Fine Asian Works of Art

15TH MAY 2026

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FINE ASIAN WORKS OF ART

FRIDAY 15 MAY 2026 AT 10AM

Sale Number LT899

CONTACT

LONDON

+44 (0) 20 7930 9115 info@lyonandturnbull.com

BIDDING AT THIS SALE

ONLINE, TELEPHONE & COMMISSION BIDDING

There will be no in-room bidding for this auction. Please see the guide on p.224

EXHIBITION & VIEWING

22 Connaught Street London W2 2AF

Sunday 10th May – 10am-5pm

Monday 11th May – 10am-5pm

Tuesday 12th May – 10am-5pm

Wednesday 13th May – 10am-5pm

Thursday 14th May – 10am-5pm

Day of sale - closed for viewing

BUYER'S GUIDE

BUYER'S PREMIUM

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

27% up to £20,000; 26% from £20,001 to £800,000; 20% thereafter;

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).

ADDITIONAL VAT

† VAT at the standard rate payable on the hammer price

‡ Reduced rate of 5% import VAT payable on the hammer price

Ω Standard rate of import VAT on the hammer price

Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.

No VAT is payable on the hammer price or premium for books bought at auction.

REGISTRATION

All potential buyers must register prior to placing a bid. Paddle registration must be completed in advance of the sale day. Please note that bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement).

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING LIMITS

Bidding levels in this auction will be capped. All new clients and clients who are looking to spend over £6500 hammer may be requested by Lyon & Turnbull to submit a Bid Limit Request application and deliver to Lyon & Turnbull a deposit.

BIDDING & PAYMENT

For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

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

REMOVAL OF PURCHASES

Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.

CATALOGUE DESCRIPTIONS

All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT

Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

ENDANGERED SPECIES

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

COLLECTIONS & STORAGE OF PURCHASED LOTS

FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS

STORAGE: Items will be stored at 22 Connaught Street, London, W2 2AF until Wednesday 20th May 2026 at 5pm. Please call 0207 930 9115 or email london@lyonandturnbull.com to book your appointments.

Following this, items will be available to collect from Wednesday 27th May 9am from Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB60FD. They will be stored free of charge until Friday 5th June. From Saturday 6th June, clients will be charged by our storage partners:

-Smalls paintings and objects: £20.50 moving and admin fee then £1.00 per day

-Large items and furniture – £32.50 moving and admin fee then £2.50 per day

-Insurance: 0.25% of hammer price per 28-day period or part thereof, subject to 12% insurance premium tax

Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222.

Open 9am – 4pm by prior appointment only.

Please note that we are unable to accept auction invoice payment at the storage site. If you are collecting from Stephen Morris Shipping Ltd., please ensure that full payment is made prior to collection.

FOR SCOTTISH BUYERS

If you would like to collect from our Edinburgh office, please let us know by 5pm on Wednesday 27th May. Items will then be available for collection from Monday 8th June at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections).

Please book appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844.

Please note, if you have not informed us that you would like to collect in Edinburgh by Wednesday 27th May 2026, you will be charged by our storage partner Stephen Morris Shipping Ltd.

Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card onlinedetails will be shown on your invoice.

MEET THE SPECIALISTS

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

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

Dr. Tsai Yiing Ing Specialist, Asian Art tsai.yiinging@lyonandturnbull.com

買家指南

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

買家佣金及其他費用

買家需支付拍賣落槌價和佣金，佣金比率如下： 20,000英鎊以内的拍品佣金為27%； 20,001至800,000英鎊的拍品佣金為26%； 800,001英鎊之後的拍品佣金為20%。

佣金的增值稅將根據法律規定的稅率收取；增值稅將按照法律規定的稅率收取（請參閲我們的銷售條款）。

增值稅

†符號表示買家需支付拍賣落槌價的增值稅，依照法律規定的稅率。

‡符號表示買家需額外支付拍賣落槌價5%的進口稅（已降低）。此拍品是從英國以外地區進口，憑藉暫准進口許可證（暫准進口）在拍賣會上出售，該許可證允許這些物品暫時全部或部分免征關稅（增值稅和關稅）

Ω符號表示買家需額外支付拍賣落槌價的標準進口稅，依照法律規定的稅率。

所有標註【‡】及【Ω】的拍品將可能需進一步遵守進出口條約，詳情請參閲此圖錄末尾的買家須

知‘Buyers Section D.2’

所有書籍類拍品無需支付增值稅。

提貨

拍品的包裝、運輸和保險僅限於買方。

圖錄描述

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

進/出口

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

瀕危品種

請注意有Y記號的拍品在運往歐盟以外地區可能受到CITES條款的約束。欲了解更多信息，請查詢 www.defra.gov.uk/ahvla-en/imports-exports/cites

取貨與倉儲

國際買家及英國境內的非蘇格蘭買家

倉儲：截至5月20日星期三傍晚 5 點之前，拍品將存放於 22 Connaught Street, London, W2 2AF。

客戶務必提前預約到本公司倫敦藝廊及辦事處提貨。

提貨時間：周一至周五，早上九點半到下午四點半。預約請撥打0207 930 9115，或電郵 london@lyonandturnbull.com。沒預約恕不受理。

註：拍賣日不開放提貨。

此後，拍品將儲存在 Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD。電話+44(0)20 8832 2222。買家可在5月27日星期三至6月5日星期五早上9點至下午5點於此倉儲地點取貨。這期間無倉儲費用。

請確保在取貨之前已完成付款。買家可通過在線支付、支票、銀行轉帳或親自蒞臨本公司倫敦辦公室完成付款。詳細信息也將顯示在您的發票上。

倉庫費用：敬請注意，6月6日星期六起，我們的倉儲合作夥伴STEPHEN MORRIS SHIPPING LTD將向您收取費用。

保險費：按落槌價每28天（或不足28天的期間）收取 0.25%，另須繳付12%的保險保費稅。（所有拍品）小件拍品（繪畫及物件）：運輸及手續費 £20.50，然後每天增收 £1.00

傢俱及大型物件：運輸及手續費 £32.50 ，然後每天增收 £2.50

請注意，我們無法在倉庫Stephen Morris Shipping Ltd. 接受拍賣賬單付款。請確保您到倉庫提貨前將賬單全額付清。

蘇格蘭買家

倉儲：截至5月20日星期三傍晚 5 點之前，拍品將存放於22 Connaught Street, London, W2 2AF。此後，拍品將儲存在 Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD。

敬請注意，如未有在5月27日星期三傍晚5點前事先通知我們您在愛丁堡取貨，我們的倉儲合作夥伴Stephen Morris Shipping Ltd將向您收取倉儲費用，以及您的拍品將會留存放於Stephen Morris Shipping Ltd, Greenford。

若您事先通知我們於愛丁堡取貨，拍品將於6月初被移存到本公司愛丁堡的辦公室。買家可在6月8日星期一上午9點開始於此地取貨。

爱丁堡提貨時間：周一至周五，早上九點到下午五點。預約請撥打0131 557 8844，或電郵 info@lyonandturnbull.com。沒預約恕不受理。

競拍和付款指南

競拍註冊

所有買家必須在競拍前註冊。註冊信息可以親自在我們的前台，或通過電子郵件、傳真或訪問本公司網站提交。請注意所有首次參加禮昂騰博拍賣的競拍者都需要提供以下材料以便進行註冊：

1. 由政府機關簽發的身份證件（護照或駕照）；

2. 地址證明（水電煤帳單或銀行對帳單）

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

競拍

請注意，本次拍賣無現場競拍。

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

競拍出價上限

本次拍賣出價上限為6,500英鎊。欲花費（落槌價）超過此上限，請於拍賣前填寫並呈交出價上調表格，我們將向您索取銀行證明或押金。

所有新客戶將被索取銀行證明及兩千英鎊（£2,000）押金。

線上拍賣

此次拍賣不設現場競拍。

電話競拍

買家可以通過電話參與本公司拍賣，此次拍賣只接受最低估價至少3,000 英鎊或以上的拍品進行電話競標。由於電話線路數量有限，必須提前預訂，並最遲在2026年5月14日（周四）之前申請註冊。所有電話競拍必須進行書面形式註冊，列出欲競拍的拍品號碼和買家的電話號碼。我們建議您預留最高出價，在電話無法撥通的情況下有備無患。我們無法保證會有足夠的電話線，或者可以在拍賣時接通電話，但會盡我們所能進行安排。此服務是本公司自願提供，風險則必須由買家承擔。

書面競拍

競拍表格可以在本公司官網取得。填寫完的表格應在拍賣前儘快以郵寄、傳真或電郵的方式提交。我們將代表您在最高限額的範圍内出價。如果收到兩個相同的出價，則第一位提交出價的買方有優先權。所有出價必須在拍賣前一小時收到。此項服務風險由買家承擔。

網路競拍

本公司網站刊登完整的拍賣圖錄。競拍者可通過網站留下缺席投標，並將收到本公司電子郵件確認其投標。

買家也可通過本公司網站註冊在線競拍L&T Live（禮昂騰博在線），只需點擊拍賣日程，相關拍賣會或任何一項拍品，并完成註冊，此項服務不收取額外費用。我們的在線出價合作平臺為Invaluable、TheSaleroom、LiveAuctioneers、聯拍在線，易拍在線以及拍賣之家，此項服務額外徵收費用。

付款

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

本公司帳號信息可在拍賣帳單上查詢，或向公司財務部門索取。

信用卡或借記卡可以通過Visa

Debit、Maestro、Mastercard、Visa或銀聯信用卡付款。

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

網上付款

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

支票

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

現金

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

ORDER OF SALE

Lot No.

1-24 Works of Art

20-33 A Private Collection from Cambridgeshire of Works of Art and Ceramics (lots 20-33)

34-48 Metalwares

49-71 The Pure Radiance of Dharma and Dao: Religious Art of Buddhism and Daoism

72-78 A Private Collection from Paris 79-89 Paintings & Works on Paper

Including A Private English collection of Paintings and Jade (lots 85-91)

92-103 Spring Waves of Desire: A Study of Chinese Love and ‘Subtle Pleasure’ Paintings 104-120 Snuff Bottles

121-162 Jade & Hardstone

Including the Collection from Homer Ling (lots 121-124) 163-204 Tea in Harmony, Wine in Ease: Chinese Drinking Vessels 205-336 Ceramics

Including A Private English Collection of Early Ceramics, London (lots 205-207); A Private Japanese Collection (lots 219-224); Collection from Elsie Tollemache (lots 256-257); A Private English collection of Blue and White, London (lots 281-283) 337-345 Japanese Art

WORKS OF ART (LOTS 1-24)

LARGE CHINESE BLACK LACQUER AND MOTHER-OF-PEARL CIRCULAR BOX WITH COVER MING TO QING DYNASTY

明至清黑漆嵌螺鈿纏枝蓮紋捧盒

decorated to the exterior of the cover with a rosette in the centre enclosed by bands of foliage, interlocking scrolling tendrils, bats with Buddhist swastikas, ruyi heads, flowers, beads, and plantain leaves, interior lacquered in red

36.5cm diameter

Provenance: Private collection, Glasgow 格拉斯哥私人收藏

Note: A comparable large round box, dated to the Ming dynasty, with comparable decoration, in the Metropolitan Museum, accession no. 64.32a, b. A similar circular box with inlaid lotus design, dated to the Qing dynasty, 18th century, is in the Harn Museum of Art, Florida, object no. 2006.10.4t.

£800-1,200

2

CHINESE CINNABAR LACQUER JARDINIÈRE WITH JADE AND STONE MINIATURE FLORAL PLANT QING DYNASTY, 18TH-19TH CENTURY

清剔紅長方花盆嵌仿生玉石花卉盆景

the cinnabar lacquer flower pot of rectangular form, supported on four splayed feet and terminating to an everted rim, each side finely carved with small figures in outdoor landscape in cartouche, inset with a miniature floral plant made of agate and jade pieces in different colours the flower pot 28.2cm wide; 54.5cm high overall

Note: There are two closely comparable cinnabar lacquer rectangular jardinières, both still inset with original jade and stone miniature landscape, were used in the Qing Court and now in the collection of the National Palace Museum, Taipei, one, museum no. Gu Qi 故漆 255 and Gu Qi 故漆 256.

有兩件極為相似的剔紅長方形花盆，均仍鑲嵌有原有的玉石微型盆景，清宮舊藏，現藏於臺北國立故宮博物院，館藏編號故漆255 及故漆256。

£1,000-1,500

3 CHINESE

CINNABAR LACQUER ‘PINE AND CRANE’ BRUSH MING DYNASTY

明剔紅人物松鶴延年圖毛筆

the cylindrical shaft well-carved in high relief with an officer accompanied by his attendant encountering a crane, all under a large pine tree in an outdoor setting, the end of the shaft decorated with Buddhist swastika motif in brocade 22.5cm wide

Provenance: Private collection, London; acquired from Sotheby’s London, 10-17 May 2023, lot 140;

Formerly in the Collection of Dr Wou Kiuan (1910-1997).

Wou Lien-Pai Museum, coll. no. M.4.9.

倫敦私人收藏; 購自倫敦蘇富比, 2023年5月10-17日, 拍品140；

前吳權博士 (1910-1997) 收藏。

吳蓮伯博物院，編號M.4.9

£4,000-6,000

PAIR OF CHINESE BLACK LACQUER AND POLYCHROME TRAYS

MING TO QING DYNASTY, 17TH-18TH CENTURY 明至清黑漆彩繪蝶戀花紋托（一對）

each of circular form, painted to the central medallion with a butterfly amongst floral bush in a gilt key-fret border, cavetto with floral sprays (2) 11.8cm diameter each

£400-600

CHINESE CINNABAR-AND-GREEN LACQUER ‘DRAGON’ BRUSH AND COVER QING DYNASTY, QIANLONG PERIOD 清乾隆剔紅綠彩地五爪龍紋毛筆帶蓋

the slender handle skilfully carved through layers of rich cinnabar lacquer to a green-lacquer ground of incised waves, with a sinuous dragon in cinnabar writhing among ruyi-shaped clouds, the cap similarly decorated with a dragon writhing among swirling clouds, the ends each carved with a stylised longevity symbol 30.5cm high

Note: A comparable carved cinnabar lacquer ‘dragon’ brush and cover, dated to the late Ming dynasty, was sold at Christie’s Hong Kong, 6 Apr 2015, lot 177.

一件可比較的明代晚期剔紅龍紋毛筆帶蓋，售於2015年4月6日香港佳士得，拍品177。

£6,000-8,000

CHINESE CARVED HARDWOOD TOOL VASE

QING DYNASTY, QIANLONG MARK, 19TH CENTURY

清乾隆款硬木雕瘤木紋箸瓶

of bottle form carved to resemble gnarling tree trunk, the counter-sunk base carved with a four-character Qianlong mark

18.5cm high

Note: A comparable zitan tool vase, 18th-19th century, was sold at Bonhams London, 14 May 2024, lot 562.

£1,000-1,500

CHINESE BAMBOO ‘SAGES’ BRUSH POT

QING DYNASTY

清竹雕山水高士筆筒

rendered from a section of bamboo on very subtle bracket feet, carved on the body with a continuous shanshui landscape with a shed amongst dense pine trees and rockwork, two sages conversing in the building, opposite them with another seated scholar before the water, the base inscribed in ink with a five-character mark

12cm high

Note: Compare to two bamboo carvings, with a similar rendition of the decoration, one ‘ode to the Red Cliffs’ brush pot, 17th/18th century, and the other a large ‘Eight Immortals’ parfumier, 18th century, both previously in the collection of Mr & Mrs Gerard Hawthorn, sold at Bonhams London, 14 May 2025, lot 32 and lot 34.

£400-600

CHINESE

SANDALWOOD ‘SCHOLAR’ CUP

QING DYNASTY

清檀香木雕山石高士杯

carved in the form of a libation cup in high relief around the exterior with a scene depicting two seated scholars facing a panel on a rock-table 10.3cm high

Note: Compare to a related carved chenxiangmu ‘Jiao Sui’ cup, 17th/18th century, sold at Bonhams Hong Kong, 30 November 2022, lot 144.

£700-900

CHINESE STONE, MOTHER-OF-PEARL AND SILVER-WIRE INLAID ZITAN BRUSH POT WU WEI YE MARK, MING TO QING DYNASTY

明至清崇禎及吳偉業款紫檀錯銀絲嵌鏍鈿百寶松下高士圖筆筒

款識：崇禎／梅村吳偉業印文：吳偉業印 of slightly waisted form, the body inlaid in various hardstones and mother-of-pearl with a continuous scene of scholars surrounding and facing a figure seated under a pine tree, a boy offering a double-gourd bottle behind him, one side inlaid with silver-wire with nine characters, including Chongzhen reign mark and ‘Wu Wei Ye’, with a seal 14.2cm high

Note: This brush pot unusually attributed to Wu Weiye (1609–1672), and inlaid with Chongzhen reign mark (1628-1644). Wu Weiye, courtesy name Jungong, art name Meicun, was a native of Taicang, Jiangsu, and a renowned poet of the late Ming and early Qing dynasties. He earned the second-highest rank (Bangyan) in the 1631 imperial examinations and served as a Hanlin compiler during the Ming dynasty. Under the Qing, he was compelled to serve as an official, eventually rising to the position of Imperial Academy Chancellor. His literary achievements were outstanding, especially his seven-character verse known as the “Meicun style.” Alongside Qian Qianyi and Gong Dingzi, he was celebrated as one of the “Three Masters of Jiangdong.” Wu Weiye also excelled at painting and calligraphy. His works Danqing Baofa Scroll and South Lake Spring Rain Scroll are in the collection of the Shanghai Museum.

此筆筒罕見鑲嵌吳偉業（1609–1672）之名，並有崇禎年號（1628–1644）。吳偉業，字駿公，號梅村，江蘇太倉人，明末清初著名詩人。他於明崇禎四年高中榜眼，曾任翰林院編修；清順治時被迫出仕，官至國子監祭酒。其詩文成就極高，尤以“梅村體”七言歌行影響深遠，與錢謙益、龔鼎孳並稱“江左三大家”。吳偉業亦擅書畫，其《丹青寶筏圖》軸、《南湖春雨圖》軸藏於上海博物館。

£4,000-6,000

LARGE CHINESE BAMBOO CARING OF BOYS ON BUFFALO

QING DYNASTY, 19TH CENTURY

清竹雕童子騎牛大擺件

carved in round with a buffalo standing on all fours with its head looking back to the right, two joyous boys on its back, one holding a twisted rope issuing from halter 26cm high

£300-500

11 Y

LARGE CHINESE HUANGHUALI DOCUMENT BOX AND COVER

LATE MING TO QING DYNASTY, 17TH CENTURY

明末清初黃花梨方盒 of rectangular form, the two short sides with metal swing handles attached to scallop-edged mounts 53.5cm x 38cm x 15cm

Note: Compare to two huanghuali rectangular document boxes with covers, both 18th century, one sold at Bonhams London, 9 Nov 2017, lot 114; the other sold at Christie’s London, 13 May 2011, lot 1103. £2,000-3,000

CHINESE ROOT WOOD RUYI SCEPTRE

JIN NONG MARK, QING DYNASTY

清根雕隨形靈芝如意擺件

刻款：元氣依然太古時／錢唐金農

elongated curved body of the sceptre of naturalistic form complete with ribbed grooves and gnarled twists, with six sprouting twigs arched backwards in the form of a lingzhi, the angled head incised with eleven characters, including ‘Qian Tang Jin Nong’ mark 40.5cm long

Note: Jin Nong (1687–1763) was a painter and calligrapher in the Qing dynasty. A native of Qiantang (modern-day Hangzhou), he was the foremost of the ‘Eight Eccentrics of Yangzhou’. Skilled in poetry, calligraphy, painting, and seal carving, he began painting after age 50 and pioneered the unique ‘lacquer script’. See a comparable rootwood ruyi sceptre of similar form, dated to the Qing dynasty, was offered at Bonhams Hong Kong, 26 May 2013, lot 23 金農（1687-1763）為清代書畫家，錢塘（今杭州）人，為「揚州八怪」之首。他工詩文、善書畫、精篆刻，50歲後始作畫，首創獨特的「漆書」。參考一件相似的樹根雕靈芝如意，定年清代，2013年5月26日於香港邦翰斯上拍，拍品23。

£2,000-3,000

CHINESE HUANGHUALI ‘CHILONG’ SCROLL BOX AND COVER MING TO QING DYNASTY

明至清黃花梨螭龍紋長方卷軸蓋盒

the rectangular cover carved on the top with a pair of archaistic confronting sinuous chi-dragons with one larger than the other, their tails intertwined in between, surrounded by scrolling clouds, the longer sides similarly decorated and shorter with scrolling clouds, the base with two scroll supports in the form of chi-dragons with undulating backs, the base and interior of the cover lacquered red

59.8cm x 16cm x 12.4cm

£5,000-7,000

RARE CHINESE STONE AND SILVER-WIRE INLAID ZITAN BRUSH POT

XUEJU (SUN KEHONG) MARK, MING TO QING DYNASTY

明至清雪居（孫克弘）款紫檀錯銀絲嵌百寶文人雅聚筆筒

of cylindrical form, depicting a scholar walking towards a rock table seated with three other scholars, reverse with a dense and dramatic shanshui landscape embellished with various carved stones, one side inlaid with silver wire with a two-character ‘Xue Ju’ mark within a square panel

11cm high

Provenance: Private English collection

英格蘭私人收藏

Note: Sun Kehong (孫克弘, 1533-1611), style name Yun Zhi (允執), pen name Xue Ju (雪居, Owner of Snow Dwelling), was a native of Songjiang (part of present-day Shanghai) and the son of the Minister of Rites, Sun Cheng’en (孫承恩, 1481-1561). During his lifetime, Sun Kehong was highly regarded as a painter, calligrapher, and book collector.

Compare to a hexagonal zitan ‘prunus’ cup, Ming dynasty, inlaid with Xue Ju mark, in the Palace Museum, Beijing, accession no. xin 新00093187. Also see a zitan tool vase, inlaid with Xue Ju mark, is in the Shanghai Museum. See an inlaid zitan ‘prunus’ box and cover, marked ‘Ke Hong’, exhibited in ‘Elegantly Made: Art for the Chinese Literati’, J.J Lally & Co., 13-27 March 2020, catalogue number 7. 孫克弘（1533–1611），字允執，號雪居，松江人（今上海一帶），為禮部尚書孫承恩（1481–1561）之子。孫克弘生前以畫家、書法家及藏書家著稱，備受推崇。

參一例北京故宮博物院藏，紫檀木福寿禄螭梅纹六方委角杯，落「雪居」款，館藏號「新00093187」。上海博物館亦藏有一件孫克弘铭嵌銀絲篆文紫檀。另參一例孫克弘製紫檀百寶嵌挫銀絲梅紋題詩長方盒，落款「克弘」，2020年3月13-27日展出於紐約藍理捷藝廊：「Elegantly Made: Art for the Chinese Literati」，圖版7，可資比較。

£15,000-20,000

GROUP OF THREE CHINESE SILK EMBROIDERED PANELS

刺繡文官二品錦雞補子、四品文官雲雀補子及龍紋殘片木框（共三件）

comprising: a second-rank civil official’s rank badge of a golden pheasant, a fourth-rank civil officer’s rank badge of a wild goose, and a remnant of a panel depicting dragon, all framed (3) largest: 31.4cm x 32.5cm without frame

Provenance: Private Scottish collection, Edinburgh 蘇格蘭私人收藏，愛丁堡

£300-500

16 ‡

CHINESE AMBER COURT NECKLACE QING DYNASTY, 19TH CENTURY

清琥珀朝珠

composed of one hundred and eight amber beads of even dark tone spaced with three purple-coloured beads, the main tassel adorned with a purple-coloured double-gourd and tear-shaped pendants, the auxiliary tassels similarly decorated amber bead:1.5cm diameter each

Provenance: Private Collection, Hong Kong 香港私人收藏

Note: With a photocopied testing certificate issued by Nanjing Jewellery Research and Testing Centre, testing no. NA23008125 含南京珠寶研究檢測中心驗測證書複本，檢測號NA23008125

£2,000-3,000

CHINESE SILK DAMASK MAN’S INFORMAL ROBE AND A PAIR OF SHOES

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初象牙白地團壽花卉紋常服及男履一雙（共三件）

the robe of ivory colour, decorated with beribboned shou roundels amidst bamboo, lingzhi fungus, and other plants; with a pair of black shoes (3)

widths: robe 168.5cm; shoes 27cm each

Provenance: Private Scottish Collection, Edinburgh; Inherited from the current owner’s grandfather Rev. James Neave (b. 1869), who worked with the Tibetan Pioneer Mission in 1896, then with the China Inland Mission in Chengdu in 1927, where he was a pastor. He served on the North India and then the Chinese border. He later joined the American Bible Mission and was an expert on Tibetan literature.

愛丁堡私人收藏，蘇格蘭；由現任藏家之祖父詹姆斯・尼夫牧師（生於 1869年）傳承而來。尼夫牧師於1896年任職「西藏先鋒宣教團」（Tibetan Pioneer Mission），其後於1927年在成都加入「中國內地會」（China Inland Mission）並擔任牧師。他先在北印度服事，後轉赴中國邊境地區。其後又加入「美國聖經宣教會」（American Bible Mission），並以精通藏文文獻、為藏文學專家而聞名。

£400-600

CHINESE BLUE-GROUND SILK EMBROIDERED ‘DRAGON’ ROBE

QING DYNASTY, 19TH CENTURY

清藍地刺繡龍紋袍

slightly altered from a jifu, decorated with five-clawed dragons chasing flaming pearls surrounded by clouds and flames, all above a band of lishui on the lower border

179.5cm wide across sleeves

Provenance: Private Scottish collection, Edinburgh; acquired in Hong Kong in the 1980s.

蘇格蘭私人收藏，愛丁堡；1980年代購自香港

£800-1,200

LARGE CHINESE SILK EMBRODIERED ‘BIRD’ PANEL INSET SCREEN

QING DYNASTY, 19TH CENTURY

清‘羊城狀元坊仁和作’款象牙白地百鳥朝鳳圖屏嵌螺鈿硬木底座

the panel decorated with various birds, including phoenixes, Mandarin ducks, quails, egrets, magpies, parrots, and others in a dense floral bush, with water pond, lower right embroidered with an eight-character maker’s mark ‘Yangcheng, Zhuangyuan Fang, Renhe Zuo’ (Made by Re He in Zhuangyuanfang, Guangzhou), in a mother-of-pearl inlaid frame inserted onto a similarly decorated stand

74cm x 52cm without frame

£1,500-2,000

A PRIVATE COLLECTION, FROM CAMBRIDGESHIRE (LOTS 20-33)

CHINESE WOODEN LIBATION CUP

QING DYNASTY, 19TH CENTURY

清木雕喜上眉梢角杯仕覆共箱

carved in openwork, supported on a network of gnarled prunus branches with blossoming flowers and buds, perched by birds, with a Japanese tomobako box and a cotton shifuku

6cm wide

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£300-500

GROUP OF THREE CHINESE WOODEN FIGURES 19TH-20TH CENTURY

十九至二十世紀黃楊木雕布袋、漁人及木雕乘槎擺件（共三件）

comprising: a boxwood figure of Budai; a boxwood figure of a joyous male lying with both hands clutching a fish; and a wooden carving of a male figure on a raft (3) largest: 8cm wide

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£300-500

CHINESE CARVED BAMBOO ‘PRUNUS’ WRIST REST QING DYNASTY, DAOGUANG PERIOD, DATED 1823AD

1823年清道光款及年代竹雕梅紋題詩臂擱款識：……道光三年孟秋月 of tile shape, carved and incised with flowering prunus branches underneath poem, dated to the third year of the Daoguang period, corresponding to 1823 27.7cm high

Provenance: Private collection, Cambridgeshire 劍橋私人收藏 £600-800

23

CHINESE HARDSTONE AND MOTHER-OF-PEARL

INLAID HUALI BOX WITH COVER

QING DYNASTY, 19TH CENTURY

清百寶嵌花梨文人雅聚蓋盒

of rectangular form, decorated on top of the cover with three scholars gathering underneath plantain trees surrounding a table appreciating antiques

17.4cm wide x 6.4cm high x 11.4cm deep

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£600-800

GROUP OF THREE CARVED WOOD RUYI

19TH-20TH CENTURY

十九至二十世紀各式木雕如意（共三件）

one in the form of twisted stems rising to the ruyi head with bird, lotus flower, pod, and leaf; the other two in organic form with lingzhi heads, the stems further issuing with lingzhi sprigs (3)

largest: 29.8cm high

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£400-600

CHINESE FAMILLE ROSE BRUSH LICK

LI MINGLIANG MARK, 20TH CENTURY

二十世紀李明亮款粉彩蟈蟈紋筆舔

of circular form with inverted lipped rim, painted to the interior with a cricket perching on branches with flowers and leaves, inscribed to the top right, signed ‘Li Ming Liang’ 9.8cm diameter

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

Note: See a related pair of enamelled ‘cicada’ plaques by Li Mingliang, sold at Sotheby’s London, 5 November 2014, lot 299.

£400-600

GROUP OF THREE CHINESE QINGBAI-GLAZED SCHOLAR’S PIECES

20TH CENTURY OR EARLIER

二十世紀或更早青白釉荷葉型筆舔、龜型香

插（共三件）

comprising: a brush lick modelled in the form of a lotus pond with flowers and leaves enclosing a crab, with two incense holders modelled in the form of tortoises looking upwards (3)

widths: brush washer 19cm; incense holders 6cm each

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£300-500

CHINESE FAMILLE ROSE WRIST REST JUREN TANG MARK, 20TH CENTURY

二十世紀居仁堂製款粉彩花鳥紋臂擱

of scroll form, painted to the top with a pair of birds perching on flowering prunus, lower right inscribed with a four-character ‘Juren Tang zhi’ hall mark in seal form within a square panel 17cm high

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£400-600

TWO CHINESE BLUE AND WHITE SCHOLAR’S ITEMS IN THE MANNER OF WANG BU, LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初王步風格‘願聞吾過之齋’款青花花鳥紋筆筒及圓蓋盒 (共兩件)

one cylindrical brush pot and one seal paste circular box with cover, similarly decorated with a bird perched on a stalk, the bases inscribed with a six-character ‘yuan wen wu guo zhi zhai’ mark (2)

10cm high; 5.5cm wide

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£300-500

PAIR OF CHINESE BLUE AND WHITE ‘DARGON’ SEAL BOXES WITH COVERS

QING DYNASTY, KANGXI MARK, 19TH CENTURY

清康熙款青花夔龍紋圓蓋盒（一對）

each cover painted with a sinuous kui-dragon amongst tendrils, exterior of box further with scrolling tendrils, the base inscribed with a six-character Kangxi mark (2)

8.5cm wide each

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£400-600

£500-800 29

CHINESE RED-GLAZED BRUSH WASHER

QING DYNASTY, 19TH CENTURY

清紅釉鏜鑼洗 of compressed form, exterior and interior applied with a red glaze, the base left white and painted with a double-circle 10.6cm wide

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

TWO CHINESE BLUE AND WHITE ‘DRAGON’ JARS

WANLI AND KANGXI MARKS, QING DYNASTY, 19TH CENTURY

清萬曆款青花雙龍趕珠紋太白尊及康熙款龍鳳紋水丞（共兩件）

one waterpot of beehive form, the exterior painted with two dragons chasing flaming pearls, the base inscribed with a four-character Wanli mark within two square panels; and one jar of bulbous form, painted with dragon and phoenix on the exterior, the base inscribed with a four-character Kangxi mark (2)

widths: 11.5cm and 10cm

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£400-600

CHINESE RED-GLAZED VASE

QING DYNASTY, 19TH CENTURY

清紅釉撇口瓶木座

of compressed globular form with flaring rim, applied to the exterior with a red glaze thinning from the mouth rim, the interior and base left white, with a carved wooden stand

15.3cm high

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£300-500

CHINESE EXPORT SILVER VASE

DA FU MARK, CIRCA 1900

約1900 大福款外銷銀花卉紋花口瓶

of pear form supported on a flaring foot rising to trumpeted and foliated mouth, the body decorated with birds and flowers in pierced cartouches against carved and incised floral ground, the base with an impressed two-character ‘Da Fu’ mark within a panel 16cm high; 271g

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£300-500

METALWARES (LOTS 34-48)

CHINESE EXPORT SILVER BOWL AND TANKARD

LUEN WO MARK, SHANGHAI, CA. 1880-1940, LATE QING DYNASTY TO REPUBLIC PERIOD

清末民初「LW」、「厚祥」錘印款外銷銀透雕雲龍紋碗及「LUENWO」、「SHANGHAI」、「徐義生」錘印款外銷銀龍紋把杯（共兩件） comprising: a reticulated ‘dragon’ bowl, the base marked ‘LW’, possibly referring to Luen Wo and a Chinese ‘Hou Xiang’ mark; and a double-skinned tankard with gilded interior, the base marked ‘LUENWO’, ‘SHANGHAI’ and a Chinese ‘Xu Yisheng’ marks (2)

13.3cm wide; 213g; 7.7cm high; 135g

Provenance: Private Scottish collection, Fife; Inherited from the current owner’s great-grandfather, William Bowie Buyers (1844-1935), who was a marine engineer and shipbuilder in Shanghai.

蘇格蘭私人收藏，法夫郡；現任藏家繼承自其曾祖父威廉・鮑伊・拜爾斯（1844–1935），其曾於上海任職海事工程師與造船商。 £300-500

LARGE CHINESE SILVER JARDINIÈRE

HAN BAO HUA MARK, LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初「漢寶華」錘印款外銷銀花鳥瑞獸紋八方盆 of octagonal form with four narrower sides, carved and incised to the body with various birds, flowers, deer and horse, the base above a pierced coin motif with impressed ‘Han Bao Hua’ mark 18cm wide; 456g

£3,000-5,000 34

CHINESE ARCHAISTIC BRONZE ‘DARGON’ ZHI-FORM VASE

SONG TO MING DYNASTY

宋至明舉父乙款仿古銅鑄夔龍紋觶形瓶共箱

銘文：舉父乙

cast in the archaistic zhi form supported on tall foot with everted rim, each side of the body decorated with a band of two kui dragons against key-fret ground on the upper part, further adorned with a pair of stylised handles, the inner mouth with a three-character inscription reading Ju Fu Yi, with a Japanese tomobako wooden box

26.7cm high; 1839g

Provenance: Private Collection, London;

Formerly in a private Japanese collection (according to the label on the inside of the wooden cover) 倫敦私人收藏；

前日本私人收藏（據木盒蓋內標籤）

Note: Compare to the bronze Ju Fu Yi ‘zhi’ vessel, dated to the Western Zhou dynasty, which would be the prototype of the present example, was sold at Sotheby’s New York, 20 September 2022, lot 15.

與一件西周時期的青銅’舉父乙’觶相比，該器可視為本件之原型，於紐約蘇富比2022年9月20日售出，拍品15。

£5,000-7,000

CHINESE ARCHAISTIC BRONZE VASE

XUANDE MARK, QING DYNASTY, 18TH-19TH CENTURY

清宣德款銅鑄仿古萬字錦及蟬紋瓶

of bottle form, decorated to the widest part with a band of recessed interlocking swastika, underneath the mouth with archaistic cicada motifs, in between with recessed roundels of a six-character Xuande mark

16.8cm high; 491g

£300-500

CHINESE GILT-BRONZE LOBBED

‘CRANE AND PINE TREE’ BOX WITH COVER QIANLONG MARK, LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初乾隆款銅鎏金松鶴圖蓋盒

decorated to the cover’s top with a pair of cranes perching on a gnarling pine tree, sides with panels of cranes in flight with clouds, repeated on the sides of the box, the base of the box cast with a four-character Qianlong mark within a square recessed panel

14cm wide; 1218g

£500-700

RARE PARCEL-GILT BRONZE ‘LINGZHI’ RUYI SCEPTRE

QIANLONG MARK, QING DYNASTY

清乾隆款銅鑄局部鎏金靈芝如意

the ruyi sceptre skilfully cast in the form of a gnarled and knotted branch of lingzhi with a large lingzhi bloom forming the head, partially highlight in gilt, the reverse of the head engraved with a four-character Qianlong mark 42cm wide; 444g

Note: The Southern Song writer Zhao Xigu wrote in his book Dong Tian Qing Lu that ruyi sceptres were originally made of iron and used to point the way and for self-defence. However, by the Qing dynasty, they became associated with Daoist longevity symbolism. It is relatively common to find a ruyi sceptre in jade, cloisonné enamel, and various organic materials, but it is extremely rare to find an example in bronze. A comparable inscribed parcel-gilt bronze ‘lingzhi’ ruyi sceptre, dated to Daoguang period of the Qing dynasty, was sold at Sotheby’s Hong Kong, 5 October 2016, lot 43.

南宋趙希鵠於著作《洞天清錄》指出如意原本以鐵製成，原文：「如意，古人用以指畫嚮往或防不測，煉鐵為之，長二尺有奇」但到了清代，它們已與道教的長壽象徵意義聯繫在一起。以玉、掐絲琺瑯及各類有機材質製作的如意相對常見，但以銅鑄製作的如意則極為罕見。一件可資比較的、帶有銘文的清道光時期局部鎏金銅靈芝如意，於2016年10月5日香港蘇富比售出，拍品43。 £8,000-12,000

RARE CHINESE BRONZE INCENSE BURNER IN THE FORM OF A DUCK STANDING ON TOAD MING DYNASTY, 17TH CENTURY

明銅寶鴨戲金蟾薰爐

cast standing with one leg on a three-legged toad, head turned to the right and beak ajar, the wings with plumage finely rendered and opening up to the vessel, on a bespoke wooden stand 43cm high; 3755g

Provenance: From the estate of the late Peter D. R. Powell (1940-2025); Set up by Peter Powell in Edinburgh in the early 1980s, The Thrie Estaits in Dundas Street was a treasure trove of the eclectic, the beautiful and the quirky. It was hard to find a shop like it, and for nearly forty years, it was the go-to for extraordinary works of art.

Previously in the collection of Leonard Gow (1859–1936). Born in Glasgow, the son of a shipping magnate, Leonard Gow attended Glasgow University in 1884 to spend a year studying Moral Philosophy. He became senior partner in the shipping company Gow, Harrison & Co, director of the Burmah Oil Company and chairman of several other companies. A noted philanthropist, he founded the Leonard Gow Lectureship on Medical Diseases of Infancy and Childhood in 1919. As remembered by the great-grandson of Leonard Gow, the present lot was displayed in the hall at his grandparents’ family home at Hallhill, Renfrewshire during the 1960s and 70s.

彼得．鮑威爾（Peter D. R. Powell, 1940–2025）遺產；由彼得．鮑威爾於1980年代初在愛丁堡創立的The Thrie Estaits，是一座充滿奇趣與美感的骨董店。運營四十年間，它一直是尋覓非凡藝術品的必訪之地。

前倫納德．高（Leonard Gow, 1859–1936）舊藏。高生於格拉斯哥，是一位航運巨擘之子。1884年入讀格拉斯哥大學，研習道德哲學一年。其後成為航運公司Gow, Harrison & Co的首席合夥人，並出任緬甸石油公司董事及多間企業的董事長。作為著名慈善家，他於1919年創立「倫納德．高嬰幼兒疾病醫學講座」。據高氏曾孫回憶，此熏爐曾於 1960至1970年代間陳列於其祖父母位於倫弗魯郡霍爾希爾（Hallhill, Renfrewshire）的家中大廳內。

Note: Bronze incense burner in the form of a goose or duck, either standing one-legged or two, is a relatively common subject matter. The three-legged toad, known as jinchan in Chinese, is a beloved mythical animal believed to beckon wealth, usually depicted with the immortal Liu Hai. However, it is unusual to see a duck standing on a toad. A comparable example, dated to the Ming dynasty, is in the Guanfu Museum, note the similarity of the composition of the duck and toad. According to the museum note, ‘duck’, in Chinese ya, is a homophonic pun for ‘press’ or ‘insistence’, and the toad symbolises wealth. The duck standing sideways on the toad implies a guaranteed unexpected, or sudden gain of wealth. Sold examples of only the duck, Ming dynasty, standing on one leg like the present lot, can be found in auctions, one at Sotheby’s Paris, 16 June 2022, lot 72, the other at Christie’s New York, 29 Jun 2021, lot 99.

£1,000-1,500

CHINESE GILT-BRONZE ‘DRAGON’ BOX AND COVER QIANLONG MARK, QING DYNASTY

清乾隆款

銅鎏金龍紋捧珠蓋盒

decorated to the cover’s top with a sinuous dragon holding a flaming pearls above swirling waves enclosed by a key-fret band, the sides of the cover and the box similarly decorated with two pairs of dragons chasing flaming pearls, the mouth rim of both the cover and box, together with the foot rim, adorned with keyfret band, the base engraved with a six-character Qianlong mark within double circle

12cm wide; 967g

£2,500-3,000

CHINESE STONE-EMBELLISHED GILT BRONZE ELEPHANT QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆款及年代銅鎏金百寶嵌太平有象擺件

cast as a caparisoned elephant standing on all fours, the body detailed with swirls and inlaid with multi-coloured stones, the beast bearing a lotus throne with a dome cover pierced and decorated with dragon, the base carved with a six-character Qianlong mark, further with a six-character ‘Yuanmingyuan disanfen’ (third section of Yuanmingyuan) mark

8cm wide; 251g

Note: Compare to a related gilt-bronze watch with pedestal in the form of an elephant, dated to the 19th century, previously in the Qing Court Collection, now in the National Palace Museum, Taipei, accession no. gu za 故雜004427N.

參一例銅鎏金象錶，象身瓔珞鞍轡飾內填琺瑯，象背上雲龍紋托座環飾珍珠，內置一只圓形小錶，清宮舊藏，現藏臺北故宮博物館，館藏號「故雜004427N」，可資比較。

£8,000-12,000

CHINESE PAINTED ENAMEL ‘FLORAL’ BOWL

QING DYNASTY, 18TH-19TH CENTURY

清銅胎畫琺瑯花卉紋碗

painted around the body with flower heads borne on foliage, against a yellow ground, between a blue ruyi and a pink lappet bands

10.3cm diameter

Provenance: Private collection, London

倫敦私人收藏

£400-600

CHINESE CLOISONNÉ ENAMEL SQUARE-SECTION VASE

MING STYLE AND POSSIBLY OF THE PERIOD 明代風格或到代銅胎掐絲琺瑯花卉紋方瓶

of square form, each side decorated with blossoming four-season flowers borne on gnarled branches, the rim decorated with clusters of purple grapes on a scrolling leafy vine, all against a bright turquoise ground

21cm high; 635g

£4,000-6,000

RARE CHINESE CANTON PAINTED ENAMEL

BRONZE ‘RUYI-CLOUD-HEAD’ BELT BUCKLE

QING DYNASTY, 18TH CENTURY

清廣東畫琺瑯西洋母子圖如意雲頭型銅帶扣

the front surface of the bronze belt buckle finely painted with an elaborately-dressed European lady and a boy, the lady holding a small dog in her right arm, together in front of a table with fruit on plate and lidded tea cup, all against a ground of translucent blue basse-taille enamel

7.7cm wide

Note: A closely comparable rare famille rose Canton enamel oval belt buckle, dated to the mid Qing dynasty, similar in decoration with a European lady and boy against blue basse-taille enamel ground, was sold at Bonhams London, 13 May 2010, lot 399.

參考一件罕見的清代中期廣琺瑯橢圓形帶扣，亦飾有歐洲女子與少年，以藍色透明琺瑯為地，2010年5月13日倫敦邦瀚斯拍出，拍品399

£300-500

CHINESE CLOISONNÉ ENAMEL ‘DRAGON’ WALL VASE

QING DYNASTY, 18TH-19TH CENTURY

清銅胎掐絲琺瑯龍紋壁瓶 of meiping form flanked with two mythical beast mask handles, decorated with a coiling dragon amongst swirling clouds above crashing waves

15.8cm high; 240g

Provenance: Private English collection, England

英格蘭私人收藏

£600-800

PAIR OF CHINESE CLOISONNÉ ENAMEL CRANES

QING DYNASTY, JIAQING PERIOD

清嘉慶銅胎掐絲琺瑯仙鶴立像帶木座（一對）

each standing upright and slightly turned to one side, the beak slightly opened and the beady eyes set under the red-capped crown, the wings in blue and purplish enamel, the legs gilt, on a fitted wooden stand (2)

17.5cm high; 223g each

£600-800

CHINESE PAINTED ENAMEL ‘FLOWER AND LANDSCAPE’ BOWL

QING DYNASTY, 18TH-19TH CENTURY

清銅胎畫琺瑯外纏枝花卉內山水圖碗

painted to the exterior with scrolling flowers against blue ground, centre of interior with a shanshui landscape in roundel enclosed by a narrow key-fret band, followed by a scrolling floral band against yellow ground, the base painted with bats in flight with peaches

12.3cm diameter

£300-500

THE PURE RADIANCE OF DHARMA AND DAO: RELIGIOUS ART OF BUDDHISM AND DAOISM (LOTS 49-71)

Chinese and Tibetan Buddhist and Daoist religious art, developed across centuries, embodies a dynamic continuum of spiritual practice, artistic inheritance, and intercultural exchange. Through sacred imagery and masterful craftsmanship of ritual wares, they materialise systems of belief, ritual, and cosmology through carefully codified forms and symbols.

Their craftsmanship—whether realised through carving, casting, modelling, painting, or embroidering—across materials such as wood, bronze, porcelain, bamboo, stone, paper or textile, gives tangible form to sacred imagery drawn from Buddhist and Daoist visual cultures. The masterfully rendered LOT 54 CHINESE DEHUA FIGURE OF SEATED GUANYIN WITH HE CHAOZONG MARK embodies Avalokiteshvara’s purity in white porcelain with warmth through the tinge of ivory white. LOT 53 LARGE AND FINELY CAST CHINESE BRONZE

FIGURE OF GUANYIN, and LOT 50 CHINESE BRONZE

FIGURE OF A SEATED BODHISATTVA, show a solemn, enduring authority shaped by fire and alloy.

Among all Daoist deities, the Eight Immortals stand apart in their enduring popular appeal. Their vivid personalities and diverse attributes resonate across folklore, theatre, and daily life. LOT 63 LARGE CHINESE APRICOT-GROUND SILK EMBROIDERED 'IMMORTAL' PANEL, LOT 69 CHINESE ENAMELLED

LARGE CHINESE GILT-LACQUERED WOOD FIGURE OF BUDDHA

QING DYNASTY

清木雕朱金漆座佛

shown seated in dhyanasana, hands held in dhyanamudra, wearing a loose long robe with chest exposed, downcast eyes with serene facial expression flanked by pendulous ears and beneath tight curls surrounding the ushnisha, covered overall in gilt 19.5cm high

Provenance: Private British collection, Glasgow

格拉斯哥私人收藏

£800-1,200

'EIGHT DAOIST IMMORTALS' PORCELAIN PLAQUE, LOT 70 CHINESE BISCUIT-ENAMELLED SANCAI 'EIGHT IMMORTALS' LANTERN AND STAND, all celebrate the beloved deities in different forms and materials.

Beyond iconography, the objects employed in worship and devotional practice hold equal significance, embodying the lived experience of belief and occupying an essential place within the collecting of religious art. LOT 61 RARE CHINESE BRONZE 'ELEPHANT' SQUARE CENSER, its unusual form, quality, and marks entail a potential Imperial usage. Its base cast with a six-character Xuande mark in a recessed rectangular panel, enclosed by a pair of sinuous five-clawed dragons chasing flaming pearls amidst clouds in high relief echoes with LOT 59 CHINESE BRONZE HANDLED CENSER’S base, though the quality differs.

LOT 66 RARE CHINESE SUSANCAI TIBETAN-STYLE RITUAL EWER, PENBA HU, celebrates the fusion of historical, cultural and material exchanges between Han and Tibetan court cultures. Its original form can be seen in LOT 64 TIBETAN GILT AND SILVER DAMASCENED IRON EWER WITH COVER.

Together, these works illuminate enduring spiritual values, where material, form, and devotion converge, preserving cultural memory and inspiring continued reverence across time.

CHINESE BRONZE FIGURE OF A SEATED BODHISATTVA MING DYNASTY

明銅鑄菩薩座像

cast seated in dhyanasana on a double lotus throne, with left hand held at chest level and right hand resting on right knee, both in shuni mudra, the upper body with a scarf and heavily bejewelled with elaborate necklace and bracelets, the serene face framed by a five-leaf tiara and elongated earlobes suspending ornate earrings 36cm high; 3780g

Provenance: Private English collection 英格蘭私人收藏

Note: Report of Thermoluminescence Analysis (TL Test), Oxford Authentication Ltd., sample taken from the casting core from under right elbow, no. C208d70, the result corresponding to the stated period. With a copy of the certificate dated 1 November 2021.

£4,000-6,000

TIBETAN GILT-BRONZE FIGURE OF SHAKYAMUNI BUDDHA

MING DYNASTY, 15TH CENTURY

明銅鎏金釋迦摩尼佛座像

cast seated in dhyanasana on a double lotus throne, right hand in the bhumisparsha mudra, wears a robe incised on the hem and pleats neatly before his legs, the serene face with downcast eyes and urna 10cm wide; 320g

£2,000-3,000

CHINESE CELADON-GLAZED BISCUIT

FIGURE OF AN ARHAT

QING DYNASTY

清青釉素胎瘦骨羅漢座像

moulded as an elderly seated monk holding a rosary in his right hand resting on his raised right knee, wearing a loose robe covered in greenish grey glaze

24cm high

£1,200-1,800

LARGE AND FINELY CAST CHINESE BRONZE FIGURE OF GUANYIN MING DYNASTY, 16TH-17TH CENTURY

明大型銅鑄觀音半身像帶木座

the bodhisattva has upper torso decorated with ornate jewellery and wears layered robes with crisply chased floral borders, the serene face with downcast eyes, the hair upswept into a top knot below a five-pointed crown which centred by a seated figure of Amitabha Buddha, with a rectangular wooden base inscribed with Japanese characters 44cm high; 10.3kg

Provenance: Formerly in a private Japanese collection

前日本私人收藏

£5,000-7,000

54 ‡

CHINESE DEHUA FIGURE OF SEATED GUANYIN

HE CHAOZONG MARK, MING DYNASTY, 17TH CENTURY

明何朝宗款德化白釉持卷觀音坐像

seated in royal-ease pose on layered rock podium with perforations, she holds a scroll with left hand rested across right knee, long loose robe well defined with natural flows draped on the seat, a lotus pendant exposed on her chest, her neatly tied chignon decorated with ruyi-head ornament, her face casts down in serene and benevolent expression, a holy-water vase placed on top of raised rock to her left, her back impressed with a three-character ‘He Chao Zong’ mark within a double gourd 26cm high

Provenance: Private Collection, Hong Kong

香港私人收藏

Note: Unlike the kilns at Jingdezhen, porcelain production at Dehua was not under Imperial supervision and reign marks were rarely used. Instead, potters at Dehua sometimes impressed their own seals or workshop marks. Some of these marked pieces have come to enjoy great prestige among collectors, most notably the works of He Chaozong. His Guanyin figures are graceful and serene, often with finely detailed accessories such as the fine ruyi hairpin and elegant figures, such as the present example. Despite his renowned reputation, little is known about the potter, but modern scholarship now considers a late Ming dynasty/17th-century to be most likely for his dates of activity.

Three comparable seated Guanyin figures: one in seated posture on a reed mat and bearing an impressed three-character He Chaozong mark within a double gourd, dated to early 17th century, was sold at Christie’s New York, 22 Mar 2024, lot 956; one in similar posture and seated on high rock podium, with a four-character He Chaozong mark in square, dated to 17th/18th century, was sold at Sotheby’s New York, 21 September 2022, lot 413; and another one of almost identical design but impressed with a three-character ‘He Chao Zong’ mark in a square, was sold at this saleroom, 5 November 2020, lot 132.

與景德鎮的窯廠不同，德化的瓷器生產並不受朝廷監管，也很少使用年款。相反，德化的陶工有時會印上自己的印章或作坊標記。部分帶有這些標記的作品在收藏家中享有極高聲譽，其中以何朝宗的作品最為著名。他所製造的觀音像姿態優雅、神情安詳，並常配有精緻的飾物，如細膩的如意髮簪與雅緻的人物造型，本件作品即為一例。

儘管何朝宗聲名顯赫，後世對這位陶工的生平所知甚少，現代學術研究普遍認為他最活躍的年代應為明末／十七世紀。

三件可比較之觀音坐像：一件為坐於蘆蓆上，並有葫蘆形三字「何朝宗」印款，斷代為十七世紀早期，售於2024年3 月22日紐約佳士得，拍品956；一件相似坐於高聳的岩石台座上，帶有方形四字「何朝宗印」款，斷代為十七／十八世紀，售於2022年9月21日紐約蘇富比，拍品413；另一件幾乎相同但帶有方形四字「何朝宗印」款，2020年11月5 日於本拍場售出，拍品132。

£5,000-7,000

CHINESE BAMBOO CARVING OF ZHONGKUI LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初竹雕鐘馗像

the bearded Demon Queller with fierce bulging eyes, seated on a podium with right knee raised and left arm holding aloft an implement, right hand clutching a demon, a jovial boy seated on his left leg offering up a pomegranate

21cm high

Provenance: Private collection, London; Formerly in the collection of Mr. and Mrs. Gerard Hawthorn

倫敦私人收藏；

前好善簃舊藏

£600-800

CHINESE DEHUA FIGURE OF DAOIST IMMORTAL, CAO GUOJIU

BOJIYUREN MARK, QING DYNASTY

清博及漁人款

德化白瓷道教仙人曹國舅立像

depicting one of the Eight Daoist Immortals Cao Guojiu, standing on a ‘cloud’ podium, wearing long official robes with right hand holding embellished belt, left hand raised holding his usual attribute jade tablets (or known as paiban clapper), the face with long beard below a pair of bulging eyes in wrathful expression, the back impressed with a fourcharacter ‘Bo Ji Yu Ren’ seal mark within a square

35.8cm high

£500-700

CHINESE GILT-LACQUER BRONZE FIGURE OF A DAOIST DEITY

MING DYNASTY

明銅鎏金朱漆道教仙人立像

cast standing with long flowing robes cascading into neat pleats revealing the shoes atop a square plinth, holding a ceremonial hu tablet in front of his chest, the bearded face with serene expression between long ears, all beneath an official’s cap 46cm high; 6.7kg

£4,000-6,000

CHINESE SOAPSTONE FIGURE OF SHOULAO QING DYNASTY, 17TH-18TH CENTURY

清壽山石壽老座像

the God of Longevity seated on a podium with right leg raised, left hand raised holding an attribute, face serene, beard, hair, details on the clothes finely detailed 15.8cm high

£1,000-1,500

CHINESE BRONZE HANDLED CENSER

QING DYNASTY, XUANDE MARK, 18TH-19TH CENTURY

清宣德六字雙龍紋款銅蚰耳簋式爐

of gui form, flanked by two loop handles on the sides, the base with a six-character Xuande mark in a recessed panel, enclosed with a pair of dragons chasing flaming pearls amidst clouds in relief 13.5cm including handles; 670g

£1,000-1,500

LARGE CHINESE BRONZE TRIPOD CENSER WITH COVER LATE MIND TO EARLY QING DYNASTY, 17TH CENTURY

明末清初大型銅鑄獸面紋冲耳三足爐帶獅鈕蓋木座

of compressed globular form raised on three tall mythical beast feet, the body decorated with archaistic masks against key-fret ground, flanked on both sides of shoulder with handles curling upward, the stepped cover with bagua in openwork, further surmounted with a large Buddhist lion as finial, with a bespoke wooden stand

41.5cm high; 7.9kg

£1,500-2,000

RARE CHINESE BRONZE ‘ELEPHANT’ SQUARE CENSER XUANDE AND TAIJIDIAN MARKS, QING DYNASTY 清「太極殿用第拾壹號」內款及雙龍環抱減地陽文「大明宣德年製」底款銅鑄象耳象足方爐

form with sides rising to waisted neck with key-fret band, two sides flanked with elephant-head handles, all raised on four elephant head feet, the base finely cast with a six-character Xuande mark in a recessed rectangular panel, enclosed by a pair of sinuous five-clawed dragons chasing flaming pearls amidst clouds in high relief, one side of the interior with an eight-character ‘Tai Ji Dian Yong, Di Shi Yi Hao’ (for the usage of The Taiji Hall/ Hall of the Supreme Principle, number eleven) 32cm wide including handles; 5089g

Provenance: Private English collection, London; Formerly in a private Scottish collection

倫敦私人收藏；前蘇格蘭私人收藏

Note: This finely cast censer is extremely rare due to its Taiji Hall mark on the interior, the double-dragon enclosed Xuande mark on the base, the elephantheaded feet and handles and square form. All of these indicate that this is an extremely rare piece made in the Imperial Foundry of the Qing dynasty, and possibly during the Qianlong reign for the Daoist temple Taiji Hall.

Taiji Hall (Taijidian, The Hall of the Supreme Principle) could be referred to two locations. One of the most commonly known Taiji Halls is one of the Six Western Palaces in the Inner Court of the Forbidden City. It was first built in the 18th year of the Yongle reign of the Ming dynasty (1420 CE) and originally named “Weiyang Gong” (Weiyang Palace). In the 14th year of the Jiajing reign (1535 CE), it was renamed “Qixiang Gong” (Qixiang Palace); and later, in the Tongzhi reign (1862-1874) of the Qing dynasty, it was given its current name, “Taiji Dian”.

The other lesser-known Taiji Hall is located at Daguangmingdian (The Great Hall of the Brightness) near the Forbidden City, Beijing. Daguangmingdian was a group of Daoist temples for the royal family during the Ming and Qing dynasties. Its construction began in the eleventh month of the 36th year of the Jiajing reign of the Ming dynasty (1557 CE). It was renovated in the 11th year of the Yongzheng reign of the Qing dynasty (1733) and again in the 38th year of the Qianlong reign (1773 CE). Inside was enshrined the Jade Emperor, making it a royal Daoist temple. In addition to the main Daguangmingdian, there were also auxiliary buildings, including the Taichu Hall, Taishi Hall, and Taiji Hall. In the 8th month of the 26th year of the Guangxu reign (1900 CE), the Daguangmingdian and its auxiliary buildings were destroyed in the warfare, therefore no trace of remains today

According to the Complete Archives of the Qing Imperial Household Department’s Workshop (Volume 51, pp. 558–560), between the 55th and 56th years of the Qianlong reign (1790–1791), the Imperial Foundry produced several batches of “bronze five offerings with cloud-and-dragon pattern” in various sizes for the Taiji Hall within the Daguangmingdian. The set of five offerings necessarily includes one censer, and the present example might be one of them.

On the other hand, such finely cast double-dragon enclosed mark on the base only has few comparable examples in the Qing Court collection, and two are in the Palace Museum, Beijing: two circular handled censer with comparable double-dragon enclosed four-character ‘Nei Tan Jiao She (refers to the altar to Heaven and Earth within the inner walls of the Temple of Heaven)’ mark on the base, dated to the Ming dynasty, museum number: Gu 177014; the other cast on the bronze base of a censer, enclosed with a three-character ‘Lu Gu Zhai’ mark, also dated to the Ming dynasty, museum number: Gu 179155.

According to Li Mijia, the curator at the Palace Museum, Beijing: “Among the Xuande bronzes from the Qing Court collection, there are also similar patterns of two dragons encircling the mark on the base of the vessel. However, the depiction of the dragons differs somewhat, and the engraving varies in thickness and refinement.”

The tradition of using elephant heads as the feet of imperial bronze censers can be traced back at least as far as the Xuande reign (1426 -1435). An example of a censer, bearing a six-character Xuande reign mark and dated to the Ming dynasty, on which the elephants balance on their rolled trunks, comparable to the present lot, is in the collection of the National Palace Museum, Taipei, museum number: Gu Tong 002612.

Square-form censers are extremely rare in the Qing Court. In modern religious traditions, square or rectangular censers are normally known as Tiangong

censer, a distinctive type of incense burner traditionally used in the religious veneration of the Jade Emperor, the supreme deity in traditional Daoist cosmology. Such a tradition might be traced back to the Qing dynasty.

A comparable Ming dynasty rectangular censer supported on four lingzhi fungus feet, flanked with two dragon handles and with a Daoist immortal as the finial of the reticulated cover, is in the collection of the National Palace Museum, Taipei, museum number: Gu Tong 002630.

此爐鑄造精美，因其內部太極殿款、雙龍環抱減地陽文四字宣德款、象首足與耳及方形器身，極為罕見。凡此種種皆表明，此為清宮鑄爐處所製之極其稀有之作，且很可能製作於乾隆年間，供奉於太極殿道觀。

太極殿可指兩處地點。最廣為人知的太極殿，是紫禁城內廷西六宮之一。明朝永樂十八年（1420年）建成（1420年），初名「未央宮」，嘉靖十四年（1535年）更名為「啟祥宮」，後於清朝同治年間（1862-1874年）改稱「太極殿」。

另一處較鮮為人知的太極殿，位於北京紫禁城附近的大光明殿。大光明殿是明清兩代皇室的道教建築群。其始建於明嘉靖三十六年（1557年）十一月。清雍正十一年（1733年）重修，乾隆三十八年（1773年）再度重修，內供奉玉皇大帝，是一處皇家道觀。除主殿大光明殿外，還有太初殿、太始殿及太極殿等附屬殿宇。光緒二十六年（1900年）八月，大光明殿及其附屬殿宇毀於戰火，因此今日已無任何遺跡留存。

根據《清宮內務府造辦處檔案總滙》冊51，頁558-560記載，乾隆五十五至五十六年間（1790-1791年），鑄爐處為大光明殿內太極殿承作了數批大小不一的「雲龍花紋黃銅燒古五供」。[i]一套五供中必包含爐一件，而本品或為即為其中之一。

另一方面，此類鑄造精細的雙龍環抱底款，在清宮舊藏中僅有少數例子，其中兩件藏於北京故宮博物院：一件為蚰龍耳圈足爐，底部帶有雙龍環抱減地陽文四字「內壇郊社」底款，定年明代，館藏號：故177014；另一件鑄於銅爐底座上，帶有雙龍環抱三字「侶古齋」款，亦為明代，館藏號：故179155。據北京故宮博物院研究員李米佳所述：「清宮舊藏的宣銅器中，也有在器底款識外圍繞二龍的類似圖案，但龍的形象不太相同，刻劃也粗細有别。」

以象首作為宮廷銅爐足部的傳統，至少可追溯至宣德年間（1426–1435）。一件帶有六字宣德年款、年代為明代的銅爐，其象足立於捲曲的象鼻上，與本拍品相似，現藏於台北國立故宮博物院，館藏號：故銅002612。

方形爐於清宮中極為罕見。於現代宗教傳統中，方形或長方形的爐通常被稱為「天公爐」，這是一種傳統上用於祭拜玉皇大帝（傳統道教宇宙觀中的至高神祇）的特殊香爐。此傳統或可追溯至清朝。一件可比之明代長方形爐，下承四靈芝足，兩側飾雙龍耳，鏤空蓋上以道教仙人為頂飾，現藏於台北國立故宮博物院，館藏號：故銅002630。

£15,000-20,000

CHINESE THANGKA OF EMPORER QIANLONG AS MANJUSRI 乾隆皇帝佛裝像唐卡

distemper on cloth, depicting a lama seated on cushions with elaborate nimbus, holding the wheel of law in his left hand and right in vitarka mudra, flanked by two lotus stems on the sides, the right lotus flower serves as a platform for sutra, before him a low table with six attributes, his face finely rendered in serene expression

73cm x 50.5cm

Note: The present thangka seems to be a less elaborate rendition compared to a thangka of the Qianlong Emperor as Manjusri, the Bodhisattva of Wisdom, made by the Imperial workshop, with face by Giuseppe Castiglione (Lang Shining, 1688–1766), Qing dynasty, Qianlong period, in the Freer Gallery of Art, Smithsonian Institution, accession no. F2000.4. Also see another similar thangka, previously in the Qing Court collection, now in the Palace Museum, Beijing, accession no. gu 故00006485.

此唐卡相較於一幅由清宮造辦處製作之乾隆皇帝佛裝像唐卡，顯得較為簡略。該作品之面部由郎世寧繪製，現藏於史密森尼學會弗利爾美術館，藏品編號「F2000.4」。另可參一幅近似唐卡，清宮舊藏，現藏於北京故宮博物院，館藏號「故00006485」。

£3,000-5,000

LARGE CHINESE APRICOT-GROUND SILK EMBROIDERED ‘IMMORTAL’ PANEL QING DYNASTY

清杏地刺繡道教仙人大屏 finely depicting clusters of Daoist Immortals, including the Eight Immortals, Magu and others, of which two on the ground, six on a pier, two on crashing waves and, one on a raff, and one in flight on a cloud, amongst sprays of blossoming trees, lingzhi fungus, bats, and rockwork, all on an apricot ground, enclosed by floral borders 83cm x 188cm

Provenance: Private collection, London; Formerly in the collection of the University of Arizona Museum of Art, previous accession no. 1972.003.006; Formerly in the collection of Mr. and Mrs. John L. Alden, Tucson, Arizona, gifted to the University of Arizona Museum of Art 倫敦私人收藏；

前亞利桑那大學美術館舊藏，前館藏號1972.003.006；

前亞利桑那州圖森市John L. Alden夫婦收藏，捐贈亞利桑那大學美術館

Note: Compare to a large embroidered silk ‘Daoist Immortal’ hanging, 18th century, sold at Christie’s London, 4 Nov 2014, lot 212. £800-1,200

TIBETAN GILT AND SILVER DAMASCENED IRON EWER WITH COVER QING DYNASTY, 19TH CENTURY

清鐵鋄金銀龍紋帶蓋執壺

decorated to the body with dragon in cartouches, against a ground of interlocking tendrils, with a spout issuing from the mouth of makara, opposite with a dragon-like handle

28cm high; 1477g

£800-1,200

TIBETAN PEN CASE AND MANUSCRIPT COVER QING DYNASTY, 17TH-18TH CENTURY

清鐵鎏金弦紋筆管及木朱金彩繪護經板

the iron pen case gilded, with vertical grooves on the body; the carved wooden manuscript cover painted with lineage of masters on the main panel further with scrolling foliage in gilt, all against a red-lacquer ground (2)

pen case: 36cm high, 280g; manuscript cover: 30cm wide

Note: See a related reticulated gilt-damascened iron pen holder, Tibet, 16th century, previously in the collection of Dr Kenneth Lawley, sold at Sotheby’s London, 8 November 2023, lot 359.

£500-700

RARE CHINESE SUSANCAI TIBETAN-STYLE RITUAL EWER, PENBA HU QING DYNASTY, GUANGXU PERIOD

清光緒素三彩五爪龍紋藏式賁巴壺

the globular body raised on a spreading high pedestal foot, each side of the body decorated with a five-clawed dragon chasing flaming pearl amidst flying bats and stylised ruyi clouds, the knopped neck surmounted by a canopy-shaped mouth with slightly canted sides and rounding inwards to a narrow opening, decorated with bats in clouds, the curved spout issued from the mouth of mythical beast makara 20.5cm high

Provenance: Private collection, London 倫敦私人收藏

Note: Its unusual shape with its broad mouth rim and lack of a handle was inspired by Tibetan metal examples that were made as containers for the storage of Sacred Water and used during Buddhist ceremonies. This piece is entirely decorated in susancai (tri-colour) glaze with exquisite carving, serving as a historical testament to the fusion of Han and Tibetan court cultures.

其獨特造型擁有寬口沿且無把手，靈感源自西藏金屬器——此類器物原為貯存聖水並用於佛教儀式之容器。本器通體飾素三彩釉，輔以精緻雕刻，見證了漢藏宮廷文化之融合。

£5,000-7,000

CHINESE FAMILLE ROSE ‘ARHAT’ PORCELAIN PLAQUE

20TH CENTURY, ATTRIBUTED TO DUAN ZI’AN

二十世紀子安款粉彩羅漢瓷板 of rectangular form, painted with four arhats with a tamed beast in the wild, upper left with inscriptions, signed ‘Zi An’ and a seal

38.2cm x 25.2cm

£1,200-1,800

CHINESE FAMILLE ROSE ‘DAOIST IMMORTALS’ VASE

QING DYNASTY, 19TH CENTURY

清粉彩道教群仙圖瓶 of baluster form, painted around the body with various deities, including the Three Star Gods, Eight Immortals and others under a pine tree

42cm high

£800-1,200

CHINESE ENAMELLED ‘EIGHT DAOIST IMMORTALS’ PORCELAIN PLAQUE

QING DYNASTY, 19TH CENTURY

清礬紅、藍及墨彩八仙圖瓷板帶木座

of rectangular form, enamelled in blue, red and grisaille with the Eight Immortals each on their vahana on land or sea, on a carved wooden stand forming a table screen

37.4cm high without stand

Provenance: Private collection, London

倫敦私人收藏

£800-1,200

CHINESE BISCUIT-ENAMELLED SANCAI

‘EIGHT IMMORTALS’ LANTERN AND STAND QING DYNASTY, 19TH CENTURY

清素三彩八仙紋燈罩及底座

painted to the oviform lantern with the Eight Immortals in a continuous landscape, on a moulded stand

heights: lantern 19cm; stand 14.8cm

Provenance: Private collection, London

倫敦私人收藏

£800-1,200

CHINESE FAMILLE ROSE TRIPOD INCENSE BURNER

QIANLONG MARK, 19TH-20TH CENTURY

十九至二十世紀乾隆款粉彩纏枝蓮托八吉祥紋三足鼎式爐

the body enamelled with the Eight Buddhist Emblems surrounded by lotus blossoms issuing from foliate scrolls beneath a band of ruyi heads below the neck with further lotus scrolls, the pierced upright curved handles on each side with further lotus, the three stoutly rounded cabriole legs each with a lotus bloom in foliate scrolls, one side of the outer mouth rim inscribed with a six-character Qianlong mark in iron-red within a gilded panel

24.3cm high

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

PRIVATE COLLECTION FROM PARIS (LOTS

72-78)

72 ‡

CHINESE FINELY CARVED BAMBOO ‘RED CLIFF’ BRUSH POT

XU YUJI MARK, QING DYNASTY

清徐裕基款竹雕《赤壁夜遊》筆筒

銘款：赤壁夜遊。乙丑午月。裕基。徐（刻章）

of cylindrical form mounted with hardwood on mouth and foot, finely carved with a continuous scene of scholars on raff coming out from a cliff, the shore with pine trees, rugged mountains, bridge, and cloud further occupied by scholars, carved to one side above foot with title ‘Chibi Yeyou’ (Night Boating Along Red Cliff), dated to Yi Chou year (either 1745 or 1805 AD), signed ‘Yu Ji’ 16.5cm high

Provenance: Private collection, Paris

巴黎私人收藏

Note: Xu Yuji, courtesy name Zhaozhou, was a native of Jiading in Shanghai and one of the famous Jiading bamboo carving masters. Active during the Qianlong and Jiaqing period of the Qing Dynasty, he was skilled in semi-cursive and regular script calligraphy, and also master at bamboo carving. The brush pots and paperweights he made featured calligraphy in the style of Zhao Mengfu.

The current brush pot displays spectacular craftsmanship with intricately rendered details and complex composition. Xu Yuji’s bamboo carvings were also featured in the special exhibition ‘Art of Chinese Bamboo Carving,’ held on the occasion of the 60th anniversary of the Shanghai Museum. The exhibition ran from 1st May to 1st July, 2012.

Jiading bamboo carving began in the Zhengde and Jiajing periods of the Ming Dynasty, founded by Zhu He, who integrated calligraphy and painting into bamboo carving and pioneered the deep-carving technique. It flourished during the Kangxi, Yongzheng, and Qianlong period, producing many masters and becoming a tribute item.

徐裕基，字肇周，上海嘉定人，活躍於清乾隆、嘉慶年間，為著名嘉定竹刻名家之一。善行楷，亦善刻竹。所製筆筒、鎮紙，書蹟類趙孟頫。此筆筒工藝非凡，細節刻劃精緻，構圖複雜縝密。徐裕基的竹雕作品亦曾於上海博物館建館60週年特展之「竹鏤文心──竹刻藝術特展」 , 展期為2012年5月1日至7月1日。

嘉定竹刻始於明代正德、嘉靖年間，由朱鶴創立，將書畫藝術融入竹刻，開創深刻技法。清代康雍乾時期進入全盛，名家輩出，成為貢品。

£2,500-3,000

CHINESE CLOISONNÉ ENAMEL ‘TAOTIE’ INCENSE BURNER AND COVER, FANG DING LATE MING TO EARLY QING DYNASTY, 17TH CENTURY

明末清初銅胎掐絲琺瑯饕餮紋方鼎式帶蓋香爐帶木座

of archaistic fang ding form, the rectangular body brightly enamelled in blue, green and red, each facet decorated with a taotie mask divided by a vertical gilt flange below a pair of confronted kui dragons, the gilt mouth rim surmounted by a pair of upright handles similarly decorated and gilt on the sides, the base divided by a black cross with stylised geometric motif around, all raised on four bladed splayed legs of archaistic dragon-form, the lid cast in openwork below a finial in the form of a gilt bronze Buddhist lion playing brocade ball, with a finely carved fitted wooden stand 17.8cm high without stand; 734g

Provenance: Private collection, Paris

巴黎私人收藏

Note: An almost identical cloisonne enamel incense burner in the shape of Ding vessel, of closely comparable design, motif and size (also 17.8cm high) to the present example, dated to late Ming to early Qing dynasty, was in the Qing Court Collection and now in the collection of the National Palace Museum, Taipei, museum number: Zhong Fa 中琺133.

一件幾乎相同的銅胎掐絲琺瑯方鼎式香爐，其在設計、紋飾及尺寸（同樣高17.8公

分）與本品均極為相近，定年為明末清初，原為清宮舊藏，現藏於臺北國立故宮博物院，館藏號: 中琺133。

£7,000-9,000

74 ‡

CHINESE FAMILLE ROSE ‘FLORAL’ CUP

DAOGUANG MARK, 19TH-20TH CENTURY

十九至二十世紀道光款粉彩花卉紋仰鐘杯 finely potted, painted to one side with a floral bush, the reverse with a bat in flight holding a beribboned Buddhist swastika with its mouth, all between ruyi and lappet bands, the base inscribed with a six-character Daoguang mark within a double-circle in underglaze blue

6.1cm diameter

Provenance: Private collection, Paris

巴黎私人收藏

£1,800-2,200

75 ‡

CHINESE LIME-GREEN-GROUND FAMILLE ROSE ‘MEDALLION’ BOWL

DAOGUANG MARK AND POSSIBLY OF THE PERIOD

道光款或到代秋葵綠地開光粉彩花卉碗

painted around the body with four roundels containing floral bushes, all against a green ground decorated with scrolling flowers, interior with five bats in iron-red, the base inscribed with a four-character Daoguang mark in underglaze blue 12cm diameter

Provenance: Private collection, Paris

巴黎私人收藏

Note: A closely comparable lime-green-ground famille-rose ‘medallion’ bowl, seal mark and period of Daoguang, was sold at Sotheby’s Hong Kong, 18 April 2024, lot 639.

£2,500-3,000

CHINESE FAMILLE ROSE ‘MILLEFLEUR’ VASE

QING DYNASTY, JIAQING MARK, 19TH CENTURY

清嘉慶款粉彩百花不落地瓶

potted with ovoid body supported on a tall foot rising to tall cylindrical neck and flaring mouth, painted overall with a dense millefleur motif, the base inscribed with a six-character Jiaqing mark in iron-red enclosed by turquoise enamel, later fitted for electricity

40cm high

Provenance: Private collection, Paris

巴黎私人收藏

Note: Two comparable millefleur vases with six-character Jiaqing mark in iron red: one of lantern form was sold at Christie’s New York, 13 Sep 2019, lot 1134; the other bottle vase was sold at Sotheby’s New York, 12 September 2018, lot 160.

兩件可比較的百花不落地紋瓶，均帶有礬紅六字嘉慶款，一件為燈籠形，於2019 年9月13日在紐約佳士得售出，拍品1134；另一件為天球瓶，於2018年9月12日在紐約蘇富比拍賣會售出，拍品160。

£2,000-3,000

77 ‡

CHINESE FAMILLE ROSE ‘FLOWER’ JARDINIÈRE

QING DYNASTY, JIAQING MARK, 19TH CENTURY

清嘉慶款粉彩花卉紋大花盆

sturdily potted, the bulbous body support on a splayed foot and terminated to an everted rim, the exterior finely painted with various flowers on leafy tendrils against a swirling ground in iron-red, all between ruyi-head and plantain leave bands, the underside of the everted mouth rim decorated with a band of stylised confronting kui-dragons on yellow ground, both the upper side of the mouth rim and foot ring further painted with flowers on yellow ground, both the interior and the base covered in turquoise enamel, the centre of the base inscribed with a six-character Jiaqing mark in iron red

45.8cm diameter

Provenance: Private collection, Paris

巴黎私人收藏

£5,000-7,000

78 ‡

ZHAO SHAO’ANG (CHAO SHAO’ANG, 1905-1998)

PAIR OF CHINESE ‘BIRD AND FLOWER’ PAINTINGS

趙少昂花鳥圖水墨設色紙本立軸（共兩幅）

鈐印：少昂

ink and colour on paper, each depicting a bird perching on branches with blooming flowers, inscribed and dated to gengwu year (either 1930 or 1990) and with one seal of the artist reading Shao‘ang, hanging scroll (2)

133cm x 34cm each

Provenance: Private collection, Paris

巴黎私人收藏

Note: Chao Shao-ang or Zhao Shao’ang was a Chinese artist of the Lingnan School of painting. He is noted for introducing Western art techniques such as shadow and perspective into Chinese painting. He became a disciple of Lingnan painting school master Gao Qifeng at the age of 16. In 1930, he won the gold medal award at the ‘Belgium International Exposition’. The same year, he founded the ‘Lingnan Art Academy’ in Guangzhou. In 1948, he settled in Hong Kong. In 1984, he was made a Member of the Order of the British Empire (MBE) in recognition of his contributions to the arts in Hong Kong. 趙少昂是嶺南畫派的中國藝術家。他以將西方藝術技法（如陰影與透視）引入中國畫而聞名。他16歲拜嶺南畫派大師高奇峰門下。1930年得到「比利時萬國博覽會」金牌獎殊榮，同年於廣州創立「嶺南藝苑」。1948年定居香港,。1984年，他獲頒大英帝國員佐勳章（MBE），以表揚他對香港藝術的貢獻。

£5,000-7,000

PAINTINGS & WORKS ON PAPER (LOTS 79-89)

EDGAR GORER AND J.F. BLACKER

CHINESE PORCELAIN AND HARD STONES, 1911

1911年 Edgar Gorer 及 J.F. Blacker 著《Chinese Porcelain and Hard Stones》二卷全（首刷限量1000組，第736組）

vols. I and II, London: Bernard Quaritch, numerous coloured illustrations on 254 plates, original gilt-decorated cloth, first limited edition, number 736 of 1000 (2)

32.3cm x 28cm x 7cm

Provenance: Private Scottish Collection, Perth; by repute acquired in Australia in 1996 by an avid Asian art collector for over 40 years.

蘇格蘭私人收藏，珀斯郡；由熱衷亞洲藝術收藏逾四十年的藏家於 1996年在澳洲購得。

Note: See another set, no. 558 of 1000, sold at Bonhams San Francisco, 10 December 2012, lot 5385.

£800-1,200

CHINESE SCHOOL, PORTRAIT OF A TANKA BOATWOMAN

QING DYNASTY, 19TH CENTURY

清蜑家女畫像布本油畫木框

oil on canvas, depicting a lady on the shore dressed in blue, wearing a blue headscarf, holding a conical hat, framed 39cm x 31.6cm without frame

Provenance: Private Scottish collection, Fife; inherited from the current owner’s great-grandfather, William Bowie Buyers (18441935), who was a marine engineer and shipbuilder in Shanghai.

蘇格蘭私人收藏，法夫郡；現任藏家繼承自其曾祖父威廉・鮑伊・拜爾斯（1844–1935），其曾於上海任職海事工程師與造船商。

Note: The Tanka people were a distinct ethnic group living along the coast of Macau, Whampoa and Hong Kong. Their name derives from their boats, which were broad rounded sampans with one or more curved roofs. On the shore at Macau, they raised their boats up on stones or wooden stilts to create makeshift dwellings.

Compare to two related portraits of Tanka boatwoman by Youqua, sold at Sotheby’s Hong Kong, 26 May 2021, lot 178. Also see two depictions of Tanka boatwoman by George Chinnery (1774-1852), similarly depicting the boat lady wearing a red headscarf, one sold at Bonhams London, 20 Sep 2022, lot 35, the other sold at Christie’s London, 25 May 2023, lot 14.

£500-700

ARRTIBUTED TO DAI XI (CHINESE, 1801-1860)

CHINESE ALBUM OF TWELVE ‘LANDSCAPE OF GUILIN’ PAINTINGS, QING DYNASTY 清戴熙款《桂林十二景》水墨及水墨設色紙本冊頁十二開款識（詳文不錄）：（其一）……首時道光乙酉（1825年）三月中旬也；（其一）……乙酉首夏朔日，奉雲舫三兄先生大雅清賞即請教正。醇士戴熙作於鄂城客舍

鈐印：戴熙、醇士、醇士書畫、戴、熙

鑑藏印：端方家藏、心蘭鑑賞

夾板封面籤條書：戴文節公桂林十二景。光緒▢九年重裱。端方家傳並題。鈐印：端方家藏

ink and colour on paper, each with inscriptions, two dated to the Daoguang Yi You year, corresponding to 1825, all with seals of the artist and collectors, the cover inscribed ‘Twelve Landscapes of Guilin. Remounted on the [torn] ninth year in the Guangxu period. Inscribed and collected by the Duan Fang Family‘, and a collector’s seal 23.5cm x 25.5cm each painting

Provenance: Formerly in a private French estate collection 前法國私人收藏

Note: Dai Xi (1801–1860), courtesy name Chunshi, sobriquets Luchuang, Yu’an, Chunxi, Jingdong Jushi, and Luchuang Jushi, from Hangzhou, Zhejiang. In 1832 he was made a member of the Hanlin Academy, the prestigious body of scholars patronized by the imperial court. He rose to the position of Vice Minister of the Ministry of War, but later retired due to illness and served as a lecturer at Chongwen Academy. He excelled in poetry and calligraphy and was especially skilled in painting. Regarded as a major master of landscape painting after the ‘Four Wangs’, he was praised as a ‘powerful successor to the Four Wangs’, and his landscape works were highly esteemed in his time.

Compare to an album of eight landscape paintings, ink and colour on paper, made for the poet Zhang Xianghe, in the Metropolitan Museum, object no. 1984.215a–m. Also see two albums painted by Dai Xi, one previously in the collection of Wong Nan-ping’s daughter Karen Wang, sold at Sotheby’s Hong Kong, 8 October 2023, lot 6022; the other previously in Leshantang Collection, sold at same saleroom as before, 9 April 2024, lot 132.

戴熙（1801-1860），字醇士，號鹿床、榆庵、蒓溪、井東居士、鹿床居士，浙江杭州人。道光十壹年進士，十二年翰林。官至兵部侍郎，後引疾歸，主講崇文書院。工詩書，善繪事。四王以後的山水畫大家，被譽為“四王後勁”，其山水畫名重一時。

參一戴熙爲張祥河作，山水圖冊頁八開，藏於美國大都會博物館，館藏號1984.215a–m。再參戴熙作兩圖冊，其一仿古山水冊，兩冊共廿開，王南屏長女王元元舊藏，2023年10月8日售於香港蘇富比，拍品6022 ；另一臨石谷山水圖，十二開冊，樂山堂舊藏，2024年4月9日售於香港蘇富比，拍品132。

£10,000-15,000

CHINESE ALBUM OF EIGHTEEN ‘SHOP SIGN’ PAINTINGS BY ZHOU QILIANG (AC. LATE QING DYNASTY TO REPUBLIC PERIOD)

周其亮招幌圖設色紙本冊頁十二幀 gouache on paper, each page depicting various designs of shop signs with Chinese inscriptions and later in English, including businesses for scroll maker, portrait painter, saddler, wine merchant, whip maker and so on, with two seals of Zhou Qiliang’s workshop 24.2cm x 31.7cm x 0.5cm

Note: Zhou Qiliang was the son of Zhou Peichun, a well-known Chinese export painter of the late Qing dynasty. The works of both father and son were popular folk paintings that sold well overseas at the time. See a similar album painted by Zhou Qiliang, sold at Bonhams Melbourne, 22 March 2015, part lot 362. £2,000-3,000

GROUP OF CHINESE ‘MEMORIAL TO THE THRONE’ DOCUMENTS

QING DYNASTY, GUANGXU PERIOD

清光緒各式奏摺水墨紙本（共十幅）

含：

光緒二十三年二月十四日榮祿等書奏甲兵傷斃人命事宜奏摺

光緒二十三年二月十四日榮祿等書鑲黃旗武舉前鋒吉坤逃走事宜奏摺

光緒二十三年六月三日榮祿等書

炮隊官聯棣呈報炮手放信炮時炮身炸裂震傷身故事宜奏摺

約光緒二十三年十一月十八日榮祿等書頤和園工程褒獎事宜奏摺節選

光緒十七年十一月二十五日額勒和布等書奏摺節選

光緒十八w年十二月二十五日額勒和布等書奏摺節選

許庚身等書奏摺節選

滿文奏摺兩幅

ink on paper, comprising four palace memorials written by Rong Lu (1836-1903) et al., of which two dated to the 14 Feb 23rd year of the Guangxu period, corresponding to 1897, one dated 3 June same year as above, and one partial document, circa 18 Nov same year as above; two partial documents written by Elhebu (1826-1900) et al., of which

one dated to 25 Nov 17th year of the Guangxu period, corresponding to 1891, and one dated 25 December 18th year of the Guangxu period, corresponding to 1892; one partial document written by Xu Gengshen et al., no date; and two sheets of documents in Manchurian, ten sheets in total (10)

largest: 90cm x 26cm

Provenance: Formerly in The Phillip Allen Collection; British Private Collection.

前菲利普艾倫收藏；

英國私人收藏

£1,500-2,000

CHEN YANNING (CHINESE, B. 1945)

SERENITY, 1994

陳衍寧 (1945年生)《清寂- 風調雨順》油彩畫布木框一九九四年作

款識: 陳衍寧 CHEN YAN NING (右下)

oil on canvas, portraying in near photorealistic style two solemnly dressed young Chinese girls standing under a carved stone gate, an enormous bronze bell hanging down from its lintel, and inscribed with four-character idiomatic expression reading ‘Feng Tiao Yu Shun’, meaning ‘wishing for moderate wind and timely rain’, one of the two protagonists contemplating a flower in her hand with tender expression, the other with back turned towards the viewer, signed lower right in Chinese and ’CHEN YAN NING’

160cm x 105cm without frame

Provenance: Private collection, London; acquired from Lyon & Turnbull, 15 June 2015, lot 537; Collection of Susan and Michael Gassaway, Syllavethy Gallery, Aberdeenshire.

Literature: The Works of Chen Yan Ning, Hong Kong, Inspiration Art Press, 1995, pl. 36 and 37 (Illustrated); also published in Christie’s Catalogue, London, 10 June 1996, pp. 162-163.

私人收藏，倫敦；2015年6月15日購自禮昂騰博，拍品537；

前蘇格蘭亞伯丁鎮Syllavethy畫廊廊主蘇珊及邁克爾加薩維（Susan and Michael Gassaway）賢伉儷收藏。

著錄：《The Works of Chen Yan Ning》，香港：Inspiration Art Press，1995年，圖版36及37; 亦刊載於倫敦佳士得，1996年6月10日圖錄，頁162-163.

Note: Dating is according to The Works of Chen Yan Ning, Hong Kong, Inspiration Art Press, 1995, pl. 36 and 37; also mentioned in Christie’s Catalogue, London, 10 June 1996, p. 162;

註：定年「一九九四年作」乃根據《The Works of Chen Yan Ning》，香港：Inspiration Art Press，1995年出版著錄; 亦刊載於倫敦佳士得，1996年6月10日圖錄，頁162。

Susan and Michael Gassaway first met Chen Yanning on a trip to China in 1984, when he was Head of the Guangdong Institute of Fine Art. To reciprocate his hospitality, Susan and Michael invited Yanning to visit the UK to view some of the Old Masters of Western Art that he had only seen in books back in China.

Two years later, Yanning arrived in Aberdeen and together with Susan and Michael, he visited the museums in Scotland and London. Yanning made the museum attendants nervous as he wanted to get up close to study the thickness of paint on his favourite masterpieces. He, Susan and Michael communicated by using sign language and drawing sketches and quickly established a great friendship.

Yanning was invited to visit the US in the Eighties. When he decided to remain there, Susan and Michael offered to support him by finding portrait commissions for him in the UK. With hard work they amassed a fine collection of portrait commissions from a very wide variety of people, from those who scraped together the money because they so admired Yanning’s talent, to dignitaries including the Lord Mayor of London, Richard Branson, all the Body Shop family and the Royal Family including the late Queen, Duke of Edinburgh and Princess Anne.

Once, while organising a sitting for the Duke of Edinburgh in Buckingham Palace, a regimental flag was needed. With the help of some palace attendants, a broomstick was found and they managed to prop it up somehow, hidden by the flag. They were checking the lighting with Susan sitting in the chair to be used by the Duke, when the whole contraption landed on her head! They fixed it safely before the Duke arrived and there was no repeat of the comedy moment! Susan made all the arrangements for portrait sittings, from booking flights, to hotels and sittings, often several in different parts of the UK during one trip. She accompanied Yanning as the driver and Jill-of-all fixer. During the sessions, Susan would chat to the sitters, placing herself in their direct line of vision so that they moved as little as possible and Yanning could concentrate on his work. This is a very exceptional friendship going far beyond a mere business association.

蘇珊及邁克爾·加薩維夫婦在1984年的一次中國之旅中第一次見到陳衍寧。當時陳衍寧是廣東美術學院院長。為了回報其盛情款待，加薩維夫婦邀請陳衍寧到英國，觀賞一些其在中國僅於書本上翻錄過的西方古典油畫。

兩年後，陳衍寧終於抵達蘇格蘭亞伯丁，加薩維夫婦帶他參觀了蘇格蘭和倫敦的博物館及藝廊。陳衍寧在欣賞西方大師畫作時，爲了細究作品油彩的厚度而過於靠近作品的舉動，令博物館工作人員感到緊張。陳衍寧及加薩維夫婦透過手語及素描進行溝通交流，很快就建立了深厚的友誼。

八十年代，陳衍寧受邀訪美。加薩維夫婦在英國幫他尋找肖像畫委託籌資。經過艱苦努力，加薩維夫婦籌集了一系列精美的肖像畫委託作品，其中包括當時倫敦市長理查德布蘭森在內的政要，以及英國Body Shop家族企業成員和王室成員，其中含已故英女王、愛丁堡公爵和安妮公主。

有一次，在白金漢宮為愛丁堡公爵畫肖像時需要一面軍團旗，在宮廷侍從的協助下，他們發現了一根掃帚棍，並設法將其支撐起來，隱藏在旗幟下。當陳衍寧跟蘇珊為了確定光線，而坐在之後公爵要落坐的椅子上時，整個裝置落在了她的頭上！他們在公爵抵達前修復了這裝置，喜劇幸好沒有重演！蘇珊負責陳衍寧肖像畫的所有行政安排，從預訂航班到酒店，通常在一次旅行中會在英國不同地方進行多次繪畫。在繪畫過程中，蘇珊會與畫像者聊天，將自己置於他們視線的直線上，以便他們盡少移動，而陳衍寧則可以專注於其繪畫工作。這非比尋常的友誼，遠遠超越了單純的商業聯繫。 £20,000-30,000

A PRIVATE ENGLISH COLLECTION OF PAINTINGS AND JADE (LOTS 85-91)

Private English collection; formerly in the personal collection of Ho Kwok Keung (1948-2014) or Tien Shu Hsiu (1921-1998), thence by direct descent based in England.

Ho Kwok Keung was the son-in-law of Tien Shu Hsiu 田淑秀（1921–1998）. He was born into an entrepreneurial Hong Kong family, making his way to the UK as a young man, and rapidly gaining a reputation as a restaurateur in the 1980s, as co-owner of two of Scotland's first premium Chinese restaurants specialising in Cantonese banquet cuisine. Maintaining close ties with Hong Kong and mainland China, Kwok Keung visited his homeland often. He collected a variety of 20th-century art, including the paintings of Huang Zhou, to whom he was introduced and became an acquaintance of in the early 1970s. Kwok Keung continued to travel between China and the UK, on one occasion acting in the capacity of Manager of the Scottish Badminton team during their sojourn in China in the late 1980s.

Tien Shu Hsiu was the mother-in-law of Ho Kwok Keung 何國強 (1948-2014). She was born into a high-ranking military family in 1921. Her father Tien Do Jun, himself born during the reign of the Dowager Empress Cixi, after succeeding in Imperial examination, rose through army ranks to prestigious office in the reign of the last Emperor Puyi. The Tien estate was located north of Beijing, and was famed for supplying white peaches to the Imperial court, which were carried by sedan procession to prevent the fruit from bruising. A progressive man, Tien founded a small private school to educate his eldest daughter and her friends, after being informed by officials that she should not be taught scientific subjects due to being female, and despite having a male heir, arranged for Shu Hsiu to inherit his estate under primogeniture. After the loss of her beloved father in a hunting accident, Shu Hsiu, then a very young woman, found herself in full charge of a large estate. During WWII, Shu Hsiu was forced to flee from her estate across China with two small children in tow and only the possessions she could hurriedly pack, after receiving information that her compound was imminently being occupied by invading forces. In later years, she was to sign over the estate to her previous tenant farmer families. An early career at Fudan University, at a time when women in teaching positions were few and far between, was followed by a post at Hong Kong University, teaching Mandarin to British Foreign Office officials in the early 1950s. It was there that Shu Hsiu met her future husband Capt. James Macdonald, eventually leading via translation for Cambridge University, to her becoming a founding lecturer of the Centre for Chinese Studies at the University of Leeds, where she happily remained until retirement in the late 1980s. Shu Hsiu retained close contact with China through numerous visits and her academic friends.

HUANG ZHOU (1925-1997)

CHINESE INK PAINTING OF THREE DONKEYS

黃冑三驢圖水墨紙本立軸

款識：平生歷盡崎嶇路，不向人間訴不平，何國強先生存正，黃冑鈐印：黃冑之印、映齋

ink on paper, with inscriptions, dedicated to Ho Kwok Keung, signed and with two seals of the artist, hanging scroll 49cm x 61cm

Provenance: Private English collection, formerly in the personal collection of Ho Kwok Keung 何國強 (1948-2014), which was gifted by the artist, thence by direct descent based in England.

£3,000-5,000

HUANG ZHOU (1925-1997)

CHINESE INK PAINTING OF SEVEN CHICKS, DATED 1978

黃冑雛雞圖水墨紙本鏡框

款識：黄胄，国强先生存念，一九七八年五月黄胄於北京鈐印：梁黄胄印、黄胄晨课、寿石斋 ink on paper, with inscriptions, dedicated to Kwok Keung, dated to May 1978, signed and with three seals of the artist, framed 33cm x 47cm without frame

Provenance: Private English collection, formerly in the personal collection of Ho Kwok Keung 何國強 (1948-2014), which was gifted by the artist, thence by direct descent based in England. £3,000-5,000

LU ZISHU (1900-1978)

CHINESE INK PAINTING OF LANDSCAPE

盧子樞山水圖水墨設色紙本鏡框

款識：子樞寫

鈐印：盧子樞

ink and colour on paper, signed and with a seal of the artist, framed 49cm x 27cm without frame

87 CAO KUN (1862-1938)

CHINESE INK PAINTING OF CHRYSANTHEMUMS, DATED 1934

曹錕菊圖水墨紙本立軸

款識：惟有寒花晚節香，甲戌年仲冬月上浣，樂壽老人曹錕鈐印：弱冠從戎服勞國家四十年歸田年七十以後怡情翰墨之作、樂壽老人、曹錕之印

ink on paper, with inscriptions, dated to the winter of Jia Xu year, corresponding to 1934, signed and with three seals of the artist, hanging scroll

83cm x 40cm

Provenance: Private English collection, formerly in the personal collection of Tien Shu Hsiu (1921-1998), collected primarily in the first half of the 20th Century, through original inheritance and personal purchase, thence by direct descent based in England.

£400-600

£500-700

YANG JIKUI (1938-)

CHINESE INK PAINTING OF CHERRY BLOSSOMS, DATED 1986

楊吉魁梅竹圖水墨設色紙本立軸

款識：丙寅年秋畫，吉魁

鈐印：吉魁、虎肖形印、水墨醉人、美意延年 ink and colour on paper, with inscriptions, dated to the autumn of Bin Yin year, corresponding to 1986, signed and with four seals of the artist, hanging scroll

78cm x 37cm

£300-500

SUITE OF CHINESE SPINACH-GREEN JADE JEWELLERY

20TH CENTURY

二十世紀銀鎏金纍絲嵌碧玉項鍊、手鍊、耳環、戒指及胸針

（一套六件）

comprising: a necklace inset with five cabochon jade, the bracelet four, earrings, ring and the brooch each with one, clasp of the necklace stamped ‘SILVER’ (6) each jade ca. 1.9cm wide

£400-600

GROUP OF TWENTY-TWO CHINESE JADE, JADIETE AND KINGFISHER ORNAMENTS

20TH CENTURY

二十世紀各式玉、翡翠及點翠首飾（共二十二件）

comprising: three pierced carved white jade inset brooches; two pairs of white jade loop pendants; one white jade hairpin; one spinach jade hairpin; one jade smoking pipe; one white jade ‘happiness’ jade plaque; one pale celadon jade ‘bamboo’ plaque pendant; one jadeite mounted brooch; one locket pendant inset with two circular jadeite plaques; one spinach green jade ring; one jadeite ring; five jadeite beads; and one kingfisher ‘butterfly’ brooch (22) largest: 16cm wide

£500-700

SPRING WAVES OF DESIRE: A STUDY OF CHINESE LOVE AND ‘SUBTLE PLEASURE’ PAINTINGS (LOTS 92-103)

CHINESE ALBUM OF TWELVE ‘SUBTLE PLEASURES’ PAINTINGS

19TH-20TH CENTURY

十九至二十世紀《寬心圖-春冊頁》水墨設色絹本冊頁十二幀

ink and colour on silk, each painted with an amorous couple, mounted on paper, thread-bound as album, the cover titled ‘Kuan Xin Tu (calm-hearted paintings)’ 17.3cm x 17.3cm each painting

£500-700

The expressions of love and desire in ancient China display a blend of subtlety and openness. Through various forms of literature and art, people can not only appreciate the romance and profound affection of love but also catch glimpses of the genuine presence of the body and human desire. This multi-layered expression endows 'love' in Chinese culture with rich and profound connotations.

The pure and idealised expression of affection between lovers can be seen in LOT 95, CHINESE FAMILLE VERTE 'COUPLE AT PLAY' TEA CUP, LOT 102 CHINESE FAMILLE VERTE 'ROMANCE' PLATE and LOT 96 CHINESE BLUE AND WHITE 'ROMANCE OF THE WESTERN CHAMBER' PLATE. The Romance of the Western Chamber, written by Wang Shifu of the Yuan dynasty, is a classic love story between a talented scholar and a beautiful lady, recounting the relationship between Zhang Sheng and Cui Yingying. Centred on the conflict between 'emotion' (qing) and 'propriety' (li), the work challenges the feudal marriage system, emphasises the value of free love, and endows love with legitimacy and idealism.

In contrast, chungongtu, also known as ‘subtle pleasures’ paintings, refers to a form of ancient Chinese painting that depicts scenes of sexual scenes, representing a more concealed yet realistic aspect of traditional art. Its origins can be traced back to the Han dynasty and reached its peak during the Ming and Qing periods.

Such works served multiple social functions. First, they were used as tools for sex education; in the past, they were often included as part of a bride’s dowry in the form of ‘marriage paintings’ to instruct newlyweds, examples including LOT 92 CHINESE ALBUM OF TWELVE 'SUBTLE PLEASURES' PAINTINGS and LOT 94 CHINESE WOODEN TRAVELLING MIRROR CASE WITH 'SUBTLE PLEASURES' REVERSE GLASS PANELS. Second, they served as aids for the 'arts of the bedchamber', often incorporating Daoist theories of dual cultivation of yin and yang, emphasising 'extracting yin to replenish yang' and methods of health preservation. Third, they were believed to have apotropaic functions; people thought such images could prevent fires and ward off spirits, and thus they were sometimes placed in roof beams or book chests, earning the name ‘fire-averting pictures’, as exemplified by LOT 93 TWO CHINESE 'SUBTLE PLEASURES' PITH PAINTINGS.

In terms of artistic expression, chungongtu were not merely vulgar works. Erotic paintings attributed to Ming dynasty artists such as Tang Yin and Qiu Ying feature elegant compositions, vivid figures, and backgrounds often depicting gardens or scholars’ studios. Their refined brushwork and delicate colour palettes reflect the fusion of literati aesthetics with erotic imagination. During the mid-to-late Ming period, the flourishing commercial printing industry led to the widespread reproduction of such images, making them an important branch of printmaking art.

Chungongtu reveals a hidden world of desire within a traditional society governed by ritual propriety. They form a complementary pair with romantic literature such as The Romance of the Western Chamber, representing the spiritual and physical dimensions of love expression respectively. The two are not in opposition but rather achieve a subtle balance within traditional Chinese culture: one that values ethical norms while also acknowledging human emotions and desires. For example, LOT 97 RARE SET OF FOUR SOAPSTONE INLAID 'ROMANCE OF THE WESTERN CHAMBER' 'SUBTLE PLEASURES' PANELS, the surface depicts figures in courtyard pavilions, while concealing an inner layer of erotic scenes. The clever design of this 'concealed spring palace' makes meticulous use of the different colours and textures of soapstone. It is not only a masterpiece of Qing dynasty inlay art but also serves as a perfect microcosm of the Chinese conception of love and erotic imagination.

春漫情潮：中國愛戀秘戲圖考中國古代對戀愛與情慾的表現，呈現出含蓄與開放並存的特點。透過文學與藝術的各種形式，人們既能體會愛情的浪漫與深情，也能窺見身體與慾望的真實存在。這種多層次的表達，使中國文化中的「愛情」具有豐富而深遠的內涵。

對戀人之間情感的純潔與理想性表達，可見於LOT 95 綠彩戀人嬉戲圖杯 , LOT 102 綠彩戀人夜會圖盤及 LOT 96 青花西廂記人物故事盤等。《西廂記》是元代王實甫描寫才子佳人愛情的經典之作，講述張生與崔鶯鶯的戀情發展。作品以「情」與「禮」的衝突為核心，呈現對封建婚姻制度的挑戰，強調自由戀愛的價值，也賦予愛情正當性與理想色彩。

相較之下，春宮圖又稱秘戲圖，為中國古代描繪性愛場景的繪畫形式，是中國古代藝術中較為隱秘卻真實的一面。最早可追溯至漢代，至明清時期達到鼎盛。春宮圖具有多重社會功能。其一為性教育工具，舊時婚禮常以「嫁妝畫」形式將其贈予新娘，啟蒙夫婦之道，如LOT 92《寬心圖-春冊頁》水墨設色絹本及 LOT 94 硬木嵌玻璃畫秘戲圖妝奩。其二為房中術輔助，圖中常結合道家的陰陽雙修理論，強調「採陰補陽」與養生之法。其三為壓勝辟邪，民間相信春宮圖能驅火災、避鬼神，常將其置於房梁或書箱中, 因此又稱避火圖，如LOT 93 通草紙畫秘戲圖。

藝術表現上，春宮圖並非低俗之作。明代畫家唐寅、仇英等人所繪春宮圖，構圖雅緻，人物姿態生動，背景多為園林書齋，線條流暢，色彩淡雅，體現了文人審美與情色想像的結合。此類圖像在明中後期隨著商業出版繁榮而大量刊印，成為版畫藝術的重要分支。

春宮圖揭示了傳統禮教社會中隱秘的欲望世界，與《西廂記》等情愛文學互為表裡，分別代表了精神層面與肉體層面的愛情表達，兩者並非對立，而是在中國傳統文化中形成一種微妙的平衡：既重視倫理規範，又承認人之常情。如LOT 97 壽山石百寶嵌《西廂記》秘戲圖桌屏，表面爲戀人嬉戲於庭院樓閣圖，內套秘戲圖。

其暗春宮巧妙設計，將不同的顔色的壽山石質地利用得細緻入微，不僅為清代鑲嵌藝術的杰作，更為中國愛戀情慾的完美縮影。

TWO CHINESE ‘SUBTLE PLEASURES’ PITH PAINTINGS

QING DYNASTY, 19TH CENTURY

清通草紙畫秘戲圖鏡框（共兩幅）

gouache on pith paper, each painted with figures in amorous pursuit, framed (2) 16cm x 24.3cm each without frame

£300-500

CHINESE WOODEN TRAVELLING MIRROR CASE WITH ‘SUBTLE PLEASURES’ REVERSE GLASS PANELS

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初硬木嵌玻璃畫秘戲圖妝奩

the mirror case opened to reveal folding panels containing six paintings depicting amorous couples 11.8cm x 15.2cm x 6.2cm

Note: See a similar ‘subtle pleasures’ mirror case, dated to Qing dynasty 19th century, was offered at Sotheby’s Hong Kong, 25 May 2022, lot 551. 參見一件類似的紅木秘戲圖鏡盒，定年清代十九世紀於2022年5月25日香港蘇富比上拍，拍品551。

£600-800

CHINESE FAMILLE VERTE ‘COUPLE AT PLAY’ TEA CUP

QING DYNASTY, KANGXI MARK, 19TH CENTURY

清康熙款綠彩戀人嬉戲圖杯

painted to one side with a standing male figure teasing a seated lady by holding a stick suspended with a spider over her head, reverse further painted with rockwork, the base inscribed with a six-character Kangxi mark within a double circle in underglaze blue

7.9cm diameter

£2,000-3,000 96

CHINESE BLUE AND WHITE ‘ROMANCE OF THE WESTERN CHAMBER’ PLATE

YUTANG JIAQI MARK, LATE MING TO EARLY QING DYNASTY

明末清初玉堂佳器款青花西廂記人物故事盤

painted with a scene from the classical novel, the protagonists Zhang Sheng and Cui Yingying’s first meet in a Buddhist monastery, the base inscribed with a fourcharacter ‘Yu tang jia qi’ (fine vessel for the Jade Hall) mark within a double-circle

20.8cm diameter

£2,000-3,000

RARE SET OF FOUR SOAPSTONE INLAID ‘ROMANCE OF THE WESTERN CHAMBER’ ‘SUBTLE PLEASURES’ PANELS

QING DYNASTY, QIANLONG PERIOD

清乾隆壽山石百寶嵌《西廂記》秘戲圖桌屏（一組兩套共四件） assembled as two boxes, each with one panel forming the sliding door opening to reveal another panel beneath, each panel inlaid in coloured soapstone with the couple Zhang Sheng and Cui Yingying, the top panels showing the man romantically courting the lady in a traditional architectural setting, the bottom panels showing them in amorous embrace (4) 24.5cm x 19.5cm each panel without wooden frame

Provenance: Private collection, London; acquired from Lyon & Turnbull London, 8 November 2017, lot 112; Formerly in a private Canadian collection

倫敦私人收藏；購自倫敦禮昂騰博拍賣行（Lyon & Turnbull）， 2017年11月8日，拍品112；

前加拿大私人收藏

Note: The Romance of the Western Chamber, also translated as Story of the Western Wing, is one of the most famous Chinese dramatic works. Written by the Yuan dynasty playwright Wang Shifu and set in the Tang dynasty, it tells the story of the young couple Zhang Sheng and Cui Yingying consummating their love without parental approval and outside of the bond of marriage. Hailed as ‘The Chinese lover’s bible’, the story has inspired Chinese public imagination for centuries, and has been adapted across a broad range of artistic media: from paintings, woodblock prints, porcelain to carvings.

The late Ming Dynasty marked a peak in the development of erotic painting, a trend that continued unabated into the Qing Dynasty, during which the art of “hidden erotic scenes” (an chungong) flourished as never before. This work consists of two pieces overall, with soapstone as the main material: the surface depicts figures in courtyard pavilions, while the interior conceals erotic scenes. This hidden erotic design is ingeniously conceived, with meticulous composition and a rich variety of materials. The different colours and textures are employed with exquisite precision, making it a masterpiece representing the level of Qing Dynasty inlay craftsmanship.

《西廂記》（亦譯為《西廂傳奇》）是中國最著名的戲劇作品之一。該劇由元代劇作家王實甫創作，故事背景設定於唐代，講述了青年張生與崔鶯鶯在未經父母許可且未締結婚約的情況下，私下結合的愛情故事。這部作品被譽為「中國情侶的聖經」，數百年來不斷啟發著華人的想像力，並被改編為多種藝術形式：從繪畫、木版畫、瓷器到雕刻等，不一而足。

明代後期是春宮畫發展的一個頂峰，到清代盛行不衰，暗春宮藝術也由此空前繁榮起來。這件作品整套分為兩件，以壽山石為材：表面爲庭院樓閣人物圖，內套春宮。此暗春宮設計巧妙，構圖細緻，各色材質，種類豐富，將其不同的顔色質地利用得細緻入微，堪稱代表了清代鑲嵌工藝水準的一件杰作。

£10,000-15,000

CHINESE QINGBAI-GLAZED AND BISCUIT ‘SUBTLE PLEASURES’ GROUP

YUAN DYNASTY OR LATER

元或以後青白釉瓷塑秘戲擺件

moulded with an amorous couple lying on a rectangular podium covered in a pale blue glaze

8cm wide

£800-1,200

TWO CHINESE FAMILLE ROSE ‘FRUIT’ EROTIC SCULPTURES

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初粉彩桃及佛手型盒內嵌春宮圖瓷塑（共兩件）

one realistically moulded as a peach, the other a Buddha’s finger citrus, hinged opening to the box each with a pair of moulded amorous couple (2) widths: 6.8cm and 5.4cm

£500-700

100

LARGE CHINESE GRISAILLE AND IRON-RED DECORATED ‘ROMANTIC’ ROULEAU VASE

QING DYNASTY, 19TH CENTURY

清礬紅墨彩人物圖大棒槌瓶

painted to one side with a seated lady lying on a table with a chess game, a man standing and grinning before her, the reverse with another lady lying on a table, a boy assistant carrying a tray with two cups approaching, the neck further decorated with figures

64.2cm high

Provenance: Private collection, London

倫敦私人收藏

£400-600

101

LARGE CHINESE UNDERGLAZE

BLUE AND IRON-RED-DECORATED ‘SUBTLE PLEASURES’ VASE

QING DYNASTY

清青花礬紅彩秘戲圖大瓶

of pear form with wide, tall and slightly everted cylindrical neck, painted to the body with two pairs of amorous couples in a garden, the base inscribed with a ‘zhong’ character in ink

46cm high

£1,200-1,800

102

CHINESE FAMILLE VERTE ‘ROMANCE’ PLATE

QING DYNASTY, SHUNZHI PERIOD, 17TH CENTURY

清順治綠彩戀人夜會圖盤

painted with a narrative female figure meeting a male figure in a garden beside a pavilion at night under full moon

23.6cm diameter

£600-800

103

CHINESE FAMILLE ROSE ‘SUBTLE PLEASURES’ HANDLED VASE

QING DYNASTY, TONGZHI MARK AND OF THE PERIOD

清同治款及年代粉彩秘戲圖盤口雙耳瓶 of baluster form with wide mouth, painted with three couples engaged in various amorous pursuits, the neck flanked with tree-branch-form handles, the base with a six-character Tongzhi mark within two panels in iron-red 24cm high

£600-800

SNUFF BOTTLES (LOTS

104-120)

104

CHINESE FAMILLE ROSE ‘SCHOLAR’ SNUFF BOTTLE

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩夜讀圖鼻煙壺

of flattened oval form, painted to one side with a scholar reading at night on a pagoda, a boy outside under a tree, reverse with a bamboo and tree with rockwork, further with a poem, the base inscribed with a four-character Daoguang mark in iron-red 6cm high

£1,500-2,000

106

CHINESE FAMILLE VERTE ‘CRICKET’ SNUFF BOTTLE

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代綠彩蟈蟈紋鼻煙壺

of flattened globular form, painted on one side a pair of crickets on a bok choy, reverse further with one more and a frog, the base inscribed with a four-character Daoguang mark in iron-red 5.5cm high

£300-500

105

CHINESE FAMILLE ROSE ‘MOTHER AND SON’ INSCRIBED SNUFF BOTTLE

QIU KUNRU MARK, LATE QING DYNASTY TO PREPUBLIC

PERIOD, 19TH-20TH CENTURY

清末民初邱坤如款粉彩教子圖鼻煙壺 of flattened form, one side painted with a lady and two boys, reverse inscribed with poem and signed ‘Qiu Kunru’, with a translucent stopper 6cm high without stopper

£500-700

108

CHINESE FAMILLE ROSE ‘LANDSCAPE’ SNUFF BOTTLE

QING DYNASTY, JINGYUAN TANG ZHI MARK, 19TH CENTURY

清靜遠堂製款粉彩山水紋鼻煙壺

of flattened oval form, painted with a continuous shanshui landscape on both sides, the base inscribed with a four-character ‘Jing Yuan Tang Zhi’ mark in iron-red

6.5cm high without stopper

Provenance: Private collection, Newcastle; acquired from Bonhams Edinburgh, 9 – 19 June 2025, lot 81 (part lot)

紐卡斯爾私人收藏；購自愛丁堡邦瀚斯，2025年6月9日至 19日，部分拍品81

£500-700

107

CHINESE FAMILLE ROSE ‘FIGURAL’ SNUFF BOTTLE

QING DYNASTY, 19TH CENTURY

清粉彩人物故事紋鼻煙壺 of cylindrical form, with a warrior on horse behind two figures walking and pushing a cart leisurely 8.4cm high

Provenance: Private collection, Newcastle; acquired from Bonhams Edinburgh, 9 – 19 June 2025, lot 81 (part lot)

紐卡斯爾私人收藏；購自愛丁堡邦瀚斯，2025年6月9日至19日，部分拍品81

£400-600

109

CHINESE LIME-GREEN-ENAMELLED AND MOULDED ‘DRAGON AND PHOENIX’ SNUFF BOTTLE

QING DYNASTY, 19TH CENTURY

清檸檬綠釉浮雕龍鳳紋鼻煙壺

of flattened globular form decorated with dragon and phoenix amongst clouds on both sides on raised roundels

5.8cm high

£300-500

110

CHINESE FAMILLE ROSE ‘MAGPIE AND PRUNUS’

SNUFF BOTTLE

XIQINGTANG ZHI MARK, REPUBLIC PERIOD OR EARLIER

民國或更早錫慶堂製款粉彩喜上眉梢鼻煙壺

of cylindrical form, painted with magpies perched on a flowering prunus issuing from rockwork, the base inscribed with a four-character ‘Xi Qing Tang Zhi’ mark in iron red

9.8cm high

Provenance: Private English collection, England

英格蘭私人收藏

£800-1,200

112

CHINESE YIXING STONEWARE SLIP-DECORATED

SNUFF BOTTLE

QING DYNASTY, QIANLONG MARK, 19TH CENTURY

清乾隆款宜興紫砂堆料竹蘭紋鼻煙壺

of flattened globular form, one side decorated with bamboo, the reverse with orchid, the base with a two-character Qianlong mark, with a brown stone stopper

height: 5.2cm without stopper

£300-500

111

CHINESE ENAMELLED WHITE GLASS ‘LANDSCAPE’ SNUFF BOTTLE

QIANLONG MARK, 19TH-20TH CENTURY

十九至二十世紀乾隆款涅白料胎畫琺瑯山水圖鼻煙壺 of flattened pear form, painted on both sides with a shanshui landscape, the base inscribed with a four-character Qianlong mark in blue enamel, with a red stopper height: 5.4cm without stopper

£300-500

113

CHINESE FAMILLE ROSE ‘FIGURAL’ DOUBLE SNUFF BOTTLE

QING DYNASTY, 19TH CENTURY

清玉、玩款粉彩人物紋雙聯鼻煙壺 of conjoined cylindrical form, each body painted with a pair of narrative figures, one base inscribed ‘Yu’, the other ‘Wan’ in iron-red, with red and burnt orange stoppers

5cm high without stopper

£600-800

114

GROUP OF THREE CHINESE FAMILLE ROSE SNUFF BOTTLES

QIANLONG AND MOTIF MARKS, QING DYNASTY, 19TH CENTURY

清乾隆款粉彩浮雕十八羅漢及花押款仕女紋鼻煙壺（共三件）

comprising: two moulded ‘Arhat’ snuff bottles, both bases inscribed with a four-character Qianlong mark in iron red; and one snuff bottle of cylindrical form, painted to one side with two ladies, the base painted with a leaf-form motif mark in iron red (3) heights: 7.8cm to 7.5cm without stopper

£500-700

115

TWO CHINESE SNUFF BOTTLES

QING DYNASTY, ONE WITH QIANLONG MARK

清乾隆款粉彩花卉御題詩及銅胎畫琺瑯夔鳳紋鼻煙

壺（共兩件）

comprising: a famille rose bottle of flattened and rounded rectangular form, painted to one side with floral bush and reverse inscribed with an Imperial Poem, the base inscribed with a four-character Qianlong mark in iron-red; and a painted enamel bottle of oval form, decorated to both sides with a sinuous kui-phoenix against blue ground with black tendrils (2)

heights: 7.7cm and 7.2cm

£1,500-2,000

CHINESE PAINTED ENAMEL ‘EUROPEAN SUBJECT’

SNUFF BOTTLE

QIANLONG MARK AND POSSIBLY OF THE PERIOD

乾隆款或到代銅胎畫琺琅開光西洋人物圖鋪首鼻煙壺 of bulbous form, painted on both sides with European figures reserved in cartouches reserved on yellow ground decorated with scrolling tendrils, set to both sides with mythical beast masks holding loose rings as handles, the base inscribed with a four-character Qianlong mark in blue enamel, with a gilt bronze stopper

heights: 3.5cm without stopper

£1,000-1,500

117

GROUP OF THREE CHINESE AGATE SNUFF BOTTLES

QING DYNASTY, 18TH-19TH CENTURY

清瑪瑙雕福祿雙全、人物及瑞獸紋鼻煙壺帶木座（共三件）

comprising: all of compressed oval form, one cleverly carved with a deer with bat, one depicting a scholar relaxing, and one with auspicious animals with rockwork, all with red stoppers and wooden stands (3)

heights: 6.5cm to 5.3cm without stopper

£800-1,200

118

GROUP OF THREE CHINESE AGATE SNUFF BOTTLES

QING DYNASTY, 18TH-19TH CENTURY

清瑪瑙巧雕拴馬紋、飛鳥栖石圖及素面雙連鼻煙壺帶木座（共三件）

comprising: two bottles of compressed form, both cleverly carved, one depicting a tethered horse, with a translucent red stopper, the other a silhouette agate ‘bird on rock’ snuff bottle, with a red stopper; and one bottle of conjoined cylindrical form, with two green stoppers, all with wooden stands (3)

heights: 6cm to 4.5cm without stopper

£800-1,200

119

CHINESE WHITE JADE WITH RUSSET SKIN SNUFF BOTTLE

QING DYNASTY, 19TH CENTURY

清白玉帶皮鼻烟壺

of plain irregular pebble form, the mottled white stone with russet inclusion, red stopper

6.5cm high without stopper

£800-1,200

120

GROUP OF FIVE CHINESE JADE, JADEITE, AGATE AND ROCK

CRYSTAL PIECES

果核雕串珠帶玉及翡翠珮、翡翠手鐲、白玉雕瑞獸把件、瑪瑙雕瑞獸鈕章及水晶雕夔龍鼻菸壺（共五件）

comprising: a carved nut necklace suspended at one end with a jade ingot-shaped bead and an agate dzi bead, further suspended on a loose jade loop ring with a carved jadeite pendant; a translucent jadeite bangle; a white jade ‘mythical beasts’ group; an agate seal with mythical beast as finial; and a rock crystal ‘archaistic kui-dragon’ snuff bottle, red stopper (5) jadeite pendant on necklace: 7cm high

£500-700

A COLLECTION FROM HOMER LING (LOTS

121-124)

Homer Ling was born in Fuzhou into one of the earliest Christian families in Macau or on Gulangyu (Gulangsu). In September 1914, after finishing university in Shanghai, Homer went to the United States to study, majoring in mechanical engineering. He earned bachelor’s and master’s degrees from Harvard University and the Massachusetts Institute of Technology. Homer was the first Chinese to be admitted to the Harvard Glee Club. He also co-founded Amoy Canning. In 1921, Homer was appointed as Chief Engineer to build the first main water supply system in the southeast coastal areas of China.

林全誠（1891–1972）舊藏，後家族遞藏，現藏於英國蘇格蘭愛丁堡。該收藏主要於二十世紀初匯聚而成。

林全誠生於福州，家族為澳門鼓浪嶼最早期的基督徒家族之一。1914年9月，林全誠於上海完成大學學業後赴美深造，主修機械工程，並先後取得哈佛大學及麻省理工學院（MIT）之學士與碩士學位。林全誠亦為首位獲准加入哈佛合唱團（Harvard Glee Club）之華人，亦是「淘化大同食品有限公司（Amoy Canning）」早期創辦人之一。1921年，林全誠受任為總工程師，主持興建中國東南沿海地區首座主要自來水供應系統。

121

LARGE CHINESE JADEITE ‘LUDUAN’ INCENSE BURNER AND COVER 20TH CENTURY

二十世紀翡翠雕甪端大熏香爐帶木座及錦盒

the cover caved as the mythical beast’s head, with backward curving horn and mouth agape to reveal curved fangs, the hollow body supported on four clawed feet, the sides with archaistic key fret and scrolls, with a lion-mask holding a loop applied at the chest, the rear with an upright bushy tail, the stone with some veining and darker shades of green, on a bespoke hardwood wood stand and fitted box 21.4cm high

Provenance: From the collection of Homer Ling (林全誠, 1891-1972), thence by direct descent, based in Edinburgh, Scotland. The collection was amassed in the early 20th century. £600-800

122

CHINESE GREEN AND BROWN JADEITE ‘POMEGRANATE’ BRUSH WASHER

LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初三色翡翠雕金蟾石榴筆洗帶木座

carved with a slightly flattened pomegranate borne on foliage, resting on a large leaf, with a small three-legged frog on one side of the fruit near the opening on top, the stone with streaks of apple-green, brown, and with a touch of lavender colours, on a bespoke hardwood stand

13.2cm wide

Provenance: From the collection of Homer Ling (林全誠, 1891-1972), thence by direct descent, based in Edinburgh, Scotland. The collection was amassed in the early 20th century.

£600-800

123

GROUP OF FOUR CHINESE JADEITE JEWELLERY

20TH CENTURY

二十世紀翡翠鑲金耳環一對、鑲金及鑲銀戒指兩枚（共四件）

comprising: a pair of loop earrings, mounted in gold and stamped ‘YH, 18K’ and an illegible Chinese mark; a ring, possibly made up of two loops of jadeite, mounted in gold and stamped ‘14C 58’; and a ring set with a cabochon jadeite, mounted in white metal stamped ‘Da Bao?’ (大寶?) and ‘Shen’ (申) in Chinese (4) the cabochon jadiete on ring: 2.1cm wide

Provenance: From the collection of Homer Ling (林全誠, 1891-1972), thence by direct descent, based in Edinburgh, Scotland. The collection was amassed in the early 20th century.

£300-500

CHINESE CELADON WITH RUSSET INCLUSIONS JADE CONG

20TH CENTURY OR EARLIER

二十世紀或更早青玉帶沁琮帶錦座及木盒

刻款：「數年沉瓦礫，今日出泥塗。嘉靖三十一年壬子五月二日。三橋文彭銘並刻。阮氏家藏」

worked as a plain cylindrical tube within a square form, one side carved with a poem, dated to the 31st year of the Jiajing period, Ren Zi year, corresponding to 1552AD, signed Wen Peng (1498-1573), to the right side of the former at the left margin further carved ‘Ruan Shi Jia Cang’ (Ruan’s family collection), on a brocade stand, in a fitted box

17cm high

Provenance: From the collection of Homer Ling (林全誠, 1891-1972), thence by direct descent, based in Edinburgh, Scotland. The collection was amassed in the early 20th century.

£3,000-5,000

126

CHINESE BONE CARVING OF SWORD GUARD WARRING STATES PERIOD

戰國骨雕玉璏帶皮盒 the domed top with grooves and raised ribs, the bone of honey colour with russet and brown inclusions, with a leather box 5.7cm wide

Provenance: Private Collection, London; formerly in a French Collection 倫敦私人收藏；前法國私人收藏

£300-500

JADE & HARDSTONE (LOTS 125-162)

125

CHINESE PALE CELADON JADE HANDLE

SHANG DYNASTY OR LATER

商或以後青白玉柄形器 of rectangular form with one tapering side, the opposite with waisted neck and two raised bow strings

6.7cm high

Note: The purpose of jade handles such as the present lot is unclear. Some were shaped into a blade, probably used as carving tools; some were inscribed, probably served as ritual objects; some served as lingpai or ancestral insignia; and some evolved into pure ornament with holes, and covered with carved patterns.

Compare to three celadon jade handles, mid Shang dynasty - Western Zhou dynasty or later, previously in the Xianquxuan Collection, sold at Sotheby’s Hong Kong, 5 December 2023, lot 725. Also see a pale celadon jade ‘cicada’ handle, early - mid Shang dynasty, previously in the Cissy and Robert Tang Collection, sold at Sotheby’s Hong Kong, 8 April 2023, lot 3789.

£800-1,200

127

CHINESE AGATE TRIPOD CENSER

19TH-20TH CENTURY

十九至二十世紀瑪瑙弦紋橋耳爐 of compressed globular form supported on three conical feet, decorated with three raised ribs, with everted loop handles 10cm wide

Note: Compare to a related agate ding-form tripod censer, Qing dynasty, sold at Sotheby’s Hong Kong, 26 January 2022, lot 2014.

£300-500

LARGE CHINESE MOTTLED GREEN WITH RUSSET INCLUSSIONS JADE DISC, BI NEOLITHIC PERIOD

新石器時代青玉帶沁璧

the thick disc has a central aperture drilled from both sides, the inner walls with remains of pronounced cutting ridges, the stone of dark mottled green colour with some buff and red inclusions on both sides

22.5cm diameter

Provenance: Private English collection, England; acquired more than 30 years ago (by repute)

英格蘭私人收藏，至少30年以前購藏 (據傳)

Note: See a comparable jade bi disc of variegated brownish yellow colour with veins, dated to the Neolithic Period, used to belong to Sir Joseph Hotung, is now in the collection of British Museum, registration number: 2022,3034.43. Another comparable jade bi disc was sold at Christie’s New York, 24 Sep 2021, lot 702.

參一件新石器時代玉璧，何東爵士舊藏，現藏於大英博物館，館藏號2022,3034.43。另有一件可資比較的玉璧，2021年9月24日售於紐約佳士得，拍品號702。

£4,000-6,000

129

CHINESE WHITE JADE WITH RUSSET SKIN CARING OF A TIGER JIN TO YUAN DYNASTY

金至元白玉帶沁雕瑞虎

carved in round from a pebble as a recumbent tiger, with two front legs tucked underneath its large head, the stone of white tone with russet skin and dark speckled inclusions

3cm wide

£800-1,200

130

GROUP OF SIX CHINESE JADE CARVINGS

QING DYNASTY AND EARLIER

清或更早青玉帶沁玉管珠、青玉帶沁馬首短劍柄、青玉帶沁雕螭虎方形玉珮、青玉帶沁雕獸面紋及谷紋勒子及青白玉帶沁雕谷紋圓形珮（共六件）

comprising: a jade bead of bulging tubular form, the stone with reddish black russet inclusions; a horse-head dagger hilt, the stone with black and cloudy streaks of inclusions; a rectangular ‘chi-tiger’ pendant; a ‘mythical beast mask’ tubular pendant; a tubular pendant with bosses; and a circular pendant with bosses (6)

largest: 10.3cm high

£500-700

LARGE CHINESE GREEN JADE CONG NEOLITHIC PERIOD OR LATER

新石器時代或更晚青玉琮 of conventional form, carved as cylindrical tube within a square form, steadily diminishing from top to bottom, the sides subdivided into seven sections marked by horizontal division, each of the seven sections presents a face at each of the four corners, in this instance, ridges represent both the headbands and the nose clearly, while the concentric circles symbolise the eyes, the jade of dark green colour, showing areas of yellow and brown veining with some crystalline inclusions

18.1cm high

Provenance: Private English collection, England; acquired more than 30 years ago (by repute)

英格蘭私人收藏, 至少30年以前購藏 (據傳)

£16,000-18,000

RARE CHINESE CALCIFIED CELADON JADE FIGURE OF A STANDING ROBED LADY EASTERN HAN DYNASTY

東漢青玉帶沁雕仕女

the standing figure slightly leaning forward, wears an all-over enveloping robe of quiet elegance, with her hands held together and extended in front of her with the long sleeves folded over, her hair pulled up at the centre into a coiled bun, the stone in fractured grey-green colour with black flecking patches and calcified white tone

7.6cm high

Provenance: Private collection; acquired from Sotheby’s Hong Kong, 27 November 2020, lot 547 (part lot); Formerly in the Peony Collection

私人收藏；購自香港蘇富比，2020年11月27日，拍品547（其一）；前牡丹堂收藏

Publication: Angus Forsyth and Brian McElney, Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 155 出版:

Angus Forsyth 及 Brian McElney，《Jades from China》，東亞藝術博物館，

巴斯，1994年，圖版155

Note: Exceptionally rare as jade figural carving is, it does have precedents. The early jade-carving traditions of the Shang (c. 16th–11th century BCE) and Zhou (c. 1046–771 BCE) dynasties—whose works were usually modelled after bronze or ceramic prototypes—each yielded rare examples of threedimensional figural pieces. Compare a Shang dynasty kneeling figure in the Harvard Art Museums, Cambridge, USA, accession no. 1943.50.317, also published in Max Loehr and Louisa G. Fitzgerald Huber, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, Cambridge, 1975, cat. no. 121. A famous Eastern Zhou figure of a jade kneeling man adorned with a patterned coat, also from the Winthrop Collection, ibid., cat. no. 408.

Han Dynasty jade figure carving, however, developed fully three-dimensional and lifelike sculpture in the round, just like the present piece. Compare with a jade dancer excavated from the tomb of the King of Nanyue (175–124 BCE), now in the Museum of the Western Han Mausoleum of King of Nanyue, Guangzhou. It was exhibited at The Fitzwilliam Museum, University of Cambridge, UK, from 5 May to 11 November 2012, and published in James C. S. Lin, The Search for Immortality: Tomb Treasures of Han China, Yale University Press, New Haven, 2012, catalogue no. 149, pp. 271-2.

Also see a jade kneeling figure excavated from the Mancheng tomb site, Hebei, published in Wu Hung, “The Prince of Jade Revisited: The Material Symbolism of Jade as Observed in Mancheng Tombs,” in Colloquies on Art & Archaeology in Asia: Chinese Jades, no. 18, Percival David Foundation of Chinese Art, London, 1997, pl. 17, p. 165.[1] Mancheng tombs were built in

the late second century BC for Prince Liu Sheng of the Zhongshang principality (d. 113 BC). Carved jades were placed in the space between the two innermost coffins of Liu Sheng, including a large bi with two dragons and a jade figure. The jade figure, representing a gentleman seated in a formal posture, with arms resting on a low stand, with an inscription on the bottom, identifies the figure as an immortal, called ‘gu yu ren’ or ‘Jade gentleman of antiquity’. According to Wu Hung, “The placement of this figure resembles that of the Mawangdui portrait. But instead of portraying Liu Sheng’s physical and hence temporary appearance, this jade figure reconfirms his newly gained eternity”.

For further related examples, see a small Western Han kneeling figure on a podium, in the Harvard Art Museums, Cambridge, USA, accession no. 1943.50.331. For a closely related example from private hands, see a jade figure of a male dancer, Eastern Han dynasty, formerly in the Sze Yuan Tang Collection, sold at Bonhams Hong Kong, 5 April 2016, lot 35.

玉雕人物雖極為罕見，卻並非沒有先例。商（約公元前16至11世紀）與周（約公元前1046至771年）兩朝早期的玉雕傳統其作品通常模仿青銅或陶器原型各自產生了少數立體人物玉雕的珍稀實例。比較美國劍橋哈佛藝術博物館藏一件商代玉跪人, 藏品編號：1943.50.317，亦出版於羅樾與 Louisa G. Fitzgerald Huber，《Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University》，劍橋，1975年，圖版 121。一件著名的東周玉跪人，身著紋飾外衣，亦出自同錄 Winthrop收藏，同上著錄，圖版408。

漢代的人形玉雕工藝，卻發展出完全立體且逼真的圓雕，正如本件作品。比較南越王墓出土圓雕玉舞人，現藏於廣州南越王博物院，曾於2012年5月5日至11月 11日在英國劍橋大學菲茨威廉博物館展出，並收錄於James C. S. Lin所著《The Search for Immortality: Tomb Treasures of Han China》，耶魯大學出版社，New Haven，2012，圖錄149，頁271–272。另可參考河北滿城墓葬遺址出土的一件玉跪人，刊載於巫鴻，〈The Prince of Jade Revisited: The Material Symbolism of Jade as Observed in Mancheng Tombs〉，著錄於《Colloquies on Art & Archaeology in Asia：Chinese Jades》，編號 18，大維德中國藝術基金會，倫敦，1997，圖版17，頁165。[2] 滿城漢墓建於公元前二世紀末，為中山靖王劉勝（卒於公元前113年）之陵墓。在劉勝最內兩層棺槨之間的空間中，放置了數件玉雕，包括一件飾有雙龍的大型玉璧，以及一件玉跪人。該玉人表現一位端坐的君子，雙臂置於低矮几案上，姿態莊重；其底部刻有銘文，指明此像為一位仙人，稱為「古玉人」。根據巫鴻的觀點，「此玉人的擺放位置與馬王堆的帛畫肖像相似，但這件玉人並非描繪劉勝那短暫而物質性的容貌，而是重新確認了他新獲得的永恆。」

參其他漢代人形玉雕，繁簡各異，如美國劍橋哈佛藝術博物館藏一西漢玉跪人例，立於方基上，藏品編號：1943.50.331。私人收藏中，另可參考一件極為重要的東漢玉雕說唱舞人，為思源堂舊藏，香港邦瀚斯2016年4月5日售出，拍品35 。

[1] The paper can be downloaded via Aacademia.edu

[2] 文章可於此網站下載Aacademia.edu

£8,000-12,000

133

CHINESE ARCHAISTIC WHITE JADE EAR CUP

QING DYNASTY, 18TH CENTURY

清白玉饕餮紋羽觴杯

of oval form supported on a short foot, two flat handles carved on top in shallow relief with geometric designs and taotie masks, the stone of even white tone 9cm wide

Provenance: Formerly in a Private English Collection

前英格蘭私人收藏

Note: A comparable pale celadon jade ear cup, of plain form, Qianlong mark and of the period, previously in the Qing Court collection, now in the National Palace Museum, museum no. Gu Yu 故玉000634N

£2,000-3,000

134

CHINESE WHITE JADE ‘ARHAT’ BOULDER

QING DYNASTY

清白玉雕羅漢山子帶木座

carved as a boulder with an arhat seated in a grotto holding a ruyi sceptre, a disciple kneeling before him offering tribute, the grotto enclosed with flowering trees, the stone of white colour with celadon tinge with russet inclusions, on a carved wooden stand

15.5cm high without stand

£3,000-5,000

LARGE CHINESE WHITE JADE ‘DRAGON HEAD’ FINIAL MING DYNASTY

明大型白玉雕龍首

of generous proportions, carved in high relief in the shape of a dragon head with raised stepped muzzle and two horns following a long fluttering mane, its bulging eyes underneath bushy eyebrows, the jade of milky white tone with a slight celadon tinge streaked with russet inclusions

29.5cm wide

Note: Possibly an architectural ornament, or a terminal fitting ornament for furnishings on carriages and sedans. A comparable jade finial in the form of a dragon head, Yuan dynasty, previously in the Arthur M. Sackler Collection, now in the Smithsonian National Museum of Asian Art, accession no. S1987.819; also see an exceptionally rare and highly important pale greyish-green jade carving of a dragon head, Tang dynasty, previously in the Stephen Junkunc, III (1904-1978) Collection, offered in Christie’s New York, 13 Sep 2019, lot 830.

或爲建築裝飾，或爲車輿玉輅。一件可資比較的元代龍首形玉飾，曾屬亞瑟・M・賽克勒收藏，現藏於史密森尼國立亞洲藝術博物館，館

藏編號 S1987.819

；另可參見一件唐代玉龍首，曾屬史蒂芬・瓊肯克三世（1904–1978

）收藏，上拍於2019年9月13日紐約佳士得拍賣，拍品830。

£6,000-8,000

137

CHINESE WHITE JADE CARVING OF A RAM

QING DYNASTY, 19TH CENTURY

清白玉雕臥羊

carved in round with the animal in recumbent position, all fours tucked under its body, head turned back on right, the stone of even white colour with a tinge of green hue

7.5cm wide

£600-800

136

CHINESE CELADON JADE ‘CATFISH’ GROUP

MING-QING DYNASTY

明至清青玉年年有餘把件

carved as two curled catfish, reverse with aquatic plants, the stone of celadon colour with cloudy and russet inclusions

6.2cm wide

Provenance: Private English collection, England; acquired from Bonhams London, 1 November 2021, lot 231 (part lot)

英格蘭私人收藏；2021年11月1日購自倫敦邦翰斯，部分拍品231

£800-1,200

138

CHINESE MINIATURE WHITE JADE ‘PIPA’ INKSTONE

QING DYNASTY, 18TH-19TH CENTURY

清白玉雕琵琶式袖珍硯

carved in the form of a pipa detailed with strings, a shallow well at the bottom, the back with tortoiseshell pattern, the stone of white tone with subtle russet inclusions

11.2cm high

Provenance: Private English collection, England

英格蘭私人收藏

Note: Compare to a miniature white jade inkstone, also in pipa form, Qing dynasty or earlier, offered at Bonhams Hong Kong, 27 November 2024, lot 451.

£800-1,200

139

CHINESE WHITE AND GREY JADE CARVING OF A LION DOG AND CUB

QING DYNASTY

清灰白玉巧雕太獅少獅擺件

cleverly carved in the round with a female lion dog in grey and her cub in white jade, their bulging eyes and bushy finely incised 5cm wide

£600-800

140

CHINESE WHITE JADE CARVING OF BUDDHIST

LION AND CUB

QING DYNASTY, 18TH CENTURY

清白玉雕太獅少獅擺件

finely carved in round with a Buddhist mother lion and her cub lively crawling onto her back, the stone of even white tone

9.5cm wide

£5,000-7,000

141

CHINESE WHITE JADE ‘BUTTERFLY’ TEAPOT WITH COVER QING DYNASTY, DAOGUANG YU YONG MARK, 19TH CENTURY

清道光御用款白玉仿古蝶紋帶蓋茶壺

of compressed globular form supported on a short splayed foot, set with a tapered spout opposite a double c-shaped handle incised with stylised longevity symbol at both ends, the exterior finely carved in low relief with a broad stylised butterfly, the domed cover decorated with plantain leaf below a finial in the form of a lotus bud, the stone of white colour with minor russet inclusions, the base engraved with a four-character mark reading ‘Dao Guang Yu Yong’ (for imperial use of Daoguang Emperor) 17cm wide

Provenance: Private English collection, England 英格蘭私人收藏

Note: White jade teapots are very rare and the present teapot is remarkable for the refined quality of its material and craftsmanship. The four-character ‘Dao Guang Yu Yong’ mark, meaning ‘for imperial use of the Daoguang Emperor’, is extremely rare. Three jade pieces similarly engraved with ‘Dao Guang Yu Yong’ mark are in the collection of the Palace Museum, Beijing: one is a spittoon of plain side, museum no. Gu 故00091584; one celadon jade thumb ring, museum no. Gu 故00099131; and a further plain white jade teapot is illustrated in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), The Commercial Press, Hong Kong, 1995, pl. 213, p. 258. Another white jade button, with the same mark, formerly in the Victor Shaw Collection, was sold at Sotheby’s Hong Kong, 22-28 February 2023, lot 3068.

Two further jade teapots of comparable design and proportions: one attributed to the first half of the 19th century was included in the Min Chiu Society exhibition: Splendour of the Qing Dynasty, Hong Kong Museum of Art, Hong Kong, 1992, cat. no. 245; the other similarly carved with archaistic motif in low relief, dated to the Qianlong period, was offered at Sotheby’s Hong Kong, 8 October 2014, lot 3678.

白玉茶壺極為罕見，而本壺更以材質之精良與工藝精湛見稱。四字「道光御用」款極其稀有。三件同樣刻有「道光御用」款的白玉器，現藏於北京故宮博物院：其一為白玉光素渣斗，館藏編號: 故00091584；另一為带皮青玉喜字扳指，館藏編號: 故00099131。另有一件白玉素面執壺，收錄於《故宮博物院藏文物珍品全集．玉器（III）》，商務印書館，香港，1995年，圖版213, 頁258。另有一件帶同款的白玉鈕扣，原屬邵維錫中國玉雕收藏，於2023年2月22日至28日香港蘇富比售出，拍品3068。

另有兩件形制與比例相近之玉茶壺：其一推斷為十九世紀上半葉所作，曾於敏求精舍舉辦之「清代瑰寶」展出，香港藝術館，香港，1992年，圖錄編號245；另一件同樣淺刻仿古紋飾，斷代乾隆時期，曾於2014年10月 8日香港蘇富比上拍，拍品3678。

£6,000-8,000

142

143

CHINESE TIANHUANG ‘QILIN’ OVAL SEAL QIANLONG MARK AND POSSIBLY OF THE PERIOD 乾隆款或到代田黃麒麟鈕印章

印面：「絜矩」

側刻款：「乾隆庚寅冬月敬造」

the oval seal surmounted with a mythical beast qilin, one side carved with eight-character reading ‘Qian Long Gen Yin Dong Yue Jing Zao’ (reverently crafted in the winter month of the Gengyin year, 1770, during the Qianlong reign), the seal front carved in relief with a two-character ‘Xie Ju’ (the principle of reciprocity)

2.8cm high

£3,000-5,000

CHINESE PALE CELADON JADE ‘BAMBOO AND ROCK’ SEAL QING DYNASTY

清青白玉帶皮竹石紋章

印面：「長相思」

of rectangular form, pierced and carved on two sides with rockwork on relief, the wider one side further incised with bamboo, the stone of pale celadon colour with russet skin and inclusions, with a circular agate and two celadon jade toggles, the seal-front carved with a three-character ‘Chang Xiang Si’ mark

6.3cm high

£1,200-1,800

144

CHINESE SOAPSTONE ‘DRAGON’ SQUARE SEAL

壽山石雕龍紋方印

印面：和碩寶親王寶

the top of the square carved in low relief with a sinuous dragon amidst swirling clouds, which further extends to the upper sections of the sides, seal front carved with a six-character reading ‘He Shuo

Bao Qin Wang Bao’ (Treasure of Prince Bao of the First Degree)

4.5cm high

Provenance: Private collection, bought in South France; Formerly in the collection of Princess Jeannine de Faucigny-Lucinge (1918 -2017) collection, in the family for over 100 years (by repute)

私人收藏，購自法國南部；

Jeannine de Faucigny-Lucinge（1918–2017）

公主舊藏，在家族中傳承逾百年（據傳）

£4,000-6,000

145

CHINESE WHITE JADE ‘DRAGON’ SQUARE SEAL

MING DYNASTY

明白玉雕龍鈕方章

carved above a square podium with a crouching dragon, the seal-front with a three-character mark, the stone of even white colour with darker inclusions

5cm wide

£1,000-1,500

146

LARGE CHINESE SPINACH-GREEN JADE ‘DRAGON’ SEAL

QING DYNASTY, 19TH CENTURY

清碧玉龍鈕長方章

印面：主善為師

of rectangular form, carved on a podium with a crouching mythical beast with tail curled up and mane flowing back meeting in the middle of the spine, the seal-front with a fourcharacter ‘Zhu Shan Wei Shi’ mark flanked by stylised mythical beasts

10.6cm wide

Provenance: Formerly in a Private English Collection 前英格蘭私人收藏

£800-1,200

147

CHINESE PALE CELADON JADE ‘DRAGON TORTOISE’ SQUARE SEAL MING DYNASTY

明青玉帶皮雕龍龜鈕方章

印面：「白晝筆頭詩泣神」

carved on the square podium with a mythical beast standing on all fours, the stone of pale celadon colour with russet skin especially featured on the top of the beast, the seal-front carved with a seven-character poem ‘Bai Zhou Bi Tou Shi Qi Shen’ mark

4.2cm wide

£800-1,200

148

LARGE CHINESE SPINACH-GREEN JADE ‘RUYI’ SQUARE SEAL

QING DYNASTY

清碧玉如意雲鈕國師大方章木座

印面：「▢▢善悟灌頂國師印」

carved on top of the square plinth with a ruyi-form finial further enclosing a smaller ruyi in the centre, the seal-front carved with a nine-character mark in nine-bent script indicating the seal belonged to a National Preceptor of Abhisheka, with a wooden stand 8.9cm wide

Provenance: By repute to have come out of an early state-owned cultural relics store 據傳出自早期國營文物商店（含日本美協オークション圓籤）

Note: The seal front, except the first two characters, reads ‘Shanwu Guanding Gaoshi Yin’, meaning seal of The Benevolent and Enlightened National Preceptor of Abhisheka. Possibly refers to Ratnashri, who established the Choje Monastery and was appointed as the Benevolent and Enlightened National Preceptor of Abhisheka during the Ming dynasty, Zhengde period.

印面九疊篆文刻「▢▢善悟灌頂國師印」，或指敕信仲•然拉西熱，其創建確爾基寺，明朝永樂六年敕封為宏教禪師，成化年間頒發象牙圖章，正德年間御賜善悟灌頂國師。

£3,000-5,000

149

CHINESE JADE WITH RUSSET SKIN ‘CHILONG’ SQUARE SEAL

QING DYNASTY, 19TH CENTURY

清帶皮螭龍鈕玉方章

印面：「奕譞字樸庵號退潛主人」

of square form, carved on the domed top with sinuous chi dragons amidst scrolling clouds, the seal-front carved with a ten-character mark

‘Yi Xuan zi Pu An hao Tui Qian Zhu Ren’, the stone of various tones of russet colour

6cm wide

Note: Yixuan (16 October 1840 – 1 January 1891), formally known as Prince Chun, courtesy name Pu An, pen name Tui Qian Bie Shu, etc, was an imperial prince of the House of Aisin-Gioro and a statesman of the Manchu-led Qing dynasty in China. He holds a special place in Qing history as the son of the Daoguang Emperor, younger half-brother of the Xianfeng Emperor, father of the Guangxu Emperor (his second son) and through his fifth son Zaifeng, the paternal grandfather of the Xuantong Emperor (Puyi), the last Emperor of China.

和碩醇賢親王奕譞（1840年10月16日—1891年1月1日），字樸菴，別稱竹窗、蘭

陽，齋號室名為九思堂、思謙堂、退省齋、退潛別墅。清末皇家宗室及同期政治人物，為道光帝第七子，咸豐帝異母弟，同治帝叔父及光緒帝親生父。

£2,000-3,000

150

LARGE CHINESE SPINACH-GREEN JADE

‘DRAGON’ SQUARE SEAL

19TH-20TH CENTURY

十九至二十世紀碧玉雕龍鈕大方章

印面：「儲秀宮珍賞」

carved on top of the square plinth with a coiled dragon finial, the seal-front carved with a fivecharacter reading ‘Chu Xiu Gong Zhen Shang (appreciated as a treasure in the Chuxiu Palace)

10cm high

Provenance: Private English collection, England

英格蘭私人收藏

£5,000-7,000

151

CHINESE WHITE JADE ‘INSCRIBED’ BRUSH LICK

QING DYNASTY, LU YINPU AND QIANLONG MARKS, 18TH CENTURY

清‘臣盧蔭溥敬書’款‘乾隆年制’底款白玉題詩方形筆舔 of square form, carved to the interior with poem and signed ‘Chen Lu Yinpu Jingshu’ (respectfully written by your subject Lu Yinpu), the base further engraved with a four-character Qianlong mark 5.4cm wide

£800-1,200

152

LARGE CHINESE SPINACH-GREEN JADE ‘CHRYSANTHEMUM’ DISH

QING DYNASTY, 19TH CENTURY

清碧玉菊紋盤 of Mughal-form, carved to the central medallion with a chrysanthemum flower head, enclosed by a row of chrysanthemum petals, plain everted rim, the semi-translucent stone of green tone with darker greenish-black and some russet flecks 19.8cm diameter

Provenance: Formerly in Private English Collection

前英格蘭私人收藏

£400-600

153

CHINESE WHITE JADE ‘CHILONG’ BRUSH WASHER

QING DYNASTY, 18TH CENTURY

清白玉雕三螭龍筆洗帶木座

carved as a circular bowl with one chi-dragon in high relief in the interior, further two around the exterior, the stone of even white tone with minor russet inclusions on the side and base, on a wooden stand

10cm wide

Provenance: Formerly in Private English Collection

前英格蘭私人收藏

£5,000-7,000

FINE AND LARGE CHINESE INSCRIBED WHITE JADE ‘LANDSCAPE’ TABLE SCREEN QING DYNASTY, 18TH CENTURY

清乾隆款白玉填金《蜀道難》山水圖硯屏帶木座

the jade panel of square form, finely carved to one side with a male figure leading an older figure with his boy attendant in a rugged shanshui landscape with craggy cliffs, crashing water below, gnarled pine trees overall, bridge afar, and houses on top, reverse meticulously carved and gilded with a poem by Li Bai ‘Shu Dao Nan’ (The Difficulty of the Shu Road), lower left with a four-character Qianlong seal mark, framed in hongmu pierced carved panel inset onto a stand jade: 16cm x 14.5cm

Provenance: Formerly in Private English collection

前英格蘭私人收藏

Note: This finely carved jade table screen portrays the treacherous mountains separating Sichuan from the rest of China. The design is complemented by Li Bai’s (701-762) poem, emphasising that the road to Shu is as hard as scaling the blue sky.

Compare to a fine white pale green jade imperially inscribed table screen, Qianlong, dated by inscription to 1775, similar to this lot with a landscape carved to one side, reverse with poem, sold at Bonhams Hong Kong, 4 Dec 2008, lot 205; Also see an imperially inscribed white jade screen, Qing dynasty, Qianlong period, one side with landscape, reverse with a four-verse poem by Hu Jitang, previously in Dr Wou Kiuan Collection, sold at Sotheby’s London, 1 Nov 2022, lot 22; Further compare to a fine and rare large white jade double-sided Imperially-inscribed screen, Qianlong period, sold at Bonhams London, 11 Nov 2010, lot 56.

此件精細白玉硯屏描繪了巍峨險峻、峰巒疊嶂的群山。背面配以李白（701–762）詩句《蜀道難》，強調「蜀道之難，難於上青天！」參一例乾隆時期青白玉御題桌屏，依銘文紀年為1775年，與本拍品相似，一面刻以山水景觀，背面刻詩，2008年12月4日售於香港邦瀚斯於拍賣，拍品205；見一件清乾隆御題白玉桌屏，一面為山水圖，背面刻有胡季堂四言詩，吳權博士舊藏，2022年11月1

日售於倫敦蘇富比，拍品22；另可比較一件乾隆大型白玉雙面御題桌屏，2010年11月11日售於倫敦邦瀚斯，拍品56，可資比較。

£20,000-30,000

155

CHINESE WHITE JADE CARVING OF A DEER

QING DYASTY, 19TH CENTURY

清白玉雕靈鹿擺件

carved as a recumbent deer with its head turned back looking upwards, the stone of even white colour with a russet patch on the rear right hind

6.5cm wide

Provenance: Private English collection, England

英格蘭私人收藏

£600-800

156

TWO CHINESE WHITE JADE WITH RUSSET SKIN PENDANTS

QING DYNASTY, 18TH-19TH CENTURY

清白玉帶皮雕瓜瓞綿綿珮及白玉帶皮雕高士對弈圖珮（共兩件）

both carved in round, one carved with a larger melon attached with a smaller with vines and foliage, the other of pebble form, one side carved with scholars playing chess, reverse with a figure on sampan, both stones of white tone with russet inclusions (2)

heights: 6cm and 5.2 cm

£1,000-1,500

157

CHINESE PALE CELADON JADE WITH RUSSET SKIN CARVING OF A BOY QING DYNASTY

青白玉帶皮巧雕臥童靈芝把件 carved in round as a boy lying looking to one side, holding sprigs of lingzhi fungus issuing from underneath his chin to the right side of body, the stone of even pale green colour with patches of russet skin featuring on the lingzhi 6.5cm wide

£800-1,200

158

CHINESE WHITE JADE CARVING OF WINGED QILIN

QING DYNASTY

清白玉雕麒麟擺件 well depicted in seated posture with its head looking straight ahead, the horned beast further detailed with bulging eyes, curled whiskers and a winged body, the stone of even white tone

7.8cm high

£3,000-5,000

159

CHINESE WHITE JADE ‘LIU HAI AND TOAD’ FIGURAL GROUP

QING DYNASTY, 19TH CENTURY

清白玉雕劉海戲金蟾擺件

carved with the deity standing, holding a string of coins with its end bitten by a three-legged toad, the stone of even white tone

8.2cm high

£800-900

160

CHINESE WHITE JADE ‘SCHOLAR’S ROCK’ CARVING

QING DYNASTY, 19TH CENTURY

清白玉仿湖石擺件木座

carved and pierced in the form of a scholar’s rock, the stone of white colour with a slight celadon and russet tinge, on a wooden stand

17.6cm high without stand

Provenance: Private English collection, England

英格蘭私人收藏

£600-800

161

CHINESE WHITE JADE WITH RUSSET SKIN ‘BAT’ PENDANT

QING DYNASTY, 19TH CENTURY

清白玉透雕福祿珮帶翡翠福紋墜飾

pierced carved with two double-gourds borne on tendrils and a bat, the stone of white tone to one side, the reverse in plain form with russet skin, suspended with a jadeite ‘bat’ bead

widths: jade pendant 6cm; jadeite bead 2cm

£2,000-3,000

162

CHINESE JADEITE BANGLE

冰種翡翠手鐲

of plain form with flattened inner rim, one side with apple green colour suffused with bright green streaks and good translucency

inner diameter: 5.8cm

£500-700

TEA IN HARMONY, WINE IN EASE: CHINESE DRINKING VESSELS

(LOTS 163-204)

The history of Chinese tea and wine vessels reflects the interplay of craftsmanship, ritual practice, and cultural exchange. From early metal drinking wares to later ceramic tea bowls and finely crafted ewers, their forms and functions evolved with changing customs and aesthetics. Changes in clay, glaze, metalwork, and decoration show technical advances and artistic ambition, while reflecting patterns of regional exchange and cultural interaction.

Working across a wide range of media, these wares include silver (LOT 163 CHINESE ENGRAVED SILVER 'DOUBLE BIRD' HANDLED CUP, and LOT 164 SET OF THREE CHINESE EXPORT SILVER TEAWARES), stoneware, and porcelain—including monochrome, blue-and-white, and famille rose examples. Their forms and functions are varied and often meticulously conceived. Examples include vessels serving as cup stands, such as LOT 168 CHINESE YUE-TYPE CELADON-GLAZED CARVED CUP STAND, LOT 171 CHINESE UNDERGLAZE BLUE WITH IRON-RED 'DRAGON' TEA BOAT, and LOT 172 CHINESE YIXING STONEWARE TEA CANISTER, all sophisticated wares differ in materials and functionalities. Also notable is LOT 170 CHINESE CIZHOU-WARE BROWN-GLAZED WATER DROPPER, adapted from a teapot shape for use in the scholar’s studio.

During the Song dynasty (960–1279), a refined and understated aesthetic took hold, shaped by Confucian ideals and the flourishing culture of tea connoisseurship. Among the most distinctive wares of this period is a Song dynasty LOT 166 A VERY RARE CHINESE BLACKISH-BROWN-GLAZED WHITE-RIMMED 'NEI FU' CONICAL TEA BOWL and LOT 169 CHINESE DING-WARE MELON-SHAPED EWER WITH COVER, both exemplify technical ingenuity and the philosophical sensibilities of the age.

During the Ming and Qing dynasties (1368–1911), porcelain production reached new heights of technical mastery and visual sophistication, as artisans developed an increasingly rich repertoire of forms and colour palettes to satisfy imperial commissions, domestic markets, and international demand. LOT 199 CHINESE UNDERGLAZE BLUE WITH COPPER RED 'EIGHT BUDDHIST EMBLEMS' CUP, exemplifies the refined Imperial elegance of drinking culture, where delicacy of form and intricate ornamentation converge. LOT 165 CHINESE BLUE AND WHITE SQUARE TEA TRAY, sees a drinking cultural exchange between China and Japan during the Qing dynasty, whereas LOT 177 CHINESE EXPORT FAMILLE VERTE CUP FOR THE THAI MARKET witnesses the Chinese aesthetic soft power in Southeast Asia at the time.

Decoration on drinking vessels often conveys the aspirations of their users. In Chinese culture, the dragon—long associated with power and auspicious authority—appears prominently on pieces such as LOT 181 CHINESE WHITE-GLAZED ANHUA-DECORATED 'DRAGON' CUP, LOT 194 CHINESE IRON-RED-DECORATED SGRAFFITO 'DRAGON' TEA BOWL WITH COVER, LOT 196 CHINESE IRON-RED-DECORATED 'DRAGON' CUP AND LOT 203 CHINESE GREEN-ENAMELLED 'DRAGON' CUP AND COVER.

Other auspicious motifs are also represented: in addition to the Eight Buddhist Emblems cup (LOT 199), similar designs appear on LOT 192, a covered bowl, and LOT 200, a bell-shaped cup. Floral motifs convey a sense of timeless elegance, while animal decorations offer more distinctive expressions, as seen in LOT 174 CHINESE FAMILLE ROSE 'COCKEREL' TEAPOT WITH COVER, LOT 176 CHINESE GRISAILLE-DECORATED 'GOOSE' CUP, LOT 185 CHINESE POLYCHROME ENAMELED GILT-DECORATED 'FISH' CUP and LOT 201, a famille rose teapot depicting Wang Xizhi’s fondness for geese—each demonstrating inventive artistry.

From the elegant refinement of the Song dynasty to the vibrant and innovative polychrome designs of the Qing, Chinese tea and wine vessels moved far beyond utilitarian purpose to serve as refined expressions of artistic imagination. Their changing styles mirror the wider trajectory of Chinese cultural history, marked by an enduring interplay between inherited tradition and creative innovation, a legacy that continues to captivate both connoisseurs and scholars.

茶和酒暢：中國茶酒飲器[Lots 163-204]

中國茶與酒器之歷史，是物質工藝、禮制實踐與文化交流交織的長程發展。自早期金屬飲器與祭祀酒具，至後世陶瓷茶盞與精工執壺，其形制與用途隨社會風尚與審美轉變而演進。陶土、釉色、金工與紋飾的變化，不僅展現工藝技術的提升與藝術追求，也反映地域交流與文化互動的深層脈絡。中國茶酒飲器材質豐富，涵括銀器（LOT 163元代銀鏨花雙鳥紋鋬耳杯、LOT 164外銷銀雙龍紋茶壺、糖罐及奶罐）、紫砂，以及瓷器諸類——如單色釉、青花及粉彩者。其形制用具也繁複考究，其中有作爲杯盞拖器的LOT 168越窯類型青釉刻花高足盞拖、LOT 171青花礬紅彩五爪龍紋茶船、LOT 172宜興紫砂花卉紋六方茶罐，以及由茶壺器形蛻變而成文房用具的LOT 170宋代磁州黑釉提樑壺型水滴，不一而足。它們既是日常使用的器物，也承載象徵意義，展現出中國工匠高超的技藝，同時也反映出傳統社會中的審美品味與階層秩序。

宋代（960–1279）儒學風範與品茗之風並盛，一種清雅之審美格調遂以確立。其間尤具代表的有LOT 166「內府」內刻款稀有的白覆輪斗笠形茶盞及LOT 169定窯白釉瓜稜式執壺帶蓋，它們兼具巧思與工藝之精妙，並寓含時代之哲思意趣。

明清兩代（1368–1911）瓷業製作臻於極盛，技藝日益精微，色彩與形制愈趨繁富，以應宮廷、民間及海外貿易之多重需求。LOT 199清雍正款及年代，青花釉裏紅八吉祥紋小杯，盡顯宮廷飲器之雍容典雅，於精緻器形與繁縟紋飾之間，流露莊穆華貴之氣韻。LOT 165清道光款及年代之青花道教群仙圖方形茶拖盤，見證了清代中國與日本茶事往還之文化交流軌跡；LOT 177的清代外銷暹羅綠彩人物紋撇口杯則見證了清代中國在東南亞的審美軟實力。

飲器上的紋飾寄託着飲者的願景。中國文化對於寓意高尚及權勢的龍之想像尤其深遠，LOT 181白釉暗刻趕珠龍紋杯、LOT 194礬紅彩白地軋道龍趕珠紋蓋碗、LOT 196礬紅彩雙龍趕珠紋杯、LOT 203白地綠釉龍紋蓋杯都是佳例。繪以佛教紋飾者，除了上述LOT 199的八吉祥小杯，LOT 192蓋碗及LOT 200的仰鐘杯都繪以同樣紋飾。花卉清供紋雋永典雅，動物紋飾更顯獨特，見LOT 174粉彩錦地開光雄雞紋帶蓋茶壺、LOT 176墨彩蘆雁杯、LOT 185描金加彩魚紋馬蹄杯及LOT 201粉彩羲之愛鵝茶壺，別具匠心。

由宋之沖淡高致，至清之華彩紛呈，中國茶與酒器早已超越器用之界限，轉化為藝術心性之寄託。其風格嬗變，實映中國文化史之大勢，在承繼與創新之間綿延不絕，亦使後世鑑賞者與學人得以於器物之中，窺見文明流轉之深意。

163

CHINESE ENGRAVED SILVER ‘DOUBLE BIRD’ HANDLED CUP

YUAN DYNASTY

元銀鏨花雙鳥紋鋬耳杯

decorated at the inner base with two birds in flight, the crescentshaped flange engraved with floral motif, a loop ring underneath the flange, the rims finished with a rolled border 10.5cm; 37g

Provenance: Private collection, London 倫敦私人收藏

Note: Gold and silver were less coveted in ancient China than in Rome or Parthia, but they gained importance by the Tang dynasty (AD 618–907) due to the Silk Road trade with western neighbours. Chinese goldsmiths imitated foreign shapes and styles of the imported goods, and developed new techniques under Central Asian craftsmen who settled in Chinese cities from the mid-7th century. This cup, likely used for drinking alcohol, clearly shows how foreign vessel forms were imitated during the Tang dynasty. Compare to a gold cup with incised detail, also dated to the Yuan dynasty, is in the collection of the Victoria and Albert Museum, London, accession number M.30-1935. Another Yuan dynasty gilt-bronze handled cup was sold at Bonhams New York, 18 September 2023, lot 97.

金銀在中國古代不如在羅馬或帕提亞等文明中如此備受珍視，但到了唐朝（公元618–907年），由於與西方鄰國經由絲綢之路的貿易往來頻繁，金銀的地位逐漸變得更加重要。中國的金匠模仿進口物品的外來形制與風格，並在自七世紀中葉起定居於中國城市的中亞工匠影響下，發展出新的技術。此杯很可能用於飲酒，清楚地展現了唐代對外來器形的模仿。與此器相比，倫敦維多利亞與艾伯特博物館收藏有一件刻有精細紋飾的金杯，亦定年元代，館藏編號M.30-1935。另一件元代鍍金銅柄杯，2023年9月18日紐約邦瀚斯售出，拍品97。

£1,000-1,500

SET OF THREE CHINESE EXPORT SILVER TEAWARES

LUEN WO MARK, SHANGHAI, CA. 1880-1940, LATE QING DYNASTY TO REPUBLIC PERIOD

清末民初「LUENWO」、「良生」錘印款外銷銀雙龍紋茶壺、糖罐及奶罐木盒（一組三件）

comprising: a teapot, a sugar and milk jugs, the latter two gilded in the interior, all similarly decorated with a pair of confronting dragons on the exterior, all marked ‘LUENWO’ and ‘Liang Sheng’ in Chinese on the bases, with original wooden fitted box (3) largest: 22.5cm wide; 552g

Provenance: Private Scottish collection, Fife; inherited from the current owner’s great-grandfather, William Bowie Buyers (1844-1935), who was a marine engineer and shipbuilder in Shanghai.

蘇格蘭私人收藏，法夫郡；現任藏家繼承自其曾祖父威廉・鮑伊・拜爾斯（1844–1935），其曾於上海任職海事工程師與造船商。

£600-800

CHINESE BLUE AND WHITE SQUARE TEA TRAY

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD 清道光款及年代青花道教群仙圖方形茶拖盤共箱

supported on four short legs, the waisted sides decorated with scrolling peonies, the interior painted with Daoist immortals involved in various pursuits in outdoor setting, including playing chess, appreciating a scroll painting with taiji motif and so on, together with a Japanese wooden tomobako box, the inner side of the cover inscribed ‘19th year of Meiji period’, corresponding to 1886AD 23.7cm x 23.7cm x 7.5cm

Provenance: J.A.N. Fine Art, London

倫敦骨董商J.A.N. Fine Art

Note: This finely made blue and white tea tray was produced at Jingdezhen kiln in China for orders from Japan. Chinese tea customs were introduced in Japan around the 12th century, the social ritual of tea spread among eminent monks at Zen temples, samurai families, and other members of the upper class. For these early practitioners of chado (‘the Way of Tea,’ also known as chanoyu, ‘hot water for tea’), the display and use of Chinese artworks and ceramics were an essential part of tea gatherings. Chinese artworks and ceramics were an essential part of tea gatherings; by using precious and exquisite Chinese objects (karamono) to decorate their tearoom and serve tea, a host could demonstrate their refined taste and prestige.

A comparable square tea tray painted with landscape in underglaze blue, the base with a four-character Jiaqing mark and dated to the Qing dynasty 18th-19th century, is in the collection of the Kyoto National Museum, museum no. GK174.

這件精緻的青花茶托盤，是中國景德鎮窯為日本訂單所燒製。中國的茶道習俗約於12世紀傳入日本，茶會的社交儀式在禪寺的高僧、武士家族及其他上層階級成員之間流傳開來。對於這些茶道（chado，亦稱 chanoyu，意為「茶の湯」）的早期實踐者而言，展示與使用中國藝術品及陶瓷是茶會中不可或缺的一部分。藉由在茶室中陳列珍貴精巧的中國器物（karamono，唐物）並用來奉茶，主人得以展現其高雅品味與威望。

一件與此相似、繪有青花山水紋樣的方形茶托盤，底部書「嘉慶年製」四字款，定為清代十八至十九世紀，藏於京都國立博物館，館藏編號 GK174。

£3,000-5,000

VERY RARE CHINESE BLACKISH-BROWN-GLAZED WHITE-RIMMED ‘NEI FU’ CONICAL TEA BOWL SONG DYNASTY, 12TH-13TH CENTURY

宋「內府」刻款稀有白覆輪斗笠形茶盞仕覆共箱 of conical form, rising to a slip-covered mouth rim, both the interior and exterior covered in an iron-rich black glaze, stopping short of the buff coloured biscuit foot rim, the interior carved with two characters, ‘Nei Fu’ (inner palace) showing the original buff stoneware body, with Japanese tomobako wooden box and cotton shifuku 11.8cm diameter

Provenance: Private collection; acquired from Christie’s New York, 22 Sep 2023, lot 1014;

Collection of Dr. Hiroshi Horiuchi (with circular label); Sen Shu Tey, Tokyo;

The Falk Collection II: Chinese and Japanese Works of Art; Christie’s New York, 15 October 2001, lot 445.

Myron S. (1906-1992) and Pauline Baerwald (1910-2000) Falk Collection, New York;

Mathias Komor, New York.

私人收藏；購自紐約佳士得，2023年9月22日，拍品號1014；堀內洋志博士收藏（附圓形標籤）；千秋庭，東京；

福克收藏（第二部分）：中國及日本工藝品；紐約佳士得，2001年10月15日，拍品

紐約麥倫・S・福克（1906-1992）與寶琳・貝爾瓦爾德・福克（1910-2000）夫婦

收藏；

紐約馬蒂亞斯・科莫爾。

Note: This extremely rare tea bowl is extremely unusual for its white rim design and the ‘Nei Fu’ mark on the interior. The white-rimmed tea bowl originated in the Song dynasty, emerging in response to the popular ‘tea competition’ culture. Its defining feature is a ring of white glaze at the rim, imitating costly metal mounts, while the rest of the body is covered in black glaze. The striking black-and-white contrast facilitated the observation of whipped tea foam and embodied Song aesthetics of minimalist beauty and Zen philosophy. This type of tea bowl was mainly produced in the Cizhou kiln group of northern China (such as Dangyangyu kiln) as well as the Jizhou kiln in the south. Examples using the white-rim decorative technique have been found among ceramics excavated from the Guantai kiln site of the Cizhou kilns, dating from the late Northern Song dynasty to the Yuan dynasty. Later transmitted to Japan by Zen monks, they were venerated as ‘Hakufukurin temmoku’ and became treasured Tang objects in the Japanese tea ceremony.

Porcelains bearing the ‘Nei Fu’ mark are extremely rare. Those archaeologically excavated are mostly current research, this piece is the only known tea bowl example. In Ching-fei Shih’s article ‘Imperial Use of Porcelain under the Mongols’, in Taida Journal of Art History vol. 15, 2003 (9), pp. 183-4, she points out that the term ‘Nei Fu’ was often used informally during the Yuan dynasty to refer to the imperial storehouses, and porcelains marked with ‘Nei Fu’ were likely intended for court use. In her article, she lists several examples and notes that these ‘Nei Fu’-marked wares are mostly from the Cizhou kiln tradition, including two meiping vases discovered at the Houyingfang site: one white porcelain meiping with the ‘Nei Fu’ mark painted in iron pigment on the shoulder (now in the collection of the Capital Museum), and another black-glazed meiping with an incised ‘Nei Fu’ mark showing the original buff stoneware body. It is worth noting that the present tea bowl, like the latter meiping vase, is also a black-glazed ware with an incised ‘Nei Fu’ mark showing the original buff stoneware body.

There are also Ming dynasty porcelains bearing the ‘Nei Fu’ mark, which may represent a continuation of the Yuan dynasty ‘Nei Fu’. These examples are sweetwhite glazed meiping vases dated to the Yongle period of the Ming dynasty, the ‘Nei Fu’ mark inscribed in underglaze blue: one in the National Palace Museum, Taipei, museum no. Gu Ci 012840; and a pair in The Museum of Oriental Ceramics, Osaka, registration no. 00704-1. Another example is a large turquoise-glazed jar in the Sir Percival David Foundation collection at the British Museum, bearing the inscription ‘Nei Fu Gong Yong’ (‘For use in the Inner Palace’), dated to the 15th–16th century of the Ming dynasty, registration no. PDF.518.

這件極為罕見的茶碗，因其白口邊飾及內壁的「內府」款識而顯得與眾不同。白覆輪茶盞源於宋代，因應當時盛行的「鬥茶」風氣而生。其特徵為口沿飾有一圈白釉，模仿昂貴的金屬鑲邊工藝，其餘器身則施黑釉，黑白分明，既便於觀察茶湯泡沫，亦體現宋人極簡美學與禪宗思想。此類茶盞主要產自北方磁州窯系（如當陽峪窯）及南方吉州窯, 如北宋晚期至元代的磁州窯觀台窯址發掘瓷器中均有發現運用白覆輪裝飾技法。後隨禪僧東傳日本，被尊稱為「白覆輪天目」，成為日本茶道中備受珍視的唐物名品。

帶有「內府」款的瓷器極為稀少，考古出土多為元代梅瓶或大罐，茶碗據目前研究所知僅本品一例。施靜菲在其文章〈蒙元宮廷中瓷器使用初探〉，國立臺灣大學美術史研究集刊，第15期，2003 (9)，頁183-4指出，「內府」一詞在元代常非正式地用來指稱皇家庫房，而帶有「內府」款的瓷器可能為宮廷用器。在施靜菲的文章中列出數例，並指出這些有「內府」款的作品多為磁州窯系的作品，包含在后英房遺址中發現的兩件梅瓶：一件白瓷梅瓶肩上有鐵繪「內府」款（現藏於首都博物馆）） ; 又一件黑釉梅瓶有露胎「內府」刻款。值得注意的是，本件茶碗與後面一件梅瓶相同，同為黑釉露胎「內府」刻款。

另有明代「內府」款瓷器，或爲元代「内府」的某种延续：三件定年明永樂的甜白釉梅瓶，以青花書「內府」款，一件現藏於台北故宮博物院，館藏號：故瓷012840；一對藏於大阪市立東洋陶瓷美術館, 登錄編號：00704-1。英國大英博物館大衛德基金會藏一件孔雀藍釉大罐，銘「內府供用」款，定年明代15-16世紀，館藏號：PDF.518。 £20,000-30,000

167

CHINESE JIZHOU PAPER-CUT RESIST-DECORATED TEA BOWL

SOUTHERN SONG DYNASTY

南宋吉州內剪紙貼花外玳瑁斑茶盞

the interior decorated in resist technique with paper-cut decoration of three flower heads reserved in brown against the variegated, milky buff ground, the exterior covered in a ‘tortoiseshell’ glaze of dark brown colour mottled in beige falling short of a knife-cut edge above the low, narrow ring foot 11cm diameter

Provenance: Private Taiwanese collection 台灣私人收藏

inside view

Note: The technique of using paper cut-outs as stencils to create resist designs was one of the innovative decorative techniques employed at the Jizhou kilns in Jiangxi province. For a discussion of the processes involved in producing these designs, see R. D. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown-and Black Glazed Ceramics, 400-1400, Cambridge, 1996, pp. 36-8. Mowry illustrates, ibid., pp. 248-9, no. 100, a related Jizhou bowl with three quatrefoil floral medallions on the interior, from the collection of R. Hatfield Ellsworth, which subsequently sold at Christie’s New York, 20 March 2015, lot 851. Another closely comparable tea bowl with similar design, was in the Linyushanren Collection (formerly acquired from the Sen Shu Tey, Tokyo), sold at Christie’s New York, 15 Sep 2016, lot 108.

使用剪紙進行留白裝飾的技法，是江西吉州窯所採用的創新裝飾技術之一。關於此類紋樣製作工藝的討論，參見莫維（R. D. Mowry）所著《兔毫、玳瑁與鵪鶉：中國褐釉與黑釉陶瓷，400–1400年》，劍橋，1996年，36–38頁。同書第248–249頁，編號100，莫維展示了一件相關的吉州窯碗，碗內飾有三組四瓣花形開光，出自安思遠（R. Hatfield Ellsworth）收藏，後於紐約佳士得2015年3月20日拍賣，拍品851。另一件紋樣極為相似的茶盞，曾為臨宇山人收藏（早年購自東京千秋庭），後售於紐約佳士得2016年9月15日，拍品108。

£1,500-2,000

168

CHINESE YUE-TYPE CELADON-GLAZED CARVED

CUP STAND

FIVE DYNASTIES OR LATER

五代或以後越窯類型青釉刻花高足盞拖 of lower saucer shape with a wide, flat petal-lobed rim incised with lotus blossoms, the central support rises from a deep recess and carved around the sides with a band of plantain leaves below a circular lip enclosing a platform which incised with a flower head, covered overall with a glaze of greenish-olive tone 12.8cm wide

Note: A comparable Yue cup stone in form and design, dated to the early Northern Song dynasty of 10th-11th century, was in the collection of J. J. Lally & Co. and sold at Christie’s New York, 23 Mar 2023, lot 827.

一件形制與設計相似的越窯杯，定年北宋早期（10至11世紀），前藍理捷收藏，於2023年3月23日紐約佳士得售出，拍品827

£1,500-2,000

CHINESE DING-WARE MELON-SHAPED EWER WITH COVER FIVE DYNASTIES TO NORTHERN SONG DYNASTY 五代至北宋定窯白釉瓜稜式執壺帶蓋

potted with a lobed body rising to an inverted mouth, one side set with a loop handle, the opposite with a short curved spout, the cover of floral form 11.8cm high

Provenance: Private Hong Kong collection, acquired in 1998 (by repute)

香港私人收藏，1998年入藏（據傳）

Note: See a Yaozhou lobed ewer, dated Five Dynasties to Northern Song dynasty, closely comparable to the melonshaped body and the design of the spout and handle, was sold at Christie’s Hong Kong, 30 May 2024, lot 2852. For comparable Ding-ware melon-shaped ewers, dated Northern Song dynasty, see Sōji Meihin-ten Teiyō Jishūyō [The Exhibition of Song Ceramics, Ding ware and Cizhou ware], Shirokiya, Tokyo, 7–12 December 1962, no. 11. A further comparable Ding-ware ewer, dated to the Five Dynasties or Northern Song dynasty, late 10th / early 11th century, similar in size and design but of ovoid body, is in the Art Institute of Chicago, reference no. 1964.787a-c. Another comparable Ding melon-shaped ewer with different handle design, dated to the Northern Song dynasty, was sold at Christie’s Hong Kong, 12 Apr 2018, lot 68.

參考一件耀州窯瓜稜執壺，定年五代至北宋，其瓜稜式器身、嘴及柄之設計與本品極為相似，售於香港佳士得，2024年5月 30日，拍品2852。一件定年北宋的定窯白磁瓜型水注，可參見《宋磁名品展：定窯・磁州窯》（白木屋，東京，1962年12月7日至 12日，編號11。另一件可資比較的定窯執壺，年代為五代或北宋（10世紀末至11世紀初），尺寸與設計與本品相近但器身呈球形，藏於芝加哥藝術博物館，館藏編號1964.787a-c。另有一件定窯瓜形執壺，柄部設計不同，定年北宋，香港佳士得2018年 4月12日售出，拍品68。

£3,000-5,000

171

CHINESE UNDERGLAZE BLUE WITH IRON-RED ‘DRAGON’ TEA BOAT

YONGZHENG MARK, 20TH CENTURY

二十世紀雍正款青花礬紅彩五爪龍紋茶船

painted with five-clawed dragons amidst clouds chasing flaming pearls in the centre of the interior and two long sides of the exterior, the base inscribed with an apocryphal six-character Yongzheng mark in ink 14.6cm wide

170 ‡

CHINESE CIZHOU-WARE BROWN-GLAZED WATER DROPPER SONG DYNASTY

宋磁州黑釉提樑壺型水滴

of lobbed form with a short straight spout, set with a U-shaped handle over the top, a perforation near one side of the handle, each lobe with repeating scalloped pattern, applied with a thick black glaze thinning on raised patterns stopping irregularly before the foot

8.4cm high

Provenance: Private Collection, Hong Kong

香港私人收藏

£300-500

Note: The tea boat is one of the ancient tea utensils. It is a saucer used to hold the tea cup, also known as a tea saucer holder, tea tray holder, or cup saucer. Its original purpose was to hold the tea cup and prevent the user’s hand from being scalded. Later, because its shape resembled a boat, it came to be called a ‘tea boat’ or ‘tea vessel.’ The Record of Porcelain in the Flowing Drink Studio states: ‘The vessel that holds the cup is called a cup saucer, also known as a tea boat. Those made in the Ming dynasty were shaped like a boat, and the same held true for the early Qing dynasty. A pair of closely comparable tea boats, similar in design and dragon motif, mark and dated to the Yongzheng period, was in the Yidetang Collection, was sold at China Guardian Hong Kong on 7th April 2025, lot 1072.

茶船為古代茶具之一，為用以置茶盞之承盤，亦稱茶託子、茶拓子、盞托。乃是專為承放茶盞以防燙手之用，後因其形似舟，遂以茶船或茶舟名之。

《飲流齋說瓷》云：「承杯之器謂之盞托，亦謂之茶船，明製如舟，清初亦然」。一對清雍正款及年代的青花礬紅雲龍紋茶船，不論設計或龍紋均可與本品比較，曾為藝德堂藏品，於2025年4月7日在香港嘉德拍出，拍品1072。

£800-1,200

172

CHINESE YIXING STONEWARE TEA CANISTER QING DYNASTY, 19TH CENTURY

清宜興紫砂花卉紋六方茶罐 of hexagonal form raised on bracket feet, each panel decorated with flowering branches against key-fret ground 15.5cm high

£300-500

173

PAIR OF CHINESE FAMILLE ROSE ‘LADY PLAYING CHESS’ CUPS

QING DYNASTY, 18TH CENTURY

清粉彩描金仕女對弈杯（一對）

each painted with two ladies playing chess and a male figure watching in a pavilion, the reverse further depicting two dogs chasing in a continuous garden setting (2)

8.8cm diameter each

£1,200-1,800

174

CHINESE FAMILLE ROSE ‘COCKEREL’ TEAPOT WITH COVER QING DYNASTY, YONGZHENG PERIOD

清雍正粉彩錦地開光雄雞紋帶蓋茶壺

delicately enamelled on the exterior with four cartouches containing flowers, fruits and cockerels, all reserved on a geometric ground beneath a green enamel band with diamond hatches at the rim, the cover with flowers around the knob finial 14cm wide in total

£800-1,200

175

CHINESE FAMILLE ROSE ‘BUTTERFLY AND FLOWER’ CUP

QING DYNASTY, YONGZHENG PERIOD

清雍正粉彩蝶戀花紋杯

painted to the steep sides with flowers to one side, reverse with butterflies

8.6cm diameter

£500-700

176

CHINESE GRISAILLE-DECORATED ‘GOOSE’ CUP CHENGHUA MARK BUT QING DYNASTY, 18TH-19TH CENTURY

清成化款墨彩蘆雁杯

delicately potted with rounded sides flaring out from the countersunk base to a subtly everted rim, the exterior painted with geese and reed between underglaze blue bands, the base inscribed with a six-character Chenghua mark within a double-circle in underglaze blue

6cm diameter

£800-1,200

177

CHINESE EXPORT FAMILLE VERTE CUP FOR THE THAI MARKET

QING DYNASTY, 19TH CENTURY

清外銷暹羅綠彩人物紋撇口杯包銅口 of bell-form, painted to the exterior with figures in nature, mouth rim with metal mount

6.5cm diameter

£300-500

178

CHINESE RUBY-RED-GLAZED CUP

QING DYNASTY, YONGZHENG MARK, 18TH-19TH CENTURY

清雍正款胭脂紅釉仰鐘杯 of bell form, the exterior covered in ruby-red enamel, the base inscribed with a four-character Yongzheng mark within a double-circle in underglaze blue

6.6cm diameter

£2,000-3,000

179

TWO SETS OF CHINESE BLUE AND WHITE CUPS AND SAUCERS

QING DYNASTY, 19TH CENTURY

清青花靈鹿仕女圖葵口杯及碟（共兩對）

each with foliated rim, the saucers painted with a deer and lingzhi in the central medallion, enclosed by panels of ladies and flowers in vases, the cups similarly decorated (4) diameters: cup 8.2cm; plate 12.9cm each

£1,000-1,500

181

CHINESE WHITE-GLAZED ANHUA-DECORATED ‘DRAGON’ CUP

QING DYNASTY, KANGXI MARK, 19TH CENTURY

清康熙款白釉暗刻趕珠龍紋杯帶藏銀托及蓋

finely potted, the deep rounded sides rising from a short, slightly tapered foot, incised with two four-clawed dragons striding amidst flame scrolls, each in pursuit of a flaming pearl, covered overall in a fine and translucent glaze with a celadon tinge, the base inscribed with a six-character Kangxi mark in underglaze blue, with a Tibetan white-metal ‘lotus’ stand and domed cover

10cm diameter without stand and cover

Provenance: Private Scottish collection, Renfrewshire 蘇格蘭私人收藏，連夫魯郡

£300-500

180

CHINESE FAMILLE ROSE ‘FIGURAL’ CUP

QING DYNASTY, 19TH CENTURY

清粉彩人物故事圖馬蹄杯

supported on a recessed base gradually terminated to an everted rim, the exterior finely painted with a couple leaving a building heading toward a white horse, in between with a boy attendant holding the reins of the horse and a female attendant serving wine ever and cup on a tray

10.9cm diameter

£400-600

182

TWO CHINESE GRISAILLE-DECORATED WINE WARMERS WITH COVERS ATTRIBUTED TO WANG YOUTANG (AC. 1875-1908)

汪友棠款墨彩山水題詩帶蓋溫酒罐（兩件）

each of cylindrical form with domed cover, decorated to one side with a shanshui landscape, reverse inscribed with poem and signed ‘Wang You Tang’, one dated to the Bing Chen year, both bases with seal marks (2) 10cm high each

£500-700

CHINESE IRON-RED-DECORATED ‘DRAGON’ CUP

QING DYNASTY, TONGZHI MARK AND OF THE PERIOD

清同治款及年代礬紅彩雙龍戲珠杯

painted to the exterior with two sinuous five-clawed dragons chasing flaming pearls above crashing waves amongst flames, the base inscribed with a six-character Tongzhi mark in underglaze blue

5.8cm diameter

Provenance: Private German collection

德國私人收藏

Note: Three closely comparable iron-red-decorated ‘dragon’ cup, similarly marked and dated to the Tongzhi period: one was sold at Christie’s London, 7 November 2017, lot 205; and another pair was sold at Sotheby’s London, 3 November 2021, lot 231.

£1,000-1,500

184

PAIR OF CHINESE FAMILLE ROSE ‘LADY’ DISHES

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩仕女圖碟（一對）

each decorated with four ladies surrounding a circle decorated with a male figure, the base inscribed with a six-character Daoguang mark in iron-red (2)

12.5cm diameter each

£1,000-1,500 183

185

CHINESE POLYCHROME ENAMELLED GILT-DECORATED ‘FISH’ CUP

RUOSHEN ZHENCANG MARK, 20TH CENTURY

二十世紀若深珍藏款描金加彩魚紋馬蹄杯 of horse hoof form, painted with four fish around the body, the counter-sunk base inscribed with a four-character ‘Ruoshen Zhencang’ mark in iron-red 7cm diameter

£300-500

186

PAIR OF CHINESE FAMILLE ROSE ‘BUDDHIST SWASTIKA’ CUPS

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代粉彩江山萬代紋杯（一對） each painted to the exterior with beribboned Buddhist swastikas above waves and hills, the base inscribed with a six-character Guangxu mark in iron-red (2) 6.6cm diameter each

Note: Compare to a famille rose bowl, Guangxu mark of the period, with a similar decoration, is in the Palace Museum Beijing, accession no. gu 故00163462-11/42

£600-800

187

CHINESE WUCAI ‘WANG ZHAOJUN’ CUP

QING DYNASTY, KANGXI MARK BUT 19TH CENTURY

清康熙款五彩昭君出塞圖杯

potted with rounded sides rising from short straight foot to flaring mouth, painted with a continuous scene depicting Wang Zhaojun seated and playing a pipa in a marquee, a seated groom and a horse portrayed outside, the base inscribed with a six-character Kangxi mark within a double-circle in underglaze blue 9.4cm diameter

£600-800

188

CHINESE FAMILLE ROSE ‘EIGHT IMMORTAL’ OCTAGONAL CUP

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩八仙紋八角杯

thinly potted, each panel painted with one of the Eight Immortals above a crashing wave band on the foot, the base inscribed with a six-character Daoguang mark in iron-red

5.3cm high

Provenance: Private Irish collection

愛爾蘭私人收藏

£700-900

189

CHINESE FAMILLE ROSE ‘BOGU’ CUP

QING DYNASTY, 19TH CENTURY

清粉彩博古圖杯

finely painted with one-hundred-antique bogu motif underneath a key fret band 6.1cm diameter

£800-1,200

190

CHINESE FAMILLE VERTE ‘FEEDING’ CUP

QING DYNASTY, 19TH CENTURY

清綠彩哺育圖杯

with tall tapering body, painted with a lady breastfeeding a babe whilst a male figure embraces her from behind, reverse with a boy playing with pet 10cm high

£300-500

191

CHINESE BLUE AND WHITE ‘FLORAL’ CUP

DAOGUANG MARK, 19TH-20TH CENTURY

十九至二十世紀道光款青花纏枝蓮紋杯

painted around the body with large flower heads borne on foliated scrolling tendrils, the base inscribed with a six-character Daoguang mark in underglaze blue

9.8cm diameter

£800-1,200

192

CHINESE FAMILLE ROSE ‘BAJIXIANG’

TEA BOWL AND COVER

GUANGXU MARK, 19TH-20TH CENTURY

十九至二十世紀光緒款粉彩八吉祥紋蓋碗

painted on the exterior with the Eight Buddhist Emblems beribboned in pairs, repeated on the cover, the base of the bowl and interior of the cover’s finial each inscribed with a six-character Guangxu mark in iron-red diameters: cup 10.3cm; lid 9.4cm

£600-800

193

CHINESE IRON-RED AND GILT-DECORATED FAMILLE VERTE CUP

QING DYNASTY, 19TH CENTURY

清礬紅綠彩描金過枝花杯

painted with a flowering tree issuing from rockwork on the exterior continuing to the interior with butterflies

7.8cm diameter

£600-800

194

CHINESE IRON-RED-DECORATED SGRAFFITO ‘DRAGON’ TEA BOWL WITH COVER QING DYNASTY, JIAQING MARK AND OF THE PERIOD

清嘉慶款及年代礬紅彩白地軋道龍趕珠紋蓋碗

the bowl decorated to the exterior with a pair of dragons chasing flaming pearls against a white enamel ground incised with waves, the lid similarly decorated, both the base and the interior of the cover’s finial inscribed with a six-character Jiaqing mark in iron-red against turquoise ground

10.7cm diameter

£800-1,200

195

CHINESE BLUE AND WHITE ‘LOTUS’ EWER POSSIBLY QING DYNASTY

或為清青花纏枝連紋執壺（殘）

the pear-shaped body painted with lotus on tendrils

Provenance: Private collection; formerly in the collection of Mr Gardner, Berlin, Germany (by repute)

私人收藏；德國柏林Mr Gardner舊藏（據傳）

31cm high

£1,000-1,500

197

CHINESE CARVED TURQUOISE-GLAZED ‘LOTUS’ CUP

QING DYNASTY, DAOGUANG MARK, 19TH CENTURY

清道光款松石綠釉暗刻纏枝花卉紋杯

incised with scrolling lotus on the exterior, covered inside and out save for the foot and base with a turquoise glaze, the base inscribed with a sixcharacter Daoguang mark in underglaze blue

6.2cm diameter

£2,000-3,000

196

CHINESE IRON-RED-DECORATED ‘DRAGON’ CUP

QING DYNASTY, XUANTONG MARK AND OF THE PERIOD

清宣統款及年代礬紅彩雙龍趕珠紋杯

thinly potter with rounded sides rising to flaring mouth, painted with two dragons chasing flaming pearls on the exterior, the base inscribed with a six-character Xuantong mark in underglaze blue

5.8cm diameter

Note: A pair of closely comparable iron-red-decorated ‘dragon’ cup, similarly marked and dated to the Xuantong period, was sold at Sotheby’s New York, 23 March 2019, lot 1694.

£800-1,200

198

PAIR OF CHINESE FAMILLE ROSE ‘JIUJIANG GATE’ CUPS

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩江西十景潯陽秋泊杯（一對）

each painted with one of the ten views in Jiangxi depicting Jiujiang Gate, the revered inscribed with a four-character ‘Xunyang Qiubo’ (Autumn Mooring in Xunyang) mark (rubbed), the base inscribed with a four-character Daoguang mark in iron-red (2)

6.5cm diameter each

£500-700

CHINESE UNDERGLAZE BLUE WITH COPPER RED ‘EIGHT BUDDHIST EMBLEMS’ CUP QING DYNASTY, YONGZHENG MARK AND OF THE PERIOD

清雍正青花《大清雍正年製》楷書雙圈款青花釉裏紅八吉祥紋小杯

delicately potted with rounded sides rising from a short foot, the exterior painted with eight beribboned bajixiang emblems outlined in copper-red, all supported on a band of meandering leafy stem bearing quatrefoil flower blooms, the base inscribed with a six-character Yongzheng mark in underglaze blue within double circles

6.6cm diameter

Provenance: Private Scottish collection, Isle of Skye 蘇格蘭私人收藏，天空島

Note: The exquisite size of this cup is close to the small wine cup (‘jiouyuan’) mentioned in the Qing Court records, while its design derives from Ming dynasty Chenghua period blue and white or doucai decorated prototypes, see two cups included in the Special Exhibition of Ch’eng-hua Porcelain, National Palace Museum, Taipei, 1977, cat. no. 38, a doucai cup depicting the eight emblems surmounting a leafy scroll, museum accession no. Gu ci 故瓷 018152N, and cat. no. 39, a blue and white cup which portrays the Buddhist emblems raised on canopies issuing from a leafy scroll, museum accession no. Gu ci 故瓷012569N.

For comparable underglaze blue and copper red ‘eight emblems’ cups, Yongzheng mark and of the period, one was offered at Bonhams Hong Kong, 30 November 2022, lot 126; the other offered at Sotheby’s New York, 19 March 2013, lot 168; and a set of eight were offered at Sotheby’s Hong Kong, 04 October 2011, lot 2052.

此杯小巧輕盈，接近清宮檔案記載之酒元（酒圓），即小酒杯，其紋飾及杯型仿自明成化青花或鬥彩小杯。台北故宮藏兩件鬥彩八寶紋小杯亦是同類設計，見《成化瓷器特展圖錄》，台北，1977年，編號38及39，館藏號：故瓷018152N及故瓷012569N。

數件青花釉裏紅八吉祥紋小杯近例，雍正款及年代，其一2022年11月30日上拍於香港邦翰斯，拍品126；再一2013年3月19日上拍於紐約蘇富比，拍品168；另有一組八件，2011年10月4日上拍於香港蘇富比，拍品2052，皆可資比較。

£3,000-5,000

200

CHINESE FAMILLE ROSE ‘EIGHT BUDDHIST EMBLEMS’ CUP

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代粉彩八吉祥紋仰鐘杯

the steep sides rising from a circular foot to an everted rim, painted with beribboned Ashtamangala in pairs between key fret and ruyi-shaped borders, the base inscribed with a six-character Guangxu mark in underglaze blue

6cm diameter

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

201

CHINESE FAMILLE ROSE ‘FIGURAL’ TEAPOT

QING DYNASTY, 19TH CENTURY

清粉彩羲之愛鵝茶壺

of lobed form, painted on one side with Wang Xizhi with boy attendants and two geese, reverse with another male figure with boy attendants and a crane in flight 13cm wide in total

£1,000-1,500

202

CHINESE FAMILLE ROSE ‘BOGU’ CUP

JIAQING MARK, 19TH-20TH CENTURY

十九至二十世紀嘉慶款粉彩博古紋杯 painted to the exterior with one-hundred-antiques motif, the base inscribed with a four-character Jiaqing mark within a square panel in iron-red 8.4cm diameter

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

203

CHINESE GREEN-ENAMELLED ‘DRAGON’ CUP AND COVER QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代白地綠釉龍紋蓋杯

the cup and cover each painted with a pair of dragons chasing flaming pearls, the base of the cup and inside of the finial inscribed with a six-character Daoguang mark in iron-red diameters: cup 9.2cm; lid 8.3cm

£800-1,200

204

CHINESE IRON-RED AND FAMILLE ROSE ‘DRAGON’ CUP GUANYAO JIANZHI MARK, QING DYNASTY, 19TH CENTURY

清官窯監製款礬紅彩粉彩雙龍趕珠紋杯

painted to the exterior with two red and blue dragons chasing pearls amongst flames and colourful clouds, the base inscribed with a four-character ‘Guan Yao Jian Zhi’ mark in iron-red 8.5cm diameter

£600-800

A PRIVATE ENGLISH COLLECTION OF EARLY CERAMICS (LOTS 205-207)

205

CHINESE PAINTED POTTERY JAR

NEOLITHIC PERIOD, YANGSHAO/MAJIAYAO CULTURE

新石器時代仰韶/馬家窰文化彩陶旋渦紋罐

potted with a cylindrical neck rising from broad rounded shoulders tapering towards the flat foot, the sides applied with two opposing loop handles, painted with bands around the neck and shoulders, large whorls and wave bands encircling the body, the lower body unadorned 37.5cm wide including handles

Provenance: Private English Collection, London; purchased from Art Treasures Gallery, Hong Kong on 5th October, 1993, Invoice no. 4119 , item 1. With a Certificate issued by Art Treasures Gallery, Hong Kong (藝寶堂) in October,1993, stated the piece dated to the Neolithic period, dating from 4th to 2nd millennium BC.

英國私人珍藏，倫敦；於1993年10月5日購自香港藝寶堂（Art Treasures Gallery），發票編號4119，第1項。附有香港藝寶堂於1993年10月簽發之證書，聲明該器物年代為新石器時代，公元前第四千年至第二千年

£400-600 certificates

CHINESE GREY POTTERY GARLIC-HEAD VASE

ZHOU DYNASTY

周灰陶蒜頭弦紋瓶

potted with bulbous body rising to cylindrical neck with a bulging garlic-mouth above two raised bow-string lines, the body further engraved with parallel lines 29.8cm high

Provenance: Private English Collection, London; purchased from Art Treasures Gallery, Hong Kong on 5th October, 1993, Invoice no. 4119, item 9. With a Certificate issued by Art Treasures Gallery, Hong Kong (藝寶堂) in October,1993, stated the piece dated to the Zhou dynasty, dating from 1111 to 256 BC.

英國私人珍藏，倫敦；於1993年10月5日購自香港藝寶堂（Art Treasures Gallery），發票編號4119，第9項。附有香港藝寶堂於1993年10月簽發之證書，聲明該器物年代為周朝，公元前1111年至256年

Note: See two comparable examples, one dated to the Eastern Zhou dynasty, Warring States period, offered at Sotheby’s New York, 28 March 2023, lot 872, and the other dated to Han dynasty and sold at the same sale as above, lot 870.

參考兩個可資比較的例子：其一定年為東周戰國時期，於紐約蘇富比2023年 3月28日上拍，拍品872；另一件定年為漢代，售於同一拍賣會，拍品870

£300-500

207

CHINESE AMBER-GLAZED POTTERY FLASK

LIAO DYNASTY

遼黃釉壺

the ovoid body flattened at the top and set with a loop handle attached to a cylindrical spout, covered with a bright amber glaze over a white slip falling irregularly to reveal the buff body underneath 23cm high

Provenance: Private English Collection, London; purchased from Art Treasures Gallery, Hong Kong on 5th October, 1993, Invoice no. 4119, item 7. With a Certificate issued by Art Treasures Gallery, Hong Kong (藝寶堂) in October,1993, stated the piece dated to the Liao dynasty, dating from 916 to 1125 AD.

英國私人珍藏，倫敦；於1993年10月5日購自香港藝寶堂（Art Treasures Gallery），發票編號4119，第7項。附有香港藝寶堂於1993年10月簽發之證書，聲明該器物年代為遼代，公元916至1125年。

Note: A comparable amber-glazed flask, Liao dynasty, is in the University of Michigan Museum, accession no. 1993/1.92. Another comparable ewer, was sold at Christie’s London, 28 Mar 2018, lot 250. 一件可資比較的遼代黃釉壺，現藏於密西根大學博物館，登錄號1993/1.92 。另一件可資比較的黃釉壺壺，於2018年3月28日倫敦佳士得售出，拍品 250。

£500-700

CERAMICS (LOTS 208-336)

208

RARE CHINESE WHITE-GLAZED VASE

SUI TO TANG DYNASTY

隋至唐白釉罐（殘）

potted of ovoid form, the original slender neck broken off and missing, covered on the exterior with a finely crackled glaze of pale greenishwhite tone, ending in an irregular line above the foot, exposing the white body with dark inclusions 17cm high

Note: See two examples of the same shape and in complete form: one dated to the Sui dynasty, sold at Christie’s Hong Kong, 29th November 2020, part lot 3024; the other dated to Sui/Tang dynasty, sold at Sotheby’s New York, 23 March 2022, lot 296.

參考兩件完整器型的白釉瓶：一件定年隋代，售於香港佳士得，2020年11月 29日，拍品3024（其一）；另一件定為隋／唐時期，售於紐約蘇富比，2022年3 月23日，拍品296。

£2,500-3,000

209 ‡

CHINESE LONGQUAN CELADON-GLAZED ‘ROOSTER’ PAPERWEIGHT MING DYNASTY

明龍泉青釉雄雞型紙鎮

modelled as a bird perched on a domed boulder, its tail upright, mouth ajar, with carved details, covered overall save for the foot rim in a green glaze thinning on the widest parts 14cm high

Provenance: Private Collection, Hong Kong; formerly in a Private Japanese collection

香港私人收藏；前日本私人收藏

Note: Compare to a related Longquan celadon-glazed parrot-form incense burner, Ming dynasty, illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pl. 16:94, British Museum collection no. 1911,0607.27; and one duck-form censer, Ming dynasty, offered at Sotheby’s New York, 19 March 2024, lot 182.

£800-1,200

CHINESE JUN-WARE PURPLE-SPLASH HANDLED JAR

SONG DYNASTY OR LATER

宋或以後鈞窰天藍釉紫斑雙繫罐

the slightly compressed globular body with two small loop handles on the mouth, covered with a glaze of pale milky-blue colour splashed with purple which polls and falls irregularly above the foot 20cm wide

Provenance: Private collection, Edinburgh; acquired from the Scottish Antique & Arts Centre on 31 August 2012, with a redacted photocopied receipt, the receipt dated this piece to the Song dynasty or later.

愛丁堡私人收藏；2012年8月31日購自The Scottish Antique & Arts Centre（蘇格蘭古董及藝術中心），含收據複本，亦將此罐定年宋或以後。

Note: Compare to a purple-splashed Junyao two-handled globular jar, Yuan dynasty, sold at Christie’s London, 8 Nov 2005, lot 4.

參一元代鈞窰天藍釉紫斑雙繫罐近例，2005年11月8日售於倫敦佳士得，拍品4，可資比較。

£5,000-7,000

inside view

211

CHINESE QINGBAI ‘BOYS AT PLAY’ BOWL

SONG DYNASTY

宋青白釉嬰戲紋斗笠碗 of conical form, the interior freely decorated with two boys playing amidst floral scrolls, glazed inside and out with a translucent icy-blue glaze, the shallow foot partially glazed and showing the orangey brown buff body

19.2cm diameter

£2,000-3,000

212

CHINESE FINELY CARVED DING-WARE ‘LOTUS’ LOBED DISH

NORTHERN SONG DYNASTY

北宋定窯劃花紋折沿花口盤

the angled sides rising from a broad base, supported on a short foot ring, the lobed mouth rim characteristically unglazed, the interior finely incised and combed with a lotus flowering from long stems, covered in a warm ivory glaze with areas of pooling to the base 18.6cm diameter

Provenance: C. C. Teng & Co. (with label)

Christie’s London, 7 Nov 2006, lot 146 (with label)

C. C. Teng & Co.（附標籤）

倫敦佳士得，2006年11月7日，拍品146（附標籤）

Note: Ding wares, produced in Quyang, Hebei province, rank among the Five Great Wares of the Song dynasty (960–1279) and represent one of the most celebrated ceramic traditions. This finely carved dish with a lotus motif exemplifies the restrained elegance and refined craftsmanship for which Ding wares is renowned. Compare two similar ‘lotus’ lobed dishes of similar size: one sold at Sotheby’s London, 5 November 2025, lot 69; the other sold at Christie’s Hong Kong, 4th Oct 2016, lot 101.

定窯瓷器產自河北曲陽，位列宋代五大名窯之一，亦是該時期最負盛名的陶瓷傳統之一。此件雕刻精美的蓮花紋盤，體現了定窯聞名於世的含蓄雅致與精湛工藝。比較兩件尺寸相近之蓮花花口盤：一件售於倫敦蘇富比，2025年11月5日，拍品69；另一件售於香港佳士得，2016年10月4日，拍品101。

£8,000-12,000

213

CHINESE QINGBAI PORCELAIN DOG

SONG DYNASTY OR LATER

宋或以後青白釉褐斑犬

realistically moulded as a seated hound, head raised to one side, bulging alert eyes, tail tucked in, covered overall in transparent pale bluish glaze with russet splashes

7.5cm wide

£300-500

214

RARE CHINESE MOULDED LONGQUAN

CELADON-GALZED ‘DRAGON’ BRUSH HOLDER MING DYNASTY

明竹口窯龍泉青釉模印龍紋筆插

the cylindrical body divided into six lobes and supported on a stepped plinth, the exterior moulded with three sinuous dragons amongst blooming leafy lotus, the top pierced with four circular apertures, covered overall in a sea-green glaze

8.8cm high

Provenance: Private collection, London; formerly in a private English Collection

倫敦私人收藏；前英格蘭私人收藏

Note: Zhukou Kiln is located in Zhukou Town, Qingyuan County, Zhejiang Province. It is one of the most important kiln sites of the Longquan wares. First fired in the Tang dynasty, it reached its peak in the mid-to-late Ming dynasty. Its products feature smooth and even glaze colours and are renowned for their elaborate and ornate decoration.

Compare to a very similar Ming dynasty celadon-glazed brush holder, the sides with three dragons but six apertures on the top, was in the Hong Rui Tang Collection and sold at Sotheby’s London, 6 November 2013, lot 261.

竹口窯位於浙江慶元縣竹口鎮，是龍泉窯最重要的窯場之一。唐代創燒，明代中後期達到鼎盛。其產品釉色勻潤，以裝飾繁縟華麗著稱。對比一件非常相似的明代青釉筆筒，其側面飾有三條龍，頂部有六個鏤孔，曾為Hong Rui

Tang 藏品，於2013年11月6日在倫敦蘇富比拍賣，拍品261。

£1,500-2,000

ONE QINGBAI PORCELAIN BEAD NECKLACE AND ONE PERSIMMON-GLAZED LIDDED JAR

SONG DYNASTY AND LATER

宋及以後青白釉瓷串珠及柿釉小蓋罐（共兩件）

the necklace composed of one hundred and eight porcelain beads of different sizes, each covered in qingbai glaze of pale blue tone; the lidded jar covered on the exterior with persimmon glaze (2)

necklace: 28cm long; jar: 7cm wide

£500-700

216

CHINESE LONGQUAN

CELADON-GLAZED ZHADOU SOUTHERN SONG DYNASTY

南宋龍泉青釉渣斗 with compressed globular body rising to a tall neck and flared rim, covered overall with a celadon glaze of seagreen tone, the foot rim left unglazed exposing the buff grey body 11.7cm diameter

Provenance: Private collection, London 倫敦私人收藏

Note: Comparable to a Longquan celadon zhadou of similar size and proportion, dated to the Southern Song dynasty, was in the Dorothy Tapper Goldman Collection and sold at Christie’s New York, 22 Mar 2024, lot 815. Another example dated to Song/Yuan dynasty, was sold at Christie’s New York, 17 Sep 2010, lot 1312.

可比較一件尺寸與比例相近的龍泉青釉渣斗，年代為南宋時期，高曼舊藏，2024年3 月22日售於紐約佳士得，拍品815。另有一件宋／元時期的同類器物，2010年9月17

日售於紐約佳士得，拍品1312。

£4,000-6,000 215

MASSIVE CHINESE LONGQUAN CELADON-GLAZED ‘FLORAL’ CHARGER MING DYNASTY

明龍泉青釉劃花大盤

heavily potted with deep rounded sides rising from a short tapered foot to a lipped rim, fluidly carved in the interior with a blossoming flower on stalk with leafy tendrils within double circles, the well carved with further four flowers on swirling tendrils, covered overall with a celadon glaze of rich olive-green tone continuing over the foot, the convex base with a broad unglazed circle burnt orange during the firing 46.7cm diameter

Provenance: Private English collection, London; acquired from Sotheby’s New York, 23 September 1997, lot 248 (part lot);

Formerly in the property of the collection of John W. Gruber

英格蘭私人收藏，倫敦；購自紐約蘇富比1997年9月23日，拍品111（其一）；

約翰·W·格魯伯舊藏

£10,000-15,000

fees apply in

218

MASSIVE CHINESE LONGQUAN CELADON-GLAZED ‘LOTUS’ CHARGER

MING DYNASTY

明龍泉青釉劃花纏枝蓮紋大盤

heavily potted with deep rounded sides rising from a short tapered foot to a lipped rim, fluidly carved in the interior with three leafy floral sprays within double circles, the well carved with four blossoming lotus on swirling tendrils, covered overall with a celadon glaze of rich olive-green tone continuing over the foot, the convex base with a broad unglazed circle burnt orange during the firing

46.7m diameter

Provenance: Private English collection, London; acquired from Sotheby’s New York, 23 September 1997, lot 248 (part lot);

Formerly in the property of the collection of John W. Gruber

英格蘭私人收藏，倫敦；購自紐約蘇富比1997年9月23日，拍品111（其一）；

約翰·W·格魯伯舊藏

£12,000-18,000

A PRIVATE JAPANESE COLLECTION (LOTS 219-224)

219 ‡

CHINESE PAINTED CIZHOU ‘FLORAL’ JAR

YUAN TO MING DYNASTY

元至明磁州窰白地黑花罐共箱

heavily potted with an ovoid body rising from a short foot, the tapering body painted in brownish-black on a white slip with two shaped cartouches enclosing blossoms, on the shoulders further with a floral band, all framed by line borders, with Japanese tomoboko wooden box

23.6cm high

Provenance: Private Japanese Collection, acquired from Sotheby’s New York, 28 March 2023, lot 958.

日本私人收藏，2023年3月28日購自紐約蘇富比，拍品958。

£3,000-5,000

220 ‡

CHINESE LONGQUAN CELADON-GLAZED ‘LUDUAN’ CENSER AND COVER MING DYNASTY

明龍泉青釉甪端型熏爐共箱

sturdily potted, the well-rounded mythical creature supported on four short legs, the sides carved with flames, a bell applied at the chest, and an upswept tail at the rear, the cover in the form of the animal’s head, raised up, curved horn at the top, mouth agape baring teeth, applied overall with a greyish-green glaze, with a Japanese tomoboko wooden box

11.9cm high

Provenance: Private Japanese Collection

日本私人收藏

Note: Compare to two Longquan celadon-glazed censers in the form of a Luduan, both Ming dynasty, one previously in the collection of Sakamoto Gorō, sold at Sotheby’s New York, 17 March 2015, lot 27; the other previously in the Maeda Family Collection, sold at Christie’s Hong Kong, 28 May 2014, lot 3413.

£2,500-3,000

221 ‡

SET OF FIVE CHINESE LONGQUAN CELADON-GLAZED TEA TRAYS MING DYNASTY

明龍泉青釉模印鹿猴紋方盤（共五件）

each of quare-form, moulded in the interior with a deer and monkey, cavetto with geometric band, covered overall in a soft sea-green glaze save for the foot ring revealing the white and orange biscuit body (5) ca. 11cm wide each

Provenance: Private Japanese Collection

日本私人收藏

Note: Related rare moulded ‘Longquan’ celadon-glazed ‘deer’ square dish, dated to Yuan dynasty, was sold at Sotheby’s New York, 21 September 2022, lot 233.

£1,000-1,500

222 ‡

CHINESE WUCAI ‘SEA CREATURE’ HEXAGONAL DISH

QING DYNASTY, KANGXI PERIOD

清康熙花押款五彩荷塘清趣六角盤共箱

of hexagonal form, painted with crane in lotus pond in the central medallion, each panel on cavetto with six different sea creatures including crayfish, crab, shellfish, carp, turtle and three-legged toad, the base inscribed with a character mark within two panels in underglaze blue, with a Japanese tomobako wooden box

21.2cm wide

Provenance: Private Japanese Collection

日本私人收藏

Note: Two closely comparable Wucai hexagonal dishes are similarly painted with crane in lotus pond in the centre and the same six sea creatures on cavettos: one in the Baur Collection in Geneva, published in John Ayres, Chinese Ceramics in the Baur Collection, volume I, Geneva, 1999, no. 120 [A237], p. 184; the other published in Iroe shonzui, Nankin akae, Kōki gosai : Minmatsu, Shinsho no gosai jiki, Kyōto Kokuritsu Hakubutsukan, Kyōto-shi, Heisei 5 [1993], no. 21. 兩件非常相似的五彩六角盤，中心均繪有荷塘祥鶴圖，盤內壁並繪有相同的六種海獸紋：一件藏於瑞士日內偉鮑爾收藏，出版於約翰艾爾斯（John Ayres）所著《鮑爾收藏的中國陶瓷》第一卷，日內瓦，1999年，編號120 [A237]；另一件出版於《色絵祥瑞・南京赤絵・康熙五彩 : 明末・清初の五彩磁器》，京都国立博物館，京都，平成五年[1993年]，圖版21。

£2,000-3,000

223 ‡

CHINESE CLAIR-DE-LUNE GLAZED CUP

QING DYNASTY, YONGZHENG MARK BUT 19TH CENTURY

清雍正款天藍釉杯共箱

delicately potted with steep sides rising from a short straight foot, the exterior applied with a translucent lavender-blue glaze, the interior and base left white, the bas inscribed with the six-character Yongzheng mark within a double-circle in underglaze blue, with a Japanese tomoboko wooden box 5cm diameter

Provenance: Private Japanese Collection, acquired from Inamura Arts, Osaka

Published: Monochrome, Inamura Arts, Osaka, 2023, catalogue no. 27, pp. 42-3

日本私人收藏，購自大阪市稻村美術

出版：《単色》，稻村美術，大阪市，圖錄27, 頁42-3

Note: Compare to a pair of related fine lavender-glazed bowls, Yongzheng six-character marks and of the period, sold at Bonhams London, 2 November 2023, lot 173.

參清雍正款及年代天藍釉碗一對例，2023年11月2日售於倫敦邦翰斯，拍品173，可資比較。

£3,000-5,000

224 ‡

CHINESE WUCAI ‘LION’ TEAPOT WITH COVER QING DYNASTY, 17TH CENTURY

清五彩獅子牡丹紋蓋壺共箱

finely painted on either side of the bulbous body with a Buddhist lion amongst blossoming peony flowers on leafy tendrils, the angled spout, lid and handle further decorated in iron-red, with a Japanese tomoboko wooden box 10.5cm high with handle

Provenance: Private Japanese collection, acquired from Lyan Arts’ Collection, Tokyo

Published: Lyan Arts Collection 2022, Tokyo, catalogue no. 14

日本私人收藏，購自大阪市稻村美術出版：《利菴アーツコレクション 2022》，東京，圖版14

£3,000-5,000

CHINESE CARVED CELADON-GLAZED JAR

CHENGHUA MARK BUT 19TH-20TH CENTURY 十九至二十世紀成化款青釉刻纏枝花卉紋罐

of squatted inverted baluster form, decorated with lotus flowers and leaves amidst two petal bands, covered with a translucent celadon green glaze, the base inscribed with a four-character Chenghua mark in underglaze blue

18cm wide

Provenance: Private Scottish collection, East Lothian 蘇格蘭私人收藏，東洛錫安

£300-500

226

CHINESE RED-GLAZED VASE

QING DYNASTY, 19TH CENTURY

清紅釉瓶

potted on a slightly everted foot rising to a tapering body and long-waisted neck, covered overall saved for the foot ring with a maroon red glaze thinning on the mouth rim

17.6cm high

Provenance: Private Scottish collection, Isle of Islay; Inherited from the current owner’s grandparents, who may have acquired between the 1920s and 1930s.

蘇格蘭私人收藏，艾雷島；繼承自現任藏家之祖輩，其或於1920至30年代入藏。

£300-500

CHINESE GILT-DECORATED BLUE-GLAZED ‘BAT’ VASE

QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆款及年代藍地描金百蝠紋瓶

of bottle form with bulbous body rising to straight cylindrical neck, painted to the exterior with bats in flight amongst clouds, all against a dark navy blue ground, the base inscribed with a six-character Qianlong mark in underglaze blue 12.3cm high

Note: Compare to a vase with Indian lotus scrolls in gold tracing on a cobalt blue ground, Qianlong mark and of the period, note the similarity of the size and shape, previous in the Qing Court collection, now in the National Palace Museum, Taipei, object no. Gu Ci 故瓷008493N 參一例清乾隆款及年代霽青釉描金番蓮紋瓶，器形、尺寸與本品相似，清宮舊藏，現藏於臺北故宮，館藏號「故瓷008493N」，可資比較。

£6,000-8,000

228

GROUP OF THREE CHINESE INCISED YELLOW-GLAZED ‘DRAGON’ SAUCERS

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代黃釉暗刻雙龍戲珠紋碟（共三件） each incised to the centre with a pair of confronting dragons, the base inscribed with a six-character Guangxu mark in aubergine (3) 11cm diameter each

Note: A comparable pair of incised yellow-glazed ‘dragon’ dishes, marks and period of Guangxu, were sold at Sotheby’s New York, lot 751.

£1,000-1,500

229

MINIATURE CHINESE PEACHBLOOM-GLAZED BOTTLE VASE

QING DYNASTY, 18TH CENTURY

清豇豆紅釉小瓶 of bottle form, covered to the exterior with a red glaze suffused with green specks 9cm high

£600-800

CHINESE BLUE-GLAZED JAR

QING DYNASTY, KANGXI MARK, 18TH-19TH CENTURY

清康熙款藍釉罐

rising from short everted foot to steep sides and bulbous shoulders, short neck and flaring mouth, covered to the exterior with a dark navy blue glaze, the base inscribed with a six-character Kangxi mark in underglaze blue

22.5cm high

Provenance: Formerly in a Private Japanese Collection 前日本私人收藏

£3,000-5,000

231

CHINESE COPPER-RED ‘DRAGON’ JAR

POSSIBLY YUAN DYNASTY

或為元代釉裏紅龍紋罐

potted with steep tapering sides rising to high shoulders and short straight neck, lipped rim, painted on the body with a band of dragons, underneath a band of ruyi decorated with cranes and above a lappet band

34cm wide

Provenance: Private collection; formerly in the collection of A. M. Petersen, Amsterdam, The Netherlands (by repute)

私人收藏；荷蘭阿姆斯特丹 A. M. Petersen舊藏（據傳）

Note: Compare to a related blue and white ‘dragon’ jar, Yuan dynasty, sold at Christie’s London, 3 Nov 2020, lot 28; Also see a rare blue and white jar in horse and peony design, with the shoulders similarly decorated with a ruyi band, Yuan dynasty, sold at Bonhams New York, 17 March 2025, lot 17.

£300-500

CHINESE YELLOW-GROUND GREEN AND AUBERGINE-ENAMELLED ‘DRAGON’ SAUCER QIANLONG MARK

乾隆款黃地素三彩雙龍趕珠紋碟

incised and enamelled on the interior with two dragons writhing among flames contesting a flaming pearl, the exterior with four clusters of grapes, the base inscribed with an apocryphal sixcharacter Qianlong mark within a double-circle

14.2cm diameter

£600-800

233

SET OF SIX CHINESE IRON-RED-DECORATED ‘LANDSCAPE’ PLATES

QING DYNASTY

清礬紅彩山水人物紋盤（一組六件）

each decorated with a shanshui landscape with small figures, with banded border on the rim issuing green leaves (6) 24cm diameter each

CHINESE RED-GLAZED VASE, YUHUCHUAN

QING DYNASTY, 19TH CENTURY

清紅釉玉壺春瓶

the bulbous sides raised from an everted foot to a waisted neck and flared rim, covered to the exterior with red glaze stopped neatly on the foot

35.5cm high

Provenance: Private collection, Hong Kong

香港私人收藏

£4,000-6,000

CHINESE COPPER-RED DOUBLE-GOURD VASE

19TH-20TH CENTURY

十九至二十世紀釉裏紅福祿連綿葫蘆瓶帶木座

the upper globular bulb rising to a short neck, supported on a slightly compressed bulbous lower bulb, painted around the body with flowers and leaves borne on scrolling tendrils, the slightly concave base unglazed, with a wooden stand 17.8cm high

Provenance: Private collection; acquired from the collection of Mr de Boo at Den Haag, The Netherlands in the 90s (by repute)

私人收藏；於九十年代購自荷蘭海牙Mr de Boo舊藏（據傳）

Note: Compare to a very rare and fine copper-red double-gourd vase, dated to the Kangxi period, previously in The Robert Chang Collection, offered at Bonhams Hong Kong, 29 May 2023, lot 838.

參一近例清康熙釉裏紅福祿連綿葫蘆瓶，前香港張宗憲先生珍藏，後於2023

年5月29日香港邦翰斯上拍，拍品838，可資比較。

£3,000-5,000 235

CHINESE YELLOW-GROUND GREENENAMELLED ‘DRAGON’ BOWL YONGZHENG MARK AND POSSIBLY OF THE PERIOD

雍正款或到代黃地綠彩團龍紋碗帶木座 incised and enamelled around the body with four dragon-roundels alternated with stylised clouds above a lappet band, all against a yellow ground, the base inscribed with a six-character Yongzheng mark within a double-circle in underglaze blue, with a wooden stand

14.2cm diameter

£5,000-7,000

CHINESE YELLOW-GROUND AND GREEN-ENAMELLED

UNDERGLAZE BLUE ‘DRAGON’ PLATE

QING DYNASTY

清黃地青花龍紋盤

底書：福／養成大拙方知巧，學到如愚才是賢

decorated in the central medallion with a sinuous dragon with flames within two double-circles in underglaze blue, all reserve on a yellow enamelled ground, outer cavetto further with various dragons underneath a green-enamelled key-fret band, the base unglazed and inscribed with various characters in ink, centred by ‘Fu’

25.2cm diameter

Provenance: Formerly in a private French collection

前法國私人收藏

£1,500-2,000

238

GROUP OF THREE CHINESE CRACKLE-GLAZED WARES

QING DYNASTY, 19TH CENTURY

清郎窯綠釉罐、小瓶及仿哥釉罐帶一木座（共三件）

comprising: an apple-green glazed jar, with a wooden stand; an apple-green glazed small bottle vase; together with a ge-type crackle glazed jar (3)

largest: 23cm high

Provenance: Private collection, Isle of Arran 蘇格蘭阿倫島私人收藏

£300-500

239

LARGE CHINESE RED-GLAZED VASE

QING DYNASTY, 18TH-19TH CENTURY

清紅釉觀音尊

of baluster form, covered to the exterior with a deep cheery red glaze in streaks against lighter red ground

41cm high

£500-700

240

CHINESE MOULDED GREEN-GROUND

GILT-DECORATED BOX AND COVER

QIANLONG MARK, 19TH-20TH CENTURY

十九至二十世紀乾隆款綠地描金模印福壽夔龍紋方蓋盒

of four-section form, moulded on the top of the cover with bats encircling peaches in kuilong borders, the base of the box with a six-character Qianlong mark in a recessed panel

12.5cm wide

Provenance: The interior of the cover has a circular sticker, reading ‘Fiorenza Boselli Antiquario, Bergamo’

盒內貼圓籤：‘Fiorenza Boselli Antiquario, Bergamo’

£2,000-3,000

241

CHINESE COPPER-RED WITH UNDERGLAZE BLUE

MALLET VASE

JIAJING MARK, 19TH-20TH CENTURY

十九至二十世紀嘉靖款青花釉裏紅夔鳳紋搖鈴尊

painted around the shoulders with two stylised phoenixes, the eyes highlighted in underglaze blue, the base inscribed with a six-character Jiajing mark in underglaze blue

20.5cm high

£800-1,200

242 ‡ CHINESE CARVED CELADON-GLAZED ‘ARCHAISTIC DRAGON’ JAR

QING DYNASTY, QIANLONG PERIOD

清乾隆青釉刻仿古夔龍紋罐

sturdily potted with a compressed globular body on a tapering foot, carved with archaistic kui-dragon motif between ruyi and lappet bands, applied inside out with a translucent green glaze

24.5cm wide

Provenance: Private Collection, Hong Kong

香港私人收藏

£800-1,200

243 ‡

CHINESE IRON-RED AND GILT DECORATED ‘DRAGON’

BRUSH WASHER

GUANGXU MARK, LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY

清末民初光緒款礬紅描金雙龍戲珠紋水丞

of cylindrical form with inverted mouth, painted on the exterior with a pair of confronting dragons chasing a flaming pearl above crashing waves, detailed in gilt, the base inscribed with a six-character Guangxu mark 10cm wide

Provenance: Private Collection, Hong Kong

香港私人收藏

£500-700

CHINESE CELADON-GLAZED ‘TRIGRAM’

SQUARE VASE, CONG

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代粉青釉八卦琮式瓶

of archaistic cong form, the square-section body supported on a round splayed foot and with a short round neck, each side moulded in shallow relief with the Eight Trigrams, covered overall in a pale celadon glaze, the base inscribed with a six-character Guangxu mark in underglaze blue

27.5cm high

£3,000-5,000

245 ‡

CHINESE RED-GLAZED VASE

QING DYNASTY, 18TH CENTURY

清紅釉荸薺瓶

of compressed globular form with high straight neck and flaring mouth, covered on the exterior with a red glaze thinning from the mouth revealing a mushroom tone, suffused with fine crackles

23.5cm high

Provenance: Private Collection, Hong Kong

香港私人收藏

£3,000-5,000

247

CHINESE BLUE-GROUND GILT-DECORATED ‘DRAGON’ BOTTLE VASE

TONGZHI MARK, 19TH-20TH CENTURY

十九至二十世紀同治款藍地描金龍鳳紋瓶

with compressed globular body rising to cylindrical neck, painted to one side with a dragon and reserve a phoenix amongst flames and clouds, the neck with beribboned Ashtamangala, the base inscribed with a six-character Tongzhi mark

34cm high

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

246

CHINESE WHITE BISCUIT ‘PRUNUS’ TABLE SCREEN

QING DYNASTY, WANG BINGRONG MARK, 19TH CENTURY

清王炳榮款素胎瓷雕梅花紋桌屏帶木座

款識：梅花／已亥年春王炳榮 of rectangular form, decorated with flowering prunus in relief, upper right margin with inscriptions, dated to the spring of Yi Hai year, corresponding to 1875, signed Wang Bingrong, on a fitted wooden stand

14.7cm x 10.4cm

£3,000-5,000

248

CHINESE ‘SANG-DE-BOEUF’ GLAZED TRIPOD CENSER

QING DYNASTY, 18TH-19TH CENTURY

清郎窯紅釉三足爐

the compressed globular body supported on three knob-feet rising to waisted neck and lipped rim, covered to the exterior with a translucent red glaze over a network of crackles inside and out

24cm wide

£2,000-3,000

PAIR OF CHINESE YELLOW-GROUND GREEN AND AUBERGINE-ENAMELLED ‘DRAGON’ SAUCERS QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代黃地素三彩雙龍趕珠紋碟（一對）

each incised and enamelled on the interior with two dragons writhing among flames contesting a flaming pearl, the exterior with four clusters of grapes, the base inscribed with a six-character Guangxu mark (2) 12.8cm diameter each

Note: Compare to two pairs of yellow-ground green and aubergine-enamelled ‘dragon’ dishes, marks and period of Guangxu, one pair sold at Sotheby’s Hong Kong, 27 November 2020, lot 508; the other pair sold at Sotheby’s London, 17 May 2024, lot 205.

參兩對清光緒款及年代，黃地素三彩雙龍趕珠紋碟近例，其中一對售於香港蘇富比，2020年11月27日，拍品508；另一對售於倫敦蘇富比，2024年5月 17日，拍品205，可資比較。

£6,000-8,000

251

CHINESE YELLOW-GLAZED CARVED ‘DRAGON’ BRUSH POT QINGHUA ZHENPIN MARK, 20TH CENTURY

二十世紀清華珍品款黃釉刻雲龍紋筆筒

of subtly waisted cylindrical form, carved with dragons in flight amongst flames and clouds, covered overall save for the interior and foot rim in a translucent yellow glaze, the base with a four-character ‘Qing Hua Zhen Pin’ mark in relief

18.5cm diameter

£600-800

250

CHINESE COPPER-RED ‘PEONY’ BOTTLE VASE QIANLONG MARK

乾隆款釉裏紅纏枝牡丹紋天球瓶

potted with a bulbous body rising to a straight cylindrical neck, painted overall with peonies borne on foliated scrolling tendrils under bands of key fret and ruyi head, the base inscribed with a six-character Qianlong mark in underglaze blue

29cm high

Provenance: Private English collection, England; Formerly acquired from Rowley’s Auction, 6 September 2011, lot 116 (with a paper label)

英格蘭私人收藏；

前Rowley’s Auction拍賣, 2011年9月6日,拍品116

(據紙標籤)

£800-1,200

252

CHINESE YIXING JUN-GLAZED ‘CHRYSANTHEMUM’ PLATE

QING DYNASTY

清宜鈞釉菊瓣盤

potted with a band of petals on the rim, covered overall save for the foot rim with a thick blue glaze with white streaks thinning to brown at the rim

23cm wide

Note: Compare to a related Yixing Jun-glazed censer, dated to the 17th century, sold at Poly Hong Kong, 3 May 2025. lot 3062.

£1,500-2,000

253

CHINESE RUBY-RED-GLAZED JARDINIERE

QIANLONG MARK, 19TH-20TH CENTURY

十九至二十世紀乾隆款胭脂紅釉馬蹄形花盆

of horse hoof form, applied on the exterior with a pink glaze, mouth rim gilded, the counter-sunk base inscribed with a sixcharacter Qianlong mark in underglaze blue 14.9cm diameter

Provenance: Private Scottish collection, Edinburgh

蘇格蘭私人收藏, 愛丁堡

£600-800

254

PAIR OF CHINESE YELLOW-GLAZED DISHES

TONGZI MARK, 19TH-20TH CENTURY

十九至二十世紀同治款黃釉盤（一對）

each with rounded sides rising from the short foot, covered overall in a rich yellow glaze, the base inscribed with a six-character Tongzhi mark (2) 13.9cm diameter each

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

255

CHINESE GREEN-ENAMELLED ‘LANDSCAPE’ PORCELAIN PLAQUE

ARRTIBUTED TO CHEN SONG

陳松款綠釉《聽泉話禪》瓷板

of rectangular form, painted with a shanshui landscape, upper right titled ‘Ting Quan Hua Chan’, signed ‘Chen Song’ and a seal, dated to the year of Ji Wei

38.7cm x 25.7cm

£1,500-2,000

COLLECTION OF ELSIE TOLLEMACHE (LOTS

256-257)

Elsie Tollemache, niece of Oscar Raphael (1874–1941); thence by descent within the family.

Oscar Raphael was one of the leading English collectors of Chinese ceramics in the early 20th century. He worked closely with R. L. Hobson at the British Museum, a former President of the Oriental Ceramic Society, and played an important role in the organisation of the seminal 1935 Royal Academy Exhibition of Chinese Art.

It is understood that the present vase was acquired within this familial context, likely through Raphael’s direction and contacts in the early 20th-century Chinese art market.

艾爾西・托勒馬奇（Elsie Tollemache），奧斯卡・拉斐爾（Oscar Raphael, 1874–1941）之外甥女；其後家族遞藏。

奧斯卡・拉斐爾是20世紀初英國最重要的中國陶瓷收藏家之一。他與大英博物館的R. L. 霍布森密切合作，曾任東方陶瓷學會會長，並在1935 年皇家藝術學院中國藝術里程碑式展覽的籌辦中發揮了重要作用。

據了解，此青花花瓶是在此家族背景下獲得的，很可能是透過拉斐爾在20世紀初中國藝術市場中的指引與人脈所購得。

256

RARE CHINESE BLUE AND WHITE ‘DRAGON AND PHEASANTS’ VASE

MING DYNASTY, WANLI MARK AND OF THE PERIOD

明萬曆青花「大明萬曆年製」楷書雙圈款青花雉雞龍紋瓶

鑲金屬口帶木座

sturdily potted, the globular body rising on a high flaring foot, painted on the bulging body with pheasants on rockwork issuing flowers and leaves, the cylindrical foot with a pair of dragons chasing flaming pearls, centre of the counter sunk base inscribed with a six-character Wanli mark within a double-circle, the mouth with metal mount, with a bespoke hardwood base 19.5cm high

Provenance: Elsie Tollemache, niece of Oscar Raphael (1874–1941); thence by descent within the family.

Note: This vase would have been in the ‘gu’ form. A closely comparable example, Wanli mark and of the period, with the neck intact, was sold at Christie’s Paris, 7 Jun 2011, lot 255. For the whole shape and form of the vase, with comparable decorations, mark and period, but painted in wucai palette, was sold at the abovementioned sale and from the same collector, see lot 240.

£1,000-1,500

RARE CHINESE BLUE AND WHITE ‘DRAGON’ VASE, ZUN

MING DYANSTY, JIAJING MARK AND OF THE PERIOD 明嘉靖青花「大明嘉靖年製」楷書雙圈款青花龍紋出戟尊鑲金屬口

modelled after archaic bronze zun vessels, the bulging body decorated with two dragons amidst flames and clouds, separated by vertical flanges, further with bands of lappets, flowers, beads, and flaming clouds, the base inscribed with a six-character Jiajing mark within a double-circle, the mouth with metal mount

14.5cm high

Provenance: Elsie Tollemache, niece of Oscar Raphael (1874–1941); thence by descent within the family.

Note: Comparable examples with similar shape and decoration are found with Wanli mark and of the period. For one previously in the Qing Court Collection, now in the Palace Museum, Beijing, accession no. Gu 故00144808; For another example with Wanli mark and period, in the collection of Reginald and Lena Palmer, exhibited at ‘Reginald and Lena Palmer, Their Collection and The Oriental Ceramic Society, 1921-1970’, Bonhams London, 27 Oct-2 Nov 2021, item 4.

For a Jiajing-period zun-form example, see a related extremely rare blue and white vase, painted with fish, dated to the Ming dynasty, Jiajing period, sold at Christie’s New York, 22 Mar 2013, lot 1456.

£1,000-1,500

258

CHINESE BLUE AND WHITE BEAKER VASE, GU

MING DYNASTY, CHONGZHEN PERIOD

明崇禎青花《萬里封侯》花觚

painted with a seated officer guarded by his entourage, before him with three kneeling figures offering wine with a jue wine cup and an ewer, a banner on top with a four-character ‘Wan Li Feng Hou’ mark

40cm high

Provenance: Private collection, Isle of Arran 蘇格蘭阿倫島私人收藏

£500-700

CHINESE WUCAI SLEEVE VASE

QING DYNASTY, 19TH CENTURY

清五彩鳳凰穿牡丹紋筒瓶

painted with phoenixes in flight amongst large blossoming peonies and dense scrolling tendrils

43cm high

Provenance: Private collection, Isle of Arran 蘇格蘭阿倫島私人收藏

£300-500

260

CHINESE BLUE AND WHITE ‘BOYS AT PLAY’ LIDDED JAR

QING DYNASTY, KANGXI PERIOD

清康熙青花嬰戲圖蓋罐包銀足

of ovoid form, painted with boys at play on the exterior and cover, foot with white metal mount

10.6cm high with lid

Provenance: Private collection, London

倫敦私人收藏

£600-800

261 ‡

CHINESE BLUE AND WHITE BRUSH POT

QINGWAN MARK, QING DYNASTY, KANGXI PERIOD

清康熙清玩款青花人物紋筆筒

of cylindrical form, painted on the exterior with a continuous scene of an officer walking out from a building, before him a boy attendant holding a lantern, behind him another attendant holding a large fan, the base inscribed with a two-character Qingwan mark within a double-circle 12.3cm high

Provenance: Private Collection, Hong Kong

香港私人收藏

£2,000-3,000

262

CHINESE BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ BOWL

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代青花歲寒三友碗

decorated to the exterior with the ‘Three Friends of Winter’, including bamboo, pine and prunus trees, the base inscribed with a six-character Guangxu mark in underglaze blue

13.3cm diameter

Provenance: Private German collection

德國私人收藏

£400-600

263

CHINESE WUCAI ‘FIGURAL’ SLEEVE VASE, GU

LATE MING TO EARLY QING DYNASTY

明末清初五彩人物紋花觚

painted on the upper register with a general riding a horse followed by soldiers, further decorated with the Three Abundance motif, including peaches, pomegranates and finger citrus in the middle, and boys at play on the lower section

41.4cm high

£500-700

264

CHINESE BLUE AND WHITE ‘FIGURAL’ VASE

QING DYNASTY, KANGXI PERIOD

清康熙花押款青花郭子儀拜壽紋瓶

of baluster form, painted with figures paying tribute to two seated elders, the base painted with a lingzhi fungus motif mark within a double circle

26.9cm high

Provenance: Private Scottish collection, Edinburgh 蘇格蘭私人收藏，愛丁堡 £300-500

265

CHINESE BLUE AND WHITE ‘FISH’ PLATE

QING DYNASTY, KANGXI MARK, 18TH CENTURY

清康熙款青花魚藻紋花口盤 with foliated rim, painted to the centre medallion with five fish against a pearl ground, enclosed by floral bands, the base inscribed with a four-character Kangxi mark within a double-circle 27.8cm diameter

£500-700

266

LARGE CHINESE BLUE AND WHITE ‘SEVEN SAGES’

BRUSH POT

POSSIBLY TRANSITIONAL PERIOD

或爲過渡期青花竹林七賢筆筒 of cylindrical form, finely painted with a continuous scene of the ‘Seven Sages’ in a bamboo grove with craggy rocks and plantain trees, engaged in various scholarly pursuits, including one playing the qin, another reading poetry, accompanied by attendants preparing an incense burner, between two incised bands 19cm diameter

Provenance: Private collection, London

倫敦私人收藏

Note: A comparable, important, extremely large blue and white ‘Seven Sages of the Bamboo Grove’ Brushpot, dated to the Ming dynasty, Chongzhen period, previously in the Marsh collection, sold at Bonhams Hong Kong, 27 November 2024, lot 8.

參一近例明崇禎青花竹林七賢圖筆筒，與此品繪以近似畫片，前墨一閑收藏，於2024年11月27日售於香港邦翰斯，拍品8。

£6,000-8,000

267

PAIR OF CHINESE BLUE AND WHITE PLATES QING DYNASTY, KANGXI PERIOD

清康熙花押款青花花卉紋盤（一對）

each decorated with concentric panels enclosing a rosette in the centre and densely filled with floral sprays, the base painted with a beribboned conch motif mark within double circle (2) 22cm diameter each

Provenance: Private Irish collection

愛爾蘭私人收藏

£600-800

268

CHINESE BLUE AND WHITE VASE QING DYNASTY, KANGXI PERIOD

清康熙青花花卉紋花觚

in gu form but missing the upper section, painted with cartouches filled with floral against trellis ground 28cm high

Provenance: Private collection, London

倫敦私人收藏

£600-800

270

CHINESE BLUE AND WHITE ‘PEACH’ MOON FLASK

QING DYNASTY, QIANLONG MARK AND POSSIBLY OF THE PERIOD

清乾隆款或到代青花福壽雙全抱月瓶

of flattened bottle from, decorated on both sides in raised peach-form cartouches with bats and peaches, surrounded by a scrolling lotus band, set on both sides of shoulders and neck with angled handles, the base inscribed with a six-character Qianlong mark in underglaze blue 25cm high

£1,000-1,500

269

CHINESE BLUE AND WHITE ‘DRAGON’ VASE

QING DYNASTY, 19TH CENTURY

清青花龍趕珠紋盤口瓶

of baluster form rising to a long cylindrical neck with a raised rib terminating in a wide mouth, painted around the body with a five-clawed dragon chasing flaming pearl above crashing waves

44.5cm high

£500-700

CHINESE EXPORT ANNAMESE MARKET ‘BLUE DE HUE’ WATER PIPE

QING DYNASTY, 19TH CENTURY

清蘊藏美記款

外銷安南青花福祿壽花卉紋罐 of baluster form, painted with floral spray with ‘Fu Lu Shou’ characters to one side, the base inscribed with a four-character ‘Uẩn tàng mỹ ký’ (Recording the treasure of beauty) mark, metal mount

13.2cm high without handle

Provenance: Private English collection, London

英格蘭私人收藏，倫敦

£500-700

£800-1,200 271

side view 272 GROUP OF FOUR CHINESE BLUE AND WHITE ‘HUNTING SCENE’ PLATES AND DISHES QING DYNASTY, KANGXI PERIOD

清康熙花押款青花胡人騎射紋深盤及淺碟（共四件）

composed of two shallow plates and two deep dishes, each painted with three foreigners on horses hunting for an animal in the run, enclosed by a trellis ground band decorated with six floral cartouches, the base painted with a stylised conch shell mark within a double-circle (4)

23.7cm diameter each

Provenance: Private collection, London; acquired from the UK art market in the 1990s

倫敦私人收藏；1990年代購自英國藝術市場

274

GROUP OF FOUR CHINESE BLUE AND WHITE ‘HUNTING SCENE’ DEEP DISHES

QING DYNASTY, KANGXI PERIOD

清康熙花押款青花胡人騎射紋深盤（共四件）

each painted with a central medallion of three archers on horseback chasing a deer, the rim with floral medallions on a brocaded pattern ground, the base painted with a stylised conch shell mark within a double-circle (4) 22.6cm diameter each

Provenance: Private collection, London; acquired from the UK art market in the 1990s

倫敦私人收藏，1990年代購自英國藝術

市場

£600-800

273

CHINESE EXPORT ANNAMESE MARKET ‘BLUE DE HUE’ WATER PIPE

QING DYNASTY, 19TH CENTURY 清團壽紋款外銷安南青花松下高士罐

painted to one side with a scholar underneath pine tree accompanied by his boy attendant, metal mount, the base painted with a stylised shouroundel mark

11cm high without handle

Provenance: Private English collection, London

英格蘭私人收藏，倫敦

£500-700

275 CHINESE BLUE AND WHITE ‘LOTUS’ ALBARELLO JAR

QING DYNASTY, 18TH-19TH CENTURY

清青花纏枝蓮紋壯罐

of cylindrical form, painted around the exterior with a dense pattern of flowers and leafy tendrils, between lotus scroll bands, surmounted by a slightly everted neck painted with swirling waves

22.8cm high

£2,000-3,000

276

LARGE CHINESE BLUE AND WHITE ‘DRAGON’ BOTTLE VASE

QING DYNASTY, 19TH CENTURY

清青花九龍搶珠大天球瓶帶鎏金銅底座

the globular body surmounted with long cylindrical neck, the exterior finely painted with nine dragons of different forms chasing a flaming pearl in clouds, the base mounted on gilt-bronze base with beaded band

45.5cm high without base

Provenance: Formerly in a private English collection

前英格蘭私人收藏

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

LARGE CHINESE BLUE AND WHITE ‘LOTUS’ HU-FORM VASE

QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY

清乾隆款青花纏枝蓮紋鋪首耳大壺

painted on the bulbous body with lotus flower heads borne on scrolling tendrils underneath a band of beribboned Eight Buddhist Emblems, flanked on both sides of the shoulders with moulded mythical beast masks holding loop rings as handles, the base inscribed with a six-character Qianlong mark

53.5cm high

Note: A comparable vase, Qing dynasty, Qianlong mark and period, is in the Art Institute of Chicago, reference no. 1937.937

£3,000-5,000

278

CHINESE BLUE AND WHITE ‘SEVEN SAGES’ STEM BOWL

QING DYNASTY, 19TH CENTURY

清青花竹林七賢圖淨水碗

with deep rounded sides standing on a tapering stem foot, painted around the body with the Seven Sages of the Bamboo Grove engaging in scholarly and relaxing activities

21.2cm diameter

Provenance: Private Irish collection

愛爾蘭私人收藏

Note: Compare to a blue and white offering bowl of similar shape, painted with Bodhidharma, in the Palace Museum, Beijing, museum no. Xin 新00113565.

£800-1,200

279

CHINESE BLUE AND WHITE ‘LANÇA’ STEM CUP QIANLONG MARK

乾隆款青花梵文纏枝蓮紋高足碗

painted around the steep flaring sides with eight lança characters enclosed within lotus stems issuing stylised blossoms and acanthus leaves, the underside with a frieze of lotus lappets, all raised on a tall spreading stem decorated with bands of half-flowerheads and floral sprays on a raised rib above pendent interlinked tassels issuing from ruyi-heads, the interior with a stylised peony medallion within a double-line border repeated at the rim, the interior of the foot inscribed with a six-character Qianlong mark

14.4cm diameter

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

280

LARGE CHINESE BLUE AND WHITE ‘DRAGON’ DISH

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光《大清道光年製》篆書款青花五爪龍紋大盤

decorated to the interior with a finely painted five-clawed dragon chasing the flaming pearl amongst flaming scrolls, the exterior similarly decorated with two further dragons, the base inscribed with a six-character Daoguang mark 27cm diameter

Provenance: C.C. Teng & Co., Taipei;

Together with an original fitted cloth box, with paper sticker reading “No. 002196/ \: BW1/ Item: Large Qing Daoguang blue and white dragon plate C/ Note: A” 台灣慎德堂收藏;

附帶一件原裝訂製錦布盒，盒上貼紙標籤，標籤內容為： ”代號 002196/ #: BW1/ 品名：清道光青花龍紋大盤 C/ 備註：A”

Note: This finely potted and painted dish is unusual for its large size. See other blue and white ‘dragon’ dishes, marked and period of Daoguang, are all smaller in comparison: two dishes were sold at Sotheby’s Hong Kong, 25 May 2022, lot 442, each of 16.5cm diameter; another was sold at Christie’s London, 13 Nov 2015, lot 1242,16.7cm diameter.

這件製作精細、繪畫精美的盤子因其較大的尺寸顯得與眾不同。其他清道光款及年代的青花龍紋盤相比之下尺寸都較小：兩件盤子售於香港蘇富比，2022年5月25日，拍品442，每件直徑16.5公分；另一件售於倫敦佳士得，2015年11月13日，拍品1242，直徑16.7公分。

£3,000-5,000

Please note this lot will be offered with no reserve.

本拍品不設底價

A PRIVATE ENGLISH COLLECTION OF BLUE & WHITE (LOTS 281-283)

281

CHINESE BLUE AND WHITE ‘LANDSCAPE’ GINGER JAR WITH COVER QING DYNASTY, QIANLONG PERIOD

清乾隆青花山水紋蓋罐 of bulbous form, painted with a shanshui landscape on the exterior, lid similarly decorated, the base painted with a double circle 22.8cm high with lid

Provenance: Private English collection, London; acquired about forty years ago

英格蘭私人收藏，倫敦；約四十年前入藏

£300-500

282

TWO CHINESE BLUE AND WHITE JARS

MING DYNASTY, 16TH-17TH CENTURY

明青花開光花鳥及山水紋鋪首罐（共兩件）

one decorated with birds and flowers in cartouches, the other painted with shanshui landscapes in cartouches, both shoulders moulded with mythical beast loop handles (2)

heights: 39.5cm and 35cm

Provenance: Private English collection, London; acquired about 40 years ago

英格蘭私人收藏，倫敦；約40年前購藏

£800-1,200

LARGE CHINESE BLUE AND WHITE JAR

QING DYNASTY, 19TH CENTURY

清青花纏枝花卉紋鋪首大罐帶木蓋

heavily potted, painted above lappet and below ruyi bands with blossoming flowers borne on foliated scrolling tendrils, shoulders with moulded mythical beast head handles, wooden cover 46.5cm high

Provenance: Private English collection, London; acquired about 40 years ago

英格蘭私人收藏，倫敦；約40年前購藏

£500-700

285

284

CHINESE CARVED WHITE BISCUIT-PORCELAIN ‘ARHAT’ BRUSHPOT

DAOGUANG MARK, 19TH-20TH CENTURY

十九至二十世紀道光款素胎白瓷十八羅漢筆筒

of cylindrical form, finely carved in mid relief with the Eighteen Arhats, in which five on a raft crossing the sea, one riding a dragon next to three on cloud in flight, the rest on the shores with their respective attributes, the counter-sunk base carved with a six-character Daoguang mark 14.2cm high

Provenance: Private British collection, Glasgow 格拉斯哥私人收藏

Note: Compare to a fine relief-carved white biscuit ‘Eight Immortals’ brushpot, probably Daoguang period, sold at Bonhams London, 10 July 2006, lot 187. Also see a comparable ‘Seven Sages of the Bamboo Groove’ brushpot, Daoguang mark but 20th century, sold at Bonhams London, 6 November 2025, lot 455.

£2,000-3,000

CHINESE GILT-DECORATED POWDER-BLUE-GROUND VASE

QING DYANSTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代灑藍地描金花卉紋瓶

of baluster form, decorated densely with scrolling flowers against a dark blue ground, the base enamelled in turquoise, save for the centre inscribed with a six-character Daoguang mark in underglaze blue

21.3cm high

Provenance: Private Hong Kong Collection

香港私人收藏

£800-1,200

286

CHINESE GE-TYPE CRACKLE-GLAZED BOWL

QING DYNASTY, 19TH CENTURY

清仿哥釉委角碗

finely potted with rounded sides rising from a short straight foot to flaring rim with four notched corners, covered overall with a stone white glaze suffused with a dense black and russet network of crackles

16.3cm wide

Provenance: Private British collection, Glasgow

格拉斯哥私人收藏

Note: See a related Ge-type foliate bowl, seal mark and period of Daoguang, sold at Christie’s London, 3 May 2014, lot 333, then Christie’s Paris, 8 Dec 2021, lot 185.

£1,500-2,000

CHINESE FAMILLE ROSE ‘BALSAM PEAR’ BOWL AND COVER QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩過枝癩瓜紋蓋碗

the bowl finely decorated to the exterior with a butterfly beside bamboo and fruiting leafy balsam pears borne on vine, continuing over to the interior, the cover similarly decorated, the base and cover each with a six-character mark in underglaze blue diameters: cup 11cm; lid 10.2cm

Provenance: Private collection, London

倫敦私人收藏

Note: A comparable pair of famille rose ‘balsam pear’ bowls and covers was exhibited in Nineteenth Century Mark and Period Porcelain, Marchant & Son, London, 1991, cat. no. 45, p. 47; Also see a close example, seal mark and period of Daoguang, was sold at Sotheby’s Paris, 14 June 2024, lot 134. 參一對蓋碗近例，1991年展出於倫敦馬錢特《Nineteenth Century Mark and Period Porcelain》，圖版45號，頁47；另見一近例，2024年6月14日售於巴黎蘇富比，拍品134，可資比較，。

£10,000-15,000

LARGE CHINESE FAMILLE VERTE ‘BIRD AND FLOWER’ VASE

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代綠彩模印開光花鳥紋大瓶

of baluster form, painted with birds and flowers in six cartouches around the body, with raised borders, the shoulders with moulded lion heads with green mane separated by chrysanthemums, the trumpeted neck with floral sprays, the base with a six-character Daoguang mark in iron-red

61.5cm high

£1,000-1,500

£3,000-5,000 288

CHINESE YELLOW-GROUND FAMILLE ROSE BOTTLE VASE

DAOGUANG MARK, 19TH-20TH CENTURY

十九至二十世紀道光款黃地粉彩福慶纏枝蓮紋瓶

of bottle form with bulbous body and cylindrical neck, painted all over with lotus flower heads borne on scrolling tendrils interconnecting bats holding qing musical instruments, all against a bright yellow ground, the base inscribed with a six-character Daoguang mark in iron-red enclosed by a turquoise ground

30cm high

Provenance: The base has a circular sticker reading ‘B. de LAVERGNE, PARIS’ 底貼圓籤「B. de LAVERGNE, PARIS」

CHINESE YELLOW-GROUND FAMILLE ROSE

‘PEONY’ BOWL

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代內礬紅外黃地粉彩牡丹紋碗

potted with deep rounded sides, the exterior vibrantly enamelled with three large pink peonies centred with blue florets amongst leafy tendrils and small blue and pink peony blossoms, all reserved on a lemon-yellow ground, the interior painted densely in ironred with scrolling lotus enclosing bats, pomegranate, peach, and Buddha’s Hand citrus in the centre, the counter-sunk base inscribed with a six-character Daoguang mark in underglaze blue

9.5cm diameter

£6,000-8,000

inside view

291

CHINESE IRON-RED AND GREEN-ENAMELLED ‘WATERGRASS’ PLATE

DAOGUANG MARK AND POSSIBLY OF THE PERIOD 道光款或到代‘道光丁未仲春睿府退思堂製’

款礬紅綠彩模印魚藻紋盤

the exterior decorated with gold fish with aquatic plants on a moulded wavy ground, the interior painted with five bats in flight, the base inscribed with a twelve-character Daoguang mark dated to the Ding Wei year, corresponding to 1847, further with ‘Rui Fu Tui Si Tang’ hall mark in underglaze blue 18.3cm diameter

£3,000-5,000

292

CHINESE FAMILLE ROSE ‘VIEW OF JIANGXI’ BOWL AND SAUCER

QING DYNASTY, 19TH CENTURY

清‘道光乙未趙小樓製’及‘明曾啟元’款、’西山疊翠’底款粉彩西山疊翠花口碟及碗（共兩件）

both with barbed rims, each painted with one of the ten views of Jiangxi, titled Xishan diecui (Verdant landscape of Western Mountain), accompanied by a poetic inscription, base of the dish inscribed with an eight-character ‘Daoguang Yiwei Zhao Xiaolou zhi’ (made by Zhao Xiaolou in the yiwei year of Daoguang) mark, and the reverse of the bowl, after the poem signed ‘Zeng Qiyuan’, the base further inscribed with a four-character ‘Xi Shan Die Cui’ mark within two square-panel (2) diameters: 17.6cm and 14.3cm

Note: See a comparable dish, with the same mark of the present lot, sold at Sotheby’s New York, 16 Sep 2017, lot 844. £800-1,200

293

CHINESE FAMILLE ROSE ‘BUTTERFLY AND FLOWER’ BOWL

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩蝶戀花紋碗

decorated with butterflies visiting floral bushes to the exterior, the base inscribed with a six-character Daoguang mark within a double-circle in underglaze blue

14cm diameter

£5,000-7,000

295

294

CHINESE FAMILLE ROSE ‘LOTUS’ BRUSH POT

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩纏枝蓮紋筆筒

of cylindrical form, painted around the body with lotus flower heads borne on scrolling tendrils, the base inscribed with a six-character Daoguang mark in iron-red

12.3cm high

£800-1,200

CHINESE YELLOW-GLAZED BOWL

QING DYNASTY, DAOGUANG MARK, 19TH CENTURY

清道光款黃釉碗

finely potted with rounded sides supported on a short straight foot rising to everted rim, covered inside and out with a yellow glaze save for the base, the base inscribed with a six-character Daoguang seal mark in underglaze blue 13.4cm diameter

Note: Compare to a slightly larger yellow-glazed bowl, Daoguang seal mark and of the period, sold at Bonhams Hong Kong, 27 May 2012, lot 276.

£2,000-3,000

296

CHINESE WUCAI ‘HONEYSUCKLE’ BOWL

QING DYNASTY, DAOGUANG MARK AND POSSIBLY OF THE PERIOD

清道光款或到代青花五彩忍冬紋碗 delicately potted, decorated with a stylised geometric foliate medallion in the interior and exterior with several further stylised foliate motifs, the base inscribed with a six-character Daoguang mark in underglaze blue 10.2cm diameter

£2,000-3,000

297

CHINESE CORAL-GROUND FAMILLE ROSE ‘PEONY’ BOWL QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD 清道光款及年代粉彩珊瑚紅地開光牡丹紋碗

the deeply rounded body supported by a short straight foot, the exterior finely painted with three registers of pink ‘peony’ over yellow ground, each framed by scrolling plants with blue flowers, the base inscribed with a six-character Daoguang mark in underglaze blue 11cm diameter

Provenance: Private collection, Taiwan, acquired in the 1990s (by repute)

台灣私人收藏，購藏於1990年代 (據傳)

Note: Compare to a very similar coral-ground famille rose bowl, Daoguang six-character seal mark and of the period, is in the collection of the Metropolitan Museum of Art, accession number 79.2.1179. A few further comparable examples in auction, see: Sotheby’s Hong Kong, 30 November 2021, lot 440; and Christie’s New York, 23 Mar 2018, lot 790.

一件非常相似的粉彩珊瑚地開光牡丹紋碗，道光六字篆書款及年代，現藏於紐約大都會藝術博物館，館藏號 79.2.1179。另可參：香港蘇富比，2021年11月30日，拍品440；以及紐約佳士得，2018年3月23日，拍品790。

£6,000-8,000

298

CHINESE IRON-RED AND FAMILLE ROSE BOWL

YUQINGTANGZHI MARK, QING DYNASTY, 19TH CENTURY

清餘慶堂製款粉彩礬紅彩福壽雙全碗

painted to one side with peaches borne on branches and foliage, the reverse with two bats in flight, the base with a four-character Yuqingtang zhi mark in underglaze blue

13.6cm diameter

Provenance: Private British collection, Glasgow

格拉斯哥私人收藏

Note: A comparable example, dated to the Qing dynasty, with the same hall mark, was sold at Christie’s Hong Kong, 11 Oct 2017, lot 316.

£600-800

299

CHINESE BLUE-GROUND FAMILLE ROSE ‘FLORAL’ VASE

QING DYANSTY, SHENDETANG MARK, DAOGUANG PERIOD

清道光慎德堂製款(穿孔) 藍地粉彩蝶戀花紋瓶銅鑲口

of bottle form with flaring mouth, painted with flowers, bamboo, lingzhi fungus issuing from rockwork against a blue-enamelled ground, the base with a four-character ‘Shen De Tang Zhi’ mark in iron-red but drilled through, the mouth with latter mounted bronze fitting

31cm high

£1,500-2,000

300

CHINESE YELLOW-GROUND FAMILLE ROSE ‘FLORAL’ BOWL

QING DYNASTY, SHENDE TANG MARK, 19TH CENTURY

清慎德堂製款黃地粉彩纏枝花卉紋碗

decorated to the exterior with various flowers borne on scrolling tendrils against a yellow ground, the base inscribed with a four-character ‘Shende Tang Zhi’ mark in iron-red 14.2cm diameter

£6,000-8,000

301

CHINESE DOUCAI ‘MANDARIN DUCK IN LOTUS

POND’ BOWL

DAOGUANG MARK AND POSSIBLY OF THE PERIOD

道光款或到代鬥彩鴛鴦蓮池紋碗

painted inside out with ducks in a lotus pond, above the foot with a lappet band, the base inscribed with a six-character Daoguang mark within a double-circle in underglaze blue

10.3cm diameter

Note: A highly comparable pair of doucai bowls with a similar motif, Daoguang mark and of the period, were sold at Christie’s Hong Kong, 5 Dec 2023, lot 3130.

£800-1,200

302

CHINESE UNDERGLAZE BLUE WITH FAMILLE ROSE ‘LOTUS’ BOWL

QING DYNASTY, DAOGUANG MARK, 19TH CENTURY

清道光款內青花外粉彩纏枝蓮紋碗

potted with rounded sides, painted in famille rose with lotus on the exterior, interior with lotus borne on tendrils in underglaze blue, the base inscribed with a six-character Daoguang mark in underglaze blue

15.3cm diameter

Note: A comparable famille rose ‘lotus’ bowl, Daoguang seal mark and of the period, was offered at Bonhams London, 8 June 2004, lot 105.

£2,000-3,000

303

GROUP OF EIGHT CHINESE FAMILLE ROSE ‘WUSHUANGPU’ WARES

TONGZHI, DAOGUANG AND XIANFENG MARKS, 19TH-20TH CENTURY

十九至二十世紀同治、道光、咸豐款各式粉彩無雙譜杯、蓋盒、筒瓶、碟及壺（共八件）

comprising: a cylindrical vase, a lidded teapot, a dish, three cups, and two cylindrical boxes with covers, all similarly decorated with figures from ‘Wu Shuang Pu’, base of the vase with a six-character Tongzhi mark within two square panels, one base of the cup inscribed with a six-character Daoguang mark, and base of the dish inscribed with a four-character Xianfeng mark (8)

largest: 30.5cm high

£1,000-1,500

304

CHINESE FAMILLE ROSE ‘SCHOLAR’ BRUSH POT

QING DYNASTY, DAOGUANG MARK AND OF THE PERIOD

清道光款及年代粉彩挑燈夜讀圖筆筒

of cylindrical form, painted with a scholar reading before a lit candle, a boy attendant outside, the base inscribed with a six-character Daoguang mark in iron-red

12cm high

£500-700

305

LARGE CHINESE MOULDED FAMILLE ROSE ‘FLORAL’ BOWL

QING DYNASTY, DAOGUANG MARK AND POSSIBLY OF THE PERIOD

清道光款或到代粉彩模印纏枝花卉紋碗

potted with deep rounded sides, centre of exterior moulded and enamelled with a band of flowers, the base inscribed with a six-character Daoguang mark in underglaze blue

22.2cm diameter

£3,000-5,000

306

CHINESE FAMILLE ROSE ‘LOTUS’ VASE

DAOGUANG MARK BUT 20TH CENTURY

二十世紀道光款粉彩纏枝蓮紋雙耳瓶

of baluster form, painted with lotus flower heads, bats, and the ‘Three Abundance’ fruits borne on scrolling tendrils, the waisted neck flanked with two angled key-fret-form handles, the base enamelled in turquoise save for the centre inscribed with a six-character Daoguang mark in underglaze blue

29cm high

£2,000-3,000

307

TWO CHINESE PORCELAIN BOTTLE VASES

ONE WITH QIANLONG MARK, QING DYNASTY, 19TH CENTURY

清粉彩羅漢紋及乾隆款紅釉瓶（共兩件）

comprising: a famille rose ‘Arhat’ vase; and a red-glazed bottle vase, the base inscribed with a four-character Qianlong mark in underglaze blue (2)

heights: 19cm and 16.3cm

Provenance: Private Scottish collection, Renfrewshire 蘇格蘭私人收藏，連夫魯郡

£300-500

308

CHINESE FAMILLE ROSE ‘ABSTINENCE’ PLAQUE

QING DYNASTY, 18TH-19TH CENTURY

清粉彩葫蘆型齋戒牌

of irregular double-gourd form, inscribed with two-character ‘Zhai Jie’ (abstinence), repeated in Manchu on the reverse, all against a green and yellow dotted ground enclosed by gourds borne on foliated vines

6.2cm wide

£3,000-5,000

309

CHINESE YELLOW-GROUND FAMILLE ROSE CIRCULAR BOX WITH COVER

XIELIN ZHUREN ZAO MARK, QING DYNASTY, DAOGUANG PERIOD

清道光嶰林主人造款黃地粉彩開光百子戲春圖圓蓋盒

painted on the cover in a cartouche with three boys at play, all against a yellow-enamelled ground decorated with bats and flowers borne on tendrils, the base inscribed with a five-character ‘Xie Lin Zhu Ren Zao’ mark within a square panel in underglaze blue 8cm wide

£3,000-5,000

310

CHINESE FAMILLE ROSE GILT-DECORATED ‘BOGU’ PLATE

QING DYANSTY, YONGZHENG PERIOD

清雍正粉彩描金清供圖盤

finely enamelled to the central medallion with a ‘one-hundred-antiques’ motif enclosed with a trellis band and floral sprays on the cavetto

21.8cm diameter

£1,500-2,000

311

CHINESE FAMILLE VERTE ‘FLORAL’ CHARGER

QING DYNASTY, KANGXI PERIOD

清康熙花押款五彩花籃花卉紋大盤

with foliated rim, painted to the central medallion with a flower basket enclosed by a floral band divided into eight panels, brocade border, the base painted with a leaf-motif mark within a double-circle 37.6cm diameter

£800-1,200

312 ‡

CHINESE

FAMILLE ROSE ‘BOGU’ VASE

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代粉彩開光博古圖百花不落地賞瓶

enamelled around the exterior with four roundels decorated with bogu motif reserved on a ‘millefleur’ ground, on the shoulder a blue-enamelled lotus scroll, the tall waisted neck decorated with two further panels with flowers against a ‘millefleur’ ground, the base inscribed with a six-character Guangxu mark in underglaze blue

39.5cm high

Provenance: Formerly in a private European collection, acquired in the 1950s

前歐洲私人收藏, 購藏於1950年代

£3,000-5,000

313

CHINESE EXPORT FAMILLE ROSE TUREEN AND COVER QING DYNASTY, 18TH CENTURY

清粉彩花卉卷軸紋湯盆帶蓋

decorated with flowers and scrolls, shorter sides flanked with a pair of rabbit-head handles

34.5cm wide

Provenance: Formerly in a private Scottish collection, Stirlingshire

前蘇格蘭私人收藏，史特靈郡 £300-500

ROSE ‘DRAGON AND PHOENIX’ CHARGER

QING DYNASTY, KANGXI MARK BUT 19TH CENTURY

清康熙款粉彩龍鳳紋大盤 painted in the interior within a gilded band with confronting dragon and phoenix chasing a flaming pearl in the centre, amongst ruyi-headed clouds and flames, the underside of the cavetto further with three flowers on tendrils, the base inscribed with an apocryphal six-character Kangxi mark in underglaze blue 41cm diameter

Provenance: Private collection, London; the base with a rectangular sticker, reading: “Provenance: Fu Jia De Auction; Guangxu Era, 1875-1908 Antique”

倫敦私人收藏；

底貼標籤： “Provenance: Fu Jia De Auction; Guangxu Era, 1875-1908 Antique” £2,000-3,000

315

CHINESE FAMILLE VERTE ‘PHOENIX’ JAR AND COVER 19TH-20TH CENTURY

十九至十世紀綠彩鳳凰圖蓋罐

the waisted jar painted with two phoenixes perching on rockwork under a large tree, further decorated with blossoming flowers, the domed cover similarly decorated 44cm high

£500-700

316

CHINESE TURQUOISE-GROUND GRISAILLEDECORATED ‘DRAGON’ GARDEN SEAT QING DYNASTY, 19TH CENTURY

清松石綠地墨彩龍穿牡丹紋六方繡墩 of hexagonal form, painted with two sinuous dragons in flight separated with interlocking pierced coins, between bands of raised bosses, all reserved on a turquoise ground 48cm high

Provenance: Private Scottish collection, Isle of Skye 蘇格蘭私人收藏，天空島

£500-700

317

CHINESE WUCAI ‘FLOWER’ JAR

QING DYNASTY, 19TH CENTURY

清五彩花卉紋罐

painted with floral sprays between a lappet band below mouth and plantain leaf band above foot

29.5cm wide

£300-500

318

LARGE CHINESE SUSANCAI ‘CAVALIER’ VASE

QING DYANSTY

清素三彩刀馬人物紋大瓶

of baluster form, painted around the body with cavaliers in a mountainous landscape, the neck with flowers and bamboo

48.5cm high

£1,500-2,000

319

CHINESE YELLOW-GROUND FAMILLE ROSE ‘ANTIQUITIES’ BOWL

GUANGXU MARK, 19TH-20TH CENTURY

十九至二十世紀光緒款黃地粉彩開光博古圖碗

the exterior decorated with four roundels, each enclosing various treasured objects, against a dense scroll bearing blooms and gourds on a yellow ground, the interior similarly enamelled with dense gourds, scrolling vines and floral blooms, all below a red key-fret band around the rim, the base inscribed with a six-character Guangxu mark in iron-red 17cm diameter

£600-800

320

CHINESE FAMILLE ROSE ‘SCHOLAR’

PORCELAIN PLAQUE

QING DYNASTY

清粉彩文人雅聚長方瓷板木框

finely painted with several clusters of scholars gathering, playing chess and appreciating a scroll, amongst them with rockwork, gnarled pine tree, crashing waves, wooden frame

51.5cm x 22.6cm

£2,000-3,000

321

CHINESE FAMILLE ROSE PINK-GROUND SGRAFFITO

‘FIGURAL’ SQUARE-SECTION VASE

QING DYNASTY, TONGZHI MARK AND OF THE PERIOD

清同治款及年代粉紅地軋道粉彩模印人物紋方瓶

each panel moulded and painted with a figure against a pink enamel sgraffito ground, the base with a six-character Tongzhi mark within two square panels in iron-red

30cm high

Provenance: Private collection, London 倫敦私人收藏

£300-500

CHINESE FAMILLE ROSE ‘THREE FRIENDS OF WINTER’ VASE GUANGXU MARK

光緒款粉彩歲寒三友賞瓶

potted with a large globular body narrowing to a tall waisted neck, flaring at the rim, brightly enamelled around the exterior with gnarled pine tree, knotted prunus branches issuing blossoms, and bamboo, the shoulder with a band of floral scrolls, the base inscribed with a six-character Guangxu mark in iron-red 43cm high

Provenance: Private collection, London; acquired from Bonhams London, 1 November 2021, lot 77

倫敦私人收藏；購自倫敦邦瀚斯，2021年

11月1日，拍品77

£800-1,200

SET OF SIX CHINESE CANTON FAMILLE ROSE ‘ISLAMIC’ BOWLS AND PLATES

QING DYNASTY, 19TH CENTURY

清廣彩外銷伊斯蘭市場花鳥紋碗及盤（共六件）

comprising: three dishes and three bowls, each similarly decorated in gilt and polychrome enamel with floral sprays, birds, and butterflies in lobed cartouches and roundels, with Islamic inscription in cartouche (6) diameters: bowl 20.5cm; plate 24cm each

Provenance: Private collection London; with two Certificates of Antiquity issued by Harrods Antique Porcelain Department 倫敦私人收藏；附兩份由哈羅德百貨古董瓷器部門出具的古董證書

£2,500-3,000

324

CHINESE BLUE-GROUND GILT-DECORATED FAMILLE ROSE FOUR-SECTION BRUSHPOT

QIANLONG MARK, 20TH CENTURY

二十世紀乾隆款藍地描金粉彩開光花卉山水紋方筆筒

each panel with a recessed panel painted with shanshui landscape or flowers, reserved on a navy blue ground gilded with scrolling flowers, the interior and base enamelled in turquoise, centre of the base inscribed with a six-character Qianlong mark in underglaze blue

8.3cm high

£800-1,200

325

CHINESE FAMILLE ROSE ‘BOYS AT PLAY’ VASE

YAWAN ZHENCANG MARK, 20TH CENTURY

二十世紀雅玩珍藏款粉彩百子圖瓶

of cylindrical form with tall neck rising to an everted rim, painted to one side with boys at play, the base inscribed with a four-character ‘Ya Wan Zhen Cang’ mark within a double-panel in iron red 23.5cm high

£500-700

326

PAIR OF CHINESE FAMILLE ROSE ‘PARTRIDGE’ DISHES REPUBLIC PERIOD

民國粉彩鵪鶉圖碟（一對） each finely enamelled with a pair of partridges with rockwork and foliage (2) 14cm diameter each

£800-1,200

CHINESE FAMILLE ROSE SGRAFFITO

BLUE-GROUND VASE

QIANLONG MARK BUT 20TH CENTURY

二十世紀乾隆款藍地軋道粉彩開光山水紋鋪首瓶

painted in two cartouches with shanshui landscape with figures on both sides separated by moulded mythical beast with loop rings as handles, all reserved on a navy blue ground finely incised with tendrils and further painted with lotus borne on scrolling tendrils, the base enamelled in turquoise save for the centre and inscribed with a six-character Qianlong mark in iron-red 16cm high

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

328

CHINESE FALANGCAI ‘PHEASANT’ VASE

QIANLONG MARK BUT 20TH CENTURY

二十世紀乾隆款琺瑯彩雉雞紋橄欖瓶

of olive-stone form, painted with a pair of pheasants perched on rockwork above a peony bush, the base inscribed with a four-character Qianlong mark within two square panels in blue enamel 16cm high

£1,000-1,500

CHINESE FAMILLE ROSE ‘MILLEFLEUR’ SAUCER QIANLONG MARK

乾隆款粉彩百花不落地碟

finely enamelled with dense floral motif, the base enamelled in turquoise save for the centre inscribed with a six-character Qianlong mark in underglaze blue

9cm diameter

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

PAIR OF CHINESE FAMILLE ROSE ‘MAGPIE AND PRUNUS’ BOWLS

QING DYNASTY, 19TH CENTURY

清青花龍紋款粉彩喜上眉梢碗（一對）

each painted to the exterior with a pair of magpies perching on flowering prunus, the base painted with a five-clawed dragon chasing flaming pearl in underglaze blue (2)

13cm diameter each

£1,200-1,800

CHINESE FAMILLE VERTE RECTANGULAR PORCELAIN PILLOW

QING DYNASYT, 19TH CENTURY

清綠彩花鳥荷塘圖長方形瓷枕

the top painted in delicate tones with a bird perched on a lotus stem, surrounded by further lotus flowers and leaves rising from a pond, the underside painted with an eagle perched on a flowering prunus branch 22cm x 32.5cm x 6.2cm

Provenance: Private collection, London; Formerly in a private Edinburgh collection

倫敦私人收藏;

前愛丁堡私人收藏

£800-1,200

332

PAIR OF CHINESE PUCE-ENAMELLED ‘DRAGON’ UMBRELLA STANDS 19TH-20TH CENTURY

十九至二十世紀胭脂紅彩龍紋大筒瓶（一對） each of cylindrical form, painted to the exterior with a large dragon confronting a smaller dragon leaping from crashing waves, further decorated in blue enamel with clouds (2) 46.7cm high each

£300-500

Please note this lot will be offered with no reserve.

本拍品不設底價

333

CHINESE QIANJIANG ENAMELLED STEM DISH ATTRIBUTED TO REN HUANZHANG (AC. 1874-1902)

任煥章款淺絳彩人物紋花口足碟 of foliated form raised on a splaying foot, the top painted with a seated scholar, signed ‘Weishan Ren Huanzhang Zuo’

9cm wide

£400-600

334

CHINESE FAMILLE ROSE ‘CONG’ VASE ATTRIBUTED TO WANG YUNQUAN (1916-1998)

王雲泉款粉彩山水紋琮式瓶

款識：翥山王清雲泉寫於珠山

of square form with tubular foot and mouth, painted on all sides with shanshui landscape, lower left margin of one side inscribed ‘Zhushan Wang Qing Yunquan xieyu Zhushan’ mark (painted by Wang Yunquan in Zhushan)

25cm high

£600-800

CHINESE QIANJIANG ENAMELLED SQUARE-SECTION

BRUSH WASHER

QING DYNASTY, GUANGXU MARK AND OF THE PERIOD

清光緒款及年代‘萬年’款淺絳彩題字山水花鳥紋方洗

of tapered form raised on bracket feet, two sides of the exterior painted with landscape and bird with flowers, the other two with archaistic characters, one side signed ‘Wan Nian’, the base with a four-character Guangxu mark in iron-red

9.9cm wide

£300-500

336

CHINESE QIANJIANG ENAMELLED PORCELAIN PLAQUE ATTRIBUTED TO YU HUANWEN

余煥文款淺絳彩花鳥紋圓瓷板 of circular form, painted with a pair of birds perched on a branch with flowering plants, inscribed upper left, dated to the year of Xin Chou, signed ‘Yu Huanwen’ and a seal 28cm diameter

£1,000-1,500

JAPANESE ART (LOTS 337-345)

337

GROUP OF THREE JAPANESE SILVER INLAID BRONZE TRIPOD CENSERS

MEIJI PERIOD

明治銅嵌銀絲開光花鳥紋獸耳三足爐（共三件）

two as a pair with panels of birds and flowers on the body, mythical beast masks on the sides, tall cylindrical flaring mouth, the other similarly decorated but with short neck and cover, all with high conical feet and on integrated bases (3) largest: 20cm high

Provenance: Private collection, Cambridgeshire

劍橋私人收藏

£400-600

338

JAPANESE BRASS AND MIXED METAL DISH AND TABLE SCREEN

MEIJI PERIOD

明治‘京都井上製’款銅鑄蛇蟲花卉紋橢圓碟及‘光義’、‘平安吉□棲造’銅鑄四扇小桌屏（共兩件）

the dish of oval form, decorated with a snake preying on a mantis amongst flowering bush, the back carved with a five-character mark Kyōto Inoue sei (Manufactured by Inoue of Kyoto); and the four-fold screen of miniature form, one side decorated with birds and flowers, one panel marked ‘Mitsuyoshi’, reverse with incised decorations, one panel further with a six-character and Nogawa studio mark (2)

widths: 24.3cm and 19.3cm; weights: 613g and 336g

Provenance: Private Scottish collection, Renfrewshire

蘇格蘭私人收藏，連夫魯郡

£300-500

339

JAPANESE BRONZE TSURI-KORO OF JUROJIN AND CRANE MEIJI PERIOD

明治銅鑄壽老騎鶴釣香爐

the hanging incense burner cast as the God of Longevity holding a billowing handscroll as cover, seated on a crane with its wings spread as vessel, both detailed with incisions, back of the figure with ‘cloud’ perforations, with three chains for hanging 32.5cm wide; 2074g

Provenance: Private Scottish Collection, inherited from the current owner’s father

蘇格蘭私人收藏，繼承自現任藏家之父親

£300-500

340

JAPANESE KOMAI-STYLE MIXED METAL BOX WITH COVER MEIJI PERIOD

明治京都住駒井風格金工龍鳳紋蓋盒

of peach form, top of the cover decorated with a pair of phoenixes, sides of the box with dragons, the base with a Mount Fuji motif mark 5.6cm wide; 114g

Provenance: Private Scottish collection, Renfrewshire

蘇格蘭私人收藏，連夫魯郡 £300-500

reverse

341

URUSHIBARA MOKUCHU (JAPANESE, 1888-1953)

STONEHENGE BY MOONLIGHT

漆原木虫巨石陣彩色木板印刷

colour woodblock print, view of Stonehenge looking east toward the circle of sarsen stones with lintels, night time with moon overhead, seal and character marks lower left, published by Ken Hoshino & Co., 57-58 Chancery Lane, W.C.

24.7cm x 37cm

Provenance: Private English collection

英格蘭私人收藏

Note: Urushibara Mokuchu (1888–1953), given name Yoshijirō, was a Japanese print maker known for his many black-and-white prints of horses. He travelled to London and was among a group of woodblock print craftsmen who demonstrated printing techniques at the Japan-British Exhibition (日英博覧会, Nichi-Ei Hakuran-kai), which took place at White City, London, from 14 May 1910 to 29 October 1910. He remained in London after the exhibition, restoring prints, making reproductions of prints, and mounting scrolls at the British Museum. In 1912, the British Museum employed Urushibara to make accurate copies of a famous Chinese scroll painting by Gu Kaizhi (c. 344–406 AD), the Admonitions Scroll.

Another closely comparable print is in the collection of the British Museum, registration number: 2003,0820,0.6, which has been exhibited in the British Museum Japanese Galleries, ‘Japan from Prehistory to the Present’ during 2015 April-October.

£250-350

342 UTAGAWA YOSHITORA (JAPANESE, 1836-1887)

EDO PERIOD

江戶歌川芳虎《楠湊川大合戦之図》三聯版畫鏡框

woodblock print, vertical ôban triptych, The Great Battle of the Kusunoki at the Minato River (Kusunoki Minatogawa ôgassen no zu), framed

37cm x 24.5cm each

£500-700

343

GROUP OF THREE JAPANESE SATSUMA WARES MEIJI PERIOD

明治月舟山榮山、琪峯、錦光山款薩摩燒瓶及碗（共三件）

comprising: a double-wall vase decorated with figures in roundels on a pierced chrysanthemum ground, the base marked and further impressed ‘Eizan’; a handled vase decorated with antiquities and stylised phoenix, the base marked ‘Kiho’; and a bowl with figures and hundred butterflies, the base impressed ‘Kinkozan’ (3) largest: 21.2cm high

Provenance: Private Scottish collection, Renfrewshire 蘇格蘭私人收藏，連夫魯郡

£300-500

344

TWO JAPANESE SATSUMA VASES MEIJI PERIOD

明治亮山、楠部款薩摩燒人物紋瓶帶一木座（共兩件）

comprising: a larger vase of bulbous form, the base marked ‘Ryozan zo no’, on a wooden base; and a vase of hexagonal form, the base marked ‘Kusube’, both painted with figures (2) heights: 21cm and 19cm

Provenance: Private Scottish collection, Fife; Acquired from a Scottish country house.

蘇格蘭私人收藏，伐夫；購藏自一蘇格蘭莊園。

£300-500

JAPANESE MAKUZU KOZAN VASE

SIGNED MAKUZU KOZAN SEI, MEIJI PERIOD

明治‘真葛香山製’款黃釉青花龍紋蒜頭瓶

decorated in underglaze blue on a bright yellow enamelled ground with a sinuous dragon, the base inscribed with a five-character ‘Makuzu Kozan Sei’ mark in underglaze blue within two panels 17cm high

Provenance: Private Scottish collection, Fife; acquired from a Scottish country house. The base has a circular label ‘Edward and Sons, Glasgow’. 蘇格蘭私人收藏，伐夫；購藏自一蘇格蘭莊園。器底貼有’Edward and Sons, Glasgow’圓籤。

Note: See a highly comparable Makuzo Kozan vase, was sold at Christie’s London, 11 May 2011, lot 127. £800-1,200

AUCTION 20 MAY 2026 VIEWING IN LONDON

AUDEMARS PIGUET.

ROYAL OAK c.1976

£50,000-70,000 + fees

CONDITIONS OF SALE 26.1

FOR BUYERS (UK)

These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.

Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.

In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate.

“You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol ( ) next to its lot number.

A. BEFORE THE SALE

A1. DESCRIPTIONS OF LOTS

Whilst we seek to describe Lots accurately, it may be impractical for us to carry out exhaustive due diligence on each Lot. Prospective Buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a Lot. Prospective Buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or Estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions

and weights are approximate only.

A2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way.

(b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

A3.

WITHDRAWAL

Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw.

A4.

JEWELLERY, CLOCKS & OTHER ITEMS

(a) Jewellery:

(i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future.

(ii) All types of gemstones may have

been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report.

(iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys.

(c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may

have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

B. REGISTERING TO BID

B1. NEW BIDDERS

(a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following:

(i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement)

(ii) Corporate clients: Your Certificate of Incorporation or equivalent document (s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and;

(iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements.

(b) We may also ask You to provide a financial reference and/or a deposit

to allow You to bid. For help, please contact our Finance Department on +44 (0)131 557 8844.

B2. RETURNING BIDDERS

We may at our discretion ask You for current identification as described in paragraph B.1. (a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44 (0)131 557 8844.

B3.

FAILURE TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller.

B4.

BIDDING ON BEHALF OF ANOTHER PERSON

(a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/her.

(b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer (s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party.

B5. BIDDING IN PERSON

If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration.

B6. BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services.

(a) Phone bids

Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections.

(b) Internet Bids

For certain auctions we will accept bids over the internet. For more information please visit our Website.

We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

While prospective Buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we Reserve the right in our absolute discretion to prefer the first bid so made. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

C. DURING THE SALE

C1. ADMISSION TO OUR AUCTIONS

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

C2. RESERVES

Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve.

A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

C3. AUCTIONEER’S DISCRETION

The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen.

C4. BIDDING

The Auctioneer accepts bids from:

(a) Bidders in the saleroom;

(b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and;

the auction.

C5. BIDDING INCREMENTS

Bidding increments shall be at the Auctioneer’s sole discretion.

C6. CURRENCY CONVERTER

The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not responsible for any error (human or otherwise) omission or breakdown in providing these services.

C7. SUCCESSFUL BIDS

Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

C8.

RELEVANT LEGISLATION

You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

D1. THE PURCHASE PRICE

For each Lot purchased a Buyer’s Premium of 27% of the Hammer Price of each Lot up to and including £20,000, plus 26% from £20,001 to £800,000, plus 20% from £800,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

D2. VALUE ADDED TAX

Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by Buyers of relevant Lots.

(a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items.

(c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

D3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE)

This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. More information on Droit de Suite is available at www.dacs.org.uk.

E. WARRANTIES

E1. SELLER’S WARRANTIES

For each Lot, the Seller gives a warranty that the Seller;

(a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded.

E2. AUTHENTICITY GUARANTEE

We guarantee that the authorship, period, or origin (collectively,

“Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser.

This Guarantee does not apply if:

(a) The Catalogue description was in accordance with the opinion (s) of generally accepted scholar (s) and expert (s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and

(b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports

produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest.

E3. YOUR WARRANTIES

(a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes.

(b) Where You are bidding on behalf of another person You warrant that:

(i) You have conducted appropriate customer due diligence on the ultimate Buyer (s) of the Lot (s) in accordance with all relevant antimoney laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(ii) The arrangements between You and the ultimate Buyer (s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer (s) are under investigation or have been charged with or convicted of moneylaundering, terrorist activities, or other crimes.

F. PAYMENT

F1. MAKING PAYMENT

(a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year.

(b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied.

(c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name.

(d) The ownership of any Lots purchased shall not pass to You until

You have made payment in full to us of the Total Amount Due. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following:

(i) When You collect the Lot; or

(ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise with You in writing.

(e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any payment whichever is later. Please note we do not accept cheques. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(f) No purchase can be claimed or removed until it has been paid for.

(g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time.

F2. IN THE EVENT OF NON-PAYMENT

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the Sellers and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) To proceed against You for damages for breach of contract;

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

(c) To resell the Lot (s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs).

(d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof;

(e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale;

(f) To retain that or any other Lot sold to You until You pay the Total Amount Due;

(g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any

purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and

(i) Take any other action we see necessary or appropriate.

G. COLLECTION & STORAGE

(1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website

(2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. We will assume your authority to release your item(s) to a recognised shipper providing they can provide your invoice details.

(3) If You do not collect any Lot within seven days following the auction we can, at our discretion;

(i) Charge You storage costs at the rates set out on our Website.

(ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

(iii) Sell the Lot in any way we think reasonable.

H. TRANSPORT & SHIPPING

H1. TRANSPORT AND SHIPPING

We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements.

H2.

EXPORT OF GOODS

Buyers intending to export goods should ascertain;

(a) Whether an export licence is required; and

(b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot.

H3.

CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION

Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting

these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites

We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

I. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties.

(b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or

(ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph.

(c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services.

(d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot

(e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses.

J. OTHER TERMS

J1. OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if;

(i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or

(iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation.

J2. RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrangements to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction.

J3. COPYRIGHT

We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot.

J4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force.

J5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities.

J6. REPORTING ON LYONANDTURNBULL.COM

Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website.

J7. SALE BY PRIVATE TREATY

(a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers.

(c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids.

(d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

J8.

THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the premises, safety and security arrangements. Accordingly, neither

the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

J9. DATA PROTECTION

Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent (s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@ lyonandturnbull.com.

J10. FORCE

MAJEURE

We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

J11. LAW AND JURISDICTION

(a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

K. DEFINITIONS & GLOSSARY

The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

K1. DEFINITIONS

“Auctioneer” Lyon & Turnbull Ltd

(Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Bidder” a person who has completed a Bidding Form

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

“Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”

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

“Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website

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

“Estimate” a statement of our opinion of the range within the hammer is likely to fall.

“Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer;

“High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above;

“High Value Lot” a Lot with a lower Estimate of £30,000 or above;

“Lot” each Item offered for sale by Lyon & Turnbull;

“Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses;

“Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty;

“Sale” the auction sale at which a Lot is to be offered for sale by us.

“Seller” the person who offers the Lot for Sale. We act as agent for the Seller.

“Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions;

“VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom.

“Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com

K2. GLOSSARY

The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value.

“Title” the legal and equitable right to the ownership of a Lot.

GUIDE TO BIDDING & PAYMENT REGISTRATION

1 – Government issued photo ID (Passport/Driving licence)

2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING

Please note that in-room bidding is not available for this auction.

Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

HOW TO BID BY COMMISSION/ ABSENTEE BID

Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com

BY PHONE

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Please note that telephone bidding will only be available for lots over £3,000 and all bids must be booked by Thursday 14th May 2026. First come-first served basis.

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

BID LIVE ONLINE

Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Our sales are also available for viewing and live bidding through The-Saleroom, Invaluable, LiveAuctioneers, 51bidlive, Epailive, and Auction Home (additional charges applicable).

PAYMENT

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

BANK TRANSFER

Account details are included on any invoices we issue or upon request from our accounts department.

ONLINE CREDIT OR DEBIT CARD PAYMENTS

Payment can be made by Visa Debit, Maestro, Mastercard, Visa Credit or Union Pay cards. We do not accept card payments by phone. Please use our online payment service (provided by Stripe). You will find a link to this service in the email invoice issued after the sale or you can visit the payments section of our website.

CASH

Cash payments can be made at London office (22 Connaught Street, W2 2AF) after the sale. Cash payments are limited to £5,000 per person per annum.