31783

ARTS D'ASIE

Paris | 9 juin 2026 à 10h30

COMMISSAIRES-PRISEURS HABILITÉS

Catherine Yaiche

Arnaud Cornette de Saint Cyr

Emmanuelle Leclerc

BONHAMS

CORNETTE DE SAINT CYR N° AGRÉMENT 2007-638

6 avenue Hoche

75008 Paris

+33 (0)1 42 61 10 10

NUMÉRO DE LA VENTE

31783

Lots 1 - 148

ILLUSTRATIONS

Première de couverture lot 20

Deuxième de couverture lot 43

Troisième de couverture lots 29-32

Quatrième de couverture lot 76

EXPOSITION

6 juin 2026, 10:00 - 18:00 CEST

7 juin 2026, 10:00 - 18:00 CEST

8 juin 2026, 10:00 - 18:00 CEST

Nous tenons à remercier Arthus Boutin, Stanislas Dorange et Sam Collier pour la conception du catalogue.

GLOBAL HEAD, CHINESE CERAMICS AND WORKS OF ART Asaph Hyman

Renseignements

Dr. Caroline Schulten +33 1 56 79 12 42 caroline.schulten@bonhams.com

Jing Wen +33 1 89 53 43 55 jing.wen@bonhams.com

TVA

Les symboles suivants, figurant à côté du numéro de Lot, indiquent que la TVA est due sur le Prix d’adjudication et la Commission d’achat † TVA au taux en vigueur sur le Prix d’adjudication et la Commission d’achat

* TVA sur les articles importés à un taux préférentiel de 5.5 % sur le Prix d’adjudication et au taux en vigueur sur la Commission d’achat

Ω TVA sur les articles importés au taux en vigueur sur le Prix d’adjudication et la Commission d’achat.

autres symboles

W Les objets portant la mention W seront stockés à l’entrepôt et ne pourront être retirés qu’à cet endroit.

Y Ce lot contient une ou plusieurs espèces végétales ou animales réglementées et est soumis aux réglementations CITES.

ENCHÈRES

- Enchérir en ligne/APP

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Pour un compte d’entreprise ou d’autres entités, veuillez nous contacter en ce qui concerne les documents a fournir.

Le non-respect de cette consigne peut entraîner l’annulation de vos enchères.

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Le non-respect de cette consigne peut entraîner l’annulation de vos enchères. Pour toute autre demande, contactez notre service client au:

+33 (0)1 42 61 10 10 or bids@bonhams.com

+33 (0)1 42 61 10 10

Pour enchérir par internet veuillez visiter www.bonhams.com

TRANSPORT

Pour toute information ou estimation concernant les transports nationaux et internationaux ainsi que les licences d’exportation, contactez Bonhams Paris au +33 (0)1 42 61 10 10 ou paris@bonhams.com

ASSURANCE APRÈS LA VENTE

Dès l’adjudication, tous les risques afférant au lot seront transférés à l’acheteur dans leur intégralité et sans la moindre réserve. A charge pour l’acheteur de faire assurer ses achats. Bonhams décline toute responsabilité quant aux éventuels dommages survenus après l’adjudication

RÉCUPÉRATION ET STOCKAGE DES OEUVRES APRÈS LA VENTE

Tous les lots avec le symbole W seront transférés chez Paname Enchères, 54 Av. Gaston Monmousseau, 93240 Stains et seront disponibles à partir du 15 juin à 10:00. Tous les autres lots seront stockés dans notre bureau au 6 Av. Hoche, Paris 75008. Le retrait pourra s’effectuer UNIQUEMENT sur rendez-vous dont la demande par e-mail aura été faite au MINIMUM 24h à l’avance. Adresse e-mail paris@bonhams.com

Une pièce d’identité sera demandée. Si un tiers collecte le lot à votre place, sa pièce d’identité ainsi qu’une autorisation écrite de votre part lui seront également demandées.

Veuillez noter que certains lots nécessitent un certificat d’exportation de bien culturel et une licence d’exportation. Veuillez contacter Kimly Ek pour tout renseignement kimly.ek@bonhams.com

COÛTS DE STOCKAGE

Stockage

Le stockage sera gratuit pour les premiers 14 jours suivant la vente.

Coûts de stockage Chaque lot 42 euros TTC par semaine.

ASIAN ART

Paris | 9 June 2026 at 10:30am

AUCTIONEER

Catherine Yaiche

Arnaud Cornette de Saint Cyr

Emmanuelle Leclerc

BONHAMS FRANCE SAS, AGRÉMENT N°2007-638 AND CORNETTE DE SAINT CYR, AGRÉMENT N°2002 364

6 av Hoche

75008, Paris

+33 (0)1 42 61 10 10

SALE NUMBER

31783

Lots 1 - 148

ILLUSTRATIONS

Front Cover: lot 20

Inside Front Cover: lot 43

Inside Back Cover: lots 29-32

Back Cover: lot 76

VIEWING

6 June 2026, 10 - 6pm CEST

7 June 2026, 10 - 6pm CEST

8 June 2026, 10am - 6pm CEST

We would like to thank Arthus Boutin, Stanislas Dorange and Sam Collier for the design of the catalogue.

GLOBAL HEAD, CHINESE CERAMICS AND WORKS OF ART Asaph Hyman

ENQUIRIES

Dr. Caroline Schulten +33 1 56 79 12 42 caroline.schulten@bonhams.com

Jing Wen +33 1 89 53 43 55 jing.wen@bonhams.com

VAT

The following symbols are used to denote that VAT is due on the hammer price and buyer’s premium:

† VAT 20% on hammer price and buyer’s premium

* VAT on imported items at a preferential rate of 5.5% on hammer price and the prevailing rate on buyer’s premium

Ω VAT on imported items at 20% on hammer price and the prevailing rate on buyer’s premium

Other Symbols:

W Objects with a W symbol will be transfered to a an office location following the sale and will only be available for collection from this location.

Y This lot contains one or more regulated plant or animal species and is subject to CITES regulations.

BIDS

- Bid online/APP

Register to bid online by visiting www.bonhams.com/31783

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Download now for android and iOS

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Registration Form returned by email to bids@bonhams.com.

The form can be found at the back of every catalogue and on our website at www.bonhams.com

Please note we cannot guarantee bids within 24 hours of the sale.

Bidding by telephone will only be accepted on a lot with a lower estimate in excess of €1,000

- Bid in person

You can pre-register online at Bonhams.com or obtain a paddle at our Registration Desk.

- New Bidders

You must provide proof of identity when submitting bids. A copy of a governmentissued photo identification (driving licence or passport) showing your full name and date of birth, and, if not shown on the ID document, proof of your current address (utility bill or bank statement).

For company account or other entities, please contact us in relation to the documents you will need to provide.

Failure to do this may result in your bids not being processed.

For all other enquiries, contact our Client Services department on:

+33 (0)1 42 61 10 10 or bids@bonhams.com

+33 (0)1 42 61 10 10

To bid via the internet please visit www.bonhams.com

and

or

INSURANCE AFTER THE SALE

Buyers are reminded that their purchases are their responsibility from the fall of the auction hammer. it is your responsibility to have adequate insurance cover in place. Neither Bonhams, nor their agents will be liable for any damage or loss that the Lot may suffer from the fall of the auction hammer.

BUYERS COLLECTION & STORAGE AFTER SALE

Lots with the W symbol will be removed to Paname Enchere, 54 Av. Gaston Monmousseau, 93240 Stains and will be available for collection from from 10am Monday 15 June by appointment only. All other lots will be stored in our office at 6 av Hoche 75008, Paris. Please email paris@bonhams.com at least 24 hours in advance to book in a collection.

Photographic ID will be required at time of collection. If a third party is collecting for you written authorisation is required in advance from you and photographic ID of the third party is requested at the time of collection.

Please note that certain items require French passports for export out of France. Please contact Kimly Ek by email for further details: kimly.ek@bonhams.com

STORAGE AND HANDLING CHARGES

Storage Charges

Storage will be free of charge for 14 days following the auction.

Each lot: 42 euros TTC per week.

INTERNATIONAL CHINESE CERAMICS AND WORKS OF ART TEAM

Asaph Hyman

Head, Chinese Art

Colin Sheaf Consultant

Dessa Goddard

Head, Asian Art

Bruce MacLaren

Amethyst Chau

Tracy Hui

Anthea Lee

Lazarus Halstead

Montpelier Street

Edward Luper London, New Bond Street

Chen Xie

Juliette Hammer London, New Bond Street

Rachel Hyman

Montpelier Street

Olivia Xu London, Montpelier Street

Jasmine Alexander

Montpelier Street

Caroline Schulten

Jing Wen

Camille Eymieu

Ying Su Los Angeles

Dick Lin San Francisco

Ling Shang San Francisco

Julia Hu Hong Kong

Bobbie Hu Taipei

Jie Wang Shanghai

Vivian Zhang Beijing Asia Management & Representatives

Yunwen Sung Singapore

Cecilia Nordström Bukowskis, Stockholm

Linn Andersson Bennich Bukowskis, Stockholm

Ralph Lexner

Bruun Rasmussen, Copenhagen

Helen Eagles Bonhams Skinner, Boston Mass.

CONSULTANT

Léonore de Magnée leonore.de.magnee@gmail.com Membre de l'Union Française des Experts, UFE et de la Confédération Européenne Des Experts d'Art, CEDEA

1 DEUX PENDENTIFS EN JADE

Fin de la dynastie des Zhou orientaux

AN MOTTLED GREEN JADE OPENWORK PENDANT AND AN PALE GREENISH-WHITE JADE PENDANT, HUANG

Late Eastern Zhou Dynasty

The huang of flat arched shape, carved on both sides with a raised spiral grain pattern, terminating in a stylised dragon-head on each side, drilled with a small aperture at the top of the arch for suspension; the second pendant carved in openwork with a central dragon head circled by its sinuous body, carved with small scrolls and with areas of fine cross-hatching, the jade an olive tone with small calcified areas.

The pendant: 4.7 cm (1 7/8 in.) long; the huang: 13 cm (5 1/8 in.) long (2).

€2,000 - 3,000

Provenance

The jade huang

Christie’s New York, March 2004, lot 102 (part lot of three).

A Dutch private collection.

The jade pendant

From Jincun, Henan (by repute).

Alfred Salmony (1890-1958).

Collection of Frederick M. Mayer (1899-1974), New York.

Christie’s London, 24 and 25 June 1974, lot 185.

Acquired by Hirano Kotoken, Tokyo (according to the published catalogue results list).

Christie’s New York, March 2004, lot 102 (part lot of three).

A Dutch private collection.

Published

Stanford University Museum of Art, Arts of the Chou Dynasty Stanford, California, 1958, cat.no. 76.

Alfred Salmony, Chinese Jade through the Wei Dynasty New York, 1963, pl. XXII.3.

Na Zhiliang (ed.), Yuqi cidian, Beijing, 1982, p. 56, no. 349.

Exhibited

Arts of the Chou Dynasty 21 February – 28 March, 1958, Stanford, California, Stanford University Museum, no. 76.

東周晚期 玉鏤雕龍紋珮及玉龍首璜

來源

玉璜：

紐約佳士得，2004年3月，編號102（三件拍品之一）

荷蘭私人收藏

玉珮：

河南金村（傳）

阿爾弗雷德 薩爾莫尼（Alfred Salmony, 1890-1958）

Frederick M. Mayer (1899-1974) 收藏，紐約

倫敦佳士得，1974年6月24至25日，編號185

平野古陶軒得自上述來源，東京

紐約佳士得，2004年3月，編號102（三件拍品之一）

荷蘭私人收藏

出版：

Stanford University Museum of Art，《Arts of the Chou Dynasty》，

斯坦福，加利福尼亞，1958年，編號76

阿爾弗雷德 薩爾莫尼（Alfred Salmony），《Chinese Jade through the Wei Dynasty》，紐約，1963年，圖版XXII.3

那志良，《玉器辭典》，北京，1982年，頁56，編號349

展覽：

《Arts of the Chou Dynasty》，1958年2月21日至3月28日，斯坦福，

加利福尼亞，斯坦福大學博物館，編號76

(Fig. 1) The green jade pendant illustrated in Stanford University Museum of Art, Arts of the Chou Dynasty, Stanford, California, 1958, cat. no. 76

2 PENDENTIF EN JADE CALCIFIÉ, XI

Fin de la dynastie des Zhou orientaux

A CALCIFIED JADE PENDANT, XI

Late Eastern Zhou Dynasty

The curved pendant with one end tapering to a sharp point, the other side carved in openwork with an intricate design comprising a stylised, bottleheaded dragon with open jaws and round eyes, the calcified stone a buff colour.

9.5 cm (3 3/4 in.) long

€5,000 - 8,000

Provenance

Collection of Frederick M. Mayer (1899-1974), New York.

Christie’s London, 24 and 25 June 1974, lot 179.

Acquired by Hirano Kotoken, Tokyo (according to the published catalogue results list).

Christie’s New York, March 2004, lot 102 (part lot of three).

A Dutch private collection.

東周晚期 玉鏤雕龍紋觿

來源

Frederick M. Mayer (1899-1974) 收藏，紐約

倫敦佳士得，1974年6月24日至25日，編號179

平野古陶軒得自上述來源，東京

紐約佳士得，2004年3月，編號102（三件拍品之一）

荷蘭私人收藏

The dragon-shaped curved pendant with its pointed end may have been used as a knot-opener. Many such pieces have been excavated from tombs of the late Eastern Zhou and Western Han dynasty, some more plain and unfinished than others that were elaborately and intricately carved. Xi pendants were usually made as pairs and buried in high-ranking tombs as an example excavated from the mausoleum of the King of Nanyue at Xianggang, Guangzhou, Guangdong province, dated to the the Western Han dynasty, illustrates (Fig. 1), see The Complete Collection of Jades unearthed in China, vol. 11. Guangdong, Guangxi, Fujian, Hainan, Hongkong, Macao, Taiwan Beijing, 2005, p. 128. In fact, the present pendant is almost the mirror image to a pendant of the same size, subject matter and buff-coloured stone (Fig. 2), illustrated in C.T. Loo, An Exhibition of Chinese Archaic Jades West Palm Beach, 1950, LIII.9.

(Fig. 1) A pair of jade xi excavated from the mausoleum of the King of Nanyue in Guangzhou, Guangdong province, dated to the the Western Han dynasty.

(Fig. 2) The pair to the present lot exhibited by C.T. Loo in West Palm Beach in 1950, illustrated in C.T. Loo, An Exhibition of Chinese Archaic Jades, West Palm, 1950, pl. LIII.9.

for

3

PETIT PENDENTIF EN JADE VERT

Fin de la dynastie Shang, vers 1200-1100 avant J.-C.

A SMALL GREEN JADE ‘BIRD’ PENDANT

Late Shang Dynasty

The flat stone worked in the form of a bird standing in profile, with small incised details, pierced at the feet with an aperture for suspension, traces of red cinnabar, fitted box.

3.2 cm (1 1/4 in.) (2).

€3,000 - 5,000

Provenance

Acquired in Beijing, January 1943 (according to Max Loehr’s notes). Collection of Prof. Max Loehr (1903-1988).

J.J. Lally & Co., New York, 1993.

Sotheby’s Paris, 15 December 2016, lot 4.

Exhibited

Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others J.J. Lally & Co., New York, 1993, no. 69.

Literature

J.J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others New York, 1993, cat.no. 69.

商晚期 玉鳥珮

來源

1943年1月購自北京 (羅樾筆記記錄)

羅樾教授 (1903-1988年) 收藏

藍理捷藝廊（J. J. Lally & Co.），紐約，1993年 巴黎蘇富比，2016年12月15日，編號4

展覽

《Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others》，藍理捷藝廊（J. J. Lally & Co.），紐約，

1993年，編號69

出版

藍理捷藝廊（J. J. Lally & Co.），《Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others》，紐約，1993年， 編號69

4 RARE LAME EN BRONZE, MAO Dynastie des Zhou orientaux, probablement Sichuan

A RARE BRONZE SPEARHEAD, MAO Eastern Zhou Dynasty, possibly Sichuan

The elongated leaf-shaped blade flanked by a pair of side loops, finely cast on both sides with a stylised taotie mask, the surface with reddish-brown patina with traces of green encrustation. 34.5 cm (13 5/8 in.) long

€2,000 - 3,000

Provenance

Beurdeley & Cie, Paris.

Drouot Richelieu, Paris, 11 and 12 December 1997, lot 35.

東周 青銅虎蟬紋矛頭 或為四川地區

來源

Beurdeley & Cie，巴黎

巴黎德魯奧拍賣行，1997年12月11日至12日，編號35

PROPERTY FROM THE COLLECTION OF LOUIS LEMCOVICI (1910-2010)

ARTIST AND COLLECTOR

LOTS 5 - 13

6 PETIT ORNEMENT DE HARNAIS EN BRONZE

Fin de la dynastie

Shang

A SMALL ARCHAIC BRONZE FITTING

Late Shang Dynasty

Of hollow rectangular section, terminating in a horned dragon head with protruding horns, ears and large fangs, with a split body cast on the long sides in openwork with a curved body terminating in a clawed foot and curled tail, the back with stylised scrolls, the bronze a smooth dark grey tone with small areas of green patina, velvet stand.

5.5 cm (2 1/8 in.) long (2).

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

商晚期 青銅獸面飾 來源 Louis Lemcovici（1910-2010）舊藏，此後家族傳承

Compare a very similar fitting, cast with a stylised tiger, from the collection of Richard C. Bull and then in the MacLean Collection, sold in Sotheby’s New York, 22 September 2021 lot 24.

5 PAIRE DE PETITS ORNEMENTS CRUXIFORMES EN BRONZE

Dynastie des Zhou orientaux

A PAIR OF SMALL BRONZE CRUCIFORM ORNAMENTS

Eastern Zhou Dynasty

Each hollow cast and surmounted by a stylised taotie mask in relief, the tubes of curved shape, the underside with a square opening, with green encrustation, fitted box.

Each 4 cm (1 1/2 in.) high (3).

€2,000 - 3,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

來源 Louis Lemcovici（1910-2010）舊藏，此後家族傳承 Small ornamental parts or fittings, cast in bronze and also known as trappings, were made in large numbers for bridles, saddles and even chariots during the late Shang and Eastern Zhou period. Many found their way into collections in Europe, the US and Canada in the early decades of the 20th century. Among the many different types of bronze fittings or trappings are small bronze cruciform fittings similar in size and design to the present pair. Compare with a pair of bronze fittings in the collection of King Gustav Adolf of Sweden (1882-1973), published in Nils Palmgren, Selected Chinese Antiquities from the Collection of Gustav Adolf Crown Prince of Sweden, Stockholm, 1948, pl. 108:3 and 4. See also a pair of almost identical bronze cruciform fittings in the collection of the Museum of Far Eastern Antiquities, Stockholm, published by Orvar Karlbeck, ‘Select Objects from Ancient Shou Chou’, in Bulletin of the Museum of Far Eastern Antiquities 1955, no. 27, pl. 56:2 and 3.

(Fig. 1) Shield-shaped bronze fitting excavated in the 1930s from the late Shang dynasty 'Elephant' tomb in Anyang, Henan.

(Fig. 2) Three shield-shaped bronze fittings from the collection of King Gustav Adolf of Sweden, now in the collection of the Museum of Far Eastern Antiquities, Stockholm.

7

RARE ORNEMENT DE HARNAIS EN BRONZE

Fin de la dynastie Shang, vers XIe siècle av. J.-C.

A RARE ARCHAIC BRONZE HARNESS FITTING

Late Shang Dynasty, ca. 11th century BC

Of shield shape, finely cast in thread relief with a pair of stylised confronted kui dragons on a dense leiwen ground, each with a prominently raised eye, their heads, body and feet forming the stylised head of a taotie, the back with two loops for attachment, the bronze with light green areas, velvet stand. 14.5 cm (5 3/4 in.) high (2).

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

商晚期 約公元前十一世紀 青銅夔龍紋飾

來源

Louis Lemcovici（1910-2010）舊藏，此後家族傳承

In the 1930s, a group of late Shang dynasty tombs was discovered in Xiaotun near Anyang, their contents dispersed through a network of dealers in China and the West. Among the pieces recovered from the site were several shieldshaped ornaments or fittings similar in size and design to the present lot and described as end pieces of a beam or a yoke that were now in museum collections. The first example of this type, excavated from the ‘Elephant tomb’ near Anyang, is illustrated by William Charles White, Bronze Culture of Ancient China. An Archaeological Study of Bronze Objects from Northern Honen, dating from about 1400 B.C.-771 B.C. Toronto, 1956, p. 69, pl. XXXIIA and B (Fig. 1). Another example acquired in Beijing in 1935 for the collection of King Gustav Adolf of Sweden, now in the collection of the Museum of Far Eastern Antiquities in Stockholm, is published in Ch’en Fangmei and Mette Siggstedt, “The Collection of Shang Bronzes in the Museum of Far Eastern Antiquities: a Catalogue”, in Bulletin of the Museum of Far Eastern Antiquities Stockholm, no. 77 (2009), p. 214, cat. no. 193a and b (Fig. 2).

8

FIBULE EN BRONZE ET INCRUSTATIONS EN TURQUOISE ET OR Période des Royaumes Combattants (482-221 avant J.-C.), IVe/IIIe siècle avant J.-C.

A TURQUOISE AND GOLD-INLAID BRONZE BELT HOOK

Warring States period (482–221 BC), 4th/3rd century BC

Of curved, faceted form, terminating in an animal-head hook, the surface decorated with turquoise and gold inlays forming a series of interlocking masks, the underside with a circular knop, velvet stand.

18.5 cm (7 1/4 in.) long (2).

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

戰國 公元前四至三世紀 青銅錯金嵌松石帶鉤

來源 Louis Lemcovici（1910-2010）舊藏，此後家族傳承

9 FIBULE EN BRONZE ET INCRUSTATIONS EN TURQUOISE ET OR Période des Royaumes Combattants (482-221 avant J.-C.), IVe/IIIe siècle avant J.-C.

A TURQUOISE AND GOLD-INLAID BRONZE BELT HOOK

Warring States period (482–221 BC), 4th/3rd century BC

Finely cast, the slender, elongated body terminating in a duckhead hook, the surface with turquoise and gold inlays, set with a circular button at the centre of the underside. 20 cm (7 7/8 in.) long

€4,000 - 6,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

戰國 公元前四至三世紀 青銅錯金嵌松石帶鉤

來源 Louis Lemcovici（1910-2010）舊藏，此後家族傳承

10

DEUX MIROIRS EN BRONZE

Fin de la dynastie des Han orientaux, IIe/IIIe siècle après J.-C.

TWO HUAXIANG BRONZE MIRRORS

Late Eastern Han Dynasty, 2nd/3rd century AD

Finely cast with the central hemispherical boss encircled by a ring of four deities including Xiwangmu and Dongwanggong and stylised beasts, enclosed by a narrow band of alternating square and semi-circular panels circled by a dogtooth border, the raised rim with a band of small immortals, birds and dragons, the bronze a smooth grey patina with patches of malachite encrustation; the smaller mirror similarly cast with figures and stylised beasts, the bronze a smooth patina.

16 cm (6 1/4 in.) and 8.5 cm (3 3/8 in.) diam. (2).

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

Louis Lemcovici（1910-2010

11

RARE BOL EN BRONZE DORÉ

Dynastie Han (206 av. J.-C. - 220 ap. J.-C.)

A RARE GILT-BRONZE BOWL

Han Dynasty

Heavily cast with a flat base and deep rounded sides rising to a flat everted rim, the interior incised to the centre and around the sides with S and C-shaped scrolls, the flat everted rim with a band of chevrons, the exterior covered with a green patina. 15.5 cm (6 1/8 in.) diam.

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

Compare with a related bowl of similar size and proportions, sold in Christie’s New York, 22 March 2013, lot 1252.

12

PETITE STATUETTE DE PHOENIX EN BRONZE DORÉ

Dynastie Han (206 av. J.-C. - 220 ap. J.-C.)

A SMALL GILT-BRONZE FIGURE OF A PHOENIX

Han Dynasty

Standing with wings folded back against the body and its tail fanning out behind it in broad plumes, the head turned backwards, with crested crown, the sturdy legs terminating in talons, resting on a square base. 4.8 cm (1 7/8 in.) high (2).

€2,000 - 3,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

漢 鎏金銅鳳凰擺件

來源

Louis Lemcovici（1910-2010）舊藏，此後家族傳承

Similarly shaped small bronze figures of phoenix or cockerels were used as finials or handles on vessel covers during the Han dynasty, suggesting that this small gilt-bronze figure of a phoenix originally served the same purpose. A related small gilt-bronze figure of a phoenix that was on the cover of a bronze lian is illustrated in Seiichi Mizuno, Tenri Sankōkan zuroku Nara, 1967, pl. 74. Another example was discovered in a Han dynasty tomb near Ding county, Hebei, and published in ‘Dingxian Beizhuang Hanmu chutu wenwu jianbao’, in Wenwu 1964, no. 12, pl. 1, fig. 3. See also a bronze lian with a cover set with three similarly shaped bird-form handles, from the Arthur M. Sackler Collection, sold Christie’s New York, 18 March 2009, lot 219.

13 DEUX PETITS COMPTE-GOUTTES EN BRONZE ET BRONZE DORÉ Dynasties du Nord et du Sud (220-589) et Dynastie Ming (1368-1644)

A BRONZE ‘TORTOISE’ WATER DROPPER AND A GILT-BRONZE ‘PHOENIX’ WATER DROPPER

Six Dynasties Period and Ming Dynasty

One bronze water dropper naturalistically cast in the form of a tortoise resting on all four legs with its head forward, the top of the domed carapace with an short tubular aperture; the gilt-bronze water dropper with the globular body supported on three legs, a phoenix-head forming the spout opposite a loop handle terminating in a bovine head. 11 cm (4 3/8 in.) long and 7.5 cm (3 in.) long (3).

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

六朝 銅龜形硯滴 及 明 鎏金銅鳳首水滴

來源

Louis Lemcovici（1910-2010）舊藏，此後家族傳承

Compare this bronze tortoise water dropper with a very similar example, dated to the Six Dynasties period, illustrated in J.J. Lally, Chinese Art from the Scholar’s Studio March 13 - April 11, New York 2015, cat. no. 29. A very similar bronze tortoise-form water dropper, with an ear-cup held in the mouth of the tortoise, in the collection of the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum: Bronze Articles for Daily Use Shanghai, 2007, p. 160, no. 138.

14 FRAGMENT DE TÊTE D’AVALOKITESHVARA À TROIS VISAGES EN CUIVRE REPOUSSÉ ET DORÉ

Tibet, XVe/XVIe siècle

A GILT-COPPER REPOUSSÉ FRAGMENT OF A LARGE FIGURE OF AVALOKITESHVARA

Tibet, 15th/16th century

Composed of three heads, each face with a wrathful expression, with eyes wide open beneath furrowed brows and mouths agape, the ears adorned with jewellery, each head crowned with five-leaf tiaras, with traces of pigment, later stand.

34 cm (13 3/8 in.) wide, 30 cm (11 3/4 in.) high (2).

€10,000 - 15,000

Provenance

A French aristocratic collection, in the family by descent.

西藏 十五/十六世紀 鎏金銅錘揲三面觀音首

15 STATUETTE DE BOUDDHA SHAKYAMUNI EN ALLIAGE

DE CUIVRE REPOUSSÉ DORÉ

Népal, datée 1664

AN INSCRIBED GILT-COPPER REPOUSSÉ FIGURE OF SHAKYAMUNI BUDDHA

Nepal, dated 1664

Himalayan Art Resources item no. 2863

Seated cross-legged in dhyanasana on a double lotus base, with his right hand in bhumisparsha mudra and his left hand holding an alms bowl, his loose robes cascading in generous folds around his legs and feet, his face with a contemplative expression, engraved around the base with a Sanskrit inscription dated in Samvat equivalent to 1664 AD. 32.5 cm (12 3/4 in.) high

€25,000 - 35,000

Provenance

An important European Collection. Acquired from Koller, Zürich, by the father of the present owners (by repute), thence in the family by descent.

尼泊爾 1664年（據銘文） 鎏金銅錘揲釋迦牟尼像

來源

歐洲重要私人珍藏

現藏家之父得自闊樂拍賣行（傳），蘇黎世，後經

家族流傳至今

The dedicatory inscription along the lower part of the pedestal identifies this Buddhist bronze as an image of the Vajrāsana Tathāgata and records that it was made in the year 1664. It was commissioned by a donor named Rubusiṅa as part of posthumous rituals performed on behalf of his deceased father. It is therefore plausible that the statue was offered to Siko Mugudi Monastery, where Rubusiṅa’s father is said to have resided.

The inscription may be translated as:

‘Oṃ! May it be auspicious! Tapādevaju, the resident of the Siko Mugudi Buddhist monastery, passed away on the fourteenth day of the dark half of the Pauṣa month of [Nepal] Samvat 785 (CE 1664). Rubusiṅa, his son, commissioned this image of Vajrāsana Tathāgata in advance of the one-year death ritual.’

Bonhams would like to thank Dr. Yannick Laurent for the research and Gautama V. Vajracharya for the transliteration and translation.

16

STATUETTE DE BOUDDHA SHAKYAMUNI EN BRONZE DORÉ Tibet, vers XVe/XVIe siècle

A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI Tibet, ca. 15th/16th century

Himalayan Art Resources item no. 20701

Seated in dhyanasana on a double lotus base, with his right hand in bhumisparsa mudra, the earth-touching gesture, and his left hand held over the lap in dhyana mudra wearing a diaphanous sanghati tied over the left shoulder leaving his right shoulder bare, delicately detailed with floral hems and falling in folds between the legs, the noble face with a serene, contemplative expression with downcast eyes below gracefully arched eyebrows and bow-shaped mouth, his tightly coiled hair pigmented blue, the domed usnisha surmounted by a budshaped cintamani the base gilt and incised with a double-vajra. 20 cm (7 7/8 in.) high

€6,000 - 8,000

Provenance

A German family collection formed in the early decades of the 20th century and thence in the family by descent.

西藏 約十五/十六世紀 鎏金銅釋迦牟尼佛坐像

17 STATUETTE DE TARA BLANCHE EN BRONZE DORÉ Sino-tibétain, XVIIIe siècle

A GILT-BRONZE FIGURE OF WHITE TARA Sino-tibetan, 18th century

Himalayan Art Resources item no. 20702

Seated in dhyanasana on a double-lotus base, her right hand extended in varada mudra, her left in vitarka mudra and holding the stem of a lotus flower blossoming at the shoulder, the palms and soles cast with eyes, the body clad in diaphanous robes with patterned hems and adorned with beaded necklaces and armbands, the ears with heavy earrings, the face with a benevolent expression centered by the third eye, the hair in a tall chignon surmounted by a tiara centering on a small Amitabha image, the hair finely braided and gathered in a tall chignon, the base sealed and incised with a double-vajra 20.5 cm (8 1/8 in.) high

€6,000 - 8,000

Provenance

A German family collection formed in the early decades of the 20th century and thence in the family by descent.

漢藏 十八世紀 鎏金銅白度母坐像

來源

德國家族收藏，於二十世紀初建藏，此後家族傳承

STATUETTE D’AVALOKITESHVARA EN BRONZE ET ALLIAGE DE CUIVRE REPOUSSÉ PARTIELLEMENT DORÉ

Mongolie Intérieure, Style Dolonnor, XVIIIe/XIXe siècle

A PARCEL-GILT BRONZE AND COPPER REPOUSSÉ FIGURE OF ELEVEN-HEADED AVALOKITESHVARA

Inner Mongolia, Dolonnor-style, 18th/19th century Himalayan Art Resources item no. 2862

Standing on a double lotus base, with eleven heads arranged in five tiers, with eight main arms and thirty-two middle arms fanning out around her, with main hands held in anjali mudra, wearing diaphanous robes tied at the waist, a fine shawl loosely draped around the shoulders, adorned in jewellery.

48.3 cm (19 in.) high

€15,000 - 20,000

Provenance

An important European Collection.

Acquired from Koller, Zürich, by the father of the present owners (by repute), thence in the family by descent.

内蒙古 多倫諾爾風格 十八/十九世紀 局部鎏金銅錘揲十一面觀音像

來源 歐洲重要私人珍藏

現藏家之父得自闊樂拍賣行（傳），蘇黎世，後經家族流傳至今

MAGNIFIQUE GRANDE STATUETTE DE BOUDDHA AKSHOBHYA EN BRONZE LAQUÉ DORÉ

Dynastie Ming, datée de la 3e année de Jiajing (1525)

A RARE LARGE LACQUER-GILT BRONZE FIGURE OF AKSHOBHYA BUDDHA Ming Dynasty, dated 3rd year of Jiajing (1525)

Seated in dhyanasana on a double-lotus base, his hands held in bhumisparsha mudra dressed in ornate patchwork robes, each patch intricately cast with a raised design of lotus flowers, adorned with elaborate jewelry and a foliate tiara, the face with a gentle smile and downcast eyes, the hair in tight curls over the ushnisha the back of the base inscribed and dated.

The buddha 40 cm (15 3/4 in.) high; overall 51.5 cm (20 1/4 in.) high (2).

€30,000 - 50,000

Provenance

A French private collection.

The result of CIRAM thermoluminescence test no.0326-OA-0484J-1, dated 30th March 2026, is consistent with the dating of this lot.

明嘉靖三年（1525年） 漆金銅阿閦佛像 來源

法國私人收藏

本拍品經CIRAM實驗室熱釋光檢測，，編號0326-OA-0484J-1 （2026年3月30日），結果與其斷代相符

This impressive figure of Akshobhya is adorned with a crown, jewelry and heavenly garments. The distinctive robe worn by this figure of Akshobhya is made up of patches, alternating horizontal and vertical strips or patches, which are cast in a sharp relief and decorated with flower motifs, filling the flat open areas of the upper and lower garments. Originally patchwork robes were the prescribed garments worn by Buddhist monks and nuns as stipulated in the vinaya literature of India. Made of scrap textiles, they were modest and functional. The robe worn by this buddha is luxurious and a sharp departure from the plain patchwork robes worn by other buddhist figures.

In Tibet, the appearance of monks and buddhas dressed in patchwork robes in Tibetan art can be traced back to the 12th/13th centuries but became the favored idiom throughout the 15th century. Related Buddha images include a mid-15th-century thangka of Shakyamuni in the collection of the British Museum, illustrated in Marylin M. Rhie and Robert A.F. Thurman, Wisdom and Compassion New York, 1996, p. 77, no. 3, and a 15th century gilt-bronze sold in Sotheby’s New York, 30 November 1994, lot 68. In Tibet, however, more precious garments rapidly replaced the humble Indian patchwork robe. By the 15th century, the patchwork robe had been transformed into the finest conceivable garment of the period, a transformation that perfectly exemplifies the “refinement and elaboration” of this period.

A result of this climate of great cultural exchange between China and Tibet, lavishly decorated patchwork textiles with floral designs appear by the late Yuan/early Ming dynasty as seen on a patchwork panel with similar patterns held in The Metropolitan Museum of Art (accession no. 1997.380). The foliate scrolls within the present robe’s narrower strips also bear a strong resemblance to the decoration on a Yuan dynasty sculpture published by Robert Bigler, Before Yongle Zurich, 2013, pp. 84-95, nos. 19-21. Compare also with a bronze buddha of smaller size but similarly cast with a distinctive patchwork robe, sold in Christie’s New York, 17 and 18 March 2015, lot 2131.

20

IMPORTANTE TRÈS GRANDE PEINTURE REPRÉSENTANT BOUDDHA SHAKYAMUNI

Fin de la Dynastie Ming (1368-1644)/début de la Dynastie Qing (1644-1911)

AN IMPORTANT AND VERY LARGE PORTRAIT OF THE SHAKYAMUNI BUDDHA

Late Ming/early Qing Dynasty

Ink and colour on silk, hanging scroll

This impressive painting portrays Shākyamuni seated in equilibrium, with his right hand raised in abhaya mudra and his left hand lowered in varada mudra. He is seated in dhyanasana with feet placed sole up on the thigh of the opposite leg, his right foot over the left foot, on a low waisted lotus petal base supported on an elaborate multi-tiered throne, wearing a long flowing carnelian red robe with hems delicately detailed with goldpainted lotus scrolls over a green scarf with colourful five-clawed dragon borders on a black ground, gathered gracefully around his shoulders, tied in a simple knot and revealing his bare chest. He is depicted in his formal appearance, gazing forward in a serene, meditative expression with partially closed eyes below thin, arched eyebrows, his blue hair in tight curls around a protruding ushnisha his earlobes and chest devoid of any jewellery.

The tiered throne that supports the buddha represents Mount Sumeru, the mountain at the centre of the universe in Buddhist cosmology, anchored at the centre of the painting. Mount Sumeru is believed to have a square base and an hour-glass shape. On this painting, the throne is elaborately detailed, each tier with alternating rows of lotus panels below flaming pearls on pedestals, below three larger panels of flaming corals and other precious objects on the topmost tier, with bejewelled and beaded chimes suspended from gilt dragon heads at each corner, swaying gently to one side. The mandorla that forms the back of the throne incorporates an inner border of alternating blue and green waves framing a cerulean blue and green centre enhancing the profile of Shākyamuni, and an outer border of interlinked scrolling flames that serve as a symbolic protector of the nimbus, as well as of the meditative scene. A sumptuous double canopy lavishly decorated with bejewelled chimes and beaded pendants and ribbons forms a veil, and a gilt framework terminating in flaming pearls towers over the buddha enhancing the divinity of the image. Two apsaras gliding on coloured clouds, descend from the heavens and flank the canopy above the buddha.

The lower part of the painting is dominated by the vibrant green ground accommodating the central throne, the upper part of the painting is filled with multi-coloured clouds streaked with gold banners against a cerulean blue background. At the very top of the painting is an inscription written in gold within a double-line gold cartouche reading ‘namo Shijiamouni zunfo (Homage to the Venerable Shakyamuni Buddha).

The title slip bearing the inscriptions reading Neiting gongyang fozu zhenshen faxiang and Zhizhai hongzhuang accompanied by the seal reading Gao Baochang yin the wood scroll ends carved with the four characters Jurentang gongfeng, referring to the studio of Yuan Shikai. 212 cm x 116.5 cm (83 1/2 in. x 45 3/4 in.)

€100,000 - 150,000

The subject and size of this magnificent painting of Shakyamuni buddha suggest that it once occupied the central position of a set of similarly large-scale paintings used in the Water-Land ritual (or 'Rite for Deliverance of Creatures of Water and Land') (shuilu fahui), the grandest of Buddhist ritual ceremonies of universal salvation (pudu). This esoteric ceremony was conducted for the deliverance for the souls of the dead enabling them to enter the wheel of reincarnation, thereby achieving Nirvana while at the same time conferring blessings upon the living regardless of age, gender, or social status. The shuilu rituals gained popularity during the Yuan period, enjoyed imperial patronage under the Ming and prevailed into the early Qing dynasty. The ostentatious, week-long ritual was performed in Buddhist temples and drew large crowds. In various liturgies gods and ghosts were summoned to assemble in a ritual arena. The dedicated space required a vast ensemble of paintings bringing to life the entire pantheon and hierarchy of Buddhist deities, including heavenly devas and arhats, disciples of the historical buddha Shakyamuni, all the way down to the terrifying nature spirits which drew upon the non-Buddhist substratum of animist beliefs. On the second day of the week-long ceremony, these paintings were hung around a sacred space around the inner altar, with figures of the top of the pantheon displayed to the north, and further scrolls arranged in descending hierarchical order around the east and west walls, with matching groups of figures facing one another across the space, elaborated by Carolyn GyssVermande, ‘Démons et merveilles: vision de la nature dans une peinture liturgique due XVe siècle’, in Arts Asiatiques 46, 1988, pp. 106-122. Among the most famous and earliest examples is a set of 139 large hanging scrolls presented to the Baoning Temple in Youyu county, Shanxi, in 1460 and now in the collection of the Shanxi Provincial Museum, see Robert L. Thorpe, Son of Heaven: Imperial Arts of China, Seattle, 1988, pp. 119-23, nos. 53-7. Further examples of Ming Dynasty 'Water and Land Ritual' paintings include a very large, and well-known imperial set now in the collection of the Musée Guimet, Paris, dated to 1454 of the Jingtai period, published in La Voie du Tao. Un Autre Chemin de L'Être Paris, 2010, cat. nos. 2,3,5,13.1,15.1,70.1 and 76.3.

Most likely, this impressive and very large painting would have been displayed as part of a central triptych together with images of bodhisattvas flanking it on either side as illustrated by a large painting of the bodhisattva Mahasthamaprapta in the collection of the Metropolitan Museum of Art, New York, (accession no. 53.130.1), dated to the late 17th or early 18th century. Stylistically, iconographically and in its composition, the present painting of the Shakyamuni buddha follows earlier representations of buddha as a painting of the Vairochana buddha now in the collection of the Spencer Museum of Art, University of Kansas, Lawrence, (accession no. 1996.0106) demonstrates (Fig. 2). Yet the more vibrant colour scheme, delicate brushwork and attention to detail identifies the current painting of Shakyamuni as a work of late Ming or early Qing dynasty workshops and relates it to another, later set of Water Land ritual paintings made in the late 17th or early 18th century. Among them is a painting of Guan Yu in the collection of the Metropolitan Museum of Art in New York, (accession no. 2001.442), which is similarly lavishly painted using colourful mineral pigments and shares the same distinctive colourful multi-coloured clouds and cerulean blue background as the present painting (Fig. 1). It displays the same high level of craftsmanship and attention to detail. An inscription in the lower right, "Respectfully commissioned by the imperial prince Zhuang", the Manchu prince Boggodo (1650–1723), shows that the painting was the product of the imperial workshop. Judging from its style, it was probably commissioned by the first holder of that title, the powerful Manchu prince Boggodo (1650–1723), whose grandfather Abahai (1592–1643), was the Qing dynasty founder.

Another large painting from the same workshop and probably the same series depicting Bodhiruma, now in the Virginia Museum of Fine Art (accession no. 2004.70.2), also commissioned by Prince Zhuang, is similarly rendered in ink and color on silk in meticulous gongbi fine-line style (Fig. 3). A third painting from this set was sold in Christie's Paris, 16 December 2022, lot 28.

The highly refined style, attention to detail, the colourful rendering of the figures, background and multi-coloured clouds on these quoted examples are very similar to the style of the present painting and provide a reference for dating, suggesting a late 17th or early 18th century date and proclaiming this magnificent painting of Śhākyamuni buddha a product of a similarly skilled if not imperial workshop.

PETITE TÊTE DE BOUDDHA EN MARBRE

Dynastie Sui/début de la Dynastie Tang

A SMALL MARBLE HEAD OF BUDDHA Sui/early Tang Dynasty

The rounded face carved with a serene meditative expression, with pursed lips and downcast eyes beneath arched eyebrows, flanked by long pendulous earlobes, the hair drawn up and gathered into a chignon, wood base.

16 cm (6 1/4 in.) high (2).

€8,000 - 12,000

Provenance

Galerie Jacques Barrère, Paris, 13 September 2008.

A French aristocratic collection, in the family by descent.

隋/唐早期 大理石雕佛首

來源

Galerie Jacques Barrère，巴黎，2008年9月13日 法國貴族收藏，家族傳承

22 CHIMÈRE EN BOIS LAQUÉ Époque des Royaumes Combattants (475-221 avant J.C.) / Dynastie des Han occidentaux (206 av. J.C. - 9 ap. J.C.)

A LACQUERED WOOD FIGURE OF A MYTHICAL BEAST Warring States period/early Western Han Boldly carved in the round as a recumbent mythical beast shown facing forward, its powerful limbs tucked beneath the body in a crouching pose, the elongated head defined by prominent brows and a ruyi-shaped snout, the sides with dynamic, flowing curves that enhance a sense of movement, covered overall with a black lacquer. 26 cm (10 1/4 in.) long

€6,000 - 8,000

Provenance

Galerie Barrère, Paris.

A French aristocratic collection, in the family by descent.

戰國/西漢早期 漆木雕瑞獸

來源

Galerie Barrère，巴黎 法國貴族收藏，家族傳承

23

23

STATUETTE DE DAME DE COUR EN TERRE CUITE

Dynastie Tang (618-906)

A POTTERY FIGURE OF A COURT LADY Tang Dynasty

Standing gracefully on a rectangular base dressed in thin robes, her arms gathered at her chest with her hands concealed under the folds of her long sleeves, her round face surmounted by an elaborate chignon.

36.5 cm (14 3/8 in.) high

€6,000 - 8,000

Provenance

Gisèle Croës, Brussels, 16 June 1981. A private collection, Brussels.

唐 陶加彩仕女俑

來源

Gisèle Croës，布魯塞爾，1981年6月16日

布魯塞爾私人收藏

24 STATUETTE DE PALEFRENIER EN TERRE CUITE POLYCHROME

Dynastie Tang (618-907)

A PAINTED POTTERY FIGURE OF A GROOM Tang Dynasty

Standing with legs apart on a rectangular base, both arms outstretched and hands clenched as if grasping the reins of a horse, wearing a short, fitted tunic tied in a knot at the waist and falling in overlapping folds above the knees, traces of red and green pigments.

25.8 cm (10 1/8 in.) high

€6,000 - 8,000

Provenance

Gisèle Croës, Brussels, 8 October 1983. A private collection, Brussels.

The result of Oxford Authentication Ltd. thermoluminescence test no.266r16, dated 27 May 1981, is consistent with the dating of this lot.

唐 陶加彩馬夫俑

來源

Gisèle Croës，布魯塞爾，1983年10月8日

布魯塞爾私人收藏

本拍品經牛津熱釋光檢測，編號266r16

（1981年5月27日），結果與其斷代相符

25 STATUETTE DE DAME DE COUR EN TERRE CUITE POLYCHROME

Dynastie Sui/début de la dynastie Tang

A PAINTED POTTERY FIGURE OF A COURT LADY Sui/early Tang Dynasty

The tall, slender figure standing elegantly with crossed arms, wearing a long robe falling in vertical pleats to the feet, the hair dressed in a high chignon, traces of red and white pigments. 30 cm (11 3/4 in.) high

€6,000 - 8,000

Provenance

Gisèle Croës, Brussels, 14 November 1980. A private collection, Brussels.

The result of Oxford Authentication Ltd. thermoluminescence test no.266p9, dated 20th August 1980, is consistent with the dating of this lot.

隋/唐早期 陶加彩仕女俑

來源

Gisèle Croës，布魯塞爾，1980年11月14日

布魯塞爾私人收藏

本拍品經牛津熱釋光檢測，編號266p9 （1980年8月20日），結果與其斷代相符

26

ENSEMBLE DE CINQ PLAQUES EN TERRE CUITE Dynastie Jin (1115-1234)

A SET OF FIVE TERRACOTTA PLAQUES Jin Dynasty

Each plaque of rectangular shape and different size, modelled in high relief with boys depicted in different poses dancing.

The largest 37.5 cm x 25.5 cm (14 3/4 in. x 10 in.) (5).

€8,000 - 12,000

Provenance

François de Ricqlès, Paris, 23 September 2001, lot 25.

A French aristocratic collection, in the family by descent.

金 陶磚 一組五件

來源

François de Ricqlès，巴黎，2001年9月23日，編號25 法國貴族收藏，家族傳承

27

RARE PAIRE DE COUPELLES EN PORCELAINE QINGBAI Dynastie des Song du Nord (960-1126)

A RARE PAIR OF MOULDED QINGBAI ‘PHOENIX’ DISHES Northern Song Dynasty

28 PAIRE DE VERSEUSES EN PORCELAINE QINGBAI Dynastie Song (960-1269)

A PAIR OF QINGBAI EWERS Song Dynasty

Each crisply moulded in shallow relief to the interior with a pair of phoenix in flight amongst flowers, bordered by three tiers of overlapping petals below a keyfret band around the interior of the short flared sides, all under a light blue translucent glaze of bright tone, the plain underside and base glazed, the rim unglazed showing the porcelaneous body burnt orange in the firing. Each 15 cm (5 7/8 in.) diam. (2).

€4,000 - 6,000

Provenance

Ollis & Oostermeijer Chinese Antiquities, Beekbergen, 17 November 2012. A Belgian collection.

北宋 青白釉印穿花鳳紋碟一對

來源

Ollis & Oostermeijer Chinese Antiquities, Beekbergen，2012年11月17日

比利時私人收藏

Each with a compressed bulbous body divided into six lobes, raised on a short foot, surmounted by a tall neck flaring to a wide rim, set with a strap handle on one side and a curved spout on the other side, covered entirely with a translucent bluish glaze, the base unglazed. 20 cm (8 in.) and 20.5 cm (8 1/8 in.) high (2).

€15,000 - 25,000

Provenance

Gisèle Croës, Brussels (according to label).

A Belgian Collection (according to Christie’s catalogue). Christie’s Paris, 13 June 2013, lot 253. A French family collection.

宋 青白釉瓜棱式執壺一對

來源

Gisèle Croës，布魯塞爾（據標簽） 比利時收藏（據佳士得圖錄） 巴黎佳士得，2013年6月13日，編號253 法國家族收藏

LOTS 29 - 32

IMPORTANTE VERSEUSE ET BASSIN EN PORCELAINE QINGBAI Dynastie Song (960-1279)

A RARE QINGBAI WINE EWER AND WARMING BASIN

Song Dynasty

The ewer with an ovoid body divided into six lobes, set with a strap handle opposite a short arched spout, a shaped foliate motif carved beneath the handle and spout, the slightly domed cover similarly divided into lobes and set with a small sprig as a knob, the deep basin raised on a high foot and divided into seven lobes each finely incised with stylized floral decoration, the ewer, cover and basin covered overall save for the bases with a lustrous blue-tinged transparent glaze.

The ewer: 17 cm (6 3/4 in.) high; the basin: 16.3 cm (6 3/8 in.) diam. (3).

€30,000 - 50,000

Provenance

John Sparks, London (according to label).

A Swedish collection (by repute).

Antik West, Gothenburg.

Property from a Belgian family collection, by descent in the family.

宋 青白釉執壺及溫盌

來源

倫敦古董商John Sparks（據標簽）

瑞典私人收藏（傳）

瑞典哥德堡古董商Antik West 比利時家族藏品，家族傳承

This melon-shaped ewer and its matching warming basin were made in one of the 136 kilns operating in Jingdezhen in Jiangxi province, south-eastern China, during the Song and Yuan dynasties. Distinguished by their pure white body and light bluish translucent glaze with its brilliant surface, this ewer and basin represent Qingbai wares. Unlike other wares of the Song dynasty, the name Qingbai (‘blue-white’) wares, also known as Yingqing (‘shadow blue’) wares, take their name from the cool blue colour of their glaze and do not refer to the region or kiln where these wares were produced. Qing (green) and bai (white) describe the distinctive features of their appearance: the alluring light blue tones of the lustrous translucent glaze which complements the dazzlingly white porcelaneous body beneath. In his treatise Tao ji (Ceramic Records), the Southern Song historian Jiang Qi records that white porcelain produced in Jingdezhen in Jiangxi province was so refined and pure that it was known as raoyu (Jade of Rao), the region in which the Jingdezhen kilns were located. Among the kilns in Jingdezhen district, the most significant was the Hutian kiln as it had the largest scale and longest historical span of porcelain production ranging from the Five Dynasties to the Ming Dynasty.

Intended for serving warmed wine, this elegant ewer, its fitted cover, and warming basin form a rare, complete set of what was once standard tableware for middle- and upper-class Northern Song society. Thinly potted and delicately formed, the translucent hardness of Qingbai ware made these wares extremely serviceable. Their utility and aesthetic refinement appealed to a wide market both domestic and foreign.

Feasting and banqueting were an integral social and ritual activity in Song life. By the 12th century, the new Song capital, Lin’an (Hangzhou), had replaced Bianliang as the world’s largest city, with around one million inhabitants. Here hundreds of teahouses, bars, high-end restaurants, and noodle shops were patronized by literati, who ate and drank in private dining rooms. Such was the importance of convivial gatherings and banquets that scenes of feasts and banquets were depicted in the realms of both the dead as well as the living, appearing in tombs of the Liao and Song dynasties as well as paintings commissioned by wealthy patrons of the period. High-ranking tombs of the Liao and Song dynasties were often decorated with large murals and stocked with goods for use in the afterlife. Scenes of banqueting as well as the inclusion of the accoutrements of the feast, ensured the soul of the deceased would be nourished and honoured for eternity. The utensils used in feasts and banquets of the time included a range of vessels made in ceramic, porcelain, gold, silver and lacquer and often included ewers and warming basins similar to the lot offered here (Figs. 2 and 3). A mural in the Liao dynasty tomb of Zhang Shiqing discovered in Xuanhua, Hebei, depicts the preparation for a banquet and includes two ewers in their warming basin, see Xuanhua Liao mu bihua Beijing, 2001, col. pl. 60. A melon-shaped ewer and basin were discovered in a Liao dynasty tomb in Inner Mongolia, dated 1099 (Figs. 1a and 1b), illustrated in Neimenggu chutu wenwu xiji, Beijing, 1963, pp. 86 and 87.

A Northern Song dynasty Qingbai ewer with a cover surmounted by a seated lion, together with a lobed, petal-rimmed warming basin, was excavated in 2004 at Shangdang, Dantu county, Zhenjiang city, and is illustrated in Zhongguo chutu ciqi quanji, vol. 7, Jiangsu Shanghai, Beijing, 2008, no. 116. Another, very similar Qingbai ewer and warming basin were discovered in a tomb dated to the Liao/Northern Song dynasty in Datangzhuang, Miyun, Hebei, Fig. 3), illustrated in Miyun Datangzhuang. Baihe liucheng gudai muzang fajue baogao Shanghai, 2010, col.pl. 18:1-3. Compare also with a very similar ewer, cover and warming basin in the collection of the British Museum, London (accession no. 1936.1 012.153).

30

RARE COUPE À PIED EN PORCELAINE À GLAÇURE BLANCHE

ET À DÉCOR ANHUA

Dynastie Ming, XVe/XVIe siècle

A RARE ANHUA-DECORATED WHITE-GLAZED ‘DRAGON’ STEMBOWL

Ming Dynasty, 15th/16th century

Finely potted, the deep bowl with sides rising to a wide, flared rim, supported on a tall, hollow splayed stem, subtly decorated around the interior walls in anhua with the two striding dragons, applied overall with an even glaze of milky tone, save for the footring left unglazed.

15 cm (5 7/8 in) diam.

€10,000 - 15,000

Provenance

Marc Michot, Bruges.

Property from a Belgian family collection, by descent in the family.

明 十五/十六世紀 甜白釉暗花龍紋高足盌

來源

Marc Michot，布魯日 比利時家族藏品，家族傳承

31

ASSIETTE EN PORCELAINE À GLAÇURE JAUNE

Dynastie Qing, époque Kangxi (1662-1722)

A YELLOW-GLAZED ‘DRAGON’ DISH Qing Dynasty, Kangxi period

With shallow rounded sides rising to an everted rim, the interior and the underside finely incised with five-clawed dragons chasing a flaming pearl, covered overall with an even, pale yellow glaze, the base with an apocryphal six-character Xuande mark.

19.6 cm (7 3/4 in.) diam.

€3,000 - 5,000

Provenance

Christie’s London, 13 May 1924. Bluett & Sons, London.

Collection of Captain Louis Victor Marno (ca. 1860-1930).

Marc Michot, Bruges.

Property from a Belgian family collection, by descent in the family.

清康熙 黃釉刻雲龍紋盤 「大明宣德年製」仿款

來源

倫敦佳士得，1924年5月13日

倫敦古董商Bluett & Sons

Louis Victor Marno（约1860—1930）上尉收藏 Marc Michot，布魯日

比利時家族藏品，家族傳承

32

RARE PAIRE DE PETITES COUPELLES EN PORCELAINE ÉMAILLÉE JAUNE CITRON

Marques et époque Yongzheng (1723-1735)

A RARE PAIR OF SMALL LEMON YELLOW-ENAMELLED DISHES

Yongzheng six-character marks and of the period

Each with shallow rounded sides raised on a short foot, covered overall with an even opaque bright lemon-yellow glaze ending neatly around the foot, the bases glazed white and inscribed with a six-character mark in underglaze blue within a double circle.

Each 7.8 cm (3 1/8 in.) diam. (2).

€12,000 - 15,000

Provenance

C.T. Loo, Paris (according to labels).

Marc Michot, Bruges.

Property from a Belgian family collection, by descent in the family.

清雍正 檸檬黃釉小碟一對 「大清雍正年製」款

來源 盧芹齋，巴黎（據標簽） Marc Michot，布魯日 比利時家族藏品，家族傳承

Compare with a pair of small dishes of similar size and shape, also covered with a bright lemon-yellow glaze, formerly in the E.T. Hall Collection, sold Christie’s London, 7 June 2004, lot 269.

33

RARE ASSIETTE EN PORCELAINE DOUCAI Marque et époque Yongzheng (1723-1735)

A RARE DOUCAI SAUCER DISH

Yongzheng six-character mark and of the period

Finely outlined in underglaze blue and filled with translucent green, yellow, aubergine and coral-red with a yellow deer gazing at two bats, the border with clusters of lingzhi and foliage issuing from craggy rockwork, and a monkey sitting on a branch laden with peaches. 20.2 cm (8 in.) diam.

€8,000 - 12,000

Provenance

A distinguished European private collection, acquired in June 1979 from an important French private collection, Paris. Bonhams London, 8 November 2012, lot 103. Property of a Portuguese collector.

清雍正 鬥彩爵祿封侯圖盤 「大清雍正年製」款

來源

歐洲顯赫私人收藏，於1979年6月得自法國重要私人收藏，巴黎

倫敦邦瀚斯，2012年11月8日，編號103

葡萄牙藏家藏品

34

RARE ASSIETTE EN PORCELAINE BLEU BLANC

Dynastie Ming, époque Yongle (1403-1424)

A RARE BLUE AND WHITE ‘LOTUS’ DISH Ming Dynasty, Yongle period

With shallow rounded sides rising from a short tapered foot, finely painted to the interior with undulating lotus scrolls issuing issuing five luscious lotus blooms arranged around a central, larger lotus flower, the well similarly painted beneath a classic scroll border, the exterior painted with a chrysanthemum scroll above a classic scroll around the foot and a keyfret band around the rim, the base unglazed.

28 cm (11 in.) diam.

€80,000 - 100,000

Provenance

Christie’s Hong Kong, 8 October 1990, lot 420. The Leshantang Collection, Taipei. Sotheby’s Hong Kong, 9 April 2024, lot 129.

Published

Geng Baochang (ed.) (et.al), The Leshantang Collection of Chinese Porcelain Taipei, 2005, pl. 6.

明永樂 青花纏枝蓮紋盤

來源

香港佳士得，1990年10月8日，編號420

樂山堂收藏，臺北

香港蘇富比，2024年4月9日，編號129

出版

《樂山堂藏瓷》，台北，2005年，圖版6

Porcelains decorated with blue and white designs first appeared in the Tang dynasty but the technique of applying cobalt blue pigment under the glaze onto a greyish-white porcelain body before firing was only perfected under the Yuan. Potters in Jingdezhen, Jiangxi province, refined clay recipes by adding kaolin clay, and mastered complex firing techniques using cobalt pigment produced in Yunnan province or imported from the Middle East. Highly skilled, they applied a variety of decorative techniques when painting blue and white porcelains, combining darker and lighter shades of blue to create a striking contrast, using areas reserved in white to create pattern on a densely painted blue background, or simply drawing detailed outlines, creating subtle displays of ‘heap and pile’ characteristics, with varying tones of rich and brilliant cobalt blue visible on the present dish.

Dishes decorated with lotus blooms arranged around a central flower belong to an important group of early Ming blue and white wares, together with ‘lotus bouquet’ dishes, ‘grape’ dishes, ‘melon’ dishes and ‘dragon’ dishes, see John A. Pope, Chinese Porcelains from the Ardebil Shrine Washington, D.C, 1956, p. 92. According to Regina Krahl, prior to the fifteenth century, motifs were treated like patterns, and these dishes show a move towards a more naturalistic approach, see Regina Krahl and John Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul vol. II, London, 1986, p. 506. Painted and coloured glazes and more naturalistic patterns and motifs show a shift towards more decorative designs. The undulating lotus scroll on the present dish is executed in a fluid and painterly fashion and represent a fine example. Compare a dish of similar size and design, sold in Sotheby’s Hong Kong, 8 October 2008, lot 2543. Also compare two dishes of this design in the Ardabil Shrine collection, published in John A. Pope, ibid., pl. 34.

35 ASSIETTE EN PORCELAINE BLEU BLANC

Dynastie Qing, époque Kangxi (1662-1722)

A BLUE AND WHITE INSCRIBED DISH Qing Dynasty, Kangxi period

Painted to the centre with a mountainous river landscape, depicting boats approaching the shore beneath overhanging pines, the scene accompanied by an inscribed poem, all within a cracked-ice and prunus border at the rim, the reverse decorated with rockwork and bamboo sprays, the base with an apocryphal Chenghua six-character mark within a double circle. 20.5 cm (8 1/8 in.) diam.

€1,200 - 1,500

Provenance

Formerly in the collection of Alexander Constantine Ionides (1810-1890), thence in the family through his daughter Chariclea Ionides (1844-1923), aunt of Basil Ionides (1884-1950), and in the family by descent.

清康熙 山水人物圖詩文盤 「大明成化年製」仿款

詩文：遠水接天浮，渺渺扁舟。去時花雨送春愁。今日 歸來黃葉鬧，又是深秋。遠水歸帆。

來源

Alexander Constantine Ionides (1810-1890) 舊藏，此後由其

女 Chariclea Ionides（1844–1923）繼承，Chariclea 為 Basil Ionides（1884–1950）之姨母，此後家族流傳

36

37 VASE CORNET EN PORCELAINE BLEU BLANC, CÉLADON

ET ROUGE DE CUIVRE, GU

Dynastie Qing, époque Kangxi (1662-1722)

A BLUE AND WHITE, CELADON AND COPPER-RED BEAKER VASE, GU Qing Dynasty, Kangxi period

The trumpet neck and splayed foot decorated with lakeside views depicting men fishing from boats, pavilions and thatched huts set among trees and rocks on the shore, all carved in low relief with incised detailing, picked out in underglaze-blue, copper-red and celadon, the central bulb with a frieze of sinuous qilong trailing slender lingzhi stems from their jaws. 42 cm (16 1/2 in.) high

€8,000 - 12,000

Provenance

Sotheby’s Hong Kong, 23 May 1978, lot 109. S. Marchant & Son, London (according to label)

A distinguished Belgian private collection, thence in the family by descent.

清康熙 青花豆青釉裏紅觚式瓶

來源

香港蘇富比，1978年5月23日，編號109

倫敦古董商S. Marchant & Son（據標簽）

比利時顯赫私人收藏，此後家族傳承

RARE ASSIETTE EN PORCELAINE BLEU BLANC

Marque et problement époque Yongzheng (1723-1735)

A RARE BLUE AND WHITE ‘LANCA’ DISH Yongzheng mark and probably of the period

Painted to the interior in tones of vivid blue of with a large central lanca character, circled by four bands of smaller lanca characters, the reverse similarly decorated, the base with a six-character Yongzheng mark within a double circle. 26.5 cm (10 3/8 in.) diam.

€2,000 - 3,000

Provenance

Formerly in the collection of Alexander Constantine Ionides (1810-1890), thence in the family through his daughter Chariclea Ionides (1844-1923), aunt of Basil Ionides (1884-1950), and in the family by descent.

或清雍正 青花梵文盤 「大清雍正年製」款

來源

Alexander Constantine Ionides (1810-1890) 舊藏，此後由其 女 Chariclea Ionides（1844–1923）繼承，Chariclea 為 Basil Ionides（1884–1950）之姨母，此後家族流傳

A RARE GILT-DECORATED POWDER-BLUE 'ODE TO THE RED CLIFF' ROULEAU VASE

Qing Dynasty, Kangxi period

The cylindrical body rising to a columnar neck with galleried rim, richly and finely painted in gold against a bright, mottled-blue ground with a riverscape scene featuring fishermen in their boats under towering cliffs on one side, the other side with a lengthy inscription taken from Su Shi’s ‘Latter Ode on the Red Cliffs’, dated to the first day of the hottest month of the bingxu year, signed Chen Yi and with a seal reading Chen Yi 45.5 cm (17 7/8 in.) high

€20,000 - 40,000

Porcelains with powder-blue glazes were popular during the Kangxi period. The mottled blue effect was the result of a very particular technique employed to apply the cobalt blue pigment to the unglazed porcelain body. The powdered pigment was blown onto the surface through a tube with a thin gauze on the end, then covered with a clear glaze and fired. The effect, when fired, was of a deep, finely mottled or soufflé blue. The difference between powder-blue and other plain blue glazes is the size of the cobalt particles. In the case of powder-blue, the oxide particles appear as powder specks giving the colour a mottled appearance. While some porcelains were covered entirely with a powder-blue glaze, on others shaped panels were reserved in white and decorated with enamels over the glaze in a second firing. A third group of powder blue-glazed porcelains were decorated with designs finely painted in gold onto the brilliant blue surface creating a dramatic effect as illustrated by the present vase.

The scene depicted on one side of the vase shows a group of scholars in a boat drifting beneath steep cliffs. The lengthy inscription on the other side of the body identifies the figure as the poet Su Shi (Su Dongpo, 1037-1101) who undertook two journeys by boat to an area known as Red Cliff which in 1082 he commemorated in two essays titled 'Former Ode to the Red Cliff' and 'Latter Ode to the Red Cliff', expressing his thoughts on the cosmos, nature, and human existence. The scene of the poet gathering with his companions on a boat became a favourite subject on porcelains of the Ming and Qing dynasty, see Eva Ströber,"La Maladie de Porcelaine..." Ostasiatisches Porzellan aus der Sammlung Augusts des Starken. East Asian Porcelain from the Collection of Augustus the Strong, Berlin, 2001, pp. 104-105.

Few powder blue-glazed gilt-decorated porcelains are inscribed, the inscriptions often referring to the designs painted on the porcelains. Several inscriptions bear the seals of the mushi ju' (hall or residence of wood and stone hall) and zhushi ju (hall or residence of bamboo and stone), see for instance, a powde-blue and gilt-decorated rouleau vase, dated 1709) in the collection of the Metropolitan Museum of Art, New York, (accession no. 79.2.153), or another example from the Grandidier Collection in the Guimet Museum, Paris, (G 123). The inscription on the present vase is signed Chen Yi and is accompanied by a seal also reading Chen Yi From the similarities in the calligraphy style, we can assume that the present vase was decorated and inscribed in the same workshop or atelier as the vases bearing the zhushi ju and mushi ju

39

IMPORTANT ET RARE GRAND VASE YENYEN EN PORCELAINE

DE LA FAMILLE VERTE

Dynastie Qing, époque Kangxi (1662-1722)

A MAGNIFICENT AND RARE LARGE FAMILLE VERTE ‘100 BOYS’ YENYEN VASE

Qing Dynasty, Kangxi period

Boldly painted in bright enamels around the body and neck with a continuous scene of young boys at play and engaged in various leisurely and scholarly activities, gathered around tables or in groups amidst trees, on terrasses, and in pavilions, below billowing iron-red clouds, the shoulder with an intricate diaper pattern and large blooms, the neck similarly painted with groups of boys in a landscape setting, an inscription incised on the base reading Qianlong dingwei nian xiayue jidan tianzhi yong (Additional purchase, on an auspicious day of the first month of the dingwei year (corresponding to 1787), later European gilt-bronze mounts. 68 cm (26 3/4 in.) high (2).

€50,000 - 70,000

Provenance

Collection of Edward R. Bacon (1848-1915), New York, thence by descent to his sister in law, Virginia Purdy Bacon (1853-1919), New York. Kunsthandel Heinz Reichert, Freiburg and Munich. Collection of Eugen Albert (1934-2024), Mainz, acquired from the above on 7 July 1976. Lempertz, Cologne, 13 June 1925, lot 172.

Published

John Getz, Catalogue of Chinese Art Objects, Porcelains, Potteries, Jades, Bronzes, and Cloisonne Enamels collected by Edward R. Bacon New York, 1914, p. 22, cat. no. 46 and pl. VIII.

清康熙 五彩百子圖鳳尾尊

來源

Edward R. Bacon (1848-1915) 收藏，紐約，其後傳至其嫂 Virginia Purdy Bacon（1853–1919），紐約

Kunsthandel Heinz Reichert，弗萊堡及慕尼黑

Eugen Albert (1934-2024) 收藏，美因茲，於1976年7月7日得自上述來源

倫佩茨拍賣行，科隆，1925年6月13日，編號172

出版

John Getz, 《Catalogue of Chinese Art Objects, Porcelains, Potteries, Jades, Bronzes, and Cloisonne Enamels collected by Edward R. Bacon》，

紐約，1914年, 頁22，編號46，圖版VIII

A multitude of boys engaged in a flurry of activities is boldly painted around the undulating form of this impressive and elegant baluster form vase. The design is busy, packed with outdoor action and punctuated with scenes of domestic and scholarly tranquillity. The design and size of this vase are a technical feat that only the most skilled potters and artisans in Jingdezhen could master. The imposing size of this vase, the painterly style and the brilliant enamel palette of greens, yellows, blues and iron-red with details picked out in or outlined in black were all technically challenging features yet the potters at Jingdezhen were encouraged to push their skills to the limit and produce vases of such magnificent design and size.

Very few vases of this size and shape were successfully fired and have survived in almost perfect condition. This vase is particularly stunning as it is decorated with the subject of the ‘hundred boys’. Exquisitely rendered in tones of green and blue with a continuous bucolic garden setting bordered by craggy rockwork and gnarled pines, flowering prunus and clusters of bamboo, set with pavilions and terrasses that provide the backdrop for animated groups of small boys engaged in a variety of activities. The theme of a ‘hundred boys’ is imbued with powerful auspicious symbolism and was very popular in the Qing dynasty, representing the desire for many sons to continue the family line and ensure prosperity and stability. The theme was widely employed in the decorative arts of the Ming and Qing dynasties, and vases of various forms were painted with playful scenes such as on the present vase. It is very rare for a large yenyen vase to be decorated with the subject of the ‘hundred boys’ and no other closely related example appears to have been published. For other large size vases of this shape decorated with the famille verte palette, see an example offered in Bonhams London, 10 November 2011, lot 163. Another example sold in Sotheby’s London, 11 May 2022, lot 77.

More than a century ago, this impressive vase was in the collection of Edward R. Bacon (1848-1915), a prolific yet elusive collector of Chinese porcelain and works of art based in New York. Edward R. Bacon formed an important collection of exquisite Chinese porcelains which was published under his name and with the contribution of John Getz in 1919. The present vase is among the few porcelains in the catalogue that were reproduced in colour underlining the appreciation Bacon had for the piece. Edward Bacon acquired many of his best Chinese porcelain pieces in France and it is quite likely that this vase with its 19th century custom-made, opulent French gilt-bronze mount was acquired by Bacon in France. A Chinese ewer with 18th century French ormulu mounts, also from the Edward R. Bacon collection, is in the J. Paul Getty Museum, Los Angeles (accession no. 82.DI.3), published in Gillian Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum, Los Angeles, 1999, pp. 26-29, cat. no. 2. This magnificent famille verte yenyen vase is one of the very rare pieces from the illustrious Edward R. Bacon collection and his prestigious catalogue to appear on the market.

40 RARE ASSIETTE EN PORCELAINE ÉMAILLÉE NOIRE

Époque Qianlong (1736-1795), vers 1745

A RARE BLACK-GROUND ‘TRUMPETER’ DISH

Qianlong period, ca. 1745

Painted to the centre with two musicians standing on a grassy patch, one wearing a yellow tunic and blowing a horn, the other clad in a light green tunic blowing a trumpet, all reserved on a lustrous, deep black enamel ground, with a border of gilt spearheads around the rim.

23 cm (9 in.) diam.

€3,000 - 5,000

清乾隆 約1745年 墨地樂人圖盤

This rare dish with its Middle Eastern trumpeters wearing native Indian headdresses belongs to a small group of porcelains of the same distinctive pattern, made after a design attributed to Cornelis Pronk (1691-1754). The design appears on a variety of vessels including ewers, teapots, saucers, bowls and dishes such as the present example, as a group in the collection of the Victoria and Albert Museum in London illustrates (accession no. C.88&A-1963), suggesting that they were made for at least one specially commissioned set.

41

RARE ASSIETTE EN PORCELAINE DE LA FAMILLE ROSE

Dynastie Qing, époque Yongzheng, datée de l’année 1728

A RARE FAMILLE ROSE ARMORIAL ‘V.O.C.’ DISH Qing Dynasty, Yongzheng period, dated 1728

Painted in bright pink and yellow enamels of the famille rose palette with a central crowned coat of arms supported by two crowned lions rampant, above a V.O.C. monogram framed by scrollwork, the border inscribed in pink enamels CONCORDIA RES PARVAE CRESCUNT.1728 (small things grow great in unity).

23.4 cm (9 1/4 in.) diam.

€8,000 - 12,000

Provenance

Acquired in London in the early 1990s. A distinguished Dutch collection.

清雍正 1728年 粉彩荷蘭東印度公司紋章圖盤

來源

於1990年代初得自倫敦 荷蘭顯赫收藏

The arms and motto on this rare dish are those of the Dutch Republic, and the letters V.O.C. are the cypher of the ‘Verenigde Oost Indische Compagnie’, the Dutch East India Company, the design was probably copied from a silver coin issued by the V.O.C in 1728, with the striped band at the border imitating the ribbed milling of the coin. In 1726 the Dutch East India Company arranged - without prior governmental approval - to have coins minted with a special inscription for trading use in the Far East. However, official permission was not granted until 1728 for the minting of special ducatoons that were minted with the company V.O.C. cypher. Several vessels including other dishes, cups and saucers and teapots in museum and private collections suggest that they belonged to a tea service commissioned by the Dutch East India Company to commemorate the successful launch of its new coinage, see Clare Le Corbeiller, China Trade Porcelain: Patterns of Exchange, New York, 1974, p. 104, no. 43. See David Howard and John Ayers, China for the West London, 1978, vol.I, p. 194, no. 191 for a similar plate and a discussion on the dating of this service. Very few examples from this distinctive service have appeared on the market. Compare, for instance, a teapot and a teabowl, sold in Christie’s, New York, 26 January 2010, lots 13 and 14, and a similarly sized dish from the collection of Ann and Gordon Getty, sold in Christie’s New York, 19 October 2023, lot 134.

42 PAIRE D’ASSIETTES EN PORCELAINE DE LA FAMILLE ROSE

Dynastie Qing, époque Yongzheng (1722-1735), marques Johanneum N=176

A PAIR OF FAMILLE ROSE ‘FLORAL’ DISHES

Qing Dynasty, period, engraved Johanneum marks N=176

Each delicately potted with gently rounded sides raised on a tapered foot, finely enamelled to the interior in the famille rose palette with brightly coloured leafy stems of entwined chrysanthemums, peonies and roses issuing lush blooms and smaller buds, the leaves naturalistically rendered in different tones of green, the base engraved with the mark N=176 highlighted in black.

22.2 cm (8 3/4 in.) diam. (2).

€6,000 - 8,000

Provenance

The Royal Collections of Saxony, Japanese Palace, Dresden. Collection of Augustus II (‘The Strong’) (1670-1733), Elector of Saxony and King of Poland (engraved Dresden inventory mark on the base of each dish reading N:176 and I).

清雍正 粉彩花卉紋盤一對 刻有約翰尼烏姆編號「N=176」

來源

薩克森皇室收藏，日本宮，德累斯頓 波蘭國王兼薩克森選侯奧古斯都二世（「強者奧古斯都」）收藏 （每件盤底均刻有德累斯頓藏品編號「N=176」及「 」）

August Rex or Augustus the Strong, Elector of Saxony (1670-1733), was an avid collector of Chinese and Japanese porcelains for which he built the Johanneum in Dresden, a building that became known as the Japanese Palace. W. B. Honey notes that the porcelains belonging to the old collection of Augustus the Strong bear marks referring to an inventory begun in 1721. As on the present pair of dishes, these marks were engraved and coloured in black, see H.B. Honey, European Ceramic Art pp. 337 and 338. The 1779 inventory of the Japanese Palace lists ‘A Service painted with red and colored flowers comprising a hundred pieces large and small pieces... No. 176.’ Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain New York, 2008, p. 702.

Compare a dish in the Dresden Porcelain Collection, with the same inventory number, published in La Maladie de Porcelaine. East Asian Porcelain from the Collection of Augustus the Strong Dresden, 2001, no. 31, p. 76. Compare also a smaller dish from the Mottahedeh Collection with the same Johanneum mark, illustrated by Johan Howard and John Ayers, China for the West, London and New York, 1978, p. 148, no. 128, where the authors also comment that the presence of a Johanneum mark “almost certainly indicates that the piece entered the collection before the death of King Augustus in 1733’.

43 MAGNIFIQUE ET IMPORTANTE BOÎTE IMPÉRIALE EN LAQUE ROUGE SCULPTÉE

Marque et époque Qianlong (1736-1795)

A MAGNIFICENT AND VERY RARE LARGE ARCHAISTIC CARVED CINNABAR LACQUER ‘TWELVE IMPERIAL EMBLEMS’ GUIBI BOX AND COVER Four-character Qianlong mark and of the period Shaped in the form of a large guibi a pointed rectangular gui tablet and superimposed bi disc, the cover finely and deeply carved through layers of red lacquer, centred on a four-character Qianlong nianzhi mark surrounded by archaistic dragon scrolls within a keyfret border, all on a dense diaper ground, the pointed top with a pair of stylised qilong dragons flanking a single trigram, bordered by a keyfret band and against a dense diaper ground, the lower part similarly decorated with archaistic motifs against a diaper ground and within a keyfret border, finely and intricately carved around the sides with the Twelve Imperial Symbols of Authority (shier zhangwen), including the sun and the moon, a constellation of three stars, the rock or mountain flanked by two trigrams, the axe or hatchet and the figure fu a pair of confronted dragons and a pheasant, a pair of sacrificial cups containing a tiger and a monkey, waterweed, grain and a flame, all above cresting waves and below auspicious clouds, against a dense diaper ground, the interiors and base lacquered black, the red lacquer with fine marbling. 34 cm (13 3/8 in.) long (2).

€25,000 - 35,000

清乾隆 剔紅十二章紋圭璧式蓋盒 「乾隆年製」款

views

This magnificent carved cinnabar lacquer box is in a rare shape more commonly found in jade objects of the Qianlong period as exemplified by a white jade guibi disc in the collection of the Palace Museum, Beijing, published in The Complete Collection of Treasures of the Palace Museum, Jadeware (III) Hong Kong, 1995, p. 160, no. 129 (Fig. 2). Its shape combines two of the most recognisable objects made in early Chinese jade history, namely a circular disc (bi) and a rectangular pointed tablet (gui), both listed among the six important ritual jades in the Zhouli (Rites of Zhou), one of the three classics on rites and etiquette compiled in the latter part of the Eastern Zhou dynasty. The round shape of the jade disc was believed to represent the shape of heaven while also serving as a symbol of rank and wealth. The jade tablet with is pointed tip was similarly perceived as a symbol of rank. The combination of a disc with an appointed blade, known as guibi was first illustrated in the Guyu tupu compiled in 1176 by imperial commission, and Jessica Rawson notes that ‘no such combination of disc and pointed blade had ever existed’, see Jessica Rawson, Chinese Jade from the Neolithic to the Qing London, 1995, pp. 91 and 92, fig. 88.

Under the Qianlong emperor, a renewed interest in ancient practices and values as well as the material past saw the revival and appropriation of archaic shapes, motifs and designs in the decorative arts. This lacquer box is one of the rare examples of lacquerware that combines archaic forms that had been transmitted in printed books and catalogues with unique features that reflect the Qianlong emperor’s style and preferences. The Qing imperial collection comprised around twenty thousand examples of carved, painted and incised lacquerware, many of these commissioned by the Qianlong emperor. Few can be called archaistic in terms of form or design. Among them is a carved red and green lacquer box in the same guibi form as the present box (Fig. 1), illustrated in The Complete Collection of Treasures of the Palace Museum, Lacquerware of the Qing Dynasty, vol. 46 Hong Kong, 2006, cat. no. 33. While it is in the same unusual form, this box is smaller in size and decorated with only three of the twelve Imperial Symbols of Authority, namely the three star constellation, the mountain or rock, and the millet grain, all rendered in dark green lacquer against a red diaper ground. The present guibi box cover, however, is decorated with the full set of Twelve Imperial Symbols of Authority (shier zhangwen), symbols of cosmic power, intricately carved and positioned around the sides of the cover. They include the sun and the moon and a constellation of three stars representing heaven, the rock or mountain representing earth, the axe or hatchet and the figure fu symbols of temporal power, a pair of dragons and a pheasant representing control over the natural world, a pair of sacrificial cups with a tiger and a monkey, waterweed representing water, grain representing wood, and a flame representing fire. According to the Shujing (‘Book of History’), the legendary Emperor Shun referred to these symbols as suitable decoration for Imperial formal attire. Under the Qianlong emperor, the Huangchao liqi tushi (Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court), promulgated that the use of the Twelve Symbols was restricted to the emperor.

Very few pieces of carved cinnabar lacquer carry inscriptions or reign marks that are carved in high relief from lacquer such as on the cover of this box, see, for example, a large carved cinnabar lacquer box and cover in the collection of the Cleveland Museum of Art decorated with dragons and with the inscription ‘in his heart is envisioned a peaceful reign’ (accession number John L. Severance Fund 1969.32). The Cleveland box was an imperial commission. It was made in lacquer workshops in Suzhou and was designed to hold the private portraits of the Qianlong emperor, his empress and concubines. The interior of the present guibi box is divided into a central circular compartment flanked by a square compartment on either side. The Archival Records from the Qing Imperial Household Department’s Workshops (Qing gong neiwu fu zaobanchu dangan record several references to a carved red lacquer guibi box, the first noting that the box contained a rosary made of precious chenxiang beads, the others recording a damaged red lacquer guibi box that was sent to the lacquer workshops in Suzhou to be restored. While we do not know what the present guibibox contained, another guibi box made of zitan and similarly decorated with the Twelve Imperial Symbols of Authority, also from the Palace Museum collection in Beijing, contained a circular jade seal paste box (Fig. 3). The superb quality of the carving, the superior craftsmanship, the elaborate design and the subject of the decoration on this specific guibi box and cover, the size and the inscription that dates the box to the Qianlong period all proclaim the imperial pedigree of this magnificent box which was likely to have been made for the Qianlong emperor.

44

CHEN SHIZENG (1876–1923) ET HUA SHIKUI (1863-1942)

Lettré jouant de la flûte

CHEN SHIZENG (1876–1923) AND HUA SHIKUI (1863-1942)

Scholar Playing the Flute and Calligraphy

Ink and colour on silk, fan leaf

Inscribed and signed Shizeng and with one seal of the artist, the reverse inscribed and signed Hua Shikui and with two seals of the artist.

25 cm (9 7/8 in.) diam.

€2,800 - 3,800

Provenance

A French family collection.

陳師曾（1876–1923）登高弄笛 設色絹本

款識：登高弄長笛，清響入雲中。丙申夏。楚臣大哥 大人命繢即求。指疵。弟師曾作於酸湖客邸。鈐印一方。

華世奎（1863-1942）楷書元人詩 水墨紙本

款識：右錄元人詩如干首即請楚臣仁兄大人正字。

弼臣弟華世奎。鈐印二方。

來源

法國家族收藏

46 DEUX CACHETS EN JADE CÉLADON PÂLE ET DEUX CACHETS EN STÉATITE

Dynastie Qing, XVIIIe/XIXe siècle

TWO PALE CELADON JADE AND TWO SOAPSTONE SEALS

Qing Dynasty, 18th/19th century

Comprising two pale celadon jade seals, each surmounted by a qilong a soapstone seal carved with a phoenix and an immortal; and soapstone seal carved with a landscape, the seals faces reading Tianhua zhuo shen zhi shi hua han shi shou ji chao, tan xiao zi ruo

The largest 6.3 cm (2 1/2 in.) high (4).

€3,000 - 5,000

Provenance

A French private collection.

Sotheby’s Paris, 18 December 2008, lot 98.

A French family collection.

清

來源

法國私人收藏

巴黎蘇富比，

45

ATTRIBUÉ À QIAN WEICHENG, XIXe siècle Paysages

ATTRIBUTED TO QIAN WEICHENG, 19TH CENTURY Landscapes

Ink and colour on silk, album of eight leaves

Five leaves signed Jiaxuan Qian Weicheng; three leaves signed Jiaxuan, variously bearing seals reading Qian

Weicheng yin and Chashan with three collector’s seals. Each leaf: 29 cm x 31 cm (11 3/8 in. x 12 1/4 in.) (8).

€4,000 - 6,000

Provenance

A French family collection.

錢維城（款）山水冊 十九世紀

設色絹本 八開冊

五開署「稼軒錢維城」，三開署「稼軒」，鈐 「錢維城印」「茶山」二印，鑒藏印「魚山鑒賞 之章」、「風滿樓真賞」、「慶龍鑒古」。

來源 法國家族收藏

47

PLATEAU POLYLOBÉ EN LAQUE SCULPTÉE TIXI PEINTE À L’OR

Dynastie Ming, XVIe/XVIIe siècle

A FOLIATE-SHAPED GOLD-PAINTED TIXI LACQUER TRAY Ming Dynasty, 16th/17th century

Of five-lobed outline, the flat centre painted in gold with a bird perched on a flowering prunus branch surrounded by three butterflies on a brownish-black lacquer ground, the gently rounded sides carved on the inside through five layers of alternating red and black lacquer with undulating pommel motifs repeated on the outside, the base lacquered black. 29.5 cm (11 5/8 in.) diam.

€4,000 - 6,000

Provenance

Collection of Nils Nessim (1916-1974), Stockholm (according to label on the base).

Christie’s London, 14 December 1983, lot 85.

Christie’s Paris, 15 June 2004, lot 130.

A French family collection.

明 十六/十七世紀 剔犀描金花鳥圖花式盤

來源

Nils Nessim (1916-1974) 收藏，斯德哥爾摩（據標簽）

倫敦佳士得，1983年12月14日，編號85

巴黎佳士得，2004年6月15日，編號130

法國家族收藏

47

48 W PETIT CABINET EN LAQUE ROUGE SCULPTÉE

Dynastie Qing (1644-1911), fin du XIXe siècle

A SMALL CARVED CINNABAR LACQUER ‘PHOENIX AND DRAGON’ CABINET

Qing Dynasty, late 19th century

Of square form, the two doors above a single drawer, deeply carved through layers of cinnabar red lacquer with a large phoenix descending on one side and a powerful dragon ascending on the other side, each door with two gilt-bronze hinges and a gilt-bronze door handle, the frames carved with key-fret pattern, the doors opening to two small drawers.

44 cm (17 3/8 in.) high x 38.5 cm (15 1/8 in.) wide x 17 cm (6 3/4 in.) deep (4).

€3,000 - 5,000

Provenance

Acquired from Bernheimer, Munich, in 1988. A German family collection.

清 十九世紀末 剔紅龍鳳紋小櫃

來源

於1988年得自慕尼黑Bernheimer 德國家族收藏

49 W

TABLE BASSE EN LAQUE PEINTE, KANGJI Dynastie Qing, XVIIIe/XIXe siècle

A GILT-DECORATED BLACK LACQUER LOW TABLE, KANGJI

Qing Dynasty, 18th/19th century

Of rectangular form, the top painted in gold and highlighted in red lacquer with scattered floral sprays, over a recessed waist, the apron and elegant square-section legs terminating in scrolled hoof feet and painted with a meandering floral scroll, all on a black lacquer ground.

35 cm (14 in.) high x 110.5 cm (43 1/2 in.) wide x 58.5 cm (23 in.) deep.

€3,000 - 5,000

清 十八/十九世紀 黑漆描金花卉紋炕几

來源

法國藏家藏品

50 BRÛLE-PARFUM EN BRONZE

Dynastie Ming (1368-1644), XVIe siècle

A BRONZE CENSER

Ming Dynasty, 16th century

Heavily cast, of compressed globular form, raised on three sturdy cabriole legs and set with a pair of strap handles, cast around the body with a row of raised bosses, wood stand. 30 cm (11 3/4 in.) wide across handles (2).

€12,000 - 15,000

Provenance

Collection of General Jean Baptiste Philippe Victor Comte (1825–1889), thence by descent in the family (by repute).

明 十六世紀 銅三足爐 「大明宣德年製」仿款

來源

Jean Baptiste Philippe Victor Comte (1825–1889) 將軍收藏， 此後家族傳承（傳）

51 Y W

RARE TABLE EN HUANGHUALI, QIAOTOUAN

Dynastie Ming, XVIe/XVIIe siècle et postérieur

A RARE HUANGHUALI RECESSED LEG TABLE, QIAOTOUAN Ming Dynasty, 16th/17th and later

The panelled top terminating in everted flanges, above scalloped-edge beaded aprons and leaf-shapes spandrels double mitered and tenoned to elegant, slightly flared ‘sword’ legs carved with incense-stick moulding under beaded edges and terminating in upturned cloud-scroll feet, joined by pairs of parallel cross braces.

89.5 cm (35 1/4 in.) high x 113 cm (44 1/2 in.) long x 32 cm (12 5/8 in.) deep

€6,000 - 8,000

Provenance

Rieunier et Associés, Paris, 14 March 2005, lot 91.

A Belgian collection.

See a related example from the Hung Collection, illustrated in Robert Hatfield Ellsworth, Nicholas Grindley and Anita Christy, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection New York, 1996, no. 47, pp. 136 and 137 which has everted flanges and ruyi shaped footpads, later sold at Christie’s Hong Kong, 28 November 2017, lot 2950. For a discussion and illustrations of Ming dynasty tables with recessed flush mitered leg construction, see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties Chicago, 1990, vol. II, p. 78, B36 and 37, and page 103, B96 and B37. Compare also with a table of this type from the collection of Mary and Cheney Cowles, sold in Bonhams New York, 20 March 2023, lot 23.

Rieunier et Associés，巴黎，2005年3月

53

PETIT BRÛLE-PARFUM EN BRONZE TACHETÉ D’OR

XVIIe/XVIIIe siècle

A SMALL GOLD-SPLASHED BRONZE CENSER 17th/18th century

Of square shape raised on four corner supports, the flared sides tapering to a flat base, set with a pair of angular, slightly curved loop handles, the exterior covered with irregular splashes of gold contrasting with the reddish-brown patina, the base cast with an apocryphal six-character Xuande mark within a recessed rectangular cartouche, wood cover. 9.4 cm (3 5/8 in.) wide across handles (2).

€4,000 - 6,000

Provenance

Formerly in the collection of Count Felix von Hertling (1920-2012), thence by descent to the present owner.

十七/十八世紀 銅灑金香爐

來源

Felix von Hertling（1920-2012）伯爵舊藏，後傳至現藏家

52 VASE BALUSTRE EN BRONZE TACHETÉ D’OR Dynastie Qing, XVIIIe siècle

A GOLD-SPLASHED BALUSTER VASE

Qing Dynasty, 18th century

The tapered body with rounded shoulders rising to a rounded rim, covered entirely with irregular gold splashes contrasting with the warm golden bronze ground, the base with an apocryphal two-character Xuande mark in a rectangular cartouche, wood stand and fitted wood box. 21 cm (8 1/4 in.) high. (3).

€2,000 - 3,000

Provenance

Formerly in the collection of Count Felix von Hertling (1920-2012), thence by descent to the present owner.

十八世紀 銅灑金瓶

來源 Felix von Hertling（1920-2012）伯爵舊藏，後傳至現藏家

54 GRAND VASE ARCHAÏSANT EN BRONZE, TOUHU

Dynastie Ming, daté de l’année gengxu (1550)

A RARE LARGE BRONZE ARCHAISTIC ‘ARROW’ VASE, TOUHU

Ming Dynasty, dated to the gengxu year (corresponding to 1550)

The compressed globular body supported on a splayed pedestal foot, rising to a tall cylindrical neck applied with two clambering qilong dragons and set with four attached tubular sections at the top and two shorter tubular sections angled at the sides, with four additional tubular sections around the body, the neck with an incised inscription reading da Ming gengxu nian zao

54 cm (21 1/4 in.) high

€4,000 - 6,000

Provenance

Acquired from Georg Hartl, Munich, in 1972. A German family collection.

明 庚戌年（1550年） 銅投壺

於1972年得自慕尼黑 Georg Hartl

55 TABOURET EN GRES EMAILLÉ FAHUA

Dynastie Ming (1368-1644), XVIe siècle

A FAHUA-GLAZED BARREL-SHAPED GARDEN SEAT

Ming Dynasty, 16th century

Decorated in vibrant yellow, green, white and blue enamels against a bright turquoise ground with phoenix amidst flowering peonies and rocks, all outlined in raised slip, between with two rows of turquoises bosses against a dark blue ground around the base and top, the domed top with top with a central lotus flower surrounded by four lotus leaves reserved on a dark blue ground.

37 cm (14 5/8 in.) high

€5,000 - 8,000

Provenance

Bluett & Sons, London.

A distinguished Belgian private collection, thence in the family by descent

Published and Illustrated:

Julian Thompson, ‘Chinese Porcelain Garden Seats’, in The Antique Dealer & Collectors Guide June 1968 (illustrated on the front cover).

明 十六世紀 琺華孔雀花卉紋繡墩

56

IMPORTANT GRAND PORTE-PINCEAUX EN ZITAN, BITONG Fin de la Dynastie Qing (1644-1911)

A LARGE ZITAN ‘TREETRUNK’ BRUSHPOT, BITONG

Late Qing Dynasty

Naturalistically carved from a single piece of wood as a section of a tree trunk with knotty nodules and recesses, with irregular markings indicating bark, the wood a rich dark colour with small areas of gold flecks, the surface polished to a soft glow.

29.5 cm (11 5/8 in.) high, weighing approximately 9 kg

€6,000 - 8,000

清晚期 紫檀樹樁式筆筒

出版及著

Bluett & Sons

57 W Y

GRANDE TABLE EN HONGMU SCULPTÉ À DÉCOR DE FLEURS DE PRUNIERS

Dynastie Qing, XIXe siècle

A LARGE HONGMU ‘PRUNUS’ TABLE

Qing Dynasty, 19th century

The panelled top set in a rectangular frame carved with a band of keyfret and leaves above an apron carved in openwork with entwined gnarled branches issuing leaves and laden with small flowers, raised on legs similarly carved in openwork with tangled flowering gnarled prunus branches.

84.5 cm (33 1/4 in.) high x 148.7 cm (59 in.) wide x 43.5 cm (17 1/8 in.) deep

€12,000 - 15,000

清 十九世紀 紅木雕梅紋長方桌

The design and décor of this table take their inspiration from 18th century furniture naturalistically carved to simulate bamboo, rootwood and flowering prunus branches. See, for example, a very large zitan table carved around the apron and legs with an intricate openwork design of interlinked gnarled branches issuing small prunus flowers, published in Nancy Berliner (ed.),

The Emperor’s Private Paradise. Treasures from the Forbidden City New Haven and London, 2010, p. 145, pl. 36 and cat. no. 33. This table was house in the Fuwangge, the Belvedere of Viewing Achievements, located in the fourth courtyard of the Ningshougong (Palace of Tranquility and Longevity) in northeastern corner of the Forbidden City, ibid. pp. 118-128.

58 W

CABINET EN ZITAN ET BOIS DUR ET INCRUSTATIONS DE PIERRES DURES ET NACRE Dynastie Qing (1644-1911)

A ZITAN AND HARDWOOD-INLAID TWO-DOOR CABINET

Qing Dynasty

Of rectangular form, set with a pair of hinged doors opening to reveal two fixed shelves edged with a silver-inlaid key-fret border, the front panels carved with bamboo sprays issuing from rockwork, the cover and the sides decorated with flowering branches and birds in flight embellished with mother-of-pearl and various hardstones, all raised on a silver-inlaid flat base, the sides set with a pair of brass bail handles.

43 cm (16 7/8 in.) high x 37 cm (14 5/8 in.) wide 36.5 cm (14 3/8 in.) deep

€2,500 - 3,500

Provenance

A Danish collection.

A PAIR OF ZITAN INCENSE STANDS

- 8,000

Provenance A

60 W Y TABOURET EN HUANGHUALI, CHANGFANGDENG

Fin de la Dynastie Qing (1644-1911)

A HUANGHUALI RECTANGULAR CORNER-LEG STOOL, CHANGFANGDENG

Late Qing Dynasty

With a soft mat seat set within the rectangular frame of standard mitre, mortise and tenon construction, above a short, plain waist and pain aprons, raised on four square-section legs with beaded edges joined by humpback stretchers and terminating in hoof feet.

52 cm (20 1/2 in.) high x 48 cm (18 7/8 in.) wide x 42 cm (16 1/2 in.) deep

€3,000 - 5,000

Provenance

A Danish collection.

清晚期 黃花梨長方凳

62 W Y

GRANDE TABLE EN HONGMU SCULPTÉ, BANZHUO

Dynastie Qing, XIXe siècle

A LARGE CARVED HONGMU CORNER-LEG TABLE, BANZHUO Qing Dynasty, 19th century

The panelled top set within a rectangular frame, above a narrow waist and shaped, beaded aprons carved with foliate scrolls, the circular legs carved in the style of a demountable table, joined to the underside by giant’s arm braces and terminating in balusterform feet.

79.5 cm (31 1/4 in.) high x 167.5 cm (66 in.) wide x 69 cm (27 1/8 in.) deep

€2,500 - 3,500

Provenance

A Danish collection.

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

61 W Y ÉTAGÈRE EN HUANGHUALI ET BOIS, SHUJIA

Fin de la Dynastie Qing (1644-1911)

A HUANGHUALI AND MIXED WOOD BOOKCASE, SHUJIA

Late Qing Dynasty

Of upright rectangular shape and standard mitre, mortise and tenon construction, the slender square-section members of the frame framing a softwood top panel supporting three soft-wood shelves, the bottom shelf above a pair of short drawers with brass pulls.

180.5 cm (71 in.) high x 109 cm (42 7/8 in.) wide x 40 cm (15 3/4 in.) deep (5).

€5,000 - 8,000

Provenance

A Danish collection.

清晚期 黃花梨及軟木書架

來源

A HUANGHUALI ‘OFFICIAL’S HAT’ YOKEBACK ARMCHAIR, GUANMAOYI

Late Qing Dynasty

With a sweeping crestrail terminating in upturned rounded ends supported by an S-shaped back splat inset with a burlwood panel below a pierced ruyi-shaped medallion and above a shaped cartouche, with paired back rails running through the seat frame to form the back legs, the curved arms supported by S-shaped braces in the middle, and posts curved back into the side panels of the seat with shaped spandrels tongue and grooved into the posts, the wide framed seat with a soft cane mat, all above shaped aprons with beaded edges mitered and half-lapped to the front and back rails over boxed stretchers.

64 W Y

COUVERTE EN HUANGHUALI Dynastie Qing (1644-1911)

A HARDSTONE-EMBELLISHED HUANGHUALI BOX AND COVER Qing Dynasty

Of rectangular form, the cover inlaid with pomegranates on gnarled branches sprouting mother-of-pearl blossoms and carnelian buds, the bamboo with mother-of-pearl stalks bearing bone leaves, all above various hardstone ‘boulders’ scattered along the ground, the sides and front of the box similarly decorated with flowers including camelias and buddha’s finger citron, with butterflies soaring above, set with a brass lockplate, and brass hinges and handles.

18.5 cm (7 1/4 in.) high x 41.5 cm (16 3/8 in.) wide x 24.5 cm (9 5/8 in.) deep (2).

€2,500 - 3,500

Provenance

A Danish collection.

清 黃花梨嵌寶花蝶圖蓋盒

65 W

SELLETTE EN BOIS DUR Dynastie Qing, XIXe siècle

A HARDWOOD ‘BAMBOO’ STAND Qing Dynasty, 19th century

Of square shape, with members carved to simulate bamboo sections, the top supported on four tall, circular section legs joined by stretchers.

129.5 cm (51 in.) high x 40 cm (15 3/4 in.) wide x 40 cm (15 3/4 in.) deep

€6,000 - 8,000

清 十八/十九世紀 硬木雕竹節紋方几

Fin de la Dynastie Qing (1644-1911)

A TEN-PANEL HARDWOOD SCREEN MOUNTED WITH EMBROIDERED SILK PANELS

Late Qing Dynasty

Comprising eight panels, each set with a finely embroidered silk panel depicting a variety of birds and animals perched on gnarled branches and rocks, with an additional panel on each side each set with small famille rose porcelain plaques, all within an elaborately decorated wood frame, intricately carved in shallow relief with bats suspending auspicious knots and antiquities, the reverse similarly decorated. Each panel 36.5 cm x 177.5 cm (14 3/8 in. x 69 7/8 in.) (10).

€8,000 - 12,000

清晚期 木雕緞綉鳥獸圖嵌粉彩山水人物花卉圖瓷板十扇屏風

The quality, subtle colour scheme and variety of stitching techniques of the embroidered silk panels on this screen suggest that they were made in Guangdong where specialised workshops were known for the high quality of embroidered silks. A high percentage of these pieces were manufactured in the late 19th century for export to the west as the economy of the Pearl River delta started to gear itself towards foreign trade. For a more in-depth overview of this type of textile see Li Yulai and Li Yufang, Ming Qing xiupin Shanghai, 2012, pp. 73-83. The finest examples were made for the Qing court as several examples in the Palace Museum collections illustrate. One example dated to the Qianlong period is published in Shan Guoqiang (ed.), Zhixiu Shuhua: Gugong Bowuyuan Cang Wenwu Zhenpin Quanji Hong Kong, 2005, pp. 50-51, no 20.

67 W

KISHI GANKU (1749-1838) 岸駒 Tigres

KISHI GANKU (1749-1838) 岸駒

Tigers

Twelve kakejiku (hanging scrolls), mounted as two six-panel folding screens, painted in ink and slight colour on paper within a silver leaf mount, each vividly depicting a tiger in a different pose amidst rocks and bamboo, each painting signed Echizen no Suke Ganku with two seals reading Kishi Ganku and Hizen

Each panel: 152 cm x 54.5 cm (59 7/8 in. x 21 1/2 in.); each painting 118 cm x 44 cm (46 1/2 in. x 17 3/8 in.) (2).

€12,000 - 15,000

68 W

SUZUKI SHÔSEN (1872-1925) 鈴木松僊 Vieux Pins

SUZUKI SHÔSEN (1872-1925) 鈴木松僊 Gnarled Pines

Pair of six-panel folding screens, ink on gold-leaf paper, each screen signed Shôsen hitsu and with two seals of the artist. Each screen overall: 170 cm (66 7/8 in.) high x 358 cm (141 in.) wide; image: 156.3 cm (61 1/2 in.) high x 343 cm (135 in.) wide (2).

€10,000 - 15,000

69 BOL EN PORCELAINE BLEU BLANC

Dynastie Qing, époque Kangxi (1662-1722)

A BLUE AND WHITE MOULDED ‘IMMORTALS’ BOWL

Qing Dynasty, Kangxi period

The exterior painted with eleven immortals above a band of twelve moulded lotus petals enclosing floral sprays, the interior rim encircled by a floral roundel diaper band, the base with an apocryphal Chenghua six-character mark in underglaze blue within a double circle.

16 cm (6 1/4 in.) diam.

€2,200 - 2,500

清康熙 青花群仙圖蓮式盌 「大明成化年製」仿款

71 GRAND VASE BALUSTRE EN PORCELAINE BLEU BLANC

Dynastie Qing, époque Kangxi (1662-1722)

A LARGE BLUE AND WHITE BALUSTER VASE Qing Dynasty, Kangxi period

Of tall baluster form, rising from a short spreading foot to a rounded shoulder surmounted by a straight neck, painted around the body and neck in tones of vibrant blue with continuous lotus scrolls.

52 cm (20 1/2 in.) high

€2,000 - 3,000

Provenance

Property from a distinguished European collection.

清康熙 青花花卉紋大瓶

來源

歐洲顯赫私人藏品

70 PAIRE DE VASES BALUSTRE EN PORCELAINE WUCAI Époque Transition, XVIIe siècle

A PAIR OF OCTAGONAL WUCAI BALUSTER VASES AND COVERS

Transitional period, 17th century

Each of facetted octagonal form, decorated around the body with ladies gathered in groups on wide fenced terraces, engaged in different leisurely pursuits, the covers similarly decorated.

35 cm (13 3/4 in.) high (4).

€7,000 - 9,000

Provenance

Christie’s New York, 27 November 1991, lot 366.

Christie’s New York, 4 June 1992, lot 319.

Sotheby’s Paris, 16 December 2015, lot 117.

過渡期 十七世紀 五彩人物圖八方蓋罐一對

來源

紐約佳士得，1991年11月27日，編號366

紐約佳士得，1992年6月4日，編號319

巴黎蘇富比，2015年12月16日，編號117

72 GRAND BOL EN PORCELAINE DE LA FAMILLE VERTE Dynastie Qing, époque Kangxi (1662-1722)

A LARGE FAMILLE VERTE BOWL Qing Dynasty, Kangxi period

With steep sides rising to a flared, foliate-shaped rim, moulded with two bands of shaped panels painted with alternating scenes of flowers and various mythical beasts in gardens with overhanging rockwork, pine and swirling clouds, the interior with a central medaillon depicting a bird in flight over flowering shrubs.

34 cm (13 3/8 in.) diam.

€5,000 - 7,000

清康熙 五彩花鳥瑞獸圖盌

Compare a famille verte bowl of similar size and design in the collection of the Victoria and Albert Museum, London (Salting Bequest C.1240-1910).

GRAND PLAT EN PORCELAINE DE LA FAMILLE VERTE Dynastie Qing, XIXe siècle

A LARGE FAMILLE VERTE DISH Qing Dynasty, 19th century

Finely painted with a scene depicting Shouxing riding a crane descending towards the Eight Daoist Immortals carrying their respective attributes and riding sea creatures in cresting waves, the reverse with three large floral sprays, the base with a double circle in underglaze-blue.

43 cm (16 7/8 in.) diam.

€1,500 - 2,000

Provenance

Property from a distinguished European collection.

清 十九世紀 五彩八仙賀壽圖大盤

來源

歐洲顯赫私人藏品

73

74

GRANDE POTICHE COUVERTE EN PORCELAINE WUCAI Dynastie Qing, XIXe siècle

A LARGE WUCAI BALUSTER JAR AND COVER Qing Dynasty, 19th century

Brightly painted around the body with court ladies and officials in a fenced garden setting amid craggy rockwork, the domed cover similarly painted with a plantain tree and three boys.

55.5 cm (21 7/8 in.) high (2).

€2,000 - 3,000

Provenance

Property from a distinguished European collection.

清 十九世紀 五彩仕女圖蓋罐

來源

歐洲顯赫私人藏品

75

PORTE-PINCEAUX EN PORCELAINE DE LA FAMILLE VERTE BITONG Dynastie Qing, époque Kangxi (1662-1722)

A FAMILLE VERTE BRUSHPOT, BITONG Qing Dynasty, Kangxi period

Boldly painted around the exterior with a scholar seated at a table accompanied by his acolyte, both gazing at the moon and watching the hare pounding the herb of immortality, the other sides with a lady in a garden setting.

12.2 cm (4 3/4 in.) high

€12,000 - 15,000

清康熙 五彩人物圖筆筒

PAIRE DE GRANDS VASES EN PORCELAINE ÉMAILLÉE

Dynastie Qing, XVIIIe siècle

A PAIR OF LARGE ENAMELLED ‘LUOHAN’ VASES Qing Dynasty, 18th century

Each with a globular body tapering to a flat base, rising to a tall cylindrical neck with two ribs, each boldly painted around the body with the central figure of Budai casually seated on a straw mat, laughing giddily, surrounded by seven other luohan similarly seated or standing around him, amidst a range of scholarly objects, their faces contorted in pain or pleasure, one figure resting, the neck similarly decorated with two bands of figures and their attendants, with a band of lappets and ruyi-heads encircling the rim and a band of upright lappets above the foot.

Each 61 cm (24 in.) high (2).

€25,000 - 35,000

The decoration around this striking pair of vases is unusual and depicts a group of seven luohan gathered around the central figure of Budai, seated on straw mats and having fun. Their faces finely outlined in iron-red are dramatically rendered with exaggerated features reminiscent of a painting by the Chenghua Emperor (r. 1465-1487) now in the Palace Museum, Beijing. Titled Yituan heqi (A Full Circle of Harmony), it depicts three figures, including the Confucian Tao Yuanming, the Daoist Lu Xiujing and the Buddhist monk Huiyuan in a mutual embrace. A vase sold in Christie's Hong Kong, 28 May 2014, lot 3320, dated to the Yongzheng period of the Qing dynasty, decorated with the single figure of Fuxi, one of the three mythical Chinese emperors, in a compact round composition, similarly depicts the central figure with a face finely rendered in iron-red, his expression joyful and almost mischievous.

77 PAIRE DE COUPES EN PORCELAINE DE LA FAMILLE ROSE

Marques et époque Hongxian (1915-1916)

A PAIR OF FAMILLE ROSE ‘CHRYSANTHEMUM’ CUPS

Four-character Hongxian marks and of the period

Each cup enamelled around the exterior with blossoming chrysanthemums borne on leafy stems and a quail on a rock, the interior similarly decorated, the bases with four-character marks in iron-red within a double square.

Each 10 cm (4 in.) diam. (2).

€2,000 - 3,000

Provenance

Property of an Italian collector.

洪憲 粉彩菊花紋盃一對 「洪憲年製」款 來源

意大利藏家藏品

78 PAIRE DE COUPELLES EN PORCELAINE DE LA FAMILLE ROSE Époque Daoguang (1821-1850), marques Baragon Tumed

A PAIR OF SMALL FAMILLE ROSE 'BARAGON TUMED' SAUCER DISHES

Daoguang period, ‘Baragon Tumed’ marks in Mongolian script in iron-red

Each painted with a central visvavajra on a lotus flower head, with a band of sets of alternating auspicious emblems alternating with stylised shou characters, the reverse painted with Buddhist emblems of the ‘Seven Regal Treasures’, including the Wheel of the Law, Elephant, Horse, Jewel, the Queen, the Minister, and the General, within leaf-shaped panels supported on lotus blossoms, all above crushing waves and rocks, and beneath leaf-shaped mandorlas suspending pendant jewels, the base with the ‘Baragon Tumed’ character in Mongolian script in iron-red.

Each 15.2 cm (6 in.) diam. (2).

€2,000 - 3,000

Provenance

Property of an Italian collector.

清道光 粉彩七政寶盤一對

79

BOL EN PORCELAINE DE LA FAMILLE ROSE Marque et époque Guangxu (1875-1908)

A FAMILLE ROSE ‘NINE PEACHES’ BOWL Guangxu mark and of the period

With wide, flared rim and generous sides, painted around the exterior with nine peaches arranged in clusters issuing from leafy, gnarled branches, the base with a six-character mark in underglaze blue. 19.5 cm (7 5/8 in.) diam.

€3,000 - 5,000

Provenance

A Spanish collection. 清光緒 粉彩九桃盌 「大清光緒年製」款

80

VASE EN PORCELAINE BLEU POUDRÉ À DÉCOR À L’OR, CONG Marque et époque Guangxu (1875-1908)

A GILT-DECORATED POWDER BLUE VASE, CONG Six-character Guangxu mark and of the period

Of square section, supported on a circular foot, and set with a pair of elephant-head handles suspending fixed rings on the sides, covered overall with a blue glaze and finely decorated in gold with bats, stylised shou characters, peaches, and pomegranates, all amidst meandering lotus scrolls, the base with a six-character mark in underglaze blue. 30 cm (11 3/4 in.) high

€5,000 - 8,000

Provenance Property of an Italian collector.

清光緒

81 PAIRE DE GRANDS VASES EN PORCELAINE DE LA FAMILLE ROSE Fin de la Dynastie Qing (1644-1911)

A PAIR OF MOULDED FAMILLE ROSE ‘LUOHAN’ VASES Late Qing Dynasty

The cylindrical body rising to a cylindrical neck with a galleried rim, the body moulded and enamelled in vibrant colours of the famille rose palette with a continuous scene depicting the Eighteen Luohan in a mountainous landscape setting amidst craggy rockwork and gnarled pines, the neck decorated with a four-clawed dragon amidst flames and clouds. Each 60 cm (23 5/8 in.) high (2).

€15,000 - 25,000

清晚期 粉彩凸雕十八羅漢棒槌瓶一對

82

GROUPE EN JADE CÉLADON PÂLE REPRÉSENTANT MAGU

Dynastie Qing, XVIIIe/XIXe siècle

A PALE CELADON JADE ‘MAGU’ GROUP

Qing Dynasty, 18th/19th century

Carved as a lady holding a ruyi-sceptre and standing on craggy rockwork next to a plantain tree, the jade an even celadon colour. 10 cm (4 in.) high

€3,000 - 5,000

Provenance

An Italian family collection.

清 十八/十九世紀 青白玉雕麻姑擺件

來源 意大利家族收藏

83

PETIT GROUPE EN JADE CÉLADON PÂLE

Dynastie Qing, XVIIIe/XIXe siècle

A SMALL PALE CELADON JADE BOY

Qing Dynasty, 18th/19th century

Finely carved, the boy holding a branch of lingzhi over his shoulder, his hair gathered into two knots, the stone of an even, pale celadon tone.

3.5 cm (1 3/8 in.) high

€2,000 - 3,000

Provenance

An Italian family collection.

清 十八/十九世紀 青白玉靈芝童子

來源

意大利家族收藏

84

DEUX PHÉNIX EN JADE CÉLADON PÂLE ET ROUILLE

Dynastie Qing, XVIIIe siècle

A PALE CELADON AND RUSSET JADE ‘PHOENIX’ GROUP

Qing Dynasty, 18th century

Naturalistically carved as a large and a small phoenix crouched side by side, with heads turned backward facing each other, clutching a sprig of leafy lingzhi in their beaks, the stone with areas of russet on one side.

11 cm (4 3/8 in.) long

€4,000 - 6,000

Provenance

Property of a French collector.

清 十八世紀 青白玉鳳銜靈芝把件

來源

法國藏家藏品

85 RINCE-PINCEAUX EN JADE CÉLADON ET ROUILLE Dynastie Qing, XVIIIe/XIXe siècle

A CELADON AND RUSSET JADE ‘MANDARIN DUCK’ WASHER Qing Dynasty, 18th/19th century

Realistically carved in the round as a pair of mandarin ducks wrapped around each other, each with a lingzhi spray in their beaks, the stone with light patches of russet.

9 cm (3 1/2 in.) long

€2,000 - 3,000

Provenance

Collection of Baron Leon Rolin ‘The Lion of Cairo’ (1871-1950) or his daughter, Jacqueline Rolin (1902-1975), thence in the family by descent.

Leon Rolin (1871-1950), nicknamed ‘The Lion of Cairo’, was the owner of contracting firm Leon Rolin & Co, one of the two largest civil contractors in Egypt. The firm was charged with construction of the Heliopolis Palace Hotel, later the presidential palace of the Mubarak administration. His daughter Jacqueline continued to avidly collect and was present at the auction of the contents of the Royal Palace of King Farouk. She later returned to Belgium and distributed her rich collection amongst her children and their descendants.

清 十八/十九世紀 青玉鴛鴦洗

來源

Leon Rolin（1871-1950）男爵或其女 Jacqueline Rolin（1902-1975）收藏，此後家族傳承

86

DEUX TABATIÈRES EN AGATE SCULPTÉE

Dynastie Qing, XVIIIe/XIXe siècle

TWO SILHOUETTE AGATE SNUFF BOTTLES

Qing Dynasty, 18th/19th century

Each of flattened rounded square shape, both cleverly worked using the natural inclusions of the stone, one carved in relief with a galopping horse and rider, the second with a tethered horse.

6 cm (2 3/8 in.) and 7 cm (2 3/4 in.) high (3).

€3,000 - 5,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

清 十八/十九世紀 瑪瑙巧雕鼻煙壺兩件

來源

Louis Lemcovici（1910-2010）舊藏，此後家族傳承

87 TABATIÈRE EN AGATE SCULPTÉE

Dynastie Qing, XVIIIe/XIXe siècle

A SILHOUETTE AGATE SNUFF BOTTLE Qing Dynasty, 18th/19th century

Of flattened rectangular shape, cleverly carved using the natural markings of the stone to depict a hawk standing beneath a rock.

6 cm (2 3/8 in.) high

€2,000 - 3,000

Provenance

Formerly in the collection of Louis Lemcovici (1910-2010), thence by descent in the family.

清 十八 十九世紀 瑪瑙巧雕鼻煙壺

來源

Louis Lemcovici（1910-2010）舊藏，此後家族傳承

88 GRAND SCEPTRE RUYI EN BRONZE DORÉET PLAQUES

EN JADEITE

Dynastie Qing, fin du XIXe siècle

A JADEITE-EMBELLISHED GILT-BRONZE RUYI-SCEPTRE

Qing Dynasty, late 19th century

Comprising three jadeite plaques each carved with scholars and boys in landscape settings, all set in a gilt-bronze frame ornately worked in relief on one side of the shaft with beribboned auspicious emblems, the reverse finely chased with large lotus blooms on feathery scrolling leafy stems.

52 cm (20 1/2 in.) long

€3,000 - 5,000

Provenance

Acquired from George Horan, London, in 1982.

A German family collection.

清 十九世紀末 鎏金銅嵌翡翠八吉祥如意

來源

於1982年得自倫敦 George Horan

德國家族收藏

Often presented as auspicious gifts to bring good fortune, ruyi sceptres were decorated using highly auspicious motifs such as the Eight Auspicious Emblems (bajixiang) on the shaft of the present sceptre demonstrate. Compare this sceptre with a comparable example sold in Sotheby’s Hong Kong, 9 October 2007, lot 1328, and another example similarly inlaid with jadeite plaques, decorated with bats and auspicious fruit including peaches and finger citroen, sold Sotheby’s New York, 26 and 27 March 1996, lot 59.

89

VASE BALUSTRE EN JADE CÉLADON Dynastie Qing, XIXe siècle

A CELADON JADE BALUSTER VASE

Qing Dynasty, 19th century

Of baluster shape, the lobed body tapering toward a flared foot, set with a pair of loop handles, the neck with a pair of ram-head shaped handles, all suspending loose rings, the stone an even tone.

19.5 cm (7 5/8 in.) high

€3,000 - 5,000

Provenance

An Italian family collection.

清 十九世紀 青玉羊耳瓶

來源

意大利家族收藏

90 W

STATUE DE BOUDDHA EN BOIS LAQUÉ ET DORÉ

Birmanie, royaume de Pagan/Bagan, XIIIe siècle

A LACQUERED AND GILDED WOOD STANDING BUDDHA

Burma, Pagan (Bagan) period, 13th century 150 cm (59 in.) high (3).

€15,000 - 25,000

Provenance

Private Belgian collection, acquired in Berlin, 2004.

The result of Royal Institute of Cultural Heritage, Brussels, C14 test no. RICH-35908, dated 24 September 2024, is consistent with the dating of this lot.

緬甸 蒲甘王國 十三世紀 漆金木佛像

來源：

比利時私人收藏，於2004年得自柏林

本拍品經布魯塞爾皇家保護研究院碳14檢測，編號RICH35908（2024年9月24日），結果與其斷代相符

The standing Buddha wears a monastic robe (sanghati) draped over both shoulders. His proper left hand is held at the chest, palm inward, grasping the edge of the robe, which is visible between the thumb and fingers. His other arm hangs pendent at his side, the hand forming varada mudra the gesture of benevolence. He is adorned with elaborate jewellery, including a tall crown with leaf-shaped elements, around a conical ushnisha formed of diminishing, tiered, umbrella-like elements, closely echoing the crowning features of Southeast Asian stupas.

The statue is carved from a single tree trunk, which accounts for the arms held close to the body and the rigid, upright posture. A number of closely related Buddha images have been found in the temples of Bagan (Pagan), likely placed there as acts of merit-making by local worshippers and visiting pilgrims. Bagan, once the capital of a powerful kingdom, is marked today by hundreds of surviving temple structures scattered across the landscape.

Crowned and bejewelled Buddhas first gained prominence in northeastern India during the Pala period and spread to Pagan and subsequently to mainland Southeast Asia, including the Khmer empire. A comparable example is held in the Metropolitan Museum of Art, New York (1992.382).

91 W

GRANDE TÊTE DE BOUDDHA EN BRONZE

Nord de la Thaïlande, époque Lan Na, XVe/XVIe siècle

A BRONZE HEAD OF BUDDHA

Northern Thailand, Lan Na Period, 15th/16th century 41 cm (16 1/8 in.) high (2).

€10,000 - 15,000

Provenance

Sotheby’s Amsterdam, 27 October 1993, lot 416. Private European Collection.

泰國北部 蘭納王朝 十五/十六世紀 銅佛首

來源

阿姆斯特丹蘇富比，1993年10月27日，編號416

歐洲私人珍藏

The Buddha imbuing the classic Lan Na style, is shown in serene meditation with eyes half-closed, characterised by an oval head, heart-shaped widow peak hairline with elongated pierced earlobes that curve gently outwards.

The prominent, individually rendered thick snail shell curls of the present sculpture recall Chiang Saen “Lion-Lord” style Buddhas, exemplified by a 14th – 15th century example of Buddha subduing Mara from the Royal Collection of King Rama VII held at the National Museum, Bangkok. The Lan Na bronze sculptural tradition evolved in close dialogue with the Sukhothai style, both gradually moving away from the Mon aesthetic, see Van Beek and Tettoni, The Arts of Thailand, 1991, p. 133, and Stratton and Scott, Buddhist Sculpture of Northern Thailand 2004, p. 138. Notably, features such as the elegantly arched eyebrows that meet above the bridge of the nose, the slight upturned lips outlined in a faint smile, and the softly dimpled chin demonstrate the assimilation of earlier Sri Lankan features.

For closely related examples, refer to an earlier Lan Na period Buddha head at the National Museum, Bangkok published in Jean Boisselier, The Heritage of Thai Sculpture 1975, pp. 152 & 233, pl. 111; also see contemporaneous Buddha head at the Asian Civilisations Museum, Singapore (2017-00320); and another sold at Bonhams New York, 21 March 2023, lot 529.

92

STATUETTE DE BOUDDHA ASSIS EN BRONZE Birmanie, royaume de Pagan/Bagan, XIe/XIIe siècle

A BRONZE SEATED BUDDHA Burma, Pagan (bagan) period, 11th/12th century

20.5 cm (8 1/8 in.) high

€25,000 - 35,000

Provenance

Private Belgian collection, acquired in Paris, 2005.

The result of QED Laboratoire, Marseilles, Thermoluminescence test no. QED2605/BB-0304, dated 12 February 2026, is consistent with the dating of this lot.

緬甸 蒲甘王國 十一/十二世紀 銅佛像

來源

比利時私人收藏，於2005年得自巴黎

本拍品經法國馬賽QED實驗室熱釋光檢測，編號QED2605/BB-0304

（2026年2月12日），結果與其斷代相符

The Buddha is seated in bhumisparsha mudra his right hand reaching toward the earth to witness his enlightenment and Mara’s defeat. Like other examples from Pagan, he has heavy-lidded downcast eyes indicating his deep meditation, a subtle smile, elongated earlobes, and incised, arched eyebrows. His ushnisha is shaped like a small flame, with a recessed area likely intended to hold a gemstone. Fine, diaphanous robes cling closely to his slender body, enhancing the figure’s naturalism.

Due to Pagan’s proximity to eastern India, there was significant artistic exchange with the Pala dynasty (8th–12th century), particularly the Bodh Gaya region, the site of the Buddha’s enlightenment. Portable bronze Buddhas helped transmit Pala stylistic features to Southeast Asia. However, while the Pala kingdom followed Mahayana Buddhism, Pagan, under King Anawrahta (r. 1044–1077 CE), was firmly Theravada. He commissioned hundreds of large brick-and-stucco temples in his capital, many of which survive today, with interiors richly decorated with painted scenes from the Buddha’s life and filled with sculpture.

As acts of merit-making, Buddha images were likely intended for private devotion and may also have been placed within temple walls to spiritually empower the structure, a practice attested by inscriptions found in Pagan. A comparable example is held in the Asian Art Museum, San Francisco (1989.45).

UNE COLLECTION PRIVÉE

FRANÇAISE DE NETSUKE

LOTS 93 - 148

A FRENCH PRIVATE COLLECTION OF NETSUKE

LOTS 93 - 148

Cette belle collection de netsuke est le résultat de longues années de sélection. Originaire de Savoie, fils de chef d’orchestre, son propriétaire devient marchand de mobilier et objets d’art anciens, et tiendra longtemps une galerie au Louvre des Antiquaires à Paris. Avant cela, dès les années 1960/70 à Toulon, il découvre les netsuke chez un voisin à la retraite, Mr Jamin, ancien directeur d’une usine de soierie à Yokohama (avant la Seconde Guerre Mondiale). Mr Jamin avait réuni une vaste collection d’art japonais, surtout de céramiques, mais ce sont les netsuke qui séduisent notre collectionneur et il acquiert alors ses tout premiers. Dans les décennies suivantes, il suit les ventes aux enchères, notamment à Drouot, à la fois pour des raisons professionnelles, et pour satisfaire son goût personnel pour les netsuke et les livres (aux reliures Art Déco), étoffant sa collection, avec les conseils d’un confrère spécialisé en arts asiatiques.

A partir de 2010, il suit aussi les ventes de netsuke de Bonhams à Londres, et est marqué en particulier par celle de la remarquable collection de Harriet Szechenyi en 2011, qui ravive son intérêt pour ces objets ses propres goûts en matière de netsuke sont très proches de ceux de Mme Szechenyi, avec une inclination particulière pour les animaux (réels ou fantastiques, voir associés à un personnage), et les plantes (champignons, fleurs, fruits,…) : « Si j’avais pu », dit-il en riant de cette vente, « j’aurais tout acheté ». Son netsuke préféré en provient puisque c’est le magnifique shishi en ivoire par Mitsuharu, un vrai chef-d’œuvre de sculpture ayant appartenu à Joseph Kurstin. Il apprécie les provenances anciennes, les netsuke issus de grandes collections telles Goncourt, Behrens, Hindson, Lichtenberger, jusqu’à Jules Cherki, toutes représentées ici. Mais, même conseillé, c’est toujours son émotion face à l’œuvre qui a dicté ses choix. Au cours du temps, il s’est séparé de certaines pièces, parfois pour pouvoir en acquérir de plus belles, et toujours dans le but d’affiner la collection et d’atteindre un ensemble resserré et de grande qualité - tel que vous pouvez le découvrir aujourd’hui.

This beautiful collection was assembled over half a century by its owner. Originally from Savoy and the son of a conductor, he became a dealer specializing in antique furniture and works of art, and for many years owned a gallery in the Louvre des Antiquaires in Paris. Long before that, in Toulon during the 1960s and 1970s, he discovered netsuke in the home of a retired neighbour, Mr Jamin, former director of a silk factory in Yokohama before the Second World War. Mr Jamin had built an extensive collection of Japanese art, mainly ceramics, but it was the netsuke that particularly captivated the future collector, who purchased his first few pieces from him.

Over the following decades, he regularly attended auctions — especially at Drouot — both as a dealer and to indulge his personal passion for netsuke and fine books, particularly Art Deco editions. In this way, he gradually refined and expanded his collection, sometimes with the guidance of another dealer specializing in Asian art.

From 2010 onwards, he also closely followed Bonhams’ netsuke sales in London. The exceptional Harriet Szechenyi collection, sold in 2011, left a profound impression on him and rekindled his enthusiasm for the field. His own tastes in netsuke are very similar to that of Mrs Szechenyi, with a particular fondness for animals — real or mythical, sometimes accompanied by human figures — as well as plants (mushrooms, flowers, fruits, etc.). “If could, would have bought everything!” he recalls with a laugh when speaking of that sale. Indeed, it was there that he acquired his favourite netsuke: the magnificent ivory shishi by Mitsuharu, a true masterpiece of carving and formerly part of the Kurstin collection.

He has always valued distinguished provenances and pieces from major collections, including those of Goncourt, Behrens, Hindson, Lichtenberger, and Jules Cherki, all represented within his own collection. Yet even when guided by expert advice, it was ultimately the emotion he felt while observing and handling a piece that determined his choice.

Over time, he parted with some netsuke, occasionally in order to acquire finer examples, always striving to refine his collection further and achieve a selective ensemble of high quality — as collectors may now discover.

94

93

NETSUKE EN BUIS REPRÉSENTANT UN SHISHI

Par Suketada, Takayama, XIXe siècle

A BOXWOOD NETSUKE OF A SHISHI

By Suketada, Takayama, 19th century

Seated, the mane and tail finely chiselled forming loops, one paw resting on an openwork power ball enclosing a moving ball, the eyes inlaid with brown horn; signed in an oval reserve Suketada

4.5 cm (1 3/4 in.) long

€4,000 - 6,000

Provenance

Bondu sale, Paris, 16 March 1990, lot 88.

Collection of Jules Cherki.

Tessier & Sarrou et Associés, Paris, 14 June 2021, lot 28.

黄楊彫根付 珠取獅子 銘「亮忠」 19世紀

95

94 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT DES CHAMPIGNONS REISHI

Par Ozaki Kokusai (1835-1892), Shiba, Tokyo, fin du XIXe siècle

AN IVORY NETSUKE OF A REISHI MUSHROOM

By Ozaki Kokusai (1835-1892), Shiba, Tokyo, late 19th century

Carved from an old discarded piece of ivory, formed of a large fungus with thick stem and two smaller growths at the side, the ivory patinated to a good colour; signed Kokusai. 5 cm (2 in.) high

€800 - 1,000

Provenance

Bonhams London, 6 November 2012, lot 112.

象牙彫根付 茸 銘「谷（方印）」 19世紀後期

Ce lot sera acccompagné par un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

95 NETSUKE EN BOIS REPRÉSENTANT TROIS CHAMPIGNONS Dans le style de Masanao d’Ise, avec des ajouts par Jikan Ganbun, XIXe siècle

A WOOD NETSUKE OF THREE MUSHROOMS

Style of Masanao of Ise, with additions by Jikan Ganbun, 19th century

The broad headed fungi with joined stalks forming the himotoshi, inlaid with seven metal ants; signed on an ebony tablet Jikan Ganbun 4.8 cm (1 7/8 in.) long

€2,500 - 3,500

Provenance

Purchased at Sotheby’s London, in 1966 (by repute). Edward Wrangham Collection. Bonhams London, 9 November 2010, lot 126.

木彫根付 椎茸に蟻 銘「自侃 眼文」 19世紀

The original netsuke of mushrooms was probably made in Nagoya or in Ise during the first half of the 19th century, the ants being added by Ganbun at a later date.

Y Ф

96

MANJU NETSUKE EN IVOIRE REPRÉSENTANT UN DRAGON

Par Kogyokusai, XIXe siècle

AN IVORY MANJU NETSUKE

By Kogyokusai, 19th century

Of rounded square form, carved in relief with a dragon among swirling clouds; signed Kogyokusai

5 cm (2 in.)

€1,000 - 2,000

Provenance

Tajan, Paris, 24 November 2011, lot 135.

象牙彫饅頭根付 龍 銘「光玉齋」 19世紀

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

97

MANJU NETSUKE EN BOIS REPRÉSENTANT UN DRAGON

Par Toyokazu, Tanba, XIXe siècle

A WOOD MANJU NETSUKE

By Toyokazu, Tanba, 19th century

Finely carved and pierced with a dragon amid billowing clouds, the wood dark-stained and the one visible eye inlaid with pale translucent horn; signed in an oval reserve Toyokazu

4.8 cm (1 7/8 in.)

€3,000 - 5,000

Provenance

Harriet Szechenyi Collection, Zurich. Bonhams London, 8 November 2011, lot 102.

木彫饅頭根付 龍 銘「豊一」 19世紀

For an almost identical example from the Frederick Meinertzhagen collection see Frederick Meinertzhagen, The Art of the Netsuke Carver 1956, no. 68.

A very similar example by Naito Toyomasa, is illustrated in Marie-Thérèse Coullery and Martin S. Newstead, The Baur Collection. Netsuke Geneva, 1977, p. 127, no. C269.

98 NETSUKE EN BOIS REPRÉSENTANT BASHIKO

Par Masatomi, début du XIXe siècle

A WOOD NETSUKE OF BASHIKO

By Masatomi, early 19th century

The hero seated, holding the dragon mouth open and curing his toothache, the wood bearing a good patina and the dragon’s one visible eye inlaid with glass, Bashiko’s pupils inlaid with dark horn, signed Masatomi with kao 4.8 cm (1 7/8 in.) long

€1,500 - 2,000

木彫根付 馬師皇 銘「正富(花押）」 19世紀前期

Masatomi is recorded by Albert Brockhaus (see Davey, Artist list, 1474).

99

NETSUKE EN IVOIRE MARIN REPRÉSENTANT UN DRAGON

Début du XIXe siècle

A MARINE IVORY NETSUKE OF A DRAGON

Early 19th century

The dragon emerging from an alms bowl of the rakan Handaka Sonja, a disciple of Buddha, probably walrus ivory; unsigned 5.8 cm (2 1/4 in.) high

€2,000 - 4,000

海象牙彫根付 龍 無銘 19世紀前期

100

NETSUKE EN BOIS REPRÉSENTANT UN CHEVAL COUCHÉ Début du XIXe siècle

A WOOD NETSUKE OF A RECUMBENT HORSE Early 19th century

Lying with its legs tucked under, its head turned back over his back, its eyes inlaid with glass; unsigned

5.1 cm (2 in.) long

€1,800 - 2,000

Provenance

Edward Wrangham Collection.

Bonhams London, 9 November 2010, lot 112.

木彫根付 馬 無銘 19世紀前期

101

NETSUKE EN BOIS REPRÉSENTANT UN TENGU NO TAMAGO

Par Shigekatsu, Tanba, début du XIXe siècle

A WOOD NETSUKE OF A TENGU NO TAMAGO

By Shigekatsu, Tanba, early 19th century

The tengu levering itself out of its egg, the wood stained and the eyes inlaid in pale translucent horn; signed Shigekatsu

4.8 cm (1 7/8 in.) high

€1,500 - 2,000

Provenance

Tessier & Sarrou et Associés, Paris, 12 February 2014, lot 130.

木彫根付 天狗の卵 銘「重勝」 19世紀前期

A similar example is illustrated in The Meinertzhagen Card Index p. 731; reproduced in George Lazarnick, Netsuke and Inro Artists and How To Read Their Signatures, p. 946.

102 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN CANARD

Par Ohara Mitsuhiro, Osaka (1810-1875), XIXe siècle

AN IVORY NETSUKE OF A TEAL

By Ohara Mitsuhiro, Osaka (1810-1875), 19th century

Naturalistically carved in the round, resting and facing ahead, a small tuft on the back of its head, the ivory of good colour and the eyes inlaid in dark horn; signed Ohara Mitsuhiro with kao 4.8 cm (1 7/8 in.) long

€4,000 - 6,000

Provenance

Raymond and Frances Bushell Collection. Harriet Szechenyi Collection, Zurich. Bonhams London, 8 November 2011, lot 188.

Published

Rosemary Bandini, Shishi and Other Netsuke: The Collection of Harriet Szechenyi London, 1999, p. 112, no. 164.

Ohara Mitsuhiro, Takarabukuro (Treasure Bag): A Netsuke Artist’s Notebook, Chicago, 2001, p. 103.

象牙彫根付 小鳥 銘「大原光廣（花押）」 19世紀

For a very similar example by Mitsusada, see Raymond Bushell, Collectors’ Netsuke p. 100, fig. 135.

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

103 Y Ф

NETSUKE EN BOIS REPRÉSENTANT UN CANARD COUCHÉ Par Hara Shumin, Edo, XIXe siècle

A WOOD NETSUKE OF A RESTING DUCK

By Hara Shumin, Edo, 19th century

Naturalistically formed in the round with head turned back and resting on its wings, with the cord holes ringed with ivory (the smaller one tainted green); signed Shumin saku

4.5 cm (1 3/4 in.) long

€2,500 - 3,500

Provenance

H. Lichtenberger Collection, Paris. Harriet Szechenyi Collection, Zurich. Bonhams London, 8 November 2011, lot 190.

Published Rosemary Bandini, Shishi and Other Netsuke: The Collection of Harriet Szechenyi London, 1999, p. 112, no. 165.

木彫根付 鴨 銘「舟民作」 19世紀

For a very similar example, see Neil K. Davey, Netsuke. A Comprehensive Study on the M T Hindson Collection London, 1974, p. 107, no. 303.

104 NETSUKE EN BOIS REPRÉSENTANT UN PÊCHEUR SUR UNE PALOURDE Par Tomokazu, Gifu, XIXe siècle

A WOOD NETSUKE OF A FISHERMAN ON A CLAM By Tomokazu, Gifu, 19th century

The man sprawling on the top of a giant clam and trying to extricate his fundoshi caught in the jaws of the shell; signed Tomokazu in an oval reserve.

4.2 cm (1 5/8 in.) high

€2,000 - 4,000

Provenance

Bonhams London, 11 November 2010, lot 82.

木彫根付 漁師と貝 銘「友一」 19世紀

105

GRAND NETSUKE EN BOIS REPRÉSENTANT BASHIKO Début du XIXe siècle

A LARGE WOOD NETSUKE OF BASHIKO Early 19th century

Depicted standing upright and slightly leaning to one side, holding on to a large dragon emerging from a cloud, the teeth and the eyes inlaid with bone, the pupils with dark horn; unsigned 11.4 cm (4 1/2 in.) high

€10,000 - 12,000

Provenance

Acquired at auction in France in the 1980s (by repute).

木彫根付 馬師皇 無銘 19世紀前期

106

NETSUKE EN BUIS REPRÉSENTANT UNE POIRE

Par Bazan, XIXe siècle

A BOXWOOD NETSUKE DEPICTING A DECAYED PEAR

By Bazan, 19th century

The nashi pear carved naturalistically, with a large cavity gnawed to one side, its skin covered with ukibori pimples; signed in ukibori characters Bazan

3.8 cm (1 1/2 in.)

€1,500 - 2,000

Provenance

Rémy Le Fur & Associés, Paris, 16 April 2015, lot 105.

木彫根付 梨 銘「馬山」 19世紀

For very similar examples by Bazan, see Neil K. Davey, Netsuke. A Comprehensive Study Based on the M T Hindson Collection London, 1974, 1974, pp. 206-207, nos. 628-629; and George Lazarnick (ed.), The Meinertzhagen Card Index New York, 1986, p. 14.

107

NETSUKE EN BOIS REPRÉSENTANT TROIS CHÂTAIGNES

Avec des ajouts par Ichinomiya Nagayoshi, début du XIXe siècle

A WOOD NETSUKE OF THREE CHESTNUTS

With additions by Ichinomiya Nagayoshi, early 19th century

Two large chestnuts resting over a flattened nut, naturalistically rendered in well-toned wood; signed on an inlaid silver tablet Ganryushi Ichinomiya Nagayoshi with kao

4.5 cm (1 3/4 in.) long

€1,000 - 1,500

Provenance

Purchased from Sotheby’s London, in 1964 (by repute). Edward Wrangham Collection.

Bonhams London, 9 November 2010, lot 102.

Published

Bernard Hurtig, Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors New York, 1973, p. 210, no. 874.

木彫根付 栗 銘「元龍子 一宮長義(花押）」 19世紀前期

Ichinomiya Nagayoshi, a student of Nagatsune, was a well-known maker of sword fittings and it is probable that the signature was added to an existing wood netsuke.

108

NETSUKE EN NOIX DE COROSO REPRÉSENTANT UN KAKI XIXe siècle

A COROSO NUT NETSUKE OF A PERSIMMON

19th century

Carved from a coroso nut, depicting a khaki on its branch, with a leaf, a worm nibbling on the bottom; unsigned 3.7 cm (1 1/2 in.) long

€300 - 500

Provenance

Jules Cherki Collection. Tessier & Sarrou et Associés, Paris, 14 June 2021, lot 26.

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

象牙椰子彫根付 柿 無銘 19世紀

109

NETSUKE EN BOIS REPRÉSENTANT UNE PIVOINE

Par Hoichi, fin du XIXe siècle

A WOOD NETSUKE OF A WIND-BLOWN PEONY BLOOM

By Hoichi, late 19th century

The bloom leaning to one side, several leaves beneath attached to a stalk forming the himotoshi, the wood bearing a dark stain; signed Hoichi 4.4 cm (1 3/4 in.)

€2,000 - 4,000

Provenance

Harriet Szechenyi Collection, Zurich. Bonhams London, 8 November 2011, lot 231.

木彫根付 牡丹 銘「寶一」 19世紀後期

110

NETSUKE EN BUIS REPRÉSENTANT UN PAPILLON

Fin du XIXe siècle

A BOXWOOD NETSUKE OF A BUTTERFLY

Late 19th century

Resting on a leaf with wings spread out wide, inlaid with pale wood, bone, ebony, amber shell, pale horn and mother of pearl, the eyes inlaid with metal; unsigned 5.8 cm (2 1/4 in.) long

€800 - 1,200

Provenance

Eskenazi Ltd., London, 8 January 1966. Collection of L. and Y. Laufer, Paris. Sotheby’s Paris, 18 December 2012, lot 323.

黄楊彫象嵌根付 蝶 無銘 19世紀後期

111 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UNE PIVOINE

Par Homin, XIXe siècle

AN IVORY NETSUKE OF A PEONY

By Homin, 19th century

Finely carved as an open peony flower, the petals unfolding around a compact centre; signed on the stalk Homin with kakihan 4 cm (1 5/8 in.) long

€800 - 1,000

Provenance

Collection of L. and Y. Laufer, Paris. Sotheby’s Paris, 18 December 2012, lot 323.

象牙彫根付 牡丹 銘「法民」 19世紀

Probably Meikeisai Homin, pupil of Meikeisai Hojitsu (died in 1872) of Edo.

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

112

NETSUKE EN BOIS REPRÉSENTANT CINQ CRAPAUDS

Par Masanao, Ise, province de Yamada, début du XIXe siècle

A WOOD NETSUKE OF FIVE TOADS

By Masanao, Ise, Yamada province, early 19th century

The five toads entangled and forming a tight cluster, the eyes inlaid; signed Masanao

4.5 cm (1 3/4 in.)

€4,000 - 6,000

Provenance

Logé Collection.

Edmond de Goncourt Collection, 1897.

Louis Gonse Collection, Paris, 19, 20 and 21 December 1953, no. 56. Rouvière Collection.

Jean-Louis Picard, Paris, 15 November 1991, lot 20.

Published

Louis Gonse, L’Art Japonais, Paris, 1886, vol. II, pp. 186–87

Bulletin de l’Association de l’Art Japonais no. 2, September 1953.

International Netsuke Collectors’ Society Journal 1978, vol. 6, no. 1, p. 13.

木彫根付 五匹の蝦蟇 銘「正直」 19世紀前期

113

NETSUKE EN BOIS REPRÉSENTANT UN ESCARGOT

Dans le style de Tadayoshi, Nagoya, avec des ajouts de Jikan Ganbun, XIXe siècle

A WOOD NETSUKE OF A SNAIL

Style of Tadayoshi, Nagoya, with additions by Jikan Ganbun, 19th century

The creature emerging from its shell and crawling over the top, overlaid with thin pewter; signed on an ebony tablet Jikan Ganbun 4 cm (1 5/8 in.) long

€2,500 - 3,500

Provenance

Acquired at auction in the Vosges, France, in the 1980s or 1990s (by repute).

木彫根付 蝸牛 銘「自侃 眼文」 19世紀

114 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN SERPENT D’après Hogen Tadayoshi, fin du XIXe/début XXe siècle

AN IVORY NETSUKE OF A SNAKE After Hogen Tadayoshi, late 19th/early 20th century

The snake with its body coiled in irregular loops, its head resting on top, the end of its tail forming the himotoshi the eyes inlaid; inscribed in a raised rectangular reserve Tadayoshi 3.4 cm (1 3/8 in.) long

€2,500 - 3,500

Provenance

Scholten Japanese Art, New York, September 2001. Collection of Guy de Lasteyrie, Paris. Bonhams Paris, 14 June 2023, lot 208.

Published

Scholten Japanese Art, ES, p. 134, no. 163 (catalogued as ‘by Tadatoshi’). TS19, p. 82, no. 143.

Published International Netsuke Society Journal, 2002, vol. 22, no. 1, p. 11.

象牙彫根付 蛇 銘「忠義」 19世紀後期/20世紀前期

Ce lot est acccompagné par un certificat intracommunautaire (CIC) numéro FR2207506617-K uniquement valable dans le cadre de l'Union Européenne.

115

NETSUKE EN BOIS REPRÉSENTANT UN CHIEN TACHETÉ

Par Toyokazu, Tanba, début du XIXe siècle

A WOOD NETSUKE OF A PIEBALD DOG

By Toyokazu, Tanba, early 19th century

Seated, one paw resting on the head of its pup lying at its feet, the wood bearing a good patina, the eyes inlaid with pale translucent horn; signed Toyokazu

4.5 cm (1 3/4 in.) high

€5,000 - 8,000

Provenance

Jean-Louis Picard, Paris, 26 May 1994, lot 48.

木彫根付 犬 銘「豊一」 19世紀前期

116 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN SHISHI

Par Mitsuharu, Kyoto, fin du XVIIIe /début du XIXe siècle

AN IVORY NETSUKE OF A SHISHI

By Mitsuharu, Kyoto, late 18th/early 19th century

Seated, with its head turned back over his shoulder to the left, mouth open baring impressive fangs, clutching a ball with three paws, spiritedly rendered in slightly-worn and well-toned ivory, the eye pupils inlaid with dark horn; signed in an oval reserve Mitsuharu

5 cm (2 in.) high

€6,000 - 8,000

Provenance

Joseph and Edith Kurstin Collection. Burton and Teri Krouner Collection. Bonhams London, 8 November 2011, lot 17.

Published

Barbra Teri Okada and Mary Gardner Neill, Real and Imaginary Beings: The Netsuke Collection of J. and E. Kurstin Yale University Art Gallery, 1980, cat. no. 6.

Rosemary Bandini, Shishi and Other Netsuke: The Collection of Harriet Szechenyi London, 1999, p. 15, no. 17.

Exhibited

Yale University Art Gallery, 1980.

象牙彫根付 珠取獅子 銘「光春」 18世紀後期/19世紀前期

For a discussion on the shishi netsuke of Mitsuharu by Vlad Bykoriz, see the International Netsuke Society Journal, Winter 2011, vol. 30, no. 4, pp. 16-20.

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

117

NETSUKE EN BOIS REPRÉSENTANT UN BŒUF

Par Genryosai Minkoku, début du XIXe siècle

A WOOD NETSUKE OF AN OX

By Genryosai Minkoku, early 19th century

Lying with its head turned to the right and with a rope passing over its back, the eyes inlaid with dark horn; signed Minkoku in an oval reverse.

6 cm (2 3/8 in.) long

€1,800 - 2,000

Provenance

A Private Collection sale, Hôtel Drouot, Paris (by repute).

木彫根付 臥牛 銘「民谷」 19世紀前期

118 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UNE VACHE ET SON VEAU

Attribué à Ryukosai Jugyoku II, fin du XIXe siècle

AN IVORY NETSUKE OF A COW AND CALF

Attributed to Ryukosai Jugyoku II, late 19th century

The former recumbent while her calf snuggled at her side, the ivory dark stained and the eyes inlaid in dark horn; signed Jugyoku

5.5 cm (2 1/8 in.) long

€800 - 1,200

象牙彫根付 親子牛 伝龍光齋壽玉 銘「寿玉」 19世紀後期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

119

NETSUKE EN BOIS REPRÉSENTANT UN BŒUF COUCHÉ

D’après Tomotada, Kyoto, début du XIXe siècle

A WOOD NETSUKE OF A RECUMBENT OX

After Tomotada, Kyoto, early 19th century

Lying with a small boy holding its halter as he tries to climb onto its back, the wood bearing a good patina and the eye pupils inlaid with horn; inscribed Tomotada in an oval reserve.

6 cm (2 3/8 in.) long

€1,000 - 1,500

木彫根付 臥牛 銘「友忠」 19世紀前期

120 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN CHIEN COUCHÉ Début du XIXe siècle

A LARGE IVORY NETSUKE OF A RECUMBENT DOG

Early 19th century

Lying with one hind leg raised and its fore paws resting on a ball, the ivory bearing a good patina and the eyes inlaid in dark horn; unsigned 6.3 cm (2 1/2 in.) long

€2,000 - 4,000

Provenance

W. L. Behrens Collection, no. 1570. Collection of André Lichtenberger (1870-1940), Paris. Ader Picard Tajan, Paris, 19 February 1979, lot 143.

Published

Henri L. Joly, The W.L. Behrens collection, Part I, Netsuke, London, 1913, pl. XXIX.

象牙彫根付 犬 無銘 19世紀前期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

121

121

NETSUKE EN BOIS REPRÉSENTANT UN CHIOT

Par Masamichi, Ise, Yamada, XIXe siècle

A WOOD NETSUKE OF A PUPPY

By Masamichi, Ise, Yamada, 19th century Seated, turning to the left, its eyes inlaid in dark horn;

in an oval reserve.

4.2 cm (1 5/8 in.) high

€1,500 - 2,000

Provenance

Piasa, Paris, 9 November 2001, lot 322.

木彫根付 仔犬 銘「正路」 19世紀

122

NETSUKE EN BOIS REPRÉSENTANT UN SINGE

Par Masakazu, Gifu, XIXe siècle

A WOOD NETSUKE OF A MONKEY

By Masakazu, Gifu, 19th century

The monkey seated on top of a large tortoise, trying to entice it from its shell, the eyes inlaid with pale and dark horn; signed Masakazu in an oval reserve. 4.9 cm (1 7/8 in.)

€2,000 - 3,000

Provenance

Formerly in the collection of Lu Xiaguang.

Rémy Le Fur & Associés, Paris, 21 February 2014, lot 170.

木彫根付 猿 銘「正一」 19世紀

123

NETSUKE EN BOIS REPRÉSENTANT UN LIÈVRE

Par Ryusenshi Issan, XIXe siècle

A WOOD NETSUKE OF A HARE

By Ryusenshi Issan, 19th century

Seated, facing ahead and with its head slightly raised, ears drawn back and its forelegs stretched out, the eyes inlaid with amber; signed Issan 4.6 cm (1 3/4 in.) long

€1,800 - 2,000

Provenance

Harriet Szechenyi Collection, Zurich. Bonhams London, 8 November 2011, lot 135.

Published

Rosemary Bandini, Shishi and Other Netsuke: The Collection of Harriet Szechenyi London, 1999, p. 81, no. 115.

木彫根付 兎 銘「一山」 19世紀

124

NETSUKE EN BOIS REPRÉSENTANT UN SERPENT

Par Tametaka, Nagoya, XVIIIe siècle

A WOOD NETSUKE OF A SNAKE

By Tametaka, Nagoya, 18th century

Coiled in tight loops with its head at the top and a natural gap forming the himotoshi, the compact composition in slightly worn and well-patinated wood; signed in a rectangular reserve Tametaka 3.8 cm (1 1/2 in.)

€6,000 - 8,000

Provenance

Isaacson Collection. Bonhams London, 8 November 2011, lot 172. Harriet Szechenyi Collection, Zurich. Bonhams London, 8 May 2016, lot 23.

Published

Rosemary Bandini, Shishi and Other Netsuke, The Collection of Harriet Szechenyi London, 1999, p. 82, no. 116.

木彫根付 蛇 銘「為隆」 18世紀

For a very similar example in the British Museum, see Richard Barker and Lawrence Smith, Netsuke, The Miniature Sculpture of Japan London, 1976, p. 95, no. 164.

125 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT DEUX PORTEURS DE LA ROUTE DU TOKKAIDO (KUMOSUKE)

Fin du XVIIIe siècle/début du XIXe siècle

AN IVORY NETSUKE OF TWO TOKKAIDO ROAD PORTERS (KUMOSUKE)

Late 18th/early 19th century

The two dancing side by side, one towering above the other, the ivory bearing a good patina; unsigned

6.1 cm (2 3/8 in.) high

€1,800 - 2,000

Provenance

René Vassal Collection.

François de Ricqlès, Paris, 13 April 1994.

象牙彫根付 東海道荷運男 無銘 18世紀後期/19世紀前期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

126 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN DANSEUR DE SAMBASO

Par Tomotane, fin du XIXe siècle

AN IVORY NETSUKE OF A SAMBASO DANCER

By Tomotane, late 19th century

Posing and wearing an ebony Okina mask his robe finely incised with kadomatsu, the ivory stained a dark tone; signed in a rectangular reserve Tomotane

5.8 cm (2 1/4 in.) high

€600 - 800

象牙彫根付 三番叟 銘「友胤」 19世紀後期

127 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT TROIS AVEUGLES SE BATTANT

Par Zeraku, Edo, XIXe siècle

AN IVORY NETSUKE OF THREE BLIND MEN FIGHTING

By Zeraku, Edo, 19th century

The three men, one appearing to be a wrestler, wrestling each other, one having fallen to the ground; signed Zeraku

5.5 cm (2 1/8 in.) high

€1,200 - 1,500

Provenance

Bonhams London, 11 November 2010, lot 98.

象牙彫根付 坊主の喧嘩 銘「是楽」 19世紀

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne. 127

128

NETSUKE EN BOIS REPRÉSENTANT SHOKI

Par Kigyoku, XIXe siècle

A WOOD NETSUKE OF SHOKI

By Kigyoku, 19th century

The demon queller looking down a well, looking for a hidden oni forming an ojime signed Kigyoku

Shoki: 3.3 cm (1 1/4 in.) high, 5.2 cm (2 in.) long; Oni: 2 cm (3/4 in.) high

€1,200 - 1,500

Provenance

Private Collection, Toulon, France (by repute).

木彫根付　鍾馗と鬼 銘「龜玉」　19世紀

Compare with a very close example by the same Kigyoku in the Behrens collection, n. 4765, illustrated on a MCI card (p. 324) and in George Lazarnick, Netsuke and Inro Artists, and how read their Signatures Honolulu, 1982, vol. I, p. 613.

129 NETSUKE EN

Attribué à Tadatoshi, Nagoya, XIXe siècle

A WOOD NETSUKE OF A MERMAID

Attributed to Tadatoshi, Nagoya, 19th century

Her body curled as she holds her tail, head looking down, in dark stained wood; unsigned

4.4 cm (1 3/4 in.) long

€2,500 - 3,500

Provenance

Collection Oppenheimer. Eskenazi Ltd., London, 3 June 1966.

Sotheby's Paris, 18 December 2012, lot 312.

130

NETSUKE EN BOIS REPRÉSENTANT UN SHACHIHOKO

Par Chikuzan, XIXe siècle

A WOOD NETSUKE OF A SHACHIHOKO

By Chikuzan, 19th century

Facing ahead and with its tail raised, the wood lightly stained and the eyes of mother of pearl with dark horn pupils; signed Chikuzan and inscribed hidari to 6.7 cm (2 5/8 in.) long

€3,000 - 5,000

Provenance

Walter L. Behrens Collection (1861-1913), Manchester, no. 1773.

Paul Corbin Collection.

Beaussant Lefèvre, Paris, 10 November 1999, lot 162.

Published

H. L. Joly, The W. L. Behrens Collection, Part I: Netsuke London, 1913, no. 1773, pl. XXX. (The signature has been misread as Josan.)

木彫根付 鯱 銘「竹山左刀」 19世紀

131

NETSUKE EN BOIS REPRÉSENTANT UN RONIN SE CACHANT Début du XIXe siècle

A WOOD NETSUKE OF A RONIN IN HIDING

Early 19th century

Crouching and with his body leaning forward and stretched out, head lowered and resting on his arms, the eyes inlaid in dark horn; unsigned 5 cm (2 in.) long

€6,000 - 8,000

Provenance

Jules Cherki Collection.

Tessier & Sarrou et Associés, Paris, 14 June 2021, lot 32.

木彫根付 浪人 無銘 19世紀前期

Compare to a narwhal tusk model attributed to Ogasawara Issai from the Bushell collection in the LACMA (M.91.250.289), and a wood model also in the LACMA (M.59.35.28), unsigned.

132 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT LA LÉGENDE DE SHITA-KIRI SUZUME

Par Chingendo Hidemasa I, Osaka, début du XIXe siècle

AN IVORY NETSUKE OF SHITA-KIRI SUZUME

By Chingendo Hidemasa I, Osaka, early 19th century

The wicked woman sprawled on the back of a large formalised sparrow and holding scissors, the eyes inlaid in dark horn; signed Hidemasa

4.5 cm (1 3/4 in.) long

€1,500 - 2,000

Provenance

Formerly in the collection of Le Véel.

Beaussant Lefèvre, Paris, 19 October 2011, lot 136.

象牙彫根付 舌切雀 銘「秀正」 19世紀前期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

133 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN GROUPE DE SEPT RATS

Par Chikuyosai Tomochika (1800-1873), Edo, XIXe siècle

AN IVORY NETSUKE OF A GROUP OF SEVEN RATS

By Chikuyosai Tomochika (1800-1873), Edo, 19th century

Tumbling over each other and forming a compact ball, the eyes all inlaid in dark horn; signed Tomochika

3.9 cm (1 1/2 in.) long

€1,000 - 1,500

Provenance

Acquired in Toulon, France, circa 1975 (by repute).

象牙彫根付 鼠七匹 銘「友親」 19世紀

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

134 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN RAT

Kyoto, début du XIXe siècle

AN IVORY NETSUKE OF A RAT

Kyoto, early 19th century

Seated, turning to the left and holding its tail, the eyes inlaid in dark horn; unsigned

3.7 cm (1 1/2 in.) long

€800 - 1,000

Provenance

Le Véel Collection.

Beaussant Lefèvre, Paris, 19 October 2011, lot 135.

象牙彫根付 鼠 無銘 19世紀前期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

135 INRO À QUATRE COMPARTIMENTS EN LAQUE

Par Shiomi Masanari, XVIIIe siècle

A GOLD LACQUER FOUR-CASE INRO

By Shiomi Masanari, 18th century

Of upright rectangular form and lenticular profile, with a gold kinji ground, lacquered in gold and colored togidashi-e with two mice, the interior cases in dark brown lacquer with gold fundame rims, signed on the bottom right corner Shiomi Masanari ga and sealed zu 7.5 cm (3 in.) x 6 cm (2 3/8 in.) (4).

€3,000 - 4,000

銘「鹽見政誠畫 圖」 18世紀

137

QUATRE PLAQUES EN OR POUR NETSUKE KAGAMIBUTA XIXe siècle

FOUR GOLD PLATES FOR KAGAMIBUTA NETSUKE 19th century

Each made of 14k gold, carved in repoussé and inlaid in shakudo, copper and silver, each with a ring at the reverse, comprising:

- one depicting a seated Gama sennin with his toad; signed Mingyoku and kao

- one depicting a Bugaku dancer performing the butterfly dance (Kocho); signed Ryûmin

- one depicting a couple probably Takenouchi no Sukune and the empress Jingû Kôgo; signed Morichika

- one depicting Fujiwara Yasumasa playing flute by moonlight (followed by Kidômaru); signed Sôyô at the back.

The largest 3.3 cm (1 1/4 in.) diam. (4).

€200 - 400

Provenance

Acquired from Christie’s London (by repute).

Y

MANJU NETSUKE EN IVOIRE EN DEUX PARTIES

Par Kosen, fin du XIXe/début du XXe siècle

A TWO-PART IVORY MANJU NETSUKE

By Kosen, late 19th /early 20th century

Carved in relief on the front with a small boy holding an umbrella over a Portuguese gentleman, the reverse with a Portuguese musician and with a ship moored in the bay beyond, signed Kosen saku 5.3 cm (2 1/8 in.) diam.

€600 - 800

Provenance

De Baecque et Associés, Paris, 13 December 2023, lot 161.

象牙彫饅頭根付 銘「光仙刻」 19世紀後期/20世紀前期

Ce lot est acccompagné par un certificat intracommunautaire (CIC) numéro FR2307507146-K uniquement valable dans le cadre de l'Union Européenne.

138 NETSUKE EN BOIS DE CERF REPRÉSENTANT UN COQ

XIXe siècle

A STAG ANTLER NETSUKE OF A COCKEREL

19th century

The bird seated, facing ahead, the antler dark stained and the eyes inlaid; unsigned

4.4 cm (1 3/4 in.) long

€1,500 - 2,000

Provenance

Rutherston & Bandini Ltd., London, May 2013, no. 23. Tessier & Sarrou et Associés, Paris, 16 June 2014, lot 265.

鹿角彫根付 雄鶏 無銘 19世紀

139 NETSUKE EN BOIS REPRÉSENTANT UN SHOJO ENDORMI

Par Ikkan, Nagoya, XIXe siècle

A WOOD NETSUKE OF A SLEEPING SHOJO (DRUNKEN SPRITE)

By Ikkan, Nagoya, 19th century

Lying with its head resting on one hand, with long hair flowing down the back, the trousers finely decorated with clouds; signed Ikkan

4.3 cm (1 3/4 in.) long

€1,800 - 2,000

Provenance

Christie’s Paris, 26 November 2002, lot 18.

木彫根付 猩々 銘「一貫」 19世紀

140 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT DEUX CAILLES SUR DES ÉPIS DE MILLET

Attribué à Masatami, fin du XIXe siècle

AN IVORY NETSUKE OF TWO QUAILS ON MILLET

Attributed to Masatami, late 19th century

Crouched side by side on millet stalks, the ivory dark stained and the eyes inlaid in dark horn; inscribed on the base Okatomo.

4.5 cm (1 3/4 in.) long

€400 - 600

Provenance Acquired in Toulon, France, circa 1975 (by repute).

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

象牙彫根付 双鶉 伝正民 銘「岡友」 19世紀後期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

141 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN CHAT DOMESTIQUE Début du XIXe siècle

AN IVORY NETSUKE OF A DOMESTIC CAT Early 19th century

Standing in full alert on a half-section of bamboo and wearing a knotted collar, the ivory bearing a good patina; unsigned 4.8 cm (1 7/8 in.) long

€1,000 - 2,000

Provenance

Harriet Szechenyi Collection, Zurich. Bonhams London, 8 November 2011, lot 201.

象牙彫根付 半割竹に猫 無銘 19世紀前期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

142 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN JEUNE OISEAU XIXe siècle

AN IVORY NETSUKE OF A YOUNG BIRD 19th century

The plump bird seated, facing ahead, its short stubby wings carved in low relief and its feet folded beneath, in slightly worn and well-toned ivory, the eyes inlaid; unsigned 4.5 cm (1 3/4 in.) wide

€800 - 1,000

Provenance

Collection of André Lichtenberger (1870-1940), Paris.

Ader Picard Tajan, Paris, 19 February 1979, lot 159. Bonhams London, 8 May 2016, lot 44.

象牙彫根付 若鳥 無銘 19世紀

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

143 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN DROMADAIRE COUCHÉ

D’après Tomotada, début du XIXe siècle

AN IVORY NETSUKE OF A RECUMBENT CAMEL

After Tomotada, early 19th century

Lying with legs tucked under the body and its head raised and facing ahead, the eyes inlaid with light horn; inscribed Tomotada 5.8 cm (2 1/4 in.) long

€800 - 1,000

Provenance

Tessier & Sarrou et Associés, Paris, 16 December 2013, lot 262.

象牙彫根付 駱駝 銘「友忠」 19世紀前期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

144

NETSUKE EN BOIS REPRÉSENTANT UN SERPENT ET UNE TORTUE

Dans le style de Tomokazu, par Masakazu, Gifu, XIXe siècle

A WOOD NETSUKE OF A SNAKE AND TORTOISE

Style of Tomokazu, by Masakazu, Gifu, 19th century

The snake tightly coiled around the small tortoise hiding its head within its carapace, the eyes inlaid with horn; signed in an oval reserve Masakazu

3.8 cm (1 1/2 in.) long

€1,500 - 2,000

Provenance

Monsieur X Collection.

Audap, Solanet, Godeau-Velliet, Paris, 31 March 1995, lot 17.

木彫根付 蛇と亀 銘「正一」 19世紀

145 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN SHISHI

Fin du XVIIIe siècle

AN IVORY NETSUKE OF A SHISHI

Late 18th century

Lying, its head turned back to the right and with a loose ball in its mouth, the ivory bearing a good patina, the eyes inlaid in dark horn; unsigned

5.5 cm (2 1/8 in.) long

€1,000 - 1,500

Provenance

Eskenazi Ltd., London, 29 April 1966. Collection of L. and Y. Laufer, Paris. Sotheby’s Paris, 18 December 2012, lot 291.

象牙彫根付 獅子（口遊玉含） 無銘 18世紀後期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

146 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN POULPE

Par Fusayuki, XIXe siècle

AN IVORY NETSUKE OF AN OCTOPUS

By Fusayuki, 19th century

Standing upright on his seven tentacles, one tentacle raised to its head, the face with round eyes and a puzzled expression, the eyes inlaid in dark horn; signed Fusayuki 5 cm (2 in.) high

€1,200 - 1,500

Provenance

Acquired at auction in Calais, France, in the 1990s (by repute).

象牙彫根付 蛸 銘「房之」 19世紀

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

147

NETSUKE EN BOIS REPRÉSENTANT UN SINGE XIXe siècle

A WOOD NETSUKE OF A MONKEY

19th century

Standing upright and looking straight ahead, his right arm in front of his chest, the eyes inlaid with metal, a circular shell inlay at the top of his head; unsigned 7.2 cm (2 7/8 in.) high

€200 - 400

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

木彫根付 猿 無銘 19世紀

148 Y Ф

NETSUKE EN IVOIRE REPRÉSENTANT UN SERPENT ATTRAPANT UN CRAPAUD

Par Gyokuyosai, milieu du XIXe siècle

AN IVORY NETSUKE OF A SNAKE AND TOAD

By Gyokuyosai, mid 19th century

Coiled around the toad and grabbing one of its legs, the eyes inlaid in dark horn; signed Gyokuyosai

4.3 cm (1 3/4 in.) long

€800 - 1,200

Provenance

Acquired at auction in France in the 1990s (by repute).

象牙彫根付 蛇蛙 銘「玉陽齋」 19世紀中期

Ce lot en ivoire sera accompagné d'un certificat intracommunautaire (CIC) uniquement valable dans le cadre de l'Union Européenne.

Ces Conditions de Ventes et Annexe 1 (Contrat de Vente entre L’Acheteur, Bonhams France SAS et le Vendeur) et les Définitions et Glossaire constituent un ensemble et sont liés à toute personne participant dans La Vente, que ce soit les personnes assistant à la vente aux enchères, les Enchérisseurs (en ligne, en personne ou par téléphone), les Enchérisseurs potentiels et les Acheteurs éventuels du Lot.). Pour plus de commodité, nous utilisons les termes « Enchérisseurs » ou « vous » pour désigner ces personnes. Les mots et expressions figurant en italique dans les présentes Conditions de Ventes sont expliqués dans la Liste des Définitions.

IMPORTANT Des informations supplémentaires applicables à la Vente peuvent également figurer dans le Catalogue de la Vente, dans une note insérée dans le Catalogue et/ou dans une note affichée dans le lieu de Vente, et vous incombe de les lire également. Des annonces concernant la Vente pourront également être faites oralement avant ou pendant la Vente sans préavis écrit. Vous devez être conscientode la possibilité que des changements soient apportés aux conditions de la Vente, être vigilant sur ce point et demander, avant d’enchérir, si de tels changements sont intervenus.

En vous enregistrant pour participer à nos ventes et/ou en enchérissant vous acceptez les présentes Conditions de Ventes 1. NOTRE RÔLE

Dans son rôle d’Adjudicateur de lots, Bonhams est autorisé par le Vendeur à agir uniquement pour et dans l’intérêt du Vendeur. Bonhams n’agit pas pour le compte des Acheteurs ou des Enchérisseurs et ne leur fournit aucun conseil. Si Bonhams ou un membre de son personnel fait des déclarations à propos d’un Lot, ou si Bonhams fournit un Rapport d’état à propos d’un Lot, ces déclarations seront faites ou ce rapport sera établi pour le compte du Vendeur du Lot Il est fortement conseillé aux Enchérisseurs et Acheteurs qui n’ont pas eux-mêmes des connaissances d’expert sur les Lots de solliciter et d’obtenir un avis indépendant sur les Lots et leur valeur, avant d’enchérir sur ceux-ci. Le Vendeur a autorisé Bonhams à vendre le Lot en qualité de mandataire agissant pour son compte et, sauf accord contraire exprès, Bonhams agit exclusivement en qualité de mandataire du Vendeur. Toute assertion ou déclaration faite par nous au titre d’un Lot est faite pour le compte du Vendeur et non pour notre compte, à moins que Bonhams ne vende un Lot en tant que mandant, et tout Contrat de Vente est conclu entre l’Acheteur et le Vendeur et non entre l’Acheteur et nousmêmes. Si Bonhams vend un Lot en tant que mandant, il en sera fait mention dans le Catalogue ou dans une annonce du Commissaire-priseur à cet effet ou dans un avis affiché dans le lieu de la Vente ou inséré dans le Catalogue. Si vous êtes le dernier Enchérisseur pour un Lot et donc l’achetez, Bonhams conclura un contrat avec vous en tant qu’Acheteur dans les termes du contrat avec l’Acheteur joint en Annexe 1 au Catalogue, qui régira les relations entre Bonhams et vous-même en votre qualité d’Acheteur

2. LOTS

Sous réserve de la Description Contractuelle imprimée en caractères gras dans l’Article consacré au Lot dans le Catalogue des Ventes en Ligne (voir paragraphe 3 ci-dessous), les Lots sont vendus à l’Acheteur « en l’état » où ils se trouvent au moment de la vente, avec tous leurs défauts et imperfections. Les illustrations et photographies des Lots servent uniquement à leur identification. Une photographie ou illustration figurant dans le Catalogue (à l’exception des photographies formant partie de la Description Contractuelle ou ailleurs peut ne pas reproduire exactement la ou les couleurs ou le véritable état du Lot. Les Lots sont disponibles pour examen avant la Vente et il vous incombe de vous assurer vous-même de chacun des aspects d’un Lot y compris son auteur, son attribution, son état, sa provenance, son histoire, son contexte, son authenticité, son style, son époque, son âge, son aptitude à une utilisation particulière, son état de marche s’il s’agit d’une voiture (le cas échéant) son origine, sa valeur et son prix de vente Estimé (y compris le Prix d’Adjudication). Il vous incombe d’examiner tout Lot qui vous intéresse. Il convient de rappeler que l’état réel d’un Lot peut ne pas être aussi bon que celui qu’indique son apparence extérieure. En particulier, des pièces peuvent avoir été remplacées ou changées et des Lots peuvent ne pas être authentiques ou de qualité satisfaisante l’intérieur d’un Lot peut ne pas être visible, peut ne pas être d’origine ou peut être endommagé, par exemple s’il est recouvert d’une tapisserie ou d’un revêtement quelconque. Étant donné leur âge, de nombreux Lots peuvent avoir été endommagés et/ou réparés et vous ne devez pas présumer qu’un Lot est en bon état. Les objets électroniques ou mécaniques ou les pièces sont vendus pour leur intérêt artistique, historique ou culturel et peuvent ne pas fonctionner ou ne pas être conformes aux exigences légales actuelles. Vous ne devez pas présumer que des objets électriques destinés à fonctionner sur les réseaux de l’électricité domestique pourront être connectés sur ces réseaux et devrez donc préalablement obtenir un rapport sur leur état de la part d’un électricien qualifié. Ces objets impropres à être connectés sont vendus uniquement comme des objets de vitrine. Si vous n’avez pas l’expertise nécessaire concernant un Lot, prenez conseil à ce sujet. Nous pouvons vous aider à prendre les dispositions nécessaires afin de vous permettre de procéder ou de faire procéder à des examens et tests plus détaillés. Toute personne qui endommage un Lot sera responsable de la perte

ainsi causée.

3. DESCRIPTIONS DES LOTS ET ESTIMATIONS

Description contractuelle d’un Lot

Le Catalogue contient un Article pour chaque Lot. Chaque Lot est vendu par le Vendeur à l’Acheteur comme correspondant uniquement à la partie de l’Article imprimée en caractères gras, et (sauf pour la couleur, qui peut être reproduite de manière inexacte) à toute photographie du Lot dans le Catalogue. Le reste de l’Article, qui n’est pas imprimé en caractères gras est donné à titre indicatif et représente uniquement l’opinion de Bonhams (donnée au nom du Vendeur sur le Lot et ne fait pas partie de la Description Contractuelle conformément à laquelle le Lot est vendu par le Vendeur

Estimations

Dans la plupart des cas, une Estimation est imprimée à côté de l’Article. Les Estimations fournies expriment uniquement l’opinion de Bonhams faite au nom du Vendeur à propos de la fourchette dans laquelle Bonhams pense que le Prix d’adjudication pour le Lot est susceptible de se situer. Il ne s’agit en aucun cas d’une estimation de valeur. Les Estimations ne tiennent pas compte de la TVA, de la Commission d’achat ou d’autres frais payables par ’Acheteur, qui sont décrits en détail au paragraphe 7 de les présentes Conditions de Ventes. Les prix dépendent des enchères et les Lots peuvent se vendre à des Prix d’Adjudication inférieurs ou supérieurs aux Estimations

Les Estimations ne doivent donc pas être considérées comme une indication du prix de vente réel ou de la valeur d’un Lot. Les Estimations sont fournies dans la devise de la Vente Rapports d’état

Pour la plupart des Lots vous pouvez demander à Bonhams un Rapport sur l’état physique général du Lot Si vous lui faites cette demande, Bonhams vous fournira ce rapport gratuitement, pour le compte du Vendeur. Étant donné qu’il s’agit d’un service supplémentaire et gratuit, Bonhams ne conclut pas de contrat avec vous au titre du Rapport d’état

En conséquence, Bonhams n’assume aucune responsabilité à votre égard à ce titre. Chaque Rapport d’état exprime l’opinion de Bonhams quant à l’état général du Lot concerné et est fonction des connaissances artistiques et scientifiques à la date de la vente. Bonhams ne déclare ni ne garantit qu’un Rapport d’état inclue tous les aspects de l’état interne ou externe du Lot Le Vendeur ne vous doit ni n’accepte de vous devoir, en tant qu’Enchérisseur ou Acheteur aucune obligation concernant ce rapport gratuit à propos d’un Lot qui vous est fourni afin que vous puissiez l’examiner ou le faire examiner par un expert mandaté par vos soins. Responsabilité du Vendeur envers vous Le Vendeur ne fait et ne s’oblige à faire aucune déclaration factuelle, et n’assume aucune garantie, aucune obligation ni aucune responsabilité contractuelle ou quasi-délictuelle (excepté envers l’Acheteur final, ainsi qu’il est dit ci-dessus) au titre de l’exactitude ou du caractère complet de toute assertion ou déclaration faite par lui ou pour son compte, qui contient un élément quelconque de description de tout Lot ni au titre du prix de vente prévu ou probable de tout Lot Exception faite de ce qui est stipulé ci-dessus, aucune assertion ou déclaration faite par le Vendeur ou pour son compte contenant un élément quelconque de description d’un Lot, ni aucune Estimation ne sont incorporées dans le Contrat de Vente entre le Vendeur et l’Acheteur

Responsabilité de Bonhams envers vous Vous avez la possibilité d’examiner le Lot si vous le souhaitez et le Contrat de Vente d’un Lot est conclu avec le Vendeur et non avec Bonhams Bonhams agit exclusivement en qualité de mandataire du Vendeur (à moins que Bonhams ne vende le Lot en tant que mandant). Bonhams n’assume envers vous aucune obligation d’examiner, d’enquêter ou de procéder à des tests sur chaque Lot approfondis ou autres, afin d’établir l’exactitude ou de vérifier autrement toutes Descriptions ou opinions données par Bonhams, ou par toute personne pour le compte de Bonhams que ce soit dans le Catalogue ou ailleurs. Vous ne devez pas supposer que ces examens, ces enquêtes ou ces tests ont été réalisés. Bonhams ne fait et ne s’oblige à faire aucune déclaration factuelle. Aucune assertion ou déclaration faite par Bonhams ou pour son compte contenant un élément quelconque de description d’un Lot, ni aucune Estimation ne sont incorporées dans notre Contrat avec l’Acheteur

Modifications

Les Descriptions et les Estimations peuvent être modifiées à la discrétion de Bonhams par le biais d’une annonce verbale ou d’un avis écrit avant ou pendant une Vente. LE LOT EST DISPONIBLE POUR EXAMEN ET VOUS DEVEZ VOUS FORMER

VOTRE PROPRE OPINION SUR CELUI-CI. IL VOUS EST FORTEMENT CONSEILLÉ D’EXAMINER TOUT LOT OU DE LE FAIRE EXAMINER POUR VOTRE COMPTE AVANT LA VENTE

4. CONDUITE DE LA VENTE

Nos Ventes sont des ventes aux enchères publiques, auxquelles des personnes peuvent assister. Nous nous réservons le droit, à notre seule discrétion, de refuser l’accès à nos locaux ou à toute

Vente et de faire sortir toute personne de nos locaux et salles des ventes, sans devoir en indiquer la raison. Nous pouvons à notre seule et entière discrétion décider de procéder à la Vente d’inclure un Lot dans la Vente ainsi que de la manière dont la Vente se déroulera, et nous pouvons offrir les Lots à la Vente dans tout ordre que nous choisissons, nonobstant les

numéros attribués aux Lots dans le Catalogue. Vous devrez donc vérifier la date et l’heure de commencement de la Vente, et vérifier si des Lots ont été retirés de la Vente ou ajoutés tardivement à celle-ci. En effet, ces retraits ou ajouts tardifs peuvent modifier l’heure à laquelle un Lot qui vous intéresse est mis en Vente Nous pouvons, à notre seule et entière discrétion, refuser toute enchère, augmenter tout pas d’enchère comme nous le jugerons approprié, diviser tout Lot, regrouper deux Lots, retirer tout Lot d’une Vente et, avant que la Vente ait pris fin, remettre tout Lot aux enchères. Les Ventes aux enchères peuvent excéder 100 Lots par heure et les pas d’enchère sont généralement d’environ 10% ; toutefois, ces chiffres varient d’une Vente à l’autre et d’un Commissaire-priseur à l’autre. Contactez le département organisant la Vente pour avoir un avis sur ce point. Si un Prix de Réserve a été fixé pour un Lot, le Commissaire-priseur peut, en son absolue discrétion, passer des enchères (à concurrence d’un montant qui ne sera ni égal ni supérieur à ce Prix de Réserve pour le compte du Vendeur Nous ne sommes pas responsables envers vous de la présence ou de l’absence d’un Prix de Réserve au titre de tout Lot Si un Prix de Réserve a été fixé, il ne devra pas être supérieur à la plus basse Estimation faite dans le Catalogue en supposant que la devise du Prix de Réserve n’ait pas fluctué de manière défavorable par rapport à la devise de l’Estimation L’Acheteur sera l’Enchérisseur qui fait la plus haute enchère acceptable par le Commissaire-priseur pour un Lot (sous réserve de tout Prix de Réserve applicable), et auquel le Lot est adjugé par le Commissaire-priseur à la tombée du marteau du Commissairepriseur. Tout différend relatif à la plus haute enchère acceptable sera tranché par le Commissaire-priseur en son absolue discrétion. Toutes les enchères passées se rapporteront au numéro de Lot annoncé par le Commissaire-priseur. Un convertisseur électronique de devises peut être utilisé lors de la Vente Cet outil est fourni uniquement pour votre commodité et constitue une évaluation approximative de la contre-valeur d’une enchère donnée dans certaines devises. Nous n’acceptons aucune responsabilité au titre des erreurs qui pourraient se produire en raison de l’utilisation du convertisseur de devises. Nous pouvons utiliser des caméras vidéo pour enregistrer la Vente et pouvons enregistrer des appels téléphoniques pour des raisons de sécurité, et afin d’aider à résoudre des différends pouvant s’élever au titre d’enchères passées lors de la Vente Nous pouvons utiliser des écrans sur lesquels des images des Lots seront projetées. Ce service est fourni pour permettre une meilleure vue des Lots lors de la Vente L’image projetée sur l’écran doit être considérée comme une simple indication du Lot concerné. Il convient de noter que toutes les enchères passées se rapporteront au numéro de Lot annoncé par le Commissairepriseur. Nous n’acceptons aucune responsabilité au titre des erreurs qui pourraient se produire dans l’utilisation de l’écran. DROIT DE PREEMPTION L’Etat dispose d’un droit de préemption des biens culturels vendus. L’Etat pourra se substituer au dernier enchérisseur dans les quinze jours de la Vente 5. ENCHÈRES

Vous devez compléter et nous remettre l’un de nos Formulaires d’Enchères, c’est-à-dire notre Formulaire d’Enregistrement d’Enchérisseur notre Formulaire d’Enchères en Absence (Ordre d’Achat) ou notre Formulaire d’Enchères par Téléphone afin de pouvoir enchérir lors de nos Ventes Si vous êtes un nouveau client chez Bonhams ou si vous n’avez pas récemment mis à jour vos données d’enregistrement, vous devez vous préenregistrer, au moins deux jours ouvrables avant la Vente lors de laquelle vous souhaitez enchérir. Vous devrez fournir un justificatif d’identité et de domicile délivré par le gouvernement. Si vous êtes une société, il faut fournir votre certificat d’immatriculation (Extrait Kbis) ou un document équivalent, avec votre dénomination et l’adresse de votre siège social, une preuve de votre adresse actuelle délivrée par le gouvernement, une preuve documentaire de vos propriétaires effectifs et de vos administrateurs et une preuve de l’autorisation d’effectuer des transactions. Nous pouvons également vous demander une référence financière et/ou une caution avant de vous autoriser à enchérir. Nous nous réservons le droit, à notre discrétion, de demander des informations supplémentaires afin de compléter notre identification de client, de refuser d’enregistrer une personne comme Enchérisseur et de rejeter ses enchères si elles ont déjà été enregistrées. Nous nous réservons également le droit de différer la finalisation de la vente d’un Lot à notre discrétion, le temps de terminer nos enquêtes relatives à l’enregistrement et à l’identification, et d’annuler la vente de tout Lot si vous violez vos garanties en tant qu’Acheteur, ou si nous considérons que cette Vente serait illégale ou ferait autrement jouer la responsabilité du Vendeur ou de Bonhams ou nuirait à la réputation de Bonhams Enchérir en personne À condition que vous vous soyez préenregistré pour enchérir ou ayez récemment mis à jour vos données d’enregistrement existantes, vous devrez vous rendre à notre bureau d’enregistrement des Enchérisseurs dans le lieu de la Vente et remplir un Formulaire d’Enregistrement et d’Enchères le jour de la Vente (ou, si possible, avant). Le système de numérotation des enchères est parfois visé sous le terme d’« enchères par paddle » (ou « enchères par panneau numéroté »). Il vous sera remis une grande carte (un « paddle

électrique, une épidémie ou une catastrophe naturelle) ou si l’exécution de ses obligations donne lieu à un surcoût financier important du fait de ces circonstances et tant que celles-ci prévaudront, cette partie ne sera pas tenue d’exécuter ces obligations. Ce paragraphe ne s’applique pas aux obligations qui vous sont imposées par le paragraphe 6.

13.4 Toute notification ou autre communication devant être signifiée en vertu du Contrat de Vente doit revêtir la forme écrite et peut être remise en main propre ou envoyée par courrier prioritaire, par courrier avion ou par télécopie, envoyé, si le Vendeur en est le destinataire, c/o Bonhams à son adresse ou à son numéro de fax indiqué dans le Catalogue (à l’attention du Secrétaire Général de la Société), et, si vous en êtes le destinataire, à l’adresse ou au numéro de fax de l’Acheteur indiqué dans le Formulaire d’Enchères (à moins d’un avis de changement d’adresse notifié par écrit). Il appartient à l’expéditeur de la notification ou de la communication de s’assurer qu’elle a bien été reçue de manière lisible et dans les délais applicables.

13.5 Si une clause ou toute partie d’une clause du Contrat de Vente s’avère non exécutoire ou nulle, ce caractère non exécutoire ou cette nullité n’affectera pas le caractère exécutoire ou la validité des autres clauses ou le reste de la clause concernée.

13.6 Les références faites dans le Contrat de Vente à Bonhams visent également, le cas échéant, les dirigeants, employés et agents de Bonhams, ainsi que toute filiale de Bonhams Holdings Limited et ses dirigeants, employés et agents.

13.7. Les titres figurant dans le Contrat de vente répondent uniquement à un souci de commodité et n’auront pas d’effet sur son interprétation.

13.8 Dans le Contrat de Vente, « y compris » signifie « y compris sans caractère limitatif ».

13.9 Les références au singulier incluent également le pluriel (et vice versa) et toute référence à un genre vise également l’autre genre.

13.10 La référence à un paragraphe numéroté renvoie à un paragraphe du Contrat de Vente.

13.11 Exception faite de ce qui est expressément stipulé au paragraphe 10.12, aucune stipulation du Contrat de Vente ne confère (ou ne prétend conférer) à une personne qui n’est pas partie à ce contrat, un avantage découlant du Contrat de Vente ou le droit de rechercher l’exécution forcée de l’une quelconque des stipulations du Contrat de Vente.

13.12 Si le Contrat de Vente confère une immunité et/ ou une exclusion ou une restriction de la responsabilité et/ou des obligations incombant au Vendeur, il s’appliqueraégalement en faveur et au profit de Bonhams, de la société holding de Bonhams et des filiales de cette société holding ainsi que des successeurs et ayants-droit de Bonhams et de ces sociétés, et de tout dirigeant, employé et agent de Bonhams et de ces sociétés.

14 DROIT APPLICABLE

Toutes les transactions auxquelles le Contrat de Vente est applicable et toutes les questions connexes seront régies et interprétées conformément au droit français et le Vendeur et vous-même vous soumettez chacun à la compétence exclusive des tribunaux de Paris; par exception à ce principe, le Vendeur pourra engager une procédure à votre encontre devant tout autre tribunal compétent dans la mesure permise par la loi applicable dans le ressort de ce tribunal. Bonhams a mis en place une procédure de traitement des réclamations disponible auprès du Secrétaire Général de la Société. Conformément à la loi, les actions en responsabilité civile engagées à l’occasion des ventes volontaires de meubles aux enchères publiques se prescrivent par cinq ans à compter de l’adjudication.

These Terms and Conditions of Sale and their Annexe 1 (Sale Agreement between The Buyer, Bonhams France SAS, and The Seller) and the Definitions and Glossary constitute a whole and are binding on all persons participating in The Sale, whether attendees at the auction, Bidders (online, in person or by telephone), Potential Bidders and prospective Buyers of the Lot). For convenience, we refer to these persons as “Bidders” or “you”. Words and expressions in italics in these Terms of Sale are explained in the List of Definitions.

IMPORTANT: Additional information applicable to the Sale may also appear in the Sale Catalogue in a note inserted in the Catalogue and/or in a note displayed at the place of Sale and it is your responsibility to read these as well. Announcements concerning the Sale may also be made orally before or during the Sale without prior written notice. You should be aware of the possibility that changes may be made to the conditions of the Sale be alert to this and ask, before bidding, whether any such changes have been made.

By registering to participate in our sales and/or bidding you agree to these Terms and Conditions of Sale

1.

OUR ROLE

In its role as lot Adjudicator, Bonhams is authorized by the Seller to act solely for and in the interest of the Seller Bonhams does not act on behalf of, nor provide advice to, Buyers or Bidders If Bonhams or a member of its staff makes any representations about a Lot or if Bonhams provides a Condition Report about a Lot, such representations will be made, or such report will be prepared on behalf of the Seller of the Lot Bidders and Buyers who do not themselves have expert knowledge of the Lots are strongly advised to seek and obtain independent advice on the Lots and their value, before bidding on them.

The Seller has authorized Bonhams to sell the Lot as agent on its behalf and, unless expressly agreed otherwise, Bonhams is acting exclusively as agent for the Seller Any representation or statement made by us in respect of a Lot is made on behalf of the Seller and not on our behalf, unless Bonhams is selling a Lot as principal, and any Contract of Sale is between the Buyer and the Seller and not between the Buyer and ourselves. If Bonhams sells a Lot as principal, this will be stated in the Catalogue or in an Auctioneer’s announcement to that effect or in a notice displayed at the place of Sale or inserted in the Catalogue. If you are the last Bidder for a Lot and therefore purchase it, Bonhams will enter into a contract with you as Buyer under the terms of the Buyer’s Contract, attached as Appendix 1 to the Catalogue, which will govern the relationship between Bonhams and yourself in your capacity as Buyer

2. LOTS

Subject to the Contractual Description printed in bold letters in the Entry about the Lot in the Catalogue (see paragraph 3 below), Lots are sold to the Buyer on an “as is” basis, with all faults and imperfections. Illustrations and photographs contained in the Catalogue other than photographs forming part of the Contractual Description or elsewhere of any Lots are for identification purposes only. A photograph or illustration may not reflect an accurate reproduction of the colour(s) or true condition of the Lot Lots are available for inspection prior to the Sale, and it is for you to satisfy yourself as to each and every aspect of a Lot including its authorship, attribution, condition, provenance, history, background, authenticity, style, period, age, suitability, quality, roadworthiness (if relevant), origin, value and estimated selling price (including the Hammer Price). It is your responsibility to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as good as that indicated by its outward appearance. Parts may have been replaced or renewed and Lots may not be authentic or of satisfactory quality; the inside of a Lot may not be visible and may not be original or may be damaged, as for example where it is covered by upholstery or material. Given the age of many Lots they may have been damaged and/or repaired and you should not assume that a Lot is in good condition.

Electronic or mechanical items or parts are sold for their artistic, historic, or cultural interest and may not operate or may not comply with current statutory requirements. You should not assume that electrical items designed to operate on mains electricity will be suitable for connection to the mains electricity supply and you should obtain a report from a qualified electrician on their status before doing so. Such items which are unsuitable for connection are sold as items of interest for display purposes only. If you yourself do not have expertise regarding a Lot, you should consult someone who does to advise you. We can assist in arranging facilities for you to carry out or have carried out more detailed inspections and tests.

Please ask our staff for details.

Any person who damages a Lot will be held liable for the loss caused.

3. DESCRIPTIONS OF LOTS AND ESTIMATES Contractual Description of a Lot

The Catalogue contains an Entry about each Lot. Each Lot is sold by its respective Seller to the Buyer of the Lot as

corresponding only with that part of the Entry which is printed in bold letters and (except for the colour, which may be inaccurately reproduced) with any photograph of the Lot in the Catalogue The remainder of the Entry, which is not printed in bold letters, represents Bonhams’ opinion (given on behalf of the Seller about the Lot only and is not part of the Contractual Description in accordance with which the Lot is sold by the

Seller

Estimates

In most cases, an Estimate is printed beside the Entry.

Estimates are only an expression of Bonhams’ opinion made on behalf of the Seller of the range where Bonhams thinks the Hammer Price for the Lot is likely to fall; it is not an Estimate of value. It does not consider any VAT or Buyer’s Premium payable or any other fees payable by the Buyer which are detailed in paragraph 7 of the Terms and Conditions of Sale.

Prices depend upon bidding, and lots can sell for Hammer

Prices below and above the Estimates so Estimates should not be relied on as an indication of the actual selling price or value of a Lot

Estimates are in the currency of the Sale

Condition Reports

In respect of most Lots you may ask Bonhams for a Condition Report on the Lot’s general physical condition. If you do so, this will be provided by Bonhams on behalf of the Seller free of charge. As this is offered additionally and without charge, Bonhams is not entering into a contract with you in respect of the Condition Report and accordingly does not assume responsibility to you in respect of it. The Condition Report represents Bonhams’ reasonable opinion as to the Lot’s general condition in the terms stated in the specific report, and Bonhams does not represent or guarantee that a Condition Report includes all aspects of the internal or external condition of the Lot Neither does the Seller owe or agree to owe you as a Bidder or Buyer any obligation or duty in respect of this free report about a Lot which is available for your own inspection or for inspection by an expert instructed by you.

The Seller’s responsibility to you

The Seller does not make or agree to make any representation of fact or contractual promise, guarantee or warranty and undertakes no obligation or duty, whether in contract or in tort (other than to the eventual Buyer as set out above), in respect of the accuracy or completeness of any statement or representation made by him or on his behalf, which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot Other than as set out above, no statement or representation in any way descriptive of a Lot or any Estimate is incorporated into any Contract for Sale between a Seller and a Buyer Bonhams’ responsibility to you

You have the opportunity of examining the Lot if you want to and the Contract for Sale for a Lot is with the Seller and not with Bonhams Bonhams acts as the Seller’s agent only (unless Bonhams sells the Lot as principal).

Bonhams undertakes no obligation to you to examine, investigate or carry out any tests, either in sufficient depth or at all, on each Lot to establish the accuracy or otherwise of any

Descriptions or opinions given by Bonhams or by any person on Bonhams’ behalf, whether in the Catalogue or elsewhere. You should not suppose that such examinations, investigations, or tests have occurred.

Bonhams does not make or agree to make any representation of fact and undertakes no obligation or duty (whether in contract or tort) in respect of the accuracy or completeness of any statement or representation made by Bonhams or on Bonhams’ behalf which is in any way descriptive of any Lot or as to the anticipated or likely selling price of any Lot No statement or representation by Bonhams or on its behalf in any way descriptive of any Lot or any Estimate is incorporated into our Buyer’s Agreement.

Alterations

Descriptions and Estimates may be amended at Bonhams’ discretion from time to time by notice given orally or in writing before or during a Sale THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT EXAMINED ON YOUR BEHALF BEFORE THE SALE

4. CONDUCT OF THE SALE

Our Sales are public auctions, which people can attend. We reserve the right, at our sole discretion, to refuse access to our premises or to any Sale and to remove any person from our premises and auction rooms, without having to state the reason. We may at our sole and absolute discretion decide to proceed with the Sale to include any Lot in the Sale, and how the Sale shall be conducted, and we may offer the Lots for Sale in any order we choose, notwithstanding the numbers assigned to the Lots in the Catalogue You should therefore check the date and time of commencement of the Sale, and whether any Lots have been withdrawn from or added late to the Sale Indeed, such late withdrawals or additions may alter the time at which a Lot you are interested in is put up for Sale. We may, at our sole and absolute discretion, refuse any bid, increase any bidding step as we deem appropriate, split any Lot combine

two Lots withdraw any Lot from a Sale and, before the Sale has ended, re-auction any Lot Auctions can exceed 100 Lots per hour and bidding increments are generally around 10%; however, these figures vary from Sale to Sale and from Auctioneer to Auctioneer. Contact the department organizing the Sale for advice on this point. If a Reserve Price has been set for a Lot the Auctioneer may, at his absolute discretion, place bids (up to an amount not equal to or greater than this Reserve Price on behalf of the Seller. We shall not be liable to you for the presence or absence of a Reserve Price in respect of any Lot If a Reserve Price has been fixed, it shall not be higher than the lowest Estimate made in the Catalogue assuming that the currency of the Reserve Price has not fluctuated unfavourably in relation to the currency of the Estimate. The Buyer shall be the Bidder who makes the highest bid acceptable to the Auctioneer for a Lot (subject to any applicable Reserve Price), and to whom the Lot is awarded by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be decided by the Auctioneer in his absolute discretion. All bids placed will relate to the Lot number announced by the Auctioneer. An electronic currency converter may be used at the Sale This tool is provided for your convenience only and is an approximate estimate of the countervalue of a given bid in certain currencies. We accept no responsibility for any errors that may occur when using the currency converter. We may use video cameras to record the Sale and may record telephone calls for security purposes, and to help resolve disputes that may arise in respect of bids placed at the Sale

We may use screens on which images of the Lots are projected. This service is provided to allow a better view of the Lots during the Auction. The image projected on the screen should be considered as a mere indication of the Lot concerned. It should be noted that all bids placed will relate to the Lot number announced by the Auctioneer. We accept no responsibility for any errors that may occur in the use of the screen.

RIGHT OF PRE-EMPTION

The French State has a right of pre-emption on cultural goods sold. The State may substitute itself for the last bidder within fifteen days of the Sale

5. BIDDING

You must complete and deliver to us one of our Bidding Forms, either our Bidder Registration Form, Absentee Bidding Form or Telephone Bidding Form to bid at our Sales If you are a new client at Bonhams or have not recently updated your registration details with us, you must pre-register to bid at least two working days before the Sale at which you wish to bid. You will be required to provide government-issued proof of identity and residence, and if you are a company, your certificate of incorporation or equivalent documentation with your name and registered address, government issued proof of your current address, documentary proof of your beneficial owners and directors, and proof of authority to transact. We may also request a financial reference and /or deposit from you before allowing you to bid.

We reserve the rights at our discretion to request further information to complete our client identification and to decline to register any person as a Bidder and to decline to accept their bids if they have been so registered. We also reserve the rights to postpone completion of the Sale of any Lot at our discretion while we complete our registration and identification enquiries, and to cancel the Sale of any Lot if you are in breach of your warranties as Buyer or if we consider that such Sale would be unlawful or otherwise cause liabilities for the Seller or Bonhams or be detrimental to Bonhams’ reputation. Bidding in person So long as you have pre-registered to bid or have updated your existing registration recently, you should come to our Bidder registration desk at the Sale venue and fill out a Registration and Bidding Form on (or, if possible, before) the day of the Sale. The bidding number system is sometimes referred to as “paddle bidding”. You will be issued with a large card (a “paddle”) with a printed number on it. This will be attributed to you for the purposes of the Sale Should you be a successful Bidder you will need

Telephone calls will be recorded. The telephone bidding facility is a discretionary service offered at no additional charge and may not be available in relation to all Lots. We will not be responsible for bidding on your behalf if you are unavailable at the time of the Sale or if the telephone connection is interrupted during bidding. Please contact us for further details.

Bidding by post or fax

Absentee Bidding Forms can be found in the back of this Catalogue and should be completed and sent to the office responsible for the Sale once you have pre-registered to bid or have updated your existing registration details recently. It is in your interests to return your form as soon as possible, as if two or more Bidders submit identical bids for a Lot, the first bid received takes preference. In any event, all bids should be received at least 24 hours before the start of the Sale. Please check your Absentee Bidding Form carefully before returning it to us, fully completed and signed by you. It is your responsibility to check with our Bids Office that your bid has been received. This additional service is complimentary and is confidential. Such bids are made at your own risk, and we cannot accept liability for our failure to receive and/or place any such bids. All bids made on your behalf will be made at the lowest level possible subject to Reserves and other bids made for the Lot Where appropriate your bids will be rounded down to the nearest amount consistent with the Auctioneer’s bidding increments. New Bidders must also provide proof of identity and address when submitting bids. Failure to do this will result in your bid not being placed.

Bidding via the internet

Visit our website at http://www. bonhams.com, which gives full details on how to bid via the Internet. Bonhams will not be liable for any delays, interruptions, or other inabilities to bid, caused by loss of Internet connection, failure, or malfunction of the or malfunction of the website or the bidding process, software, systems, computers or mobile devices.

Bidding through an agent

Bids will be treated as placed exclusively by and on behalf of the person named on the Bidding Form unless otherwise agreed by us in writing in advance of the Sale If you wish to bid on behalf of another person (your principal) you must complete the pre-registration requirements set out above both on your own behalf and with full details of your principal, and we will require written confirmation from the principal confirming your authority to bid.

You are specifically referred to your due diligence requirements concerning your principal and their source of funds, and the warranties you give in the event you are the Buyer, which are contained in paragraph 3 of the Buyer’s Agreement, set out at Appendix 1 at the back of the Catalogue

Nevertheless, as the Bidding Form explains, any person placing a bid as agent on behalf of another (whether or not he has disclosed that fact) will be jointly and severally liable with the principal to the Seller and to Bonhams under any contract resulting from the acceptance of a bid. Equally, please let us know if you intend to nominate another person to bid on your behalf at the Sale unless this is to be carried out by us pursuant to a Telephone or Absentee Bidding Form that you have completed. If we do not approve the agency arrangements in writing before the Sale we are entitled to assume that the person bidding at the Sale is bidding on his own behalf. Accordingly, the person bidding at the Sale will be the Buyer and will be liable to pay the Hammer Price and Buyer’s Premium and associated charges. If we approve the identity of your client in advance, we will be able to address the invoice to your principal rather than you. We will require proof of the agent’s client’s identity and residence in advance of any bids made by the agent on his behalf. Please refer to our Conditions of Business and contact our Customer Services Department for further details. Bonhams undertakes Customer Due Diligence (CDD) into its Sellers and Buyers as required by the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 (“the Regulations”). Bonhams’ interpretation of the Regulations and Treasury Approved industry Guidance is that CDD under the Regulations is not required by Buyers into Sellers at Bonhams auctions or vice versa. In accordance with Article L221-28 of the French Consumer Code, the successful bidder does not benefit from the right of withdrawal following the Sale

6. CONTRACTS BETWEEN THE BUYER AND SELLER AND BONHAMS

On the Lot being knocked down to the Buyer a Contract for Sale of the Lot will be entered into between the Seller and the Buyer on the terms of the Contract for Sale set out in Appendix 1 at the back of the Catalogue. You will be liable to pay the Purchase Price, which is the Hammer Price plus any applicable VAT. At the same time, a separate contract is also entered into between us as Auctioneers and the Buyer. This is our Buyer’s Agreement, the terms of which are set out in Appendix 2 at the back of the Catalogue. Please read the terms of the Contract for Sale and our Buyer’s Agreement contained in the Catalogue in case you are the successful Bidder including the warranties as to your status and source of funds. We may change the terms of either or both agreements in advance of their being

entered, by setting out different terms in the Catalogue and/or by placing an insert in the Catalogue and/or by notices at the Sale venue and/or by oral announcements before and during the Sale It is your responsibility to ensure you are aware of the up-to-date terms of the Buyer’s Agreement for this Sale

7. BUYER’S PREMIUM AND OTHER CHARGES PAYABLE BY THE BUYER Under the terms of the Buyer’s Agreement the Buyer shall pay us a commission (the Purchase Commission in accordance with the terms of the said Contract and at the rates set out below, calculated by reference to and payable in addition to the Auction Price

For this Sale, Buyers will pay the following rates of Purchase Commission for each Lot purchased:

28% ex-VAT of the Auction Price for a price between €1 and €40,000; Plus 27% (excl. VAT) of the hammer price from €40,001 up to €800,000; plus 21% (excl. VAT) of the Auction Price from €800,001 up to €4,500,000; plus 14.5% (excl. VAT) of the Auction Price for amounts more than €4,500,000.

A 3rd party bidding platform fee of 4% (plus 20 % VAT) of the Hammer Price for Buyers using the following bidding platforms will be added to the invoices of successful Buyers - Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.

A 3rd party bidding platform fee of 1.5 % (plus 20 % VAT) of the Hammer Price for Buyers using the bidding platform Drouot Live will be added to the invoices of successful Buyers

A 3rd party bidding platform fee of 3 % (plus 20 % VAT) of the Hammer Price for Buyers using the bidding platform Interenchères will be added to the invoices of successful Buyers

VAT will also be payable on the purchase commission or on the Hammer price and the Purchase Commission in accordance with the applicable tax law. See paragraph 8 for more details.

Storage and handling charges may also be payable by the Buyer as indicated on the “Sale Information” page at the beginning of the Catalogue

Artist’s Resale Rights

On certain Lots marked “AR” in the Catalogue and which are sold at an Hammer Price of at least €750, the Buyer will pay us an additional Commission to cover our Costs relating to the payment of royalties in accordance with the Regulations on Artists’ Resale Rights. The Additional Commission corresponds to a percentage of the Hammer Price calculated in accordance with the table below and shall not exceed €12,500. Hammer Price’s percentage:

From 0 to 50,000 € 4%, From €50,000.01 to €200,000 3%, From €200,000.01 to €350,000 1%, From €350,000.01 to €500,000 0.5%, Above €500,000 0.25%.

8. VAT The prevailing rate of VAT at the time of going to press is 20% on the Purchase Commission under the margin regime, but this is subject to government change and the rate payable will be the rate in force on the date of the Sale

The following symbols, shown beside the Lot number, are used to denote that VAT is due on the Hammer Price and Buyer’s Premium

† VAT at the prevailing rate (currently 20 %) on Hammer Price and Buyer’s Premium

† † VAT at the preferential rate (currently 5.5 %) on Hammer price and Buyer’s Premium for artworks, collectibles and antiques

Ω VAT at the prevailing rate (20 %) on Hammer Price and Buyer’s Premium for imported items

* VAT at a preferential rate of 5.5 % on Hammer Price and on Buyer’s Premium for imported artworks, collectibles and antiques

G Gold bullion exempt from VAT on the Hammer Price and subject to VAT at the prevailing rate on the Buyer’s Premium

• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer’s Premium

In all other instances no VAT will be charged on the Hammer Price, but VAT at the prevailing rate will be added to Buyer’s Premium which will be invoiced on a VAT inclusive basis.

EXPORT - TAX EXEMPTION

Invoiced VAT will be reimbursed to the Buyer who can prove that he/she is resident outside the European Union, upon presentation to our accounting department, within a maximum period of three months following the Sale of the export declaration (DAU) for the item purchased, duly stamped by the Customs Department.

The export document must mention Bonhams France as the

consignor and the buyer as the consignee of the item.

9. PAYMENT

It is of the utmost importance that you ensure that you have funds readily available to pay the Purchase Price and Purchase Commission (plus VAT and all other Fees and expenses due to us) in full before bidding for a Lot If you are the winning Bidder, you must make payment no later than 4.30pm on the second working day following the Sale, so that all monies are cleared no later than the eighth working day following the Sale Payments made by anyone other than the registered Buyer will not be accepted. Bonhams reserves the right to change the terms of payment at any time. Bank transfer is Bonhams’ preferred method of payment. You may transfer funds electronically to our Account. In this case, please indicate your paddle number and invoice number as references on your transfer order. Our Account details are as follows:

Bank: HSBC

Address: BBC PARIS HAUSSMANN 26 Boulevard

Malesherbes, 75008 Paris

Account’s name: Bonhams France SAS

Account’s number: 09170002091

Counter code: 00917

IBAN number: FR76 3005 6009 1709 1700 0209 192

If paying by bank transfer, the amount received after the deduction of any bank fees and/or conversion of the currency of payment to pounds sterling must not be less than the sterling amount payable, as set out on the invoice.

Payment may also be made by one of the following methods:

Personal cheque drawn on a French branch of a bank or building society: all cheques must be cashed before you can collect your purchases and must be made payable to Bonhams France SAS.

Cash: If you are a French tax resident or if you are acting for the needs of a professional activity, you may pay for Lots purchased at the Sale with banknotes or coins denominated in the currency in which the Sale is conducted, provided that the total amount for all Lots purchased at the Sale does not exceed €1,000 inclusive of tax. Buyers who can prove that they are resident abroad for tax purposes and who are not acting during a business may pay for their purchases in cash up to a maximum of €3,000 including VAT.

Debit cards issued in the name of the Buyer (including China Union Pay (CUP) cards and debit cards issued by Visa and MasterCard only). There is no limit on payment value if payment is made in person using Chip & Pin verification. Payment by telephone may also be accepted up to £5,000, subject to appropriate verification procedures, although this service is not available to first-time buyers. If the amount payable by you for Lots exceeds that sum, the balance must be paid by other means.

Credit cards in the Buyer’s name (including China Union Pay (CUP) cards and credit cards issued by Visa and MasterCard only). The value of the payment is limited to €5,000 if the payment is made in person using chip card verification. It is advisable to inform your debit or credit card provider of your purchase in advance to reduce delays caused by the fact that we must request authorization when you come to pay. American Express payments are not accepted.

Note: only one debit or credit card may be used to pay the balance. If you have any questions about card payments, please contact our customer service. We reserve the right to investigate and identify the source of any funds received by us, postpone the completion of the sale of any Lot at our discretion while we complete our investigations, and to cancel the sale of any Lot if you are in breach of your warranties as a Buyer if we consider that such a Sale would be illegal or would otherwise impose obligations on the Seller or Bonhams, or would be prejudicial to the reputation of Bonhams.

DEFAULT OF PAYMENT

In the event of non-payment of the Hammer Price and Costs, formal notice will be sent to the Buyer by registered letter with acknowledgement of receipt. In the event of non-payment of the sum due at the end of a period of one month following this formal notice, the Buyer will be charged late payment interest equal to three times the legal interest rate in force, as well as collection costs of a minimum of 40 euros. Penalties will be applied for each month of delay. An additional indemnity may be claimed if the recovery costs actually incurred exceed the amount of the fixed indemnity. the amount of the fixed indemnity. The application of this clause does not prejudice the possible implementation of the auction reopening procedure governed by article L321-14 of the French Commercial Code. Bonhams

will be entitled to claim from the defaulting bidder the payment of the difference between the initial Hammer Price and the Hammer Price upon re-bidding, if lower, as well as the costs generated by the new auctions. Bonhams reserves the right to exclude from future sales any successful bidder who fails to comply with these Terms and Conditions

10. RECOVERY, STORAGE AND CANCELLATION RIGHTS FOR EU CONSUMERS

The Buyer of a Lot will not be allowed to collect it until payment in full and in cleared funds has been made (unless we have made a special arrangement with the Buyer). For collection and removal of purchased Lots, please refer to the “Sale Information” section at the front of the Catalogue. Our offices are open 9.00am – 5pm Monday to Friday. Details relating to the collection of a Lot its storage and our Storage Contractor after the Sale are set out in the Catalogue

11.

SHIPPING

Bonhams may advise Buyers who wish to do so on the use of transport and transit companies for the shipment and export of their purchases. Please contact our team at the following address: paris@bonhams.com

It is specified that the transport of lots is at the expense and under the entire responsibility of the successful bidder.

12. EXPORT/TRADE RESTRICTIONS

It is your sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any necessary export and/or import licences. In order to control the circulation of cultural goods, the French law no. 92-1477 of December 31st 1992 (amended by the law of July 10th 2000) subjects exports from French territory to special conditions, applicable to goods whose age and value exceed certain thresholds.

The export licence is simply an administrative document that provides no guarantee of the authenticity of the item it enables to be exported. Applying for a licence for a cultural object with a view to its free circulation outside French territory or for any other administrative documents in no way affects the buyer’s obligation to pay. The need for import licences varies from country to country and you should inform yourself about the relevant local requirements and provisions. Refusal to issue an export licence or an import or export licence or any delay in obtaining such a licence does not allow a Sale to be cancelled or full payment for the Lot to be delayed. As a general rule, please contact our shipping department prior to the Sale if you require assistance with export regulations. Please note that the law punishes by criminal sanctions anyone who exports or attempts to export a cultural object without having obtained the required authorisations (article L 114-1 of the French Heritage Code).

13. CITES REGULATIONS

Please note that all Lots marked with the Y symbol are subject to CITES (Washington Convention for the Protection of Endangered Species) regulations when exporting these items outside the EU. These regulations are available at https :// cites.org https ://cites.application.developpement-durable.gouv.fr

As legislation differs from one country to another, it is the buyer’s responsibility to check the legislation applied in his country of origin before bidding. Refusal to issue CITES licences or permits and any delay in obtaining such licences or permits shall not give rise to the cancellation or termination of a sale, nor shall it authorise any delay in the full payment of the Lot

14. THE SELLERS AND/OR BONHAMS’ LIABILITY

Other than any liability of the Seller to the Buyer of a Lot under the Contract for Sale neither we nor the Seller are liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any Estimate in respect of it, whether contained in the Catalogue or otherwise, whether given orally or in writing and whether given before or during the Sale. Neither we nor the Seller will be liable for any loss of Business, profits, revenue or income, or for loss of reputation, or for disruption to Business or wasted time on the part of management or staff, or for indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of any indirect or consequential damages of any kind, regardless of the nature, volume or source of the loss or damage allegedly suffered and regardless of whether such loss or damage was caused or claimed under negligence, another quasi-tort, a breach of contract (if any), a breach of a legal obligation, a request for restitution or otherwise. In any circumstances where we and/or the Seller are liable in relation to any Lot or any Description or Estimate made of any Lot or the conduct of any Sale in relation to any Lot whether in damages, for an indemnity or contribution, or for a restitution remedy or otherwise, our and/or the Seller’s liability (combined, if both we and the Seller are liable) will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective

of whether the liability arises from any negligence, other tort, breach of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting (whether directly or indirectly) our liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by our negligence (or by the negligence of any person under our control or for whom we are legally responsible), or (iii) any other liability to the extent the same may not be excluded or restricted as a matter of law or (iv) our undertakings under paragraphs 10 and 11 of the Buyer’s Agreement The same applies in respect of the Seller as if references to us in this paragraph were substituted with references to the Seller

15. BOOKS

As stated above, all Lots are sold on an “as is” basis, subject to all faults, imperfections and errors of Description save as set out below. However, you will be entitled to reject a Book in the circumstances set out in paragraph 11 of the Buyer’s Agreement Please note that Lots comprising printed Books, unframed maps and bound manuscripts are subject to 5.5% VAT on the buyer's premium.

16. CLOCKS AND WATCHES

All Lots are sold “as is”, and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs, or restorations. Most clocks and watches have been repaired during their normal lifetime and may now incorporate parts not original to them. Furthermore, Bonhams makes no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Bidders should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

17. TAXIDERMY AND RELATED ITEMS

Bonhams undertakes, on behalf of the Seller of these items, to comply fully with Cites and DEFRA regulations. Buyers are advised to inform themselves of all such regulations and to expect that the export of items may require some time for organization.

18. JEWELLERY

Gemstones

Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining, irradiation or coating may have been used on other gemstones. These treatments may be permanent, whilst others may need special care or re-treatment over the years to retain their appearance. Bidders should be aware that Estimates assume that gemstones may have been subjected to such treatments.

A number of laboratories issue certificates that give more detailed Descriptions of gemstones. However, there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. If Bonhams has been given or has obtained certificates for any Lot in the Sale these certificates will be disclosed in the Catalogue Although, as a matter of policy, Bonhams endeavours to provide certificates from recognised laboratories for certain gemstones, it is not feasible to obtain certificates for each Lot If no certificate is published in the Catalogue, Bidders should assume that the gemstones may have been treated. Neither Bonhams nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any Lots after the Sale Estimated Weights

If a stone(s) weight appears within the body of the Description in capital letters, the stone(s) has been unmounted and weighed by Bonhams. If the weight of the stone(s) is stated to be approximate and does not appear in capital letters, the stone(s) has been assessed by us within its/their settings, and the stated weight is a statement of our opinion only. This information is given as a guide and Bidders should satisfy themselves about this information as to its accuracy.

Signatures

1. A diamond brooch, by Kutchinsky

When the maker’s name appears in the title, in Bonhams’ opinion the piece is by that maker.

2. A diamond brooch, signed Kutchinsky

Has a signature that, in Bonhams’ opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered.

3. A diamond brooch, mounted by Kutchinsky

Has been created by the jeweller, in Bonhams’ opinion, but using stones or designs supplied by the client.

19. PHOTOGRAPHS Explanation of Catalogue Terms

• “Bill Brandt”: in our opinion a work by the artist.

• “Attributed to Bill Brandt”: in our opinion probably a work by the artist, but less certainty to authorship is expressed than

in the preceding category.

• Signed and/or titled and/or dated and/or inscribed”: in our opinion the signature and/or title and/or date and/or inscription are in the artist’s hand.

• Signed and/or titled and/or dated and/or inscribed in another hand”: in our opinion the signature and/or title and/or date and/or inscription have been added by another hand.

The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot Description). A vintage photograph is one which was made within approximately 5-10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be later, “printed later” will appear in the Lot Description Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the Catalogue without margins illustrated.

All photographs are sold unframed unless stated in the Lot Description

20. PICTURES

Explanation of Catalogue Terms

The following terms used in the Catalogue have the following meanings but are subject to the general provisions relating to Descriptions contained in the Contract for Sale

• “Jacopo Bassano”: in our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named;

• “Attributed to Jacopo Bassano”: in our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category;

• “Studio/Workshop of Jacopo Bassano”: in our opinion a work by an unknown hand in a studio of the artist which may or may not have been executed under the artist’s direction;

• “Circle of Jacopo Bassano”: in our opinion a work by a hand closely associated with a named artist but not necessarily his pupil;

• “Follower of Jacopo Bassano”: in our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil;

• “Manner of Jacopo Bassano”: in our opinion a work in the style of the artist and of a later date;

• “After Jacopo Bassano”: in our opinion, a copy of a known work of the artist;

• “Signed and/or dated and/or inscribed”: in our opinion the signature and/or date and/or inscription are from the hand of the artist;

• “Bears a signature and/or date and/or inscription”: in our opinion the signature and/or date and/or inscription have been added by another hand.

21. PORCELAIN AND GLASS Damage and Restoration For your guidance, in our Catalogues we attempt to detail, as far as practicable, all significant defects, cracks and restoration. Such practicable Descriptions of damage cannot be definitive, and in providing Condition Reports we cannot guarantee that there are no other defects present which have not been mentioned. Bidders should satisfy themselves by inspection, as to the condition of each Lot.

Please see the Contract for Sale printed in this Catalogue

Because of the difficulty in determining whether an item of glass has been repolished, in our Catalogues reference is only made to visible chips and cracks. No mention is made of repolishing, severe or otherwise.

22. VEHICLES

The Veteran Car Club of Great Britain Dating Plates and Certificates

When mention is made of a Veteran Car Club Dating Plate or Dating Certificate in this Catalogue, it should be borne in mind that the Veteran Car Club of Great Britain using the services of Veteran Car Company Ltd, does from time to time, review cars already dated and, in some instances, where fresh evidence becomes available, the review can result in an alteration of date. Whilst the Club and Veteran Car Company Ltd make every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should make their own enquiries as to the date of the car.

23. WINE Lots which are lying under Bond and those liable to VAT may not be available for immediate collection.

Examining the wines It is occasionally possible to provide a pre-Sale tasting for larger parcels (as defined below). This is generally limited to more recent and everyday drinking wines. Please contact the department for details.

It is not our policy to inspect every unopened case. In the case of wines older than 20 years the boxes will usually have been opened and levels and appearance noted in the Catalogue where necessary. You should make proper allowance for variations in ullage levels and conditions of corks, capsules, and labels.

Corks and Ullages

Ullage refers to the space between the base of the cork and the wine. Ullage levels for Bordeaux shaped bottles are only normally noted when below the neck and for Burgundy, Alsace, German and Cognac shaped bottles when greater than 4 centimetres (cm). Acceptable ullage levels increase with age; generally acceptable levels are as follows:

• Under 15 years old – into neck or less than 4cm

• 15 to 30 years old – top shoulder (ts) or up to 5cm

• Over 30 years old – high shoulder (hs) or up to 6cm

It should be noted that ullages may change between publication of the Catalogue and the Sale and that corks may fail because of transporting the wine. We will only accept responsibility for Descriptions of condition at the time of publication of the Catalogue and cannot accept responsibility for any loss resulting from failure of corks either before or after this point. Options to buy parcels

A parcel is a number of Lots of identical size of the same wine, bottle size and Description The Buyer of any of these Lots has the option to accept some or all the remaining Lots in the parcel at the same price, although such options will be at the Auctioneer’s sole discretion. Absentee Bidders are, therefore, advised to bid on the first Lot in a parcel.

Wines in Bond

Wines lying in Bond are marked Δ. All Lots sold under Bond, and which the Buyer wishes to remain under Bond, will be invoiced without VAT or Duty on the Hammer Price. If the Buyer wishes to take the Lot as Duty paid, UK Excise Duty and VAT will be added to the Hammer Price on the invoice.

Buyers must notify Bonhams at the time of the sale whether they wish to take their wines under Bond or Duty paid. If a Lot is taken under Bond, the Buyer will be responsible for all VAT, Duty, clearance, and other charges that may be payable thereon.

Buyers outside the UK must be aware that any forwarding agent appointed to export their purchases must have a movement certificate for Lots to be released under Bond.

Bottling Details and Case Terms

The following terms used in the Catalogue have the following meanings:

Château

24. WEAPONS With certain exceptions, only holders of the necessary authorizations may bid.

SYMBOLS

THE FOLLOWING SYMBOLS ARE USED TO DENOTE

Y Subject to CITES regulations when exporting these items outside the EU, see paragraph 13 above.

TP Items marked TP will be in the warehouse and can only be removed from there.

W Items marked w will be in the Bonhams warehouse and may only be removed there.

Δ Bonded Wines.

AR The Buyer will pay us an additional Commission to cover our expenses in relation to the payment of royalties.

¡ð The Seller has been guaranteed a minimum price for the Lot, either by Bonhams or a third party. This may take the form of an irrevocable bid by a third party, who may realise a financial gain on a successful Sale or a financial loss in the event of failure.

¡ø Bonhams owns the Lot in whole or in part or may have some other economic interest in it.

Ф This Lot contains or is made of ivory. The US government has banned the import of ivory into the United States. The symbols used to indicate the VAT status of a Lot are set out in paragraph 8 above.

LEGISLATIVE AND JURISDICTIONAL COMPETENCE

These Conditions of Sale are governed by French law. Any dispute relating to their existence, validity and performance which cannot be settled amicably with Bonhams or through the intermediary of the Government Commissioner to the Conseil des Maisons de Ventes shall be settled by the competent court in Paris. In accordance with the law, liability claims against the auctioneer and the expert lapse after 5 years from the date of the Sale

DATA PROTECTION – USE OF YOUR INFORMATION

When we obtain personal information about you, we will only use it in accordance with the terms of our Privacy Policy

(subject to any additional specific consent you may have given at the time your information was disclosed). The sales operator will keep your information confidential. It may, however, be disclosed to the relevant legal authorities when required to do so by law. A copy of our Privacy Policy is available on our website www.bonhams.com. You can also request a copy by e-mail from info@bonhams.com

LIST OF DEFINITIONS

“Account” the bank account of Bonhams into which all sums received in respect of the Purchase Price of any Lot will be paid.

“Additional Premium” a premium, calculated in accordance with the Notice to Bidders, to cover Bonhams’ Expenses relating to the payment of royalties under the Artists Resale Right Regulations which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer Price which together with the Buyer’s Premium (but excluding any VAT) equals or exceeds 1000 euros (converted into the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale).

“Auctioneer” the representative of Bonhams conducting the Sale.

“Bidder” a person who has completed a Bidding Form.

“Bidding Form” our Bidding Registration Form, our Absentee Bidding Form or our Telephone Bidding Form.

“Bonhams” SAS Bonhams France or its successors or assigns. Bonhams is also referred to in the Buyer’s Agreements, the Conditions of Business and the Notices to Bidders by the words “we”, “us” and “our”.

“Book” a printed Book offered for Sale at a specialist Book Sale.

“Business” includes any trade, Business and profession.

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to in the Contract for Sale and the Buyer’s Agreements by the words “you” and “your”.

“Buyer’s Agreement” the contract entered into by Bonhams with the Buyer.

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in the Notice to Bidders.

“Catalogue” the Catalogue or e-catalogue relating to the relevant Sale, including any representation of the Catalogue published on our Website.

“Commission” the Commission payable by the Seller to Bonhams calculated at the rates stated in the Contract Form.

“Condition Report” a report on the physical condition of a Lot provided to a Bidder or potential Bidder by Bonhams on behalf of the Seller.

“Conditions of Sale” the Notice to Bidders, Contract for Sale, Buyer’s Agreement and Definitions and Glossary.

“Consignment Fee” a fee payable to Bonhams by the Seller calculated at rates set out in the Conditions of Business.

“Consumer” a natural person who is acting for the relevant purpose outside his trade, Business or profession.

“Contract Form” the Mandat de Vente, or vehicle Entry form, as applicable, signed by or on behalf of the Seller listing the Lots to be offered for sale by Bonhams.

“Contract for Sale” the Sale contract entered by the Seller with the Buyer.

“Contractual Description” the only Description of the Lot (being that part of the Entry about the Lot in the Catalogue which is in bold letters), and any photograph (except for the colour) to which the Seller undertakes in the Contract of Sale the Lot corresponds.

“Description” any statement or representation in any way descriptive of the Lot, including any statement or representation relating to its authorship, attribution, condition, provenance, authenticity, style, period, age, suitability, quality, origin, value, estimated selling price (including the Hammer Price).

“Entry” a written statement in the Catalogue identifying the Lot and its Lot number which may contain a Description and illustration(s) relating to the Lot.

“Estimate” a statement of our opinion of the range within which the hammer is likely to fall.

“Expenses” charges and Expenses paid or payable by Bonhams in respect of the Lot including legal Expenses, banking charges and Expenses incurred as a result of an electronic transfer of money, charges and Expenses for loss and damage cover, insurance, Catalogue and other reproductions and illustrations, any customs duties, advertising, packing or shipping costs, reproductions rights’ fees, taxes, levies, costs of testing, searches or enquiries, preparation of the Lot for Sale, storage charges, removal charges, removal charges or costs of collection from the Seller as the Seller’s agents or from a defaulting Buyer, plus VAT if applicable.

“Forgery” an imitation intended by the maker or any other person to deceive as to authorship, attribution, origin, authenticity, style, date, age, period, provenance, culture, source or composition, which at the date of the Sale had a value materially less than it would have had if the Lot had not been such an imitation, and which is not stated to be such an imitation in any description of the Lot. A Lot will not be a

Forgery by reason of any damage to, and/ or restoration and/ or modification work (including repainting or over painting) having been carried out on the Lot, where that damage, restoration or modification work (as the case may be) does not substantially affect the identity of the Lot as one conforming to the description of the Lot.

“Guarantee” the obligation undertaken personally by Bonhams to the Buyer in respect of any Forgery and, in the case of specialist Stamp Sales and/or specialist Book Sales, a Lot made up of a Stamp or Stamps or a Book or Books as set out in the Buyer’s Agreement. “Hammer Price” the price in the currency in which the Sale is conducted at which a Lot is knocked down by the Auctioneer.

“Hybrid Sale” a Live Sale conducted by an Auctioneer but in a closed auction room not open to the public, except for pre-Sale viewing by appointment with Bonhams.

“Live Sale’’ a Sale conducted by an Auctioneer, open to the public for both viewing and attendance at the Sale.

“Loss and Damage Warranty” means the warranty described in paragraph 8.2 of the Conditions of Business.

“Loss and Damage Warranty Fee” means the fee described in paragraph 8.2.3 of the Conditions of Business.

“Lot” any item consigned to Bonhams with a view to its Sale at auction or by private treaty (and reference to any Lot will include, unless the context otherwise requires, reference to individual items comprised in a group of two or more items offered for Sale as one Lot).

“Motoring Catalogue Fee” a fee payable by the Seller to Bonhams in consideration of the additional work undertaken by Bonhams in respect of the cataloguing of motor vehicles and in respect of the promotion of Sales of motor vehicles.

“Notional Charges” the amount of Commission and VAT which would have been payable if the Lot had been sold at the Notional Price.

“Notional Fee” the sum on which the Consignment Fee payable to Bonhams by the Seller is based and which is calculated according to the formula set out in the Conditions of Business.

“Notional Price” the latest in time of the average of the high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, the Reserve applicable to the Lot.

“Notice to Bidders” the notice printed at the back or front of our Catalogues.

“Online Sale’’ a Sale conducted online only with no Auctioneer, with discretionary pre-Sale viewing by appointment with Bonhams.

“Purchase Price” the aggregate of the Hammer Price and VAT on the Hammer Price (where applicable), the Buyer’s Premium and VAT on the Buyer’s Premium and any Expenses.

“Reserve” the minimum price at which a Lot may be sold (whether at auction or by private treaty).

“Sale” the auction Sale, whether by Live auction, a Hybrid auction or in an Online Sale, at which a Lot is to be offered for Sale by Bonhams.

“Sale Proceeds” the net amount due to the Seller from the Sale of a Lot, being the Hammer Price less the Commission, any VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising.

“Seller” the person who offers the Lot for Sale named on the Contract Form. Where the person so named identifies on the form another person as acting as his agent, or where the person named on the Contract Form acts as an agent for a principal (whether such agency is disclosed to Bonhams or not), “Seller” includes both the agent and the principal who shall be jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”.

“Specialist Examination” a visual examination of a Lot by a specialist on the Lot.

“Stamp” means a postage Stamp offered for Sale at a Specialist Stamp Sale.

“Standard Examination” a visual examination of a Lot by a non-specialist member of Bonhams’ staff.

“Storage Contract” means the contract described in paragraph 8.3.3 of the Conditions of Business or paragraph 4.4 of the Buyer’s Agreement (as appropriate).

“Storage Contractor” means the company identified as such in the Catalogue.

“Terrorism” means any act or threatened act of terror- ism, whether any person is acting alone or on behalf of or in connection with any organisation(s) and/or government(s), committed for political, religious or ideological or similar purposes including, but not limited to, the intention to influence any government and/or put the public or any section of the public into fear.

“VAT” value added tax at the prevailing rate at the date of the Sale in the United Kingdom.

“Website” Bonhams Website at www.bonhams.com.

“Withdrawal Notice” the Seller’s written notice to Bonhams revoking Bonhams’ instructions to sell a Lot.

“Without Reserve” where there is no minimum price at which a Lot may be sold (whether at auction or by private treaty). PARIS/MAIN/V1/10.2025

GLOSSARY

The following expressions have specific legal meanings with which you may not be familiar. The following glossary is intended to give you an understanding of those expressions but is not intended to limit their legal meanings:

“Artist’s Resale Right”: the right of the creator of a work of art to receive a payment on Sales of that work subsequent to the original Sale of that work by the creator of it. Droit de Suite

(Artist’s Resale Right) will be a percentage of the amount of the Hammer Price calculated in accordance with the table below, and shall not exceed €12,500 (article R122-6):

“Bailee”: a person to whom goods are entrusted.

“Indemnity”: an obligation to put the person who has the benefit of the indemnity in the same position in which he would have been, had the circumstances giving rise to the indemnity not arisen and the expression “indemnify” is construed accordingly.

“Interpleader proceedings”: proceedings in the Courts to determine ownership or rights over a Lot.

“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.

“Flat-rate tax”: Tax on precious metals, jewellery, works of art, collectibles, and antiques as per articles 150 VI to 150 VM of the CGI (Code General des Impots)

“Title”: the legal and equitable right to the ownership of a Lot.

“Tort”: a legal wrong done to someone to whom the wrong doer has a duty of care.

“Warranty”: a legal assurance or promise, upon which the person to whom the warranty was given has the right to rely.

APPENDIX 1

CONTRACT OF SALE BETWEEN THE BUYER, BONHAMS FRANCE SAS, AND THE SELLER IF THE LOT IS OFFERED FOR SALE LIVE OR HYBRID.

IMPORTANT:

These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different terms in the Catalogue for the Sale and/or by placing an insert or amendment in the Catalogue and/or by notices at the Sale venue and/or on Bonhams’ website, and/or by oral announcements before and during the Sale, at the Sale venue. You should be alert to this possibility of changes and ask in advance of bidding if there have been any. Under this contract the Seller’s liability in respect of the quality of the Lot, it’s fitness for any purpose and its conformity with any Description is limited. You are strongly advised to examine the Lot for yourself and/ or obtain an independent examination of it before you buy it.

1. THE SALE CONTRACT

1.1. These terms and the relevant terms for Bidders and Buyers in the Notice to Bidders govern the Contract for Sale of the Lot by the Seller to the Buyer.

1.2. The Definitions and Glossary contained in the Conditions of Business at paragraph 20 are incorporated into this Contract for Sale and a separate copy can also be provided by Bonhams on request. The definition of capitalized terms used in this Agreement are set out in the Definition and Glossary sections.

1.3. The Seller sells the Lot as the principal to the Contract for Sale, such contract being made between the Seller and you through Bonhams which acts in the sole capacity as the Seller’s agent and not as an additional principal. However, if the Catalogue states that Bonhams sells the Lot as principal, or such a statement is made by an announcement by the Auctioneer, or by a notice at the Sale, or an insert in the Catalogue, then Bonhams is the Seller for the purposes of this agreement.

1.4. The contract is made on the fall of the Auctioneer’s hammer in respect of the Lot when it is knocked down to you.

2. SELLER’S WARRANTIES AND UNDERTAKINGS

2.1. The Seller warrants and undertakes to you that:

2.1.1. the Seller is the owner of the Lot or is duly authorised to sell the Lot by the owner;

2.1.2. save as disclosed in the Entry for the Lot in the Catalogue, the Seller sells the Lot with full title guarantee or, where the Seller is an executor, trustee, liquidator, receiver or administrator, with whatever right, title or interest he may have in the Lot;

2.1.3. except where the Sale is by an executor, trustee,

liquidator, receiver, or administrator the Seller is both legally entitled to sell the Lot, and legally capable of conferring on you quiet possession of the Lot.

2.1.4. the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, and all duties and taxes in respect of the export or import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) been paid and, so far as the Seller is aware, all third parties have complied with such requirements in the past;

2.1.5. items consigned by the Seller are not connected with or derived from any criminal activity, including without limitation tax evasion, money laundering or terrorist financing or in breach of any applicable international trade sanctions;

2.1.6. subject to any alterations expressly identified as such made by announcement or notice at the Sale venue or by the Notice to Bidders or by an insert in the Catalogue or on the Bonhams website, the Lot corresponds with the Contractual Description of the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except for colour) with any photograph of the Lot in the Catalogue.

3. DESCRIPTION OF THE LOT

3.1. Paragraph 2.1.6. sets out what is the Contractual Description of the Lot. In particular, the Lot is not sold as corresponding with any part of the Entry in the Catalogue which is not printed in bold letters, the remainder of which Entry merely sets out (on the Seller’s behalf) Bonhams’ opinion about the Lot and which is not part of the Contractual Description upon which the Lot is sold. Any statement or representation other than that part of the Entry referred to in paragraph 2.1.6. (together with any express alteration to it as referred to in paragraph 2.1.6.), including any Description or Estimate, whether made orally or in writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether by or on behalf of the Seller or Bonhams and whether made prior to or during the Sale, is not part of the Contractual Description upon which the Lot is sold.

3.2. Except as provided in paragraph 2.1.6. and without prejudice to the provisions of paragraph 14, the Seller does not make or give and does not agree to make or give any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact, or undertake any duty of care, in relation to any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any Description or Estimate which may have been Bonhams. No such Description or Estimate is incorporated into this Contract for Sale.

4. FITNESS FOR PURPOSE AND SATISFACTORY QUALITY

4.1. The Seller does not make and does not agree to make any contractual promise, undertaking, obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or its fitness for any purpose.

4.2. The Seller will not be liable for any breach of any undertaking, as to the satisfactory quality of the Lot or its fitness for any purpose.

5. RISK, PROPERTY AND TITLE

5.1. Risk in the Lot passes to you from the day upon which it is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. The Seller will not be responsible thereafter for the Lot prior to you collecting it from Bonhams or the Storage Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the Seller fully indemnified from and against all claims, proceedings, costs, expenses, and losses arising in respect of any injury, loss and damage caused to the Lot from the day of the fall of the Auctioneer’s hammer.

5.2. Title and risk to the Lot passes to the Buyer at the time of the auction. Nevertheless, le lot will be retained until (i) the Purchase Price and all other sums payable by you to Bonhams in relation to the Lot have been paid in full to and received in cleared funds by Bonhams, and (ii) Bonhams has completed its investigations pursuant to clause 6.10.

6. PAYMENT

6.1. Unless agreed in writing with you by Bonhams on the Seller’s behalf (in which case you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in the currency in which the Sale was conducted by not later than 4.30pm on the second working day following the Sale:

- The Sale Price of the Lot; - The Commission, in accordance with the rates described in the Notice to Bidders for each lot each Lot and;

- If the Lot is marked [AR], an additional Commission calculated and payable in accordance with accordance with the Notice to Bidders, in addition to VAT on the amount, if any. In such a way that all sums due to us are received, in cleared funds, no later than the seventh working day after the Sale.

6.2. You must also pay Bonhams all applicable Fees pursuant to this Sales Agreement.

6.3. Your obligation to pay the Purchase Price arises when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot.

6.4. Compliance with the time limits set for payment of the Purchase Price and all other sums payable by you to Bonhams is a material term of this agreement. Unless otherwise agreed in writing between you and Bonhams on behalf of the agreement between you and Bonhams on behalf of the Seller (in which case you must abide by the terms of such agreement), you shall pay all such sums to Bonhams in the currency of the Sale, no later than 4:30 p.m. on the second business day following the Sale and you shall ensure that funds are cleared no later than the seventh business day following the Sale. Payment must be made to Bonhams by one of the methods set out in the Notice to Bidders, unless otherwise agreed in writing between you and Bonhams. If you fail to make payment in accordance with this paragraph, the Seller shall have the rights set out in paragraph 8 below.

6.5. Invoices will only be sent to the registered Buyer, unless the Buyer is acting as a principal’s agent, bailee or nominee and Bonhams has approved this arrangement, in which case Bonhams will send invoices to the principal.

6.6. If more than one Lot has been allocated to you, all sums received by Bonhams from you will be applied pro rata, in the first instance, to the Purchase Price of each Lot and, in the second instance, pro rata to all sums owed by you to Bonhams.

6.7. You assure us that neither you nor -if you are a company-, your directors, your managers or your owner or its directors or shareholders, are a natural person or an entity which is, or is owned or controlled by natural persons or entities which are, at the date of signature of this contract:

- subject(s) to sanctions administered or enforced by the Office of Foreign Assets Control of the U.S. Department of the Treasury, the U.S. Department of State, the United Nations Security Council, the European Union, the U.K. Treasury, or any other authority that has imposed such sanctions (“Sanctions” and “Sanctioned Party”); or - located, registered or resident in a country or territory which is, or whose government is, subject to Sanctions, including, without limitation, Iran, North Korea, Sudan, and Syria.

6.8. You warrant that the funds used in the Sale are not related to any criminal activity, including, but not limited to, theft, receiving stolen goods, tax fraud, money laundering or the financing of Terrorism and that you are not involved in any criminal investigation and have not been charged, convicted, or sentenced in connection with any criminal activity.

6.9. If you are acting as an agent for another party (“your Principal”), you warrant to us that - you have carried out an appropriate verification of the information provided by your Principal, in order to ensure that he/she is not subject to Sanctions and in accordance with anti-money laundering laws and regulations; - your Principal is not a Sanctioned Party and is not owned, partly owned or controlled by a Sanctioned Party, and you have no reason to suspect that your Principal has been indicted, charged or convicted for money laundering, terrorism or other crimes or offences; - the items acquired by you or your Principal are not acquired or used in any way in connection with or to facilitate the violation of applicable tax, money laundering or anti-terrorism laws and regulations; and - you consent to Bonhams relying on your verification of the information provided by your Principal, and you undertake to retain the relevant documents for at least

5 years, and to make them available for review by an independent auditor, if requested by us.

6.10. Bonhams reserves the right to investigate any person entering into a transaction with Bonhams and to identify the source of any funds received from the Buyer. If Bonhams has not completed its anti-money laundering, anti-terrorist financing or other financial crime investigations and identity checks in relation to you or the Buyer to its satisfaction, Bonhams may, at its discretion, retain the Lots and/or proceeds of the Sale, defer or cancel any Sale, and take any other action required or permitted under applicable law, without incurring any liability to you.

7. COLLECTION OF THE LOT

7.1. Unless otherwise agreed in writing between you and Bonhams, the Lot will be delivered to you or on your instructions only when (i) Bonhams has received, in cleared funds, the full amount of the Purchase Price and any other monies owed by you to the Seller and Bonhams, and (ii) Bonhams has completed its investigations under clause 6.10. The Lot will only be released upon production of a receipt obtained from Bonhams’ cash office.

7.2. Subject to clause 7.1, you must remove the Lot at your own expense by the date and time specified in the Notice to Bidders or, if no date is specified, by 4.30pm on the seventh working day after the Sale.

7.3. The Lot may be collected from the address given in the Notice to Bidders. After the date and time specified in the Notice to Bidders, the Lot may be collected from another location and you must enquire with Bonhams as to the date and time at which you will be able to collect it, although this information will, in most cases, be given in the Notice to Bidders.

7.4. If you have not removed the Lot by the date specified in the Notice to Bidders, you authorize Bonhams, acting, in this case, in your name and on your behalf, to enter into a contract (the “Storage Agreement”) with a Storage Company for the storage of the Lot, on the then current standard terms and conditions agreed between Bonhams and the Storage Company, a copy of which we will provide to you upon request. We may also decide to store the Lot on our premises, and, in this event, a storage fee will be payable, at our prevailing daily rate (currently a minimum of €3 plus VAT per Lot per day) from the expiry of the period defined in paragraph 7.2. These storage charges constitute Fees payable to Bonhams.

7.5. Until you have paid the Purchase Price and all Expenses in full, the Lot will either be held by Bonhams as agent for the Seller or held by the Storage Company acting as agent for the Seller and Bonhams under the terms of the Storage Agreement.

7.6. You undertake to comply with the terms of the Storage Agreement and to pay the Charges (and any costs relating to the removal of the Lot for storage) due under the Storage Agreement. You acknowledge and agree that you may not retrieve the Lot from the Storage Company’s premises until you have paid in full the Purchase Price and all Fees and costs due under the Storage Agreement.

7.7. You shall be fully responsible for the packaging, handling, and transportation of the Lot to be retrieved and compliance with all import or export regulations applicable to the Lot.

7.8. You will be wholly responsible for any removal, storage or other charges or expenses incurred by the Seller if you do not remove the Lot in accordance with this paragraph 7 and will indemnify the Seller against all charges, costs, including any legal costs and fees, expenses and losses suffered by the Seller by reason of your failure to remove the Lot including any charges due under any Storage Contract. All such sums due to the Seller will be payable on demand.

8. FAILURE TO PAY FOR THE LOT

8.1. If the Purchase Price for a Lot is not paid to Bonhams in within three months after the Sale, the Seller will be entitled, with the prior written agreement of Bonhams but without further notice to you, to exercise one or more of the following rights (whether through Bonhams or otherwise):

8.1.1. to terminate immediately the Contract for Sale of the Lot for your breach of contract;

8.1.2. to resell the Lot by auction, by private treaty or by any other means by notifying you of the intention to resell with seven days’ written notice; in the event of a re-bid, Bonhams will be entitled to claim from the defaulting bidder payment of the difference between the original hammer price and the re-bid hammer price if the latter is lower;

8.1.3. to retain possession of the Lot;

8.1.4. to remove and store the Lot at your expense;

8.1.5. to take legal proceedings against you for any sum due under the Contract for Sale and/or damages for breach of contract;

8.1.6. to receive interest on all sums due (both before and after the ruling of a judgment or order) at a rate equal to three times the prevailing legal interest rate, interest being calculated on a daily basis from the date on which the said sums became payable until the date of full payment;

8.1.7. to retain possession of any other property sold to you by the Seller at the Sale or any other auction or by private treaty until all sums due under the Contract for Sale shall have been paid in full in cleared funds;

8.1.8. to retain possession of any of your other property in the possession of the Seller and/or Bonhams (as the Seller’s bailee) for any purpose (including, without limitation, other property sold to you); and

8.1.9. so long as such goods remain in the possession of the Seller or Bonhams as its bailee, to rescind the contract for the Sale of any other goods sold to you by the Seller at the Sale or at any other auction or by private treaty and apply any monies received from you in respect of such goods in part or full satisfaction of any amounts owed to the Seller or to Bonhams by you.

8.1.10. to set off any sums received from you for whatever reason, whether at the time of your default or at any other time, as full or part payment of all sums owed by you to Bonhams under this Agreement;

8.1.11. to retain possession of, and on three months’ written notice to sell, Without Reserve, any of your other property in the possession of the Seller and/or of Bonhams (as bailee for the Seller) for any purpose (including, without limitation, other goods sold to you) and to apply any monies due to you as a result of such Sale in satisfaction or part satisfaction of any amounts owed to the Seller or to Bonhams; and

8.1.12. to decline to allow you to register for a future Sale or to reject any bid you may make for a future Sale or to require you to pay a deposit before accepting a bid for a future Sale, in which case Bonhams shall be entitled to apply such deposit as full or part payment, as the case may be, of the Purchase Price of any Lot of which you are the Buyer;

8.1.13. after making reasonable efforts to inform you, to give your name and address to the Seller, so that he may take the appropriate measures to recover the amounts due and the costs associated with such measures.

8.2. You agree to indemnify Bonhams and the Seller against all legal and other costs of enforcement, all losses and other expenses and costs (including any monies payable to Bonhams in order to obtain the release of the Lot) incurred by the Seller (whether or not court proceedings will have been issued) as a result of Bonhams taking steps under this paragraph 8 on a full indemnity basis together with interest thereon (after as well as before judgement or order) at the rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until payment by you.

8.3. Upon any resale of the Lot in accordance with paragraph 8.1.2, Bonhams will account to you for any balance remaining on the amounts received by it or on its behalf in respect of the Lot, after payment of all sums due to the Seller and Bonhams, within 28 days of receipt of such sums by it or on its behalf. If you pay Bonhams only part of the sums you owe to Bonhams, such payment will be applied, in the first instance, to the Auction Price and VAT on the Lot (or, if you have purchased more than one Lot, pro rata to the Auction Price and VAT on each Lot) and, second, on the Purchase Commission and VAT thereon (or, if you have purchased more than one Lot, pro rata on the Purchase Commission and VAT on each Lot) and, third, on any other sums due to Bonhams.

9. THIRD-PARTY CLAIMS RELATING TO LOTS

9.1 Where it becomes apparent to Bonhams that the Lot is subject to a claim by someone other than you or the Seller (or that Bonhams may reasonably expect such a claim to be made), Bonhams shall not be liable for any loss or damage arising from the Lot. Bonhams may, at its sole discretion, dispose of the Lot in a manner consistent with the terms and conditions of the Lot, use the Lot in a manner consistent with its legitimate interests and those of the other parties involved and lawfully defend its legitimate interests and positions. Without prejudice to the generality of the foregoing and by way of example, Bonhams may:

9.1.1 Withhold the Lot to investigate any matter raised or which Bonhams may reasonably expect to be raised in connection with the Lot and/or;

9.1.2 Seek relief from any court, arbitrator, mediator or

administrative authority by way of main, incidental, additional, counterclaim, forced or conservatory intervention, etc. and/or;

9.1.3 Require you to pay an indemnity or security in exchange for taking any action to which you agree.

9.2 The discretion to which Bonhams refers in paragraph 9.1: - May be exercised at any time during which Bonhams has physical or legal possession of the Lot or at any other time after such possession, where the cessation of possession has occurred by reason of a decision or injunction of any court, mediator, arbitrator or administrative authority and;

- Will not be exercised unless Bonhams believes that there are serious grounds that can be raised in favour of the claim.

10. FORGERIES

10.1 Bonhams guarantees the authenticity of lots offered in its sales for a period of 5 years from the date of sale and will assume all liability for any Forgeries, in accordance with the terms and conditions of paragraph 10.

10.2 Paragraph 10 only applies if:

10.2.1 your name is as it appears on the invoice sent by Bonhams in relation to the Lot and that invoice has been paid;

10.2.2 You make a claim to Bonhams within 5 years of the sale, in writing, immediately upon becoming aware that the Lot may be a Forgery;

10.2.3 Within one month after such notification has been made, you return the Lot to Bonhams in the same condition as it was in at the time of the Sale, accompanied by written proof of the fact that the Lot is a Forgery and together with details of the Sale and the Lot number sufficient to identify it.

10.3 Paragraph 10 shall not apply if:

10.3.1 The Article relating to the Lot contained in the Catalogue reflected the then generally accepted opinion of connoisseurs and experts or clearly indicated that such an opinion was being discussed or reflected the prevailing opinion of an expert considered eminent in the relevant field or;

10.3.2 It can only be established that the Lot is a Fake by means of procedures that became generally accepted only after the publication of the Catalogue or by means of procedures that Bonhams could not reasonably have been required to employ.

10.4 You authorise Bonhams to use any procedures and carry out any tests it considers necessary to determine whether the Lot is a Fake, at its sole discretion.

10.5 If Bonhams is satisfied that the Lot is a Fake, Bonhams will terminate the sale of the Lot in question and Bonhams will refund to you an amount equal to the sum of the Purchase Price, the Purchase Commission, VAT and the Expenses paid by you to acquire the Lot.

10.6 The benefit of paragraph 10 is personal to you and is not transferable.

10.7 You will lose the benefit of paragraph 10 if you sell or otherwise dispose of your rights to the Lot.

11. STRIKING TEXTS OR ILLUSTRATIONS FROM A BOOK

Where the Lot consists in whole or in part of a Book or Books and a Book does not contain text or illustrations (in all cases, referred to as a “Non-Conforming Lot”), Bonhams will be personally liable in relation to such Non-Conforming Lot, for a period of five years from the date of sale, in accordance with the terms of this paragraph, if:

- The original invoice was sent to you by Bonhams in relation to the Lot and this invoice has been paid and;

- You make a claim to Bonhams, in writing, immediately after becoming aware that the Lot may be a nonconforming Lot and, in any event, within 5 years of the Sale and;

- you return the Lot to Bonhams in the same condition as it was at the time of the Sale, accompanied by written proof that the Lot is a non-conforming Lot and details of the Sale and the Lot number sufficient to identify it.

But not if:

- The Article relating to the Lot contained in the Catalogue states that the rights provided for in this paragraph do not apply to this Lot;

- The Article referring to the Lot contained in the Catalogue reflected the then generally accepted opinion of connoisseurs and experts or clearly indicated that such an opinion was being discussed or;

- It can only be established that the Lot is a nonconforming Lot by means of procedures which were not generally accepted until after publication of the Catalogue or by means of procedures which Bonhams

PARIS/MAIN/V1/10.2025

could not reasonably have been required to employ or;

- The Lot includes atlases, maps, autographs, manuscripts, illustrated books, music or periodicals or;

- The Lot was listed in the Catalogue under the category “collections” or “collections and miscellaneous” or the Catalogue indicated that the Lot included or contained a collation, number or Books that are not described or missing text or illustrations are referenced, or the Book contains blank spaces, halftitles or advertisements.

If Bonhams is convinced that the Lot is a Nonconforming Lot, Bonhams will terminate the sale of the Lot and you will transfer ownership of the Lot in question to Bonhams and Bonhams will refund to you an amount equal to the sum of the Purchase Price, the Purchase Commission, the VAT and the Costs you have paid to acquire the Lot. The benefit of paragraph 12 is personal to you and is not transferable. You will lose the benefit of paragraph 12 if you sell or otherwise dispose of your rights to the Lot.

12. THE SELLER’S LIABILITY

12.1. The Seller will not be liable for any injury, loss or damage caused by the Lot after the fall of the Auctioneer’s hammer in respect of the Lot.

12.1.1. the Seller will not be liable for any loss of Business, Business profits or revenue or income or for loss of reputation or for disruption to Business or wasted time on the part of the Buyer or of the Buyer’s management or staff or, for any indirect losses or consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss or damage alleged to be suffered, and irrespective of whether the said loss or damage is caused by or claimed in respect of any negligence, another Quasi-delict, breach of contract, breach of a legal obligation breach of a legal obligation, breach of an obligation, a claim for restitution or claim for restitution or otherwise;

12.1.2. in any circumstances where the Seller is liable to you in respect of the Lot, or any act, omission, statement, or representation in respect of it, or this agreement or its performance, and whether in damages, for an indemnity or contribution or for the restitution of a remedy or in any way whatsoever, the Seller’s liability will be limited to payment of a sum which will not exceed by way of maximum the amount of the Purchase Price of the Lot irrespective in any case of the nature, volume or source of any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the liability arises from any negligence, other tort, breach of contract, statutory duty, bailee’s duty, claim for restitution or otherwise.

12.2 Nothing set out in paragraph12 above will be construed as excluding or restricting (whether directly or indirectly) any person’s liability or excluding or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury caused by the Seller’s negligence (or any person under the Seller’s control or for whom the Seller is legally responsible), or (iii) any other liability to the extent the same may not be excluded or restricted as a matter of law.

13. MISCELLANEOUS

13.1 You may not assign either the benefit or burden of the Contract for Sale.

13.2 The Seller’s failure to exercise, including by way of specific performance, or delay in exercising, including by way of specific performance, any power or right under the Sales Contract shall not constitute or be deemed to constitute a waiver of its rights with respect thereto, except to the extent expressly waived by Seller by delivery to you of a written instrument of waiver. Any such waiver shall not affect the Seller’s subsequent ability to exercise, including by way of compulsory execution, any rights under the Sales Contract.

13.3. If either party to the Contract for Sale is prevented from performing that party’s respective obligations under the Contract for Sale by circumstances beyond its reasonable control (including without limitation, governmental intervention, industrial action, insurrection, warfare (declared or undeclared), terrorism, power failure, epidemic or natural disaster) or if performance of its obligations would by reason of such circumstances give rise to a significantly increased financial cost to it, that party will not, for so long as such circumstances prevail, be required to perform such obligations. This paragraph does not apply to the obligations imposed on you by paragraph 6.

13.4 Any notice or other communication to be given under the Contract for Sale must be in writing and may be delivered by hand or sent by first class post or air mail or fax transmission, if to the Seller, addressed c/o Bonhams at its address or fax number in the Catalogue (marked

for the attention of the Company Secretary), and if to you to the address or fax number of the Buyer given in the Bidder Registration Form (unless notice of any change of address is given in writing). It is the responsibility of the sender of the notice or communication to ensure that it is received in a legible form within any applicable time period.

13.5 If any term or any part of any term of the Contract for Sale is held to be unenforceable or invalid, such unenforceability or invalidity will not affect the enforceability and validity of the remaining terms or the remainder of the relevant term.

13.6 References in the Contract for Sale to Bonhams will, where appropriate, include reference to Bonhams’ officers, employees, and agents and to any subsidiary of Bonhams Holdings Limited and its officers, employees, and agents.

13.7 The headings used in the Contract for Sale are for convenience only and will not affect its interpretation.

13.8 In the Contract for Sale “including” means “including, without limitation”.

13.9 References to the singular will include reference to the plural (and vice versa) and reference to any one gender will include reference to the other genders.

13.10 Reference to a numbered paragraph is to a paragraph of the Contract for Sale.

13.11 Save as expressly provided in paragraph 10.12, nothing in the Contract for Sale confers (or purports to confer) on any person who is not a party to the Contract for Sale any benefit conferred by, or the right to enforce any term of, the Contract for Sale.

13.12 Where the Contract for Sale confers an immunity from, and/or an exclusion or restriction of, the responsibility and/or liability of the Seller, it will also operate in favour and for the benefit of Bonhams, Bonhams’ holding company and the subsidiaries of such holding company and the successors and assigns of Bonhams and of such companies and of any officer, employee, and agent of Bonhams and its companies.

14. GOVERNING LAW

Sales Contract shall apply, and all related matters shall be governed by and construed in accordance with French law and you and the Seller each submit to the exclusive jurisdiction of the courts of Paris; as an exception to this principle, the Seller may bring proceedings against you in any other court of competent jurisdiction to the extent permitted by the law applicable in the jurisdiction of such court.

Bonhams has set up a claims handling procedure available from the Company Secretary. In accordance with the law, civil liability claims arising from voluntary sales of furniture by public auction are time-barred five years after the auction.

Formulaire d’inscription et d’enchère

(Ordre d’achat en personne / en absence / par téléphone)

Cette vente, y compris les enchères et les achats, est régie par les conditions de vente de Bonhams. Vous devez lire les conditions et toutes les informations sur la vente avant d'enchérir et vous assurer que vous comprenez les frais à payer pour tout achat que vous effectuerez. Les Conditions définissent également certains engagements pour les enchérisseurs et les acheteurs et limitent la responsabilité de Bonhams à votre égard. Veuillez noter que la facture pour le lot acheté sera établie au nom figurant sur ce formulaire et que le paiement ne sera accepté qu'à partir d'un compte à ce nom (ou au nom de la société si l'enchère est faite au nom de cette société).

Protection des données – utilisation de vos renseignements personnels

Lorsque nous obtenons des informations personnelles vous concernant lors de votre inscription ou de votre enchère, nous ne les utilisons que conformément aux termes de notre Politique de confidentialité. Une copie de notre politique de confidentialité est disponible sur notre site web (www.bonhams.com) ou peut être demandée par courrier à Customer Services Department, Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com ou par e-mail à info@bonhams.com.

Nous pouvons de temps à autre vous fournir des informations sur des biens et services qui, selon nous, pourraient vous intéresser, sur base de vos interactions précédentes avec nous. À tout moment, vous pouvez choisir de ne pas recevoir ces communications. Si vous ne souhaitez pas recevoir ces communications, veuillez cocher cette case

Avis aux enchérisseurs.

Au moins 24 heures avant la vente, vous devez fournir une pièce d'identité avec photo délivrée par le gouvernement, par exemple un passeport ou un permis de conduire, et - si cela ne figure pas sur la pièce d'identité - un justificatif de domicile, par exemple une facture (électricité, téléphone ou autre), ou un relevé de carte bancaire/de crédit. Dans le cas échéant ou le client est une entreprise, ce dernier doit également fournir les documents d'enregistrement de leur société, les justificatifs des bénéficiaires effectifs détenant 25 % ou plus de la société et la confirmation du nom de la personne ayant le pouvoir d'agir de la société. Si vous ne fournissez pas ces documents, vos enchères risquent de ne pas être enregistrées. Les clients qui ne sont pas en mesure de fournir les documents avant la vente peuvent choisir d'enchérir en ligne en utilisant notre option de vérification de carte de crédit. Veuillez noter que nous nous réservons le droit de demander une référence bancaire ou un dépôt.

En cas de succès Je viens chercher mes achats en personne

Je vous remercie de bien vouloir donner mes coordonnées aux transporteurs qui me transmettront un devis et j’accepte que vous leur communiquiez mes coordonnées afin qu’ils puissent me contacter.

Numéro d’identification (réservé à l’administration)

Registration

and Bidding Form

(Attendee / Absentee / Telephone Bidding)

Please circle your bidding method above. Paddle number (for office use only)

Arts d'Asie

Titre de la vente aux enchères: Date de la vente:

N° de la vente: Lieu de la vente:

31783 9 juin 2026 Paris

Si vous n’assistez pas à la vente en personne, veuillez fournir les coordonnées des lots pour lesquels vous souhaitez faire une enchère au moins 24 heures avant la vente. Les enchères seront arrondies à la surenchère inférieure la plus proche. Veuillez consulter l’avis aux enchérisseurs publié dans le catalogue pour tout complément d’information se rapportant aux offres par téléphone, en ligne ou par écrit que Bonhams peut accepter en votre nom. Bonhams fera tout son possible pour exécuter ces ordres d’achat en votre nom mais ne sera pas tenu pour responsable en cas d’erreurs ou de manquement à exécuter ces offres d’achat.

Paliers d'enchère généraux:

€10 - 200 10s

€200 - 500 20 / 50 / 80s

€500 - 1,000 50s

€1,000 - 2,000 100s

€2,000 - 5,000 200 / 500 800s

€5,000 - 10,000 500s

€10,000 - 20,000 1,000s

€20,000 - 50,000 2,000 / 5,000 / 8,000s

€50,000 - 100,000 5,000s

€100,000 - 200,000 10,000s au-delà de €200,000 à la discrétion du commissaire-priseur

Le commissaire-priseur peut, à sa discrétion, diviser les offres d’achat à tout moment.

Numéro client Titre

Prénom Nom

Nom de la société (pour l’envoi de la facture dans le cas échéant)

Adresse

Ville

Département/Région

Code postal Pays

Téléphone portable

Téléphone fixe

Adresse courriel (en lettres majuscules)

Veuillez répondre à toutes les questions ci-dessous

1. Pièce d'identité fournie: Une pièce d'identité délivrée par le gouvernement et (si la pièce d'identité ne confirme pas votre adresse) une facture ménagère ou un relevé bancaire. S'il s'agit d'une société, veuillez fournir un Kbis (un document officiel attestant l'existence juridique de votre entreprise commerciale), votre pièce d'identité (comme ci-dessus) (et, si vous n'êtes pas directeur, une lettre vous autorisant à agir), ainsi qu'une preuve attestant les bénéficiaires effectifs de la société.

2. Représentez-vous l’enchérisseur ? Si oui, veuillez répondre à la question 3.

Nom, adresse et coordonnées (téléphone et courriel) de l’enchérisseur: Pièce d'identité de l’enchérisseur: Pièce d'identité délivrée par le gouvernement et (si la pièce d'identité ne confirme pas l'adresse) facture ménagère/relevé bancaire.

Agissez-vous à titre professionnel ?

Oui Non

Veuillez noter que tous les appels téléphoniques peuvent être enregistrés.

Téléphone ou ordre d’achat en cas d’absence (T/A) N° de lot Brève description

Veuillez entourer le mode d’enchère ci-dessus. EN SIGNANT CE FORMULAIRE, VOUS CONFIRMEZ QUE VOUS AVEZ EXAMINÉ LE CATALOGAGE DES LOTS SUSMENTIONNÉS, VOUS ACCEPTEZ LES CONDITIONS DE VENTE, Y COMPRIS LES GARANTIES ÉNUMÉRÉES, ET VOUS ACCEPTEZ DE PAYER LA PRIME D'ACHAT, LA TVA ET TOUS LES AUTRES FRAIS QUI SERAIENT DUS. CECI AFFECTE VOS DROITS LÉGAUX.

Si vous êtes immatriculé à la TVA, veuillez indiquer votre numéro d'immatriculation ici:

Offre d’achat maximale en EUR (hors prime et TVA) Ordre d’achat de sécurité*

The Sale, including all bidding and buying, is governed by Bonhams’ Conditions of Sale. You should read the Conditions and any Sales Information prior to bidding and ensure you understand the charges payable on any purchase you make. The Conditions also set out certain undertakings by bidders and buyers and limits Bonhams’ liability to you. Please note an invoice for a purchased lot will be made out in the name as shown on this form and payment will only be accepted from an account in that name (or the name of the company if the bid is on behalf of that company).

Data protection

Where we obtain any personal information about you when you register or bid with us, we shall only use it in accordance with the terms of our Privacy Policy. A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Client Services Department, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com

We may from time to time provide you with information about goods and services that we believe may interest you, based on your previous interactions with us. You can opt out of receiving these communications at any time. If you do not want to receive such communications, please tick this box

Notice to Bidders.

At least 24 hours prior to the Sale, you must provide government issued photo ID, e.g., a passport or driving licence and - if not included on the ID document - proof of address, e.g., a current utility bill, or bank/credit card statement. Corporate clients must also provide their company registration documents, documentary proof of beneficial owners owning 25% or more of the company and confirmation of the named individual’s authority to act. Failure to provide these documents may result in your bids not being processed. Clients who are not able to provide documents prior to Sale may opt to bid online using our credit card verification option. Please note we reserve the right to request a bank reference or deposit.

If successful

I will collect the purchases myself

Please arrange shippers to contact me with a quote and agree that you may pass them my contact details.

Telephone (landline) E-mail (in capitals)

Please answer all questions below

Signature de l’enchérisseur/agent (veuillez en supprimer un): Date:

* Ordre d’achat de sécurité une enchère maximale (hors prime et TVA de l’acheteur) devant être exécutée par Bonhams au cas où nous serions dans l’impossibilité de vous joindre par téléphone ou si la connexion venait à être coupée pendant les enchères.

Le paiement ne sera accepté que sur un compte au même nom que celui figurant sur la facture et le formulaire d’inscription à la vente aux enchères. S’il vous plait, veuillez envoyer par email ou par la poste le formulaire d'inscription à la vente aux enchères dûment rempli. Bonhams, Client Services, 6 Av. Hoche, 75008 Paris, France, +33 1 42 61 10 10, paris@bonhams.com Bonhams France SAS, 6 avenue Hoche, 75008 Paris. N° d'agrément 2007-638 - RCS Paris 500 772 652. EORI Number FR50077265200011

Bidder/Agent’s