROR PAINTING OF MOTHER AND CHILD QING DYNASTY, 18TH-19TH CENTURY 清 外銷玻璃鏡畫母與子像

finely painted with a mother and child, associated to the Madonna and Child imagery in Western Art, set in gilt-lacquered wood frames 19cm x 24cm in a 23cm x 29cm original hardwood frame Provenance: Private English collection, Oxfordshire

£1,000-1,500

46 TWO GILT-DECORATED CANTON FAMILLE ROSE PLATES QING DYNASTY, 18TH-19TH CENTURY 清 廣彩描金人物紋盤（兩件）

one of oval form, decorated with ladies and a boy in a garden; the other of circular form, painted with male figures in a courtly setting, both with cavetto finely gilded with floral ground below shaped cartouches depicting houses and landscapes (2) 22.4cm wide and 22cm diameter

£1,000-1,500

47 PAIR OF EMBROIDERED LADY’S SHOES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 藕紫繡花金蓮鞋（一雙）

each of pointed toe, finely embroidered with pink flower on purple silk surface, the base reinforced with a metal plate on the heel (2) 19.5cm wide each Provenance: Private English collection, Brighton

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

23

48 BLUE AND WHITE ‘LADIES PLAYING CHESS’ JAR QING DYNASTY, KANGXI PERIOD 清康熙 青花仕女奕棋小罐

the bulbous body decorated with two ladies playing chess in a garden setting, the base inscribed with a floral mark 9cm wide

£400-600

49 TWO FAMILLE ROSE ‘LADY’ WARES QING DYNASTY, 18TH-19TH CENTURY

清 粉彩仕女教子圖茶壺 及 嘉慶款 粉彩仕女圖碟（兩件）

a lidded teapot painted with ladies and boys in garden, reverse inscribed with poem, with two metal over-head handles; together with a saucer finely decorated with four ladies engaging with leisurely activities, the exterior painted with five bats, the base inscribed with a six-character Jiaqing mark in iron-red (2) teapot: 20cm wide; saucer: 14.6cm diameter Provenance: From the collection of Arthur Halcrow Verstage. Note: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.

£500-700

50 LARGE FAMILLE ROSE VASE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 粉彩提籃仕女及鹿銜靈芝圖賞瓶

the body finely painted on one side with a celestial female immortal giving a flower basket to a female farmer carrying a flower basket and a hoe over her shoulder, in between a stag holding a lingzhi fungus in its mouth, all set in a garden setting, the other side with inscriptions, the neck flanked with gilded ruyi-shaped handles 58.5cm high

£300-500

24

51 PAIR OF FAMILLE ROSE ‘LADIES’ BALUSTER VASE REPUBLIC PERIOD

民國 景德鎮製款 粉彩仕女讀書嬉遊圖賞瓶（一對）

each vase finely painted with a seated lady in reading and two other ladies at play, all depicted in a garden setting, the foot and neck painted with bands of patterns in black ink, the base inscribed with a ‘Jing De Zhen Zhi’ (Made in Jingdezhen) in double-square in iron-red (2) 29cm high each Provenance: Private London collection

£800-1,200

52 FAMILLE ROSE ‘LADIES AT PLAY’ VASE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 粉彩仕女嬉遊圖賞瓶

the body finely painted one side with a gathering of ladies in a garden setting, either dancing with fans in hand or reading poems, a celestial female immortal pouring various flowers from a basket above the cloud, the other side with inscriptions, the neck flanked with gilded ruyi fungus handles 57cm high Provenance: Private London collection

£300-500

53 GROUP OF TEN FAMILLE ROSE ‘LADY’S LIFE’ DISHES QING DYNASTY, 18TH-19TH CENTURY 清 粉彩仕女生活圖蝶戀花盤（一組十件） each plate painted with a different scene of lady’s life in the centre, including meeting friends, playing music, reading books, meeting male pursuer, taking care of children, the cavetto adorned with butterflies amidst flowers (10) 20cm diameter each Provenance: Private Scottish collection, been in the family for more than eighty years

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

WORKS OF ART & METALWARE

26

54 PEARL COURT NECKLACE 東珠朝珠

the court necklace comprising one hundred and eight pearl beads spaced with lapis lazuli and dyed red beads, auxiliary tassels adorned with turquoise beads approximately 1.3cm diameter each pearl bead

£300-500

55

56 AGARWOOD CARVING OF TWO BIRDS 錫祿製底款 沉香木雕雙鳥擺件

carved in round from a whole piece of wood supported on four feet of wooden trunk form, two birds holding a piece of plant in their mouth, their feathered bodies and long claws finely defined 16cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

BUFFALO HORN COURT NECKLACE 角子朝珠

the court necklace comprising one hundred and eight buffalo horn beads spaced with transparent blue glass beads, auxiliary tassels adorned with turquoise beads 1.4cm diameter each horn bead

£300-500

27

57 COURT OFFICIAL HAT QING DYNASTY, 19TH-EARLY 20TH CENTURY

清 頂戴花翎（含玉翎管）、沉香木珠 及念珠（一組三件）

of conical form, red threads overlaid the creamy ground, wide edge bound with patterned silk roll, lined in burgundy fabric, topped with a red bead finial, jade tube; together with AN AGARWOOD AND MULTI-GEMSTONE COURT NECKLACE AND ROSARY, the court necklace comprising one hundred and eight agarwood beads spaced with carved translucent red beads, auxiliary tassels adorned with turquoise beads; and the rosary with similar quantity spaced with coral beads (3) hat: 31cm diameter; necklace: 1.2cm diameter each bead; rosary: 0.7cm diameter each bead

£500-800

58 FINE BAMBOO JACKET QING DYNASTY, 19TH CENTURY 清 無領對襟長袖竹編衣

made of small tubular bamboo beads threaded together to form a net-like structure, the edges finished in cream silk 177.5cm wide; 63cm long Provenance: From the collection of John Thisthlethwaite (ca. 19th century) John Thistlethwaite was a Quaker merchant who made a voyage from Liverpool to Shanghai in the mid-19th century. His 1844 journal traces his passage to China, including his visits to Zhoushan (Chusan) and Shanghai in 1845 where he details purchases of silk and potentially the vest in this lot. A transcript of the journal is available on request.

£300-500

Note: The use of bamboo jackets and vests dates back to the Ming dynasty. They were worn as an undergarment to aid air circulation, which helped to protect the outer garments from perspiration stains during the hot weather. A similar jacket was included in the exhibition, Dress in Hong Kong: A Century of Change and Customs, in Hong Kong Museum of History. Urban Council, Hong Kong, 1992, p. 40. Also comparable is The Imperial Wardrobe: Fine Chinese Costume and Textiles from The Linda Wrigglesworth Collection, Christie’s New York, 19 March 2008, lot 125.

28

59 CARVED WOODEN ‘IMMORTAL’ SCULPTURE QING DYNASTY, 18TH CENTURY 清 木雕仙人擺件

carved from a piece of wood in openwork, depicting two immortals and an attendant under a large pine tree in a landscape setting, the sculpture set on a wooden stand 10.7cm high

£400-600

60 ZITAN SQUARE VASE STAND QING DYNASTY, 19TH CENTURY 清 紫檀方形瓶座

the square section stand terminating in four scroll-form feet, the top carved into concentric circles as a stand for vase 12cm wide; 9.2cm diameter widest part for the circle

£600-800

61 MOULDED GOURD ‘LANDSCAPE’ BRUSH POT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 寒汀款 模印葫蘆山水筆筒

the exterior of the cylindrical pot crisply moulded with a mountainous landscape, together with three lines of inscription on the top, mounted on a dark wood base and lipped mouth rim 10.1cm high

£600-800

62 CARVED BAMBOO BRUSH POT 竹雕三星筆筒

deeply carved around the cylindrical body with the Three Star Gods Fu, Lu and Shou appreciating a scroll in a pine grove, whilst two boys are brewing tea nearby 14.5cm high

£1,500-2,000

63 GOLD-THREAD AND SILK EMBROIDERY HANGING STEAMER QING DYANSTY, 19TH CENTURY 清 黑緞地織金錦五爪龍紋掛飾

gold-thread and silk on a satin ground, with three five-clawed dragons amidst ruyi clouds and chasing flaming jewels above the swirling sea 173cm long, 21cm widest part Provenance: Private UK collection, acquired by Captain Robert Edward Dudley Ryder VC, M.P (1908 – 1986) from western China as a surveyor in the 19th century, thence by descent. Captain Robert Edward Dudley Ryder VC was a Royal Navy officer and a British recipient of the Victoria Cross, the highest award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. He became a Member of Parliament after retiring from the navy. Note: with a V&A letter dated to 7th December 1954, written by G. F. Wingfield Digby, Keeper of the Department of Textiles to Captain Robert Ryder, suggested that ‘This is a streamer from a hanging, probably a door-hanging; it might also have been used on an alter-frontal, although these streamers were usually not quite so long as this. The embroidery is in gold-thread and silk on a satin ground, and I think it very probable that it came from one of the Palaces....” (see images for full letter)

£600-800

30

64 LARGE CARVED HARDWOOD AND ROOT WOOD STUPA QING DYNASTY, 18TH CENTURY

清 硬木及癭木嵌珊瑚綠松石刻《心經》尊勝塔

of Tibetan style, the square throne divided into two waisted sections, each side of the lower carved in low relief with triratna flanked by pair of ferocious Buddhist lions above a short lotus base, the upper an elongated main section engraved continuously with Heart Sutra, the end signed ‘Qianlong’ and dated to the year of Geng Zi (1780), all sides with natural pierced openness reveals the hollowed centre and accentuates the beautifully textured and characteristic surface, the dome-shaped stupa decorated with raised beads inlaid with turquoise and coral, raised to a harmika and slender five-wheeled spire and parasol, topped with a sun-moon finial, and spherical pinnacle 59.5cm high

£15,000-20,000

Stupa, in Tibetan ‘chörten’, means offering receptacle. Originally as a memorial monument, its principal function is a reliquary container once used for the corporeal remains of Sakyamuni and other significant Buddhist figures. It is a manifestation of the aniconic Dharma body of the Buddha and his divine presence, represents the past and the present, the body and the mind. Hence, a Pāli text claims: ‘The stupa is the Buddha, the Buddha is the stupa’. [1] The unique architectural form of the example presented here is quintessentially influenced by Tibetan characteristics. The square Mount Meru base and the tapered steps are Tibetan in style, the rounded dome is Indian in origin. Above is the cubic harmika, consisting of a five-layered conical spire mast, represents the five elements- earth, water, fire, wind, and void. However, this example is also significantly infused with classical Chinese elite aesthetics. The large proportion of the naturally pierced upper section of the throne celebrates the dynamic transformational processes of nature, which manifests in the appreciation of Chinese scholar’s rocks and is also close to the Japanese aesthetic of wabi-sabi. It breaks free from the rigid traditional sixty-four-unit proportion. [2] Furthermore, the rugged texture of the hollowed centre resembles mountains and caves, particularly the magical peaks and grottoheavens, which invokes a sense of divinity and tranquillity of the onlookers. Commonly cast in bronze and gilded, this example is uniquely carved from hardwood. Its generous proportions also entail an extraordinary commission. A related example, carved in zitan, was sold at Christie’s Paris, Live Auction 5598 on 8 June 2010, lot 307. [1] Michael Henss, Buddhist Ritual Art of Tibet, Stuttgart: Arnoldsche, 2020, p. 71; Also see the illustration depicting the theoretical relationship between the iconographical grid (Tib. thig tshad) of the seated Buddha and the stupa of enlightenment, in Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Boston: Shambhala, 1999, pp. 130-133 [2] Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Boston: Shambhala, 1999, p. 130

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

31

32

65 TWO CARVED DEERHORN ORNAMENTS QING DYNASTY, 18TH-19TH CENTURY 清 染色角雕’佛手’、’石榴’擺件（兩件）

one carved as two Buddha’s hand citrus borne on branches with a bat, the other a pomegranate splits open revealing the fruits, with an incest on top (2) widths: 8cm and 5.3cm

£300-500

66

Y

CARVED EIGHT-SPHERE IVORY PUZZLE BALL LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 象牙雕鬼工球吊飾

the outer sphere pierced and carved with figures amongst pine trees, willow trees and rockworks, with twelve circular apertures successively revealing the thinwalled inner spheres loosely rolling within, each pierced with geometric patterns and similar circular apertures, the ball set on top with a pierced carved lady holding a lotus pod and leaf extending as a top cover, accompanied by a peachholding boy, with chain on top, the reverse set with two peaches issuing from flowers and foliage, further with tassel 26cm high excluding tassel

£300-500

67

Y

LARGE IVORY CARVING OF A MALE FIGURE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH- EARLY 20TH CENTURY 清末民初 乾隆款 象牙仿根雕人物像

finely rendered from a tusk, depicting an elderly slender figure with benevolent expression, his hair, wrinkles, beard, and ajar-mouth sensitively detailed, holds a staff to his right, back of the staff tied with downward branch issuing cherry blossoms, in imitation of root carving, he wears a robe with burls overall, set on a plinth, the base engraved with a two-character Qianlong mark within meandering border with stiff leaves 53cm high

£600-800

33

68 GOLD AND SILVER-INLAID ‘PIGEON’ BRONZE STAFF HEAD WESTERN HAN DYNASTY 漢 錯金銀銅鳩丈首

realistically moulded in the form of a pigeon supported on a tubular stand for mounting onto a staff, the body with remnant of silver and gold inlay 7.5cm wide Note: a closely comparable example, also dated to the Western Han dynasty, is in the collection of the Nara National Museum, accession number 1317-373

£600-800

69 PAIR OF SILVER INLAID BRONZE CHARIOT FITTINGS WARRING STATES TO WESTERN HAN DYNASTY, 2ND-1ST CENTURY BC 戰國至西漢 錯銀雲氣紋車軸飾(車軎)（一對）

each of tubular form with a raised rib and supported on a splayed base, overall inlaid with highly stylised scrolling cloud motifs with linear spirals (2) 7.4cm high each; 1130g total weight Provenance: Private Taiwanese colleciton Note: A closely comparable gold and silver inlaid bronze chariot fitting, similar in shape and size, was excavated from the tomb of Jing the King of Zhongshan, Western Han Mancheng Han Tombs in Baoding.

70 PAIR OF PAINTED ENAMEL TEABOWLS WITH COVERS QIANLONG MARK BUT 20TH CENTURY 乾隆款 銅胎畫琺瑯纏枝蓮紋蓋碗（一對）

£1,000-1,500

each bowl delicately painted with stylised lotus flowers borne on foliated tendrils, against a royal blue ground, the interior covered in turquoise colour, the base with a four-character Qianlong mark in blue, with bamboo and lingzhi sprigs in ironred, the lid similarly decorated (2) 10.9cm diameter each

£300-500

71 GILT-BRONZE FIGURE OF VAJRASATTVA QING DYNASTY, 17TH CENTURY 清 銅鎏金金剛薩埵座像

cast seated in dhyanasana on a double lotus base with right hand raised in karanamudra holding an upright vajra, left hand holding a ghanta before the abdomen, the deity flanked by billowing scarfs, elaborate beads on the upper arms and large earrings, heavily adorned with jewelled necklaces, armbands, bracelets, and anklets, his head tilted subtly to the left with a serene face, hair pulled up into a high chignon, surmounted by a lotus bud behind the tiered jewelled crown 21.5cm high; 1474g Provenance: Private European collection

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

34

72 POLYCHROMED CAST-IRON FIGURE OF MANJUSHRI MING DYNASTY, 16TH CENTURY 明 鑄鐵文殊菩薩騎獅座像

the bodhisattva cast seated in lalitasana on the back of a lion, his body elaborately jewelled and hair fashioned in a high chignon enclosed by a three-leaf crown, beaded jewellery further adorned before his low-slung dhoti, the bejewelled beast stands on all four supported on a low plinth with its head upturned and mouth ajar, with traces of red and blue pigment, engraved with dedicatory inscriptions on the back of his body 84cm high Provenance: Property of a Lady in Edinburgh, acquired from Christie’s South Kensington, 26 Feb 2008, lot 121

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

35

73 GILT BRONZE SEATED FIGURE OF A LAMA QING DYNASTY, 17TH CENTURY 清 銅鎏金喇嘛座像

cast seated on rectangular double cushions detailed with interlinking flowers and partial roundels covered by a further incised rug, his right hand raised in karanamudra holding a vajra, left hand in dyhanamudra, dressed in voluminous hemmed robes which fall neatly and evenly over the knees onto the base, his face with resolute expression and steady gaze 17.5cm hig; 1518g

£8,000-12,000

36

Reverse

74 LARGE CLOISONNÉ ENAMEL FOLIATE CHARGER QING DYNASTY, 18TH-19TH CENTURY 清 銅胎掐絲琺瑯夔龍紋菱花口大盤

supported on three tiny circular feet, the interior decorated with a large medallion further surrounded by two bands of archaic kui-dragons to the mouth rim, the exterior similarly decorated with two bands of entwined kui-dragons and lotus in scrolls 38 cm wide

£8,000-12,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Note: A small cloisonné enamel plate of similar foliate rim, decorated with bats with ruyi-head cloud on the interior, is in the collection of Metropolitan Museum of Art, New York, accession number: 33.40.63; another comparable 18th century cloisonné enamel foliate plate, smaller in size and decorated with auspicious items on the interior, was sold at Bonhams London on 12 May 2016, lot 214.

37

75 CLOISONNÉ ENAMEL RECTANGULAR PLAQUE QING DYNASTY, 17TH-18TH CENTURY 清 銅胎掐絲琺瑯山水庭院及花鳥紋插屏

one side enamelled with a pair of birds perching on flowering tree issuing from rockwork amongst other plants, against a navy blue ground, the reverse with a quaint walled garden surrounded by water with hills and a pagoda afar, surrounded by gilded borders, mounted on a fitted wooden stand 17.2cm x 13.2cm Provenance: Private Scottish collection; property of Anne Bennet (nee Daly) (1926 – 2004), thence by descent. The current owner, private Scottish collection, is a child of Anne Bennet, who was gifted this plaque from her cousin Barbara Bell Black (1910/5 - 1994) and Robert S. Black (a bequest from Babara’s father with a handwritten letter). Together with an envelope of Register of Probate addressed to Anne Bennet. Note: a comparable cloisonné enamel plaque of similar size and dated to the Qing Dynasty, 17th-18th century, was offered in Bonhams New York, on 20 Sept 2021, lot 181

With a handwritten envelope addressed with “Mr Warner, Fogg Museum, dated to 16 May 1945, “Late Ming” - 15th century”; the envelope included a handwritten letter with the following content: “This plate was originally in the Imperial palace... plunder... “loot” in 1859 by the Anglo-Franco troops. It is a fine specimen of copper enamelling, the darker shade being the so-called “lost Chinese blue” which cannot be reproduced by modern processes. It is probably many hundred years old and was originally mounted on an elaborately carved stand which has however fallen to pieces. It was sent from China by my mother’s brother...in that country from 1842 to 1859 when he died there. I am afraid he took it from the Palace himself... after the loot he became the possessor of a very considerable number of beautiful and valuable articles which he sent home to Scotland... this plate being amongst them.” With another handwritten note dated to 16 June 1978: “Chinese plaque, Sotheby Parke Bernet (Old Gaol Museum Com.) 300/400 (current auction value)” With a typed letter dated to 24 March 1994 from Robert S. Black, mentioning: “Barbara and I had the teakwood frame for it custom made in Tokyo, 1957.”

£1,500-2,500

Reverse

38

76 TWO SETS OF CHINESE EXPORT SILVER MINIATURE TEA VESSELS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 外銷銀袖珍茶具擺件（二組八件）

comprising: one set with a lidded teapot, a milk jar, a sugar bowl and a circular tripod tray, each minutely engraved with flower motifs, the base of the tray marked ‘WH 90’ and a singlecharacter Chinese mark; the other set with a cylindrical lidded teapot, two hexagonal cups, all contained in a hamper which hallmarked ‘Run Ji’ and ‘90’ on the base (8) largest: 6.2cm wide; 76g total weight

£300-500

77 PAIR OF CHINESE EXPORT SILVER VASES QING DYNASTY, C.1900

清 佳記款 外銷銀花卉紋瓶（一對）

each of baluster shape, the body decorated with various flowers and bamboo in six panels, the disc-shaped foot further adored with bamboo leaves, each base hallmarked ‘90’, ‘WH’ (standing for Wang Hing), and a two-character Chinese maker’s mark ‘Jia Ji’ (2) 14cm high each; 335g total weight

£400-600

78 GROUP OF THREE WHITE COPPER WATER PIPES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH20TH CENTURY

清末民初 朱金生、廣州新勝街 及 光華公司等款 白銅水 煙斗（一組三件）

comprising: one set decorated on each side with birds on tree branches in a cartouche, complete set with a tweezer and cleaning brush, stamped on the cover with maker’s name ‘Zhu Jin Sheng’, 348g; one set engraved with a scene of dialogue between a fisherman and a woodcutter (漁樵問答) and corresponding inscription, with ‘Guangzhou’ and ‘Xin Sheng Jie’ maker’s marks, 352g; and a set adorned with a peach and vase on either side in low relief, further with four-character ‘Hua Kai Fu Gui (Blossoming flower brings wealth花開富貴)’ in brass-inlaid, with ‘Guang Hua Gong Si’ maker’s mark, 413g (3) largest: 26.5cm high Provenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 years

£300-500

39

79 THREE EXPORT SILVER REPOUSSÉ ‘DRAGON’ TEA AND COFFEE VESSELS QING DYNASTY, MAN HING, 19TH CENTURY

清 和合款 外銷銀龍紋咖啡及茶壺兩件及帶蓋盛器 (一組三件)

comprising: one large coffee pot of trophy shape and one teapot of compressed globular form, both raised on a tall splayed foot, inset with a spine-arched dragon as handle, the body decorated with a striking dragon in high relief, with a mythical ferocious beast makara as the spout, the lid further topped with dragon; together with a similarly decorated vessel of tea service with lid perforated to one side, flanked with two spine-arched dragons, all hallmarked ‘90’, ‘MH’ (standing for Man Hing), and a two-character Chinese maker’s mark ‘He He’ (3) largest: 24cm high, total weight 1750g

£1,200-1,800

80 LARGE EXPORT SILVER REPOUSSÉ ‘CHRYSANTHEMUM’ BOWL QING DYNASTY, YOK SANG, SHANGHAI, C.1900 清 幹生款 外銷銀菊紋大碗

supported on a tall splayed foot, the globular body finely decorated with chrysanthemum growing freely against grain-detailed ground, the base vertically hallmarked ‘Yok Sang’ and horizontally with its two-character name in Chinese 21cm diameter, 581g

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

41

JADE & HARDSTONES 81 PALE YELLOW SOAPSTONE ‘LUDUAN’ SEAL DATED TO 1953

一九五三年 馮康侯刻 雙龍紋’展仁士印’印文 壽山凍 石雕甪端帶子印章 of ovoid form with the finial carved in openwork and high relief with a mother unicorn mythical creature luduan with her cub aside, the seal front reads ‘Zhan Ren Shi’ owner’s name encircling with a pair of sinuous chi dragons, one side of the seal engraved with small characters, read: “Keepsake for Connoisseur Mr Zhan Ren Shi, A gift from Pan Hui in 1953, Carved by Feng Kanghou (展仁士先生 鑑家 惠存 一九五三年 潘惠敬贈 馮康侯刻)”, the stone of even transparent pale yellowish tone 6.7cm high

£400-600 Note: Mr Zhan Ren Shi, British nationality, with official position in Hong Kong; the carver Feng Kanghou (1899-1983), born in Canton, started to learn script carving from the age of 13 and made his own name among scholars and collectors, moved to Kowloon, Hong Kong in 1949.

82 RED AND WHITE CRNELIAN AGAT ‘TREE TRUNK’ VASE QING DYNASTY, 19TH CENTURY 清 南紅瑪瑙花插

carved as a gnarled tree trunk with prunus flower, bamboo grove and lingzhi fungus in high relief 10cm high

£500-800

83 ROCK CRYSAL ‘MOUNTAIN’ BRUSH REST QING DYNASTY, 19TH CENTURY 清 水晶雕山形筆山

carved in the form of a mountain with peaks and rugged surface 11cm wide

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

42

84 CELADON JADE ARCHAISTIC CONG 青玉仿古玉琮

of square section with short neck and foot, the stone of variegated celadon and russet-brown colours 6.5cm wide Provenance: formerly in a private collection, USA

£2,000-3,000

85 RUSSET JADE CARVING OF A MYTHICAL ANIMAL SONG TO YUAN DYNASTY 宋至元 赤褐玉獨角獸

carved in the round of a recumbent unicorn beast with its head turned onto its back with snarling expression, the tail flicked around one side, the stone of deep brown colour with russet inclusions 4.6cm wide Literature: Works of Art, Rasti Chinese Art, Hong Kong, October 2014, p. 10

£2,000-3,000

86 GREYISH WHITE JADE CARVING OF A RAM YUAN TO MING DYNASTY 元至明 灰白玉雕臥羊

carved in the round as a recumbent ram with its head tucked to its back, the tail curling around its rear hind, the stone of pale greyish tone with patches of calcification 7.1cm wide

£800-1,200

87 BLACK AND CELADON JADE CARVING OF A LUDUAN SONG TO MING DYNASTY 宋至明 灰青玉雕甪端擺件

carved with a unicorned mythical beast in seated position, the minutely carved head resting on its back, bushy tail wrapping around its left hind leg, the stone of uneven celadon and black colours 4.8cm wide

£1,500-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

43

88 CELADON JADE OVAL BELT HOOK LIAO TO YUAN DYNASTY

遼至元 青玉雕魚塘荷花’春水紋’橢圓形帶扣

carved in openwork on a domed surface with a large carp swimming in a lotus pond, the stone of even green tone 7.5cm wide Provenance: Private English collection Note: a comparable oval jade belt hook, carved in openwork with a crane flying above a lotus pond, was excavated from the tomb of a Yuan-dynasty General Qian Yu in 1960, and is currently in the collection of the Wuxi Museum, Jiangsu Province

£2,500-3,500

89 PALE CELADON JADE CARVING OF A TIGER MING DYNASTY OR LATER 明或以後 青白玉虎符

carved in low relief on both sides with paralleled outlines, the animal of crawling form with a long tail, the stone of pale celadon colour with greyish tone, one side with a patch of calcification on the lower part 8.5cm wide

£400-600

90 SET OF CELADON JADE ‘DRAGON’ BELT HOOKS MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 青玉雕蟠龍帶鉤（一組）

composed in two parts, one part carved in openwork with a form of sinuous chi dragon with its body knotted in lobed geometric form and its head forming the hook, the other part similarly with a knotted body in openwork and a looped end, the stone of even celadon colour (2) overall 10.5cm wide Provenance: Private English collection

£2,000-3,000

91 SET OF WHITE JADE OVAL BELT HOOK YUAN DYNASTY OR LATER

元或以後 白玉帶鉤組（一組兩件） one of oval form, carved in openwork on a domed surface with a large crane hovering above a lotus pond, together with a hook with corresponding lotus carving in high relief (2) widths: 6.8cm and 7.8cm

£1,000-1,500

44

92 WHITE JADE ‘MONKEY ON HORSE’ BELT HOOK QING DYNASTY, 18TH CENTURY 清 白玉雕馬上封侯玉帶鉤

intricately carved with a horse’s head forming the hook, confronting three monkeys climbing around a peach on top of the gently arched shaft, reverse of the shaft with a round knob, the stone with a pale white tinge with a touch of brownish skin at the end 8.5cm wide Provenance: Private English collection

£1,200-1,800

93 PALE CELADON JADE CARVING OF A FOLIATED BOX AND COVER QING DYNASTY, 19TH CENTURY 清 青白玉雕壽字紋花口蓋盒

the eight-lobed body supported on a short foot, the domed cover carved in low relief with a shou longevity symbol in medallion 4.8cm wide Note: with a paper circular label ‘Sydney L. Moss Ltd. London’ on the base

£500-700

94 TWO JADE SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清 白玉及青白玉雕鼻煙壺（一組兩件）

each of flattened oval form, one of even white tone and the other of pale celadon colour (2) heights: 5.7cm and 6.5cm

£600-800

95 WHITE JADE RECTANGULAR PLAQUE QING DYNASTY, 19TH CENTURY 清 白玉雕松下賞月玉牌

carved to one side with an elder scholar and his attendant appreciating the moon under a large pine tree, the reverse carved with a two-character seal in the middle, all below a ruyi-head cloud 6.9cm high

£1,000-1,500 Reverse Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

45

96 WHITE JADE CARVING OF A SEATED BUDDHA MING DYNASTY OR LATER 明或以後 白玉雕佛座像

carved in the round, the Buddha seated on a lotus base and holding a ruyi sceptre in hand, his face finely carved with demure expression, the stone of even translucent white colour 4.2cm high

£1,500-2,000

97 PALE CELADON CARVING OF AN APSARA QING DYNASTY, 18TH-19TH CENTURY 清 青白玉飛天

the flying deity dressed in a long robe with scarf floating horizontally due to the wind blow, her head half raised with jewelled high chignon, both arms extending forwards holding a vessel, a band of swirling clouds supporting her underneath, the stone of even pale celadon colour 9.2cm wide Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

£1,200-1,800

98 PALE CELADON CARVING OF A DHARMAPALA MING DYNASTY OR LATER

明或更晚 青白玉雕忿怒相護法

carved in the round, the seated figure trampling a head between his feet, his bulging eyes, large nose and thick lips composed a wrathful expression, accompanied by a boy attendant, the stone of even pale celadon colour with russet inclusions 8.7cm high Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

£2,500-3,500

99 CELADON JADE ‘LONGEVITY LOCK’ PLAQUE QING DYNASTY, 19TH CENTURY 清 青玉雕長命鎖（含木座）

in the form of a longevity lock, the rectangular plaque carved in low relief to one side with auspicious symbols including a chime flanked with a magpie and pumpkin, the reverse carved with four characters ‘Yong Bao Chang Ming (Forever Long Life)’ encircled by two bats, topped with two phoenixes on either end, with a fitted wooden stand 8.9cm wide Provenance: formerly in the collection of James Benson

£600-800

46

100 TWO JADE PENDANTS QING DYNASTY, 19TH CENTURY

清 青白玉雕’蝙蝠菱角’及 白玉雕’豆莢’吊墜（一組兩件） one carved in the form of two water chestnuts with a bat hovering above and a cicada perching at one corner, the pale celadon stone of greyish tinge; the other carved with a branch of legumes with leafy foliage, one side carved cleverly with original yellowing skin left on the leaves, the stone of translucent white colour (2) heights: 5.5cm and 5cm

£200-300

101 PALE CELADON JADE ‘DRAGON-HEAD’ WATER POT QING DYNASTY, 18TH-19TH CENTURY 清 青白玉雕龍首水丞

of oblong form, supported on a short foot, the exterior carved overall with rows of stylised lingzhi fungus, one side with a lingzhi extending as a looped handle, the stone of pale green tone with russet patches to one side 8.5cm wide Provenance: Private English collection

£2,000-3,000

102 WHITE JADE FOLIATED BRUSH WASHER QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕荷葉形筆洗

in the form of a folded lotus leaf, supported on a short foot, the curved sides terminating to an inverted foliated rim, a fernshaped leaf finely carved in low relief between each lobe, the base further carved in low relief to a blossoming lotus flower 9.5cm wide

£1,000-1,500

103 COLLECTION OF THREE JADE CARVINGS 19TH-20TH CENTURY

十九至二十世紀 白玉雕蒼龍教子帶 鉤、玉雕（共三件）

comprising: a white jade dragon belt hook, 10cm wide; a yellowish celadon jade carving of a unicorn luduan and her cub, 7.5cm wide; and a white jade carving of a boy crawling on the floor playing with two cats, 6.7cm wide (3) largest: 10cm wide

£800-1,200

47

104 YELLOWISH CELADON JADE WITH RUSSET SKIN ‘GOAT-HEAD’ CUP MING DYNASTY

明 青黃玉雕羊首螭虎尊

the oblong shaped vessel supported on a waisted circular foot, engraved on both sides of the body with highly stylised chi dragons, one side of the rim rising to a goat’s head with prodigious backward-curling horns, the opposite with a high-relief ferocious chi dragon clinging on the mouth of the cup with front paws, body swinging to one side with curvy tails, the stone of luscious green colour with yellowish tinge and russet patches 9.5cm wide Provenance: Private English collection, acquired from Italy

£6,000-8,000

105 TWO PALE CELADON JADE CARVING OF SMALL BOULDERS LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初 青白玉雕’鹿鶴同春’及’福壽雙 全’山子（一組兩件）

one carved in openwork depicting figures with deer and cranes underneath pierced gnarling pine trees issuing lingzhi, the stone of pale green tone; another boulder with each side depicting an immortal accompanied by his attendant in a grotto formed by openwork trees, large peaches and lingzhi fungus, the stone of pale green colour with white inclusions; both boulders with the interior hollowed out (2) height: 6.1cm and 6.2cm Provenance: Private English collection

£3,000-5,000

106 WHITE JADE INSCRIBED WATER POT LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 白玉雕童子壽桃刻詩文雙耳水丞

carved as an oval vessel supported on a short straight foot, both sides of the tapering body finely engraved with a poem ‘Yi Jian Mei’ by Li Qingzhao (ca. 1084-1155), flanked by a pair of handles with a climbing joyous boy holding a lingzhi sprig to one side, the opposite with a peach borne on foliage, further incised with a key-fret band on the mouth rim, the stone of translucent whitish green colour with russet patches 12cm wide Provenance: Private English collection

£1,500-2,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

48

107 WHITE JADE WITH RUSSET SKIN CARVING OF A BUDDHIST LION QING DYNASTY, 18TH CENTURY 清 白玉帶皮雕佛獅擺件

the pebble carved in round as a recumbent fo-dog looking to its left, with its back arched in an elegant curve and tail coiling on its right rear hind, the head well defined with bulging eyes and body finely carved with maned body, the lustrous white stone cleverly worked with some yellowish skin on one side 6.5cm wide Provenance: Private English collection

£4,000-6,000

108 JADEITE ‘GOAT’ SEAL REBUPLIC PERIOD, 20TH CENTURY 民國 翡翠玉雕羊鈕方章

carved with a recumbent goat on a cubic podium as a knob, each side of the podium decorated with a band of key-fret on the upper part, the stone of even celadon tone 4cm high

£200-300

109 WHITE JADE CUP WITH DRAGON HANDLES QING DYNASTY, 19TH CENTURY 清 白玉雕螭龍柄杯

110 TWO WHITE JADE CARVINGS OF ANIMALS

白玉雕公鷄 及 白玉雕辟邪 （共兩件）

both carved in the round, one white jade rooster carved in detail with feathered body, the stone of yellowish hue; and one white jade unicorn mythical creature in recumbent position, four legs tucked underneath its body, the stone of even white tone (2) widths: 4.2cm and 5.5cm Provenance: Private collection, England, has been collecting Chinese jades for over 20 years

£800-1,200

carved in high relief with two chi dragons clinging on the exterior with front paws and chins resting on the mouth rim of the cup, their bodies swinging to one side with curvy tails, the rounded cup supported on a short foot ring, the stone of translucent white colour with brown lines 7.5cm wide

£1,500-2,000

49

111 YELLOWISH CELADON JADE CARVING OF ELEPHANT AND BOYS QING DYNASTY, 18TH CENTURY 清 青黃玉雕太平有象擺件

finely carved in the round as an elephant standing four-square with its head turned sideward with its trunk curled alongside its foreleg, two boys clambering up the back of the elephant and one holding a small vase with both hands, two further boys carrying a large vase following the animal, their faces displaying a jovial expression, the caparison on the elephant carved in low relief with bats encircling rockwork above crashing waves, the celadon stone of a yellowish tone 15.8cm wide

£6,000-8,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

50

112 WHITE JADE CARVING OF LIU HAI AND THE MONEY TOAD QING DYNASTY, 19TH CENTURY 清 白玉巧雕劉海戲蟾把件

the cheerful figure of the God of Wealth in a reclining posture, holding a coin in his right hand, the stone of even white colour, further carved cleverly with a three-legged money toad from the darker part of the jade 5.8cm wide

£600-800

113 GREYISH CELADON WITH RUSSET SKIN JADE CARVING OF A DEITY LATE MING-EARLY QING DYNASTY, 17TH-18TH CENTURY 明末清初 灰玉雕托塔天王

carved in the round depicting the Chinese mythological deity Li Jin, The PagodaBearing Heavenly King, who carries a tower that can capture any spirit, demon or god within its walls, the stone greyish colour with russet patches to the sides 5.5cm high

£1,500-2,000

114 JADE CARVING OF A ROOSTER QING DYNASTY, 18TH CENTURY 清 提油玉雕雄雞擺件

carved in seated position with its feet tucked underneath, its head turned right looking backwards with an alerted expression, the feathered body naturalistically carved in low relief, the stone of even black colour 6.5cm wide

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

51

115 LARGE SPINACH JADE LIDDED VASE QIANLONG MARK, LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 乾隆款 碧玉雕仿古饕餮紋大扁瓶含蓋

of flattened form, the decoration imitating archaic bronze vessels, each side of the body finely carved in high relief with an archaic taotie mask, surmounted by a band of two birds flanking a four-character Qianlong mark around the shoulder, the neck carved in low relief with archaic cicada motifs and further flanked by two dragon-head handles with loop-ring, the domed cover similarly decorated with taotie mask and topped with a lion finial 37.5cm high Provenance: Private UK collection, acquired in Hong Kong in 1960

£1,200-1,800

52

116 WHITE JADE WITH RUSSET SKIN ‘SERPENT’ THUMB RING QING DYNASTY, 18TH CENTURY 清 白玉帶皮雕盤蛇扳指

attractively carved as a coiling snake, its sinuous body incised with diamond pattern, the diamond-shaped head minutely silhouetted and with eyes, the stone of translucent white colour with patches of russet skin 3.7cm wide

£800-1,200

117 WHITE JADE ‘CRAB’ SEAL PASTE BOX AND COVER QING DYNASTY, 18TH CENTURY 清 白玉雕蟹形印泥盒

the box carved in relief in the form of a lotus leaf with a crab sitting on top as cover, the stone of pure white colour with high degree of translucency 6.3cm wide Provenance: Charlotte Hostmann, Hong Kong, 18 November 1959; formerly in a private collection, Switzerland Literature: The Scholar’s Desk, Ben Janssens Oriental Art, London, 2011, no. 46, pl. 96

£1,500-2,000

118 WHITE JADE WITH RUSSET SKIN CARVING OF A ROOSTER QING DYNASTY, 19TH CENTURY 清 白玉帶皮雕雄雞擺件

carved in seated position on rockwork, its head turned right looking backwards with an alerted expression with bulging eyes, the body naturalistically carved with feathers, the stone of creamy white colour with brown skin patches 7cm wide

£1,000-1,500

119 PALE CELADON WITH RUSSET SKIN JADE CARVING OF A MYTHICAL CREATURE WITH ‘BAGUA’ QING DYNASTY, 19TH CENTURY 清 青白玉帶皮雕瑞獸八卦擺件

delicately carved in the round with a recumbent mythical creature carrying a Bagua- Eight Trigrams on its back, the stone of pale celadon colour with patches of russet skin 8cm wide

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

53

120 FINE WHITE JADE ‘LOTUS’ LIDDED VASE QING DYNASTY, 18TH CENTURY 清 白玉雕纏枝蓮紋活環耳蓋瓶

the large, exceptionally even and pale stone deeply hollowed to form a baluster vase supported on a spreading foot, the body crisply and shallowly carved on the body with lotus in tendrils, a pair of flower-head decorated ears with loose-rings flank the plain neck, the domed cover carved in openwork with a flower finial 24cm high

£8,000-12,000

54

121 WHITE JADE ‘PERSIMMON’ PENDANT QING DYNASTY, 18TH CENTURY 清 白玉雕秋柿吊墜

delicately carved in the round with two persimmon fruits growing from a leafy branch, the stone of even translucent white colour 3.5cm wide

£800-1,200

122 WHITE JADE WITH RUSSET SKIN CARVING OF A BOY WITH CAT QING DYNASTY, 18TH CENTURY 清 白玉帶皮雕耄耋童子擺件

carved in the round as a boy in standing position, carrying a branch of fruit over his right shoulder with a bat hovering above, his face minutely carved with joyful expression, a cat following by his side, the stone of white colour with yellowish tone and areas of russet skin 6.7cm high

£2,000-3,000

123 WHITE JADE CARVING OF A ‘DRAGON’ ORNAMENT QING DYNASTY, 18TH CENTURY 清 白玉雕螭龍紋勒子

of four-sectioned tubular form, carved in low relief with a sinuous chi dragon meandering amongst the clouds on the exterior, the stone of even translucent white colour 5.5cm high

£500-700

124 SMALL PALE CELADON JADE ‘QIN’ BELT HOOK QING DYNASTY, 18TH-19TH CENTURY 清 青白玉雕龍首琴身帶鉤

carved with a dragon’s head forming the hook, the gently arched shaft carved in relief in the form of a qin musical instrument, reverse of the shaft with a round knob, the stone with a pale white tinge 6.5cm wide Provenance: Formerly in a private Taiwanese collection

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

55

PAINTINGS 125 TWO INK PAINTINGS OF BIRDS AND FLOWERS MING DYNASTY OR LATER

明或以後 花鳥水墨畫 絹本設色（一組兩幅）

ink and colour on silk, each attached to thin paper then to cardboard, unframed (2) 32cm x 27cm each Provenance: From the collection of Arthur Halcrow Verstage. For more information please see lot 49.

£400-600

126 TWO INK PAINTINGS OF BIRDS AND FLOWERS MOUNTED ON A SCROLL SONG DYNASTY OR LATER

宋或以後 三希堂印 花鳥水墨畫卷軸

ink and colour on silk, each attached to a thin paper further mounted on a long scroll, both paints stamped with red seals, one reads ‘San Xi Tang’ 26.6cm wide and 24.5cm x 26.5cm Provenance: Private London collection

£300-500

127 INK SCROLL PAINTING OF FLOWER AND WATERFOWLS ATTRIBUTED TO LU JI (1477-UNKNOWN) 明或以後 呂紀款 花卉水禽圖卷軸 絹本設色

ink and colour on silk, inscribed with a Ming artist Lu Ji’s name on the right side of the painting together with a seal 193.5cm x 101.5cm Provenance: Private London collection

£300-500

56

128 SET OF SEVEN INK PAINTINGS OF FAN SHAPE 19TH-20TH CENTURY

十九至二十世紀 王禮及張熊等款 各式水墨扇畫七幅 設色紙本 ink and colour on paper, further mounted on paper, each paining inscribed and stamped (7) 53cm wide each Provenance: Private London collection

£300-500

129 GROUP OF THREE EXPORT PAINTINGS OF BOATS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH20TH CENTURY 清末民初 外銷水彩畫 船圖 紙本設色（三幅）

watercolour on paper, one depicting a junk with ducks; one titled ‘A Boat conveying a Mandarine of rank’; the last depicting a three-masted boat (3) largest: 32.5cm x 44.5cm Provenance: Private Scottish collection

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

57

130

131

LANFANG MEI (CHINESE 1894-1961)

THANGKA DEPICTING AMITABHA

PAINTING OF GUANYIN , DATED 1947

QING DYNASTY, 19TH CENTURY

一九四七年 傳梅蘭芳畫 觀音大士圖 紙 本設色 立軸

delicately painted with Avalokiteshvara standing on a lotus base issuing scrolling foliage above a pile of clouds, wearing loose white robes which drape down undulatingly, featuring a turquoise, red, and blue lappet and swinging beads before her lower legs, her demure face with down casting eyes and serene expression, the hair minutely detailed topped with a Buddha underneath white headscarf, inscribed in Chinese to the right margin with ‘Offered by Mister Yue Sheng, summer in the year of Ding Hai, painted with reverence at the A Lan Na Studio by Mei Lanfang’, stamped 87cm x 39.5cm Provenance: Private European collection

£2,000-3,000

清 阿彌陀佛唐卡

seated in dhyanasana on a lotus throne, hands in dhyanamudra supporting a bowl, with a body golden in colour, the Buddha dressed in red and gold patchwork robes, his serene face flanked by two pendulous earlobes, hair crowned with a jewel, all before an oval prabhamandala and turquoise nimbus, further backed by a tiered pagoda and trees, before him a row of disciples on knees offering to a monk, inscribed to the verso 68.5cm x 46cm Provenance: Private English collection, London

£1,000-1,500

58

132 ALBUM OF TWELVE PITH PAINTINGS DEPICTING LADIES LATE QING DYNASTYREPUBLIC PERIOD, 19TH20TH CENTURY 清末民初 外銷通草紙畫仕 女圖

gouache on pith papers, each depicting in vivid colours an idle lady in various leisurely activities accompanied by a female attendant, all paintings enclosed with cloth borders, bound in an aubergine-coloured silkcovered album (12) 32cm x 20cm each; album: 37cm x 26cm

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

59

CERAMICS

60

133 BLACK POTTERY JAR NEOLITHIC PERIOD, LONGSHAN CULTURE, C.2600 – C.1900 BC 龍山文化 黑陶紡輪型把瓶

wheel thrown of spindle form, supported on a splayed foot raised to an angled body and terminating to a cylindrical opening, the neck and the body attached by a loop handle, the edge of the upper body decorated with a band of net pattern 11.2cm high Note: a comparable example with a similar shape but without a handle, is in the collection of the British Museum, museum number 1996,1219.1

£600-800

134 SANCAI-GLAZED STEM CUP TANG DYNASTY 唐 三彩高足杯

the wide shallow body of the cup supported on a tall splayed foot and terminating to an everted rim, the exterior of the cup covered with amber, green and straw glazes just stop above the foot, exposing the buff pottery body 13cm diameter

£400-600

135 GREEN-GLAZED ‘MOTHER AND SON’ OIL LAMP HAN DYNASTY

漢 綠釉母子像燭台

moulded in the form of a seated mother holding a son in front of her, her head minutely moulded with a smiling expression and topped with a cone-shaped oil container, the exterior covered overall with a green glaze with silvery effects and fine network of craquelure, leaving the interior of the container and the base unglazed, revealing the buff pottery body 25cm high

£400-600

61

136 SANCAI-GLAZED BOTTLE VASE TANG DYNASTY

唐 三彩胡人獻舞繫耳扁瓶

the flattened globular body supported on a tall splayed foot and topped with a short neck terminating to a lipped rim, each shoulder attached with a loop handle, each side of the body adorned with a foreign figure dancing on podium with a long scarf, the vessel covered overall with sancai glaze with some area showing silvery streaks 15cm high Provenance: Private Taiwanese collection

£600-800

137 XING WARE WHITE-GLAZED TEA BOWL FIVE DYNASTIES, 10TH CENTURY 五代 刑窯白釉茶碗

supported on a short foot and tapering toward a lipped rim, covered overall with a white glaze with greyish-green hue, leaving only the foot ring and the base unglazed 14cm diameter

£400-600

138 YUE WARE CELADON BOWL TANG DYNASTY, 9TH-10TH CENTURY 晚唐 越窯玉璧底碗

supported on a short bi-disc-shaped foot toward tapering sides, covered overall with an olive-green glaze with fine craquelure, leaving only the foot rim unglazed and revealing the buff stoneware body 14.1cm diameter

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

62

139 JIZHOU TORTOISESHELL-GLAZED JAR SOUTHERN SONG DYNASTY, 12TH-13TH CENTURY 南宋 吉州窯玳瑁釉茶入

the deep sides rising from a recessed base to a short waisted neck with lipped rim, the exterior covered with a rich dark brown glaze mottled with buff glaze shading to black edge, the glaze stopped shortly above the foot revealing the buff stoneware body, the interior covered in plain brown glaze 9cm wide

£800-1,200

140 LONGQUAN CELADON BRUSH WASHER SOUTHERN SONG DYNASTY 南宋 龍泉筆洗

the body rising from a tapered foot, the spreading sides terminating to a lipped and everted rim, the body covered overall in a sea-green glaze 12.5cm diameter

£600-800

141 QINGBAI ‘LOTUS LEAF’ LIDDED JAR SOUTHERN SONG DYNASTY 南宋 青白釉荷葉蓋罐

the rounded sides and slightly domed cover carved with overlapping petals in relief, the cover topped with a loop finial, the vessel covered overall in a pale blue glaze pooling in the recesses 8cm wide Provenance: Private Taiwanese collection

£600-800

142 LONGQUAN CELADON ‘TWIN FISH’ DISH SOUTHERN SONG DYNASTY 南宋 龍泉雙魚盤

potted with deep fluted sides carved with upright lotus petals on the exterior, rising to a flat everted rim, the interior decorated with a pair of moulded fish in relief, the dish covered overall with a celadon glaze with uneven yellowish tone, the foot ring unglazed, revealing the burnt orange body 13.7cm diameter

£400-600

63

143 DING WARE CARVED ‘DAY LILY’ BOWL NOTHERN SONG / JIN DYNASTY 北宋/金 定窯萱草花卉紋花口碗

of steep conical form with notched rim, the interior carved with a day lily flower, covered overall with a creamy white glaze with ivory tinge 19.5cm diameter Provenance: Private Hong Kong collection, acquired from Japan about 20 years ago

£2,000-3,000

144 CIZHOU BRONZE-GLAZED DOUBLE-HANDLED JAR SONG DYNASTY

宋 磁州褐釉雙繫耳罐

the rounded body supported on a recessed foot and rising to a short neck with everted rim, the neck flanked with two ribbed loop handles connecting the rim to the shoulder, the exterior of the body covered in a thick glossy dark brown glaze, which stops in an uneven line above the base, where the glaze trickles down in places like teardrops, the interior fully glazed, the foot unglazed revealing the buff stoneware body 9.7cm high

£300-500

145 CIZHOU TYPE BROWN-GLAZED FOLIATE RIM JAR NORTHERN SONG OR JIN DYNASTY, 12TH CENTURY 北宋或金 磁州窯系褐釉花口堆線小罐

the bulbous body supported on a short straight foot, extending to a short neck and terminating to a foliate rim, the exterior decorated with six sets of raised vertical lines in low relief, the interior and exterior covered in a brown glaze stopped above the foot, revealing the buff stoneware body 12cm wide

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

64

146 JIAN WARE BLACK GLAZED TEA BOWL SONG DYNASTY

宋 建窯烏金釉斗笠盞

of conical form rising from a short splayed foot to a flared mouth rim, covered overall in a thick black glaze suffused with brown streaks, the glaze pooling above the foot revealing the buff stoneware body 12.3cm diameter

£400-600

147 QINGBAI ‘FLOWER’ TEA BOWL SONG DYNASTY

宋 青白花卉紋斗笠盞

supported on a short disc-shaped foot and extending toward tapering sides, the interior engraved with flower motifs, covered overall with a pale-blue glaze, leaving only the foot base unglazed and revealing the fine porcelain body 14cm diameter

£600-800

148 BROWN-GLAZED TEA BOWL SOUTHERN SONG DYNASTY 南宋 贛州窯茶碗

the conical body supported on a recessed foot, two concentric lines engraved above the foot, covered overall with a brown glaze suffused with an uneven dark brown pattern, leaving only the base unglazed 11.3cm diameter

£400-600

149 GROUP OF THREE QINGBAI BOWLS SONG DYNASTY

宋 青白釉 劃花篦點紋碗、淺碗及刻花盤 （一組三件）

comprising: one deep and one shallow bowls, each supported on a short food with splayed mouth rim, the interior carved with floral and comb pattern, 17cm and 15.8cm diameter; together with a saucer with a recessed base, the interior carved with flower motif, 12.3cm diameter; each vessel covered in a qingbai blue glaze with greyish tinge (3) largest: 17cm diameter

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

65

150 JIAN WARE ‘OIL SPOT’ TEA BOWL SONG DYNASTY

宋 建窯天目釉暗銀滴茶碗

of conical shape, the steep bowl stands on a short foot, covered overall with a thick black glaze suffused with dense variegated silvery streaks between oil spots and partridge pattern, the glaze ends irregularly above the foot to expose the brownish stoneware body, with a fitted Japanese brocade pouch and a Japanese wooden tomobako box with inscription on the back of the cover 11.7cm diameter Provenance: Private Taiwanese collection

151

£1,000-1,500

QINBAI ‘BOYS AT PLAY’ BOWL SONG DYNASTY

宋 青白釉刻娃娃紋碗

of deep conical shape, the thinly potted, curved sides rising from a tapering foot and terminating in an everted rim, the interior delicately moulded with two boys at play amidst scrolling floral sprays, covered in a translucent glaze of pale blue hue, leaving only the recessed base unglazed, showing the fine-grained white porcelain body, with a Japanese tomobako wooden box 20.5cm diameter Provenance: Private Taiwanese collection

£600-800

152 GROUP OF THREE JIZHOU WARE TEA BOWLS SONG DYNASTY

宋代 吉州窯茶碗（一組三件）

comprising: each of conical form, one decorated with three flower medallions on the interior on brown glaze, 12.5cm diameter; one covered in dark brown glaze suffused with light blue streaks, the base with a wax mark, 11cm diameter; and one shallow bowl covered in a light brown glaze with fine craquelure on the interior, 11.6cm diameter (3) largest: 12.5cm diameter

£400-600

66

153 GE-TYPE CRACKLE-GLAZED LOBED WASHER POSSIBLY YUAN TO MING DYNASTY 可能元至明 仿哥釉海棠形筆洗

finely potted and modelled after a Song prototype with a broad flat base supported on four ruyi-headed feet, rising to curved sides with an everted rim, covered overall in a thick bluish-grey glaze with a web of fine ‘iron-wire’ crackles, the uneven glaze around the foot rim revealing the dark bronze ‘iron’ body 15.9cm wide Note: with a paper label on the base ‘A Ge-type mallow-form washer, Yuan to Ming dynasty’

£3,000-5,000

154 LARGE LONGQUAN CELADON CARVED DRAGON BASIN QING DYNASTY, 19TH CENTURY 清 龍泉青釉大盤

the shallow rounded sides rising from a short tapered foot to a flared rim, finely carved to the centre with two sinuous chi dragons amidst stylized ruyi-head cloud, the well with a border of lotus blooms between a narrow band of classic floral scroll, covered overall with an olive-green glaze, an unglazed ring to the base burnt orange in the firing 33.7cm diameter Note: A comparable Longquan celadon dish of similar form and decorated with a floral motif, dated to the Ming dynasty 15th century, was offered at Sotheby’s New York, 12 Sep, 2018, lot 249

£500-700

67

155 LONGQUAN CELADON JAR YUAN DYNASTY 元 龍泉瓜稜罐

the ribbed broad baluster body rising from a recessed base to a short straight neck, covered overall in celadon-green glaze 7cm high

£400-600

156 LONGQUAN CELADON-GLAZED YEN YEN VASE YUAN TO MING DYNASTY

元至明 龍泉青釉劃花鳳尾尊

sturdily potted with widely flaring ribbed neck and slightly spreading foot, carved with a central band of scrolling flowers within further bands of stylised foliage and stiff leaves 42.8cm high Provenance: Private English collection, acquired from Christie’s South Kensington in 1990s. Note: with a cropped description and lot no. 449 on paper from a sale catalogue

£2,000-3,000

157 LARGE PAINTED CIZHOU ‘MEIPING’ VASE YUAN DYNASTY

元 磁州窯白地褐彩梅瓶

the rounded, tapering body below a slightly waisted neck and raised to a lipped rim, the upper body painted in dark-brown slip with four blossoming floral sprigs within horizontal lines, all under a clear glaze, the base unglazed exposing the buff stoneware body 25.5cm high

£2,500-3,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

68

158 TEADUST-GLAZED TRIPOD BOWL QING DYNASTY, 19TH CENTURY 清 茶葉末釉三足缽

the deep conical bowl supported on three short cabriole feet, the body flaring out to a wide shoulder and terminating to an inverted rim, the vessel covered overall with a teadust glaze with olive-green tone 13.5cm wide

£400-600

159 DEHUA ‘BAGUA AND PRUNUS’ BRUSH POT LATE MING TO EARLY QING DYNASTY, 17TH CENTURY 明末清初 德化白瓷雕八卦梅花紋筆筒

the cylindrical body with a splayed base supported on a short straight foot, the upper part of the exterior moulded with Bagua- Eight Trigrams, the lower part adorned with a branch of prunus flowers, the vessel covered overall with a thick creamy white glaze with ivory tinge 12.5cm high

£400-600

160 FLAMBÉ-GLAZED ‘POMEGRANATE’ LOBED VASE QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 窯變釉石榴形尊

of hexafoil section, the lobed body rising from a spreading foot to a waisted neck and everted rim, covered overall with a rich purplishred glaze streaked with lavender blue, the base incised with a six-character Qianlong mark under a mottled toffee-brown glaze 20.3cm high

£800-1,200

69

161 IRON-RED-DECORATED PEN BOX AND COVER ZHENGDE MARK AND POSSIBLY OF THE PERIOD 正德款或年代 礬紅彩伊斯蘭紋蓋盒

of rectangular form with a separate lid and splayed base, the surfaces decorated with calligraphic roundels of sini script on foliate ground surrounded by leafy vine, the raised base inscribed with a six-character Zhengde mark within double-rectangle 20.8cm wide

£300-500

Note: a comparable blue and white rectangular pen box was excavated from Zhushan in 1988 and was exhibited in the Hunan Provincial Museum ‘Decoding the Royal Kilns: Imperial Porcelains of the Ming Dynasty’ during 15 Nov 2014 and 8 March 2015, and currently in the collection of the Jingdezhen Ceramic Archaeological Research Institute

162 WHITE-GLAZED INCISED VASE LATE MING-EARLY QING DYNASTY, 17TH CENTURY 明末清初 白釉刻花花卉紋燈籠瓶

the cylindrical body supported on a short straight foot, the short neck terminating to a slightly splayed mouth rim, the body incised with various floral motifs, including chrysanthemum, prunus and lotus flowers 27cm high

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

70

163 WHITE-GLAZED BOWL QIANLONG MARK BUT LATER 青花乾隆款 白釉碗

thinly potted, supported on a short straight foot, the round sides smoothly tapering to an everted mouth rim, covered overall in an even white glaze, the base inscribed with a sixcharacter Qianlong mark in underglaze blue 13cm diameter

£800-1,200

164 FLAMBÉ-GLAZED WATER POT QING DYNASTY, 18TH-19TH CENTURY 清 窯變釉洗

sturdily potted with rounded sides supported on a short tapered foot, decorated overall in an attractive mottled glaze ranging from strawberry red to pale lavender tones, leaving the base unglazed, with a Japanese tomobako wooden box 10cm wide Provenance: Private Taiwanese collection, acquired from Japan

£400-600

165 WHITE-GLAZED TRIPOD BRUSH WASHER QING DYNASTY, 19TH CENTURY 清 漳窯白釉三足洗

of compressed globular form, supported on three cabriole feet, covered overall with a white glaze with ivory tinge and a fine network of craquelure 12.5cm wide

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

71

166 CORAL-GROUND RESERVE-DECORATED ‘LOTUS’ BOWL QING DYNASTY, QIANLONG MARK AND PERIOD

清乾隆 青花「大清乾隆年製」款 珊瑚紅地留白纏枝連紋碗

finely potted with deep rounded sides rising from a short straight foot, reserve painted in rich coral-red with blossoming lotus flower in tendrils, the interior glazed white, the base inscribed with a six-character Qianlong mark in underglaze blue 13cm diameter Provenance: formerly in an English private collection, Berkshire, the current owner acquired in 2012 Note: A closely comparable bowl with Qianlong mark and of the period, was sold at Sotheby’s London, 13 May 2015, lot 183

£12,000-15,000

72

167 WHITE-GLAZED RED-DRAGON YUHUCHUN VASE QING DYNASTY, 19TH CENTURY 清 白釉描紅夔龍銜靈芝玉壺春瓶

supported on a tall splayed foot, the globular body extended to a long neck and terminating to an everted rim, the exterior delicately painted with a purplish-red kui-dragon holding a lingzhi fungus in its mouth and meandering around the shoulder, all above a band of swirling waves above the foot 23cm high

£300-500

168 PAIR OF SANG DE BOEUF BOTTLE VASES QING DYNASTY, 19TH CENTURY 清 紅釉直口瓶（一對）

169 POWDER-BLUE-GLAZED BALUSTER VASE QING DYNASTY, KANGXI PERIOD 清康熙 雪花藍釉瓶

the elongated body extending towards a short neck and everted mouth rim, the exterior covered overall with an attractive powder blue glaze 44cm high Provenance: Private collection, Hertfordshire

£1,500-2,000

each sturdily potted from a recessed foot rising to a bulbous body and straight long neck, applied overall and save for the base with a thick red glaze, thinning from the mouth rim revealing the creamy body above lavender-coloured streaks (2) heights: 33cm and 32.7cm Provenance: Private Scottish collection, Glasgow; each base with a Christie’s label inscribed ‘LOT 968/2’

£800-1,200

73

170 RED-GLAZED ‘YUHUCHUN’ VASE QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 紅釉玉壺春瓶

the bulbous sides raised from an everted foot to a waisted neck and flared rim, covered to the exterior with red glaze stopped neatly on the foot, the base inscribed with a sixcharacter Qianlong mark in underglaze blue 29.5cm high

£10,000-15,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

74

171 ROBIN’S EGG-GLAZED VASE QING DYNASTY, 19TH CENTURY 清 爐鈞釉柳葉瓶

the slender ovoid body with a waisted neck and flared rim, vividly applied overall with a turquoise-blue glaze suffused with dense dark blue network 18.5cm high Provenance: Private Taiwanese collection

£800-1,200

172 LANGYAO GREEN-GLAZED MEIPING VASE QING DYNATY, 19TH CENTURY 清 郎窯綠釉梅瓶

Sturdily potted, rising from a short spreading foot, surmounted by a short neck and terminating to a splayed rim, the exterior covered in a pale apple-green crackled glaze 19.2cm high

£300-500

173 WHITE-GLAZED FIGURE OF AN ARHAT QING DYNASTY, 18TH-19TH CENTURY 清 白釉羅漢像

moulded in the form of a seated arhat on a rock, covered in a long robe and with his chest exposed, his face minutely defined with a smiling expression 13.2cm high Provenance: Formerly in the collection of Mr Zhongling Zhao 趙中令 (1913-2013), one of the earliest members of Chinese Culture and Fine Arts Association, Taiwan (中華文物學會); Private Taiwanese collection, acquired directly from Zhongling Zhao in 2010.

£800-1,200

174 AQUAMARINE-BLUE GLAZED CONJOINED VASE QIANLONG MARK BUT LATER

乾隆款 天藍釉堆白纏枝蓮紋雙聯瓶

each of the two vases of slightly flattened ovoid form, decorated in white enamel on an aquamarine-blue ground with stylised lotus flowerheads on scrolling tendrils below a ruyi-head band and above stiff leaf lappets, the larger vase further decorated with shou characters and a key-fret band, each vase inscribed with a four-character apocryphal Qianlong mark in iron-red 18.5cm high

£2,500-3,500

75

175 BLUE-GLAZED BOTTLE VASE XUANTONG MARK, 20TH CENTURY 二十世紀 宣統款 霽藍釉荸薺瓶

sturdily potted, the globular body slightly tapering down, applied overall with a thick dark blue glaze pooling above the foot, the base inscribed with a six-character Xuantong mark 32.5cm high

£800-1,200

176 CELADON-GLAZED ‘HU’ VASE QING DYNASTY, 19TH CENTURY 清 豆青釉夔龍紋雙耳大瓶

the body heavily potted and supported on a splayed foot, the angled shoulder tapered to a waisted neck, extending to a large opening of a disc mouth, the body finely carved in low relief with archaic form kui dragons, the shoulder adorned with bands of continuous key-fret patterns, all below a band of plantain leaves, a pair of chi dragon handles flanking the neck, the body covered overall with a subtle celadon glaze 46cm high Provenance: Private London collection

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

76

177 GE-TYPE CRACKLE-GLAZED GOURD-SHAPED VASE QING DYNASTY, KANGXI PERIOD 清康熙 仿哥釉葫蘆瓶

of double gourd form, the body supported on a short foot and the elongated neck terminating to an everted rim, the vessel fully covered in a thick greyish blue glaze suffused with a network of black and faint russet crackle, a russet colour applied to the rim 20.5cm high

£400-600

178 GE-TYPE CRACKLE-GLAZED LOBED ‘CHRYSANTHEMUM’ DISH QING DYNASTY, 19TH CENTURY 清 仿哥釉菊瓣盤

the multiple-lobed body supported on a short foot and terminating into a flared mouth rim, covered overall with a thick layer creamy glaze with ivory tinge and a web of fine russet crackles, leaving the foot rim unglazed 16.7cm diameter

£400-600

179 GE-TYPE CRACKLE-GLAZED WITH BLUE AND WHITE ‘FLOWER’ DISH QING DYNASTY, 18TH CENTURY 清 仿哥釉青花花卉紋茶盤

the circular body supported on a short foot and terminating into an everted mouth rim, the interior painted in underglaze blue with three sets of flowers in tendrils encircling a group of pomegranates in the centre, both the interior and exterior covered overall with a thick layer of creamy glaze with ivory tinge and a web of fine russet crackle, leaving the foot rim unglazed and revealing the buff stoneware body 21.5cm diameter

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

77

180 LANGYAO GREEN-GLAZED VASE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 郎窯綠釉瓶

the spindle-shaped body rising from a splaying foot, surmounted by an elongated neck and terminating to an everted rim, the exterior covered in a pale apple-green crackled glaze 20.8cm high Provenance: Private London collection

£400-600

181 GILT-DECORATED BLUE-GLAZED ‘DRAGON’ GARLIC-HEAD VASE DAOGUANG MARK, 19TH CENTURY

十九世紀 道光款 霽藍釉描金五爪龍紋戲珠蒜頭瓶

the bulbous body supported on a short foot, extending to a long neck terminating to a garlic-head mouth, the exterior finely decorated in gilt paint with two pairs of five-clawed dragons chasing flaming pearls above swirling waves, the neck further adorned with a meandering dragon, all below a band of ruyihead around the mouth, the base inscribed with a six-character Daoguang mark in iron-red against a turquoise ground 31cm high

£300-500

182 BLUE-GLAZED SLIP-DECORATED JARDINIÈRE QING DYNASTY, 19TH CENTURY 清 天藍釉堆白花卉紋花盆

the bulbous body supported on a short foot and terminating to an everted rim, the exterior and the mouth rim slip-decorated with white flower branches against a blue ground, the centre of the base with perforation, the lower part of the interior and the base unglazed 17.7cm diameter

£600-800

78

183 GROUP OF THREE SNUFF BOTTLES QING DYNASTY, 18TH-19TH CENTURY

清 雍正款 青花釉裏紅海獸紋、清風款 青花團龍紋、青花 綠彩道教仙人圖 鼻煙壺（一組三件）

comprising: a blue and white with underglaze red ovoid bottle decorated with various sea monsters, topped with an orangey hardstone stopper, the base inscribed with a six-character Yongzheng mark in underglaze blue, 6cm high; a tapered cylindrical bottle painted with two coiling dragons on the sides, the base inscribed with a twocharacter ‘Qing Feng’ mark in underglaze blue, 8.5cm high; and a blue and white with famille verte bottle in flattened form painted with Daoist immortals Li Tieguai and Liuhai to each side, 5.5cm high (3) largest: 8.5cm high Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£400-600

184 BLUE AND WHITE ‘ROOSTER AND BAMBOO’ BOWL QING DYNASTY, KANGXI PERIOD 清康熙 青花雞鳴竹林碗

the body supported on a bi-disc-shaped foot and tapering toward an everted rim, the interior finely painted with a rooster in a bamboo groove 10.1cm diameter

£300-500

185 BLUE AND WHITE ‘BATAVIA’ SAUCER WITH ENGRAVED EUROPEAN DECORATION QING DYNASTY, KANGXI PERIOD

清康熙 青花褐彩加歐洲雕飾 紋碟

the exterior has a rich brown ground (Batavia ware) which has wheel engraved decoration of stylised flowering foliage 11.5cm diameter Provenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 years

£300-500

Note: The current owner met Dr Barbara Harrisson (1922-2015), Director and Chief of Ceramicist at the Princessehof Museum in Leeuwarden, in the early 1980s in person and acquired the following information: It was a Dutch custom during the 17th-18th centuries for husbands to mark birthdays etc. and anniversaries by presenting their wives with a piece of blue-and-white porcelain or glassware. The porcelain was imported via Batavia, the Dutch name for what became Jakarta and was often partially glazed with favoured tea-coloured slip and known as ‘Batavian Ware’. It was known historically that a travelling Bohemian glasscutter had been in Holland around 1790 and had been embellishing glassware and also Batavian ware with incised artwork. The purpose was to enhance the traditional family gifts. The Princessehof had five examples of his work on porcelain.

79

186 BLUE AND WHITE MOULDED BOTTLE VASE KANGXI PERIOD

清康熙 青花花卉紋瓶

the slightly flared neck with a knop above a double-lobed body decorated with lotus scrolls, above flower-filled moulded lappet panels, the narrow neck painted with scholars items below leaf pattern, the base inscribed with a leaf mark in underglaze blue 21cm high Provenance: Private Scottish collection

£800-1,200

187 BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ GINGER JAR QING DYNASTY, KANGXI PERIOD 清康熙 青花歲寒三友罐

the exterior finely painted with ‘Three Friends of Winter’, including pine, bamboo, and plum, the base inscribed with a double-circle in underglaze blue 22cm high

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

80

188 BLUE AND WHITE BRUSH POT QING DYNASTY, 19TH CENTURY 清 青花高士閒逸圖筆筒

the cylindrical body supported on three ruyi shaped feet, the exterior painted with scholars at leisure, either playing chess or listening to music, all depicted in a garden setting 17.8cm diameter

£600-800

189 BLUE AND WHITE HEXAGONAL VASE QING DYNASTY, 18TH-19TH CENTURY 清 乾隆款 青花花果紋六稜瓶

the bulbous body tapering to a high spreading foot and rising to a tall flared neck to form six facetted sides, the hexagonal facets are decorated with large single upright boughs of pomegranate, peach and persimmon alternating with flowering branches of peony, chrysanthemum and lotus, separated by elaborate scrolling motifs at the vertical raised edges, the neck and body divided at the shoulder by a band of dense wan and ruyi-heads, the base inscribed with a six-character Qianlong mark in underglaze blue 43.5cm high Note: A closely comparable example of larger size was sold at Christie’s Hong Kong on 29 May 2019, lot 3142

£1,500-2,000

190 BLUE AND WHITE PORRIDGE JAR QING DYNASTY, 19TH CENTURY 清 青花花卉紋粥罐

decorated on the tapered bulbous body with flower sprays, the waisted neck with inverted waves band, with two pairs of perforations on opposite sides of the shoulders, with a fitted wooden stand 20cm wide

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

81

191 BLUE AND WHITE GINGER ‘ANTIQUITY’ JAR QING DYNASTY, KANGXI PERIOD 清康熙 青花冰梅紋開光博古圖罐

of ovoid form, the body painted with two sets of antiquities in foliated cartouches against a ‘cracked-ice and prunus’ ground, with a wooden cover and stand 17.5cm high Provenance: Private London collection

£600-800

192 LARGE BLUE AND WHITE ‘DEER’ BASIN MING DYNASTY, 16TH-17TH CENTURY 明 青花百鹿紋大缸

decorated to the sturdily potted body in various shades of cobalt blue with hundreds of deer leaping in woods, all below a lotus band to the rim 43cm diameter

£5,000-7,000

82

193 SET OF FOUR DOUCAI CUPS QING DYNASTY, 18TH-19TH CENTURY 清 鬥彩山水樓閣紋小杯

each supported on a short foot, the tapering sides terminating to an everted rim, the exterior decorated with small figures in a mountainous landscape with pagodas in between, the interior similarly painted to the base (4) 7cm diameter each

£800-1,200

194 BLUE AND WHITE ‘DRAGON’ VASE QING DYNASTY, 18TH CENTURY 清 青花五爪龍紋瓶

the ovoid body supported on a recessed foot and tapered to a slightly wider shoulder, terminating to a short neck with flared mouth rim, the exterior finely painted with two five-clawed dragons with flaming cloud, the base unglazed 24.5cm high

£1,200-1,800

195 SOFT-PASTE BLUE AND WHITE CIRCULAR DISH QING DYNASTY, 18TH-19TH CENTURY 清 漿胎青花牧羊圖碟

thinly potted, the shallow dish supported on a short foot, delicately painted on the interior with a shepherd looking after three rams underneath a pine tree canopy, all within a band of diaper and gilded mouth rim 16.1cm diameter

£300-500

83 Note: The vase is unusual for its form and decoration. Whilst other double gourd vases from the Wanli period are known in, for example, collections in the British Museum and the Victoria and Albert Museum (BM no.PDF.727 and V&A no.C.860-1922 respectively), the present lot is particularly large and thus an impressive feat of potting. In addition to the size, the decorative motifs on the present lot are very striking. The overall pattern achieved through the scattering of various fish, shells, honeycomb motifs, fans and other objects is as harmonious as it is intriguing. Compare a vase in the British Museum, featuring similar decoration, see J.HarrisonHall, Ming Ceramics in the British Museum, London, 2001, p.389, no.12:88. Soame Jenyns notes that these comparable marked pieces may have been made for either Zhu Changxun, the third son of the Wanli Emperor and killed in 1640, or for his son who became the Prince of Fu and briefly claimed the title of Emperor before his assassination in 1644. The present lot is another example of such unusual pieces created for the ruling elite amid the chaos of the collapse of the Ming dynasty.

196 RARE LARGE BLUE AND WHITE ‘DOUBLE-GOURD’ VASE MING DYNASTY, 16TH CENTURY 明 青花花果紋葫蘆瓶

unusually painted all over the smaller upper lobe and wide globular lower lobe of the vase with a variety of single small objects from the Jingdezhen painter’s canon, including shells, a ruyi, single flower heads, long-life characters, Buddhist emblems and open scrolls, all dividing clusters of tree peony and coiling bunches of grapes, a band of large cloud-collar lappets around the foot 52.5cm high

£6,000-8,000

A closely comparable large blue and white doublegourd vase, dated to the late Ming dynasty and with similar decoration, was offered at Bonhams London, 17 May 2012, lot 246.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

84

197 BLUE AND WHITE ‘BUDDHIST LION’ JAR MING DYNASTY, WANLI PERIOD 明萬曆 青花瑞獅紋罐

the bulbous body supported on recessed foot and terminating to a lipped rim, painted on the exterior with two Buddhist lions crawling in leafy tendrils, the shoulders further adorned with four sets of peach on branch in cartouches against key-fret ground 19cm high

£600-800

198 BLUE AND WHITE ROULEAU VASE QING DYNASTY, 19TH CENTURY 清 青花漁舟唱晚圖瓶

the exterior painted with fishermen angling along the riverbank and a boatman sailing on a sampan, all set in a mountainous landscape with birds flying afar, the ribbed neck further adorned with two bands of ruyi-head clouds and key-fret pattern 47.3cm high

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

85

199 BLUE AND WHITE ‘SEA MONSTERS’ VASE WANLI MARK BUT 19TH CENTURY 十九世紀 萬曆款 青花海獸紋瓶

the bulbous body supported on a recessed foot and terminating to a short neck and inverted mouth rim, the lower body painted with sea monsters leaping on swirling waves, the upper part adorned with flowers with tassels, the neck decorated with flowers in tendrils, the base inscribed with a six-character Wanli mark in double-circle 25cm high

£600-800

200 BLUE AND WHITE ‘CHI-DRAGON’ VASE QIANLONG MARK BUT 19TH CENTURY 十九世紀 乾隆款 青花螭龍紋燈籠瓶

the cylindrical body supported on a short straight foot, the waisted neck terminating to an everted rim, the body painted with sinuous chi-dragons in ruyi-head clouds, the neck adorned with a band of plantain leaves, the base inscribed with a six-character Qianlong mark in underglaze blue 37.3cm high

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

86

Reverse

201 DOUCAI ‘LOTUS’ BOWL QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 鬥彩蓮紋碗

thinly potted with steep sides, painted with stylised double lotus on the sides and with central medallion on the interior, the base inscribed with a six-character Guangxu mark in underglaze blue 12.5cm diameter

£300-500

202 BLUE AND WHITE ‘CRACKED ICE AND PRUNUS’ VASE QING DYNASTY, 19TH CENTURY 清 青花冰梅紋將軍罐

of baluster form, painted to the body with flowering prunus branches on ‘cracked-ice’ ground, the base with a double-circle 29cm high

£400-600

87

203 BLUE AND WHITE BRUSH POT QING DYNASTY, 19TH CENTURY 清 青花魁星點斗筆筒

of slender cylindrical form, the exterior finely painted with the god of examinations Kui Xing pointing to the zhuangyuan, the title given to the scholar who achieved the highest score on highest level of the imperial examination, the scene depicted in a garden setting, all between two incised bands of floral scrolls 15.2cm high Provenance: Private UK collection; the base with remnant of a paper label “Sidney L Moss, 81 Davies St”

£2,500-3,500

204 CELADON-GLAZED BLUE AND WHITE VASE QING DYNASTY, 18TH-19TH CENTURY 清 青釉青花群仙獻壽瓶

heavily potted with an ovoid body to a waisted neck, extending to a flared mouth rim, the body painted in blue with various immortals gathering in a garden setting, including Shoulao (the immortal of longevity), who grants an elder man with a large peach, accompanied by a crane, all reserved on a subtle celadon glaze 46cm high Provenance: Private London collection

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

88

205 BLUE AND WHITE SILVER-MOUNTED ROSEWATER SPRINKLER QING DYNASTY, KANGXI PERIOD 清康熙 青花鑲銀花卉紋膽瓶

of bottle shape, painted with flowers and foliage in shaped cartouches on the bulbous body, the necks fixed in tall white metal mount with a pointed stopper surrounded by five small apertures, the base painted with an artemisia motif mark 25cm high Provenance: Private English collection, Norfolk

£600-800

206 BLUE AND WHITE WITH FAMILLE ROSE VASE QING DYNASTY, TONGZHI PERIOD 清同治 青花加彩人物紋雙耳瓶

the body and the neck painted with various figures entertaining themselves in a garden setting, the shoulders adorned with flower branches in cartouches, the neck flanked with a lion-dog on either side 24.3cm high

£400-600

207 PAIR OF BLUE AND WHITE WITH FAMILLE ROSE VASES WITH ONE LID QING DYNASTY, QIANLONG PERIOD

清乾隆 青花加彩開窗人物故事紋 瓶（一對）

each of baluster form, finely enamelled with narrative figures in two shaped cartouches formed by bats and kui-dragons reserved on a colourful diaper ground decorated with flowers and foliage (2) heights: 30.3cm (with lid) and 25.3cm Provenance: Private English collection, Norfolk

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

89

A PRIVATE SCOTTISH COLLECTION

208 PAIR OF BLUE AND WHITE PHOENIX-HEAD LIDDED EWERS QING DYNASTY, KANGXI PERIOD

清康熙 青花四季花卉圖菱花式鳳首壺（一對）

each of quatrefoil baluster form, painted on the bulbous body in panels with various flowers issuing amongst rockwork above a frieze of lotus petals, the undulating spout terminating in a phoenix head joined to the tall neck flaring to a garlic-form head, with a floral form lid (2) heights: 25cm and 26cm Provenance: Property of the late Hon. Elizabeth Fairbairn Note: Ewers of this form were originally inspired by Middle Eastern metal wares and were made for the export market. They were meant to exist in pairs. It is very rare to have their original lids still kept with the ewers. Compare a closely related ewer from the Avery Brundage collection now at the Asian Art Museum, San Francisco, acc. no. B60P249. A pair from the Grandidier collection, now at the Louvre museum, was paired with three blue and white bottle vases to form an ad hoc garniture set and is illustrated in La Ceramique Chinoise: De l’epoque de K’ang-Hi a nos jours, Paris, 1922, pl. 244. Two further comparable pairs were respectively sold at Christie’s New York on 28 January 2013, lot 404 and Sotheby’s New York on 20 March 2018, lot 452.

£2,500-3,500

90

209 GROUP OF NINE BLUE AND WHITE WARES QING DYNASTY, KANGXI PERIOD

清康熙 青花花卉紋蓮瓣口盤（兩件）、花蝶紋花口碗及碟（兩組四件）及 各色款 人物紋碗（三件） （共九件）

comprising: two lotus-petal-rimmed plates, decorated with flowers; two sets of four foliated bowls and dishes; a four-section bowl with canted corners, the base inscribed with a six-character Kangxi mark within double-circle; and two circular bowls each with everted rim, one with a sixcharacter Chenghua mark and the other with ‘Qi Yu Bao Ding Zhi Zhen’ mark within double-circle (9) largest: 23cm wide Provenance: Property of the late Hon. Elizabeth Fairbairn

£1,200-1,800

210 GROUP OF NINETEEN BLUE AND WHITE WARES QING DYNASTY, KANGXI PERIOD

清康熙 玉款 青花人物紋仰鐘杯碟組（五套十一件）、狩獵紋馬蹄杯碟組（四套八件） （共十九件）

comprising: five sets bell-shaped cups and saucers, with an extra cup, decorated with figures and flowers; and four sets of horseshoeshaped cups and saucers, painted with hunting scenes, all base inscribed with a one-character ‘Yu’ mark within double-circle (19) largest cup: 7cm high; saucer: 12.4cm diameter Provenance: Property of the late Hon. Elizabeth Fairbairn

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

91

211 BLUE AND WHITE GU-FORM VASE QING DYNASTY, KANGXI PERIOD 清康熙 青花鳳凰麒麟穿花圖花觚

sturdily potted of beaker form with a bulbous midsection, painted on the body with a phoenix to one side, qilin to the other side, both animatedly flying amongst branches bearing large peonies, the base with a double-circle in underglaze blue 31.8cm high Provenance: Property of the late Hon. Elizabeth Fairbairn

£800-1,200

212 GROUP OF TWENTY-TWO BLUE AND WHITE WARES QING DYNASTY, KANGXI PERIOD

清康熙 各色青花杯碟（三組共二十二件）

comprising: four matching sets of foliated teacups and saucers, each decorated with birds, flowers and rockwork, the base with a foliated floral motif mark; four matching sets of foliated teacups and saucers, with one extra saucer, each painted with flowers and birds, the base inscribed with a character-mark in square panel within double-circle; and five teacups each depicting cranes and pagoda, the base engraved with a Johanneum mark ‘N=5II’ (22) largest saucer: 14cm diameter; largest cup: 8.5cm diameter Provenance: Property of the late Hon. Elizabeth Fairbairn

£600-800

92

CHINESE CERAMICS CONTINUED 213 BLUE AND WHITE ‘DRAGON’ BASIN LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 青花雙龍趕珠紋缸

the compressed globular body supported on a tapering foot and terminating to an everted rim, the exterior painted with two four-clawed dragons chasing a flaming pearl, the neck adorned with a band of auspicious motifs, the mouth rim covered in brown glaze, the base inscribed with a double-circle 26.1cm diameter

£300-500

214 COLLECTION OF ELEVEN BLUE AND WHITE PLATES QING DYNASTY, 18TH-19TH CENTURY

清 松下問童子山水紋（五件）祥瑞製寫款 蟠龍紋盤（兩件）及有田 燒 青花花卉紋盤（四件） （三組十一件）

comprising: five plates with Chinese poem and landscape painting on the centre, late 18th-early 19th century, 19cm diameter; two plates with the dragon medallion and Chinese inscription in circular cartouches, the base inscribed with ‘Xiang Rui Zhi Xie’ mark, early 19th century, 21.5cm diameter; together with four Japanese Arita plates, depicting plum flowers and peaches on the centre, 18th century, 18.5cm diameter (11) largest: 21.5cm diameter

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

93

Interior

215 BLUE AND WHITE ‘KUI DRAGON’ BOWL QING DYNASTY, YONGZHENG MARK AND OF THE PERIOD 清雍正及款 青花夔龍花卉紋碗

the conical bowl supported on a splayed foot, the exterior finely painted with four kui dragons in between a band of palatine leaves above the foot and swastika pattern around the mouth rim, the centre of the interior decorated with a blossoming flower within double circles, the inner rim further painted with a band of swirling waves, the base inscribed with a six-character Yongzheng mark within double-circle in underglaze blue 21.6cm diameter Provenance: Private UK collection

£1,200-1,800

216 BLUE AND WHITE ‘LANDSCAPE’ JARDINIÈRE QING DYNASTY, 19TH CENTURY

清 雪笠程門款 青花山水題詩紋花盆

the bulbous body supported on a short foot and terminating to a disc rim, the round sides painted to one side with small cottages in a mountainous landscape, the other side inscribed with poem and ‘Xue Li Cheng Men’, together painted with a red seal ‘Xue Li’, the base with a perforation in the centre 27.5cm diameter

£300-500

94

A PRIVATE ENGLISH COLLECTION

217 SET OF NINE FAMILLE ROSE CUPS AND SAUCERS QING DYNASTY, 18TH CENTURY

清 各色粉彩茶杯及碟（九組十八件）

each set with matching decorations, comprising: one set with small birds with large peonies; one set with a lady holding a puppy in a garden setting; one set with various flowers in a large pot; two sets painted with two dogs in a garden setting; one set with a rooster; one set with foliated mouth rim and both the cup and saucer supported on three small lions feet; one set with magpies perching on a peony tree; and one set with a flower basket encircling by gilded landscape scenes; each set with a fitted wooden stand (18) largest set, saucer: 13.7cm diameter; cup: 8.5cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£2,500-3,500

218 FAMILLE ROSE ‘MANDARIN DUCK’ CHARGER QING DYNASTY, QIANLONG PERIOD 清乾隆 粉彩荷塘鴛鴦紋盤

the central medallion delicately painted with a pair of Mandarin ducks swimming amongst lotus, enclosed with a band of eight Daoist immortals on the cavetto, each on their unique vahana sailing on ferocious swirling waves, the underside of the cavetto further decorated with four peony sprays in iron-red 31.5cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s Note: The base with remnant of a wax seal bearing ‘DUVEEN LIVERPOOL’, further with two old inscribed labels

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

95

219 FAMILLE ROSE FIGURE OF A GUANYIN QING DYNASTY, 19TH CENTURY 清 粉彩持經觀音立像

the bodhisattva moulded in standing position, with her left hand holding a scroll sutra, her richly enamelled lime green robe curls up from the sides, detailed with flowers against key-fret ground, the pink skirt with flowers on trellis ground, the sky-blue headscarf covers her high chignon drapes down on her back decorated with flowers and ruyi clouds, her eyes cast down with a benevolent expression 25.1cm high Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£600-800

220 FAMILLE ROSE SEATED GUANYIN BESTOWING A SON QING DYNASTY, 19TH CENTURY 清 粉彩描金送子觀音座像

seated in royal ease pose, the bodhisattva holds an infant sitting on her right thigh, her robes and headscarf detailed with light green, pink and blue enamels, her eyes cast down with benevolent serene expression 20cm high Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920’s

£500-700

221 FAMILLE ROSE FOLIATED DISH QING DYNASTY, 18TH CENTURY 清 粉彩雄雞花卉紋花口盤

the centre of the interior painted with flowers, finger citrons and pomegranates, the cavetto adorned with roosters in garden scene intermittent with peonies and landscape setting 21.1cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£300-500

96

222 PAIR OF BLUE AND WHITE WITH FAMILLE ROSE ‘ROOSTER’ SAUCERS QING DYNASTY. 18TH CENTURY

清 青花加彩雄鷄花卉紋碟（一組兩件）

each finely painted with two roosters under a blossoming tree with red and blue flowers (2) 11.8cm diameter each Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£300-500

223 GROUP OF THREE FAMILLE ROSE ‘PEONEY’ WARES QING DYNASTY, 18TH CENTURY 清 粉彩花卉紋大盤及碟（共三件）

comprising: a pair of circular dishes painted with peonies on rock, 22.5cm diameter each; and a large charger adorned with peonies and prunus blossoming on branches enclosed in ruyi-head cartouche, the underside of the cavetto adorned with four flowers in iron-red, 42cm diameter (3) largest: 42cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s Note: the large charger has an old label on the base

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

97

224 FAMILLE VERTE ‘PHOENIX AND QILIN’ CHARGER QING DYNASTY, KANGXI MARK AND OF THE PERIOD

清康熙 青花「大清康熙年製」雙圈款 綠彩 鳳凰麒麟紋盤

the interior decorated with two phoenixes in a garden scene, the cavetto lined with alternating panels depicting flowers on rocks and mythical creature qilin, the underside of the cavetto painted with four floral sprays, the base inscribed with a six-character Kangxi mark in double-circle in underglaze blue 33.5cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s Note: the base with an old circular label number 289

£1,000-2,000

225 PAIR OF FAMILLE VERTE FOLIATED DISHES QING DYNASTY, KANGXI PERIOD

清康熙 青花爵形花押款 綠彩蝶戀花紋花口盤（一對）

each painted to the centre with a pair of butterflies in flight between flowers including tree peonies, the cavetto painted in six panels with birds perching on tree intermittent with blossoming flowers, the base painted with an archaic jue motif in double-circle in underglaze blue (2) 22.7cm diameter each Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£500-700

98

226 FAMILLE ROSE ‘IMMORTAL’ FOLIATED PLATE QING DYNASTY, 18TH CENTURY 清 粉彩仙人捧桃紋花口盤

the interior finely painted with an immortal holding a peach accompanied by his attendant in a garden setting, the cavetto painted in eight panels with flowers and various antiquities 27.6cm diameter Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s Note: The base with a paper label “Dickson, 108 Wigmore Street”

£400-600

227 PAIR OF FAMILLE ROSE ‘LADY’ PLATES QING DYNASTY, YONGZHENG PERIOD

清雍正 粉彩仕女圖盤（一組兩件）

each plate delicately painted with an elegant lady, one playing a musical instrument- pipa and the other holding a fan leaning against a rock accompanied by a cat, both in front of a table arranged with various antiques in a garden setting (2) 25.5cm diameter each Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s Note: Each with an old label on the base, inscriptions faded and barely legible

£1,000-1,500

228 PAIR OF FAMILLE ROSE PLATES QING DYNASTY, YONGZHENG TO EARLY QIANLONG PERIOD

清雍正至乾隆早期 粉彩仕女嬰戲圖碟 （一對）

each thinly potted, richly enamelled to the central medallion with two ladies playing with two boys in a courtyard before a lotus pond, the cavetto with four shaped cartouches bearing various flowers reserved on a hexagonal trellis bold pink ground (2) 23cm diameter each

Note: Each with remnant of a wax seal bearing ‘DUVEEN LIVERPOOL’ and an old label with faded inscriptions to the base

Note: Closely comparable examples sold at Christie’s London, Live Auction 10693 on 30 April 2015, lot 98

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£600-800

99

229 FINE LARGE FAMILLE ROSE ‘MAGU’ CHARGER QING DYNASTY, YONGZHENG PERIOD, CIRCA 1730 清雍正 粉彩麻姑獻壽圖大盤

the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gilded, the base with a wheel engraved Johanneum Inventory mark ‘N=183 I’ 43.5cm diameter Provenance: August II, ‘August the Strong’, Prince-Elector of Saxony (1670-1733), Dresden; Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920’s.

£5,000-8,000

Note: The scene on this dish depicts the Daoist Immortal, Magu, on her way to celebrate the famous peach banquet of the Queen Mother of the West, Xi Wang Mu, who rules over the garden of the peaches of longevity. The fine drawing of Magu’s feminine face is in the traditional Chinese style without shading. The scene contains many symbols of long-life and immortality, especially the lingzhi fungus, the deer, and the peaches, while the blossoming prunus tree represents youth and new life. Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections, had a particular fondness for East Asian porcelain from the 17th and early 18th centuries. Obsessed with porcelain, he had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733. This plate can be dated with some accuracy since no new pieces were added to the collection of Augustus the Strong (1670-1733) after his death in 1733, and the inventory books at Dresden reveal that dishes of this kind were acquired in 1727. After his death in 1733, the porcelain was packed away in the cellars of

the unfinished “Japanische Palace”. The term “Johanneum” was taken from the building in Dresden to which the royal collection was moved in 1875-76. One plate with the same number of the old Dresden inventory (N=183 I, inventory 1779) and almost identical decoration and size is in the Dresden collection.[1] Some other examples with the same inventory number entered the art trade presumably as a result of earlier sales, with examples found in the museum Boijmans Van Beuningen in Rotterdam[2] and in the former Collection Ignazio Vok.[3] Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie’s London, 30 April 2015, lot 111 and Sotheby’s New York, 17 March 2021. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32 [2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van

Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25 [3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153

100

230 GROUP OF THREE FAMILLE ROSE LIDDED BALUSTER VASES QING DYNASTY, 18TH CENTURY

清 粉彩雉鷄牡丹紋蓋罐（一組三件）

each vase finely decorated with two pheasants on rocks with large peonies blossoming in a garden setting, the decoration enclosed between a band of floral tendril above the foot rim and a band of large reverse pomegranates around the shoulder, each cover similarly decorated with reverse pomegranates with a gilded finial, together with two wooden bases (3) 34.7cm high each Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s

£800-1,200

231 GROUP OF SEVEN EXPORT FAMILLE ROSE ‘PSEUDO TOBACCO LEAF’ WARES QING DYNASTY, QIANLONG PERIOD

清乾隆 粉彩菸葉紋蓋瓶、花口盤及把杯（共七件）

comprising: three lidded baluster vases, of which two larger ones are a pair, 29cm and 22cm high; three lobed dishes, 23.5cm, 22.9cm and 16.5cm; together with a tankard with a rattan-woven metal handle, 12.5cm high; all similarly enamelled with exuberant hibiscus flowers with bright pink tending towards yellow as the petals slightly turned back, accompanied by poppies and florets, the tobacco leaves enamelled in sky-blue, lime-green and pink, two larger lobed dishes each further painted with a pair of pheasants and a squirrel handing on a twig (7) largest: 29cm high Provenance: Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920s Note: each vase and two larger plates attached with an old label Note: The main period of Famille Rose ‘Pseudo Tabacco Leaf’ wares is between 1765 and 1795, during the Qianlong period. Through Macau, Portuguese merchants and its Brazilian colony, amongst other countries, seem to appreciate ‘Pseudo Tabacco Leaf’ patterns the most. See Debomy, Pierre L., Tobacco Leaf and Pseudo: A Tentative Inventory, France: La Société des Amis du Musée national de Céramique Sèvres, 2013.

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

CHINESE CERAMICS CONTINUED

102

232 SMALL FAMILLE ROSE ‘LOTUS POND’ VASE YONGZHENG MARK BUT 19TH-20TH CENTURY 十九至二十世紀 雍正款 粉彩荷塘紋小瓶

the delicately potted vase supported on a short foot, the elongated neck tipped with a garlic-shaped mouth, the ovoid body adorned with pink lotuses blossoming from a leafy pond, the base inscribed with a four-character Yongzheng mark in underglaze blue Provenance: Private London collection 13.5cm high

£600-800

233 PAIR OF FAMILLE ROSE BOWLS QING DYNASTY, QIANLONG PERIOD

清乾隆 粉彩人物及山水紋碗（一組兩件）

each supported on a short foot and tapering to an everted mouth rim, one bowl painted on the exterior with a hunchback figure with his attendant walking toward a building, with a boatman sailing under the moon, the other bowl decorated with buildings in mountainous landscape setting (2) 13.1cm diameter each

£600-800

234 FAMILLE VERTE LIDDED BOX CHENGHUA MARK BUT QING DYNASTY, 19TH CENTURY 清 青花成化款 綠彩開光花卉紋蓋盒

of cylindrical form, the cover with a recessed top, the exterior of the body painted with various flowers and trees in cartouches, all against a pale yellow ground further adorned with butterflies and prunus flowers, the cover similarly decorated with flowers in a scroll-shaped cartouche, the base inscribed with a sixcharacter apocryphal Chenghua mark in underglaze blue 10.5cm diameter

£300-500

235 PAIR OF WUCAI CIRCULAR PLATES QING DYNASTY, 18TH CENTURY

清‘福’款 五彩耕織圖’淤蔭’詩文圖盤（一對）

each finely depicting the process of fertilisation in the Series of Farming and Weaving, inscribed to the right with correspondence poem composed by a Song-dynasty poet Lou Shu (b. 1090), the base inscribed with a fu character mark within a square panel enclosed by a double-circle (2) 20cm diameter each

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

103

236 WUCAI PORCELAIN BRICK QING DYNASTY, KANGXI PERIOD 清康熙 五彩東坡夜遊圖花磚

of rectangular form, one side painted with a legendary story of the Songdynasty scholar Su Shi visiting the Red Cliff (Chibi) with friends on a sampan in the evening, the other side painted with three ladies vising a high-ranked officer seated in a pavilion, the sides with rectangular and circular perforations for insetting into walls 40.8cm wide x 39.3cm high x 5cm deep

£1,000-1,500

Reverse

237 WUCAI ‘LION’ JAR QING DYNASTY, 19TH CENTURY 清 五彩瑞獅紋瓶

sturdily potted, the bulbous body terminating to a short straight neck, the exterior delicately painted on the rounded sides with four different fierce Buddhist lions, the neck adorned with auspicious items, the mouth rim covered in brown glaze, the base left unglazed 31.5cm high

£400-600

104

238 FAMILLE ROSE ‘FLOWER AND BATS’ PLATE DAOGUANG MARK BUT 19TH-20TH CENTURY 十九至二十世紀 道光款 粉彩花卉紋五蝠捧壽盤

the interior pained with five bats encircling a shou longevity symbol in iron-red, the reverse adorned with peony, prunus, chrysanthemum and lotus flowers, the base inscribed with a six-character Daoguang mark in iron-red 16cm diameter

£300-500 Reverse

239 WUCAI ‘THREE VISITS TO THE COTTAGE’ VASE QING DYNASTY, 19TH CENTURY 清 五彩三顧茅廬瓶

the tapered cylindrical body extended to a waisted neck and everted mouth rim, the body finely painted with the famous historical story Three visits to the cottage, depicting Zhuge Liang, a Chinese statesman and military strategist who lived during the Three Kingdoms period, holding his signature kongming fan and receiving a visit from the young warlord Liu Bei, the base inscribed a double-circle in underglaze blue; with a wooded stand and fitted cotton box 25.2cm high

Provenance: Formerly in the collection of Mr Zhongling Zhao 趙 中令 (1913-2013), one of the earliest members of Chinese Culture and Fine Arts Association, Taiwan (中華文物學會); Private Taiwanese collection, acquired directly from Zhongling Zhao in 2010.

£800-1,200

240 WUCAI ‘LION’ CHARGER QING DYNASTY, 17TH CENTURY 清 五彩瑞獅戲球大盤

sturdily potted, delicately painted on the interior with three different fierce Buddhist lions playing with a brocade ball with billowing scarves 33.5cm diameter

£600-800

105

241 WUCAI ‘MEIPING’ VASE QING DYNASTY, 17TH CENTURY 清 五彩加官晉爵梅瓶

the exterior painted with an officer wearing a court hat and holding a hu ritual baton in his left hand, escorted by an attendant covering him with a large fan behind, and served by another holding a pot of ritual items in a plate, the scene in a garden setting with a large Taihu stone 19cm high Provenance: Private UK collection

£1,500-2,000

242 FAMILLE ROSE ‘PEACH’ VASE GUANGXU MARK AND POSSIBLY OF THE PERIOD 光緒款或到代 粉彩九桃獻壽荸薺瓶

sturdily potted, the globular body slightly compressed, the exterior decorated with the spreading branches of a peach tree bearing nine ripe pink fruits and issuing numerous leaves in different shades of green, two bats painted in iron-red flying by, the base inscribed with a six-character Guangxu mark in iron-red 32.5cm high

£400-600

243 LARGE WUCAI BALUSTER VASE QING DYNASTY, 19TH CENTURY 清 五彩封神演義賞瓶

of wide baluster form supported on a short foot ring, the body finely painted with a battlefield between gods and demons, described in the Chinese novel Investiture of the Gods (Fengshen Yanyi, 封神演義), including a protection deity Nezha (哪吒) shown flying in the sky riding on the Wind Fire Wheels, the base with a double circle in underglaze blue 36cm high

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

106

244 YELLOW-GROUND FAMILLE ROSE PLATE WITH BUTTERFLIES AND ‘XI’ CHARACTERS GUANGXU MARK AND POSSIBLY OF THE PERIOD 光緒款或到代 淡黃地粉彩蝴蝶八喜紋盤

the interior finely painted with colourful butterflies amidst eight ‘doubleXi (happiness)’ characters symbolising happy marriage, the reverse adorned with three flower branches, the mouth rim covered in gilt paint, the base inscribed with a six-character Guangxu mark in underglaze blue 14.2cm diameter Note: a slightly larger plate of closely comparable design and inscribed with Tongzhi mark was custom-made for Tongzhi emperor’s wedding in 1872 and in the collection of the Palace Museum, Beijing

£300-500

245 TURQUOISE-GROUND FAMILLE ROSE ‘BOYS AT PLAY’ VASE JIAQING MARK BUT REPUBLIC PERIOD

民國 嘉慶款 松石綠地粉彩嬰戲紋鳳鳥耳賞瓶

the globular body finely painted with boys at play in a continuous garden setting, the neck enamelled with large lotus blossoms borne on scrolls, further flanked with a phoenix handle on either side, the interior and base applied with turquoise enamel, the base inscribed with a six-character Jiaqing mark in iron-red 29.5cm high

£300-500

246 YELLOW-GROUND FAMILLE ROSE ‘DRAGON’ PLATE GUANGXU MARK BUT LATER 光緒款 黃地粉彩雙龍趕珠紋盤

the interior painted with two five-clawed dragons chasing a flaming pearl amidst ruyi-head clouds, all against a yellow ground, the reverse adorned with three flower branches, the base inscribed with a six-character Guangxu mark in underglaze blue 28.2cm diameter

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

107

247 LIME-GREEN-GROUND FAMILLE ROSE ‘LOTUS’ VASE QIANLONG MARK BUT 19TH CENTURY

十九世紀 乾隆款 蘋果綠地粉彩纏枝蓮紋螭耳賞瓶

the bulbous body enamelled with four large lotus blossoms borne on scrolls, below a pink key-fret and yellow ruyi band, the neck decorated with similar lotus blooms separated by bats suspending endless knots, further flanked with a chi-dragon handle on either side, the interior and base applied with turquoise enamel, the base inscribed with a six-character Qianlong mark in iron-red 28.5cm high

£300-500

248 FAMILLE ROSE ‘CONG’ VASE QIANLONG MARK AND POSSIBLY OF THE PERIOD 乾隆款或到代 蘋果綠地粉彩西洋人物圖象耳琮式瓶

of four-section form, the sides colourfully enamelled with continuous scenes of foreign figures travelling in mountainous landscape, flanked by gilt-decorated elephant heads and rings as handles, the base inscribed with a six-character Qianlong mark in ironred on a turquoise ground 29cm high

£2,500-3,500

108

249 FAMILLE ROSE LIDDED COFFEE POT QING DYNASTY, YONGZHENG PERIOD 清雍正 粉彩花卉紋壺帶蓋

the bulbous body supported on an everted foot, set with handle and the opposite moulded with v-shaped short spout on the mouth rim, the exterior painted freely with floral bushes 21cm high Provenance: Private English collection, Norfolk

£500-700

250 FAMILLE ROSE ‘GOLDFISH’ PLATE QING DYNASTY, 18TH CENTURY 清 粉彩金魚紋折沿盤

finely enamelled with five goldfish in iron-red, white, grey, and pink swimming amongst aquatic plants, the cavetto further with blue floral sprays 23cm diameter Provenance: Private English collection, Norfolk

£400-600

251 CHINESE IMARI BARBER’S BOWL QING DYNASTY, 18TH CENTURY 清 伊萬里剃鬚碗

of oval form, supported on a short straight foot, painted in underglaze blue, iron-red and gilt with a central basket of flowers with upright handle, the cavettos adorned with four tuffs of flowers issuing from a rocky mound, the exterior decorated with four branches of flowers, two pairs of perforations drilled through the foot on longer sides 29.5cm wide Provenance: Private English collection, London

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

109

252 FAMILLE ROSE SEATED FIGURE OF AMITAYUS 20TH CENTURY

二十世紀 粉彩無量壽佛

seated in dhyanasana with hands held in dhyanamudra holding an eared vase containing a flaming jewel on a lotus base, the deity with serene facial expression and downcast eyes, the hair enamelled blue and tied in a high topknot adorned by a jewel, further embellished with jewelled necklaces, bracelets, and foot accessories, the shoulders draped with a billowing lime-green shawl wrapped around the lower arms with yellow speckles, the yellow dhoti decorated with floral scrolls 26.7cm high

£300-500

253 FAMILLE ROSE ‘PEACH’ VASE QING DYNASTY, 19TH CENTURY 清 餘德堂款 粉彩壽桃紋賞瓶

the globular body and slender neck decorated with spreading branches of a peach tree bearing nine ripe fruit and issuing numerous pink and white blossoms and leaves in different shades of green, two bats painted in iron-red flitting by, a band of lotus flowers and shou longevity character adorned the shoulder, the mouth rim and the ribbed shoulder covered in gilt paint, the base inscribed with a three-character ‘Yu De Tang’ mark in iron-red 39cm high

£1,000-1,500

254 FAMILLE ROSE ‘LANDSCAPE’ VASE 20TH CENTURY

二十世紀 桂英款 景德鎮底款 粉彩描金開光山水紋獅耳尊 of slightly compressed bulbous form, the body painted to each side with rivers and mountainous landscape, the neck similarly decorated in two cartouches with gilt frame against an apple-green ground, flanked with a pair of raised lion heads as handles, a side of the body inscribed with ‘Gui Ying’ mark, the base with a fourcharacter ‘Jing De Zhen Zhi’ mark 35cm high

£300-500

110

255 FAMILLE ROSE JUSTICE CUP JIAQING MARK, 19TH CENTURY

清 嘉慶款 粉彩福祿壽三星紋公道杯

supported on a short foot, raised to rounded sides, the interior set with a dome, a ruyi-cloud and floral band surrounding the top-perforation, in which contained a moulded figure of ShoulaoGod of longevity, exterior of the cup further painted with the Three ImmortalsFu (luck), Lu (wealth) and Shou (longevity) accompanied by a boy-attendant, the base inscribed with a six-character Jiaqing mark in gilt against iron-red square ground 8.2cm diameter Provenance: Private Scottish collection

£600-800

256 FAMILLE ROSE TEAPOT WITH LID QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD 清 道光款礬紅款及年代 粉彩人物紋茶壺

of globular form, finely painted on the exterior with a scholar being served with a cup of tea by his attendant on one side and an elder asking direction from a young boy carrying baskets of chrysanthemum flowers to the other side, the base inscribed with a four-character Daoguang mark in iron-red 12.5cm wide

£500-700

257 FAMILLE ROSE ‘SCHOLAR AT LEISURE’ BOWL 20TH CENTURY

二十世紀 濟記款 粉彩高士閒逸圖碗

the exterior finely painted with groups of scholars either appreciating scroll painting, reading poems, playing chess, playing qin musical instrument or listening to the music, the base inscribed with a two-character ‘Ji Ji’ workshop mark in double-rectangle in iron-red 17.1cm wide

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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258 FAMILLE ROSE ‘DRAGON’ BOTTLE VASE QIANGLONG MARK BUT 19TH CENTURY 清 乾隆款 粉彩錦地描金龍紋膽瓶

the ovoid body extending to an elegant long neck with slightly everted mouth rim, the body delicately painted with three sinuous chi-dragons amidst lingzhi fungus against a gilded brocade-pattern ground, the neck similarly adorned with a dragon, the shoulder decorated with a band of feather-like tendrils against a blue ground, the base inscribed with a six-character Qianlong mark in iron-red 29.5cm high Provenance: Private English collection, acquired from an antique shop in Singapore in 1980s; with a circular paper label ‘Wain Antiques, No. 5’ attached to the base

£3,000-5,000

112

259 FAMILLE ROSE ‘WUSHUANGPU’ VASE QING DYNASTY, 19TH CENTURY 清 粉彩無雙譜人物賞瓶

the bulbous body supported on a short splayed foot and extending to an everted rim, the body finely painted with two Chinese historical figures, Li Qin Lian and Fu Sheng from Wushuangpu, together with two inscriptions 21cm high Provenance: From the collection of the Late Tony Edwards, Grange Farmhouse, St. Andrews

£250-350

260 LARGE CANTON FAMILLE ROSE VASE QING DYNASTY, 19TH CENTURY

清 廣彩開窗人物故事紋夔耳嵌歐洲風格銅飾大瓶 heavily potted, painted on the body with several foliated, kui dragon-formed and bat-formed cartouches with figures, all reserved on a ground painted with flowers, butterflies, and auspicious symbols, the neck flanked with a pair of stylised mythical beast handles, further with gilt filigree mounts in European style 63.5cm high

£700-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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261 FAMILLE ROSE ‘EIGHT IMMORTALS’ PLATE QING DYNASTY, 18TH CENTURY 清 粉彩藍地開光八仙圖蓮紋盤

the centre of the interior finely adorned with a gilded lotus flower on a pink ground, the cavetto decorated with Eight Daoist Immortals in four cartouches against a blue ground with a starburst pattern, the reverse of the cavetto painted with pink line in imitation of the texture of lotus petals, the base painted with a gilded lotus in double-circule in underglaze blue 15.9cm diameter

£1,000-1,500

262 GRISAILLE-DECORATED FAMILLE ROSE ‘CHESS’ PLATE QING DYNASTY, 18TH-19TH CENTURY 清 墨彩粉彩高士奕棋圖盤

painted to the interior with three seated elders playing chess under a pine tree in a garden, the everted rim painted with four lotuses in tendrils en grisaille in cartouches against gilt ground, intermittent with a flower head, all reserved on a pink ground with fern-shaped scrolling pattern 22.5cm diameter

£300-500

263 LARGE FAMILLE ROSE ‘FLOWER’ MONTEITH QING DYNASTY, 18TH-19TH CENTURY

清 粉彩玉堂富貴圖八瓣花口盆

of ovoid form, the compressed bulbous body supported on an everted high foot decorated with interlinking octagonal design containing hacture lines, the body richly enamelled with luscious peony, magnolia, and osmanthus blooms, painted on each side of the petaled-mouth with floral sprays bordered with gilded fleur-de-lis 33cm wide

£2,000-3,000

Note: This basin would have been intended for the chilling of bottles or for icing glasses. The crenelated rims first appear in English silver of the 1680s, named after the eccentric Scot, Lord Monteith, who wore hid cloak hem notched in this fashion. By about 1710 the Dutch were producing monteith bowls in Delftware. A comparable famille rose monteith, dated to the Qianlong period, mid-18th century, was sold at Christie’s New York on 23 Jan 2020, lot 83.

114

264 TWO FAMILLE ROSE CYLINDRICAL BOXES AND COVERS QING DYNASTY, 19TH CENTURY 清 粉彩人物紋蓋罐（一組兩件）

each box painted with official figures confronted by a seated superior official to the exterior, the lids respectively adorned with figures in a garden setting and with equestrians, the smaller box indistinctly marked on the base in iron-red, the larger box inscribed with price in Chinese characters in black ink (2) heights: 13.8cm and 11.5cm Provenance: From the collection of the Late Tony Edwards, Grange Farmhouse, St. Andrews

£400-600

265 GROUP OF THREE FAMILLE ROSE ‘WUSHUANGPU’ BOXES AND COVERS QING DYNASTY, 19TH CENTURY

清 粉彩無雙譜蓋罐三件 及 蓋一件 （共四件）

comprising: two cylindrical boxes with covers, 7.5cm and 11cm high; one drum-shaped box with cover, 9cm high; and one single drumshaped cover, 10cm diameter; all finely painted with various Chinese historical figures in Wushuangpu (4) largest: 11cm high Provenance: From the collection of the Late Tony Edwards, Grange Farmhouse, St. Andrews

£600-800

266 TWO FAMILLE ROSE WARES QING DYNASTY, 19TH CENTURY

粉彩人物紋海棠供碗 及 同治款 粉彩孔雀牡丹紋供盤

comprising: an oblong quatrefoil lobed bowl, decorated with an array of figures on the exterior, all above a flared foot encircled by a band of crashing waves; and a plate moulded with notched rim and supported on high foot, painted with a peacock amongst peonies blooms to the interior, the base with a six-character Tongzhi mark in iron-red against a turquoise ground (2) widths: 23.5cm and 27.6cm Provenance: From the collection of the Late Tony Edwards, Grange Farmhouse, St. Andrews

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

115

267 EXPORT FAMILLE ROSE ‘PSEUDO TOBACCO LEAF’ DISH QING DYNASTY, QIANLONG PERIOD

清乾隆 粉彩菸葉紋花口長方盤

the oblong dish decorated with hibiscus flowers, cut fruit and tobacco leaves in brightly coloured enamels and gilt 37.5cm wide

£1,500-2,500

268 GROUP OF FIVE EXPORT TANKARDS QING DYNASTY, 18TH-19TH CENTURY

清 青花加彩開窗人物紋 及 粉彩人物紋 把杯（一組五件）

comprising: three blue and white with famille rose tankards, each of cylindrical form set with raised handle, enamelled with figures in outdoor settings in the main underglaze-blue cartouche, further with four smaller cartouches flanking the handle, the flattened base left unglazed; and two famille rose tankards, one decorated with idyll figures in a cartouche reserved on a gilded ground, the other with two noble figures under a raised curtain, further with floral sprays (5) largest: 15.5cm high Provenance: From the collection of the Late Tony Edwards, Grange Farmhouse, St. Andrews

£400-600

116

269 PAIR OF GRISAILLE-DECORATED TEA CANISTERS WITH COVERS REPUBLIC PERIOD

民國 六字紅彩款 刻花填墨彩茶罐帶蓋（一對） each globular body supported on a recessed foot, topped with a slightly domed cover with raised finial, the exterior engraved with several officials walking along a bridge and filled with black ink, the cover similarly decorated with a pair of butterflies, the mouth rims of the canister and the cover both have remnant of gilt paint, the base inscribed with a six-character mark in ironred (2) 12.5cm wide each

270

£400-600

PAIR OF FAMILLE ROSE CIRCULAR PLATES TONGZHI MARK AND POSSIBLY OF THE PERIOD 同治款或年代 粉彩秋蟬 及 蜻蜓盤（一對）

each supported on a short foot, the interior respectively painted with a dragonfly above flowers and a cicada hovering above reeds beside hyacinth flowers, each base inscribed with a six-character Tongzhi mark in iron-red (2) 18.5cm diameter each

£800-1,200

271 PAIR OF FAMILLE ROSE ‘DRAGON’ JARDINIÈRES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 粉彩雙龍趕珠花盆（一對）

each of cylindrical form, supported on a short recessed foot and terminating to an everted mouth rim, the exterior painted with two red dragons chasing a flaming pearl amidst blue clouds, the rim adorned with ruyi-head patterns, the base unglazed with a perforation in the centre (2) 28.1cm diameter each Provenance: Private London collection

£600-800

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272 PAIR OF FAMILLE ROSE ‘CARP’ VASES REPUBLIC PERIOD, 20TH CENTURY

民國 江西瓷業公司底款 粉彩魚藻紋帽筒（一對）

each of cylindrical form, the exterior painted with carps swimming in aquatic plants, the base inscribed with a six-character ‘Jiang Xi Ci Ye Gong Si’ mark in underglaze blue, meaning ‘Made by the Jiangxi Porcelain Company’ (2) 27.5cm high each

£1,000-1,500

273 SMALL FAMILLE ROSE ‘SCHOLAR AND GOOSE’ BALUSTER VASE 20TH CENTURY

二十世紀 粉彩羲之愛鵝 小賞瓶

supported on a recessed base, the exterior finely painted with a scholar Wang Xizhi with his young attendant and his admiration of goose, inscribed with Chinese poem, the base with a disc-shaped unglazed ring, the centre with a two-character seal in iron-red 14cm high

£300-500

274 PAIR OF BLUE-GROUND FAMILLE ROSE VASES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 藍地粉彩雞鳴魚藻紋象耳尊

each bulbous body supported on a short foot, the body painted on one side with roosters meandering in a garden, the other side enamelled with goldfish swimming amongst aquatic plants, all against a sky-blue ground, the shoulder flanked with a moulded elephant-head on either side (2) 36cm high each

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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275 GRISAILLE-DECORATED PORCELAIN PLAQUE QING DYNASTY, 18TH-19TH CENTURY 清 墨彩山水閣樓圖瓷板

delicately painted with ink and touch of iron-red with dramatic shanshui landscape, a building tucked beneath large rockwork and tree canopies near to a shore 18.1cm x 25.4cm

£1,000-1,500

276 QIANJIANG ENAMELLED PORCELAIN PLAQUE 王少維款 淺絳彩登高望遠題詩紋瓷板

the rectangular panel painted vertically with an elder scholar leaning against a tree on the top of a mountain and viewing cliffs afar, inscribed and signed Wang Shao Wei to the top right 39cm x 25.8cm

£1,800-2,200

277 QIANJIANG ENAMELLED PORCELAIN PLAQUE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 淺絳彩山川水秀題詩紋瓷板

the rectangular panel painted vertically with small figures in fields with mountainous landscape afar, inscribed to the top 39cm x 25.2cm Provenance: Private English collection, acquired in London between 1980-90s

£600-800

278 FAMILLE ROSE ‘CICADA’ LIDDED EWER 20TH CENTURY

二十世紀 伯濤書款 南昌程興盛製底款 粉彩雙蟬圖題詩壺

painted on the tapered body with bare willow branches perched by large cicadas, inscribed with a poem and signed ‘Bo Tao’ to one side, the base inscribed with a six-character ‘Nan Chang Cheng Xing Sheng Zhe’ (Made by Cheng Xing Sheng in Nanchang city) in iron-red 21cm wide

£300-500

119

279 PAIR OF LARGE QIANJIANG ENAMELLED VASES LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 任煥章款 淺絳彩山水人物圖大瓶（一對）

each bulbous body supported on a splayed foot and terminating to an everted rim, one side painted with figures with scholars studying in a garden or talking to a farmer, the reverse painted with a mountainous landscape, all below two vertical bands around the neck, further flanked by two lionhead handles with loop-ring, each side inscribed and signed Ren Huan Zhang (2) heights: 47.5cm and 48cm Note: Ren Huanzhang (active 1874-1902) was one of the most significant Qianjiang masters in the late Qing period. He has worked at the imperial kiln in Jingdezhen and is well known for his works of figures and landscapes. He is one of the creators of the ‘Scholars’ style of porcelain paintings.

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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280 PAIR OF SANCAI-GLAZED RECLINING LIONS REPUBLIC PERIOD

民國 茂記生造款 素三彩瑞師（一對）

each finely moulded with vivid facial expressions, one of the rear legs raised up to scratch its neck, the body covered overall with aubergine glaze and highlighted with yellow and green glaze, one of the lions with a raised biscuit patch on its right front ankle, containing fourcharacter ‘Mao Ji Sheng Zhao (Made by Mao Ji Sheng)’ in square (2) 12.3cm wide each

£400-600

281 ROBIN’S-EGG-GLAZED YIXING STONEWARE EWER 華鳳祥製款 爐鈞釉宜興紫砂帶蓋茶壺

with a tall square body, both the body and the domed lid covered in a thick layer of Lu-Jun-glaze fused with light and dark blue colours, the interior and the foot rim revealed the original purplish clay body, the base impressed with a four-character ‘Hua Feng Xiang Zhi’ mark in archaic script in a recessed circle 22.5cm wide

£300-500

282 GROUP OF NINE PORCELAIN CIRCULAR PLATES 20TH CENTURY

二十世紀 一九八九年 吳康書款 景德 鎮製底款 青花釉裏紅各式花卉盤 （七件）、獻(?)雅堂書款 陶瓷學院底 款 墨彩花鳥紋盤（兩件）及 瓷板 （一件） （共十件）

comprising: seven blue and white with underglaze red plates, each adorned with different flowers and inscribed with titles and production year 1989, the base with a fourcharacter ‘Jing De Zhen Zhi (Made in Jingdezhen)’ mark; two larger ink and famille rose painted plates depicting a bird perching on bamboo and a lotus pond, inscribed with production year 1984 and ‘Gui Hai (1983)’ and maker ‘Xian Ya Tang’, the base inscribed with ‘Tao Ci Xue Yuan (Porcelain Institute)’ mark in ink; together with A RECTANGULAR PORCELAIN PLAQUE painted with two birds perching on bamboo in ink, inscribed with ‘Xian Ya Tang’ with a red seal mark (10) largest: 23cm diameter; plaque: 30cm x 22cm

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

JAPANESE ART

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283 TIXI-LACQUER BOX AND COVER 19TH-20TH CENTURY

十九至二十世紀 剔犀如意雲紋香盒

the circular domed cover carved with a centralised five-petal flowerhead, enclosed by five rounded ruyi heads bordering the rim, the box similarly carved with alternating pointed ruyi heads above a flattened base, all deeply worked through alternating layers of dark brownish-black and red lacquer 7.8cm diameter

£600-800

284

Y

JAPANESE PAPER AND IVORY TELESCOPIC FAN MEIJI PERIOD

明治 象牙描金人物花卉紙摺扇

double-paper leaf with ivory sticks and guards, each side painted in ink, one side delicately painted with Japanese men and women walking along river banks with cherry blossom trees in three circular cartouches against a gilt-paint ground, the reverse depicted various flowers and butterflies in the field, the ivory guards decorated in gold paint with a flowering branch and birds 21.4cm high Provenance: Private English collection

£800-1,200

Reverse

285 LARGE JAPANESE CLOISONNE ‘DRAGON’ VASE EDO TO MEIJI PERIOD, 19TH CENTURY 江戶至明治 銅胎掐絲琺瑯趕珠龍紋大瓶

the globular body supported on a tall spreading foot and terminating to an everted rim, the decorative motifs divided into horizontal registers, the main decorative band with two pairs of four-clawed dragons, below a band of Buddhist lions, all between two bands of lotus flowers on the foot and the neck, a further decoration of plantain leaves below the mouth rim 43cm high Provenance: Private English collection, acquired by Henry Lardner Dennys (1852 -1926) thence by descent. Henry Lardner Dennys arrived in Hong Kong in 1868 to serve his articles as a solicitor, and rose to become Crown Solicitor in 1896 and helped negotiate the Treaty for the New Territories for the colony of Hong Kong, and saved Dr Sun Yat Sen – the father of modern China - from capture at the hands of the Imperial police in 1895. The photo, illustrated in the article ‘My Great-Grandfather: The Man Who Saved Dr Sun Yat Sen’ in The Hong Kong Tatler, published in June 1987, p. 83, includes this cloisonne enamel vase displaying on the right corner of the Drawing Room, ‘Brockhurst’ house, one of the first residences on the Mount Gough, east of Victoria Peak, Hong Kong.

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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286

Y

TWO CARVED IVORY OKIMONOS MEIJI PERIOD

明治 宗康、宗款 象牙雕人物置物（兩件）

one depicting a seated courtesan playing a string musical instrument with composed facial expression, her hair and robe finely incised with details, the base of the chair with a ‘Soko’ mark; the other of a dancing male figure, his left long sleeve flips to his back and swings around the back of his head, right hand holding a fan before his chest, standing on left leg whist right leg raised, the inner lining of his left trousers with a one-character ‘So’ mark (2) heights: 14cm and 11.5cm

£300-500

287 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD Comprising five oban yoko-e prints; all from the series Fifty-three Stations of the Tokaido Road (Tokaido gojusan tsugi no uchi), including the 13th station: Numazu; 14th station: Hara, Mount Fuji in the Morning; 30th station: Hamamatsu; 35th station: Yoshida; and 41st station: Narumi, all framed (5) 22cm x 34cm; 33cm x 44.5cm with frame each Provenance: Private English collection, acquired by Henry Lardner Dennys (1852 -1926) thence by descent. For more information please see lot 285.

£500-700

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288 PAIR OF SATSUMA VASES MEIJI PERIOD

明治 源山款 薩摩燒花鳥紋對瓶

each of tapered form, lipped rim, the body exquisitely enamelled and traced in gilt with blooming bush visited by birds, the base signed ‘Genzan’ in seal style (2) 15.6cm high each

£300-500

289 SATSUMA ‘WISTERIA’ VASE MEIJI PERIOD

明治 光山款 薩摩燒描金紫藤紋瓶

of baluster form, finely painted with strands of wisteria on the body, the base inscribed with ‘Kozan’ in seal form 25.6cm high

£300-500

290 PAIR OF KAGA KUTANI VASES MEIJI PERIOD

明治 加賀九谷款 九谷燒雉鷄紋對瓶

each of ovoid form, finely painted with a pair of pheasants in a colourful chrysanthemum bush in gilt-fence, the base inscribed with a six-character Kaga Kutani mark in iron red (2) 30.5cm high each

£500-700

125

291 TWO SATSUMA TRIPOD CENSERS, KORO MEIJI PERIOD

明治 薩摩燒香爐（兩件）

the larger one painted on the cylindrical body with children at play; the smaller one with a cover, the exterior finely decorated with cartouches depicting scenes of figures and landscape (2) heights: 16.3cm and 13.8cm

£300-500

292 KYO-YAKI CENSER IN THE FORM OF AN OX-DRAWN CARRIAGE, GISSHA KORO LATE EDO PERIOD, 19TH CENTURY 江戶晚期 京焼牛車形薰爐

comprised of several detachable parts, the detachable roof painted and moulded on all four sides with simulated bamboo blinds below curtains, the top reticulated on a dense diaper ground with flowerheads, the wheels and the pair of detachable long shafts decorated with scrolling foliage, the shafts resting on a separate low stand decorated en suite 40.5cm wide Note: a comparable example was offered in Bonhams London, New Bond Street, 9th November 2017, lot 237.

£300-500

293 SATSUMA ‘KANNON AND RAKAN’ VASE MEIJI PERIOD

明治 京山之造款 薩摩燒觀音 羅漢龍紋瓶

the body decorated in two panels with a gathering of Kannon and rakans flanked with sinuous dragons, the neck adorned with two threeclawed dragons, the base signed with a four-character mark in gold in a doublesquare below a Shimazu family crest, with a wooden stand 32cm high Provenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 years

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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A PRIVATE SCOTTISH COLLECTION OF JAPANESE PRINTS

294 SUZUKI HARUNOBU (1725-1770) EDO PERIOD a hashira-e print, published by Nishinomiya Shinroku, signed Suzuki Harunobu hitsu 69cm x 10.4cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£300-500

295 KATSUKAW SHUNCHO (ACTIVE 1780-1801) EDO PERIOD, 1775-1800 one chuban tate-e print, depicting Two country girls, Matsukaze and Murasame, with whom the poet Yukihira consorted, carrying salt-pans on sea-shore, censor’s seal kiwame, published by Iseya Jisuke 24.1cm x 17.8cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£300-500

296 KITAGAWA UTAMARO (1753-1806) EDO PERIOD, ABOUT 1798–1800 two oban tate-e prints; including No. 3 and No. 12 from the series Women Engaged in the Sericulture Industry (Joshoku kaiko tewaza-gusa), published by Tsuruya Kiemon (Senkakudô), signed Utamaro hitsu (2) 38cm x 25.4cm each Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

127

297 KITAGAWA UTAMARO (1753-1806) EDO PERIOD comprising six oban tate-e prints and two yotsugiri tate-e prints; including one entitled One of Seven Lucky Treasures (shichifuku no uchi) from the series Comparisons of the Artistic Pride of Precious Children (Gei-Jiman kodakara awase shichifuku no uchi), with date seal 1805-VI, censor’s seal kiwame, published by Izumiya Ichibei; one entitled Carrying Sea Waters from the series Fine Plants and Splendid Landscapes (Masarigusa natori fukei), censor’s seal kiwame, published by Yamaguchiya Tobei; all signed Utamaro hitsu (8) largest: 29.2cm x 26.3cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£3,000-5,000

128

298 KITAGAWA UTAMARO (1753-1806) EDO PERIOD comprising four oban tate-e prints; including one entitled Shaving the Nape of the Neck, from the series Elegant Five-Needled Pine (Furyu goyo no matsu); two from the series Comparing True Feelings — Sources of Love (Jitsu kurabe iro no minakami), one of them published by Nishimuraya Yohachi, depicting a pair of famous lovers from shinjû-mono (plays about double-suicide), the lovers’ names, Keisei Umegawa and Hikyakuya Chubei, are inscribed above them; and one possibly from the series of Courtesan Yosooi from Matsuba House, censor’s seal kiwame, published by Nishimuraya Yohachi; all signed Utamaro hitsu (4) largest: 38 x 26.6cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£1,500-2,500

299 KITAGAWA HIDEMARO (ACTIVE 1801-1818) AND KITAGAWA TSUKIMARO (ACTIVE 1794–1836) EDO PERIOD two oban tate-e prints; including one by Kitagawa Hidemaro entitled Kabukoro and Hanamurasaki, signed Hidemaro ga; and one by Kitagawa Tsukimaro from the series Flower Arrangements of Courtesans Blooming in the Four Seasons (Shiki saku yukun ikebana), signed Tsukimaro hitsu (2) 34.1cm x 31cm and 33.5cm x 22.2cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

129

300 SHUNKOSAI HOKUSHU (ACTIVE1802-1832) AND SHUNBAISAI HOKUEI (ACTIVE 1824-1837) EDO PERIOD comprising seven oban tate-e prints; six by Shunkosai Hokushu, including two diptych prints of Kabuki Actor Nakamura Utaemon III as Tabakoya Sankichi and Ichikawa Ebijuro as Saito Kuranosuke afraid of apparition of giant snake, published by Honya Seishichi; one Actors Bando Mitsugoro III as Lady Iwafuji and Nakamura Matsue III as Lady Onoe; one Actors Sawamura Kunitaro II as Ayame no Mae and Arashi Kitsusaburo II as Gen Sanmi Yorimasa; one Bando Jutaro; one Nakamura Karoku I as the Courtesan Hinazuru, actually Shokuro’s wife Kocho, all signed Shunkosai Hokushu ga; together with one by Shunbaisai Hokuei, Actor Arashi Rikan II as Aburaya Yohei, signed Sekkaro Hokuei ga (7) largest: 38.1cm x 26.2cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£500-700

301 YANAGAWA SHIGENOBU (1787-1832) EDO PERIOD comprising one oban yoko-e print and three chuban tate-e prints; including one painted with Two Dancers in Butterfly Costumes; three with a lady in court robes (4) largest: 24.5cm x 36.5cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£600-800

302 RYURYUKYO SHINSAI (ACTIVE 1799-1823) EDO PERIOD comprising four surimono; including one depicting Mirror Stand and Towel Rack, from the series New Year of the Rat: Bridal Furnishings (Ne no haru, yomeiri dogu); one depicting Turtle-shaped Bag; one depicting a table screen; and one depicting two female figures picking up plants; all signed Shinsai (4) largest: 21.2cm x 18.7cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£700-900

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303 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD comprising four oban yoko-e prints and two oban tate-e prints; including one entitled Snow in the Precincts of the Tenman Shrine at Kameido (Kameido Tenmangu keidai yuki), from the series Famous Places in the Eastern Capital (Toto meisho), published by Sanoya Kihei; one Yanagibashi Bridge in Ryôgoku: The Umegawa Restaurant (Ryogoku Yanagibashi, Umegawa), from the series Famous Restaurants of Edo (Edo komei kaitei zukushi), published by Fujiokaya Hikotaro ; one Shinmei Shrine in Shiba (Shiba Shinmeigu), from the series Famous Places in Edo (Edo meisho), published by Yamadaya Shojiro; one Visiting the Fudo Temple in Megoro (Meguro Fudô môde), from the series Famous Places in Edo (Koto meisho), published by Sanoya Kihei; one Bikuni Bridge in Snow (Bikunibashi setchu), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei), published by Uoya Eikichi; and one Tsukudajima Gyoshoi, published by Aiboku (6) largest: 25.3 x 37.9 Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£1,000-1,500

304 KATSUSHIKA HOKUSAI (1760-1849) EDO PERIOD comprising three oban yoko-e prints; including two from the same series The Storehouse of Loyal Retainers, a Primer (Kanadehon Chushingura), one entitled Act V (Godanme), the other Act VI (Rokudanme); together with one Whaling off the Gotô Islands (Goto kujira tsuki), from the series One Thousand Pictures of the Ocean (Chie no umi) (3) largest: 23.2cm x 35.4cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£200-300

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305 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD comprising eight oban yoko-e prints; all from the series Fifty-three Stations of the Tokaido Road (Tokaido gojusan tsugi no uchi), including the 6th station: Totsuka, Motomachi Fork (Totsuka, Motomachi betsudo); two prints of the 10th station: Odawara, The Sakawa River (Odawara, Sakawagawa); 12th station: Mishima, Morning Mist (Mishima, asagiri); 14th station: Hara, Mount Fuji in the Morning (Hara, asa no Fuji); 30th station: Hamamatsu, Winter Scene (Hamamatsu, fuyugare no zu); 46th station: Shono, Driving Rain (Shono, hakuu); 55th station; Kyoto, The Great Bridge at Sanjo (Keishi, Sanjo ohashi) (8) largest: 25.6 x 39.3 Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£1,500-2,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

132

306 UTAGAWA TOYOKUNI (1769-1825) EDO PERIOD comprising nine oban tate-e prints and one triptych print; including one Ichikawa Ebizô V as Daihanji no Kiyosumi; and one triptych prints in one frame entitled Noda-Tamagawa, Mutsu (10) largest: 37.5cm x 26.2cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£700-900

307 UTAGAWA TOYOHIRO (1773-1828) EDO PERIOD comprising one surimono and two yotsugiri tate-e prints fromfrom the series of Procession of Women Carrying Palanquin; all signed Toyohiro ga (3) largest: 19.5cm x 18.3cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£200-300

308 UTAGAWA TOYOKUNI (1769-1825) EDO PERIOD comprising ten oban tate-e prints; including one entitled The Flowers of Edo (A Collection of Actors’ Portraits): No. 33, Six Selected Flowers, Hardy Begonia; one Poem by Sanjôin Onna Kurodo Sakon: (Actor Ichikawa Danjuro VIII as) Tokijiro, from the series Comparisons for Thirty-six Selected Poems (Mitate sanjûrokkasen no uchi) etc. (10) largest: 37.2cm x 25.3cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£700-900

133

309 UTAGAWA KUNISADA (1786-1865) EDO PERIOD comprising fourteen oban tate-e prints and one oban yoko-e print; including one entitled Sumo Unryu Kyukichi, published by Daikokuya Heikichi; two entitled Backstage at the Ichimura Theatre in Fukiya-cho, Where Hit Performances are Packing Them In (Fukiya-cho Ichimura-za o-iri atari furumai gakuya no zu); two entitled Backstage at a Theater in Dotonbori, Osaka (Osaka Dotonbori shibai gakuya no zu); one Backstage at the Season Opening Performance of the Morita Theater (Morita-za kaomise gakuya no zu, sanmai tsuzuki); one Backstage Celebrations of a Full-house Hit at the Ichimura Theater (Ichimura-za ôiri atari furumai gakuya no zu); one Fujin tashinami gusa from the series Fitting Accomplishments for Women etc. (15) largest: 38.8cm x 26.5cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£500-700

310 UTAGAWA KUNISADA II (1823-1880) EDO PERIOD, 1865 a oban tate-e triptych print showing Prince Genji in a boat with attendant page and a lady watching female awabi (abalone) divers called ama; Prince Genji was the protagonist of Murasaki Shikibu’s Heian-era novel The Tale of Genji, he was the second son of the emperor, and relegated to civilian life; published by Maruya Kyushiro, with a date mark 1865-V, signed Kunisada hitsu (3) largest: 37cm x 25cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£200-300

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

134

311 UTAGAWA KUNIYOSHI (1798-1861) EDO PERIOD comprising six oban tate-e prints and one oban yoko-e print; including one depicting Sasaki Saburo Moritsuna strangling the fisherman Fujidayu, published by Kawaguchiya Uhei; one Kashiwade no Hanoshi wrestling a tiger in a cave, from the series Heroes Matched to Five Colours (Eiyu goshiki awase), published by Sanoya Kihei; one kabuki actor Iwai Hanshiro V in the role of Buddhist monk Seigen, in the play ‘Sumidagawa hana no goshozome’, published by Kawaguchiya Chozo; one Evening Glow at Awazu (Awazu yusho) from the series Military Brilliance of the Eight Views (Yobu hakkei), with scene Tomoe-gozen after the battle of Awazugahara, published by Enshuya Matabei; one of the triptych from the picture album Edo Fūzoku Azuma Nishiki-e, published by Tsujiya Yasubei etc. (7) largest: 38cm x 27.8cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£400-600

312 UTAGAWA KUNIYOSHI (1798-1861) EDO PERIOD, 1842 an oban tate-e triptych print A Children’s Calligraphy Gathering (Yôdô sekigaki kai), published by Izumiya Ichibei, signed Ichiyusai Kuniyoshi ga (3) largest: 37.6cm x 26.6cm) Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£200-300

313 UTAGAWA YOSHIIKU (1833-1904) EDO PERIOD, 1865 an oban tate-e triptych print A Guide to the Good and Bad Urges of the heart (Zen’aku kokoro no annai), published by Hirookaya Kosuke, with censor’s seal: Ox 7 aratame, signed Keisai Yoshiiku giga (3) largest: 37cm x 25.4cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£200-300

135

314 OHARA KOSON (1877-1945) CIRCA 1910 two otanzaku prints entitled Monkey Holding a Dragonfly and Monkey hanging from a thin bamboo twig observing a fly, published by Daikokuya, signed Shoson (2) 34.3cm x 18.8cm and 34.6cm x 19.4cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£200-300

315 COLLECTION OF SEVEN PRINTS BY VARIOUS ARTISTS EDO PERIOD

COLLECTION OF FIVE PRINTS BY VARIOUS ARTISTS

comprising five oban tate-e prints and two surimono; including one by Utagawa Yoshitsuna (active ca. 1848– 1868), entitled At the Hour of the Horse on the 8th Day of the 5th Month, People Born in Earth and Water Signs Enter a Lucky Cycle (Gogatsu yôka uma no koku dosei suisei no hito uke ni iru): Actor Onoe Kikugorô IV (?) with Masks of Fukusuke and Fukujo, published by Kagaya Yasubei; one by GigadoAshiyuki (active ca. 1814–33), depicting The Actor Nakamura Utaemon III as Ishikawa Goemon, published by Shohonya Seishichi; one by Yasukawa Harusada I (1798– 1849); and one by Kikukawa Eizan (1787-1867) etc. (7)

EDO TO MEIJI PERIOD

largest: 37cm x 15.2cm

comprising: one print by Utagawa Yoshikazu (active ca. 1850-70), published by Maruya Jinpachi; one print by Seiyosai Shunshi (active ca. 1820s), depicting The Actor Onoe Fujaku III as Kobayakawa Takakage; one triptych in a frame by Toyohara Kunichika (1835-1900); one harimaze sheet with three pictures; and one by Nansuitei Yoshiyuki (1835-1879), Tenman-gu Shrine in Sata Village (Satamura Tenman-gu), from the series One Hundred Views of Osaka (Naniwa hyakkei) (5)

Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

316

£300-500

largest: 37.2cm x 26.1cm Provenance: From the collection of Arthur Halcrow Verstage. For details see lot 49.

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136

KOREAN & SOUTHEAST ASIAN WORKS OF ART 317 KOREAN CELADON CUP STAND GORYEO DYNASTY, 13TH CENTURY 高麗時代 青瓷盞臺

the dish-like stand supported on a tall splayed foot, topped with a raised central cup, covered overall in a celadon glaze with pooling bright green colour 14.5cm wide Note: a comparable example decorated with lotus seeds and petals is in the collection of Metropolitan Museum of Art, New York, Accession Number: 16.143.2a, b

£600-800

318 KOREAN INLAID CELADON DISH GORYEO TO JOSEON DYNASTY, 14TH-15TH CENTURY 高麗至朝鮮 韓國鑲嵌青瓷盤

the shallow dish supported on a short tapering foot, the interior laid in white slip with a large chrysanthemum medallion on the centre and a band of small flower heads around the rim, the bowl covered overall by a glossy celadon glaze, leaving the base unglazed revealing the stoneware body 13cm diameter

£400-600

319 KOREAN CELADON BOWL GORYEO PERIOD, 12TH-13TH CENTURY 高麗時代 青瓷模印花卉紋碗

the stepped body supported on a short tapered foot, the interior moulded with floral motifs in low relief, covered overall with a thick celadon glaze with greyish tinge 17.1cm diameter

£400-600

320 KOREAN CELADON CONICAL BOWL GORYEO DYNASTY, 13TH CENTURY 高麗 青瓷斗笠盞

supported on a short foot, the tapering sides terminating to an everted rim, the interior engraved with a circle below the mouth rim, covered overall with an olive-green glaze with greyish-tinge, leaving only the foot rim unglazed and revealing the buff stoneware body 14cm diameter

£500-700

137

321 BA NYAN (BURMESE 1897-1945) PAGODA oil on canvas, framed, signed lower right; verso: ‘by Ba Nyan’, ‘PAGODA RANGOON’ ‘19.3.31’ ‘OIL PANTING’ 22cm x 30cm Provenance: Deceased estate of a Glasgow gentleman and collector of Asian Art, acquired in 1995. Tom Bell Fine Art, Troon, Scotland, purchased from John Green Fine Art, 182 Bath Street Glasgow in October 2017.

£600-800

Note: John Green Fine Art Glasgow did not show the work in his gallery at any time and the current owner spotted it in his safe; the painting was then purchased upon Green’s retirement in October 2017. U Ba Nyan was one of the most important artists in Myanmar during the twentieth century, most well-known for his western Academic style. Born in Pantanaw in 1897, Ba Nyan showed a proficiency in the arts at an early age and studied under Po Maung for four years before being noticed by local officials who supported him in studying at the Normal School. At the age of 24, Ba Nyan became the first Burmese artist to study at the Royal College of Art in London, with the support of the Burma Art Group, a prestigious institution that supported young Burmese artists with great promise. During his time in London, he developed his signature Academic style, which when he returned to Myanmar in 1925 awarded him great prestige and renown. Working in oil painting, Ba Nyan received many important commissions from notable clients such as Sir Paw Htun, Sir Ba Oo and Shan saophas. Though U Ba Nyan had drawn many paintings depicting the landscapes and lifestyles of Myanmar, most of them were bought by the British and lost during World War II. Few of his paintings can be found today. In 1939, he became principal of the Art School for Myanmar students; then in 1944 he led a group of artists that opened the Institute of Art, becoming the principal of the academy. His role was such that many younger Burmese artists were influenced by him: Thein Han and Ba Kyi were both prolific and important artists who studied under Ba Nyan. During this period, the war-time prime minister of Burma, U Ba Maw, presented two of Ba Nyan’s paintings to the Japanese Prime Minister, and a third painting to Emperor Hirohito, illustrating the great international acclaim the artist had achieved. Paintings by Ba Nyan remain rare and highly collectable, with a watercolour of an elephant monument sold for £9,500 and one of the Shwedagon Pagoda sold for £5,500 in 2019 at Grand Auctions in Folkestone, England. His works remain in important international public and private collections such as A Buddhist Monastery in the National Museum of Myanmar, and At the Jetty in the Singapore Art Museum.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

138

322 TAY BAK KOI (SINGAPOREAN 1939-2005) UNTITLED

鄭木奎 無題 紙本 設色 鏡框

mixed media on paper, framed, signed ‘Bak Koi’ lower-middle right 59.5cm x 59.5cm Provenance: Private Scottish collection, by repute acquired from Singapore in the early 1980s

£400-600

Note: A second-generation Singaporean artist, Tay Bak Koi is well known for paintings with Southeast Asian themes, this includes the portrayals of fishing villages, kampong scenes and buffalo. Over and beyond the quintessential realistic depiction of Southeast Asian lives, his distinctive style combined a mixture of realism and fantasy to create truly unique works of art. Predominantly using oil paint, watercolour was another favoured medium for Tay. In the example presented here, Tay employs watercolour as the base, oil, gouache or other mediums to detail the landscape, achieving a sense of tranquillity and modernity.

323 BURMESE REPOUSSÉ SILVER BOWL 19TH CENTURY the globular bowl decorated with a band of six scenes depicting seated figures either in celestial or layman’s costumes, each scene separated by elaborately designed pediment, all between bands of floral and emblem pattern, the base engraved with a flower in the centre 11.5cm wide Provenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 years

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

139

ISLAMIC WORKS OF ART

324 ‘VENETO-SARACANIC’ PIERCED BRASS INCENCE BURNER COVER SYRIA OR EGYPT, 15TH / 16TH CENTURY of spherical shape, profusely engraved, the rim decorated with a narrow band of repeat scrolling floral motifs, followed by a wide band of interlocking oval and circular medallions, the latter containing a quatrefoil, the oval containing knot designs, a further narrow band of repeat scrolling floral motifs, the upper part decorated with a knot design around a geometric star design, pierced 9.7cm diameter

£800-1,200

325 TWO MAMLUK STYLE TINNED COPPER DISHES EGYPT OR SYRIA, 19TH CENTURY each on a foot ring with rounded sides and narrow flattened rim, one engraved with a central flowerhead containing split-palmettes and arabesques, its sides decorated with four inscription-filled cartouches interspersed with circular medallions, the other decorated with lobed medallions containing various animals (2) 25.7cm and 23cm diameter

£500-700

140

326 SAFAVID TINNED-COPPER WIDE RIMMED BOWL PERSIA, DATED AD 1578 profusely engraved and decorated with an inscription-filled square to the centre within a ring decorated with arabesque and split-palmettes, in turn surrounded by a wide band of repeat scrolling vines with arabesque and split palmettes, the inside rim with a narrow band of repeat trefoil motifs 31.2cm diameter

£1,500-2,000

327 FINE SAFAVID TINNED COPPER FOOTED BOWL PERSIA, 17TH CENTURY on a splayed foot, with slightly flaring sides and upright rim, the external rim engraved with inscriptions in nasta’liq comprising the call on God to bless Muhammad and the twelve imams, the body decorated with an intricately detailed hunting scene depicting horsemen holding various weapons including spears, swords, and bows and arrows, a variety of prey and hunting dogs, all on a reserve of scrolling clouds, the body engraved with ‘Ja’far’ (owner’s or maker’s name), the base later inscribed with ‘The owner, Hasan bin Muhammad’ 8.2cm high Note: The engraving of the hunting scene is of particularly high quality. For another similar-sized Safavid footed bowl, see Christie’s, Art and Textiles of the Islamic and Indian Worlds including works from the Collection of the late Simon Digby, 8 April 2011, lot 200 (sold for £3,000).

£1,500-2,000

141

INDIAN ART

328 SHIVA PARVATI IN ATTENDANCE AND A SIKH GURU SEEKING A BLESSING KASHMIR, INDIA, 19TH CENTURY watercolour and gilt on paper, with polychrome floral and gilt border 18.6cm x 11.5cm Provenance: formally in a private French collection

£350-550

329 AUDIENCE WITH FOURTH SIKH GURU INDIA, 19TH CENTURY watercolour and gilt on paper, speckled gold border 14.2cm x 10.5cm Provenance: formerly in a private Belgium collection

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

142

330 KRISHNA AND RADHA ON A TERRACE KANGRA, INDIA, 19TH CENTURY watercolour and gilt on paper, with a blue and red border 28cm x 19cm Provenance: formally in a private American collection

£800-1,200

331 BRONZE OIL LAMP IN THE FORM OF LAKSHMI THE HINDU GODDESS INDIA, 18TH CENTURY cast figure of Lakshmi standing upright on a plinth holding a tear-shaped offering bowl 31.2cm high

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

THE PETER ROSE & ALBERT GALLICHAN COLLECTION 30 NOVEMBER | LONDON JOY McCALL | 0207 930 9115 joy.mccall@lyonandturnbull.com

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21.2

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improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. (iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced. (b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects

not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300. (e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. (f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item. B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844. 2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844. 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism

145 financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While prospective Buyers are zgly 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid. C. DURING THE SALE 1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction. 2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot. 3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. 5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services. 7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While

we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges. 8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location. D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY 1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £300,000, plus 20% from £300,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 2. VALUE ADDED TAX Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots. Please see D.2(e) for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK. (a) Lots affixed with (†): Value Added Tax on the Hammer Price and Buyer’s Premium is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme. (b) Lots affixed with (‡): A reduced rate of Import Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the UK. (c) Lots affixed with [Ω]: Standard rate of 20% of Import Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the UK and do not fall within the reduced rate category. (d) Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay us Lyon & Turnbull Ltd. the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment. (e) Export from the UK: For lots offered under the VAT Margin

Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £100. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please also note that all customs formalities of the destination country are the responsibility of the buyer. 3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk. E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

146 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or (b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or (c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading. This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must: (a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be

bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that: (i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so; (ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and; (iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes. F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in

and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. (h) If you agree to our pack and send service (if applicable) payment of shipping fees must be made prior to us posting. Any shipping fee will be inclusive of VAT. 2. IN THE EVENT OF NONPAYMENT 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 Sellers and on their 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 contract for sale of that Lot and/or any other Lots sold by us to You; (c) To resell the Lot(s) (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). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 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 which become due to You towards the settlement of

the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate. G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs. (iii) Sell the Lot in any way we think reasonable. H. TRANSPORT & SHIPPING 1. TRANSPORT AND SHIPPING (a) We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. (b) We offer a limited pack and send service using Royal Mail on small jewellery items. When items leave our premises and are in transit via postal service We are not responsible for any damage or loss incurred. We are also not responsible for making any claim regarding loss or damage to items. A tracking reference number will be issued which can be used to raise a claim with the relevant shipping provider. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining

147 licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such. I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium,Provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses. J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private

treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 8. 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 premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale. 9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply. K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with. 1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate; “Bidder” a person who has completed a Bidding Form “Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone

Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your” “Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings: “Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to “Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale. “Lien” a right for the person who has possession of the Lot to retain possession of it. “Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

21.2

148

GUIDE TO BIDDING & PAYMENT REGISTRATION

HOW TO BID

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all first-time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

BY COMMISSION / ABSENTEE BID

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods:

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and / or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING LIMITS Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £7,000 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Our sales are also available for viewing and live bidding through The-Saleroom, Invaluable and 51bidlive (additional charges applicable). TELEPHONE BIDDING (LIMITED AVAILABILITY) A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Please note that telephone bidding will only be available for lots over £3,000 and all bids must be booked by Thursday 4th November. First come-first served basis.

BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department. CREDIT OR DEBIT CARDS Payment can be made by Visa Debit, Maestro, Mastercard, Visa Credit or Union Pay cards. We do not accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in the email invoice issued after the sale or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction.

Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

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