Fine Asian & Islamic Works of Art | Auction 03 November 2023

FINE ASIAN & ISLAMIC WORKS OF ART

3RD NOVEMBER 2023 LONDON LIVE ONLINE

Printed by Park Communications, a Carbon Neutral Company, on FSC® certified paper.

Park works to the EMAS standard and its Environmental

FINE ASIAN & ISLAMIC WORKS OF ART

Management System is certified to ISO 14001.

This publication has been manufactured using 100% offshore wind electricity sourced from UK wind.

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

FEATURING SCHOLAR’S AESTHETICS: DR KENNETH P. LAWLEY’S COLLECTION

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

FRIDAY 3 NOVEMBER AT 9AM Sale Number LT751

CONTACT

ES

H RC

PO

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

ST

PL

N

N CO

KE

ONLINE, TELEPHONE & COMMISSION BIDDING There will be no in-room bidding for this auction.

Please see the guide on p.212

E AC

AL D

BIDDING AT THIS SALE

R TE

T

E RE

HT UG NA

REET

T ST

CO

22 Connaught Street 12 Porchester Place

S

ES RG EO G T

FIELDS

ARE SQU

UGH NNA

EXHIBITION & VIEWING 22 Connaught Street London W2 2AF; and 12 Porchester Place, London W2 2BS

Approx 1 minute walk

Front cover Lot 298 [detail]

Sunday 29th October – 10am-5pm Monday 30th October – 10am-7pm Tuesday 31st October – 10am-5pm Wednesday 1st November – 10am-5pm Thursday 2nd November – 10am-5pm Day of sale - closed for viewing

2

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 & PAYMENT

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

26% up to and including £20,000;

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.

25% from £20,001 up to and including £500,000;

REMOVAL OF PURCHASES

20% from £500,001 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 † VAT at the standard rate payable on the hammer price ‡ Reduced rate of 5% import VAT payable on the hammer price Ω Standard 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. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration: 1 – Government issued photo ID (Passport/ Driving licence) 2 – Proof of address (utility bill/bank statement).

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 £6500 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

COLLECTIONS & STORAGE OF PURCHASED LOTS FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS STORAGE: Items will be stored at 22 Connaught Street, until Thursday 16th November at 5pm.

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.

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 Monday 20th November.

CATALOGUE DESCRIPTIONS

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.

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.

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

COST: Please note from Friday 17th 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 at 22 Connaught Street, until Thursday 16th November at 5pm.

Thereafter items will be transported to our Edinburgh saleroom and will be available to collect from 9am on Wednesday 6th December.

All collections will be by appointment only (this applies to both carriers and personal collections).

CALL 0131 557 8844 EMAIL info@lyonandturnbull.com Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice.

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 Specialist, Asian Art 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

4

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： 20,000英鎊以内的拍品佣金為26%；

20,001至500,000英鎊的拍品佣金為25%； 500,001英鎊之後的拍品佣金為20%。

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

佣金的增值稅將根據法律規定的稅率收取；

取貨與倉儲 國際買家及英國境內的非蘇格蘭買家

增值稅

客戶務必提前預約到本公司倫敦藝廊及辦事處提貨。

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）。 †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。 所有標註【‡】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。

倉儲：截至11月16日星期四傍晚 5 點之前，拍品將存放 於22 Connaught Street。 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。 註：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20日星期一上 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，11月17日星期五起，我們的倉儲合作 夥伴將向您收取費用。 保險費：0.25%（所有拍品）

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16日星期四傍晚5 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6日星期三上午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

請注意，本次拍賣無現場競拍。

已通過註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 將依據競拍註冊呈交的資料，並不 可轉讓。 競拍出價上限

本次拍賣出價上限為6,500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2023年11月2 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

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

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。

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。

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。

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。

網路競拍

買家也可通過本公司網站註冊在 線競拍L&T Live（禮昂騰博在線） ， 只需點擊拍賣日程，相關拍賣會或 任何一項拍品，并完成註冊，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，易拍在線以及焱十一，此項服 務額外徵收費用

支票

現金

現金支付可以在拍賣結束後在倫 敦辦公室(22 Connaught Street, W2 2AF)進行。 敬請注意，每位買家 每年度於本公司的現金給付上限為 5,000英鎊。

ORDER OF SALE Lot No. 1-95

Scholar’s Aesthetics: Dr Kenneth P. Lawley's Collection Chinese Art (lots 1-54) Japanese Art (lots 55-71) Korean Art (lots 72-89) Southeast Asian Art (lots 90-95)

96-118

Works of Art Including A Private Scottish Collection (lots 112-118)

119-138

Metalwares Including A Private Collection from London (lots 134-138)

139-153

Paintings & Works on Paper

154-177

A Private Collection from Cambridge

178-222

Snuff Bottles, Glass & Jade

223-229

A Private Scottish Collection from Glasgow

230-242

A Private Scottish Collection from North Berwick

243-374

Ceramics Including A Private Scottish Collection from Glasgow (lots 301-317) A Private Chinese Export Ceramic Collection from London (lots 358-362) and A Private English Collection from Brighton (lots 371-374)

375-381

A Private Scottish Collection from the Paxton House

382-410 Japanese Including a Private Collection of Otagaki Rengetsu ware from London (lots 404-406) A Private English collection from London (lots 407-410) 411-412

Korean and Southeast Asian Art

413-419

Indian & Islamic Works of Art

Scholar’s Aesthetics: Dr Kenneth P. Lawley’s Collection of Chinese, Japanese, Korean & Southeast Asian Arts Dr Kenneth P. Lawley (1937-2023) was a chemical physicist in The School of Chemistry at the University of Edinburgh. An acutely private person, Dr Lawley also had a great passion for Asian Art and was a long-time member of the Oriental Ceramics Society.

His journey as a collector started in the mid-1960s by collecting Chinese monochrome wares and Korean early pottery. Early acquisitions included a Song dynasty blue-glazed ‘Jun’ dish acquired from Sydney L. Moss Ltd. (lot 43); a Tang dynasty straw-glazed bottle vase (lot 41); and a Goryeo period celadon-glazed bowl from Bluett and Sons Ltd. (lot 87). Setting the tone of simplicity and elegance, his Chinese and Korean ceramic collection grew to include highlights such as a pair of Han dynasty painted grey pottery tripod vessels and covers, ding (lot 36), and a rare Joseon dynasty iron-painted ‘chrysanthemum and bamboo’ handled moonflask from Christie’s (lot 85).

As the years passed, Dr Lawley’s taste further diversified to include Southeast Asian early pottery and modern and contemporary Japanese ceramics, such as a Thai Sawankhalok white-glazed covered jar (lot 93) and Japanese blue flower vase by Kusube Yaichi (1897-1984) from Greg Baker Asian Art (lot 68).

Alongside ceramics, Dr Lawley also had a passion for bronze wares. His Chinese, Himalayan, Japanese, Korean and Southeast Asian bronze collection grew from 1980s onwards, featuring a Goryeo dynasty silver-inlaid bronze double-gourd vase from Han Collection (lot 76) and a Ming dynasty bronze incense-tool vase from Nicholas Pitcher (lot 23). The collection also includes other Asian Works of Art, lacquerwares, wooden sculptures, textiles, and jade.

Meticulous with paperwork and inventory, most of the items in the collection come with their original receipts from prominent dealers, such as Bluett & Sons, Sydney Moss, S. Marchant and Son, Roger Keverne, Nicholas Pitcher, Robert McPherson, Simon Pilling and many others.

Dr Lawley was not a stranger to Lyon & Turnbull. Having lived a short walking distance away in Edinburgh’s historic New Town, he frequented our saleroom to view an array of auctions on a regular basis.

Note: 1. Please note all lots from this collection (lot 1-95) will be offered with no reserve. 此收藏拍品(拍品1 - 95號)均不設底價 2. All receipts, other provenance documents, and collector’s inventories on relevant lots are available online and on request to view.

8

CHINESE ART

1 CARVED ROOTWOOD AND BOXWOOD FIGURE OF BODHIDHARMA QING DYNASTY, 18TH-19TH CENTURY 清 黃楊木及根雕達摩立像

finely carved with the monk standing and presenting a shoe in his right hand, left hand raised, his pensive and solemn face slightly turned and raised, detailed with curling beard and moustache, eyes inlaid, the wind-swept robe cleverly worked with the textured rootwood (1) 41cm high Provenance: Gerard Hawthorn Ltd., 9 June 2008, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Misc.11.

£600-800

2 MOTHER-OF-PEARL-INLAID HONGMU TRAY QING DYNASTY, 19TH CENTURY 清 紅木嵌螺鈿四神海鬥圖托盤

raised on four bracket feet, the interior decorated with four warriors in fight standing on mythical sea creatures with a rocky mountain in the centre (1) 39.5cm wide Provenance: Oriental Art Gallery Ltd., 5 December 1994, with an original receipt.

£200-300

3 LACQUERED AND BRASS-MOUNTED WOODEN HAT BOX QING DYNASTY, 19TH CENTURY 清 黑漆銅飾圓帽箱

of cylindrical form, covered in black lacquer, with brass hinges, handles and finial (1) 25.5cm high Provenance: Jeremy J. Mason Oriental Works of Art, 17 March 1986, with an original receipt.

£150-250

9

4 PARCEL-GILT COPPER-ALLOY REPOUSSÉ AND CORAL-INLAID PLAQUE OF ACALA WITH CONSORT VISHVAVAJRI TIBET, 18TH-19TH CENTURY

西藏 十八至十九世紀 局部鎏金銅合金不動明王牌

of rectangular form, the centre worked in high relief with the wrathful manifestation of Manjushri, his right hand holds a sword, left hand holds a vajra-tipped noose while embracing his consort, flanked by torma offerings, all within a gilt beaded rectangular border, further with Ashtamangala decorated the outer border (1) 13.5cm x 32.8cm; 308g Provenance: Nicholas S Pitcher, 12 December 2021, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.70.

£800-1,200

5 PARCEL-GILT SILVER REPOUSSÉ CIRULAR BOX AND COVER BHUTAN, 18TH-19TH CENTURY

不丹 十八至十九世紀 銀局部鎏金鏨刻龍紋圓蓋盒

the hinged box decorated with Buddhist animals alternating with auspicious emblems in quatrefoil cartouches reserved on a floral ground, the cover similarly worked, with a dragon on a densely foliated ground with lotus flower heads encircling a high petalled finial crowned with a greencoloured stone, the base incised with a wheel of vajra, flanked with a floral catch (1) 18.6cm diameter; 614g Provenance: Sotheby’s, 2004 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.33.

Note: Compare to a slightly larger Bhutanese silver repoussé and turquoise-inlaid box and cover, 19th century or earlier, sold at Bonham’s London, 7 Nov 2016, lot 565.

£400-600

6 TWO RARE PARCEL-GILT ‘CARDOGAN’ COPPER-ALLOY AND SILVER RITUAL WINE EWERS NEPAL, 18TH-19TH CENTURY

尼泊爾 十八至十九世紀 局部鎏金銅合金及銀杜爾噶、文殊菩薩倒流壺（兩件） each of oval form on a flared foot, each side with a gilded floral form cartouche containing a multi-armed deity in relief, reserved on a copper sheet hammered and etched with rocky hills and mountains on sides and further etched with scrolling foliage, one side set with a handle, the opposite with makara-form spout (2) widths: 16.5cm &15.5cm; 272g & 286g Provenance: Michael Backman Ltd., 23 June 2022, with an original invoice.

Dr. Kenneth P. Lawley’s inventory number: M.71.

Note: According to the research by Michael Backman, four multi-armed deities on the pots, of which three appear to be Durga, and one other is Manjusri.

£1,200-1,800

7 PARCEL-GILT COPPER-ALLOY REPOUSSÉ ‘CHATURBHUJA LOKESHVARA’ CASKET TIBET, 19TH CENTURY

西藏 十九世紀 銅合金鏨刻四臂觀音蓋盒

the rectangular hinged box and cover raised on bracket feet, worked with Buddhistic animals, mythical beasts and dragons on a dense foliated ground with lotus flower heads, top of the scalloped lid decorated with a four-armed Boddhisattava surrounded by the Ashtamangala borne on lotuses issuing from dense scrolling foliage, the back etched with the ‘All-Powerful Ten’ interlocking syllables (1) 23cm wide x 20cm high x 14.7cm deep; 1693g Provenance: Nicholas S Pitcher, 20 April 2020, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.62.

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

10

8 APRICOT-GROUND CUT-VELVET ‘LOTUS’ PANEL QING DYNASTY, 18TH CENTURY 清 杏地纏枝蓮紋漳絨掛幅

cut through a copper top layer to a base with blue welf depicting large flowering lotus borne on tendrils, with blue scroll border, back lined with yellow brocade with clouds (1) 87cm x 84cm Provenance: Linda Wrigglesworth Ltd., 18 December 1984, with an original receipt.

£300-500

9 GOLD AND SILVER DAMASCENED IRON ‘CHHAANG’ BEER FLASK TIBET, 18TH CENTURY

西藏 十八世紀 鐵鋄金銀龍紋執壺

of flattened form, each side with a central indented roundel decorated with stylised confronting dragons, enclosed by a scrolling tendril band, the shoulders with shou roundels, set to one side with a sinuous dragon handle in copper and the opposite a long-snouted makara spout (1) 38.8cm high; 2828g Provenance: Spink & Sons Ltd., 1989 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.10.

Note: A comparable flask, dated to the 17th century, is in the British Museum, registration no. 1959,1216.3.

£1,200-1,800

11

10 TIBETAN WOOL ‘PEONY’ SEAT COVER TIBET, 19TH-EARLY 20TH CENTURY

西藏 十九至二十世紀初 蝴蝶牡丹紋方毯

the orange field woven with large peony blooms issuing from branches, flanked by a pair of butterflies (1) 95.5cm x 100cm Provenance: Antique West Ltd., 8 December 1992, with an original receipt.

£1,000-1,500

11 KHOTAN WOOL ‘ANTIQUITIES’ RUG EAST TURKESTAN, LATE 19TH/EARLY 20TH CENTURY 十九至二十世紀 于闐東突厥斯坦博古圖地毯

the pale red field with bogu motif, within a green stylised foliate border (1) 214cm x 126cm Provenance: Lyon & Turnbull, 2 September 2021, lot 607.

£300-500

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

12

12 BRONZE ‘TLV’ MIRROR EASTERN HAN DYNASTY 東漢 青銅規矩鏡

crisply cast with a pierced knob centering a quatrefoil within a square border, the outer field with the Guardians of the Four Directions: Blue Dragon, Red Bird, White Tiger, and Dark Warrior amidst eight studs and ‘TLV’ motifs, further encircled by sawtooth and zigzag bands on the rim (1) 14.4cm diameter; 475g Provenance: Robert Kleiner & Co. Ltd., 25 June 2003, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.32.

Note: Compare to two related bronze ‘TLV’ mirrors, Han dynasty, sold at Christie’s London, 11 Nov 2003, lot 5; and Xin/ early Eastern Han dynasty, sold at Christie’s London, 22 Mar 2012, lot 1418.

£600-800

13 BRONZE RITUAL WINE VESSEL AND COVER, HU HAN DYNASTY

漢 青銅提梁壺帶蓋

the pear-shaped vessel rising from a flaring foot to a waisted neck and slightly everting mouth, the shoulders encircled by a wide band with a ridge cast in relief, further flanked by a pair of taotie masks suspending loose rings carrying a chained loop handle, the cover with two suspended rings, a small knob finial (1) 30cm high Provenance: Nicholas S Pitcher, 2002 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.29.

£500-700

14 BRONZE RITUAL VESSEL WITH COVER, FANGHU HAN DYNASTY

漢 青銅方壺帶蓋

of faceted pear form, flanked by a pair of mythical masks holding loose rings on either side, the faceted cover with four flat, s-shaped finials (1) 42.cm high; 4891g Provenance: Nicholas S Pitcher, 5 November 2013, with a printed receipt.

Dr. Kenneth P. Lawley’s inventory number: M.46.

£800-1,200

13

15 BRONZE ‘FIVE MOUNTAIN’ MIRROR WARRING STATES PERIOD 戰國 楚式五山銅鏡

crisply cast with a ribbed loop enclosed by a circular border which five leaves issued within five bold T shapes, all reserved on a ground of swirl pattern, with thin upward-curved rim (1) 14.8cm diameter; 242g Provenance: Priestley & Ferraro Chinese Art, 24 April 2003, with an original receipt and an associated label on back inscribed ‘856’.

Dr. Kenneth P. Lawley’s inventory number: M.30.

Note: The T pattern, known as the shan, mountain, design in Chinese, with the striking contrast of large, smooth, tilted designs on a dense ground, was popular during the Warring States Period.

A closely comparable example, is illustrated in Roger Kevern, 2009, Chinese Bronze Mirrors: Warring States period to Tang dynasty, pl. 2. Also compare to two large bronze ‘mountain’ mirrors, Late Warring States period, sold at Christie’s Hong Kong, 30 May 2018, lot 2911, and 28 May 2021, lot 3013.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

14

16 BRONZE TRIPOD WINE VESSEL AND COVER, YOU HAN DYNASTY OR LATER 漢或以後 青銅提樑卣

the globular body on three zoomorphic-feet rising to waisted neck and straight mouth, raised ribs decorating the shoulders, with a chained loop handle, the cover moulded with archaic motifs enclosing a small loop finial (1) 18.3cm high; 1498g Provenance: OAG (Oriental Art Gallery Ltd.), 1996 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.20.

Note: Two related bronze xianglou you (one without cover), Han dynasty, are in the National Palace Museum, Taipei, collection nos. Gu Tong 故銅1921 and 1922. Similar form of wares are also seen on the market, one sold at Christie’s London, 7 Nov 2017, lot 171; the other at Bonham’s Los Angeles, 21 June 2022, lot 89.

Also compare to two more related examples, note the related treatment of covers, one in the abovementioned museum, collection no. Zhong Tong 中銅1046, and the other sold at Christie’s New York, 15 Sep 2017, lot 910.

£500-700

17 BRONZE RITUAL WINE VESSEL AND COVER, BIANHU HAN DYNASTY 漢 青銅扁壺

of flattened globular form raised on a spreading oval foot, the curved sides accentuated by shallow, recessed panels, flanked by a pair of suspending loose rings, the slightly domed cover with deep inner rim and a small loop finial in the centre (1) 28.3cm high; 2934g Provenance: Capital Gallery, Hong Kong, 10 June 1998, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.25.

£800-1,200

15

18 ARCHAISTIC BRONZE VASE, HU SONG DYNASTY

宋 銅仿古饕餮紋獸耳壺

of flattened oval form, the waisted neck decorated with taotie masks on both sides above a band of lozenge diaper, further set with twin mythical beast handles (1) 26.2cm high; 1327g Provenance: Nicholas S Pitcher, 1 May 2015, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.50.

£1,200-1,800

19 BRONZE HEXAGONAL HANDLED VASE YUAN-MING DYNASTY

元至明 銅雙龍耳活環六方瓶

of faceted baluster form cast on high foot rising to waisted neck and galleried mouth, flanked with twin dragon terminus handles supporting loops, decorated with upright plantain leaves, tortoise shell diaper, key fret, and wavy patterns in panels on each side of the body (1) 29.8cm high; 2245g Provenance: Nicholas S Pitcher, 18 November 2015, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.51.

Note: A pair of comparable examples, of slightly simpler form, Yuan/ Ming dynasty, sold at Sotheby’s New York, 21 March 2015, lot 763; Also compare to a related vase, lacks the rings, dated to the Yuan dynasty, 13th-14th century, in the Victoria and Albert Museum, accession no.

186-1876, also illustrated in Ross Kerr, 1990, Later Chinese Bronzes, London: Bamboo Publishing, pl. 38, pg. 49.

£1,500-2,000

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

16

20 BRONZE ‘MYTHICAL BEAST’ TWO-HANDLED VASE YUAN-MING DYNASTY

元至明 銅萬字銅錢紋雙龍耳盤口瓶

of pear form cast on a high splayed foot rising to waisted neck and galleried mouth, decorated with swirly waves, the neck decorated with a band of interlocking coins with swastika-wan symbols, flanked by a pair of dragon-formed loop handles, the foot with a band of wave-pattern (1) 27.8cm high; 1495g Provenance: Nicholas S Pitcher, 5 November 2014, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.49.

Note: Three comparable examples, dated to the Yuan to Ming dynasty, sold at Christie’s Hong Kong, 29 May 2019, lot 2915; 11 Jun 2021, lot 3195, and 6 Dec 2022, lot 3152.

£1,000-1,500

21 RARE BRONZE TRIPOD ‘EIGHT IMMORTALS’ INCENSE BURNER MING DYNASTY

明 銅八仙三足筒爐

of cylindrical form set on three bracket feet, cast in high relief on the recessed body with four immortals each with their attributes separated by pine tree, bamboo, rockwork and flowering branches (1) 10.7cm high; 660g Provenance: Nicholas S Pitcher, 7 November 2017, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.55.

Note: The immortals depicted around the body of the censer, Cao Guojiu, recognised by his twin tablets, or castanets; He Xiangu, holding a stem of lotus flower across her shoulders; Li Tieguai, holding an iron staff and a double-gourd; and Lan Caihe, sitting on rockwork with a basket of flowers, are four of the Eight Immortals.

A highly similar bronze tripod ‘nine sages’ incense burner, dated to the late Ming dynasty, note the comparable form, treatment on the high relief upper body of the figures, design of the feet, and the pinhole decoration around the lipped rim, was previously in the collection of Roger Keverne, sold at Bonhams London, 7 June 2021, lot 549.

£400-600

22 BRONZE ‘MYTHICAL BEAST’ HANDLED VASE YUAN-MING DYNASTY

元至明 銅雷紋獸面雙耳盤口瓶

of bottle form set on a high splayed foot rising to waisted neck and dish-shaped mouth, foot and neck each with a band of leiwen field, the neck further flanked with a pair of loop handles (1) 30.4cm high; 1788g Provenance: Nicholas S Pitcher, 22 December 2016, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.52.

Note: A comparable bronze altar-vase, dated to the Song/Yuan dynasty, is in the British Museum, registration no.1990,0528.1. Also compare to a bronze dragon-handled vase, hu, Yuan to early Ming dynasty, with slightly different treatment of the decoration, was previously in the Ulrich Hausmann’s collection, then sold at Sotheby’s Hong Kong, 7 Oct 2014, lot 3302.

£1,200-1,500

17

23 RARE BRONZE INCENSE-TOOL VASE MING DYNASTY

明 銅山中訪賢紋雙耳筒瓶

of slightly tapered cylindrical form, centre cast in high relief with officials on horses and entourage in a dramatic mountainous landscape heading towards towered pavilions with occasional figures looking out, all above a crashing wave band above foot, and underneath a band of interlocking coin patterns, set on both sides of the mouth with sinuous mythical beast handles (1) 17cm high; 1038g Provenance: Nicholas S Pitcher, 10 May 2017, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.53.

Note: A comparable vase is illustrated in M. L. Eveleigh & B. Harkins, 1984, Later Chinese Bronzes, Andamans East International Ltd., pl. 24.

Also compare to a related bronze ‘Eight Daoist Immortals’ incense-tool vase, cast in open-work, Ming dynasty, 16th century, previously Micheal Goedhuis’s collection, sold at Bonham’s London, 17 May 2023, lot 363; Another bronze cylindrical incense stick holder, Yuan/ Ming Dynasty, sold at Christie’s London, 29 Mar 2007, lot 264.

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

18

24 BRONZE ENGRAVED ‘FLORAL’ STEM BOWL LATE MING TO EARLY QING DYNASTY, 17TH CENTURY 明末清初 銅刻花卉紋高足花口碗

the deep bowl on a high foliated foot rising to foliated everted mouth, the body decorated with sprays of flowering plants on an etched ground (1) 21.2cm diameter; 1284g Provenance: Sydney L. Moss Ltd., 1 August 1984, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.3.

£300-500

25 PAIR OF ‘FLORAL’ IRON PAINTINGS QING DYNASTY, 18TH-19TH CENTURY 清 鐵畫牡丹、荷花紋掛屏（一對）

one depicting three luscious peonies borne on leafy branches, the other a flowering lotus and a lotus bud with leaves, wooden frames (2) 47cm x 23cm each Provenance: Ben Janssens Oriental Art, 15 February 2007, with an original invoice and a copy of the catalogue.

Dr. Kenneth P. Lawley’s inventory number: M.34.

£800-1,200

26 BRONZE ‘ABUNDANCE’ BOTTLE VASE MING TO QING DYNASTY

明至清 銅三多紋雙獅耳海棠口瓶

of flattened form, cast standing on a flared foot rising to bulbous body, waisted neck and everting out to quatrelobed mouth, set with a pair of lion-mask handles to each side, the body decorated with scattered grapes, melons, pomegranates, peaches, and other fruits borne on leafy branches, all against a dense beaded ground (1) 24.3cm high; 1717g Provenance: Roger Keverne Ltd., 2003 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.31.

£800-1,200

19

27 BRONZE ‘EIGHT TRIGRAMS’ INCENSE BURNER MING DYNASTY

明 銅雷紋冲耳三足爐 帶八卦紋銅蓋

of wide and shallow bowl form with gently inverted mouth set on three pronounced short cabriole feet, around the body with a leiwen band, a pair of flattened s-shaped pierced panels flanked each side as handles, the bronze cover cast in openwork with eight trigrams and yinyang enclosing a button finial (1) 28.8cm wide across handles; 3628g Provenance: Jan van Beers, 2010 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.37.

£2,000-3,000

28 IRON ‘PRUNUS’ PAINTING QING DYNASTY, 17TH-18TH CENTURY 清 鐵畫梅紋掛屏

depicting flowering plum blossoms with larger branches issuing from the right margin, wooden frame (1) 121.5cm x 40.2cm Provenance: Nicholas Grindley, 1991 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: M.16.

£600-800

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

20

29 GREY POTTERY INCENSE BURNER, BOSHANLU HAN DYNASTY 漢 灰陶博山爐

the bowl form censer supported on a tall spreading stem with a circular foot, the conical cover pierced carved and further incised with details with overlapping leaves resembling a mountain range (1) 20.5cm high Provenance: Roger Keverne Ltd., 7 June 2013, with an original receipt and a copy of the catalogue.

Report of Thermoluminescence Analysis (TL Test), Oxford Authentication Ltd., sample no. C208d70, the result corresponding to the stated period.

With an original certificate dated 5 Jan 2009.

Dr. Kenneth P. Lawley’s inventory number: Cer.154.

£700-900

30 RARE POTTERY BEAKER WESTERN HAN DYNASTY 西漢 弦紋陶杯

of tapering cylindrical form supported on a pedestal foot, two incised bands decorating the upper part of the body (1) 18.7cm high Provenance: Blitz Chinese Ceramics & Works of Art, 25 Nov 2013, with a photocopied receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.155.

Note: Pottery beakers of this form are after examples made of precious materials, such as jade, lacquer or precious metals. Two smaller polychrome pottery goblets, Western Han dynasty, of comparable form and with decoration mimicking vessels made of more precious materials such as lacquer or bronze, are in the Metropolitan Museum of Art, accession no. 1994.605.34.

For further information please refer to our website.

£1,000-1,500

31 GREEN-GLAZED POTTERY INCENSE BURNER, BOSHANLU EASTERN HAN DYNASTY 東漢 綠釉博山爐

of bowl form, the tall stem supported on a circular tray, the cover carved in the form of a stylized mountain range with pointed, overlapping petals, further with incised details, surmounted with an owl finial, glazed on the exterior with a deep green tone (1) 22cm high Provenance: Ben Janssens Oriental Art, 9 November 2021, with an original invoice.

Dr. Kenneth P. Lawley’s inventory number: Cer.181.

Note: Ben Janssens observes that it is extremely unusual to find an owl finial on a Han dynasty pottery stemmed incense burner. The owl features in Chinese art well before the Shang dynasty, when it becomes quite a common, mysterious motif on bronzes of the period, but it is rarely seen as decoration on pottery. The present piece was intended for use as an incense burner, and at some point inside this piece was placed a removable metal liner. A closely comparable model of a boshanlu, with a finial in the form of a recumbent bird, is in the Meiyintang Collection, see Krahl, R. Chinese Ceramics from the Meiyintang Collection, Volume One, Azimuth Editions, London, 1994, no. 79, p. 66.

£1,000-1,500

21

32 GREY POTTERY GRANARY JAR HAN DYNASTY

漢 弦紋熊足灰陶倉

decorated with four sets of triple ribs on the cylindrical body, supported on three bearform feet, the bears moulded in minute detail with bulging eyes, full mane and an upper limb holding an object towards the mouth (1) 29cm high Provenance: Sotheby’s, 1984. Previously in the S.C. Coles Collection (according to collector’s inventory). The base with two labels indicating it was exhibited in the Oriental Ceramic Society, 1963, no. 32.

Dr. Kenneth P. Lawley’s inventory number: Cer.98.

Note: A larger comparable pottery granary jar, Han dynasty, with more stylised rendition of bear-feet, is illustrated in Ben Janssens Oriental Art, 2010, p. 15. Also compare to a granary jar with a pale green glaze, formerly in the Charles B. Hoyt collection, now in the Museum of Fine Arts in Boston, accession no. 50.1843, illustrated in The Charles B. Hoyt Collection: Memorial Exhibition, Boston: Museum of Fine Arts, 1952, pl. 26.

£1,200-1,800

33 GREEN-GLAZED POTTERY VASE, HU HAN DYNASTY 漢 綠釉壺

the body, shoulders, and neck are encircled by sawtooth and bow-string bands, a pair of taotie mask and fixed-ring handles, covered overall with an olive-green glaze with yellowish streaks, three spur marks on the base (1) 29cm high Provenance: Priestley & Ferraro Chinese Art, 4 November 2011, with an original invoice and an associated label on base inscribed ‘298’.

Report of Thermoluminescence Analysis (TL Test), Research Laboratory for Archaeology and the History of Art, Oxford University, the result corresponding to the stated period. With an original certificate dated 1 Oct 1996.

Dr. Kenneth P. Lawley’s inventory number: Cer.149/150.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

22

34 LARGE GREY POTTERY JAR WESTERN HAN DYNASTY 西漢 細繩紋灰陶壺

eight narrow bands of sharply delineated slanting s-scrolls decorating the body, with ribbed neck and flaring mouth (1) 33cm high Provenance: Little River Asian Art, 28 February 2013, with an original invoice.

Dr. Kenneth P. Lawley’s inventory number: Cer.153.

Note: See two smaller related grey pottery bottles, dated to the late Zhou dynasty, with burnished decoration of bands with sawtooth and s-scrolls, are illustrated in The Charles B. Hoyt Collection: Memorial Exhibition, 1952, pl. 13 & 14.

£600-800

35 LARGE STONEWARE JAR, HU HAN DYNASTY

漢 原始瓷弦紋壺

of compressed globular form, carved with dense narrow furrows on the broad shoulders and deeper on the everted rim, high neck, the upper body covered in semi-opaque ash-olive glaze (1) 33.5cm high Provenance: Christie’s, 14 & 17 June 1985, lot 219, via S. Marchant & Son, with an original receipt issued

by Marchant & Son dated 25 June 1985. With a now detached (found inside the jar) associated Christie’s label inscribed ‘219’ ‘17/06/85’.

Dr. Kenneth P. Lawley’s inventory number: Cer.101.

Note: See two related jars, dated to the Han dynasty, with similar forms and decoration, one sold at Sotheby’s New York, 27 Sep 2022, lot 712; the other offered at Bonham’s Sydney, 26 Nov 2013, lot 348.

£700-900

23

36 PAIR OF PAINTED GREY POTTERY TRIPOD VESSELS AND COVERS, DING HAN DYNASTY

漢 彩繪灰陶雲氣紋鼎帶蓋（一對）

each of the compressed globular body following the archaistic bronze form, raised on cabriole legs, pierced out-turn handles flanked the mouth, the domed cover with a short ring as finial, painted with geometric and curvilinear designs in white, purple, yellow, red pigments against a greyish black ground (2) 25cm wide each Provenance: Sotheby’s London, 9 June 1992, lot 86, with a copy of the catalogue.

Dr. Kenneth P. Lawley’s inventory number: Cer.122.

Note: Some tomb pottery was decorated with pigments applied after firing to mimic the form and decoration of vessels made of more precious materials such as lacquer or bronze. The shape and decoration on the lid are comparable with one in the Popper Collection, illustrated in The Hans Popper Collection of Oriental Art, by René-Yvon Lefebvre d’Argencé, Kodansha International, 1973, pl.6. Also see a painted pottery hu, Han dynasty, with similar decoration, is illustrated in Asiatic Art In the Seattle Art Museum, by H. Trubner, W. J. Rathbun, & C. A. Kaputa, Washington: Seattle Art Museum, 1973, pl. 84.

£3,000-5,000

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

24

37 WHITE-GLAZED POTTERY CIRCULAR TRAY WITH SIX CUPS TANG DYNASTY

唐 白釉托盤帶六杯（一組四件）

the tray with an upturned rim rested on a disk-shaped foot, fused with three cups, and three other loose cups (1) tray: 24.3cm diameter; cups: 6cm to 6.8cm diameters Provenance: David Baker at Gray’s Mews, ca. 1975 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.01.

Note: More commonly seen in Sancai-glaze, compare to an example with five cups and a jar on a tray, sold at Sotheby’s Hong Kong, 16 December 2021, lot 5001; also see a set of Sancaiglazed tray with thirteen cups, offered in Sotheby’s London, 16 May 2018, lot 579.

£800-1,200

38 WHITE-GLAZED HANDLED JAR TANG DYNASTY 唐 白釉四繫罐

the ovoid body supported on a short splayed foot, set on the rounded shoulders with four double-stranded lug handles joining the straight neck, covered overall with a finely crackled ivory glaze of greyish tinge, stopping undulatingly short of the foot revealing the buff body (1) 29.6cm high Provenance: Clayton, 1976 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.72.

Note: A comparable jar is formerly in the collection of Mrs Walter Sedgwick, included in the exhibition The Arts of the T’ang Dynasty, 1955, Oriental Ceramic Society, London, pl. 177; Also compare to two jars with covers in auctions, one closely comparable in shape, sold at Sotheby’s New York, 23 Sep 2020, lot 690; the other of more globular form, sold at Bonham’s New York, 20 March 2023, lot 129.

£2,000-3,000

39 RARE WHITE-GLAZED POTTERY JAR TANG DYNASTY 唐 白釉罐

of tapering ovoid form rising from a flat straight foot, high rounded shoulders and inverted mouth, applied with a creamy white glaze, the glaze stops undulatingly above foot, with a later carved wooden lid (1) 26.9cm high Provenance: Bluett & Sons, 1984. Illustrated in the Exhibition of Early Chinese Pottery and Porcelain and Iranian Works of Art, London: Messrs Bluett & Sons, 1967, with a copy of the catalogue and an associated label on base.

Dr. Kenneth P. Lawley’s inventory number: Cer.96.

Note: Jar in oviform like this, with high shoulders rounding inwards to surround the mouth is atypical in Tang pottery wares. Most glazed pottery jars of the Tang dynasty are surmounted by a neck and are of more globular shape. The collector also observes, from a production-line point of view, it could readily have been turned into an amphora or a meiping by adding a neck and handles. A related example covered in sancai glaze, slightly smaller, is in the Asian Art Museum, San Francisco, object no. B60P201, and illustrated in He Li, 1996, Chinese Ceramics: A New Comprehensive Survey, New York: Rizzoli International Publications, pl.

161. The author notes on p.122, that two other neckless jars of ovoid shape have been found in Shaanxi and Henan provinces, and are published in Wenwu Ziliao Congkan, 1982:2, pg. 140 and Kaogu yu Wenwu, 1984:1, pl. 7.3, where they are described as ‘olive-shaped’.

£1,500-2,000

25

40 WHITE-GLAZED JAR AND COVER TANG DYNASTY 唐 白釉蓋罐

finely potted with an ovoid body on a flat foot, rising to short waisted neck and everted rim, the domed cover surmounted with a bud-shaped finial, covered overall in an ivory-coloured glaze, leaving the base unglazed revealing the buff body (1) 22.6cm high Provenance: Nicholas S Pitcher, 2 February 2018, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.166.

Note: Comparable white-glazed jars with covers, Tang dynasty, with nuances of size and form, sold at Bonham’s New York, 21 July 2020, lot 129; Christie’s New York, 24 September 2021, lot 822, and 17 March 2017, lot 1135.

£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

26

41 STRAW-GLAZED BOTTLE VASE TANG DYNASTY

唐 白釉盤口橄欖瓶

heavily potted with an oval body on a short flared foot surmounted by a galleried mouth, the creamy glaze with slight pale celadon tinge covered the body stopped inconsistently above the foot revealing buff body (1) 30.7cm high Provenance: Bluett & Sons Ltd., 1969 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.39.

Note: A comparable but smaller oviform vase with a dish-shaped mouth, Tang dynasty, is illustrated in the catalogue of The George de Menasce Collection Part One, 1971, London: Spink & Son Ltd, pl.

21. The same vase was exhibited in the Oriental Ceramic Society, 1955, No. 192. Also compare to two smaller jars, in a more squatted form, one of straw-glazed and the other white-glazed, are illustrated in Regina Krahl, 2000, Yuegutang: A Collection of Chinese Ceramics in Berlin, Berlin: G + H Verlag, pls. 84 & 86.

£2,000-3,000

42 STRAW-GLAZED POTTERY AMPHORA TANG DYNASTY 唐 白釉雙龍耳瓶

of tapered ovoid form, the narrow cylindrical neck topped with a galleried mouth, shoulders flanked with a pair of double strap handles, the dragon-head terminals biting the mouth rim, covered in a glaze with pale greyish-green tone stopping unevenly above the foot, exposing the buff body (1) 35.2cm high Provenance: R & G McPherson Antiques, 20 January 2016, stock no. 24871, with a printed receipt and an associated label on base; Previously in the collection of Nicholas de la Mare Thompson (1928-2010), the base with an associated label.

Dr. Kenneth P. Lawley’s inventory number: Cer.159.

Note: A closely comparable straw-glazed amphora, Tang dynasty, with similar size and design of the dragon handles, was sold at Christie’s New York, 27 Mar 2018, lot 27.

£2,000-3,000

27

43 BLUE-GLAZED ‘JUN’ DISH SONG DYNASTY

宋 鈞窯天藍釉折沿盤

sturdily potted with shallow rounded sides rising from a short foot to a wide everted rim, covered overall in a milky lavender-blue glaze thinning to a mushroom tone at the mouth rim, save for the foot revealing the buff-orange body and five evenly-spaced spur marks (1) 17.8cm diameter Provenance: Sydney L. Moss Ltd., 1 October 1968, with an original receipt; Previously in the collection of Mr and Mrs Brodie Lodge.

Exhibited: Sung Dynasty Wares: Chün and Brown Glazes, Oriental Ceramic Society, 1952, catalogue no. 71, pg. 10, with a copy of the catalogue.

Dr. Kenneth P. Lawley’s inventory number: Cer.38.

Note: A slightly larger Jun ware dish is in the Museum of Fine Arts, Boston, note the different treatments on the foot rim and spur marks, accession no. 50.1310; Another similar but smaller dish is in the Victoria and Albert Museum, museum no. FE.167-1974, illustrated in Rose Kerr, 2004, Song Dynasty Ceramics, London: V&A Publications, pl. 23. Also compare to several examples in the market, one from the Pilkington Collection, sold at Sotheby’s Hong Kong, 05 April 2016, lot 13; other two of the Song-Jin dynasty, sold at Sotheby’s London, lot 24 and Christie’s London, 14 May 2019, lot 207.

£10,000-15,000

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

28

44 MOULDED YAOZHOU ‘CHRYSANTHEMUM’ BOWL NORTHERN SONG DYNASTY

北宋 耀州窯青釉印花纏枝菊紋斗笠盞

of conical form, moulded with chrysanthemum borne on scrolling foliage, the exterior carved with lines radiating from the foot, covered overall in an olive‑green glaze (1) 12.2cm diameter Provenance: Robert McPherson, stock no. 24870, 2016; Previously in the collection of Nicholas de la Mare Thompson (1928-2010), the base with an associated label.

Dr. Kenneth P. Lawley’s inventory number: Cer.161.

Note: Two closely comparable examples, Song dynasty, were in the Qing Court collection, now in the Taipei National Palace Museum, museum nos. Gu Ci 故瓷8726 and 13974. A slightly smaller example, Jin dynasty, is illustrated in Mary Tregear, 1982, Song Ceramics, London: Thames and Hudson, pl. 137.

Also compare to examples in the auction market, one previously in the collection of Hirato Kotoken, sold at Sotheby’s Hong Kong, 8 April 2023, lot 3533; another at Sotheby’s New York, 22 March 2023, lot 536; and one at Christie’s Hong Kong, 7 Dec 2021, lot 3253.

£1,500-2,000

45 LARGE CIZHOU-TYPE OVOID RIBBED BOTTLE SONG-YUAN DYNASTY, 12TH-13TH CENTURY 宋至元 磁州窯系醬釉弦紋瓶

of tapering oviform with ribbed body rising from a short spreading foot, covered overall with a brownish glaze (1) 43cm high Provenance: Woods Wilson, 1981, previously in the Meyer collection (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.85.

Note: A comparable Cizhou-type ribbed bottle, dated to Jin-Yuan dynasty, 12th-13th century, sold at Christie’s New York, 18 March 2016, lot 1499.

£600-800

29

46 LONGQUAN CELADON-GLAZED BARBED CHARGER MING DYNASTY

明 龍泉青釉刻蓮花錦紋大盤

heavily potted, shallow rounded and lobed sides rising from a short tapering foot to an everted barbed rim, carved to the interior with a coin diaper to the central medallion, the cavetto with scrolling lotus, covered overall in a thick green glaze (1) 33.6cm diameter Provenance: Sotheby’s London, 10 December 1991, lot 162, with a copy of the catalogue.

Dr. Kenneth P. Lawley’s inventory number: Cer.121.

Note: A comparable example of a Longquan charger, similar in design, Ming dynasty, sold at Sotheby’s London, 17 May 2019, lot 407.

£3,000-5,000

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

30

47 DEHUA LIBATION CUP LATE MING TO EARLY QING DYNASTY, 17TH CENTURY 明末清初 德化白瓷雕麒麟望月及龍虎紋角杯

of rhinoceros horn form, moulded on one side with a qilin upturned its head looking at the moon, reverse with three playful tigers and dragon on top, covered overall with a thick creamy white glaze (1) 7cm high Provenance: Robert McPherson Antiques, 7 January 2018, with an original receipt and an associated label on base.

Dr. Kenneth P. Lawley’s inventory number: Cer.165.

£600-800

48 Y DEHUA ‘LION-MASK’ HANDLED CENSER QING DYNASTY, 18TH CENTURY 清 德化白瓷獸耳爐

of compressed globular form set with two lion masks as handles, covered overall with a thick creamy white glaze, with pierced wooden cover attached with coral finial (1) 14.5cm across handles Provenance: Robert McPherson Antiques, 2016, with an associated label on base inscribed ‘24812’.

Dr. Kenneth P. Lawley’s inventory number: Cer.163.

£1,500-2,000

49 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 decorated with Bagua- Eight Trigrams, the lower part adorned with branches of prunus flowers, covered overall with a thick creamy white glaze with ivory tinge (1) 12.5cm high Provenance: Lyon & Turnbull, 5 November 2021, lot 159.

£400-600

31

50 DEHUA CENSER QING DYNASTY, KANGXI PERIOD 清康熙 德化白瓷梅紋簋式爐

of archaic gui form setting on a high everted foot, decorated with prunus in relief, crabstock handles, the base with an illegible impressed seal-mark (1) 19.5cm wide Provenance: Robert McPherson Antiques, 21 October 2019, with a printed receipt and associated label on base. Previously in the collection of Francesco Maria, Marchese Taliani de Marchio 1887-1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Margaretha d’Austria Toscana, Marchesa Taliani de Marchio (1894-1986). According to the collection inventory list, acquired from Tung Koo Tsar Chinese Curios & Arts Co., Shanghai, 22 March 1942.

Dr. Kenneth P. Lawley’s inventory number: Cer.171.

£2,000-3,000

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

32

51 CELADON JADE TEA BOWL WITH COVER REPUBLIC PERIOD 民國 青玉茶盞帶蓋

carved with rounded sides rising to an upturned rim, the cover with a ringshaped finial, the stone of even light celadon colour with cloudy inclusion (1) 9.5cm high Provenance: Clayton, 1979 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: J.1.

Note: A highly comparable celadon jade bowl and cover, Qing dynasty 18th century, offered at Christie’s London, 10 Dec 1990, lot 219, pg. 152.

£300-500

52

53

CERAMIC REFERENCE BOOK COLLECTION

WORKS OF ART REFERENCE BOOK COLLECTION

含：高古、中古、明清陶瓷研究及出版著作、顯赫館藏等

含雜項、漆器、掐絲琺瑯、青銅器、家具、文房珍玩、佛教藝術等著作

中國陶瓷藝術參考書籍（共四十四本）

中國藝術參考書籍（共四十六本）

Including: early pottery, Chinese Ming and Qing dynasty ceramics, museum and private collection, in total 44 publications. £300-500

Including: Chinese works of art, cloisonne enamel, archaic bronze, furniture, Buddhist art, Scholar's pieces etc, in total 46 publications. £300-500

54 COLLECTION OF DEALERS CATALOGUES

中國藝術參考圖錄、刊物及書籍：著名倫敦古董商（共六十三本） 含：

1: 馬錢特（Marchant） ，1991至2022圖錄（斷續） ，共24本；

2: 斯賓克（Spink & Sons） ，1971至1998圖錄（斷續） ，共18本;

3: 埃斯卡納齊（Eskenazi） ，1972至2023圖錄（斷續） ，共12本； 4: 布鲁特（Bluett & Sons） ，1973至1991圖錄（斷續） ，共7本；

5: 埃斯卡納齊： 《中國藝術品經眼錄：埃斯卡納齊的回憶》 （英語） ，倫敦：Scala Arts & Heritage Publishers Ltd，2013年；及Roy Davids & Dominic Jellinek： 《Provenance: Collectors, Dealers and Scholars in the Field of Chinese Ceramics in Britain and America》 ，牛津：Roy Davids，1991年。

comprising: 63 issues in total; 24 from Marchant ranging from years 1991 to 2022; 18 from Spink & Sons from 1971 to 1998; 12 from Eskenazi from 1972 to 2023; 7 from Bluett & Sons from 1973 to 1991; Giuseppe Eskenazi, A Dealer’s Hand: The Chinese Art World Through the Eyes of Giuseppe, London: Scala Arts & Heritage Publishers Ltd, 2013; and Roy Davids and Dominic Jellinek, Provenance: Collectors, Dealers and Scholars in the Field of Chinese Ceramics in Britain and America, Oxon: Roy Davids, 1991. (qty) £300-500

33

JAPANESE ART

55 MOTHER-OF-PEARL-INLAID BLACK AND GILT LACQUER BOX WITH COVER 19TH CENTURY

十九世紀 黑漆描金嵌螺鈿纏枝花卉紋蓋盒

of rectangular form, all sides with shaped cartouches inlaid with mother-of-pearl with flowers, buds, and leaves, further gilt painted with tendrils, two wider sides with metal mounts (1) 47.7cm wide x 9.4cm high x 38.3cm deep; 2889g Provenance: Phillips & Harris Works of Art, 18 February 1979, with an original receipt.

£600-800

56 NISHIZAWA GYOKUSHU (1889-1969) LACQUER WRITING TABLE, BUNDAI, LATE TAISHO-EARLY SHOWA PERIOD 大正末至昭和初「玉舟作」款 西沢玉舟（1889-1969）朱金漆稻穗紋文臺 共箱

of rectangular form, raised on spade-headed bracket feet, the flattened top decorated with wind-swept rice plants on red ground, signed ‘Gyokushu saku’ on lower left, with an original signed and sealed tomobako (1) 60.6cm x 12.4cm x 32.6cm Provenance: Simon Pilling East Asian Art & Interiors, 19 October 2020, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Misc.17.

£600-800

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

34

57 SHOCHIKUSAI YUHO (1968-1936) CARVED CHERRYWOOD INCENSE TRAY, KOBON, LATE MEIJI TO TAISHO PERIOD, C. 1912-1926 明治至大正 櫻桃木雕五福香皿 共箱

of irregular oval form, finely carved with five bats in flight across a fluid sky with clouds, bats’ eyes inlaid, the back signed ‘Yuho’, with a tomobako (1) 60cm wide Provenance: Simon Pilling East Asian Art & Interiors, 19 October 2020, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Misc.14.

Note: Shochikusai Yuho, or Shochikusai Shudo, is the art name of Ichikawa Manjiro, an artist of samurai descent from Himeji Prefecture.

£600-800

58 LARGE WOOD OKIMONO OF DARUMA

BY SHOKOUN, DATED 1924

一九二四年「高光雲▢」刻款「大正甲子年孟春」題款 木雕達摩置物

the Bodhidharma carved standing wrapped in long robe from head to toe, his face solemn with large bulging eyes, the robe finely and softly chiselled with rippled texture, the base inscribe-dated to the beginning of spring in the thirteenth year of Taisho period, further engraved with the signature of the artist (1) 68.2cm high Provenance: Brian Harkins Ltd., 20 September 2012, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Misc.13.

£400-600

35

59 LARGE SILK EMBROIDERED ‘CRANE’ PANEL MEIJI PERIOD

明治 刺繡海濤飛鶴大掛幅

depicting cranes in flight above ferocious concentric waves, with floral border (1) 201cm x 196cm Provenance: Tempus Antiques Ltd., 28 September 1981, with an original receipt.

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

36

60 BRONZE BEAKER VASE EDO PERIOD

江戶 銅獸面紋花觚

cast in the form of two trumpets with a bulging middle section, decorated with four stylised lion masks linked by a thin double string course (1) 34.5cm high; 2637g Provenance: Gregg Baker Asian Art, 9 November 2010, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.39.

£500-700

61 BRONZE VASE

BY SEKIGUCHI SHINYA (1877- CA.1932), TAISHO-EARLY SHOWA PERIOD 関口真也（1899-約1932） 「真也刻」款 銅龍蝦紋罐 共箱

of compressed ovoid form with high shoulders, decorated with two confronting lobsters with clams and vegetation, the decoration highlighted with coloured patination and with gold inlay, chiselled on one side ‘ Shinya koku’ (carved by Shinya), with original inscribed and sealed tomobako (1) 30cm diameter; 3764g Provenance: Simon Pilling East Asian Art & Interiors, 2 November 2022, with a printed receipt.

Dr. Kenneth P. Lawley’s inventory number: M.73.

Note: Sekiguchi Shinya was born in Tokyo as the son of the celebrated metalworker Sekiguchi Ichiya (1850-1933), who himself was under the tutelage of Goto Ichijo (1791-1876).

Shinya studied painting with Hashimoto Gaho (1835-1908) and exhibited at the fourth Naikoku Kangyo Hakurankai (National Industrial Exposition) in 1895.

£1,200-1,500

62 BRONZE HEXAGONAL VASE MEIJI PERIOD 明治 銅六角瓶

attractively cast rising from a stepped everted high foot to a compressed globular body and larger trumpet mouth, covered in warm brown patina (1) 31.7cm high; 4.98kg Provenance: Joos van den Bergh, TEFAF 2022, with an associated label on base inscribed ‘249’.

£500-700

37

63 MINO WARE WATER JAR, MIZUSASHI EDO PERIOD, 17TH CENTURY 江戶 美濃焼水指

rustically potted in irregular cylindrical form with waisted neck and lipped inverted narrow mouth, set with a pair of lug handles, circular disk-cover with loop finial, (1) 19.7cm high Provenance: Robert McPherson Antiques, 2016, with an associated label under the cover inscribed ‘24703’. Previously in the Ulrich Vollmer Collection of Japanese Pottery.

Published and Exhibited: Momoyama-Keramik Und Ihr Einfluss Auf Die Gegenwart (Various authors, Gurdrun-Esters for the Keramion Foundation, Frechen, Germany, 2011. ISBN 9783-94005-6-8). Illustrated on p.67, pl.147.

Dr. Kenneth P. Lawley’s inventory number: Cer.160.

£300-500

64 SETO WARE DISH EDO PERIOD, 17TH CENTURY 江戶 瀬戸焼盤

two sides covered in mushroom-coloured glaze, the centre incised with two bands (1) 25.5cm diameter Provenance: Gregg Baker, 9 May 2016, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.162.

£200-300

65 OTOWA EARTHENWARE BRAZIER, SHURO EDO PERIOD

江戶 京都音羽陶常春藤紋火缽 共箱

decorated with ivy leaves with tendrils against soft pink glaze, near the mouth with two perforations for the brass tongs, lacquered carved wooden pierced cover, impressed seal ‘Otowa’, with tomobako (1) 28cm high Provenance: Simon Pilling East Asian Art & Interiors, 5 November 2018, with a photocopied receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.170.

£600-800

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

38

66 ARITA WHITE-GLAZED DISH EDO PERIOD, 17TH CENTURY 江戶 有田燒白釉模印花口碟

thinly potted, moulded on the cavetto with six peach-form cartouches with crane, bamboo and flowers, covered in a creamy white glaze (1) 21.1cm diameter Provenance: Robert McPherson Antiques, 2 July 2021, with an original receipt and an associated label on base inscribed ‘24752’.

£250-350

67 POTTERY WATER JAR, MIZUSASHI

BY INAYOSHI OSAMU (B. 1976), HEISEI PERIOD, 2017 稲吉 オサム（1976生）陶金銀彩水指 共箱

of rock-like form, with splashes of gold, engraved mark on the base, the interior glazed in silver with black and blue splashes, with a signed, sealed, inscribed original tomobako (1) 19.5cm high Provenance: Simon Pilling East Asian & Interiors, 5 November 2018, with a printed receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.169.

£500-700

39

68 CERAMIC FLOWER VASE

BY KUSUBE YAICHI (1897-1984), SHOWA PERIOD, CA. 1960 昭和 約1960 楠部彌弌 花瓶 共箱

signed Ya, with a wooden tomobako inscribed Heigyokuyu kabin (Jasper glaze flower vase) signed Yaichi saku and sealed (1) 35.5cm high Provenance: Greg Baker Asian Art, 7 November 2018, with a printed valuation document from the gallery after purchase.

Exhibited: ‘Diversity from Adversity: An exhibition of Japanese works of art from the 1950s and 1960s’, Gregg Baker Asian Art & Brian Harkins Oriental Art, 3rd-19th November 2005, catalogue no. 2, with a copy of the catalogue.

Dr. Kenneth P. Lawley’s inventory number: Cer.168.

Note: Kusube Yaichi was born to a family of ceramic exporters in Kyoto and studied ceramics at the Ceramic Institute of Kyoto.

In 1920, joined by other aspiring young ceramists, he formed the innovative group Sekidosha manifesting to create ceramics as art objects. He first exhibited at the Teiten (the Imperial Fine Art Exhibition) in 1927, the year when the ‘works of art’ section was first introduced and won the Tokusen (Speciality) prize in 1933.

After serving as a judge for the Shin-Bunten (Ministry of Education New Fine Arts Exhibition) and the Nitten (The Japan Fine Art Exhibition) for many years, he became a director in 1969 and a consultant in 1974.

Kusube was honoured with the Minister of Education Award in 1951 at the 7th Nitten, the Japan Art Academy Award in 1962 and both the Mainichi Newspaper Art Award and the cultural merit award in 1972. After receiving the Order of the Sacred Treasure from the government, his solo exhibition was successfully held at the Louvre (Museé Des Art Décoratifs) in Paris in 1977. Finally, the Bunka Kunshō, or Order of Cultural Merit, was conferred upon him in 1978.

Having studied all kinds of ceramic techniques in Japan, China and Korea and utilising them for his creations, Kusube is regarded as one of the most important ceramic artists of the 20th century.

£600-800

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

40

69 SETO WARE WATER JAR, MIZUSASHI MEIJI PERIOD

明治 瀬戸焼五棱水指

of pentagonal form, covered in persimmon glaze fused with black stripes especially on the edges (1) 17.4cm high Provenance: H. Woods Wilson, 22 December 1980, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.84.

£200-300

70 CELADON-GLAZED CHARGER, ARITA OR HASAMI EDO PERIOD, CIRCA 1650-60S

江戶 有田或波佐見燒 青釉劃花大盤

short foot, everted rim, carved to the centre with large flowers, covered overall with a green glaze, save for the base with an unglazed band revealing the buff body (1) 38.8cm diameter Provenance: J.A.N. Fine Art, 28 September 2004, with an original receipt and an associated label on base.

Dr. Kenneth P. Lawley’s inventory number: Cer.138.

Note: Comparable examples of celadon glazed chargers, Arita or Hasami, dated to ca. 1660, sold at Christie’s, one in London, 9 Nov 2008, lot 96, note the similarity of the key fret border; the other Amsterdam, 21 May 2003, lot 458, note the comparable rendition of the foliage in the centre.

£600-800

41

71 ORIBE STYLE DISH

BY KATO SHIGETAKA (1927-)

加藤重高（1927-）織部燒刻紋盤 共箱

of irregular form gently upturned, carved with radiating lines in the interior, glazed in shades of brown and black, the glaze drips irregularly on the back near the mouth, in original signed, inscribed, sealed tomobako (1) 28.2cm wide

£300-500

72 KYOTO WARE ‘PERSIMMONS’ TRAY

BY ASAMI RYUZO (1904-1987), SHOWA PERIOD 浅見隆三（1904-1987）京焼柿紋長方盤 共箱

of rectangular form with canted corners, resting on a short foot with straight sides rising gently, decorated with two rows of five dried persimmon fruits suspended from vines, in original inscribed tomobako (1) 43.2cm wide Provenance: Ben Janssens Oriental Art, 26 February 2015, with an original receipt and catalogue.

Dr. Kenneth P. Lawley’s inventory number: Cer.157.

£400-600

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

42

KOREAN ART 73 BRONZE BOWL AND COVER GORYEO DYNASTY, 12TH-13TH CENTURY 高麗王朝 銅蓋盒

the bulbous body set on a high everted foot, with a domed cover gently flattened on top (1) 15cm high; 408g Provenance: Han Collection, 28 July 2020, with a transaction receipt.

Dr. Kenneth P. Lawley’s inventory number: M.64.

Note: Compare to a bronze covered bowl, Goryeo period, in the British Museum, registration no.

1926,0407.3.a-b; Also see a related bowl with a saucer-shaped lid, in the British Museum, registration no.

1926,0407.2.a-b; two bronze bowls with covers, of which one has a high stem foot, dated to the Joseon dynasty, illustrated in Beth McKillop, Korean Art and Design, London: Victoria and Albert Museum, pl. 50.

£400-600

74 BRONZE STEM DISH GORYEO DYNASTY, 12TH-13TH CENTURY 高麗王朝 銅高足碟

the gently flaring top set on a thinner high ring foot (1) 15.7cm diameter; 194g Provenance: Robert McPherson Antiques, 2 July 2021, with a printed receipt and an associated label on base inscribed ‘703’.

£150-200

75 BLACK LACQUER MOTHER-OF-PEARL-INLAID TABLE JOSEON DYNASTY, 17TH-18TH CENTURY 朝鮮王朝 黑漆嵌螺鈿花鳥紋長方几 帶木座

inlaid on the slightly recessed flattened top with cranes and birds amongst a tree issuing large flowering peonies next to rockwork, shaped friezes, raised on four trefoil feet, all sides decorated with floral scrolls, on a carved wooden stand (1) 61cm wide x 24.3cm high x 36.2cm deep Provenance: Barry Sainsbury Antiques, 8 June 1977, with an original receipt.

£1,500-2,000

43

76 SILVER-INLAID BRONZE DOUBLE-GOURD VASE GORYEO DYNASTY

高麗王朝 銅嵌銀絲蓮紋葫蘆瓶

of elegant double gourd form with extended cylindrical mouth, the larger and smaller bulbs similarly inlaid with silver wire with lotus borne on scrolling foliage, separated by a ring band below swirling pattern on the lower shoulders (1) 23.6cm high; 608g Provenance: Han Collection, 1 August 2019, with a printed receipt.

Dr. Kenneth P. Lawley’s inventory number: M.59.

Note: Bronze bottles with silver wire inlay are more commonly found in kundika form, compare to several in the National Museum of Korea, all dated to the Goryeo dynasty, to name a few, see accession nos. Bongwan 2426, Deoksu 3772, and Bongwan 12484; also one in the Victoria and Albert Museum, note the similar dark tone of the patina on the bronze body, accession no. M.1189-1926. A further comparable circular covered box, dated to the 12th century, with inlaid phoenix and lotus scroll design in silver, is in the Ho-Am Art Museum, national treasure no. 171, illustrated in Goryeo Dynasty: Korea’s Age of Enlightenment 918-1392, no.70, p. 216-7. A gourd-shaped gilt silver bottle of closely comparable form, dated to 12th century, is in the collection of the National Museum of Korea, no. S15081.

£1,800-2,200

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

44

77 BRONZE BOTTLE VASE GORYEO DYNASTY

高麗王朝 銅弦紋玉壺春瓶

of pear form, with a gently lipped rim and raised string band to the waisted neck, the raised and incised string bands repeating down the sloping shoulders and globular body (1) 32cm high; 1462g Provenance: Han Collection, 10 May 2018, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: M.56.

Note: Two comparable examples in similar form, size, raised ribs as decoration, heavy in malachite patination, dated to the Goryeo dynasty, can be found in the Brooklyn Museum, accession nos. 74.159.2 and 2004.28.134; Several are also seen in the open market, including one sold at Bonham’s San Francisco, 11 December 2015, lot 2475; and one at Christie’s London, 11 December 2015, lot 2100.

£800-1,200

78 BRONZE KUNDIKA, CHONGBYONG GORYEO DYNASTY OR LATER 高麗王朝或以後 銅淨瓶

of ovoid form rising from a counter-sunk foot to a slender neck collared by a slightly domed small disk, the long neck continuing to a lipped rim, one side of the shoulder set with a tubular spout with an everted mouth and a hinged cover (1) 35.6cm high; 929g Provenance: Han Collection, 17 August 2018, with a printed receipt.

Dr. Kenneth P. Lawley’s inventory number: M.57.

Note: Distinctively shaped containers like this were traditionally used in Asia as water sprinklers for Buddhist purification rituals. They were used to offer clean water to the altar or carried by Buddhist monks travelling for cultivation. This kundika type was popular during the Tang Dynasty and continued to be used in the northern regions of China during the Northern Song and Liao dynasties. It travelled with Buddhism through China to reach Korea. In Goryeo, bronze kundika were especially popular. Similar examples were also made in ceramics and glazed in celadon.

Several comparable examples cast in bronze and dated to the Goryeo dynasty are in museum collections, including two in the National Museum of Korea, accession nos.

Sinsu 1973 and Sinsu 1364; one in the Brooklyn Museum, possession no. 74.27; one in the Metropolitan Museum of Art, accession no. 23.115; and the other is in the British Museum, registration no. 1974,1031.1.

£1,500-2,000

45

79 POTTERY BOTTLE VASE SILLA DYNASTY 新羅 陶盤口瓶

rising from a flat base to an ovoid body, slender long neck and everted dish-shaped mouth (1) 26.8cm high Provenance: Frank Caro Co., 4 September 1969, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.41.

Note: A comparable earthenware bottle with thin natural ash glaze, late Unified Silla period, is in the Brooklyn Museum, accession no. 2004.28.122; Also compare to a related long necked-jar densely decorated with stamped design, Unified Silla 7th-8th century, is in The Metropolitan Museum of Art, accession no. L.2016.43.6a, b.

£200-300

80 POTTERY BOWL AND COVER SILLA PERIOD

新羅 陶弦紋碗帶蓋

the bowl potted on a short flaring stem, with a domed cover surmounted by a knob-finial, both decorated with evenly spaced ribs (1) 17.7cm high Provenance: Sotheby’s, 1977 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.74.

Note: A comparable mounted bowl with cover, Unified Silla Period, is in the National Museum of Korea, accession no. Jeung 118

£200-300

81 TWO POTTERY JARS WITH PIERCED FOOT SILLA DYNASTY

新羅 陶臺附長頸壺及蓋罐（共兩件）

comprising: a jar with globular body potted on a flaring lipped foot rising to waisted neck and short everted dish-shaped mouth, the body carved with ribs; and a jar with cover, the compressed globular body rested on a flared foot with six rectangular pierced decoration, near to the short straight mouth incised with a band of geometric patterns, with a high footed cover surmounted with a finial (2) heights: 16.5cm and 16cm Provenance: The jar with cover from Bluett & Sons Ltd., 25 May 1967, with an original receipt.

Dr. Kenneth P. Lawley’s inventory numbers: The jar with dish-shaped mouth, Cer.0; The jar with cover, Cer.24.

Note: A highly comparable example of a pierced foot mounted jar with long neck, Silla Kingdom, is in the National Museum of Korea, accession no. Sinsu 13876; A related stoneware jar with natural glaze in places but without the dish-like mouth, Unified Silla Dynasty, is in the British Museum, museum no. 1992,0615.26; Also compare to a footed jar with an incised wave design, Silla Kingdom, is in The Metropolitan Museum of Art, accession no. 1997.34.11.

The band of half circle with a dot on the shoulder, almost obscured by the cover of the jar, are a primitive form of decoration, perhaps placing the piece at the beginning of the unified Silla. Compare this decoration with the cover of an urn, Unified Silla Period, previously in the Charles Bain Hoyt (1889-1949) collection, is now in the Museum of Fine Arts Boston, accession no. 50.959a-b; Another comparable example of a jar with cover, Unified Silla Period, is in the National Museum of Korea, accession no. Jeung 145.

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

46

82 POTTERY PRUNUS VASE, MAEBYEONG GORYEO DYNASTY 高麗王朝 陶梅瓶

elegantly potted with a flaring foot on flat base, rising to high shoulders, waisted small neck and galleried mouth (1) 27cm high Provenance: Douglas J K Wright Ltd., 25 June 1979, with an original receipt and an associated label on base.

Dr. Kenneth P. Lawley’s inventory number: Cer.79.

Note: A highly comparable dark unglazed stoneware maebyeong, note the similarity of shape, form and proportion, Koryeo Dynasty, 10th century, is illustrated in Margaret Medley eds., 1975, Korean and Chinese Ceramics, Fitzwilliam Museum, Cambridge, pl. 7, p. 9. Also compare to an unglazed prunus vase, Goryeo Dynasty, in the National Museum of Korea, accession no. Jeung 71. Several maebyeong featuring lobed body can be found in several collections, including one in the Minneapolis Institute of Art, accession no.

2015.79.488, and the other in Portland Art Museum, accession no. 2016.117.1, and one illustrated in ibid. pl.9, p.9.

£800-1,200

83 CELADON-GLAZED BOTTLE VASE GORYEO DYNASTY

高麗王朝 青磁蓮瓣紋盤口瓶

potted on a counter-sunk foot with faceted ovoid body rising to a long waisted neck surmounted by a galleried mouth, under the neck carved with a band of petals, covered overall with a greyish green glaze (1) 26cm high Provenance: Bluett & Sons, 13 June 1983, with an original receipt. The base with a label ‘MacRobert Centre 1973’.

Dr. Kenneth P. Lawley’s inventory number: Cer.63.

Note: A comparable celadon-glazed bottle, decorated differently with arabesques, Goryeo Dynasty, is in the British Museum, museum no. 1911,0607.6; Also compare to a celadon-glazed faceted bottle with larger petals, Goryeo Dynasty, Percival David Foundation U.C.63.25., illustrated in Margaret Medley eds., 1975, Korean and Chinese Ceramics, Fitzwilliam Museum, Cambridge, pl. 15, pg. 12; A larger glazed stoneware bottle with comparable shape, Goryeo Dynasty, is in the Museum of Fine Arts Boston, accession no. 50.1106.

£1,500-2,000

84 WHITE-GLAZED COPPER-RED-DECORATED BOTTLE VASE JOSEON DYNASTY, 19TH CENTURY 朝鮮王朝 白磁釉裏紅盤口瓶

of oval form rising to a galleried mouth, decorated with two abstract splashes on each side of the body (1) 25.1cm high Provenance: Pischleur, 1988, de-accessioned from a South Korean museum (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.112.

Note: Compare to a jar with underglaze blue decoration on crackled brownish glaze, note the highly similar shape and size, late 19th-early 20th century, is in the British Museum, registration no. 1992,0615.38. Also compare to a white porcelain octagonal bottle in underglaze copper red, Joseon Dynasty, in the National Museum of Korea, accession no. Deoksu 4136; and a double-gourd bottle vase, in underglaze blue and copper red, with a galleried mouth, Joseon Dynasty, in the abovementioned collection, accession no. Sujeong 124

£200-300

47

85 RARE IRON-PAINTED ‘CHRYSANTHEMUM AND BAMBOO’ HANDLED MOONFLASK JOSEON DYNASTY, 18TH-19TH CENTURY 朝鮮王朝 白磁鐵畵菊竹紋雙耳扁瓶

of flattened globular form set on a high spreading oval foot with a cylindrical neck and everted lip, decorated on one side with bamboo and the reverse with chrysanthemum, two loop-handles flanked the shoulders, two sides of the foot with perforations (1) 17.5cm high Provenance: Christie’s, 1981 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.88.

Note: The Korean potters started experimenting with iron brown or black painting as early as the 12th century influenced by the Chinese Cizhou ware. At the beginning of the Joseon period, painting with iron pigment was the distinguishing feature of pottery produced at the Keryong-san kilns. By the end of the 16th century to the end of the dynasty, local potteries across the country have produced white or grey porcelains and stonewares decorated with underglaze iron painting. Some of the finest brushwork is seen on jars and wine flasks decorated with sprays of bamboo, a favourited subject with scholar-artists and aristocrats in the mid-Joseon period, 16th-17th century. Observes G. St. G. M. Gompertz, 1968, Korean Pottery & Porcelain of the Yi Period, London: Faber and Faber, pp. 48-50.

Compare to a finer wine flask with underglaze iron painting of bamboo, 17th century, without the loop handles, illustrated ibid. pl. 62, and a wine flask similarly decorated but flanked with two squirrel-form handles, illustrated ibid. pl. 71A, subsequently sold at Bonhams London, 7 Nov 2013, lot 26. Including this lot, these three moonflasks are decorated with bold sweep of brushwork and rich brown, almost black, of iron pigment producing an effect that evokes admiration.

reverse

Several other related comparable examples with nuances of form and detail, all dated to the Joseon Dynasty, are in museum collections. Including the National Museum of Korea, collection no. 동원 248; The Cleveland Museum of Art, accession no. 1999.44; Harvard Art Museums, museum no. 2002.267.

Further compare to one with similar cord runners, was sold at Bonhams New York, 24 Sep 2020, lot 1047.

£6,000-8,000

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

48

86 CELADON-GLAZED INCISED ‘FLORAL’ BOWL GORYEO DYNASTY

高麗王朝 靑磁刻花卉紋碗

of conical form with gently everted rim, the interior under the mouth carved freely with blossoming flower heads with scrolling foliage, covered overall in an attractive olive green glaze (1) 17.5cm diameter Provenance: Han Collection, 29 October 2022, with a printed receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.182.

Note: Several Goryeo dynasty celadon-glazed conical bowls with incised decorations are in the collection of the National Museum of Korea, including one with Baoxianghua scroll design, accession no. Sinsu 1654; lotus petal design, accession no. Bongwan 198; and one with wave and fish design, accession no. Deoksu 4510.

£3,000-5,000

87 CELADON-GLAZED BOWL GORYEO DYNASTY 高麗王朝 青磁碗

the steep body resting on a short straight foot rising to a straight wide mouth, decorated on the interior with a single line incised just below the rim, covered overall with green glaze saved for three spur marks on the base (1) 21.3cm diameter Provenance: Bluett and Sons Ltd., 30 May 1967, with an original receipt. The base with an associated label overlaid with a collector’s inventory label ‘35’.

Dr. Kenneth P. Lawley’s inventory number: Cer.35.

Note: Compare to a Goryeo Dynasty celadon stoneware bowl, similarly decorated with an incised band, sold at Christie’s 17 September 2009, lot 1120.

£2,000-3,000

49

88 WHITE-GLAZED LIDDED JAR JOSEON DYNASTY, 15TH-16TH CENTURY 朝鮮王朝 白磁蓋罐 共箱

elegantly potted on a counter-sunk foot with steep sides, broad rounded shoulders, short-waisted neck and lipped rim, top of the cover with subtle steps and surmounted by a bud-form finial, covered overall in creamy white glaze with a tinge of greyish green, with a wooden tomobako (1) 10cm high Provenance: Han Collection, 5 September 2020, with an original receipt.

Exhibited: ‘The Aesthetic of the Korean Scholar: Purity and Virtue’, Han Collection, London, 1 September - 30 October 2020, with a copy of the catalogue.

Note: Four comparable larger white porcelain jars with three covers, Joseon Dynasty, are in the collection of the National Museum of Korea, accession no.

Sinsu 2106. An even larger example, 31.1cm high, note the ripple details on top of the cover, is in the Metropolitan Museum of Art, accession no. 2021.125a, b. According to the catalogue of the museum, the elegance of this jar and its lid exemplifies the aesthetic of undecorated white porcelain that was popular in the 15th–16th century Joseon. In its balanced proportions and subtle design features on the lid with a bud-shaped knob, this porcelain reflects the refined sensibilities associated with the new ruling ideology of Neo-Confucianism of the Joseon dynasty (1392–1910).

Also see a comparable white porcelain jar and cover, Joseon dynasty, 18.1cm high, previously in the collection of Robert W. and Mee-Din Moore, sold at Bonham’s New York, 22 September 2021, lot 1168.

£600-800

89 CELADON-GLAZED INCISED ‘PARROTS’ BOWL GORYEO DYNASTY

高麗王朝 青磁刻鸚鵡紋碗

of conical form with very gently inverted rim, incised to the interior with three long-tailed parrots in flight amongst clouds, covered overall saved for the three spur marks on the base with a translucent pale green glaze (1) 17.3cm diameter Provenance: Bluett & Sons Ltd., 16 June 1978, with an original receipt and an associated label on base.

Dr. Kenneth P. Lawley’s inventory number: Cer.75.

Note: As an auspicious pattern signifying harmony, a parrot design was widely adopted in the earliest days of Korean celadon from the Chinese Yue ware, and particularly popular between the twelfth and early-thirteenth century. The pattern commonly features a pair of parrots, but this bowl contains three such birds.

A highly comparable example, also incised with three parrots, Goryeo Dynasty, is in the National Museum of Korea, accession no. Deoksu 164, also see Cleveland Museum of Art, museum no. 1918.482. Examples with a pair of parrots are in several museum collections, compare to one in the British Museum, museum no.

1973,0726.393, one in the Cleveland Museum of Art, museum no. 1924.136., and the other in University of Michigan Museum of Art, accession no. 1965/2.69; Also see examples in the open market, one sold at Christie’s New York, 21 July 2016, lot 34, and the other at Sotheby’s New York, 30 Sep 2020, lot 1070.

£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

50

SOUTHEAST ASIAN ART 90 WOVEN CANE JEWELLERY BASKET WITH BRASS MOUNTS, VEL-PETTIYA SRI LANKA, KANDY KINGDOM, 18TH-19TH CENTURY 斯里蘭卡 康提王朝 十八至十九世紀 編籐菱紋珠寶蓋盒

of tapering oval form with tightly woven cane over a wooden base, stepped domed cover, with brass mounts held in place with copper studs (1) 23.2cm wide Provenance: Michael Backman Ltd., with an undated document issued by Michael Backman Ltd. Note: According to the catalogue of Michael Backman, this type of cane basket was made for members of the Kandyan aristocracy and used to store jewellery and keepsakes. This example includes a hidden locking mechanism.

A comparable Ceylonese silver-mounted Indian rosewood and woven basket, late 19th century, was sold at Christie’s London, 30 Jan 2019, lot 128, note the similarity of the lozenge design.

£500-700

91 THAI BRONZE TAZZA OR BETEL TRAY TENASSERIM REGION, THAILAND OR BURMA, 14TH-15TH CENTURY 十四至十五世紀 泰國或緬甸 丹那沙林山山脈 銅高足碟

the flattened dish with pierced everted mouth resting on trumpet-form tiered foot (1) 10cm high; 380g Provenance: Michael Backman Ltd., September 2021, with a document issued by Michael Backman Limited. Previously in Maurice Collis’ (1889-1973) collection, acquired in Burma.

Note: According to the catalogue by Michael Backman, there was a label dated 1933 attached to another item from the same group, it was found, presumably excavated in Tenasserim, an area which runs along the southern border between Burma and Thailand.

The label states that the pieces are ‘Siamese’ and are from the Ayutthaya dynasty.

£300-500

92 CELADON-GLAZED BOWL WITH COVER VIETNAM, LE OR TRAN DYNASTY, 13TH-14TH CENTURY 越南 黎或陳朝 青釉刻纏枝紋荷葉蓋碗

the wide rounded body supported on a short ring foot rising to a gently everted mouth, carved around the body with scrolling tendrils between three bands on mouth and lotus petals above foot, the lotus-leaf form cover with undulating rim similarly decorated and surmounted with a vine finial, covered overall with a greyish green glaze (1) 18cm wide Provenance: OAG (Oriental Art Gallery Ltd.), 1993 (according to collector’s inventory).

Dr. Kenneth P. Lawley’s inventory number: Cer.124.

Note: The glaze colour of Vietnamese celadons is never the pure bluish green compared to the Chinese kinuta type celadons, whereas the yellowish or olive tinge is more common. In terms of form, while copying Chinese models, the Vietnamese potters made their own innovations and injected new elements into their products and, like the present lot, more richly decorated with incised and carved decoration. The lotus leaf form cover with foliated and rolled up edges can also be found in Chinese originals. Observes J. Stevenson & J. Guy in Vietnamese Ceramics: A Separate Tradition, Chicago: Art Media Resources, 1997, pp. 129-139.

Several comparable covered bowls in similar form, with various carved decorations, are illustrated in ibid. pl. 122-125. Also compare to a covered ewer, Le or Tran dynasty, 13th-14th century, note the similarity of carved decoration, lotus leaf form cover and the finial, is in the Minneapolis Institute of Art, accession no. 2001.4.67a,b.

£800-1,200

51

93 WHITE-GLAZED JAR AND COVER THAI, SAWANKHALOK, 15TH CENTURY 泰國十五世紀 宋加洛窯 米白釉蓋罐

sturdily potted with deep rounded sides on a short straight foot rising to gently inverted mouth, the cover with a lotus bud form finial, covered overall with an opaque matt greyish white glaze with a bluish tinge (1) 23.5cm high Provenance: Sotheby’s, 22 December 1975, lot 96, via Bluett & Sons Ltd., with an original receipt issued by the gallery.

Dr. Kenneth P. Lawley’s inventory number: Cer.69.

Note: A related and smaller Sawankhalok jar with cover, 15th century, with four lug handles on shoulders, is in the collection of the Art Gallery of New South Wales, accession no. 174.2002.a-b.

£500-700

94 CELADON-GLAZED ‘LOTUS’ BOWL THAI, SAWANKHALOK, 13TH-16TH CENTURY 泰國 十三至十六世紀 宋加洛窯 青釉刻蓮紋碗

thickly potted, incised with stylised lotus petals combed in the centres, covered overall with a thick translucent greenish-blue celadon glaze, the glaze pooling above the foot revealing the buff body (1) 23.2cm wide Provenance: Bluett & Sons Ltd., 16 June 1970, with an original receipt.

Dr. Kenneth P. Lawley’s inventory number: Cer.46.

£500-700

95 CELADON-GLAZED ‘LOTUS’ CHARGER THAI, SAWANKHALOK, 15TH CENTURY 泰國十五世紀 宋佳洛窯 青釉刻蓮紋大盤

sturdily potted with rounded sides, short everted mouth and lipped rim, carved with a flowering lotus in the central medallion, the cavetto further with scrolling tendrils and lotus flowers, covered overall save for the base in pale green glaze with a bluish hue suffused with fine network of russet crackles (1) 34cm diameter Provenance: Blitz Chinese Ceramics and Works of Art, 2 January 2017, with an original receipt and an associated label on base. Another circular label on base ‘Bluett & Sons, London’.

Dr. Kenneth P. Lawley’s inventory number: Cer.164.

£600-800

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

54

WORKS OF ART

96 CINNABAR LACQUER CIRCULAR COVERED BOX QING DYNASTY, 18TH-19TH CENTURY 清 剔紅八仙鳳紋圓蓋盒

the domed cover carved to the central medallion with six Daoist immortals heading to a pavilion by a river bank in a mountainous landscape, the side with floral band, similarly decorated to the box with a large phoenix flying amongst blossoming peonies in the centre, the interior and base covered in black lacquer (1) 18.4cm diameter

£1,000-1,500

97 MOTHER-OF-PEARL-INLAID BLACK LACQUER STAND MING DYNASTY OR LATER

明或以後 黑漆嵌螺鈿詩文高士圖束腰香几

the rectangular flattened top decorated with overlapping panels with figures in a landscape with pagodas on the right, poem on left with signature, all above a narrow waist and short shaped apron with further inlays that continue down the in-curving legs (1) 55.5cm wide x 15.2cm high x 32.3cm deep

£600-800

98 PAIR OF ‘DREAMSTONE’ MARBLE INSET PANELS LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 石泉、石生款 雲石山水掛屏 木框（兩幅）

comprising eight marble slabs in two wooden panels, each panel with four shaped windows showcasing the black, grey, and russet veining evocative of ethereal landscapes shrouded in swirling mists and clouds, all inscribed with poetic titles, either signed ‘Shi Quan’ or ‘Shi Sheng’, similarly sealed (2) 84.1cm x 22.2cm each Note: One of the panels verso with a handwritten note mistakenly attributed these plaques as jade or jadeite. The slabs are transverse slices of Dali marble from Yunnan province in southwestern China. The natural markings of the marble are enhanced by cutting and polishing the surface to reveal mountains and clouds and anything else the imagination can conjure.

Little is known about the artists ‘Shi Quan’ and ‘Shi Sheng’. There are speculations that they might be the same person, also using other names like Shi Lin, Shi You, Shi Qiao, which might be Ding Huaijin (1879-1956). Comparable dreamstone inset panels, Qing dynasty 19th century, are in the Metropolitan Museum, accession no. 1995.418a–d; Also compare to a pair of ‘dreamstone’ marble inset panels, Qing dynasty, sold at Sotheby’s London, 09 November 2016, lot 367.

£300-500

55

99 HUANGHUALI TABLE CABINET, GUANPIXIANG QING DYNASTY, 18TH CENTURY 清 黃花梨官皮箱

of rectangular form, the hinged cover lifting to reveal a separate compartment above a pair of richly-figured doors on a low base, the doors opening to reveal four short and one long drawers with lozenge-shaped metal plates and oval-shaped pulls, the front mounted with circular metal lock-plate and a cloud-form hasp, flanked by a pair of bail handles at the sides, the vividly-grained wood of a rich reddish-brown tone (1) 32.2cm wide x 32.5cm high x 22.6cm deep Provenance: Private English collection, London Note: Compare with a similar huanghuali table cabinet illustrated by Wang Shixiang and C.Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Hong Kong, 1995, pp.140-141, no.66. See also a similar cabinet with lobed circular mounts, 17th century, and another with square and lobed mounts, 17th/18th century, which were sold at Christie’s New York, 16 September 1999, lots 68 and 60.

£2,000-3,000

100 HARDWOOD BRUSH POT QING DYNASTY, 19TH CENTURY 清 硬木筆筒

of plain cylindrical form, a plug on the base (1) 21.4cm diameter, 20.6cm high

£600-800

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

56

101 CARVED ZITAN CABINET QING DYNASTY, 18TH CENTURY 清 紫檀雕西洋花卉紋櫃

of rectangular form with rounded front corners, in between two pairs of drawers are two-panel doors with metal mounts, masterfully carved in relief in European Rococo style with acanthus and foliate trails, the sides further with suspended eternity knots, all supported on bracket corner feet linked by shaped aprons (1) 48.3cm wide x 48cm high x 24.7cm deep Provenance: Formerly in a private French collection Note: Made from dark and fine-grained zitan, this cabinet is not of typical Chinese form, further with elaborately carved design of scrolling acanthus leaves on all panels. It draws from European decorative arts, thus displaying the cultural and artistic exchange between China and Europe in the Qing dynasty. For related designs on Chinese furniture, compare to a rare pair of zitan Taishi chairs, Qianlong period, sold at Sotheby’s Hong Kong, 9 October 2020, lot 113; Also see an important imperial zitan armchair, Yongzheng to Qianlong period, sold at Christie’s New York, 24 Sep 2021, lot 1010. A carved zitan cabinet dated to the Qing dynasty 19th century, with similar composition of shape, form, and size but different decoration to this lot, was sold at the same sale as the above, lot 1020.

£3,000-5,000

57

102 HARDSTONE AND MOTHER-OF-PEARL-INLAID HUANGHUALI TABLE CABINET QING DYNASTY, 17TH-18TH CENTURY˙ 清 黃花梨百寶嵌人物博古圖官皮箱

of rectangular form, the cover hinged on the back of the box and opening to reveal a tray-like compartment, above four small and one long rectangular drawers set behind the two doors, the top and front panels with inlaid decoration depicting figures in garden setting, the sides with precious objects and floral sprays (1) 32.6cm wide x 28.7cm high x 22.8cm deep Note: Compare to a similar Qing dynasty huanghuali table cabinet, closely comparable with shape and inlaid of this lot, was sold at Sotheby’s New York, 17 September 2016, lot 975

£5,000-7,000

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

58

103 CARVED WOOD FIGURE OF PADMAPANI LOKESHVARA WITHIN A GROTTO QING DYNASTY

清 木雕蓮華手菩薩立像龕

finely worked with the Bodhisattva standing in slight tribhanga on a flayed animal skin, right hand lowered in varada mudra, and holding a lotus flower in his raised left that extends up to his shoulder, wearing a short dhoti secured with a sash tied at the waist that suspends folded ribbons extending to the calves, crowned by a large headpiece over a gilded serene face, the figure enclosed within a grotto raised on tiered flower-petal-form clouds, sides of the grotto carved in round with layered rocks, lower right with a kneeling disciple, the flattened back similarly carved in relief further with clouds, the base with a half-moon plaque incised with a double-vajra (1) 37cm high Provenance: Formerly in a private European collection Note: This unusual carved wooden shrine echoes with a Longquan celadon-glazed shrine, dated to the auspicious day of the Chu Festival (Dragon Boat Festival) in the Bingxu year of the Yongle reign, 1406AD, in the collection of the British Museum, museum no. 1929,0114.1.

£3,000-5,000

59

104 LARGE HARDSTONE EMBELLISHED ZITAN ‘ZHONG KUI AND SISTER’ BRUSH POT QING DYNASTY, 18TH CENTURY 清 紫檀百寶嵌鍾馗嫁妹圖大筆筒

the cylindrical pot finely inlaid around the exterior with various hardstones and mother-of-pearl to depict the legendary ‘demon queller’ Zhong Kui leading his sister to her new home accompanied by an escort of demons (1) 31.8cm diameter Provenance: Formerly in a private English collection Note: The central figure in this brush pot is recognizable as Zhong Kui, a very popular figure from Chinese mythology. Zhong Kui was a talented scholar who gained first place in the imperial examinations, but was nevertheless denied recognition or title for his achievement. In anger, he committed suicide and was thus condemned to be a ghost. However, the King of Hell recognised his talents and placed him in charge of all ghosts. He became known as the “Demon-Queller”, and was frequently worshipped as a protective deity by travellers fearful of lonely roads.

Here, Zhong Kui leads his sister to her new home accompanied by an escort of demons performing feats of martial prowess. The painting illustrates a rebus: “marrying off one’s sister” (jia mei) is a pun for “subjugating demons.” The same story is also depicted in a Yuan dynasty painting by Yan Geng (active late 13th century) in the collection of the Metropolitan Museum of Art, accession number: 1990.134.

Some comparable large embellished zitan brush pots of various scenes, all dated to the Qing dynasty, 18th century, were sold at: Christie’s London, 14 May 2013, lot 289 and 27 Apr 2016, lot 288; Sotheby’s Hong Kong, 08 April 2011, lot 3310.

£4,000-6,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

60

105 GROUP OF FOUR HAIR ORNAMENTS QING DYNASTY, 19TH CENTURY 清 點翠髮飾（一組四件）

comprising: two hairpins ornately decorated with kingfisher feathers, coral, and glass to depict a large flower head and flower vase; one hairpiece with a jade boy encircled by an elaborate kingfisher feather base and one metal hairpin with an agate disc mounted with cricket and bat ornaments (4) heights: 4.5cm to 16.5cm Provenance: Private Scottish collection, Edinburgh

£300-500

106 SET OF TWO CIVIL RANK BADGES OF WILD GOOSE QING DYNASTY, 19TH CENTURY

清 墨地刺繡四品文官雲雀補子一套（共兩件）

for the fourth-ranked civil officer, each depicting a bird standing on one foot on a rock issuing from ferocious crashing waves, enclosed by lingzhi fungus, flowers, bats, clouds, and sun with embroideries, stitch knots and couched gold threads, key fret border (2) 28.7cm x 30cm; 38.7cm x 30.4cm Provenance: Private Scottish collection, Edinburgh. Inherited by the current owner’s grandmother, whose family served as missionaries in China in the first quarter of the 20th century.

£300-500

107 DARK-BLUE-GROUND SILK EMBROIDERED LADY’S ROBE QING DYNASTY, 19TH CENTURY 清 石青地刺繡花蝶紋對襟女衫

embroidered with mirror-image of scattered butterflies and floral sprays against a midnight blue ground (1) 139cm across sleeves; 109cm high Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Asia around 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

£500-700

61

108 YELLOW-GROUND ‘DRAGON’ ROBE, JIFU QING DYNASTY, 19TH CENTURY 清 黃地繡金龍雲紋吉服袍

embroidered with nine five-clawed dragons in pursuit of flaming pearls amidst scrolling clouds with a bat suspending a pair of peaches in a basket, further with bats, crane roundels, and double gourds, all above cresting waves and a lishui border, the collar and cuffs embroidered with dragons and bats above waves and among clouds (1) 171cm across sleeves; 143.5cm high Provenance: Private English collection, acquired in Singapore in 2003.

£3,500-5,500

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

62

109 PINK GROUND SILK EMBROIDERED LADY’S SHORT ROBE, PLEATED SKIRT AND LEGGINGS LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 粉紅地刺繡暗花女襖、馬面裙 及 夾套褲（一套四件）

the robe of half-length with wide sleeves, with a pair of leggings, and a pleated skirt, all similarly decorated with damask designs of auspicious emblems (4) robe: 148cm across sleeves, 89cm high; skirts: 96cm and 95.5cm long; trousers: 66cm long Provenance: Private Scottish collection, Edinburgh. Inherited by the current owner’s grandmother, whose family served as missionaries in China in the first quarter of the 20th century.

£500-700

110 BLUE GROUND SILK EMBROIDERED LADY’S ROBE LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 藍地刺繡蝶戀花紋對襟女衫

with long and wide sleeves, embroidered on a navy silk ground with butterflies and flowers (1) 147cm across sleeves; 149cm high Provenance: Private Scottish collection, Edinburgh

£400-600

111 YELLOW-GROUND ‘DRAGON’ PANEL LATE QING DYNASTY TO EARLY REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 黃地繡金龍雲紋織品橫幅

embroidered with three pairs of five-clawed dragons in pursuit of flaming pearls above cresting waves (1) 71.8cm x 106cm Provenance: Formerly in a private English collection

£1,000-1,500

63

PRIVATE SCOTTISH COLLECTION (LOTS 112-118) 112 OFFICIAL’S HAT AND GROUP OF EIGHT GLASS AND GILT BRONZE HAT FINIALS QING DYNASTY, 19TH CENTURY

清 頂戴 及 各式料器帶金屬冠頂（共九件）

comprising: two translucent blue glasses, one translucent, one pearl-white, one gilt, one pink, one translucent ruby-red (split into two), and one blue surmounted on a black hat with upturned rim and red tassels, of which five gilt bronze supports with inscriptions on bases (9) largest bead: 3.2cm wide; hat: 26cm wide Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

£600-800

113 SOAPSTONE ‘CHI-DRAGON’ SEAL 19TH-20TH CENTURY

十九至二十世紀 壽山石螭龍鈕章

of ovoid form with the finial carved in openwork and high relief with a coiling chi-dragon (1) 4.7cm wide Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

£300-500

114 GROUP OF SIX EMBROIDERIES LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 各式刺繡 含鵪鶉、團壽及囍字 補子、團壽紋圓織料 與 白銅玳瑁框眼鏡 帶袋（共七件）

comprising: a set of ‘quail’ embroidered rank badges; a set of badges with ‘shou’ roundels; a set of badges with Shuang Xi- Double Happiness; a roundel decorated with auspicious symbols enclosing a ‘shou’ roundels; a pouch embroidered with bats and shou roundels TOGETHER WITH A PAIR OF GLASSES with tortoiseshell frames (7) largest: 55cm x 26.5cm Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

£300-500

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

64

115 BLUE-GROUND SILK EMBROIDERED LADY’S ROBE LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 藍地刺繡蟠龍花卉紋氅衣

with tapered sleeves, the dark-blue silk damask featuring cranes amidst gourds borne on scrolling foliage, embroidered in white with coiling dragon and phoenix, further with floral sprays, hemmed with blue embroidery (1) 172cm across sleeves; 132cm high Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

£400-600

116 WHITE GROUND SILK EMBROIDERED LADY’S ROBE LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 白地刺繡花蝶紋氅衣

with quarter-sleeves, featuring on the white coloured silk ground with white flowers and butterflies, hemmed in black with blue embroideries (1) 122cm across sleeves; 135.5cm high Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

£400-600

117 ORANGE-GROUND GAUZE ‘DRAGON’ LADY’S ROBE AND BLUE-GROUND TROUSERS LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初 橘地納紗暗花團龍紋氅衣 及 藍襠褲

the robe with damask-woven roundels depicting dragons, hemmed with blue floral embroideries, the trousers of plain form (2) robe: 173.5cm across sleeves, 134.5cm high; trousers: 117.5cm high Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

£400-600

65

118 RED-GROUND ‘DRAGON’ ROBE, JIFU QING DYNASTY, 19TH CENTURY 清 紅地繡金龍雲紋吉服袍

embroidered with nine five-clawed dragons in pursuit of flaming pearls amidst scrolling clouds with bats suspending wan symbols and flowers, all above cresting waves and a lishui border, the collar and cuffs embroidered with dragons and bats above waves and among clouds (1) 188cm across sleeves; 136.5cm high Provenance: Private Scottish collection; Acquired by family members traveling in China in the late 19th to early 20th century, thence by descent.

Note: Compare to a red-ground ‘dragon’ robe, jifu, Qing dynasty, 19th century, further with shou and other auspicious symbols, sold at Sotheby’s Paris, 10 June 2021, lot 180; Also see a red-ground silk-court robe, jifu, early 20th century, sold at Christie’s, 19 Jul 2018, lot 309.

£5,000-7,000

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

66

METALWARES 119 BRONZE TRIPOD CENSER WITH SCROLL HANDLES AND ELEPHANT-HEAD FEET XUANDE MARK, QING DYNASTY, 17TH-18TH CENTURY 清 宣德款 雙耳象足銅爐

of tapering cylindrical shape, with scroll handles, all supported on three elephant head feet, the base with an apocryphal six-character Xuande mark in recessed rectangle (1) 12cm wide across handles; 351g

£1,000-1,500

120 BRONZE TRIPOD CENSER XUANDE MARK BUT 19TH-20TH CENTURY

十九至二十世紀‘大明宣德五年監督工部官臣吳邦佐造’底款 銅鑄雙耳 三足爐 of compressed bulbous form supported on three short tapering feet, flanked by a pair of handles on the rim, the base cast with a sixteen-character mark reading ‘Daming Xuande wunian jiandu gongbu guanchen Wu Bangzuo zao (Made for the Board of Works under the Supervision of Wu Bangzuo in the Fifth Year of Xuande)’ in a recessed square panel (1) 23cm wide; 5.7kg

£1,500-2,000

121 ARCHAISTIC BRONZE RECTANGULAR CENSER QING DYNASTY, 18TH-19TH CENTURY 清 銅鑄海水瑞獸紋銘文獸耳長方爐

of tapering rectangular shape standing on four cornered-feet incised with taotie masks, the exterior with raised crashing waves and mythical beasts, the plain interior moulded with archaic inscriptions, the base moulded with four coin patterns encircling a double-dragon mark in the centre (1) 20.5cm wide across handles; 1612g

£1,500-2,000

67

122 RARE BRONZE INCENSE BURNER IN THE FORM OF A DUCK STANDING ON TOAD MING DYNASTY, 17TH CENTURY 明 銅寶鴨戲金蟾薰爐

cast standing with one leg on a three-legged toad, head turned to the right and beak ajar, the wings with plumage finely rendered and opening up to the vessel, on a bespoke wooden stand (1) 35.2cm high; 3760g Provenance: Leonard Gow (1859–1936), thence by family descent.

Born in Glasgow, the son of a shipping magnate, Leonard Gow attended Glasgow University in 1884 to spend a year studying Moral Philosophy.

He became senior partner in the shipping company Gow, Harrison & Co, director of the Burmah Oil Company and chairman of several other companies.

A noted philanthropist, he founded the Leonard Gow Lectureship on Medical Diseases of Infancy and Childhood in 1919. He was given an Honorary Degree in 1934. He began collecting Impressionist art, and Chinese and Japanese porcelain around 1880.

His collection of well over 400 prints by Muirhead Bone, which includes many rare impressions, was presented by his trustees in 1965 to the Hunterian Art Gallery, University of Glasgow. A selection of Chinese porcelains from Leonard Gow, notably lot 354, a pair of Yellow and Green ‘Dragon’ bowls, Yongzheng mark and period, were sold in this saleroom on 2 December 2014.

As remembered by the current owner (the greatgrandson of Leonard Gow), the present lot was displayed in the hall at his grandparents’ family home at Hallhill, Renfrewshire during the 1960s and 70s.

Note: Bronze incense burner in the form of a goose or duck, either standing one-legged or two, is a relatively common subject matter. The three-legged toad, known as jinchan in Chinese, is a beloved mythical animal believed to beckon wealth, usually depicted with the immortal Liu Hai. However, it is unusual to see the combination of a duck standing on a toad. A comparable example, dated to the Ming dynasty, is in the Guanfu Museum, note the similarity of the composition of the duck and toad. According to the museum note, ‘duck’, in Chinese ya, is a homophonic pun for ‘press’ or ‘insistence’, and the toad symbolises wealth. The duck standing sideway on the toad implies a guaranteed unexpected, or sudden gain of wealth.

Sold examples of only the duck, Ming dynasty, standing on one leg like the present lot, can be found in auctions, one at Sotheby’s Paris, 16 June 2022, lot 72, the other at Christie’s New York, 29 Jun 2021, lot 99. A related example of a bronze ‘Liu Hai and toad’ censer, 17th century, was sold at Sotheby’s London, 18 May 2018, lot 437.

£3,000-5,000

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

68

123 BRONZE CENSER IN THE FORM OF A BUDDHIST LION-DOG LATE MING TO EARLY QING DYNASTY, 17TH-18TH CENTURY 明末清初 銅鑄佛獅型香爐

cast seated with tail upturned, front right leg stepping on an openwork brocade ball, its head as a hinged cover turned to one side, eyes alert, mouth ajar (1) 19cm high; 2458g Provenance: Private Scottish collection, Fife; with a Christie’s rectangular tag ‘TG118’.

£400-600

124 BRONZE FIGURE OF WENCHANG DEITY MING DYNASTY 明 銅鑄文昌座像

the sage cast seated on a raised podium, wearing an elaborately decorated official cap, the face with downcasting eyes, resting on his right arm is a hu tablet, left arm concealed in the long sleeve swaying across held by right hand (1) 31.8cm high; 2840g Provenance: Private Scottish collection, Edinburgh

£500-700

125 BRONZE ARCHAISTIC TWO-HANDLED VASE MING DYNASTY, 17TH CENTURY

明 銅仿古饕餮紋螭龍耳海棠型壺 帶木座

the quatrelobed body cast in low relief with two bands of confronting and addorsed kui dragons reserved against a dense leiwen ground, below a band of six cicada lappets, the neck flanked by a pair of chi dragons, the base with moulded net pattern, with a circular wooden base (1) 33.5cm high Provenance: Private English collection, London; a wedding gift in 1995 from a collector’s friend.

£800-1,200

69

126 GILT-BRONZE FIGURE OF AMITAYUS MONGOLIA, ZANABAZAR SCHOOL

蒙古 扎納巴扎爾流派 銅鎏金無量壽佛座像

finely cast seated in padmasana on a raised double lotus throne, a large vase containing the elixir of longevity cradled in his hands in dhyana mudra, wearing a low dhoti detailed with incised hem, a scarf flowing fluidly through his broad shoulders, elaborate necklace adorned his chest, further with jewellery on wrists, arms, and calves, large earrings flanked the meditative face below a five-leaf flame-like crown, hair tied up in high coiffure topped with a large jewel, stream-like long locks emerging from back of the head cascading down and spilling onto the throne, the baseplate gilt and incised with a double-vajra (1) 32cm high; 5001g Provenance: Formerly in a private English collection Note: Wearing a dignified expression and princely appearance, this Buddha of Infinite Life, seated on a stepped lotus base, resonates the artistic paradigms of the celebrated Mongolian Buddhist teacher and artist Jebstundampa Khutukhtu Zanabazar (1635-1723). The legacy of his sculptural style is recognisable by rich gilding and at times painted details on voluptuous portrayal of the female form, or, in this case, a masculine rendition of male form, shown through the powerful broad shoulders. The textile patterns, distinguished jewellery designs, smooth contours, sensitive modelling of the faces, fine arches of Amitayus’ brows and his aquiline nose are also of his atelier. [1] Two comparable gilt-bronze figures of Amitayus, 19th century, are in the Zanabazar Museum of Fine Arts, HAR. 50243 & 50306, note the former with similarity of the lotus base depicts wide petals placed on a high pedestal finished with a beaded rim together with vertical lines imitating the ridges of a lotus pod, and the latter with elaborate vase of longevity; Several other examples can be found in auctions, including one, 18th century, sold at Bonham’s Hong Kong, 29 May 2022, lot 140; one sold at Christie’s London, 15 May 2018, lot 167; and one at Christie’s New York, 31 Mar 2005, lot 188.

[1] J. Casey, N. P. Ahuja, & D. Weldon, Devine Presence: Arts of India and the Himalayas, Barcelona: Casa Asia, 2003, pp. 168-171

127

£2,000-3,000

GROUP OF THREE BRONZE VOTIVE FIGURES MING TO QING DYNASTY

明至清 銅鑄持國天王立像、淨水瓶觀音 及 釋迦摩尼佛座像（共三件） comprising: a figure of Virupaksha standing on a podium, holding a pearl in left hand, clad in full armour; a seated Guanyin with a bird and vase resting on raised plinths to either side, with a bespoke stand; and a Shakyamuni seated on double lotus throne, two hands in dhyana mudra (3) the largest: 22cm high; 981g Provenance: Private Scottish collection, Edinburgh

£500-700

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

70

128 GILT-LACQUER BRONZE FIGURE OF WENCHANG DEITY MING DYNASTY

明 銅鑄漆金文昌座像

cast seated upright, holding a hu tablet with both hands before his chest, the God of Culture and Literature wearing an official headdress, gilded overall with traces of red lacquer (1) 15.5cm high; 589g Provenance: Private Scottish collection, Edinburgh

£300-500

129 PARCEL GILT-BRONZE FIGURE OF A FEMALE DAOIST IMMORTAL MING DYNASTY

明 局部鎏金銅道教持刀仙人立像

cast standing on a podium, the deity holds a blade in the right hand, left hand holds a bowl with flower before the chest, underneath a flamboyant phoenix headpiece is a gilded face in serene expression (1) 33cm high; 2976g Provenance: Private Scottish collection, Edinburgh Note: Most probably depicting Xiwangmu, Queen Mother of the West, judging by the iconic headdress with wing spreading and flame-like tail phoenix.

Normally Xiwangmu would also be depicted holding a hu-form tablet with both hands before her chest.

£300-500

71

130 LARGE CLOISONNÉ ENAMEL BASIN MING DYNASTY, 17TH CENTURY

明 銅胎掐絲琺瑯人物故事圖折沿大盤

the interior of the basin brightly decorated with a group of officials and their attendants in a procession, with some ladies looking at them in a pavilion afar, the everted rim decorated with a band of chrysanthemum and fower heads (1) 41.8cm diameter Provenance: Private Dutch collection, acquired from Michael Goedhuis, at TEFAF Maastricht (by repute).

Note: Compare three closely related cloisonné enamel basins, Wanli period, all similarly decorated with figures in garden landscapes, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York, 2011, nos. 47, 48 & 49, two of which were also illustrated by Sir H.Garner, Chinese and Japanese Cloisonne Enamels, London, 1962, pls. 48 and 49.

£20,000-30,000

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

72

131 CLOISONNÉ ENAMEL CONJOINED VASE QING DYNASTY, 19TH CENTURY 清 銅胎掐絲琺瑯花蝶紋方勝瓶

cast in the shape of intersecting lozenges, decorated with floral sprays and butterflies against a turquoise ground, all raised on bracket feet (1) 16cm high; 358g

£600-800

132 CLOISONNÉ AND CHAMPLEVÉ ENAMEL DISH QING DYNASTY

清‘子孫永寶’底款 銅胎掐絲琺瑯萬壽無疆盤

heavily cast, the exterior decorated with four circular medallions enclosing the characters, ‘wan shou wu jiang (ten thousand years of long life without end)’, all surrounded by lotus scroll between yellow-green champlevé enamel borders of archaistic dragon scroll above and petal lappets below, the interior, foot and base heavily gilded, the base inscribed with a four-character mark reading ‘zi sun yong bao (treasured forever by sons and grandsons)’ within a double square (1) 16.9cm diameter Provenance: Formerly in a private French diplomat’s family collection (by repute) Note: According to Qing court records, in the 45th year of the Qianlong reign (1780), a large number of cloisonné enamel bowls and dishes decorated with wanshou wujiang characters were produced for the celebration of the Emperor’s 70th birthday. Some similar plates are in the collection of the National Palace Muesum, Taipei, museum number Zhong Fa 中琺199, 201, 203 etc.

£3,000-5,000

73

133 CLOISONNÉ ENAMEL DRAGON-HANDLED BALUSTER VASE QING DYNASTY, 18TH-19TH CENTURY

清 銅胎掐絲琺瑯福壽同慶鎏金銅雙龍耳海棠型瓶

the elegantly proportioned baluster vase of four canted sides, exquisitely enamelled with four lotus sprays borne on scrolling tendrils around the shoulder, the wider sides of the body decorated with a pair of bats holding tassels and shou-longevity roundels in their mouths, whilst the narrower sides enamelled a qin-musical instrument on the lower part, as the upper section mounted with an elaborately cast gilt-bronze dragon handles with flaming pearl, the lower body further mounted with a band of gilt-bronze ruyi-head clouds (1) 40cm high; 4047g Provenance: Private Scottish collection, Edinburgh; acquired from current owner’s grandmother, thence by family descent.

£6,000-8,000

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

74

PRIVATE COLLECTION, LONDON (LOTS 134-138)

134 PAIR OF CLOISONNÉ ENAMEL WALL VASES QING DYNASTY, 18TH-19TH CENTURY 清 銅胎掐絲琺瑯花卉紋壁瓶（一對）

each bulbous body decorated with leafy branches of blossoming flowers against continuous key-fret pattern on turquoise ground, below ruyi-head clouds to the neck, the waisted neck with flower head against a light purple ground, the flat back has apertures for hanging (2) 15cm high each; 274g and 277g Provenance: Private collection, London

£400-600

135 CANTON ENAMEL HORS D’OEUVRES SET, CUAN PAN QING DYNASTY, 19TH CENTURY

清 廣東畫琺瑯詩文人物攢盤一套十二件 帶隨形木 托盤 comprising twelve dishes, all in painted enamel with figures in garden settings and inscriptions, contained in a foliated wooden tray (12) each dish about 15-18cm wide, overall 42cm wide Provenance: Private collection, London

£600-800

136 CLOISONNÉ ENAMEL JAR LAO TIANLI ZHI MARK, REPUBLIC PERIOD 民國 老天利製款 銅胎掐絲琺瑯墨地花卉紋罐

the squatted globular body supported on a short foot and terminating to a straight neck, decorated overall with floral pattern against a black ground, the side of the foot ring carved with a four-character ‘Lao Tian Li Zhi’ mark (1) 14.5cm wide; 461g Provenance: Private collection, London

£400-600

75

137 PAINTED ENAMEL ‘FLOWER AND DRAGON’ QUATREFOIL DISH QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆款及年代 銅胎畫琺瑯纏枝西番夔龍紋海棠式盤

of four-lobed foliated form, the interior painted with stylised kui-dragons surrounding a flower head in tendrils against a blue ground, the sides similarly decorated, the base inscribed with a four-character Qianlong mark in double square in red on white ground (1) 18.4cm wide Provenance: Private collection, London

£400-600

138 PAIR OF CANTON ENAMEL BLUE-GROUND WINE EWERS QING DYNASTY, 18TH-19TH CENTURY

清 廣東藍地銅胎畫琺瑯五蝠捧壽及梅竹雙清紋執壺（共兩件）

each painted with five bats encircling a shou-longevity character in a raised peach-form cartouche on either side of the pear-form body, all against a pattern with flowering prunus and bamboo reserved on gilt ‘cracked-ice’ and cobalt blue ground, surmounted with slender neck and thin, curving handle and spout (2) 32cm high each; 385g and 387g Provenance: Private collection, London Note: A pair of cloisonné enamel ewers of this elegant form and dated to the Qianlong period were offered at Christie’s New York, 25 Jan 2011, lot 167. Another pair of closely comparable blue-ground Canton enamel ewers was exhibited at Shenzhen Museum in May 2023.

£1,000-1,500

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

76

PAINTINGS & WORKS ON PAPER 139 HE CHONG (1807-1883) TWO INK AND COLOUR ON PAPER SCROLL PAINTINGS 清 何翀（1807-1883）紙本設色 立軸（共兩幅） 含：

荔枝與鳥圖

款識: 煙橋老人丹山何翀寫意 鈐印: 丹山、何翀之印 花鳥圖

款識: 七十二峰道人丹山作 鈐印: 丹山、何翀之印

comprising: one depicting a larger bird perching on a gnarling branch, two smaller birds in flight, all amongst lychee fruits, signed lower right, with two artist’s seals; the other depicting three birds perching on a flowering tree, inscribed and signed upper left with two artist’s seals (2) 145.5cm x 38.3cm; 146cm x 38.5cm Provenance: Private Scottish collection, Glasgow; From the collection of Norman Lockhart Smith (1887-1968), thence by family descent.

Norman Lockhart Smith was in the Hong Kong Civil Service from 1910 to 1941 and became Colonial Secretary in 1936. He served as Acting Governor at various times, the longest being between April and November 1937. On his retirement in November 1941, Norman Lockhart Smith left Hong Kong with his family on 7th December 1941.

Norman Lockhart Smith continued to be the patron of Chinese culture and arts. He published a compilation of Chinese poetry, The Penguin Book of Chinese Verse, in 1962 in collaboration with a colleague, Sir Robert Kotewall, from their time in Hong Kong.

The current owner fondly remembers these pictures hanging in their house in Glasgow in the 1950s and subsequently inherited in the 1980s.

Note: He Chong from Nanhai, Guangdong was a Chinese painter of the late Qing Dynasty, was known for his landscape figure paintings and paintings of birds and flowers.

£400-600

140 INK SCROLL ‘HERMIT AND LANDSCAPE’ PAINTING SIGNED SHEN ZHENSAN

沈振三 高士山水圖 紙本設色 立軸

款識: 東常書畫十年成，百煉千錘作見▢，宋畫備書三數月，何能脫俗稱明傳。 (?) 戊寅 冬月寫於濠江，以爲滿櫻仁兄先生雅正，沈振三作 鈐印: 沈振三印、自然山人

ink and colour on paper, inscribed with a poem upper right, dated to the cyclical Wu Yin year, signed and two seals of the artist (1) 91cm x 47cm Provenance: Private Scottish collection, Glasgow; From the collection of Norman Lockhart Smith (1887-1968), thence by family descent.

Norman Lockhart Smith was in the Hong Kong Civil Service from 1910 to 1941 and became Colonial Secretary in 1936. He served as Acting Governor at various times, the longest being between April and November 1937. On his retirement in November 1941, Norman Lockhart Smith left Hong Kong with his family on 7th December 1941.

Norman Lockhart Smith continued to be the patron of Chinese culture and arts. He published a compilation of Chinese poetry, The Penguin Book of Chinese Verse, in 1962 in collaboration with a colleague, Sir Robert Kotewall, from their time in Hong Kong.

The current owner fondly remembers these pictures hanging in their house in Glasgow in the 1950s and subsequently inherited in the 1980s.

£300-500

77

141 INK SCROLL ‘GREAT WALL OF CHINA’ PAINTING LI WEISEN (ACTIVE 1940S-1960S), DATED TO 1939AD

1939年 李蔚森（活躍於1940-1960）長城圖 紙本設色 立軸

款識: 萬里長城萬里長，寫未終時心已傷，大好河山遭寇踐，早回失地逐殘陽。 民國廿八年抗 戰二周年紀念日，李蔚森於▢江 鈐印: 蔚森之印、▢

ink and colour on paper, inscribed with a poem upper left, dated to the 28th year of the Republic Period, corresponding to 1939AD, on the memorial day of the second year of the Second Sino-Japanese War, signed and two seals of the artist (1) 132.5cm x 41cm Provenance: Private Scottish collection, Glasgow; From the collection of Norman Lockhart Smith (1887-1968), thence by family descent.

Norman Lockhart Smith was in the Hong Kong Civil Service from 1910 to 1941 and became Colonial Secretary in 1936. He served as Acting Governor at various times, the longest being between April and November 1937. On his retirement in November 1941, Norman Lockhart Smith left Hong Kong with his family on 7th December 1941.

Norman Lockhart Smith continued to be the patron of Chinese culture and arts. He published a compilation of Chinese poetry, The Penguin Book of Chinese Verse, in 1962 in collaboration with a colleague, Sir Robert Kotewall, from their time in Hong Kong.

The current owner fondly remembers these pictures hanging in their house in Glasgow in the 1950s and subsequently inherited in the 1980s.

Note: According to limited records, Li Weisen, style name Qing Lin, was active from the 1940s to 1960s. The Sing Tao Daily reported his Solo Exhibition on 21 March 1941, listed in the Hong Kong Art Archive. And his works were exhibited in the Hong Kong Chinese Art Club on 3-6 January 1963 at the Hong Kong City Hall.

£300-500

142 REN YI (REN BONIAN, 1840-1895) BIRD ON RICE PLANT

任伯年（1840-1895）雀立稻穗圖 絹本淡設色 圓 光 鏡心 款識: 梅宜仁兄大人正之、伯年任頤寫於春申 浦上 鈐印: 任伯年

ink and slight colour on silk, circular fan leaf, signed, one seal of the artist (1) 26cm wide Provenance: Private collection, London; has been in the family collection for over 60 years Note: Ren Yi, a leader of the late Qing Shanghai school of painting, was a disciple of the painter Ren Xiong (1820-1857). A prolific artist, Ren Yi commanded a wide range of techniques. In this depiction of Zhong Kui, the legendary Demon Queller, for example, he adopted the figural style of Chen Hongshou (1598-1652).

£3,000-5,000

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

78

143 ALBUM OF FOURTY-FOUR PITH AND BODHI LEAF PAINTINGS QING DYNASTY, 19TH CENTURY

清 廣東外銷通草紙及菩提葉畫 各式人物、花鳥圖 畫冊（共44幅）

comprising various subject matters, including flowers, noble figures, junks, exotic birds, and figures painted on Bodhi leaves, all in a leather-bound album (1) album: 28.7cm x 37.8cm

£300-500

144 ALBUM OF ELEVEN PITH PAINTINGS QING DYNASTY, 19TH CENTURY

清 廣東外銷通草紙畫各式人物圖 畫冊（共十一幅）

comprising: nine paintings depicting dignitaries and their wives, two loose, one painted with a dinner scene and the other with idyllic figures in a lake scene, except three, all in a red silk-bound album (11) album: 36cm x 25.5cm; paintings: 28cm x 18.7cm each Provenance: Private French collection; Gifted to the current owner’s aunt by Mrs Gibbs in Normandy during the 1930s-1940s, when working for her first as a cook, and later as her housekeeper. Mrs Gibbs belonged to the renowned D&W Gibbs family, manufacturers of soap and toothpaste, famously used by British troops in France during the First World War.

£400-600

79

145 ZHU RUINING (ACTIVE CA. QING DYNASTY, 18TH-19TH CENTURY) INK PAINTING OF TWO LADIES WRITING CALLIGRAPHY

清 朱瑞凝 仕女練字圖 紙本設淡色 木框 款識: 朱瑞凝 鈐印: 瑞、凝

ink and colour on paper, depicting two ladies writing calligraphy at a rock-form table within a garden setting with dense plantains, the table with various calligraphy materials atop, including an ink stone, brush washer and a brush pot filled with paper scrolls and brushes, signed and sealed (1) 85cm x 30.7cm Provenance: Private English collection, London; acquired from Galeri Gerard Levy, 17 Rue de Beaune, 75007 Paris, about 30 years ago, with a certificat d’authenticite issued and signed by Gerard Levy.

Note: Zhu Ruining, style name Ji Tang, was from Shanyin, Zhejiang, known for depicting figures, especially ladies.

£1,000-1,500

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

80

146 SET OF EIGHT INK RUBBINGS OF ‘GUANZHONG EIGHT SIGHTS’ 西安博古堂《關中八景》拓片 紙本水墨（一組八幅）

ink on eight leaves of paper, by ‘Xi An Bogu Tang’ (8) 125cm x 33cm each Provenance: Private Scottish collection, Melrose; acquired in China in the 1940’s when working for Shell, thence by descent.

Note: The stele, depicting the eight famous scenes of Guanzhong, was carved and erected during the nineteenth year or Kangxi period, corresponding to 1680AD. The original stele is kept in the Xian Beiling museum but not open to public.

£400-600

147 INK RUBBING DEPICTING SURRENDER OF FOREIGN POWER

《黑番投誠圖》拓片 紙本水墨

ink on paper, depicting a walled court scene with officers, a group of defeaters kowtowing to a seated main officer (1) 85.7cm x 237cm Provenance: Private Scottish collection, Melrose; acquired in China in the 1940’s when working for Shell, thence by descent.

Note: The original stone carving is at the east wall of the north entrance in the Mahavira Hall of the Da Ci En Temple at Xi An, China. A copy of this rubbing is in the Academia Sinica Library, Taipei, call no. T688.1 6025.

£400-600

81

148 INK RUBBING OF “THE PREFACE OF XUANZANG’S HOLY TEACHINGS” SONG TO MING DYNASTY

宋至明《宋拓懷仁集王書〈大唐三藏聖教序 〉》水墨紙本 活頁 夾板

鈐印: 張景桂印、字番銓號丹厓、休陽芳溪程氏▢木居士珍藏、▢甫審▢ 原搨、溉梅書屋珍藏 ink on paper, 54 leaves mounted in a pair on 27 loose-folded silk boards, collectors’ seals, wooden covers (1) each rubbing approximately 24.4cm x 13.5cm Provenance: Private collection, London; has been through three collectors, before being acquired by the current owner’s father.

Note: This is a preface composed by Emperor Taizong of Tang (598AD649AD) for Xuanzang’s (602AD-664AD) publication in the calligraphic style of Wang Xizhi (303AD-361AD) collected by Huai Ren the monk. The summary of the composition of this work is explained on the first leaf of this ink rubbing.

Xuanzang was a 7th-century Chinese Buddhist monk, scholar, traveller, and translator. He famously travelled to India bringing Buddhist texts to China. On his return in 645AD, Xuanzang was greeted with much honour by Emperor Taizong of Tang. He retired to the Hongfu Monastery in the then Chang’an City (now Xi’an) and devoted his energy to translating Buddhist texts until his death in 664AD. In celebration of Xuanzang’s extraordinary achievement in translating the Buddhist texts, Emperor Taizong of Tang composed the content of the ink rubbing in this lot, entitled ‘Da Tang San Zang Sheng Jiao Xu’- The Preface of Xuanzang’s Holy Teaching.

There was a monk, Huai Ren, of the Tang dynasty who also lived in the Hongfu Monastery. He spent about twenty years collecting the famous Chinese calligrapher and writer during the Jin dynasty, Wang Xizhi’s calligraphy by each word of Emperor Taizong’s ‘Preface of Xuanzang’s Holy Teaching’, coming out with this collection of ink rubbings.

Together with this lot is a written note dated 9 Sep 1972 attributed to Ge Jieping (1912-1999), a contemporary calligrapher, painter, epigrapher, poet, and connoisseur of cultural relics, calligraphy and painting. Ge transcribed the collectors’ seals and attributed the first collector of this ink rubbing is Zhang Jinggui of the Ming dynasty.

A comparable example with extensive collectors’ annotations is in the National Palace Museum, Taipei, object no. Zeng Ta 贈拓367N.

£6,000-8,000

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

82

149 PAINTING OF GUANYIN WITH ACOLYTES ATTRIBUTED TO ZHAO JUNSHENG (1944-2013) 趙俊生款 淨水瓶觀音與童子圖 水墨水粉紙本 款識: 俊生

鈐印: 俊生、▢

ink and gouache on paper, painted in Dunhuang mural style, signed ‘Junsheng’ left central margin, two seals of the artist (１) 68.4cm x 68.3cm Note: Zhao Junsheng (1944-2013) was born in Tianjin. He was a disciple of the famous landscape painter Zhao Songtao (1916-1993) and was admitted to the Central Academy of Fine Arts, where he underwent strict professional training. He started his career by painting comic strips and illustrations but his works were not limited to any single theme or painting skill. He was revered as a master in depicting old Beijing life and revealing the folklife in an artistic manner.

He was good at painting literati in picturesque scenery that echoed poems written by poets like Su Shi. In contrast, his Buddhist paintings are in a flamboyant style full of bright colours, bringing a sense of Japanese style and a little fauvism. He held solo exhibitions in the US, Germany, Japan, South Korea, Portugal, Austria and Hong Kong. His works have gone into the collection of many art museums and related institutions worldwide. The National Museum of China​​​​​​​held a solo retrospective exhibition of his paintings from 7-29 September 2017, including two Buddhist paintings of similar size and vibrant colour.

£600-800

150 CHEN BANDING (1876-1970) INK SCROLL PAINTING OF YELLOW PEONIES 陳半丁（1876-1970）姚黃圖 紙本設色 立軸 款識: 也學姚黃國色畫、乙丑仲秋半丁老人 钤印: 半丁老人、陳年印信、▢

ink and colour on paper, inscribed lower right, signed and sealed, dated to the Yi Chou year, corresponded to 1925AD (1) 100cm x 50cm Note: Chen Banding, also named Nian, style names ‘Banding’ and ‘Jingshen’, born in Shaoxing, Zhejiang. When he was 20 years old, he went to Shanghai to study and met the famous painters Ren Bonian (1840–1896) and Wu Changshuo (18441927). He later became a disciple of Wu Changshuo., learning various aspects of poetry, calligraphy, painting and seal making. He went to Beijing after he was 40 years old and worked in the Peking University Library. In 1931, he was appointed as a professor at Beijing Art College. While living in Beijing, he developed friendships with artists such as Chen Shizeng (1876-1923) and Qi Baishi (1864-1957). In the 1940s, he held personal exhibitions. He once served as vice president of the Beijing Chinese Painting Academy (now Beijing Painting Academy), director of the Chinese Artists Association, and president of the Chinese Painting Research Association.

He held another solo exhibition in 1956 and published “Chen Banding’s Painting Collection” in 1959. In 1986, Rong Baozhai edited and published “Chen Banding’s Flower Painting Book”.

Chen paints landscapes, figures, flowers, animals and other subjects, among which flower painting is the most distinctive. He widely draws on the methods of Ming and Qing dynasty, and blends them into his unique personal artistic style.

£1,000-1,500

83

151 HAN MEILIN (B. 1936- ) INK PAINTING OF A HORSE

韓美林（1936- ）駿馬圖 絹本設色

ink and colour on paper, dated to the cyclical Wu Yin year, signed and three seals of the artist, unframed (1) 71cm x 138cm Provenance: Private collection, Bath; Acquired directly from the artist (by repute) Note: Han Meilin (b. 1936) is a celebrated Chinese painter, known for his ink paintings of charming and loveable animals, and most recognised today for his creation of the Fuwa dolls for the 2008 Summer Olympics in Beijing. The horse has been an independent genre of Chinese painting since the Tang dynasty (608917). Han Meilin’s bold and playful interpretation of the genre is imbued with the vigorous spirit of the ancient rock painting found in Helan Mountain, Yinchuan, Ningxia. This artistic repertoire has inspired the artist since his first visit in the 1980s. The contour of the horse’s robust torso is accentuated by thick ink lines, while the flying-white brushstrokes capture its galloping speed. Like his other animal paintings, the horse painting seeks to visualize the essence of its subject using simple forms and a minimal colour palette.

£10,000-15,000

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

84

152 MAO YIGANG (CHINESE, 1958-) PORTRAIT OF A YOUNG LADY, DATED 1995 1995年 毛以崗（1958-）人物圖 油畫 木框 款識: 以崗、95.

oil on canvas, signed lower right, dated 1995, framed (1) 87cm x 88cm Provenance: Private English collection, England; Galerie du Monde, Hong Kong (label verso)

£4,000-6,000

153 HU YONGKAI (BORN 1945) NUDE

胡永凱（1945年生）裸女圖 紙本設色 鏡框 款識: 永凱漫筆 鈐印: 胡

ink and colour on paper, signed ‘Yong Kai Man Bi’ upper right, seal of the artist ‘Hu’ framed (1) 35cm x 46cm Provenance: Private English collection, England; Galerie du Monde, Hong Kong (label verso)

£700-900

PRIVATE COLLECTION, CAMBRIDGE (LOTS 154-177)

A Collector’s View | Discovering China’s Hidden Century “Nineteenth century Chinese art has long been characterised as stagnant and lack of collectable value. However recent research, exemplified by the 2023 British Museum exhibition titled “China’s Hidden Century 1796-1912”, has unveiled the extraordinary quality and creativity that permeated artworks produced during this period. These artworks not only thrived within a vibrant customer economy of the society, but were also influenced by the exchange of commodities and ideas with the broader global context, marking a resurgence from the pinnacle of the ‘High Qing’ era.

I am fortunate to possess a decent collection of vernacular artworks from nineteenth century China, a testament of my enduring passion for Chinese art and culture cultivated during my academic days at Cambridge. There, I was exposed to a plethora of exhibitions, lectures and cultural events dedicated to Chinese art.

Since then, my leisure time has been dedicated to exploring various local auctions, antique centres, and art fairs in search of Chinese treasures. Beyond the allure of the objects themselves, I derive immense satisfaction from the process of acquisition. Now, it seems the time has come to release some of these treasures into the collection world and embark on a new treasure-hunting journey.

Among the artworks I am presenting in this auction, many echo the themes explored in the recent British Museum exhibition ‘China’s Hidden Century 1796-1912’. Notable among them is a complete set of hair ornaments (lot 157) adorned with kingfisher feathers, coral, jade, and other precious stones. The scale and quality of these ornaments suggest they were once cherished by a lady of esteemed status.

Various porcelain, silver, glass, bamboo, and cloisonné objects also offer glimpses into the material and visual culture of nineteenth century society. One standout item is a set of three snuff bottles (lot 164) featuring monochrome iron-red depictions of the legendary demon-driving figure Zhong Kui. The figural images bear a striking resemblance to a painting by Ren Bonian, showcased in plate 3.47 of the 2023 British Museum exhibition catalogue.1 Additionally, attentions should be drawn to two exceptionally crafted lacquer objects. One is a black and gold lacquer gaming casket (lot 155), while the other is a folding fan adorned with Manchurian figures and scenes (lot 158). Both were crafted in the southern port city of Guangzhou for overseas markets and remain remarkably well-preserved in their original conditions.

It is my sincere hope that these objects will continue to kindle interest in the material and visual culture of nineteenth century China, shedding new light on this rich, and often underestimated, period in Chinese art history.”

Harrison-Hall, Jessica and Lovell, Julia. China's Hidden Century: 1796-1912. London: British Museum Press, 2023.

1

86

154 TWO BAMBOO CARVINGS QING DYNASTY, 19TH CENTURY

清 竹雕歲寒三友筆筒 及 文人書卷像（共兩件）

one brush pot carved in high relief with the Three Friends motif, including pine tree, bamboo grove and plum tree; and one in the form of a seated literati holding a scroll (2) heights: 13cm and 16cm Provenance: Private collection, Cambridge

£400-600

155 GILT-DECORATED LACQUER OCTAGONAL GAME BOX QING DYNASTY, 19TH CENTURY

清 外銷描金閣樓人物及撲克牌圖八角遊戲漆盒

of octagonal form raised on four cabriole feet, the cover painted with figures in landscape setting within cartouches encircled by dragon and densely painted floral and diaper ground, the sides similarly adorned with floral and diaper ground, inside the removable lid contains seven lidded boxes and twelve counter trays, nine trays painted with poker card theme including king, queen and diamonds (1) 37cm wide x 14cm high x 29cm deep Provenance: Private collection, Cambridge

£800-1,200

156 FAN-SHAPED PAINTING ATTRIBUTED TO HUANG SHANSHOU (1855-1919)

黃山壽款《夾谷會齊》紙本設色 扇葉 鏡框

款識: 丙午之夏，荷月上浣，旭遲老人黃山壽繪 於嘉樹堂 鈐印: 山壽

ink and colour on paper, fan leaf, titled on the upper margin, dated to the year of Bing Wu corresponding to 1946AD, signed and one seal of the artist, framed (1) 55cm wide Provenance: Private collection, Cambridge

£300-500

87

157 COLLECTION OF KINGFISHER HAIR ORNAMENTS QING DYNASTY, 19TH CENTURY 清 點翠髮飾一套 帶木盒（共三十 一件）

comprising thirty-one hair ornaments, each ornately decorated with jade, kingfisher feather, coral and glass to depict butterfly, flowers, bats, phoenix or fruits (1) hair ornaments: 2.5cm to 22cm high; the box 49.2cm x 41cm x 7.5cm Provenance: Private collection, Cambridge

£1,500-2,000

158 CANTON LACQUERED AND PAPER ‘THOUSAND FACES’ FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金人物紋摺扇 帶漆盒

the fan leaves brightly painted on both sides with small figures amongst pavilions or landscapes, 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 (1) the fan: 28.3cm high; the box: 34.2cm wide

£400-600

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

88

159 PAIR OF PAINTED ENAMEL JARDINERE QING DYNASTY, 19TH CENTURY

清 廣東畫琺瑯開光山水人物文長方盆（共兩件）

each of rectangular form, the body supported on four corner-feet with gradual tapering sides, each side painted with mountainous landscape scene in foliate cartouche against floral ground, the interior and the base covered in apple-green enamel (2) 19.2cm wide Provenance: Private collection, Cambridge

£400-600

160 CANTON ENAMEL HORS D’OEVRES SET, CUAN PAN QING DYNASTY, 19TH CENTURY

清 廣東畫琺瑯人物攢盤（一套九件）

comprising nine dishes, all in painted enamel with figures in landscape setting (9) each dish about 16-20.5cm wide, overall 43.5cm wide Provenance: Private collection, Cambridge

£400-600

89

161 TWO PURPLE AND BLACK-OVERLAY GLASS SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清 涅白地套紫料仙人騎鹿 及 涅白地套黑料蝙蝠三多圖鼻煙壺（共兩件）

one purple-overlay white glass ‘immortal riding deer’ snuff bottle, and one black-overlay white glass ‘bat and sanduo’ snuff bottle, both with stoppers (2) heights: 6.5cm and 7cm

£250-350

162 GROUP OF THREE YELLOW GLASS SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清 黃料象形及藤編花籃紋鼻煙壺（共三件）

comprising: two snuff bottles in the form of an ornate elephant, and one snuff bottle carved in low relief of a weaving basket with lotus and leaves, all with red stoppers (3) heights: 6.5cm to 6.7cm

£250-350

163 GROUP OF FOUR GLASS SNUFF BOTTLES QING DYNASTY, 19TH CENTURY 清 白地套綠料及橘料鼻煙壺（共 四件）

comprising: three green-overlay white glass snuff bottles, respectively carved with crickets, crab and carp, and carps and duck design; and one orange-overlay white snuff bottle carved with carps in lotus pond (4) heights: 6.5cm to 7.6cm

£300-500

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

90

164 GROUP OF THREE IRON-RED ‘ZHONG KUI’ SNUFF BOTTLES QING DYNASTY, 19TH CENTURY 清 礬紅彩鍾馗圖鼻煙壺（共三件）

each of cylindrical form, painted with Zhong Kui with bats, with stopper, one snuff bottle inscribed with a four-character Qianlong mark in iron-red (3) heights: 8.5cm to 8.8cm Provenance: Private collection, Cambridge

£400-600

165 TWO BLUE AND WHITE ‘DRAGON’ SNUFF BOTTLES QING DYNASTY, 19TH CENTURY 清 青花龍紋獸耳鼻煙壺（共兩件）

each painted with a dragon amongst clouds on either side, flanked by animal-face handles, with stopper, the base inscribed with a four-character Qianlong mark in underglaze blue (2) 8.2cm high each Provenance: Private collection, Cambridge

£250-350

91

166 PAIR OF OCTAGONAL RUBY-RED GLASS VASES QING DYNASTY, 19TH CENTURY 清 紅料八稜瓶（一對）

each of octagonal form, supported on a tall foot, the sides rounding to a bulbous pear-shaped body and rising to a slender neck, the central bulb cut with gently curving facets, the glass of an even rich red colour of crushedraspberry tone (2) 19cm high each Provenance: Private collection, Cambridge; acquired from Confucius Fine Art, no.

HY3002 (label on the base)

£600-800

167 PAIR OF RED-OVERLAY WHITE GLASS VASES QING DYNASTY, 19TH CENTURY

清 涅白地套紅料喜上梅梢對瓶（共兩件）

each high-shouldered, tapering body carved through the soft red overlay to the semi-opaque white ground with a continuous scene of magpies perching on or flying between plum blossom trees (2) heights: 24.3cm and 24.5cm Provenance: Private collection, Cambridge

£400-600

168 FAMILLE ROSE ‘BATS’ BOTTLE VASE GUANGXU MARK AND POSSIBLY OF THE PERIOD 光緒款或到代 粉彩百蝠賞瓶

sturdily potted with a bulbous body raised to a waisted long neck, finely painted overall with ‘hundred bats’ motif in iron-red amidst multi-coloured lingzhi-headed clouds, the base inscribed with a six-character Guangxu mark in iron-red (1) 38cm high Provenance: Private collection, Cambridge

£1,200-1,800

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

92

169 BLUE AND WHITE ‘PHOENIX’ JAR QING DYNASTY, 19TH CENTURY 清 青花夔鳳穿花紋罐 帶木蓋

the bulbous body painted with two kui-phoenixes spreading their wings between large lotus flowers amongst tendrils, the base inscribed with a four-character Kangxi mark in underglaze blue, with a wooden cover (1) 18cm high Provenance: Private collection, Cambridge

£300-500

170 PAIR OF BLUE-GLAZED BOWLS QING DYNASTY, JIAQING MARK, 19TH CENTURY 清 嘉慶款 藍釉福祿慶壽碗（共兩件）

each painted on the interior with four bats encircling a shou-longevity symbol in the centre, and cavetto adorned with qin musical instruments with tassels, whilst the exterior covered in a dark blue glaze, the base inscribed with a six-character Jiaqing mark in underglaze blue (2) 12.9cm diameter each Provenance: Private collection, Cambridge

£300-500

171 PAIR OF BLUE AND WHITE ‘DRAGON’ SQUARE POTS QING DYNASTY, DAOGUANG MARK, 19TH CENTURY 清 道光款 青花龍捧珠紋委角方盆 帶木 座（一對）

each of near square form with canted corners, the body painted with two dragons chasing flaming pearls, flanked with two pairs of animal heads on either side as handles, the base inscribed with a six-character Daoguang mark in underglaze blue, with converted wooden stands (2) 18.5cm wide across handles Provenance: Private collection, Cambridge

£600-800

93

172 BLUE AND WHITE CUP AND SAUCER QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代 青花花卉紋杯盤（共兩件）

both delicately potted and similarly painted with large peony and chrysanthemum flowers, both bases inscribed with a six-character Guangxu mark in underglaze blue (2) diameters: 11.5cm and 14.4cm Provenance: Private collection, Cambridge

£500-700

173 PAIR OF POWDER-BLUE-GLAZED PLATES QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 藍釉盤（共兩件）

each supported on a short foot and terminating into everted rim, covered overall with a power-blue glaze, the base inscribed with a sixcharacter Guangxu mark in underglaze blue (2) diameters: 20.7cm and 21cm Provenance: Private collection, Cambridge

£1,000-1,500

174 TWO FAMILLE ROSE STEM PLATES QING DYNASTY, TONGZHI MARK AND OF THE PERIOD

清同治款及年代 粉彩鳳鳥花卉紋菱口高足盤

each supported on tall splayed foot, respectively painted with a pair of phoenixes and a magpie amongst flowers on rocks, the base inscribed with a six-character Tongzhi mark within double squares in iron-red (2) 19m wide each Provenance: Private collection, Cambridge

£400-600

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

94

175 YELLOW-GROUND IRON-RED-DECORATED ‘HUNDRED BAT’ BOWL QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 黃地礬紅彩百蝠紋碗

the exterior painted with gilt-decorated bats in iron red against yellow-ground, the base inscribed with a sixcharacter Guangxu mark in underglaze blue (1) 13.7cm diameter Provenance: Private collection, Cambridge

£500-700

176 FAMILLE ROSE ‘PARTRIDGE’ SAUCER QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 粉彩鵪鶉圖小碟

the interior finely painted with a partridge in the reeds, the base inscribed with a six-character Guangxu mark in underglaze blue (1) 9.8cm diameter Provenance: Private collection, Cambridge

£300-500

177 PAIR OF GRISAILLE-DECORATED YELLOW-GROUND ‘DRAGON’ LIDDED GINGER JARS QING DYNASTY, KANGXI MARK BUT 19TH CENTURY

清 康熙款 黃地墨彩穿花龍紋蓋罐（共兩件）

each bulbous body rising to a wide shoulder and terminating to a straight neck, the exterior decorated with two four-clawed dragons in red and brown colour amongst flowers and leaves, the scales of their sinuous form highlighted with gilding, all between a band of flowers in foliate cartouches against a turquoise ground, the cover similarly decorated, the base inscribed with a fourcharacter Kangxi mark in underglaze blue (2) 30cm high each Provenance: Private collection, Cambridge

£600-800

96

SNUFF BOTTLES, GLASS & JADE 178 FAMILLE ROSE SNUFF BOTTLE DAUGUANG MARK, 19TH-20TH CENTURY

十九至二十世紀 道光款 松石綠地粉彩開光人物紋鼻烟壺

of flattened form, both sides each painted with a figure within roundels reserved on a turquoise ground decorated with scrolling tendrils, the base inscribed with a fourcharacter Daoguang mark in iron red (1) 5.8cm high

£500-700

179 FALANGCAI GLASS SNUFF BOTTLE QIANLONG MARK, 19TH-20TH CENTURY

十九至二十世紀 乾隆款 琺瑯彩山水詩文料器鼻煙壺

finely painted in red enamel with a continuous scene of small houses in mountainous landscape, one side inscribed with small seals around, all below a band of ruyi-head clouds in blue, the base inscribed with a fourcharacter Qianlong mark in seal script (1) 6.3cm high

£300-500

180 GROUP OF THREE PORCELAIN SNUFF BOTTLES QING DYNASTY, 19TH CENTURY

清 粉彩堆塑九獅繡球鼻煙壺、瓷胎模製粉彩龍鳳呈祥 紋鼻煙壺 及 瓷胎模製金箔紅漆九獅繡球鼻煙壺（共 三件）

comprising: a gilt-ground famille rose porcelain ‘nine lions playing ball’ snuff bottle, inscribed with a red mark on the base, 7cm high; a cinnabar-ground famille rose porcelain ‘dragon and phoenix’ snuff bottle, 8.8cm high; and a gilt- and cinnabar lacquer-decorated porcelain ‘nine lions playing ball’ snuff bottle, 7.7cm high (3) highest: 8.8cm Note: A closely comparable famille rose ‘nine lions playing ball’ snuff bottle, dated to the Jiaqing period (1796-1820), is in the collection of the Victora & Albert Museum, accession number ‘C.1698-1910’. Some similar examples to the cinnabar-ground famille rose porcelain ‘dragon and phoenix’ snuff bottle, which appears to be from the same mould but with a different colour scheme, are all dated to the Jiaqing period, including one from the Mary and George Bloch Collection, sold at Bonham’s Hong Kong, 27 May 2012, lot 98.

£300-500

97

181 GROUP OF EIGHT GLASS AND GILT BRONZE “OFFICIAL’S HAT” FINIALS QING DYNASTY, 19TH CENTURY 清 各式料器及金屬冠頂（共八件）

comprising: one pink glass, two transparent blue glass, three clear glass and two metal hat finials with various decorative metal mounts, three metal mounts bearing inscriptions on the base (8) the largest: 6.2cm high Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Asia around 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

£500-700

182

183

OCTAGONAL TRANSPARENT SKY-BLUE GLASS BOTTLE VASE

OPAQUE RED-OVERLAY YELLOW GLASS ARCHAISTIC ‘DRAGON’ BOTTLE VASE

QING DYNASTY, QIANLONG MARK, 19TH CENTURY 清 乾隆款 天藍色透明玻璃八棱瓶

the sightly spreading body built in octagonal section of pear-shaped form, each facet elegantly fluted towards the tall, slender neck, the recessed foot encircled by a wide flat rim, the base wheel-cut with a four-character Qianlong mark within double square (1)

QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 黃地套紅料仿古螭龍紋直頸小瓶

14cm high

the opaque yellow glass body overlaid with bright translucent red glass, carved with chi-dragon on the elongated neck and archaic symbols on the bulbous body, the base incised with a four-character Qianlong seal mark, with a fitted wooden stand (1)

Provenance: Formerly in a private German collection

13.3cm high

£1,200-1,800

Provenance: Private French collection

£2,500-3,000

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

98

184 CARVED AGATE ‘PLAYFUL TIGERS’ PENDANT QING DYNASTY, 19TH CENTURY 清 冰糖瑪瑙巧雕雙虎戲球吊墜

reticulated pendant cleverly using the white and black tones of the agate to form two tigers playing with each other with a brocade ball by their foot (1) 6.7cm wide

£400-600

185 WHITE JADE WITH RUSSET INCLUSION ‘TIGER’ SEAL 白玉帶沁虎鈕長方章 印文：曲周侯印 景

carved with a crawling tiger on a rectangular podium as a knob, the seal carved with a five-character inscription, the stone of white colour in origin and with russet inclusion overall (1) 5cm wide Provenance: Formerly in an English collection

£300-500

186 JADE SCEPTRE SHANG TO WESTERN ZHOU DYNASTY 商至西周 碧玉斧

based upon the shape of a stone reaping knife, with four apertures (1) 25cm wide Provenance: Formerly in a private English collection

£400-600

99

187 JADE CARVING OF A BEAR 白玉雕熊 帶木座

the forward-facing recumbent beast bearing an alert expression, the stone of white hue with russet inclusions, with a fitted wooden stand (1) 6.2cm wide Provenance: Formerly in a private French diplomat’s family collection (by repute)

£1,000-1,500

188 SOAPSTONE SQUARE SEAL

壽山石雕梅樹紋方章 帶透雕竹林靈芝紋木蓋盒 印文：雪堂羅振玉印

each side finely carved in low relief with a continuous scene of a large prunus tree issuing from mountain rock, the seal front reading ‘Xuetang Luozhenyu Yin’, with a fitted hardwood box carved with bamboo groves and lingzhi fungus in openwork (1) the seal: 6.3cm high; the box with stand: 8.8cm high Note: Luo Zhenyu (1866 - 1940), was a Chinese classical scholar, philologist, epigrapher, antiquarian and Qing loyalist. He was one of the first scholars to decipher the oracle bone script, and produced many important scholarly works researching the bronzeware script. He helped publish Liu E’s Tieyun Canggui (鐵雲藏龜), the first collection of oracle bones, and Sun Yirang’s Qiwen Juli (契文舉例), the first work of decipherment of the oracle bone script.

£1,000-1,500

189 GROUP OF NINE JADE CARVINGS 各式玉雕（共九件）

comprising: one rectangular celadon jade bead, gangmao, with inscriptions on each side, 2.3cm high; one calcified celadon jade bead in the form of a seated bear, 2.6cm high; one flattened-square jade bead with waisted side, 2.3cm wide; one small circular celadon jade disc with one opening, jue, 3.5cm diameter; one celadon jade pendant in the form of a cicada, 3.5cm high; one celadon with russet inclusion jade tubular cong, 4.5cm wide; one calcified and darkened jade ring, 3.7cm diameter; and two celadon with darkened skin jade seals, 2.3cm and 3.3cm wide (9) the largest: 4.5cm wide

£1,000-1,500

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

100

190 GROUP OF FIVE JADE ORNAMENTS 各式玉雕（共五件）

comprising: two calcified jade tubular beads, 2.5cm high each; two celadon jade pendants of spindle form, 6.1cm and 6.5cm high; and one yellowish-celadon tubular jade, cong, with taotie mask, 4.9cm high (5) the largest: 6.5cm high

£400-600

191 GROUP OF FOUR JADE ORNAMENTS HAN TO MING DYNASTY

漢至明 各式玉飾（共四件）

comprising: one calcified celadon jade circular disc, huan, 4.4cm diameter; one similar colour jade of sectioned-spindle form incised with rope design on either end, 5.3cm high; one celadon jade with russet inclusion sword fitting, scabbard, carved in low relief with geometric patterns on either side, 4.6cm high; and one pale celadon with darkened skin jade amulet plaque, carved with a threecharacter charm reading ‘Om, chrum’ on either side in cartouche encircled by mythical animals, 6cm high (4) the largest: 6cm high

£800-1,200

192 WHITE JADE WITH RUSSET SKIN CARVING OF A CARP POSSIBLY YUAN DYNASTY

或為元代 白玉帶皮雕鯉魚蓮花吊墜

carved in openwork with a large carp jumping out from a lotus pond with a lotus above its body, the stone has an even white colour on one side, and with russet colour on the reverse (1) 9.2cm wide Provenance: formerly in a English collection

£400-600

101

193 TWO WHITE JADE CARVINGS OF PENDANTS QING DYNASTY, 19TH CENTURY 清 白玉雕螭龍吊墜（共兩件）

one carved in high relief with a chi-dragon holding a branch of lingzhi fungus in its mouth while crawling on a circular disc, the reverse engraved with four pairs of leiwen, the stone of even white colour; the other carved reticulated with a large sinuous chi-dragon holding its coiled tail with front paws, whilst a mouse clinching on its lower body, the stone of uneven white colour with yellowish tone and brown inclusions (2) heights: 5cm and 7cm

£800-1,200

194 TWO JADE ANIMAL CARVINGS MING DYNASTY, 17TH CENTURY

明 青玉提油雕麒麟及幼鹿（共兩件）

one carved in the form of a seated mythical animal qilin with two large horns, the other of a seated fawn with its head half raised, both celadon jade with darkened colour (2) widths: 6cm and 6.7cm

£500-700

195 PALE CELADON ‘DRAGON’ DISC, BI 青白玉雕雙龍玉璧 帶木座

one side of the circular disc carved in high relief with two three-clawed dragons chasing each other, the other side carved with raised dots, the stone of pale celadon hue with white marks (1) 8.2cm diameter Provenance: Formerly in a private English collection

£600-800

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

102

196 GROUP OF THREE JADE CARVINGS OF ANIMALS QING DYNASTY, 18TH-19TH CENTURY 清 各式玉雕動物擺件（共三件）

comprising: one carved with two frogs hiding underneath a large lotus leaf, 4.3cm wide; one carved with a mother tiger and her cub, 5.5cm wide; and one carved with a mother cat with her cub, 3.6cm wide; each stone of pale celadon colour with russet inclusions and patches (3) largest: 5.5cm wide

£800-1,200

197 GROUP OF THREE YELLOW JADE CARVINGS QING DYNASTY, 19TH CENTURY

清 黃玉雕臥犬、荷塘蟹趣及古琴型玉牌（共三件）

comprising: a reclining dog, 6.5cm wide; a pendant carved with a crab in lotus pond, 5.5cm wide; a qin-formed pendant carved with orchid and a literati reading by a shore on either side, 7.3cm high; all stone of yellowish-celadon colour with russet inclusions (3) largest: 7.3cm high

£600-800

198 CELADON JADE CARVING OF ‘CHI-DRAGON’ DOUBLE-DISC QING DYNASTY, 19TH CENTURY 清 青玉雕螭龍雙環型飾

carved in the form of two circular jade bi-discs with three chi-dragons crawling on one side, the other side incised with grain and sinuous dragon patterns, the stone of yellowish-celadon hue with brown patches (1) 17.3cm high Provenance: Formerly in a private English collection

£300-500

103

199 TWO WHITE JADE WITH RUSSET SKIN CARVINGS QING DYNASTY, 19TH CENTURY

清 白玉帶皮扳指 及 瑞鳥靈芝圖吊墜（共兩件）

one thumb ring cleverly features the variegated russet skin to the flattened side; and one pendant carved with a bird on one side, reverse with several lingzhi fungus similarly showcasing the variegated russet skin (2) widths: 3.1cm and 4.6cm Provenance: Private Scottish collection, Dunfermline

£600-800

200 CELADON JADE DRAGON-FINIAL SQUARE SEAL QING DYNASTY, 19TH CENTURY 清 青玉帶沁雕麒麟鈕方章

carved with a striding unicorn qilin on a square podium as a knob, the seal carved with a three-character inscription, the stone of dark celadon colour with russet inclusion overall (1) 6cm wide

£300-500

201 WHITE JADE WITH RUSSET SKIN CARVING OF A LION DOG 白玉帶皮雕佛獅擺件

carved in the round with a lion dog, its bulging eyes and bushy mane finely incised, the stone of white tone with russet skin and inclusions (1) 8.5cm wide

£3,000-5,000

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

104

202 PALE CELADON JADE CARVING OF A MAGPIE WITH POMEGRANATES QING DYNASTY, 18TH CENTURY 清 青白玉雕鵲鳥銜石榴擺件

the magpie carved grasping with its beak a branch of fruiting pomegranates with leaves resting on its back, its wings and long tail finely incised with details, the stone has an even pale celadon colour with a slightly yellowish tone on the bird’s head (1) 13cm wide Provenance: Private Scottish collection, Edinburgh; acquired from Spink & Son Ltd. on 23 Jan 1973 for £375, with an original receipt and valuation document issued by the gallery and signed by Roger Keverne; thence by descent.

£2,500-3,000

105

203 PALE CELADON JADE CARVING OF A CHIMAERA QING DYNASTY, 18TH CENTURY 清 青白玉雕瑞獸把件

finely carved in seated position with legs tucked beneath the body, head looking forward with back arched in alerted expression, body delicately incised with ruyi-cloud-formed wings and flame-like patterns near thighs, the bushy tail curling around the hind, the stone of creamy pale celadon colour with variegated white inclusions on the base (1) 6cm wide Provenance: Private Scottish collection, Edinburgh; acquired from Spink & Son Ltd. on 13 Dec 1973 for £465, with an original receipt and valuation document issued by the gallery and signed by Roger Keverne; thence by descent.

£3,000-5,000

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

106

204 TWO JADE CARVINGS OF BOYS AT PLAY QING DYNASTY, 18TH-19TH CENTURY

清 青白玉雕祥龍童子及和合二仙把件（共兩件）

one carved in the form of a standing boy embracing a chidragon emerging from ruyi-head clouds, the other carved with two boys wresting as ‘hehe erxian’, both stones of pale celadon colour with russet skin (2) heights: 3.2cm and 5.5cm

£700-900

205 YELLOW JADE CARVING OF A BOY QING DYNASTY, 19TH CENTURY 清 黃玉雕童子持蓮把件

carved in round with a seated boy carrying a large lotus and leaf on his shoulder, the stone of yellowish-celadon tone with brownish patches on the back (1) 4.2cm high

£400-600

206 GROUP OF THREE JADE FIGURES QING DYNASTY, 19TH CENTURY

清 各式玉雕人物把件（共三件）

comprising: one celadon jade foreign figure wearing a turban and large cap, the stone of yellowish tone, 8cm high; one pale celadon literati figure holding a ruyi-sceptre in his right hand, the stone with russet inclusion, 8cm high; and one boy deity with celestial ribbon around his body and his hands in meditation mudra, the stone with russet inclusion, 6.3cm high (3) the largest: 8cm high

£1,000-1,500

107

207 PALE CELADON JADE ‘DOUBLE-GOURD’ BRUSH WASHER QING DYNASTY, 19TH CENTURY 清 青白玉雕葫蘆型筆洗

naturalistically carved in the form of a large double-gourd entangled in gnarled branches, issuing large serrated leaves, entwining tendrils and further smaller gourds, the stone of pale celadon colour with white vein inclusions (1) 17cm wide Provenance: Formerly in a private French diplomat’s family collection (by repute)

£3,000-5,000

208 WHITE JADE CARVING OF A SAMPAN AND FISHERMAN QING DYNASTY, 18TH CENTURY 清 白玉雕漁人舟楫擺件

finely carved with a fisherman seated in a sampan holding a paddle in his hands, the stone of even creamy white tone (1) 16cm wide

£1,000-1,500

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

108

209 PALE CELADON JADE CARVING OF ‘HEHE ERXIAN TWINS’ FIGURAL GROUP MING DYNASTY, 17TH-18TH CENTURY 明 青白玉雕和合二仙把件

carved as the mythical immortal twins, the right one holding a round wicker box, the other holding a lotus spray in his right hand issuing a large leaf and blossom behind his shoulder, both figures depicted with playful faces, the stone of pale celadon hue with russet inclusions (1) 8cm high

£400-600

210 CELADON JADE CARVING OF A MOUNTAIN WITH IMMORTALS AND RABBITS MING DYNASTY, 17TH CENTURY 明 青玉雕仙人玉兔山子

carved reticulated on one side in high relief with an immortal, his attendant and a crouching deer beneath pine trees among mountains, the other side with two rabbits underneath ruyi-head clouds, the stone of celadon colour with greyish hue (1) 10.5cm high

£500-700

211 SPINACH-GREEN JADE ‘ARHAT ON DEER’ TABLE SCREEN 19TH-20TH CENTURY

十九至二十世紀 碧玉描金雕騎鹿羅漢詩文插屏

one side carved in relief with Arhat Pindola Bharadvaja riding on a deer crossing swirling waves, the reverse incised and gilded with an Imperial poem written by Qianlong Emperor entitled ‘Yu Zhi Luo Han Zan (Ode to the luohans)’ (1) 11cm wide x 15.3cm high x 1.3cm deep

£800-1,200

109

212 TWO JADE CARVINGS OF RELIGIOUS FIGURES MING TO QING DYNASTY

明至清 青白玉雕迦樓羅 及 青玉雕坐佛（共兩件）

one pale celadon carving of a squatted garuda in doubleabhaya mudra, wearing a five-pointed crown and with its large wings tucked behind, the stone of pale celadon colour with russet inclusions; one Buddha seated on a double-lotus throne with his right hand half-raised, the stone has a brownishceladon hue with white calcification (2) heights: 4.6cm and 5.6cm

£500-700

213 WHITE JADE CARVING OF A QILIN QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕麒麟把件

the mythical animal in seated position above ruyi-head clouds, with its horns and bushy manes well defined, the stone with creamy white colour with russet patches (1) 6.1cm high Provenance: Formerly in a private English collection

£1,500-2,000

214 WHITE JADE WITH RUSSET SKIN CARVING OF FINGER CITRUS AND BUTTERFLY QING DYNASTY, 18TH-19TH CENTURY 清 白玉帶皮巧雕佛手蝴蝶擺件

realistically carved with one large and one small finger citrus emanating from a leafy gnarled branch, the stone of translucent white colour with a dark brown russet skin patch, which is cleverly carved as a butterfly (1) 10.6cm wide

£600-800

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

110

215 TWO JADE WATER DROPPERS 19TH-20TH CENTURY

十九至二十世紀 碧玉雕包袱式水滴 及 翡翠雕靈芝長方形水滴

one of spinach jade, carved in the form of a squatted circular vase with coins and cloth wrapped on either side, flanked by two tubular handles on the shoulder, the stone of dark green colour with black dot inclusions; the other jadeite water dropper carved in the form of a tapering rectangular vessel supported on short foot, one side carved in relief with a branch of lingzhi fungus, the stone of translucent white colour with bright green highlight (2) width: 5.5cm each

£400-600

216 GROUP OF SIX JADE ORNAMENTS 各式玉雕（共六件）

comprising: three reticulatedly carved jade ornaments, respectively in sanduo (finger citrus, peach and pomegranate), peony and lotus design, 4.3cm, 5.6cm and 5.8cm wide; one pale celadon jade pendant in ruyi-head form, carved on either side with a large peony and a four-character mark reading ‘chang ming fu gui (long life with wealth)’, 6cm wide; one white jade plaque in the form of a phoenix, 7.5cm wide; and one jadeite ring with reticulated cast metal mount with butterflies and dragon design, 5.5cm diameter (6) the largest: 7.5cm wide Provenance: Private Scottish collection, Edinburgh

£300-500

111

217 JADEITE CARVING OF A MONKEY 19TH-20TH CENTURY

十九至二十世紀 翡翠雕靈猴擺件

realistically carved as a crouching monkey, left hand placed behind its head, right palm rested on right knee, on a fitted wooden stand (1) 4cm high Provenance: Private Scottish collection, Harrietfield, Kelso; previously from the family estate bought in 1847, Newton Don, Kelso, thence by descent.

Newton Don lies in the lowland hills near Kelso, overlooking the Eden Water, a tributary of the Tweed. It owes its name to the Don family who first acquired the former manorial lands of Newton around 1648. Sir Alexander Don inherited the estate and baronetcy in 1776 and over the next forty years the family brought about significant change. The Dons sought to expand the pleasure grounds and to create a secluded, fashionable, country seat and by 1800, a visitor described the estate as a ‘remarkably pretty, cheerful place’. Between 1817 and 1820 renowned English architect Sir Robert Smirke (1781-1867) made considerable alterations to the eighteenth-century house, for which Robert Adam had prepared the original plans.

Unfortunately, the transformation had strained the family coffers to such an extent that the estate was sold in 1847. Harrietfield was the farmhouse of the Newton Don estate home farm. It may have been built after the marriage of Lady Harriet Cunningham to Alexander Don in 1778, hence the name.

£800-1,200

218 TWO ‘LION-FINIAL’ SEALS 19TH-20TH CENTURY

十九至二十世紀 嘯民款 壽山石雕獅鈕長方章 及 翡翠雕獅鈕長 方章（共兩件）

one soapstone carving of a rectangular seal with a lion finial, one side of the seal carved with ‘Ren Wu’ year and the name of the carver ‘Xiao Ming’, further with a two-character seal front; and one jadeite seal also carved with a lion as finial (2) heights: 3.5cm and 7cm Provenance: Private French collection

£600-800

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

112

219 WHITE JADE ‘LITERATI AND GOOSE’ PLAQUE QING DYNASTY, 19TH CENTURY 清 白玉雕羲之愛鵝玉牌

carved with an elder literatus holding a fan in hand, with a goose close to his body looking up, his face minutely worked with jolly expression, alluding to Wang Xizhi and his admiration of geese, the stone of pale white colour (1) 6cm high

£600-800

220 PALE CELADON JADE ‘MOTH AND SPANISH COIN’ PAPERWEIGHT QING DYNASTY, 18TH-19TH CENTURY 清 青白玉雕飛蛾及西班牙銀元圖鎮紙

of near square form, the dome top carved in relief with a large moth spreading its wings, the flat reverse carved with one side of a Spanish coin, including a laureate and armoured bust of King Charles III of Spain, encircled by characters reading ‘CAROLUS·III·DEI·GRATIA·1786’, the stone of even pale celadon colour (1) 4.3cm wide Note: It is extremely unusual to have Chinese jade carved with foreign currency, in this case a Spanish currency with a portrait of King Charles III of Spain (r. 1759-1788), which reflects the wide spread of Spanish coins in Qing China. During most of the Qing dynasty, period silver circulated in China in two forms, that of silver sycees and foreign silver dollars, primarily Spanish dollars from Spanish Philippines. Silver was used more in interregionaltrade and was more often used to pay for large transactions, furthermore it wasn’t counted by denomination but by weight.

Under the reign of King Charles III, the design was changed as the Spanish coat-of-arms were superseded by his portrait. The Chinese referred to the Latin numeral “I” as “工” causing the silver coins of Charles III to be known as Sangong (三工). Additionally, the depiction of the reigning Spanish monarch inspired the Chinese people to refer to these Carolus dollars as Fotou Yang (佛頭洋, “Buddha-head dollar”).

£500-700

221 WHITE JADE ‘CHINESE ZODIAC AND TAIJI’ PLAQUE 白玉雕十二生肖太極圖玉牌

carved on one side with a taiji (yin and yang) motif surrounded by twelve animals in the Chinese zodiac, the other side similarly surrounded by twelve Chinese characters of the Terrestrial Branch (Dizhi), the stone of even pale white colour (1) 5.7cm high

£600-800

222 WHITE JADE PLAQUE 白玉雕地支八卦紋牌

of rectangular form flanked by a chi-dragon on either side, reticulated carved in the middle with a boy holding taichi ball in hands, surrounding on one side in relief with twelve Chinese characters of the Terrestrial Branch (Dizhi), the other side with Eight Diagrams, the stone of even white tone (1) 9cm high Provenance: Formerly in a private French collection

£1,000-1,500

113

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

114

PRIVATE SCOTTISH COLLECTION, GLASGOW (LOTS 223-229)

223

224

INSIDE-PAINTED GLASS SNUFF BOTTLE

RUBY-RED GLASS SNUFF BOTTLE

ATTRIBUTED TO BI RONGJIU (1874-1925)

QING DYNASTY, 19TH CENTURY

畢榮九款 玻璃内畫山水圖鼻烟壺

款識: 顯亭仁兄大人雅屬、乙未小陽月寫、榮九作

flattened rectangular form with sloppy shoulders, painted with landscape on both sides, dated to the year of Yi Wei, corresponding to 1895AD, signed (1) 7.2cm high

清 寶石紅料鼻煙壺

of flattened rounded form, the shoulders set with lion mask ring handles, green coloured stone stopper (1) 6.6cm high Provenance: Private Scottish collection, Glasgow

£300-500

Provenance: Private Scottish collection, Glasgow

£300-500

225 TWO QINGBAI BARBED-RIM DISHES SONG DYNASTY

宋 青白劃花花口碟（共兩件）

both thinly potted, freely incised with floral motifs in the central medallion, covered in a translucent blueish-green glaze save for the base revealing the white buff body with burnt orange kiln marks (2) 12cm diameter each Provenance: Private Scottish collection, Glasgow

£300-500

115

226 TWO BLUE AND WHITE DISHES QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代 青花花卉紋碟（共兩件）

both delicately potted, the bigger painted with a spray of assorted flowers and foliage, the smaller decorated with three sprays of flowers, both bases inscribed with a six-character Guangxu mark in underglaze blue (2) diameters: 15.1cm and 10.7cm Provenance: Private Scottish collection, Glasgow

£300-500

227 GE-TYPE CRACKLE-GLAZED UNDERGLAZE BLUE VASE CHENGHUA MARK BUT QING DYNASTY, 19TH CENTURY 清 仿哥釉青花蝶戀花雙獅耳瓶

of baluster form, the exterior painted in underglaze blue with butterflies in flight above large peony and chrysanthemum flowers issuing from rocks, with a pair of lion dogs forming the handles flanking either side of the neck, both the interior and exterior covered overall with a thick layer of creamy glaze with ivory tinge and a web of fine russet crackles, leaving the foot rim unglazed and revealing the buff stoneware body, the base with an apocryphal four-character Chenghua mark (1) 44.3cm high Provenance: Private Scottish collection, Glasgow

£300-500

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

116

228 FAMILLE ROSE JAR AND COVER QING DYNASTY, 19TH CENTURY 清 粉彩人物故事紋溫酒蓋壺

painted on the cylindrical body with figures in fight, the dome cover similarly decorated and surmounted with a gilded animal finial, the sides further moulded with two pairs of animal mask loop handles holding metal wires, the interior with a deep bowl enamelled with turquoise (1) 16cm wide Provenance: Private Scottish collection, Glasgow

£300-500

229 TWO FAMILLE ROSE TEAWARES 19TH-20TH CENTURY

十九至二十世紀 粉彩人物題詩紋茶壺 及 人物紋長方委角蓋盒

comprising: one teapot of cylindrical form, the centre with a raised groove to imitate bamboo section, set with a grooved spout in imitation of bamboo shoot, painted with figures to one side, reverse inscribed, the base marked in iron-red but covered by a red wax seal; and one rectangular lidded tea caddy with canted corners, painted on both sides with figures (2) widths: teapot 13.5cm and tea caddy 8cm Provenance: Private Scottish collection, Glasgow

£300-500

117

PRIVATE SCOTTISH COLLECTION, NORTH BERWICK (LOTS 230-242)

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

118

230

231

JADE EARRING

JADE RABBIT

HAN DYNASTY

NEOLITHIC PERIOD, LIANGZHU CULTURE OR LATER

漢 雞骨白玉玦

新石器時代良渚文化或以後 玉兔擺件

thinly carved as a slit ring, the stone of milky white tone with black and russet spots (1)

of tubular form, simplistically carved with bulging eyes and raised ears, further with linear incision details (1)

5cm diameter Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from Capital Gallery, Hong Kong, 2 Feb 2001, with a photocopied receipt.

4.4cm wide Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from David Bowden, 1 Nov 2013, with a photocopied receipt.

£300-500

£300-500

232 THREE BRONZE ORNAMENTS WARRING STATES PERIOD TO HAN DYNASTY

戰國至漢 銅虎銜羊紋、龍紋飾兩件 及 帶鉤（共三件）

comprising: a plaque piece decorated with a stylised tiger devouring a lamb; a plaque with stylised dragon underneath swirling clouds; and a belt hook of slender form (3) the largest: 9.3cm high, 40g Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. The plaques acquired from Capital Gallery, Hong Kong, 2 Feb 2001, with an original receipt.

£500-700

119

233 SMALL POTTERY BOAR HAN DYNASTY 漢 灰陶豬

rustically rendered in a standing position with an arched back, the face detailed with bulging eyes, ears and fangs (1) 9.5cm wide Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.

Acquired from Denis Young Antiques, 13 March 1994, with an original receipt.

£200-300

234 RARE BLACK POTTERY WINE VESSEL, JUE SHANG DYNASTY 商 黑陶爵

elegantly potted, the oval body supported on three blade legs, the mouth extended to a cupped pouring tip at one end and a raised pointed tip at the opposite flanked by two vertical posts with conical finials in between, one side of the vessel applied with a loop handle (1) 19cm high Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired at Christie’s London, 19 Jun 2001, lot 3, with an original receipt.

The result of the Oxford Authentication Ltd. thermoluminescence analysis test, sample no. C101j70, is consistent with the dating of this lot, with a photocopied certificate dated 1 May 2001.

Note: Ritual wine vessels in the form of a jue are more commonly seen in bronze. They were designated for heating and pouring wine during Shang dynasty rituals. The capped posts rising from the rim would have allowed the hot metal vessel to be lifted from the heat and poured, whereas the ceramic form of this vessel would not have been suitable for this.

Compared to zun and gu vessels dated to the Shang dynasty made in the form of ceramic instead of bronze, fewer jue and jia vessels are known. Compare to a greatly simplified and squatted jue, dated to the late Shang dynasty, in the Asian Art Museum, San Francisco, object no. B60P1834, and illustrated

by He Li in Chinese Ceramics - The New Standard Guide, London: Thames and Hudson, 1996, p. 63, no. 20. Also see other similar simplified examples, Shang dynasty, one in Princeton University Art Museum, museum no. y1965-52; some in Institute of History and Philology, Academia Sinica Taipei, accession nos.

R023599BBWA_2, R000175CCWA, R000174CCWK_1. These tripod vessels with slender legs, like this lot, would have been more difficult to fire successfully.

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

120

235 TWO IMPRESSED GREY POTTERY BOWLS WARRING STATES PERIOD

戰國 灰陶印布紋碗（共兩件）

both rounded exteriors decorated with an impressed linen pattern, one set with a pair of tiny lug handles underneath the mouth (2) widths: 9.2 and 9.5cm Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from Stockspring Antiques, 6 Sept 2000, with an original receipt.

Note: Two closely comparable examples dated to the Warring States period are in the Meiyintang Collection, see Krahl, R. Chinese Ceramics from the Meiyintang Collection, Volume One, Azimuth Editions, London, 1994, nos. 60 and 61, p. 47. A related example of an impressed pottery bowl, of compressed form with inverted mouth, Warring States period, was sold at Sotheby’s New York, 1 December 2022, lot 658, note the similarity of the decoration and the lug handles.

£300-500

236 TWIN-HANDLED BLACK POTTERY JAR HAN DYNASTY 漢 黑陶雙耳壺

each side carved with two spirals seeming to issue from the base of the broad strap handles, with hatched bands on the faceted neck below the rim formed by an angular spout on either side (1) 15.2cm high Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from David Bowden Chinese & Japanese Art, 17 June 2000, with a photocopied receipt.

Note: A slightly larger example dated to the Warring States, Qin or Han dynasty, 20.2cm high, is in the Meiyintang Collection, see Krahl, R. Chinese Ceramics from the Meiyintang Collection, Volume One, Azimuth Editions, London, 1994, no. 65, p. 53. Larger comparable examples, ca. 33cm high, dated to the Han dynasty, can be seen in auctions, one sold at Sotheby’s London, 10 Nov 2022, lot 18; one at Bonham’s London, 8 Nov 2018, lot 14; and one painted example, sold at Christie’s Hong Kong, 6 Jun 2023, lot 3203.

£300-500

237 EARTHENWARE APPLIQUE JAR SONG DYNASTY

宋 堆塑人物生肖纹陶罐

of tapered form, decorated with moulded figures above a band of animals representing the twelve zodiacs, further incised with lotus petals (1) 19.5cm high Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from Oriental Gallery, Patricia Cater Oriental Ceramics & Works of Art, with an undated original receipt.

The result of the Oxford Authentication Ltd. thermoluminescence analysis test, sample no. C102k22, is consistent with the dating of this lot, with an original certificate dated 24 May 2002.

£600-800

121

238 BLACK-GLAZED JAR NORTHERN SONG DYNASTY 北宋 黑釉罐

the globular body rested on a short foot rising to a slightly everted short mouth, the exterior covered with a black glaze stopping irregularly above the foot revealing the greyish-white body (1) 10.6cm wide Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from Stockspring Antiques, 6 Sept 2009, with a photocopied receipt. Base of the jar with overlapping three labels, ‘Robert McPherson, London W8’; ‘Bluett & Sons, London’; and ‘S. R. Twigg, 199’.

£500-700

239 CELADON-GLAZED EWER NORTHERN SONG DYNASTY 北宋 青釉執壺

raised on a ring foot to a globular body and a trumpet-form mouth, one side of the shoulder set with a curved spout and the reserve with a loop handle, covered in light celadon glaze stopped neatly above the foot revealing greyish buff body with brown hue (1) 11.8cm high Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.

£300-500

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

122

240 GROUP OF FOUR PUBLICATIONS ON CHINESE CERAMICS FROM THE MEIYINTANG COLLECTION 康蕊君《玫茵堂中國陶瓷》卷一至三，倫 敦，1994及2006年，共四冊

Vols. 1 and 2 (tan cloth) together in slipcase, Vol. 3 parts I and II (olive-green cloth) together in slipcase. (2) Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.

Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

241 COLLECTION OF ART REFERENCE BOOKS ON ASIAN CERAMICS

中國陶瓷藝術參考書籍（共八十五本）

含：重要陶瓷研究及出版著作、大英博物館大維德 中國藝術基金會若干收藏、顯赫收藏拍賣圖錄、古 董商著作及圖錄等 including art reference books on asian art ceramics, in total 85 publications: (qty)

Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.

Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

242 COLLECTION OF ART REFERENCE BOOKS ON ASIAN WORKS OF ART

中國藝術參考書籍（共四十六本）

含玉器、雜項、考古等研究、重要館藏及展覽圖 錄等著作 including art reference books for jade, works or art, archaeology, musuem and exhibition catalogues, in total 46 publications. (qty) Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.

Please note this lot will be offered with no reserve. 本拍品不設底價

£300-500

123

CERAMICS 243 RARE PAINTED POTTERY ‘FANG HU’ VASE AND COVER WESTERN HAN DYNASTY 西漢 彩繪饕餮紋方壺帶蓋

of baluster shape and square section, supported on a tall, tapered foot and flaring outwards at the neck, the body painted with two large taotie masks with ring handles in yellow and white with foliage adorning the sides, the neck decorated with a triangular motif, the tall foot adorned with curled pattern, the domed lid with pointed top and geometric patterns, well-preserved pigments in yellow, red, white and apple green colours against the dark-greyish pottery body (1) 41cm high Note: A slightly larger example of closely comparable taotie decoration and design, dated to the Western Han dynasty late 3rd or early 2nd century BC, 54.5.cm high, is in the Meiyintang Collection, see Krahl, R. Chinese Ceramics from the Meiyintang Collection, Volume One, Azimuth Editions, London, 1994, no. 66, p. 53-5

£3,000-5,000

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

124

244 TWO PAINTED POTTERY JARS NEOLITHIC PERIOD, MAJIAYAO CULTURE 新石器時代 馬家窯文化 彩繪陶罐（共兩件）

one compressed globular jar with two loop handles decorated in black and red pigments with net patterns to the upper body; together with one globular jar with short tapering neck and two loop handles, decorated in black with roundels containing net pattern, whilst the neck painted with diamond pattern (2) 15.5cm wide each Provenance: Private English collection; one vessel acquired from Schoeni Fine Oriental Art, with a gallery card and handwritten note

£500-700

245 BLACK-GLAZED ‘OIL-SPOT’ LOTUS-BUD SHAPED WATER POT MING DYNASTY OR LATER 明或以後 黑釉油滴雞心罐

finely potted with a globular body tapering towards a narrow mouth, covered overall with a black glaze suffused with metallic ‘oil spots’ tone, ending irregularly above the foot and revealing the dark stoneware body (1) 10cm high

£800-1,200

246 PAIR OF CIZHOU CELADON-GLAZED DISHES JIN DYNASTY

金 磁州窯黃釉折沿盤（一對）

each potted with short steep sides supported on everted foot rising to flaring mouth further with a raised rim, covered in yellowish celadon glaze stopped irregularly above foot (2) diameters: 12.1cm and 12.5cm

£600-800

247 LONGQUAN CELADON-GLAZED PLATE MING DYNASTY OR LATER 明或以後 龍泉窰青釉印花盤

moulded with a flower head in the centre encircling a chrysanthemum cavetto, covered overall in an olive-green glaze, leaving the ring on the base unglazed and revealing the buff body (1) 20.2cm diameter

£400-600

125

248 CELADON-GLAZED BAMBOO-FORM BRUSHPOT QING DYNASTY, QIANLONG PERIOD 清乾隆 青釉節節高升竹節型花插

naturalistically modelled as a hollowed section of bamboo with a smaller section to the side, further moulded in high relief with leafy shoots curling up and around the front face of the vessel, covered overall in a light celadon glaze, leaving only the foot ring unglazed and covered in brown paint (1) 15cm high Provenance: Private English collection, Southampton, Hampshire, has been collecting Chinese ceramics over the past 15 years Note: A pair of highly comparable celadon-glazed bamboo-form brushpots, also dated to the Qianlong period, and later added with Louis XV ormolu mounts circa 1750, was sold at Christie’s London, 8 July 2021, lot 6. Another similar example was sold at Christie’s New York, 28 Sep 2021, lot 17.

£2,000-3,000

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

126

249 DEHUA BOMBÉ CENSER MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清 德化白瓷獸耳爐

of compressed globular form, rising from a spreading foot to a flared rim, the shoulders set with a pair of lion mask handles, the exterior and part of the interior covered in a creamy colour glaze with ivory tinge (1) 16cm wide Provenance: Private Glasgow collection, previously in a private English collection, Brighton. With a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited (香港藝術品商會有限公司) on 28th Feb 1986, stated the piece dated to the Ming dynasty.

£500-700

250 PAIR OF DEHUA GUANYIN ON FRENCH GILT-BRONZE STANDS 20TH CENTURY

二十世紀 德化白瓷持蓮觀音立像 帶銅鎏金底座（共兩件）

each similarly moulded as the gently smiling Avalokiteshvara standing upright holding a branch of lotus and leaf in her left arm, she wears a long robe open at the chest to reveal beaded cross necklace, standing on a pedestal ornated with lotus buds and waves, mounted on a capital-formed gilt-bronze base marked ‘made in France’ (2) the figures: 25.5cm and 26cm high; 34cm and 34.5cm high with metal base

£300-500

251 DEHUA ‘LION MASK’ HANDLED VASE QING DYNASTY, YONGZHENG PERIOD 清雍正 德化白瓷獅耳梅瓶

of elegant form with rounded shoulders tapering down to a narrow foot, either side of the shoulders attached with a protuberant lion mask as handles, the body covered overall with a layer of glossy creamy white glaze (1) 32cm high Provenance: Formerly in a private English collection, acquired from Wing Kei Curios & Porcelain, HK, on 17th October 1986, together with a Certificate of Antiquity issued by Hong Kong Art Craft Merchants Association Limited（香港藝術品商會有限 公司）on 17th October 1986, stated the piece dated to the Qing dynasty, Yongzheng period.

£1,500-2,000

127

252 IRON-RED ‘SEAL’ BOWL QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 礬紅印章紋碗

the exterior painted with eight seals in various shapes and fonts, the everted mouth rim covered in brown glaze, the base inscribed with a six-character Qianlong mark in underglaze blue (1) 17.4cm diameter Provenance: Private English collection, acquired from Guangzhou Antique Shop Head Office (廣州市文物總店) about 20 years ago

£800-1,200

253 DEHUA MULTI-ARMED FIGURE OF DOUMU QING DYNASTY, 19TH CENTURY 清 德化白瓷斗母座像

the Daoist goddess seated on a lotus base with one pair of hands placed in her lap and one pair held in front of her chest in anjali mudra, the remaining arms radiate to the sides, with each hand holding an attribute, the face with serene expression and wearing a bejewelled five-pointed crown (1) 26.5cm high Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Asia around 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

Note: A similar figure is illustrated by R. Kerr and J. Ayers in Blanc de Chine, Porcelain from Dehua, Chicago, 2002, p. 53, fig. 3. Another example of this type is illustrated by P.J. Donnelly in Blanc de Chine, New York, pl. 99B and pp.172 and 173, where the author explains that this figure is often known as Doumu, the Daoist goddess of the Pole Star.

£500-700

254 DEHUA CYLIDRICAL TRIPOD CENSER QING DYNASTY, 17TH-18TH CENTURY 清 德化白瓷夔龍紋三足筒爐 帶木蓋

thickly potted supported on three feet, moulded with raised string bands and an impressed design of stylised kui-dragons against a leiwen pattern encircling the exterior walls, the exterior and part of the base covered in an ivory-tinged glaze leaving the interior and the centre of the base unglazed revealing the fine porcelain body, with a dome wooden cover with three ruyi-head openings encircling a flower head (1) 17.5cm diameter

£300-500

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

128

255 GE-TYPE-GLAZED MALLET-FORM VASE 仿哥釉紙槌瓶

potted with a slightly tapered cylindrical body rising to a tubular neck and flat flaring mouth, covered overall with a thick greyish blue glaze suffused with a network of black and russet crackles, the base similarly glazed and foot rim applied with a dark-brown dressing (1) 20.4cm high

£1,000-1,500

256 MOULDED CELADON-GLAZED ‘FLORAL’ BOWL YONGZHENG MARK

雍正款 粉青釉浮雕纏枝花卉紋碗

finely potted with rounded sides supported on a slightly tapered foot, elegantly decorated on the exterior with flowers borne on foliated scrolling tendrils above an overlapping band of petals on foot, the interior carved with a flower as central medallion, delicately glazed in opaque, luminous, and jade-like celadon glaze, the base inscribed with a six-character Yongzheng mark within a double-circle (1) 11.5cm diameter Provenance: Private Canadian collection; acquired from a collector in Montreal, Quebec, Canada Note: A close example is in the Art Institute of Chicago, accession no. 1924.426; Also see one, previously in the Harry G. Steele Collection, is now in the National Gallery of Art, Washington D.C, accession no. 1972.43.18; One was previously in the Cadle Family collection, subsequently sold at Sotheby’s New York, 21 March 2023, lot 4.

£1,000-1,500

257 LANGYAO GREEN-GLAZED MALLET-SHAPED VASE QING DYNASTY, 19TH CENTURY 清 郎窯綠釉搖鈴尊

the rounded body finely potted with a broad base and a rounded shoulder under a high cylindrical neck, the exterior covered in a pale apple-green crackled glaze with the mouth rim covered in brown paint (1) 17cm high

£500-700

129

258 CELADON-GLAZED JAR AND COVER QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD 清道光款及年代 冬青釉月牙耳茶葉蓋罐

the ovoid body smoothly rising to a short waisted neck, flanked by a pair of low-relief C-shaped mock-handles on the shoulder, surmounted by a domed cover, covered overall in an even pale celadon glaze, the recessed base inscribed with a six-character Daoguang mark in underglaze blue (1) 21.5cm high Provenance: Private collection, Surrey; previously acquired from an estate in Wales Note: This ovoid jar is of a well-known form and produced from Kangxi to Daoguang period for storing tea leaves, occasionally referred to as a yueyaer guan (‘jar with crescent moon handles’) due to the form of its mock-handles. A very similar example, with Qinanlong mark and of the period, was in the Qing Court collection and is in the National Palace Museum, Taipei, museum no. Gu Ci故瓷11265. Another example was illustrated by R. Krahl in Chinese Ceramics in the Meiyintang Collection, vol. II, London, 1994, p. 211, no. 866. A further comparable example with Daoguang mark was sold at Sotheby’s New York, 21 September 2021, lot 143.

£4,000-6,000

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

130

259 PAIR OF YELLOW-GROUND BLUE-ENAMELLED ‘SHOU’ SAUCERS QING DYNASTY, TONGZHI MARK, 19TH CENTURY

清 同治款 内黃地藍彩萬字紋及外粉彩花卉紋小碟（一對） each supported on a short foot, the interior painted with two bands of stylised shou-longevity character encircling one shou roundel, the exterior further adorned with three branches of flower sprays, the base inscribed with a fourcharacter Tongzhi mark in iron red (2) diameters: 8.1cm and 8.2cm

£300-500

260 YELLOW-GROUND GREEN-ENAMELLED BOWL ZHENGDE MARK, POSSIBLY MING DYNASTY 或為明代 正德款 嬌黃釉綠彩花卉紋高足碗

deep rounded sides rising to gently flaring mouth, supported on a tapered high foot, incised with scrolling tendrils and glazed in green, against a yellow ground, under the rim carved with key fret band similarly glazed in green, the base inscribed with a two-character Zhengde mark in underglaze blue (1) 14.9cm diameter Note: A related example, Zhengde mark and period, glazed in a reverse colour palette, with the decoration in yellow against green ground, is in the National Palace Museum, Taipei, museum no. Gu Ci 故瓷2833N.

£1,000-1,500

261 YELLOW-GROUND GREEN-ENAMELLED ‘DRAGON’ SAUCER QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 黃地紫綠彩雙龍戲珠紋碟

finely incised and enamelled to the interior well with two fiveclawed dragons in green and aubergine colour contesting a flaming pearl within a double circle below alternate peach and flower sprays in the cavetto, the exterior with two sinuous chi-dragons divided by lingzhi sprays, the base inscribed with a six-character Qianlong mark in aubergine colour (1) 10.9cm diameter Provenance: Private Scottish collection, Perthshire; By family descent from Alex. W. V. Gibb. Each bowl with a collector’s paper label on the base, respectively read ‘50 Propt. of A. W. V. Gibb’ and ‘51 Propt. of A. W. V. Gibb’.

See provenance details opposite.

£800-1,200

131

262 PAIR OF YELLOW-GROUND GREEN-ENAMELLED ‘DRAGON’ BOWLS QING DYNASTY, QIANLONG MARK IN UNDERGLAZE BLUE AND OF THE PERIOD 清乾隆 青花「大清乾隆年製」六字篆書款 黃地綠彩龍紋碗 (共兩件)

each finely decorated on the exterior in bright green enamel with two incised five-clawed dragons striding amidst clouds and flames in pursuit of flaming pearls, between a band of overlapping ruyi-heads encircling the base and a foliate border around the mouth rim, the interior decorated with a central shou- longevity character within a line border, all reserved on an opaque egg-yolk ground, the base inscribed with a six-character Qianlong mark in underglaze blue (2) 10.1cm diameter each Provenance: Private Scottish collection, Perthshire; By family descent from Alex. W. V. Gibb. Each bowl with a collector’s paper label on the base, respectively read ‘50 Propt. of A. W. V. Gibb’ and ‘51 Propt. of A. W. V. Gibb’.

Alex W. V. Gibb was working for Gibb, Livingston & Co., merchants, as a clerk, in Fuzhou (Foochow) in the late 19th century. [1] Gibb, Livingston & Company Ltd. was one of the most important and best-known foreign trading firms in China in the mid-19th and the first half of the 20th century.

It was established in Hong Kong in 1841 by two Scotsmen, Thomas Augustus Gibb and William Potter Livingston, who were originally employees of the British East India Company. Started on a site off Queen’s Road, it developed as local mercantile operations along the lines of shipping and insurance. In 1844, a branch in Shanghai was founded and the firm’s Chinese name,‘Jinkee’was coined. In 1864, the firm had branched out at Fuzhou, where Alex W. V. Gibb would have based, mainly for the tea trade and from which the firm’s clippers operated.

Living as an expat in China during the late Qing dynasty, Alex W. V. Gibb seems to have developed an interest in photography. The School of Oriental and African Studies (SOAS) at the University of London holds a collection of nine photographs taken by Alex W. V. Gibb featuring Chinese landscape, and expats in leisure activities, some located at Fuzhou.

[1] See The Chronicle & Directory for China, Corea, Japan, the Philippines, Cochin-China, Annam, Tonquin, Siam, Borneo, Straits Settlements, Malays States, & c. for the Year 1889. Hong Kong: The Daily Press Office, pp. 109 & 311; Also see The Desk Hong List: A General and Business Directory for Shanghai and the Northern and River Ports etc, Shanghai: North-China Herald, 1904, pg. 283.

£15,000-20,000

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

132

263 INCISED YELLOW-GLAZED ‘DRAGON’ HANDLED CUP KANGXI MARK, 19TH-20TH CENTURY

十九至二十世紀 康熙款 黃釉暗刻龍紋雙耳杯

delicately potted, resting on a straight foot, rising to a gently everted rim, applied with a pair of flat archaistic ‘elephant tusk’ handles to either side, the exterior finely incised with two animated striding dragons amidst flame wisps, each chasing a flaming pearl, covered overall in a translucent egg-yolk yellow glaze, the recessed base inscribed with a six-character Kangxi mark in double circle (1) 7.8cm wide across handles

£1,000-1,500

264 ROBIN’S-EGG-GLAZED GOURD-SHAPED VASE QING DYNASTY, 19TH CENTURY 清 爐鈞釉包袱三聯葫蘆瓶

the body composed of three conjoined double-gourds and with three openings, the waist adorned with wrapped ribbon, the exterior vividly applied overall with a turquoise-blue glaze suffused with dense dark purplered network, the base covered in turquoise colour (1) 10cm high Note: the base with a circular sticker reading ‘Saltwood Antiques’

£300-500

265 YELLOW-GLAZED BOWL JIAJING MARK 嘉靖款 黃釉碗

covered overall in a yellow glaze, the base inscribed with a six-character Jiajing mark in double circle in underglaze blue (1) 19cm diameter Provenance: Private Canadian collection; formerly in an estate in Los Angeles, California, US

£1,000-1,500

266 TURQUOISE-GLAZED ‘LION-DOGS’ BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 孔雀藍釉佛獅戲球紋膽瓶

the bulbous body decorated with two lion-dogs playing with brocade balls amongst clouds, covered overall in a brilliant turquoise-blue glaze pooling to a deeper turquoise in the carved recesses to accentuate the design (1) 21.2cm high

£600-800

133

267 BLUE-GLAZED BOWL QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆款及年代 霽藍釉碗

the deep rounded sides rising from a short foot to a flaring rim, covered overall with a rich blue glaze leaving the rim and base white, the base inscribed with a six-character Qianlong seal mark in underglaze blue (1) 11.2cm diameter Provenance: Formerly in a private English collection Note: The present bowl belongs to a small group of Qianlong sacrificial-blue bowls notable for their superior quality. Compare several other examples from this group, such as a closely related pair of the same size and shape from the Zingone Collection, sold at Christie’s Hong Kong, 31st May 2011, lot 3536; another pair sold in Sotheby’s Hong Kong rooms, 14th November 1989, lot 167; and a further pair of bowls sold at Sotheby’s New York, 17 March 2021, lot 159.

£4,000-6,000

268 PAIR OF YELLOW-GROUND GREEN-ENAMELLED ‘PEACH TREES’ BOWL QING DYNASTY, DAOGUANG MARK, 19TH CENTURY 清 道光款 黃地綠彩花鳥桃樹紋碗（共兩件）

each thinly potted with deep rounded sides raised on straight foot, incised on the exterior with birds in flight between fruiting peach trees issuing from rockwork, the decoration enamelled in green against a yellow ground extending into the interior, the countersunk base with a six-character Daoguang mark (2) 12.2cm diameter each Provenance: Formerly in a private English collection

£2,000-3,000

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

134

269 PAIR OF YELLOW-GLAZED FOLIATED BOWLS QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 檸檬黃釉花口碗（一對）

thinly potted with deep and steep body, flared rim, moulded in the interior with a rosette as the central medallion, notched rim to resemble flower petals, applied overall save for the base with a luscious bright yellow glaze, the base inscribed with a six-character Qianlong mark in underglaze blue (２) 13.8cm diameter each

£2,000-3,000

270 POWDER-BLUE-GROUND GILT-DECORATED DOUBLE-GOURD VASE QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 灑藍地描金祥雲百蝠紋葫蘆瓶

densely painted in gilt with bats in flight amongst ruyi-head clouds all over between a ruyi band on the mouth rim and a lappet band on foot, all against a navy blue ground, the base inscribed with a six-character Guangxu mark in underglaze blue (1) 21.5cm high

£300-500

271 YELLOW-GLAZED PLATE QING DYNASTY, TONGZHI MARK, 19TH CENTURY 清 同治款 黃釉盤

the yellow glaze covered inside and out, the base inscribed with a six-character Tongzhi mark in underglaze blue (1) 24.2cm diameter

£800-1,200

135

272 YELLOW-GLAZED ‘FISH AND LOTUS POND’ BOWL QING DYNASTY, KANGXI MARK AND OF THE PERIOD 清康熙款及年代 黃釉暗刻魚塘清趣紋碗

delicately potted with bulbous body rising from a slightly tapered short foot, to slightly waisted neck and flaring mouth, incised to the exterior and central medallion of interior with lotus pond with carps leaping, the base inscribed with a six-character Kangxi mark within double-circle against white ground in underglaze blue (1) 15.5cm diameter Provenance: Formerly in a private English collection Note: Yellow-glazed porcelain wares, in various shapes and forms, with incised decorations bearing Kangxi mark in cobalt blue were not incommon during the Kangxi period. Though comparable examples of the ‘lotus pond with carp’ design with this lot is not found, we can still compare to related examples. See a hemispherical bowl with floral roundels alternating with cloud scrolls, from the Percival David collection, now in the British Museum, registration no. PDF,A.599; also see a flower-shaped dish with flared petal rim incised with dragon and inscriptions, is in ibid., no. PDF,A.517; two cups with handles incised with formal dragons, in ibid., no. PDF,A.593; another cup with more unusual design with monsters among waves, in ibid., no. PDF.565. Note the similarity of the glaze colour with this lot. Observes the curator of the British Museum: they demonstrate an attractive use of a monochrome yellow glaze at Jingdezhen. This colour glaze was used to decorate court porcelain for some five hundred years of the imperial era in China from AD 1403 to AD 1911. Potters fired the porcelain ware twice, first at a porcelain temperature of around 1280°c to 1320°c and then in a second, lower-temperature firing to vitrify the lead-fluxed, iron-pigmented glaze.

£2,000-3,000

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

136

273 PEACH-BLOOM-GLAZED VASE KANGXI MARK

康熙款 豇豆紅釉觀音瓶 帶木座

the elongated conical body surmounted with a waisted neck terminating to a flared rim, covered overall in a copper-red glaze with mottled greyish hue, the base inscribed with a six-character Kangxi mark in underglaze blue within the deeply recessed base, with a fitted wooden base (1) 15.2cm high

£1,000-1,500

274 IRON-RED-DECORATED BOTTLE VASE GUANGXU MARK, 19TH-20TH CENTURY

十九至二十世紀 光緒款 礬紅描金蟋蟀花鳥紋瓶

the globular body painted with a bird standing on rockwork amongst large floral sprays with a cricket, reverse with a pair of butterflies, the waisted long neck further with flowering branches with rockwork, the base inscribed with a six-character Guangxu mark in iron-red (1) 39cm high

£300-500

275 TEA-DUST-GLAZED YUHUCHUN VASE QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 茶葉末釉玉壺春瓶

the compressed globular body resting on a slightly waisted ring foot, rising to a short neck and terminating to a flared rim, covered overall in an even tea-dust glaze, the base carved with a six-character Guangxu mark in a rectangle (1) 29cm high

£300-500

137

276 CORAL-RED-GROUND GILT-DECORATED ‘MARRIAGE’ BOWL QING DYNASTY, TONGZHI MARK, 19TH CENTURY 清 同治款 珊瑚紅地描金‘囍’字碗

the steep sides rising from a short straight foot, decorated inside and out in gilt with vertical rows of ‘double-xi’, framed within two key-fret bands on the mouth rim and above the foot, further adorned with a row of ‘double-xi’ on the foot, the base inscribed with a four-character Tongzhi mark in iron-red (1) 13cm diameter

£2,000-3,000

277 FLAMBÉ-GLAZED ‘RAM-HANDLED’ VASE, HU QIANLONG MARK, 19TH-20TH CENTURY 十九至二十世紀 乾隆款 窯變釉三羊開泰壺

of archaic bronze hu form with raised bands, set with three ram heads in relief on the shoulders, applied overall with a thick red glaze infused with lavender streaks, the mouth rim and widest parts of ram handles with mushroom tone, the base engraved with a sixcharacter Qianlong mark covered with milky and brown glaze (1) 34.5cm high

£300-500

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

138

278 PAIR OF CORAL-RED-GROUND GILT-DECORATED WALL PLATES QING DYNASTY

清 珊瑚紅地松石綠釉描金夔龍纏枝蓮紋壁盤（共兩件）

each of flattened form moulded as a dish seen from 45 degrees, the ‘exterior’ gilt-decorated with a pair of kui-dragons amongst lotus scrolls against a coral red ground, the ‘interior’ glaze in turquoise, the back with two apertures for wall hanging (2) widths: 21.8cm each

£300-500

279 FLAMBÉ-GLAZED JAR QING DYNASTY, QIANLONG MARK, 19TH CENTURY 清 乾隆款 窯變釉罐

applied overall with a thick red glaze, the shoulder and neck with mushroom tone, the base engraved with a six-character Qianlong mark covered with milky and brown glaze (1) 23.5cm high

£300-500

280 COPPER-RED-GLAZED CARVED ‘DRAGON’ VASE, MEIPING 20TH CENTURY

二十世紀 釉裏紅波濤白龍紋梅瓶

the slightly flaring foot rising to wide rounded shoulders with short narrow neck opening to everted mouth, carved with dragons left in white against ferocious scale-form waves in copper red (1) 33.5cm high Provenance: Private Canadian collection; acquired from a collector in Montreal, Quebec, Canada Note: A related vase with a lid, Yongzheng mark and period, is in the National Palace Museum, Taipei, museum no. Gu Ci 故瓷4921N; Also see another related example, Yongzheng mark and period, was sold at Freeman’s Philadelphia, 8 April 2021, lot 12.

£2,000-3,000

140

281 BLUE AND WHITE GINGER JAR MING DYNASTY 明 青花花鳥紋罐

moulded in gently lobed form, painted with birds in flight amongst flowering prunus, bamboo and other flowers under a plantain leaf band (1) 17.5cm high

£1,500-2,000

282 BLUE AND WHITE ‘DRAGON’ CUP JIAJING MARK

嘉靖款 青花龍紋杯

painted with two five-clawed dragons on the exterior amongst ruyihead cloud, the base inscribed with a six-character Jiajing mark in underglaze blue within a circle (1) 5.1cm high

£300-500

283 BLUE AND WHITE FLUTED GINGER JAR QING DYNASTY

清 青花開光仕女圖罐

the centre section of the bulbous body with vertical grooves, further with four flattened roundels painted with beauties, all between floral sprays on the shoulders and above foot, the base painted with a double-circle (1) 20cm high

£300-500

141

284 BLUE AND WHITE ‘LOTUS’ BEAKER VASE, ZUN 青花蓮紋出戟尊

after the archaic bronze zun form, the flaring foot decorated with scrolling lotus rising to the globular central bulb set with four vertical undulating flanges, painted with lotus flowers and leaves bouquets, rising to a trumpet foliated mouth decorated with plantain leaves on the neck (1) 31.7cm high

£1,000-1,500

285 WUCAI ‘DRAGON’ BOTTLE VASE MING DYNASTY 明 五彩龍紋瓶

the pear-shaped body with a reduced tall cylindrical neck, the body decorated with iron-red, green and yellow enamels depicting dragons in flight amongst floral borne on tendrils, all below a band of downward plantain leaves (1) 37.5cm high Provenance: Formerly in a private English collection

£300-500

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

142

286 BLUE AND WHITE ‘QILIN’ BOX AND COVER 青花麒麟紋蓋盒

of circular form, the dome cover painted with a seated mythical creature qilin in a garden setting, depicted with a scaly body and its right front leg half raised, mouth wideopened and the mane blown by the wind, the side of the box adorned with ruyi-head clouds, the base inscribed with double circles in underglaze blue (1) 9.5cm diameter

£300-500

287 WUCAI ‘BATTLEFIELD’ BOWL CHENGHUA MARK

成化款 五彩征戰人物紋碗

the deep bowl painted on the exterior with a general riding on a horse in a battlefield on one side, whilst the other side with a household scene with a lady waving at a literati accompanied by their attendants, the base inscribed with an apocryphal Chenghua mark in underglaze blue within double circles (1) 16.5cm diameter

£600-800

288 BLUE AND WHITE HEXAGONAL INCENSE BURNER WANLI MARK AND POSSIBLY OF THE PERIOD 萬曆款或到代 青花六方八卦雲鶴紋六方燻爐

of hexagonal form, flanked with small mythical beast’s head handles, on a raised openwork stand, each facet painted with a crane amongst clouds below a trigram supported by lingzhi fungus within an octofoil panel enclosed by auspicious clouds, below a band of lingzhi, the base inscribed with a six-character Wanli mark in underglaze blue (1) 22.4cm wide Note: Rare incense burners of this type, Wanli mark and period, are seen in the open market, one sold at Sotheby’s 04 November 2009, lot 76; the other with cover, sold at Christie’s Hong Kong, 30 Nov 2011, lot 2984.

£2,000-3,000

143

289 LARGE DOUCAI VASE QING DYNASTY

清 鬥彩祥雲纏枝蓮紋夔耳盤口大瓶

sturdily potted on a gently flayed foot, rising to a rounded body, waisted neck and opening up to a galleried mouth, flanked on the neck with two stylised openwork kui-phoenix handles, painted on the body and neck with large scrolling lotus roundels, against the ground with colourful ruyi-head clouds (1) 80cm high Provenance: Formerly in a private Dutch collection, acquired in 1980s in Belgium

£2,000-3,000

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

144

290 LARGE BLUE AND WHITE TRIPOD CENSER QING DYNASTY

清 青花攜琴訪友圖三足大筒爐

of cylindrical form raised on three bracket feet, painted on the body with a figure who has just crossed a bridge with his boy assistant carrying a wrapped qin, at the end of a twisty rocky path is a sage dressed as a fisherman sitting at a cliff fishing (1) 20.1cm diameter

£300-500

291 BLUE AND WHITE ‘LOTUS’ JAR QING DYNASTY

清 青花纏枝蓮紋罐

potted from a flattened unglazed foot rising to high shoulders and narrow short ring mouth, painted around the body with scrolling tendrils with foliage and lotus flower heads (1) 25.5cm high

£300-500

292 BLUE AND WHITE PEN BOX AND COVER ZHENGDE MARK, POSSIBLY OF MING DYNASTY 或為明代 正德款 青花伊斯蘭文番蓮紋長方蓋盒

of rectangular form, supported on a stepped foot, top of the cover and sides of the box decorated with Arabic roundels alternating with stylised scrolling lotus, rim of the cover and foot encircled by ruyi bands, the base inscribed with a six-character Zhengde mark within a double-rectangle (1) 20.5cm wide x 9.2cm high x 10.7cm deep Provenance: Formerly in a private English collection Note: A closely related box and cover from the Mrs B. Z. Seligman collection, and now in the British Museum, is illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London: British Museum, 2001, pl. 8.5, together with a similarly decorated Zhengde mark and period ink slab with cover similarly decorated, pl. 8.6; Also see an example sold at Sotheby’s London, 14 May 2014, lot 208.

£1,500-2,000

145

293 WUCAI DRAGON AND PHOENIX BOWL QING DYNASTY, QIANLONG MARK, 19TH CENTURY 清 乾隆款 五彩龍鳳呈祥紋碗

thinly potted, the rounded sides finely painted with two pairs of dragons and phoenixes amongst floral bush, the interior with a coiling dragon chasing a flaming pearl within two pairs of double-circles, the base inscribed with a six-character Qianlong mark in underglaze blue (1) 18.1cm diameter Provenance: Private English collection, London; inherited from current owner’s parent.

£800-1,200

294 BLUE AND WHITE BASIN QING DYNASTY

清 青花仿賢圖卷缸

potted with steep slightly rounded sides, painted with a courtly figure just dismounted from his horse, led by a boy assistant towards a grotto, inside a noble hermit playing the qin musical instrument, an assistant attending to a tripod incense burner (1) 23cm diameter

£300-500

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

146

295 BLUE AND WHITE ‘LOTUS’ BOWL QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 青花纏枝蓮紋碗

the exterior painted with six lotus blossoms borne on undulating foliate scrolls, the interior centred with a lotus medallion, the base inscribed with a six-character Guangxu mark in underglaze blue (1) 17cm diameter Provenance: Private collection, previously in a Swedish estate

£800-1,200

296 BLUE AND WHITE ‘DRAGON’ BALUSTER VASE QING DYNASTY, 18TH-19TH CENTURY 清 青花龍紋祥雲瓶

the body painted with a four-clawed dragon amongst clouds, all between key-fret bands around the mouth rim and above the foot (1) 34.5cm high Provenance: Private Scottish collection, Aberdeen; Inherited from current owner’s grandfather (H. Johnson) who resided in the Castle of Fiddes. With an associated collector’s label on base ‘CASTLE OF FIDDES, INV. NO. 1099, B&W VASE- WATER DRAGON, CHINESE- K’ANG HSI, CIRCA 1662-1722, H. JOHNSON’.

Mr Johnson was an avid collector of ceramics. According to his catalogue entry, this vase was bought on 15 Aug 1966 from Coutts.

£300-500

297 PAIR OF ORMOLU-MOUNTED GE-TYPE CRACKLE-GLAZED UNDERGLAZE BLUE VASES QING DYNASTY, 19TH CENTURY

清 仿哥釉青花蝶戀花圖瓶 嵌鎏金銅飾雙耳及底座

each vase painted on the body in underglaze blue with two bands of butterflies in flight between flowers on branches, the rest of the body covered overall with a thick layer of creamy glaze with ivory tinge and a web of fine russet crackles, with elaborately cast ormolu gilt bronze mounts on the mouth rim, the flaring handles and the base (2) the vase: 23.2cm high; with the metal mount: 40cm high

£500-700

147

298 FINE PAIR OF INSCRIBED BLUE AND WHITE TEA TRAYS QING DYNASTY, JIAQING MARK AND OF THE PERIOD

清嘉慶 青花「大清嘉慶年製」六字篆書款 青花開光御製詩海棠式茶托

each with shallow lobed sides of quatrefoil section, supported on four short bracket feet, the interior inscribed with an imperial poem pertaining to the preparation of tea and dated to the dingsi year of the Jiaqing reign (corresponding to 1797), surrounded by a band of scrolling lotus and florets repeated on the interior and exterior walls with a variation on the central bloom, the base inscribed with a six-character Jiaqing seal mark in underglaze blue and surrounded by spur-marks, with fitted wooden stand (2) 16.1cm wide each Provenance: Private Scottish collection; inherited from the family who worked and travelled extensively in Asia during the 1920s-1940s.

Note: The poem on these small dishes, composed by the Jiaqing Emperor, praises the pleasure of drinking tea and appears on tea trays and teapots of different palettes. S.W. Bushell translates the poem in Oriental Ceramic Art, London, 1981, p. 239, as: ‘Finest tribute tea of the first picking.

And a bright full moon prompts a line of verse.

A lively fire glows in the bamboo stove,

The water is boiling in the stone griddle,

Small bubbles rise like ears of fish or crab.

Of rare Chi’i-ch’iang tea, rolled into tiny balls, One cup is enough to lighten the heart, And dissipate the early winter chill.’

A similar blue and white tray is illustrated by H.A. Van Oort, Chinese Porcelain of the 19th and 20th Centuries, The Netherlands, 1977, p. 19, pl. 2. Closely comparable pairs of dishes of this pattern and date were sold at Christie’s London,15 May 2012, lot 395 and Sotheby’s Hong Kong, 9 October 2012, lot 3081.

£6,000-8,000

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

148

299 BLUE AND WHITE BRUSH POT QING DYNASTY

清 青花開窗人物紋筆筒

of slightly tapered form, painted with rounded and fanshaped cartouches with luohans and other figures, the base unglazed (1) 20.1cm diameter Provenance: Formerly in a private Belgium collection

£3,000-5,000

300 BLUE AND WHITE YEN-YEN VASE 青花山水人物紋鳳尾尊

the exterior painted with a continuous scene with small figures in mountainous landscape (1) 44.8cm high

£1,000-1,500

150

PRIVATE SCOTTISH COLLECTION, GLASGOW (LOTS 301-317) 301 CARVED TORTOISESHELL CIRCULAR BOX AND COVER QING DYNASTY, 18TH CENTURY 清 玳瑁雕人物紋圓蓋盒

the slightly domed cover carved in mid-relief with a boy riding a buffalo in the centre followed by a farmer further with smaller figures and pavilions and a bridge encircled by foliage and bamboo edge, base of the box carved with two figures in a garden (1) 8.1cm diameter; 62g Provenance: Private Scottish collection, Glasgow

£600-800

302 BAMBOO CARVING ‘SHOULAO AND BOYS’ GROUP QING DYNASTY, 17TH-18TH CENTURY 清 竹雕壽翁童子擺件 帶木座

the bearded smiling God of Longevity carved wearing long robes seated on a rocky base with left hand holding a ruyi sceptre and the other holding a boy, further surrounded by six playful boys all with smiley expressions, on a carved wooden bespoke stand (1) 10.6cm high; 139g Provenance: Private Scottish collection, Glasgow Note: Compare to a bamboo carving of Shoulao, Qing dynasty 18th century, also accompanied by children, in the Metropolitan Museum, accession no. 42.90.71.

£1,200-1,800

303 PAIR OF CLOISONNÉ ENAMEL GARLIC-HEAD VASES QING DYNASTY, 19TH CENTURY

清 銅胎掐絲珐瑯墨地雙龍捧壽紋蒜頭瓶 (共兩件)

each of slightly flattened bottle form, decorated on each side with a pair of dragons confronting a shou-roundel, further with dense scrolling tendrils and flower heads, all against a black ground (2) 22cm high each Provenance: Private Scottish collection, Glasgow

£500-700

151

304 PAIR OF ‘SAWASA’ PARCEL-GILT HANDLED CUPS CHINESE OR JAPANESE, 18TH CENTURY

中國或日本 十八世紀 局部鎏金銅梅花紋花口杯（一對）

each with rounded sides resting on a ring foot rising to a foliated mouth, the exterior covered in black lacquer with gilt-ground reserved cartouches minutely decorated with prunus and birds, further flanked by elaborate prunus branches as handles, interior and base gilded (2) widths: 8.7cm and 8.5cm; 76g and 71g Provenance: Private Scottish collection, Glasgow Note: Sawasa is the Japanese term given to describe a distinctive style of metalwork produced in Asia during the 17th and 18th centuries. The Asian artists and craftsmen adopted European models and combined them with Chinese and Japanese materials and decorative motifs of gilt reliefs and engravings on a lustrous lacquered surface. The final objects were finished in black and gold, the black was often achieved through controlled patination but sometimes through lacquering, and the gold was usually applied by means of mercury gilding.

A highly comparable Sawasa tea cup with saucer, dated 1731AD, is in the Metropolitan Museum, accession no. 1984.233a, b; Similar cups with saucers, Edo period, were sold at Christie’s Paris, 15 Jun 2004, lot 93; Two related Sawasa ware cups, both 18th century and sold at Bonham’s London, one 14 May 2019, lot 719, and the other 4 November 2019, lot 281.

£600-800

305 GROUP OF THREE PAINTED ENAMEL WARES QING DYNASTY, 18TH CENTURY

清 銅胎畫琺瑯蝶戀花紋杯及盞（共三件）

comprising two saucers with a cup, all similarly decorated with peony sprays issuing from rockwork visited by butterflies, scrolling tendrils under the rims (3) diameters: saucers, 11.2cm each; cup, 7.1cm Provenance: Private Scottish collection, Glasgow

£300-500

306 TWO BLUE AND WHITE MEIPING VASES QING DYNASTY, 18TH-19TH CENTURY

清 青花纏枝蓮紋 及 萬曆款 花鳥紋梅瓶（共兩件）

the larger vase decorated densely with lotus flower heads borne on scrolling tendrils with foliage; the smaller one painted with two birds with flowers and rockwork, the base inscribed with a four-character Wanli mark (2) heights: 18.9cm and 15.7cm Provenance: Private Scottish collection, Glasgow

£500-700

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

152

307 BLUE AND WHITE BARBED-RIM BOWL CHENGHUA MARK, 18TH-19TH CENTURY 十八至十九世紀 成化款 青花花卉紋碗

interior painted with floral motifs in panels on the cavetto and a leaf on the central medallion, exterior glazed in blue, the base inscribed with a fourcharacter Chenghua mark (1) 14.5cm diameter Provenance: Private Scottish collection, Glasgow

£200-300

308 BLUE AND WHITE BOWL QING DYNASTY, QIANLONG PERIOD 清乾隆 花押款 青花松下飲酒圖碗

painted on one side of the bowl with a nobleman holding a wine cup, a boy assistant carrying a vessel containing a wine cup walking towards him, all underneath a canopy of pine tree, reverse with a bat in flight, the base painted with a floral motif (1) 17.8cm diameter Provenance: Private Scottish collection, Glasgow

£500-700

309 TWO PAIRS OF BLUE AND WHITE ‘FOLIATED’ SAUCERS QING DYNASTY, 18TH CENTURY

清 青花花鳥紋 及 魚藻紋碟（共四件）

comprising: a pair of dishes decorated with birds and flowers, the bases painted with floral marks; and a near pair of dishes painted with fishes and crab, the bases inscribed with four-character Kangxi and Qianlong marks (4) diameters: 12.6cm each and 13.4cm each Provenance: Private Scottish collection, Glasgow

£300-500

153

310 SMALL WUCAI ‘BUDDHIST LION’ JAR LATE MING TO EARLY QING DYNASTY, 17TH CENTURY 明末清初 五彩佛獅花卉紋小罐

colourfully decorated with two mythical beasts amongst two large lotus flower heads borne on foliating tendrils, with a wooden stand (1) 10.7cm high Provenance: Private Scottish collection, Glasgow Note: Compare to a larger (19.4cm high) wucai jar, Ming dynasty 16th-17th century, similarly painted with Buddhist lions and flowers, sold at Christie’s London, 19 Jul 2018, lot 212.

£400-600

311 WUCAI ‘BOY’ JAR LATE MING TO EARLY QING DYNASTY, 17TH CENTURY 明末清初 五彩童子執蓮罐

of baluster form, painted with four boys holding scrolling tendrils with lotus flowers, base unglazed revealing the burnt orange buff body (1) 15cm high Provenance: Private Scottish collection, Glasgow Note: Compare to a wucai ‘boys’ jar and cover, further with underglaze blue and aubergine enamel, 17th century, formerly Dr Wou Kiuan’s collection, sold at Sotheby’s London, 17 May 2023, lot 27.

£1,500-2,000

312 TURQUOISE-GROUND FAMILLE ROSE DOUBLE-GOURD WALL VASE 粉彩松石綠地花卉紋葫蘆型壁瓶

lower larger bulb painted with a large spray of chrysanthemum with foliage, the upper smaller bulb with poppies, all against a pale turquoise ground (1) 16.6cm high Provenance: Private Scottish collection, Glasgow

£400-600

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

154

313 GROUP OF THREE FAMILLE ROSE PLATES QING DYNASTY, 18TH CENTURY 清 粉彩人物及花卉紋盤（共三件）

comprising: two circular plates, one depicting an amorous couple in a garden, the other with figures working in a garden, further with underglaze blue decorated cavetto; and a notched octagonal plate painted with floral sprays and scrolls (3) largest: 24cm diameter Provenance: Private Scottish collection, Glasgow

£300-500

314 FAMILLE ROSE ‘EUROPEAN SUBJECT’ PLATE QING DYNASTY, QIANLONG PERIOD

清乾隆 外銷粉彩神話人物埃西斯及加拉蒂亞圖盤

painted in the central medallion with an amorous couple, Acis and Galatea, the rim with puce panels reserved on a grisaille cell diaper (1) 22.5cm diameter Provenance: Private Scottish collection, Glasgow Note: Observes by Cohen and Cohen in A Game of Bowls, 2014, pl.

69, pg. 100, the subject matter on this plate was originally thought to be Cupid and Psyche, it is now believed that this represents Acis and Galatea, though it could really be any excuse to show an amorous, partially clad couple embracing. The image is derived from a print by Edmé Jeaurat after a painting by Charles de la Fosse. The original image included Polyphemus who is omitted on the porcelain. There is another version with the image reversed and a Dutch ship in the distance, reminiscent of the ‘sailor’s farewell’.

Galatea was a sea-nymph, the daughter of Nereus and Doris.

She was in love with Acis, son of Pan but was ardently pursued by the Cyclops Polyphemus whom Galatea rejected. When the Cyclops discovered the couple together he crushed Acis under a rock. According to Ovid Galatea changed Acis into a river that bore his name. She made up with Polyphemus and bore him a son Galas, ancestor of the Gauls (Galatians). The harmonious scene portrayed here is the moment before an act of extreme violence and tragic loss.

£200-300

155

315 GROUP OF SEVEN FAMILLE ROSE SAUCERS AND CUPS QING DYNASTY, 18TH CENTURY

清 各色外銷粉彩花鳥紋杯及盞（共七件）

comprising: three sets of cups and saucers, and a foliated cup; all decorated with flora and some further with birds (7) largest saucer: 12.1cm diameter Provenance: Private Scottish collection, Glasgow

£300-500

316 SET OF TWO ‘PSEUDOTOBACCO LEAF’ CUP AND SAUCER QING DYNASTY, QIANLONG PERIOD

清乾隆 粉彩菸葉紋杯帶盞

similarly decorated with hibiscus flowers, cut fruit and tobacco leaves in brightly coloured enamels and gilt, with a display stand (2) diameters: 13.1cm and 8.3cm Provenance: Private Scottish collection, Glasgow

£300-500

317 EXPORT VERTE-IMARI CHARGER QING DYNASTY, KANGXI PERIOD 清康熙 五彩描金花卉紋花口大盤

of lobed form with foliated mouth rim, decorated in the central medallion with eight auspicious symbols borne on ribbons enclosing a chrysanthemumform rosette, the cavetto with panels decorated with flowers and rockwork alternating with chrysanthemum roundels (1) 36.1cm diameter Provenance: Private Scottish collection, Glasgow

£500-700

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

156

318 RED-AND-GREEN-ENAMELLED ‘PHOENIX’ SQUARE-SECTIONED GOURD-SHAPED VASE JIAJING MARK, 19TH-20TH CENTURY

十九至二十世紀 嘉靖款 紅綠彩鳳凰穿花紋葫蘆瓶

of double-gourd form, the lower body square-sectioned with each side painted with a phoenix in tendrils below a band of ruyi-head clouds around the shoulder, the upper gourd body further decorated with lotus in tendrils, the base inscribed with a six-character Wanli mark in underglaze blue (1) 23.5cm high

£300-500

319 FAMILLE ROSE ‘HUNDRED BATS’ CHARGER GUANGXU MARK, 19TH-20TH CENTURY 十九至二十世紀 光緒款 粉彩百蝠紋大盤

painted with iron-red bats in flight amongst stylised ruyi-head clouds in shades of blue, yellow, and pink enamels, all within a gilt band below the rim, the underside similarly decorated, the base inscribed with a six-character Guangxu mark (1) 33.6cm diameter

£300-500

320 YELLOW-GROUND FAMILLE ROSE ‘LONGEVITY’ BOWL GUANGXU MARK, 19TH-20TH CENTURY

十九至二十世紀 光緒款 粉彩黃地五蝠捧壽紋碗

painted with five bats in flight amongst branches issuing peaches and foliage with roundels of shou character, all against a bright yellow ground, the base inscribed with a six-character Guangxu mark in iron red (1) 22cm diameter

£300-500

157

321 PAIR OF YELLOW-GROUND FAMILLE ROSE ‘FLOWER’ CUPS QING DYNASTY, 19TH CENTURY

清 永慶長春底款 黃地粉彩花卉紋仰鐘杯（一對）

each of reversed bell shape supported on short foot, the exterior painted with four large flower heads against yellow-enamelled ground, the base inscribed with a four-character mark reading ‘yong qing chang chun (eternal joy and everlasting spring)’ in iron red (２) 5cm high each

£300-500

322

323

LARGE FAMILLE ROSE ‘PHOENIX’ BOWL

FAMILLE ROSE ‘DRAGON’ PLATE

QING DYNASTY, XUANTONG MARK AND OF THE PERIOD

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

the exterior painted with four phoenixes in flight between flowers, the base inscribed with a six-character Xuantong mark in ink (1) 26.7cm diameter

painted with gilded iron-red, green and pink dragons in flight chasing a flaming pearl in the centre amongst ruyi-head clouds and flames, the base inscribed with a six-character Guangxu mark in iron-red (1)

Provenance: Formerly in a private English collection

24cm diameter

£300-500

£300-500

清宣統款及年代 粉彩鳳凰穿花紋大碗

清光緒款及年代 粉彩三龍搶珠紋盤

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

158

324 SUSANCAI-GLAZED ‘EIGHT IMMORTALS’ VASE KANGXI MARK BUT LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 康熙款 素三彩八仙渡海瓶 帶木座

the bulbous body adorned with eight Daoist immortals riding on ruyi-head clouds crossing wavy ocean, all between a band of ruyi-head clouds and lappet on the shoulder and the neck, the base carved with a six-character Kangxi mark, with a wooden stand (2) 36.5cm high

£400-600

325 PAIR OF GRISAILLEDECORATED YELLOWGROUND ‘DRAGON’ LIDDED VASES QING DYNASTY, 19TH CENTURY

清 黃地墨彩穿花龍紋蓋瓶（共兩件）

each baluster body rising to a wide shoulder and terminating to a straight neck, the exterior decorated with two four-clawed dragons in red and brown colour amongst chrysanthemum flowers and leaves, the scales of their sinuous bodies highlighted with gilding, all between bands of flowers in foliated cartouches against a turquoise ground, the dome cover similarly decorated with a gilt finial (２) heights: 40cm and 40.5cm

£500-700

159

326 RUBY-RED-GROUND BLUE-ENAMELLED ‘CRANE’ BOWL QIANLONG MARK, 19TH-20TH CENTURY

十九至二十世紀 乾隆款 胭脂紅地藍彩雲鶴紋碗

the deep rounded sides raised on a short ring foot, painted with six cranes in flight in various directions amongst slender ruyi-head clouds, all against a maroon coloured ground, the base inscribed with a six-character Qianlong mark in underglaze blue (1) 12.3cm diameter Provenance: Formerly in a private English collection

£3,000-5,000

327 TWO FAMILLE ROSE SCHOLAR’S PIECES 20TH CENTURY

二十世紀 粉彩壽字及仿木紋扳指 及 乾隆款 墨彩粉地書卷式筆擱

one porcelain ring painting on the exterior with two shou-longevity characters against a diaper ground, the interior adorned with faux-bois ground; and one grisaille-decorated famille rose scroll-form brush rest, minutely painted with mountainous landscape in the middle, the base inscribed with a four-character apocryphal Qianlong mark in iron red against turquoise ground (2) the ring: 3.4cm diameter; the brush rest: 10.5cm wide

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

160

328 FAMILLE ROSE ‘LITERATI’ JAR YONGZHENG MARK BUT 20TH CENTURY 二十世紀 雍正款 粉彩文人持卷賞荷圖小罐

the bulbous body painted with a literati holding a scroll under a large pine tree, accompanied by one attendant bringing over a qin musical instrument and the other squatting beside a large basin with lotus flowers, the foreground with a playful dog, the recessed base inscribed with an apocryphal Yongzheng mark within double circles in underglaze blue (1) 8cm high

£300-500

329 FAMILLE ROSE ‘GU’ VASE QING DYNASTY, 18TH CENTURY 清 粉彩牡丹螳螂紋觚式瓶

the body painted with a large peony flower on a branch and a praying mantis perching on a leaf (1) 21.9cm high

£300-500

161

330 FAMILLE ROSE ‘FLORAL’ BOWL QING DYNASTY, QIANLONG MARK BUT GUANGXU PERIOD

清光緒「大清乾隆年製」礬紅款 粉彩花卉紋碗 the splayed sides supported on a straight foot, the exterior painted with large pink flowerheads issuing from leafy branches, the interior covered in turquoise glaze, the base inscribed with an apocryphal six-character Qianlong mark in iron-red (1) 16.5cm diameter

£500-700

331 GROUP OF THREE FAMILLE ROSE WARES QING DYNASTY, 19TH CENTURY

清 道光款 粉彩無雙譜紋仰鐘杯、同治款 人物紋八角蓋盒 及 三星紋香插（共三件）

comprising: a cup of bell form, decorated with figures from the Wu Shuang Pu and associated poems, the base inscribed with a four-character Daoguang mark within a square panel; a hexagonal box with cover, top of the cover painted with a noble figure with his assistants, the base inscribed with a six-character Tongzhi mark within a square panel; and an incense stick holder with a moulded censer in the centre of a foliated dish, the centre with a perforation, painted on the dish with immortals (3) largest: 7.7cm high

£600-800

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

162

332 FAMILLE ROSE SQUARE-SECTIONED BRUSH POT DAOGUANG MARK

道光款 粉彩開光山水人物及仿木紋方形筆筒

each side either painted with literati or landscape scene in rectangular panels, bordered with faux-bois ground, the interior and the base covered in turquoise enamel, the base inscribed with a six-character Daoguang mark in underglaze blue (1) 10cm high

£300-500

333 GRISAILLE-DECORATED ‘VISITING FRIEND’ BRUSH POT 19TH-20TH CENTURY

十九至二十世紀 墨彩訪友圖筆筒

the cylindrical body minutely painted with a large house with two literati having tea together with an attendant standing aside, surrounding by large pine trees (1) 14.2cm high

£300-500

334 PAIR OF WUCAI ‘FISH AND FLOWER’ MALLET VASES QING DYNASTY, KANGXI MARK, 19TH CENTURY 清 康熙款 五彩魚池紋搖鈴尊（共兩件）

each of yaoling zun (hand bell vase) form, the body painted with various types of fishes swimming in lotus ponds interspersed with lotus flowers, lotus buds and conches in between, all below a band of lappet around on the upper neck, the base inscribed with an apocryphal six-character Kangxi mark within double circles in underglaze blue (2) 26.3cm high each

£500-700

163

335 YELLOW-GROUND FAMILLE ROSE ‘BUTTERFLIES AND MARRIAGE’ BOWL TONGZHI MARK, 19TH-20TH CENTURY

十九至二十世紀 同治款 黃地粉彩蝴蝶雙喜紋碗

the exterior painted with various butterflies in flight amidst ’xi’ (double-happiness for marriage) characters, all against a bright yellow ground, the base inscribed with a six-character Tongzhi mark in iron-red (1) 13.6cm diameter Provenance: Private French collection

£1,000-1,500

336 PAIR OF LARGE GREEN-GROUND FAMILLE ROSE ‘FLOWER’ JARDINIÈRE QING DYNASTY, 19TH CENTURY

清 檸檬綠地花卉紋大花盆（共兩件）

each of cylindrical form with everted rim, the exterior and the mouth rim finely painted with large flowers in tendrils, all against a lemon-green ground, the base with a drill hole (2) 39.5cm diameter

£2,000-3,000

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

164

337 FAMILLE VERTE ‘TOUHU’ BRUSH POT QING DYNASTY

清 綠彩投壺游戲紋筆筒

the subtly waisted body painted with figures within a bamboo-fenced garden watching a Han and a foreigner competing in the traditional touhu game (1) 18.4cm high Provenance: Formerly in a private English collection

£300-500

338 FAMILLE VERTE GINGER JAR QING DYNASTY 清 綠彩仕女圖罐

painted in four shaped panels with ladies alternating with bogu motifs against a diaper ground, the base with a double-circle in underglaze blue (1) 21cm high

£300-500

165

339 GREEN-GROUND FAMILLE ROSE RECTANGULAR BOX AND COVER QING DYNASTY, 19TH CENTURY

清 檸檬綠地粉彩纏枝蓮紋長方蓋盒

the flat cover painted with two bats flanking a flower head and backed by two lotus flowers, the straight sides of the box cover similarly painted with lotus and peach fruits in tendrils, the interior and the base enamelled in turquoise colour (1) 17cm wide x 7cm high x 7.5cm deep

£300-500

340 WUCAI PORCELAIN FIGURE OF A FIRST-RANK OFFICIAL LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 葉運汀造底款 五彩當朝一品蟒服官員立像

the standing official sturdily moulded and elaborately enamelled wearing a four-clawed mang-dragon official robe against a dark orange ground, with a large green ruyi-head pendant hanging in front of his chest, his hands holding an inscribed scroll reading ‘Dangchao Yipin (The first-rank official)’, his head wearing an officer’s hat and facial features minutely defined, the base with a four-character maker’s mark ‘Ye Yunding Zao’ in recessed square (1) 55cm high

£2,500-3,000

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

166

341 WUCAI ‘MULAN’ BOTTLE VASE QING DYNASTY, 19TH CENTURY 清 五彩木蘭從軍膽瓶

the bulbous body extending to an elongated neck, the body finely painted with two cavalries, one possibly the legendary folk heroine Hua Mulan from the Northern and Southern Dynasties era, the base painted with a ding-vessel mark in iron-red (1) 15cm high

£300-500

342 GROUP OF THREE FAMILLE ROSE WARES QING DYNASTY, 19TH CENTURY

清 道光款 粉彩無雙譜杯、同治款 粉彩無雙譜筆筒 及 同治款 粉彩三星筆筒

comprising: one cup painted with Chinese historical figures in Wushuangpu and inscribed with their corresponding titles, the recessed base inscribed with a six-character Daoguang mark in iron-red, 6.5cm high; one cylindrical brush pot painted with Western Han Dynasty figure Dong Xian in Wushuangpu and corresponding poem, the base inscribed with a four-character Tongzhi mark in iron red, 12cm high; and one cylindrical brush pot decorated with Sanxing deities, the base inscribed with a six-character Tongzhi mark in double squares in iron red,12.6cm high (3) heights: 6.5cm to 12.6cm

£300-500

167

343 FAMILLE ROSE ‘BUTTERFLY AND FLOWER’ SAUCER QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD 清道光款及年代 粉彩蝶戀花碟

the interior finely painted with a butterfly hovering about a flowering tree, the foliated mouth rim covered in gilt, the exterior painted four bats, the base inscribed with a six-character Daoguang mark in iron-red (1) 13.3cm diameter

£1,000-1,500

344 BLUE-GROUND FAMILLE ROSE GOURD-SHAPED WALL VASE QING DYNASTY, QIANLONG MARK, 19TH CENTURY

清 乾隆款 金彩藍地粉彩開光三陽開泰及嬰戲紋葫蘆壁瓶 the lower bulb with an oval cartouche painted with two boys at play in a garden setting against a gilt ground, the upper containing three goats, all against a gilt decorated blue ground, the base inscribed with a four-character Qianlong mark in iron-red against a turquoise ground (1) 19.7cm high

£1,000-1,500

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

168

345 WUCAI ‘FISH POND’ CHARGER WANLI MARK, 20TH CENTURY

二十世紀 萬曆款 五彩鯉魚蓮池圖大盤

the centre of the interior painted with two large carps swimming in lotus pond with butterflies hovering around, the cavetto further adorned with flowers and stylised ruyi-cloud pattern, the base inscribed with an apocryphal Wanli mark in double circles in underglaze blue (1) 33.3cm diameter

£300-500

346 YELLOW-GROUND FAMILLE ROSE ‘LONGEVITY’ BOWL QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 黃地粉彩萬壽無疆碗

the exterior painted with four roundels respectively including a Chinese character reading ‘Wan, Shou, Wu, Jiang (endless long life)’, all between a stylised wan-swastika symbol with ribbons amongst clouds and above swirling waves, the interior painted with a shou-longevity symbol encircled by five bats, the base inscribed with a six-character Guangxu mark in iron red (1) 16cm diameter

£800-1,200

347 FAMILLE ROSE ‘BOYS AT PLAY’ VASE QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 粉彩嬰戲圖瓶

finely painted with various boys playing musical instruments in a garden setting, the base inscribed with an apocryphal sixcharacter Qianlong mark in double sqaures in iron red (1) 23.5cm high

£500-700

169

348 FAMILLE ROSE ‘IMMORTAL AND PAVILLION’ CHARGER QING DYNASTY, YONGZHENG PERIOD 清雍正 粉彩海屋添籌圖大盤

finely potted and decorated on the interior with a roundel depicting three immortals and a deer standing on a cliff, as one immortal points at a pavilion amidst rolling waves, with a crane grasping arrows in its beak in flight above, the cavetto further adorned with prunus flowers on branches in cartouches between large peony flower heads in tendrils (1) 36.2cm diameter

£3,000-5,000

349 ORMOLU MOUNTED FAMILLE ROSE CRANE‑HANDLED VASE QING DYNASTY, 19TH CENTURY

清 粉彩開光人物雙鶴耳瓶 嵌鎏金銅飾底座

the bulbous body supported on a short splayed foot, the body finely painted with figures in pavilions within two square cartouches, all below two pairs of chi-dragons on the shoulder against a floral ground, the neck flanked by a pair of crane handles underneath the foliate rim, the base with ormolu gilt bronze mount in openwork (1) the vase: 41cm high; 48.5cm high including the metal base

£300-500

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

170

350 GROUP OF TEN CANTON FAMILLE ROSE PLATES AND SAUCERS QING DYNASTY, 19TH CENTURY 清 各色廣彩瓷盤（共十件）

comprising: one circular plate painted with a dragon in the central roundel; two small saucers adorned with butterflies on gilt-decorated ground; six circular plates and one diamond-shape foliate plate decorated with figures on the interior (10) widths: 10.6cm to 27.6cm Provenance: Private Scottish collection, Edinburgh.

An extensive collection of Japanese ceramics, mostly Satsuma wares, Chinese ceramics and works of art, including works on paper and textiles from the same provenance, was sold in these salerooms on 4 November 2022, lot 16, 18, 227, 239, 262, 282-283, subsequently on 15 March 2023, lot 215-240.

£300-500

351 FAMILLE ROSE LION-HANDLED VASE QING DYNASTY, 19TH CENTURY 清 粉彩開光人物雙獅耳瓶

the bulbous body supported on a short splayed foot, the body finely painted with figures in pavilions within two square cartouches, all below two pairs of chi-dragons on the shoulder against a floral ground, the neck flanked by a pair of double-lion handles underneath the foliate rim (1) 44cm high

£600-800

171

352 GILT-DECORATED BLUE AND WHITE ‘MERIA SYBILLA MERIAN’ BOTANICAL PLATE QING DYNASTY, QIANLONG PERIOD, CIRCA 1740

清乾隆 約1740年 青花描金《瑪麗亞·西碧拉·梅里安》草蟲圖盤

painted in rich blue and heightened in gilding, the centre with two caterpillars crawling across a spray of exotic flowers and a butterfly hovering over them, flowers and insects painted with exceptional detail and very well-shaded, within a decorative dark blue band and an elaborate European style strapwork border, of which gilding still visible, the reverse painted at the rim with a trellis-work diaper, the rim with a brown wash (1) 17.6cm diameter Provenance: Private collection, Norwich, England Note: This design is copied from a painting by Maria Sybilla Merian (1647-1717), a German-born engraver and painter of watercolours, who travelled extensively to the Dutch West Indies and made drawings for a book, Metamorphosis Insectorum Surinamensium, first published in Holland in 1705, then in France in 1771 as Histoire Génerale des Insectes de Surinam et de toute d’Europe. It has also been suggested that the rim border design, also derived from a European prototype and has been related to designs by Cornelis Pronk, a Dutch draughtsman working for the Dutch East India Company during this period. The origin of this composite design was discovered

by Charlotte Jacob-Hanson, “Maria Sibylla Merian: artist and naturalist,” in the Magazine Antiques, vol. 158, no. 2, August 2000, pp. 174-183.

One slightly larger blue and white dish (26cm diameter) is in the collection of the British Museum, registration number: Franks.589, which was also exhibited in the National Museum of History, Taiwan, Ancient Chinese Trade Ceramics, Taipei, 1994, Catalogue, no. 80. A pair of very similar blue and white plates in Cohen & Cohen’s collection was sold at Bonham’s New York, 24 Jan 2023, lot 55. Another pair was sold at Christie’s Amsterdam, 13 Dec 2012, lot 505 and a set of four was sold at Christie’s London, 28 Apr 1999, lot 100.

£400-600

353 CHINESE EXPORT IMARI ‘LA DAME AU WPARASOL’ PLATE QING DYNASTY, QIANLONG PERIOD 清乾隆 中國外銷伊萬里《持傘美人》盤

with the pattern in Chinese Imari colours, showing a lady standing before water birds as her attendant shades her with the parasol, the honeycomb border interrupted by lady and bird cartouches, the exterior adorned with various insects in underglaze blue glaze (1) 23cm diameter Provenance: Private collection, Norwich, England Note: According to David Howard’s ‘The Choice of the Private Trader’ (1994), Cornelis Pronk was appointed by the V.O.C. in 1734 to ‘make all designs and models to our satisfaction, of all such porcelain as will be ordered from time to time in the Indies’.

Pronk’s distinctive designs, of which ‘La Dame au Parasol’ is perhaps the best known, have appeared in the most prestigious collections of export porcelains ever since.

£500-700

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

172

354 TWO FAMILLE ROSE WARES QING DYNASTY, 19TH CENTURY

清 粉彩開光人物圖蚌式盤 及 同治款 粉彩荷塘葉形碗

one famille rose shell-formed plate with a wide foliate handle, the interior painted with figures in pavilion encircled by a band of flower and lotus pond decoration; and one leaf-formed bowl painted on the interior and exterior with lotus, leaves and grasshoppers, the base inscribed with a six-character Tongzhi mark within double squares in iron red against turquoise ground (2) widths: 27.6cm and 18.4cm Provenance: Private Scottish Collection, Moray

£300-500

355 LARGE FAMILLE ROSE ‘HISTORICAL FIGURES’ VASE QING DYNASTY, 19TH CENTURY 清 粉彩東吳孫權衣錦歸鄉圖大瓶

the elongated body elaborately painted with Eastern Han dynasty historical figures including the warlord Sun Quan (182 - 252), the founder of the Eastern Wu dynasty and one of the Three Kingdoms, and his military general Han Dang (died 227) returning to their home in glamorous dresses, all below a band of birds on branches surrounding the shoulder, the waisted neck further painted with small figures in household (1) 64.5cm high Provenance: From an estate in St Andrews, Scotland

£300-500

173

356 PAIR OF RARE BLUE AND WHITE DUTCH DECORATED CHINESE EXPORT PORCELAIN ‘HUNTING’ DISHES QING DYNASTY, YONGZHENG OR QIANLONG PERIOD, C. 1730-45

清雍正或乾隆 約1730-45 外銷瓷青花暗刻加荷蘭彩繪狩獵紋盤（共兩件）

each dish carved with floral motifs under the glaze, with two bands of blue underglaze concentric circles dividing the Dutch hunting scenes over the glaze, the exterior adorned with three carved floral patterns under glaze (2) 22cm diameter each Note: The design is taken from a set of nine prints by Antonio Tempesta (1555-1630) that were published through the publisher C.J. Visscher in Amsterdam in 1631 under the title Animalium Quadrupedum Venatus in Usum Pictorum. Antonio Tempesta (1555 – 5 August 1630) was an Italian painter and engraver, a point of connection between Baroque Rome and the culture of Antwerp. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by “Contra-Maniera” or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576, and was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He is now best known as a printmaker in etching and engraving. Among his followers was Marzio di Colantonio.

He was part of the large set of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio.

His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Netherlands, which may have led to his facility with landscape painting.

For a pair of dishes of this design and the same shape with same Chinese decoration see: The Watney Collection of Chinese Porcelain Decorated in Holland and England, Bonham’s London, 7th November 2003, page 27, lot 39.

£1,000-1,500

357 PAIR OF FAMILLE ROSE ‘LADY AND MOON’ PLATES QING DYNASTY, YONGZHENG PERIOD

清雍正 粉彩美人賞月圖折沿盤 （共兩件） each finely painted on the centre with a well-dressed lady and her attendant, accompanied by a male attendant holding a lantern, appreciating the full moon in a garden setting, the everted rim further adorned with large blossoming peony flowers on branches (2) 23cm diameter each

£500-700

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

174

PRIVATE CHINESE EXPORT CERAMIC COLLECTION (LOTS 358-362)

358 PAIR OF FAMILLE ROSE ‘LADY’ WALL VASES QING DYNASTY, JIAQING PERIOD 清 粉彩仕女抱瓶壁瓶一對

each modelled as a seated lady wearing brightly coloured robes decorated with blossoming flowers and ruyi-head clouds, holding a baluster vase painted with flower heads on either right or left shoulder, both her lower legs and a tiny bound foot are revealed from the peated skirt (2) heights: 18.5cm and 19.5cm Provenance: Private collection, London; acquired from Galerie Nicolas Fournery, Paris, each vase with a circular label from the gallery and hand-written number ‘D234’ Note: A pair of closely comparable famille rose figural wall vases, with almost identical model and colour palette but with different decorated patterns on the cloth, dated to the late 18th to early 19th century, was sold at Christie’s London, 14 November 2022, lot 532.

£600-800

359 BLUE AND WHITE ‘CHRYSANTHEMUM’ BOWL QING DYNASTY, KANGXI PERIOD 清康熙 花押款 青花花卉紋菊瓣碗

the deep fluted sides supported on a short foot and rising steeply to a scalloped rim, the exterior moulded with rows of petals, further decorated with plum and chrysanthemum blossoms in cartouches, the centre of the interior adorned with flowers issuing from rocks, the inner rim painted with interlocking coin patterns, the base painted with a floral mark (1) 20.7cm diameter Provenance: Private collection, London

£500-700

175

360 BLUE AND WHITE ‘MERMAID’ LIDDED TEAPOT QING DYNASTY, KANGXI PERIOD, CIRCA 1710 清康熙 約1710年 青花美人魚圖方壺

of quadrangular ovoid form, attached with a square section handle and straight spout, either side of the body finely painted with a mermaid among reeds with a large fish rising in a pond, the square lid adorned with flower branches and topped with finial (1) 19cm wide Provenance: Private collection, London Note: The decoration, originated from a European engraving of 1676 by S. Le Clerc, illustrated the story of Dirce - one of Venus’s less successful rivals who, as a punishment for rivalling her in beauty, was turned into a mermaid and made to fall in love with a carp.

According to David S. Howard’s research, “a small number of these teapots are known and the design was clearly specially commissioned - possibly even including the shape of the teapot to accommodate a rectangular engraving.”

A very similar example is illustrated in his publication The Choice of the Private Trader: Private Market in Chinese Export Porcelain Illustrated from the Hodroff Collection, published by Zwemmer, London, 1994, no. 154, p. 145. Another example in the collection of Groninger Museum, the Netherlands, is illustrated in La Porcelaine des Compagnies des Indes à Décor Occidental, by François et Nicole Hervouët, Flammarison, Paris, 1986, p. 309.

The engraving by S. Le Clerc is illustrated in Metamorphoses d’Ovide en Rondeaux, by Isaac de Benserade, L’Imprimerie Royale, Paris, 1676, p.83. (see image 1)

£1,200-1,800 Image 1

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

176

361 TWO FAMILLE ROSE EQUESTRIAN FIGURES OF WANG ZHAOJUN QING DYNASTY, QIANLONG PERIOD, 1736-1795 清乾隆 粉彩王昭君出塞塑像（共兩件）

each finely moulded with the lady wearing an elaborate headdress and colourful costume, playing a string instrument pipa on a piebald horse, all upon a rectangular base (2) heights: 22.1cm and 22.4cm Provenance: Private collection, London; acquired from Galerie Nicolas Fournery, Paris, one with a circular label from the gallery and hand-written number ‘D311’ on the underbelly of the horse Note: Wang Zhaojun, also known as Wang Qiang, was known as one of the Four Beauties of ancient China.

She was sent by the Han dynasty Emperor Yuan to marry the Xiongnu nomad chieftain Huhanye in an attempt to promote peace and stability between the two courts. The present figures depict an occurrence in Wang’s journey north across the steppe, when the beauty of her voice caused a flock of geese to forget to flap their wings and fall to the ground; hence she is also known as ‘falling wild goose’. Her image, holding a pipa whilst riding on a horse (see image 1) similar to the present examples, was depicted on a woodblock print book Li Chao Ming Yuan Shi Ci 歷朝名媛詩詞 published in the thirty-eighth year of Qianlong reign, corresponding to 1773AD. A closely comparable example of similar design and colour palette was sold at the Guest & Gray Gallery, London, Ref: Y913.

£500-700

362 RARE BLUE AND WHITE ‘WESTERN TRIBUTE BEARERS WITH CAMEL’ BOWL QING DYNASTY, 18TH CENTURY 清 青花八蠻進貢駱駝圖碗

the exterior decorated with a procession of eight tribute bearers and a camel bearing tribute approaching a walled city, all set within a landscape of rocky outcrops and pine trees, with maritime fortresses in the background, the interior painted with a four-clawed dragon leaping amidst clouds as it reaches for a flaming pearl within a central medallion, the inside border adorned with a band of interlocking coin pattern with swastikas, the base inscribed with a square mark within double circles (1) 19.6cm diameter Provenance: Private collection, London; acquired from a private English collection in Gloucester and originally via the same family in Yorkshire, the bowl has been in the family at least 150 years (by repute) Note: A closely comparable blue and white bowl with similar tribute bearers and decoration, dated to the Qing dynasty, 17th/18th century, was sold at Sotheby’s New York, 27 September 2022, lot 631; another similar Qing dynasty bowl was offered at Bonhams London, 6 November 2008, lot 24.

£1,000-1,500

177

363 QIANJIANG ENAMELLED ‘CRICKET’ TEAPOT AND COVER GUANGXU MARK, 19TH-20TH CENTURY

十九至二十世紀 光緒底款‘任煥章’書款 淺絳彩詩文茶壺

the foliated body supported on four short feet, one side finely painted with a cricket perching on a leafy branch, the upper left inscribed with ‘Ren Huan Zhang’ mark and dated to the summer of Yi Hai year, the reverse further inscribed with archaistic characters, flanked with a curvy spout and rectangular handle, the base inscribed with a four-character Guangxu mark in iron-red (1) 17cm wide

£300-500

364

365

TWO FAMILLE ROSE ‘ARHAT’ OCTAGONAL PORCELAIN PLAQUES

FAMILLE ROSE ‘BATTLE OF CAISHI’ PORCELAIN PLAQUE

LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 粉彩羅漢圖八角形瓷板 木框（共兩件）

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 粉彩朱元璋採石磯之戰圖瓷板

each plaque of octagonal form and further raised with foliated cartouche, respectively painted with an arhat seated on a carpet accompanied with another arhat either with a lion-dog or playing with flying crane, the scenes set in a studio and outdoors, with wooden frame (2)

finely painted with a battle scene of Zhu Yuanzhang, later the Emperor Taizu of Ming Dynasty, attacking the Yuan dynasty riverside military fortress Caishiji at Maan Mountain in Anhui Provenance, which happened in June 1355AD, inscribed upper right with a four-character maker’s mark ‘Xiao Lin Li Zhi’ (1)

the plaques: 24cm wide each; 29.3cm wide with frames

the plaque: 42.2cm x 31.7cm; 48cm x 37cm with frame

£500-700

Provenance: Private Scottish collection, Stirlingshire

£400-600

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

178

366 FAMILLE ROSE ‘IMMORTAL’ PORCELAIN PLAQUE ATTRIBUTED TO WANG XIAOTANG (1885-1924) 汪曉棠款 粉彩白髮仙人圖瓷板 印文: 汪氏、曉棠

brightly painted with a white-haired immortal with his attendant holding his staff and double-gourd wine vessel by a riverside bank, inscribed upper right with poem, signed, sealed and dated to the winter of Ji Wei year (1) 39cm x 26cm

£800-1,200

367 LARGE FAMILLE ROSE ‘LANDSCAPE’ CHARGER QING DYNASTY, QIANLONG MARK, 19TH CENTURY 清 乾隆款 粉彩山水人物圖大盤

finely painted with a mountainous landscape with small figures, houses and a meandering bridge, the base inscribed with a six-character Qianlong mark in underglaze blue (1) 47.3cm diameter Provenance: Private English collection

£500-700

179

368 LARGE FAMILLE ROSE ‘BOYS AT PLAY’ CHARGER QING DYNASTY, QIANLONG MARK, 19TH CENTURY 清 乾隆款 粉彩嬰戲圖大盤

finely painted with various boys playing and resting in a garden setting, the base inscribed with a six-character Qianlong mark in underglaze blue (1) 47cm diameter Provenance: Private English collection

£500-700

369 GRISAILLE-DECORATED ‘PINE AND DEER’ SQUARE PORCELAIN PLAQUE QING DYNASTY

清 墨彩老松靈鹿委角方形瓷板

of canted square form, painted in grisaille with a recumbent deer resting under an old pine tree, inscribed upper right and dated to the autumn of Jia Zi year (1) 18.7cm wide

£300-500

370 YIXING STONEWARE ‘PRUNUS’ ALMS BOWL

「大鵬」刻款、 「陽羨楊彭年製」底款 宜興紫砂梅花題詩紋缽式爐

potted from a short countersunk foot rising to steep sides, broad shoulders and inverted mouth, decorated on one side with etched prunus branch, reverse carved with a poem and signed ‘Da Peng’, the base with an impressed mark ‘Made by Yang Pengnian from Yangxian’ (1) 20.4cm wide Provenance: Acquired from J.A.N. Fine Art, 4 May 2023, with a receipt stating this piece is dated to the Qing dynasty, 17th-18th century

£400-600

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

180

PRIVATE ENGLISH COLLECTION, BRIGHTON (370-373)

371 FAMILLE ROSE ‘MOTHER AND BABE’ LIDDED JAR DAI HUANZHAO MARK, 19TH-20TH CENTURY

十九至二十世紀 戴煥昭款 粉彩母子圖蓋罐 帶木座

the bulbous body painted with a mother and her attendant holding a babe in a studio by the window, inscribed on the reverse, signed and dated to the winter of Jia Chen year, with a fitted wooden stand (1) 33cm high Provenance: Private English collection, Brighton; acquired from Friendship Trading Company, Hong Kong（興華工藝古玩行）on 5th November, 1994, with an original receipt stated the piece is dated to the Qing dynasty, Tongzhi period (1862-74) and over one hundred years old

£400-600

372 LARGE FAMILLE ROSE ‘LADIES’ VASE HONG BUYU MARK, 20TH CENTURY

二十世紀 洪步余款 粉彩十里揚州時裝人物及花卉圖大 瓶 帶木座

the baluster form, one side painted with a group of ladies wearing the most fashionable costumes of the period, the reverse further painted with various flowers, inscribed and signed, the neck flanked with a pair of stylised ruyihead handles, with a wooden stand (1) 57.5cm high Provenance: Private English collection, Brighton; acquired from Ka Po Curios & Arts, Hong Kong（嘉寶古玩工藝品）on 10th March, 1995, with an original receipt stated the piece about 70 to 80 years old

£500-700

181

373 FAMILLE ROSE ‘MOTHER AND BABE’ HAT STAND YONG SENXIANG MARK, 20TH CENTURY

二十世紀 永森祥寫款‘景鎮老街口 徐雲青寫’底款 粉彩連生貴子圖帽筒 帶木座

the cylindrical body painted with a mother breast-feeding a babe, accompanied by her attendant and two boys at play, inscribed on the top with title, signed and dated to the summer of Yi Mao year, the base with a stamped mark reading ‘Jingzhen Laojiekou Xu Yunqing Xie (Jingdezhen old street, written by Xu Yunqing)’, with a fitted wooden stand (1) 28.3cm high Provenance: Private English collection, Brighton; acquired from Friendship Trading Company, Hong Kong（興華工藝古玩行）on 5th June, 2001, with an original receipt stated the piece about 70 years old

£400-600

374 LARGE FAMILLE ROSE ‘FASHION LADIES’ HANDLED VASE HONG BUYU MARK, 20TH CENTURY

二十世紀 洪步余款 粉彩十里揚州時裝人物圖大瓶 帶木座

the baluster form, one side painted with a group of ladies wearing the most fashionable costumes of the period, inscribed on the upper right and the reverse and signed, the neck flanked with a pair of stylised key-fret handles, with a fitted wooden stand (1) 57cm high Provenance: Private English collection, Brighton; acquired from Friendship Trading Company, Hong Kong（興華工藝古玩行）on 1st July, 1995, with an original receipt stated the piece about 80 years old

£500-700

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

182

PRIVATE SCOTTISH COLLECTION, PAXTON HOUSE (LOTS 375-381)

Image of Paxton House

375 LARGE BRONZE VASE XUANDE MARK BUT QING DYNASTY, 18TH-19TH CENTURY 清 宣德款 銅鑄撇口大瓶

heavily and sturdily cast, the bulbous body elegantly extending to a wide shoulder surmounted with waisted neck, terminating to an everted rim, the base cast with a six-character Xuande mark in a recessed rectangle (1) 29.8cm high; 7.82kg Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

Paxton House is situated on the banks of the River Tweed, near Berwickupon-Tweed. Designed by John and James Adam in 1758, it is perhaps the finest example of an eighteenth-century Palladian country house in Britain and contains a pre-eminent collection of Chippendale furniture. In 1811, the Edinburgh architect Robert Reid added the largest purpose-built picture gallery in a Scottish country house.

£300-500

376 CLOISONNÉ ENAMEL ‘ARCHAISTIC’ BALUSTER VASE TIANLI MARK, LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 天利款 銅胎掐絲琺瑯仿古饕餮紋瓶

the body vividly decorated with a pink-ground band around the shoulder containing six archaistic taotie masks, the body and the neck further with six cicada lappets with stylised taotie heads against light- and dark-blue ground, the base cast with a two-character ‘Tian Li’ mark (1) 31.5cm high; 1580g Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

See provenance details with lot 375.

£300-500

183

377 WUCAI ‘FLOWER’ JAR TRANSITIONAL PERIOD, 17TH CENTURY 過渡期 五彩開光花卉紋罐

the body painted with large red peony and yellow chrysanthemum flowers in three interlocking foliate cartouches, all below a band of flowers around the mouth (1) 14.7cm high Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

See provenance details with lot 375.

£300-500

378 LARGE BLUE AND WHITE JAR LATE MING TO QING DYNASTY, 17TH CENTURY 明末清初 青花纏枝花卉紋大罐

the bulbous body surmounted with a short neck and slightly splayed mouth rim, the body freely painted with flower heads in tendrils (1) 36.2cm high Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

See provenance details with lot 375.

£300-500

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

184

379 ROCK CRYSTAL TRIPOD CENSER WITH COVER LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 水晶雕獅耳銜環三足蓋爐 帶木座

the censer raised on three cabriole feet, the mouth applied with a pair of dragon head handles with suspending rings, the cover carved en suite with three mask handles with rings below a crouching lion dog finial, on a reticulatedly carved bespoke stand (1) 15cm high Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

See provenance details with lot 375.

£800-1,200

380 GI-LACQUER DOCUMENT BOX, RYOSHIBAKO MEIJI PERIOD

明治 金漆蒔絵料紙箱

the cover and sides decorated in gold and silver on a dense nashiji ground with various blossoming flowers (1) 41.6cm x 14.5cm x 34cm Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 19061912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

See provenance details with lot 375.

£300-500

185

381 COLLECTION OF NINGYO DOLLS AND ACCESSORIES MEIJI PERIOD

明治 雛祭人形偶飾一組

comprising: an Emperor and Empress, two musicians and singer, two ministers and a prince, together with six figures of bejins and geishas, all in traditional dress with miniature lacquer screens, furniture and accessories (qty) the dolls: 9cm to34cm high Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.

See provenance details with lot 375.

Note: Hina-matsuri, or Doll’s Day, takes place on 3rd March. The Japanese custom of displaying dolls began in the Heian period, with the belief that they had the ability to contain bad spirits. Dolls made of straw were kept in the house and then sent downriver taking any bad spirits with them. By the Edo and Meiji periods, this custom had evolved into a much more elaborate tradition of collecting dolls dressed in traditional Heian costumes, miniature furniture and objects related to the Imperial court. These would be displayed in strictly structured tiers illustrating the hierarchy of court officials, attendants and entertainers all under the gaze of the Emperor and Empress who occupied the top tier. In the 19th century collecting hina-ningyo became popular in the West with the opening of trade with Japan.

£800-1,200

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

186

JAPANESE ART 382 LACQUERED PORTABLE SHRINE OF AMITABHA, ZUSHI EDO TO MEJI PERIOD

江戶至明治 木製金漆阿彌陀佛龕

the black lacquered oval case with two-panel doors opening to the gilt-finished interior revealing a standing Buddha supported on a lotus flower rising from a rock-like plinth (1) 35.5cm high Provenance: Private Scottish collection, Edinburgh

£300-500

383

384

BRONZE FIGURE OF A MALE SHINTO DEITY

BRONZE FIGURE OF KANNON BOSATSU

MEIJI PERIOD OR LATER

MEIJI PERIOD

the tenjin cast seated with legs folded, holding a table in right hand, represented as a court nobleman with tall cap and high-necked jacket, with an oval wooden stand (1) 32cm high; 3883g

heavily cast with the Avalokiteshvara standing upright holding a scroll in the left hand, wearing a long heavy robe draping naturally, adorned with festoon necklaces draping across the body, face with downcast eyes and serene expression, high chignon covered by head scarf (1)

Provenance: Private Scottish collection, Edinburgh

44cm high; 6500g

£300-500

Provenance: Private Scottish collection, Edinburgh

明治或以後 銅鑄神道天神座像

明治 銅鑄持卷觀音立像

£500-700

187

385 INLAID-IRON TESTUBIN (TEA KETTLE) WITH SWALLOW AND REEDS MEIJI PERIOD

明治 龍紋堂造刻款 錯金銀秋雁蘆荻圖鑄鐵壺

cast in iron and of slightly tapered cylindrical form with a short spout, the body decorated in silver and gold nunomezogan with flying swallows and reeds, the upper edge and lower waistline presented with an erosion design and rocky lines, the handle adorned with a pair of swallows in silver, the bronze cover finished with a flower-bud finial and signed on the underside Ryubundo zo (1) 16.5cm wide; 1350g Provenance: Private English collection, Perthshire Note: Ryubundo is one of the leading studios in the Japanese Metalware industry. With many classic and significant masterpieces passing down through generations, Ryubundo kettles are produced with the highest standard of craftsmanship, and with precious materials. From the founder of the studio, Shiho Ryubun (1735-1798), every successive director of the studio Ryubundo were talented not only in metalworking, but also in painting, calligraphy, and poetry. Therefore, the aristocratic, literatic tastes are the main features of Ryubundo tetsubin. From the middle of the Edo Period (1603-1868) when tea culture was popular everywhere in Japan, the development of Ryubundo reached a boom, and this boom continued to the latter Meiji Period (1868~1912). The studio was mentioned in the ironic novel by the famous Japanese writer Natsume Soseki, I Am a Cat. The sentence writes “those people living a luxurious life would lose their sleep if they could not hear the sound made by the lid of Ryubundo iron kettles when water is boiling.”

A closely comparable Ryubundo iron testubin of similar form and technique, but with butterfly decoration, was sold at Bonhams New York, 15 March 2017, lot 6300.

£1,000-1,500

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

188

386 SUZUKI GENGENSAI (1891-1950) HANGING FLOWER BASKET, CIRCA 1923-1950 約1923-50 鈴木玩々斎造 紫竹掛花籃 共箱

dyed timber bamboo, rattan; mat plaiting, twining, free-style plaiting, wrapping, knotting; facetted and dyed bamboo otoshi (water holder); signed on the reverse under the hanging loop Gengensai tsukuru (Made by Gengensai); seal: Gengensai; with a wood tomobako storage box titled and signed Karamono utsushi henbari mimitsuki kakebanakago Naniwa Gengensai tsukuru (Chinese-style flower basket with small handles, in the shape of a pilgrim bottle with bombé sides, made by Gengensai of Osaka) (1) 20.4cm x 16cm x 12.1cm Note: Suzuki Gengensai was a pupil of Yamashita Kochikusai.

In 1913 he was independent and he was named “Gengensai” in 1914. In 1923 he changed his name to Gengensai, as in the signature to this lot. He showed his work frequently at exhibitions in the Osaka area.

£600-800

387 SUEMURA SHOBUN (1917-2000) BAMBOO HANGING FLOWER BASKET, SHOWA PERIOD OR HEISEI PERIOD, SECOND HALF OF THE 20TH CENTURY

昭和或平成 末村笙文 紫竹編掛籠花入 共箱 madake (timber bamboo); tobi-gozame-ami (‘skipping’ mat plaiting), twining, wrapping, fitted with a bamboo hanging loop; signed Shobun; with lacquered bamboo otoshi (water container), with a titled wood tomobako storage box (2) 20.4cm x 13.4cm x 8.6cm

£600-800

388 CLOISONNÉ ENAMEL VASE MEIJI PERIOD, BY OTA JIN’NOE (1858-1907) 明治「太田造」款 銅胎掐絲琺瑯鴛鴦菊紋瓶

of oval form, decorated with a pair of mandarin ducks on water with a bunch of chrysanthemums growing on bamboo sticks against a maroon ground, silver rims, the base signed ‘Ota zo’ (1) 24.4cm high; 755g Provenance: Private Scottish collection, Glasgow

£300-500

189

389 NAMIKAWA YASUYUKI (1845-1927) FINE CLOISONNÉ ENAMEL VASE AND COVER, MEIJI PERIOD

明治「京都並河」款 並河靖之（1845-1927）作坊製 銅胎掐絲琺瑯菊紋蓋瓶

intricately worked in colourful enamel and silver and gold wire with scattered chrysanthemums against a simulated pale yellow drip glaze over a jet-black ground, the cover similarly decorated and surmounted by a gilt chrysanthemum bud finial, the base signed with chiselled characters Kyoto Namikawa on a silver tablet, with bespoke wooden stand (1) 11.7cm high; 126g Provenance: Private Scottish collection, acquired in the UK art market in the early 1980s.

Note: Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his cloisonné business in Kyoto in 1873 and by the 1880s was successful enough to build, and then extend and upgrade, a large compound that eventually included workshops housing more than 20 employees. Having won countless medals at national and international exhibitions, his works were sought after by the national and international collectors during his lifetime and became even more highly collectable thereafter.

A comparable cloisonné enamel vase and cover, by the workshop of Namikawa Yasuyuki, with a similar design of simulated drips, albeit in celadon colour, and chrysanthemums, was sold at Bonham’s New York, 19 March 2013, lot 2406. Also compare to a jar and cover by the same workshop, note the similarity of the wooden base, which might have been original, sold at Christie’s New York, 18 Mar 2014, lot 555.

£2,500-3,500

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

190

390 TAKUMA KAJIWARA (1876 - 1960) PORTRAIT OF BARON MATSUDAIRA, DATED 1904 1904年 梶原琢磨 松平男爵坐像 相片 木框

with impressed studio mark ‘Kajiwara Studio, 810 Olive St. St. Louis’, red hanko stamp, and hand signed and dated 1904 in ink (1) 15.2cm x 9.4cm Provenance: Private English collection, Devon Note: This photography is recently discovered and identified as the earliestknown St. Louis studio portrait by Takuma Kajiwara of Baron Matsudaira.

Takuma Kajiwara (1876-1960) was a renowned St. Louis photographer known as ‘one of the seven greatest photographers in the United States’. Baron Matsudaira was vice-president of the Japan exhibits at the St. Louis Purchasing Exhibition in 1904 (he also acted in this capacity at the world-famous JapanBritish Exhibition of 1910), and this would have been taken for that occasion. A similar pose by him, but wearing a military uniform can be found in ‘Handbook of the Japan and Japanese Exhibits at the World’s Fair, St. Louis (1904)’, by Hajime Hoshi. Takuma Kajiwara was a photographer and artist who emigrated to America and was famed as a society photographer and painter. Later in his career he moved to New York.

“Portrait photography should have dignity. It is not like selling neckties.”— Kajiwara, 1936 [1] [1] “St. Louis Losing Kajiwara Because He Finds After 31 Years It Is Poor Soil for His Art,” St. Louis Star-Times, February 7, 1906, p. 1

£300-500

391 RYUSHO YAMAMURA (CA. 1858) MEIJI PERIOD

明治 山村柳祥（約1858）西洋人物著和服圖 立軸 （共三幅）

three ink and colour on silk scrolls, two depicting Western ladies and one with a man dressed in kimono, signed ‘Ryusho Yamamura’ (3) 92cm x 39cm each Note: Little is known about the Japanese artist Ryosho Yamamura. His distinctive Western-style painting is a legacy from his master Goseda Hōryū (1827-1892), who was one of the pioneer Western-style painters in Japan who was active from the end of the Edo period to the beginning of the Meiji period. Yamamura’s scroll paintings, similarly depicting westerners dressed in kimono, were exhibited in the ‘発見された日本の風景 展’ (Discovering Japanese Landscape Exhibition) on 11 Feb 2023 to 4 Sep 2023 at the Nagano Prefectural Art Museum.

£300-500

191

392 LONG SCROLL GILT EMBOSSED LEATHER PAPER, KINKARAKAWAKAMI,

BY ROTTMANN STROME AND CO MEIJI PERIOD, 1884-1890

明治 約1884-1890年‘ロットマン ストロム社’印 金唐革紙 扶桑花紋 一卷

leather, gilt decorated with hibiscus flowers in tendrils, a rectangular label on reverse stamped ‘ロットマン ス トロム社 (Rottmann Strome and Co.)’ with Mount Fuji image (1) 648cm x 88cm

Provenance: Private English collection Note: Kinkarakawakami (gilt foreign leather paper) was the Japanese name for gold embossed leather paper.

Embossed leather kinkarakawa (gilt foreign leather) was introduced to Japan by Dutch traders in the seventeenth century and the fashion for tobacco pouches and other personal effects grew amongst the Samuri class. This led to a widespread interest in this luxury product. Japanese craftspeople began to experiment, recreating the leather effect on paper. This also allowed the items to be used in temples as it was vegetarian. It wasn’t until the Meiji Restoration period (1868-1912) that the technique was perfected and exported. It was popular as a wall covering in Western-style houses in Japan, but as an exported product it led to the establishment of a prosperous industry that was overseen by the Japanese government. One company that had a lucrative contract to export these products was Rottmann Strome and Co., a well-known British company who were contractually aligned with the Japanese Government from 1884 to 1890.

By the 1880s Japanese leather wallpapers displaying international designs were finding an assured market in the West. Historians credit Alexander Rottmann with its growth. He began by engaging Japanese artisans in small shops and ended by establishing a large enterprise under the auspices of the Japanese government. At the Imperial Printing Works in Yokohama, where bank notes, primers and state documents were printed, Rottmann gained the assistance of government officials in setting up a section for the manufacture of embossed leather hangings in styles and in a format (rolls) suited to the Western market. He organized the house of Rottmann, Strome and Co., Yokohama and London, in 1883 with exclusive rights to export leathers. Some displayed Japanese elements of design, others imitated Renaissance leathers. A number were designed by well-known British artists such as Arthur Silver and Harry Napper. As Western demand increased the government opened a Tokyo factory. About 1890 both operations were relinquished by the government and purchased by Rottmann, Strome and Kobayishi Beiki as the Yamaji Hekishi Shawan Paper Co.[1] Rottmann’s papers were “non-arsenical, damp-proof, washable . . . more durable than any other material of a similar character.”[2] In 1884 the company obtained a gold medal at the London International Health Exhibition and in 1885 a silver medal at the Antwerp Exhibition.[3] The firm’s 1886 statement that it was the “original manufacturer of the highly embossed Japanese Wall Hangings which require no after treatment.”[4] [1] Leung, Felicity L. 1988. “Japanese Wallpaper in Canada, 1880s-1930s”. Material Culture Review 28 (June).

[2] The Decorator and Furnisher, September 1885, p. 189.

[3] Sugden and Edmondson, History of English Wallpaper, p. 227 [4] The Decorator and Furnisher, May 1886.

£1,000-1,500

393

394

SECTION OF GILT EMBOSSED LEATHER PAPER, KINKARAKAWAKAMI, WITH ANGELS AND VEGITATIONS

LONG SCROLL GILT EMBOSSED LEATHER PAPER, KINKARAKAWAKAMI, WITH RED FLOWERS

MEIJI PERIOD, 19TH CENTURY

MEIJI PERIOD, 19TH CENTURY

leather, gilt decorated with angels, leafy flowers and fruits in tendrils (1)

leather, gilt decorated with red flowers in tendrils (1)

明治 金唐革紙 天使花草紋

明治 金唐革紙 紅花捲草紋 一卷

63cm x 73cm

728cm x 92cm

Provenance: Private English collection

Provenance: Private English collection

£500-700

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

192

395 TWO SURIMONO EDO AND MEIJI PERIOD

江戶八島岳亭 及 明治 窪俊満款 摺物（共兩幅）

comprising one from the series ‘Allusions to the Twelve Zodiac Animals at Famous Places in Edo for the Ichiyō Circle’ (Ichiyōren Edo meisho mitate jūnishi), by Yashima Gakutei (1786?-1868); and the other of various moths and butterflies, after Kubo Shunman (1757–1820) (2) 20cm x 17.5cm and 20.4cm x 18.2cm Provenance: Private Scottish collection, Midlothian

£300-500

396 UTAGAWA KUNISADA (1786-1865) EDO PERIOD

江戶 歌川豐國《九住志龍》、 《升酒屋久七》其一、 《尾上菊五郎行年六十三歳》等 版畫（共四幅）

comprising four oban tate-e prints, including two depicting kabuki scenes each with a male actor; one memorial Portrait of the actor Onoe Kikugorō, who died on the 28th Day of the Sixth Month of the First Year of Man’en (1860), aged 63; and one depicting a figure holding an umbrella (4) the largest: 33.5cm x 23.5cm

£300-500

397 UTAGAWA KUNISADA (1786-1865) EDO PERIOD

江戶 歌川国貞 三聯歌舞伎圖、 《やさすがたあづまのうつし絵 田舎源氏の月見》其一、 《観音 霊験記 西国巡礼 三十二番 近江 觀音寺》、 《放駒長吉 尾上多見蔵》、 《春日屋時治郎》其一 版 畫（共六幅） comprising six oban tate-e prints; including a diptych depicting a kabuki scene with two men fighting in a sake house; one (left) from the triptych ‘Moon-viewing Scene from Inaka Genji’, from the series ‘Eastern Magic Lantern Slides of a Charming Figure’ (Yasa sugata Azuma no utsushi-e); one ‘Kannon-ji in Ômi Province’, No. 32 of the Saikoku Pilgrimage Route (Saikoku junrei sanjûniban Kanonji Ômi), from the series Miracles of Kannon (Kannon reigenki), one depicting actor Tamizo Oneo as Hanarekoma Chokichi; and one (right) from the diptych ‘Kasugaya Tokijiro’ (6) the largest: 35.5cm x 24.5cm Provenance: Private Scottish collection, Midlothian

£300-500

193

398 KATSUSHIKA HOKUSAI (1760-1849) EDO PERIOD, CA. 1815

江戶 葛飾北斎 春宮圖 版畫 an oban yoko-e shunga (erotic picture) print from the series Fukujuso (The Adonis Plant), depicting a sexually fulfilled woman lying down and playing with her infant son, talking to him with humour and candour, extolling the exploits of his father the previous night (1) 26.8cm x 38cm

£800-1,200

399 KITAGAWA UTAMARO (1753-1806) EDO PERIOD

江戶 喜多川歌麿（1753-1806） 《風流子寶合》、 《江戸の花 娘浄瑠璃》版畫（兩幅）

comprising two oban tate-e prints; one from the series ‘Elegant Comparisons of Little Treasures’ (Furyu ko-dakara awase); the other from the series ‘Flowers of Edo: Girl Ballad Singers’ (Edo no hana musume jôruri) (2) 36.8cm x 24.8cm; 37.6cm x 26.5cm

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

194

400 COLLECTION OF TEN WOODBLOCK PRINTS

BY VARIOUS ARTISTS MEIJI PERIOD AND LATER 明治及以後 各式版畫

含：松斎吟光 三聯《裁縫教授之図》、 《平 壌之激戰我軍大勝利之圖》其一；歌川豊 国 演員圖；歌川広重《忠孝仇討図絵 白 石噺》；歌川国芳《茜足袋屋長九郎 四代 目坂東彦三郎》其一；東洲斎写楽款《四 代目岩井半四郎の乳人重の井》、 《八代目 森田勘弥の駕籠舁鶯の次郎作》；及 歌舞 伎圖 版畫（共十幅）

comprising ten oban tate-e prints; including a triptych of ‘Picture of Teaching Sewing’ (Saiho kyoju no zu), dated Meiji 21st year, 1888; one (left) from the triptych ‘The Great Victory of Our Army at the Battle of Pyongyang’ (Heijô no gekisen waga gun dai shôri no zu) by Ginko Adachi, both by Ginko Adachi (active 1874-1897); one depicting an actor as Ôboshi Yuranosuke, by Utagawa Toyokuni (1769-1825); one ‘The Tale of Shiraishi’ (Shiraishi banashi), from the series Illustrations of Loyalty and Vengeance (Chûkô adauchi zue) by Utagawa Hiroshige; one (right) from a triptych depicting Actors Bandô Hikosaburô IV as Akane Tabiya Chôkurô by Utagawa Kuniyoshi (1797–1861); one ‘Actor Iwai Hanshirô IV as the Wet Nurse Shigenoi’, one ‘Actor Morita Kan’ya VIII as the Palanquin-bearer Uguisu no Jirôsaku ‘, both attributed to Tôshûsai Sharaku (Japanese, active 1794–1795); and one depicting kabuki scene (10) the largest: 38cm x 24.8cm Provenance: Private Scottish collection, Midlothian

£300-500

401 COLLECTION OF TWENTY-EIGHT JAPANESE PRINTS 各式日本版畫（共二十八幅）

to include but not limited to one (right) of a diptych ‘Actors Ichikawa Danjûrô VIII as Natsume Shirozaburô’ by Utagawa Kunisada I (Toyokuni III); two (left and centre) of a triptych ‘The Tokugawa Shoguns’ (Tokugawa-ke godaiki) by Utagawa Yoshitora; a surimono by Yanagawa Shigenobu and the other Hokusai; leaves from the Hokusai manga, etc. (28) largest: 36.3cm x 48.5cm

£300-500

195

402 PAIR OF KAKIEMON DISHES EDO PERIOD

江戶 柿右衛門彩繪花蝴圖花口碟（一對） each of rounded octagonal form, painted to the centre with floral sprays and butterflies, the cavetto with moulded floral decoration (2) 16.3cm wide each Provenance: Private Scottish collection, Glasgow

£500-700

403 THREE SATSUMA VASES MEIJI PERIOD

明治 司山及豊山款 薩摩燒描金風景人物及花草紋瓶（共三件）

comprising: one small vase with foliate mouth rim, the body minutely painted with various flowers, the base inscribed with a two-character ‘Shizan’ mark in rectangle; together with a pair of baluster vases painted with various scenes, including kannon and rakans, boys at play and birds on flowering branches, the base inscribed with a three-character ‘Toyoyama’ mark (3) heights: 18cm and 9.3cm Provenance: Private Scottish Collection, Moray

£300-500

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

196

PRIVATE COLLECTION OF ŌTAGAKI RENGETSU WARE, LONDON (LOTS 404-406)

Ōtagaki Rengetsu is probably the most famous female artist of the 19th century in Japan, especially known for her excellent skills in calligraphy and pottery. She was born the illegitimate daughter of a samurai from the Tōdō family. Soon after her birth, she was adopted by Ōtagaki Mitsuhasa, who worked at Chion’in, an important temple of the Jōdo (Pure Land) school in Kyōto. In 1798, after losing her mother and brother, she was sent to serve as a lady-in-waiting at Kameoka Castle in Tanba, where she was taught classical poetry, calligraphy, and martial arts.

At only 33 years of age, she had already experienced some fateful years in her life, losing two husbands and all five of her children. She then decided to shave her hair and take Buddhist vows, taking the name Rengetsu (Lotus Moon). During this time, she lived with her stepfather near Chion’in Temple. After his death in 1832, Rengetsu began making her extraordinary pottery, which she usually inscribed with her own waka (31-syllable classical poetry) and sold to support herself. With her unique combination of pottery, calligraphy, and poetry, Rengetsu gained recognition far beyond the borders of Kyōto during her lifetime.

404 OTAGAKI RENGETSU (1791-1875) SET OF FIVE INSCRIBED STONEWARE SAKE CUPS 大田垣蓮月 京焼・杯 共箱（共五件）

each carved on the exterior with poem, covered in a ivory tinged glaze with fine craquelure, with inscribed and sealed tomobako (6) heights: 3.7cm to 3.8cm Provenance: Private collection, London; acquired from Ura Art Museum Co., Ltd., Osaka, Japan

£800-1,200

405 OTAGAKI RENGETSU (1791-1875) SET OF FIVE INSRIBED STONEWARE PLATES 大田垣蓮月 京焼・杯 共箱（共五件）

each inscribed on the interior with poem, covered in a ivory tinged glaze with fine craquelure (5) diameters: 12.6cm to 13cm Provenance: Private collection, London; acquired from Wutai Co. Ltd., Yufu City, Oita Prefecture, Japan

£1,000-1,500

197

406 OTAGAKI RENGETSU (1791-1875) TALL FLOWER STONEWARE VASE 大田垣蓮月 京焼・花瓶 共箱

the elegantly potted cylindrical body inscribed with poem, the wide neck flanked by two upturned loop handles, surmounted with everted rim, covered overall in a ivory tinged glaze with fine craquelure, with inscribed tomobako (1) 49.5cm high Provenance: Private collection, London; acquired from Yumekoubou, Kyoto, Japan

£1,200-1,800

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

198

407 FINE JAPANESE KOMAI DAMASCENE OCTAGONAL BOX AND COVER MEIJI PERIOD

明治 日本国京都住駒井製款 金工八角型蓋盒

supported on four key-fret bracket feet, the flat top decorated with pavilions in a mountainous landscape, encircled by a flowerhead border, the sides of the cover and the box respectively adorned with key-fret and maple leaves, both interiors of the cover and box engraved with small houses in landscape, the base engraved Nihon koku Kyoto ju Komai sei (made by Komai from Kyoto, Japan) beneath the company dragonfly mark in a raised rectangle, surrounded by leafy tendril and a butterfly in flight (1) 6cm wide; 127g Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Yokohama in 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

£600-800

408 TWO GILT AND BLACK LACQUER SMALL BOXES MEIJI PERIOD

明治 金漆蒔絵料小方盒 共箱（共兩件）

one of canted square form, the cover and sides decorated in gold and silver with pine trees, bamboo grove and plum trees, the cover further adorned with a tortoise and crane in the foreground, the interior of the box with textile lining; the other three-tiered box of square form, supported on bracket feet, the cover and sides painted with various blossoming flowers; each with wooden tomobako (2) width: 7.6cm and 6.6cm Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Yokohama in 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

£300-500

199

409 YABU MEIZAN (1853-1934) SATSUMA VASE, MEIJI PERIOD, CIRCA 1910 明治 約1910 藪明山底款 薩摩燒富士山景瓶

finely decorated on the slender body in enamels and gilt with a continuous landscape scene with Fuji Mountain afar and river meandering in the foreground, with small figures, houses and boats in between, all between a band of clustered chrysanthemum and peony blossoms around the mouth rim and foot, the based inscribed with a gilt seal ‘Yabu Meizan’ in square, with a fitted wooden stand and original tomobako, which has a sticker on the inside cover reading ‘Yabu Meizan, Painter of the finest satsuma porcelain, No. 197, Naka Ni-chome, Dojima, Ocaka, Japan’ (1) 17.8cm high Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Yokohama in 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

£600-800

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

200

410 NAMIKAWA YASUYUKI (1845-1927) TWO FINE CLOISONNE ENAMEL VASES, MEIJI PERIOD

明治「京都並河」款 並河靖之（1845-1927）作坊製 銅胎掐絲琺瑯楓樹紋及花鳥紋瓶 共箱（共兩件）

one worked in silver wire and coloured enamels with a lone bird perched in a branch of red and yellow maple leaves against a bright blue ground, the foot decorated with floral lozenges, the rims silver, the base signed with chiselled characters on a silver tablet Kyoto Namikawa; the other one intricately worked in colourful enamel and gold wire with two birds perched on prunus branches and bamboo leaves against a black ground, the base signed with chiselled characters of the same mark; both with bespoke wooden stand and tomobako (2) heights: 12.1cm and 23.2cm Provenance: Private English collection, London; acquired by current owner’s great-aunt Etta May Gubbins (1871-1955) during her honeymoon trip in Yokohama in 1910. Etta May Gubbins married in 1909 at Kilmallock, Ireland to Captain Burston Beresford Gubbins (1876-1929), The 13th Hussars.

May Gubbins, nee May Gibson, was the eldest of the three daughters of Edmund Gibson who was born at Quernmore Park, near Lancaster in 1824, went out to New Zealand with his brother Wilson and staked a claim to about 20,000 acres of land in South Island and died at Otago in 1886.

Note: Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his cloisonné business in Kyoto in 1873 and by the 1880s was successful enough to build, and then extend and upgrade, a large compound that eventually included workshops housing more than 20 employees. Having won countless medals at national and international exhibitions, his works were sought after by the national and international collectors during his lifetime and became even more highly collectable thereafter.

A closely comparable cloisonné enamel small vase, by the workshop of Namikawa Yasuyuki, with the same, shape and almost identical design of a lone bird perched in a branch of red and yellow maple leaves but against a pale green ground, was sold at Bonham’s New York, 24 September 2020, lot 1039.

£500-700

201

411 COLLECTION OF THREE KOREAN CELADON WARES GORYEO TO JOSEON PERIOD, 12TH-15TH CENTURY

高麗王朝 青瓷模印花卉紋碗、青瓷斗笠盞 及 高麗至朝鮮王朝 青瓷鑲嵌盤

comprising: a celadon bowl, 12th-13th century, 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; a celadon conical bowl, 13th century, 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; and an inlaid celadon dish, 14th-15th century, 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 (3) largest: 17.1cm diameter

£800-1,200

412 KHMER LIDDED LIME JAR IN THE FORM OF AN ELEPHANT ANKORIAN PERIOD, 11TH-12TH CENTURY the globular body supported on four feet, the head and body moulded with ornate tassels and jewelleries, covered overall stopping above the base with a dark brown glaze (1) 19cm high Provenance: Private English collection, London

£600-800

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

202

ISLAMIC & INDIAN WORKS OF ART

413 A CARVED BLACKSTONE FRAGMENTARY STELE DEDICATED TO PARVATI THE GODDESS OF LOVE NORTHEASTERN INDIA, PALA PERIOD, CIRCA 11TH CENTURY of irregular rectangular form, carved in deep relief with two registers with the right hand side protruding forward, the lower register to the right comprising a large niche with an ornately decorated arch with ribbed double pillars, bearing a bejewelled Parvati standing in a tribhanga pose, featuring minutiae deities at her feet, four more niches comprising attributes and further representations of the goddess (1) approximately 54cm x 28cm x 10cm Provenance: Private English collection, London; the current owner’s grandfather acquired it from the Arcade Gallery, Bond Street, London (active 1949-73) around late 1960s<U>, thence by family descent (by repute)

£1,000-1,500

203

414 PAIR OF TIMURID CARVED WOOD DOORS PROBABLY BUKHARA, LATE 14TH/ EARLY 15TH CENTURY each door panel of rectangular form carved with five niches divided by narrow metal panels, the decoration within each niche carved in relief with what appears to be scrolling leafy vines, each mounted with a bronze loop handle and vertical bands of bronze studs (2) 140cm x 50.5cm Provenance: Private Scottish collection; Acquired at Christie’s London, Indian and Islamic Works of Art, 17 October 2003, lot 244. Published in Exhibition Catalogue, Arts from the Land of Timur, 8th-13th January 2013, Bonham’s Edinburgh, no. 430 (full page illustration).

£1,000-1,500

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

204

415 GROUP OF ‘COMPANY SCHOOL’ PAPIER MACHÉ FIGURINES OF SERVANTS, TRADES AND CASTES, ALONG WITH A BUFFALO HORN PALANQUIN INDIA, 19TH CENTURY comprising 11 figurines, all standing except for 2, moulded and decorated in polychrome, clothed in cotton, each on a square platform bearing etiquettes inscribed in English with their identifying roles, including ‘Housekeeper’, ‘Waiting Boy’, ‘Malabar Dancing Girl, ‘Dhoby’, ‘Noor Dancing Girl’, ‘Bearer’, ‘Brahamin’, ‘Tailor’, ‘Lapidary’, ‘Maity’, the collection includes a palanquin in the form of a chest on four feet with protruding long carrying poles on either end, a water carrier hanging from one end, the interior decorated in red velvet along with a reclining figurine (12) figures: 21 cm max high; palanquin: 46.5cm long.

Provenance: By family repute acquired by Edward Green Balfour (1813-1889), surgeon and naturalist in India; thence by descent. Balfour travelled to India in 1834 as an assistant surgeon in the Madras medical service, and ended his career as surgeon-general in the presidency. An acknowledged polymath, he wrote on subjects including Indian languages and literature and forestry in addition to medicine. His most influential work in his own day was his Enyclopaedia of India and Southern Asia, published at Madras in 1857. Today he is also remembered for his pioneering ecological writings, which explored what he believed to be the ‘direct relationship between deforestation, climatic change, and environmental degradation’ (ODNB). Part of his collection was sold in this saleroom on 21 June 2023, notably lot 75 The Balfour album, Shaykh Muhammad Amir of Karraya or studio (fl. c. 1830-50).

Note: These naturalistic figures offer an extraordinary insight into life in India in the 19th Century under the British Raj, before photography was introduced. In the same way Company School paintings reflect contemporary life, so do these figures, which were made as souvenirs for Western patrons as early as the 1820s.

They were made at Krishnagar, a village near Calcutta, as well as at Hatwa, Datan (near Saran), Muzaffar-pur, Dacca, Burdwan, and later, Lucknow and Poona. For a village market scene with figures now in the Peabody Museum of Salem, see Stuart Cary Welch, India: Art and Culture 1300-1900, New York 1985, pp. 91-2, fig. 45.

£1,000-1,500

416 TWO PAIRS OF METAL EMBROIDERED SLIPPERS AND TWO CAPS INDIA, 19TH CENTURY the shoes with leather soles, one pair without a back, the caps embroidered in gilt metal with vegetal motifs (4) shoes: 23 cm long max; caps: 15 cm diameter max Provenance: By family repute acquired by Edward Green Balfour (1813-1889), surgeon and naturalist in India; thence by descent. Balfour travelled to India in 1834 as an assistant surgeon in the Madras medical service, and ended his career as surgeon-general in the presidency. An acknowledged polymath, he wrote on subjects including Indian languages and literature and forestry in addition to medicine. His most influential work in his own day was his Enyclopaedia of India and Southern Asia, published at Madras in 1857. Today he is also remembered for his pioneering ecological writings, which explored what he believed to be the ‘direct relationship between deforestation, climatic change, and environmental degradation’ (ODNB). Part of his collection was sold in this saleroom on 21 June 2023, notably lot 75 The Balfour album, Shaykh Muhammad Amir of Karraya or studio (fl. c. 1830-50).

£300-500

205

417 A YOGI IS OFFERED WATER ON A PALACE TERRACE KANGRA, 19TH CENTURY gouache on paper heightened in gold, the Yogi is depicted with a white beard and walking stick offering his hand out, a crowned prince is seen pouring out some water accompanied by his two consorts, seated on a terrace, floral red border (1) 8.5cm x 14.3cm Provenance: Formerly in the collection of Dr Raghu Gaind (19352021), who acquired it from Sotheby’s in the early 1980s (by repute).

Dr Gaind was a world renowned psychiatrist and philanthropist. He was chairman of the Arpana Charitable Trust (UK) for which Prince Charles (now King Charles III) was the Royal Patron.

£700-900

418 LARGE PAINTING DEPICTING THE LIFE OF KRISHNA MEWAR, 19TH CENTURY gouache on paper heightened in gold, depicting the life of Krishna from childhood to adulthood within a palace and wooded landscape, red border (1) 52cm x 46cm

£1,200-1,500

419 B. MAJUMBDAR (INDIA, 20TH CENTURY) RIVER SCENE WITH SANDALWOOD TREE oil on canvas, signed and dated lower left ‘B.Majumdar 42’ (1) 49.5cm x 67cm

£500-700

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

JEWELLERY & WATCHES

FEATURING THE CAIRNCROSS OF PERTH COLLECTION

AUCTION 06 DECEMBER 2023 LIVE IN EDINBURGH & ONLINE OPEN FOR ENTRIES

Please contact Ruth Davis ruth.davis@lyonandturnbull.com LONDON 020 7930 9115 | EDINBURGH 0131 557 8844 | GLASGOW 0141 333 1992 | www.lyonandturnbull.com

AUCTION 10 JANUARY 2024 LIVE IN EDINBURGH & ONLINE OPEN FOR ENTRIES

PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) STARHEAD, c.1981 Stainless steel, surface textured by the artist

£10,000-15,000 + fees

Please contact Charlotte Riordan charlotte.riordan@lyonandturnbull.com LONDON 020 7930 9115 | EDINBURGH 0131 557 8844 | GLASGOW 0141 333 1992 | www.lyonandturnbull.com

208

CONDITIONS OF SALE 22.3 FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer.

Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (🄰) next to its lot number.

A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only.

2. O UR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below. (a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling.

These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale

and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any 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

209 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 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 strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we 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.

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

C. DURING THE SALE

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.

1. ADMISSION TO OUR AUCTIONS

8. RELEVANT LEGISLATION

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.

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.

2. RESERVES

D. T HE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

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

1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 26% of the Hammer Price of each Lot up to and including £20,000, plus 25% from £20,001 to £500,000, plus 20% from £500,001 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. (a) Lots affixed with (†): Value Added Tax on the Hammer Price 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 European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

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.

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

210 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.

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. C OLLECTION & 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 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.

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 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

211 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

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

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.

2. GLOSSARY

1. DEFINITIONS

“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

“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

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:

“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.

22.3

GUIDE TO BIDDING & PAYMENT

REGISTRATION All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull 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.

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 £6500 hammer may be requested

by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

BIDDING Please note that in-room bidding is not available for this auction.

Registered bidders will be assigned a bidder number for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given at registration, which is non-transferable.

HOW TO BID

BY COMMISSION/ ABSENTEE BID

PAYMENT

Leave a bid online through our website, call us on 0131 557 8844 or email info@ lyonandturnbull.com

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:

BY PHONE

BANK TRANSFER

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 2nd November. First come-first served basis.

Account details are included on any invoices we issue or upon request from our accounts department.

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.

ONLINE CREDIT OR DEBIT CARD PAYMENTS 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 Cash payments can be made at London office (22 Connaught Street, W2 2AF) after the sale. Cash payments are limited to £5,000 per person per annum.

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, LiveAuctioneers, 51Bidlive, Epailive and Easyebid (additional charges applicable).

Inside Back Cover: Lot 409 [detail]

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTURN BULL .C OM