Fine Chinese Art New Bond Street, London I 7 November 2019

93 (detail) 50 Fine Chinese Art New Bond Street, London I Thursday 7 November 2019, 10.30am

VIEWING GLOBAL HEAD, CUSTOMER SERVICES As a courtesy to intending Sunday 3 November CHINESE CERAMICS Monday to Friday 8.30am - 6pm bidders, Bonhams will provide a 11am - 5pm AND WORKS OF ART +44 (0) 20 7447 7447 written Indication of the physical Monday 4 November Asaph Hyman condition of lots in this sale if a 9am - 7.30pm Please see page 4 for bidder request is received up to 24 hours before the auction starts. Tuesday 5 November ENQUIRIES information including after-sale 9am - 4.30pm collection and shipment This written Indication is issued Colin Sheaf subject to Clause 3 of the Notice Wednesday 6 November +44 (0) 20 7468 8237 拍賣品之狀況 to Bidders. 9am - 4.30pm [email protected] 請注意: 本目錄並無說明任何拍賣品之狀況。按照本目錄後部份所載 SALE NUMBER Asaph Hyman REGISTRATION 之「競投人通告第條」, 準買家 +44 (0) 20 7468 5888 15 IMPORTANT NOTICE 25358 必須拍賣前親自確定拍賣品之狀 [email protected] Please note that all customers, 況。 irrespective of any previous CATALOGUE 純為方便準買家,本公司如果拍買 Benedetta Mottino activity with Bonhams, are £30.00 開始前24小時收到準買家的要求, +44 (0) 20 7468 8236 required to complete the Bidder 本公司可提供書面上的狀況報告。 [email protected] Registration Form in advance of BIDS 該報告是依據「競投人通告第1.6 +44 (0) 20 7447 7447 條」提供。 the sale. The form can be found +44 (0) 20 7447 7401 fax Edward Luper at the back of every catalogue +44 (0) 20 7468 5887 To bid via the internet please ILLUSTRATIONS and on our website at www. visit bonhams.com [email protected] Front cover: Lot 132 (detail) bonhams.com and should be returned by email or post to the Please note that bids should be Xiaoye Gu Back cover: Lot 39 specialist department or to the submitted no later than 4pm on +44 (0) 20 7468 8369 the day prior to the sale. New [email protected] PHYSICAL CONDITION OF bids department at bidders must also provide proof LOTS IN THIS AUCTION [email protected] of identity when submitting bids. Jilly Li PLEASE NOTE THAT THERE IS To bid live online and / or leave Failure to do this may result in Department Administrator +44 (0) 20 7468 8248 NO REFERENCE IN THIS internet bids please go to www. your bid not being processed. CATALOGUE TO THE PHYSICAL Bidding by telephone will only [email protected] bonhams.com/auctions/25358 CONDITION OF ANY LOT. and click on the Register to bid be accepted on lots with a low INTENDING BIDDERS MUST estimate of £1,000 or above. We would like to thank link at the top left of the page. Natalia Brusa for the SATISFY THEMSELVES AS TO design of the catalogue. THE CONDITION OF ANY LOT Live online bidding is available AS SPECIFIED IN CLAUSE 15 for this sale OF THE NOTICE TO BIDDERS Please email [email protected] CONTAINED AT THE END OF with ‘live bidding’ in the subject THIS CATALOGUE. line 48 hours before the auction to register for this service.

Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH

+44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax International Chinese Ceramics and Works of Art team

Global Asaph Hyman Global Head, Chinese Art

Colin Sheaf Deputy Chairman

Dessa Goddard US Head, Asian Art

Asia Xibo Wang Hong Kong

Gigi Yu Hong Kong

Keason Tang Hong Kong

Europe Benedetta Mottino London, New Bond Street

Edward Luper London, New Bond Street

Xiaoye Gu London, New Bond Street

Rachel Hyman London, Montpelier Street

Rosangela Assennato London, Montpelier Street

Kelsey Chang London, Montpelier Street

Ian Glennie Edinburgh

Asha Edwards Edinburgh

Aude Louis Carves Paris USA Bruce MacLaren New York

Ming Hua New York

Harold Yeo New York

Henry Kleinhenz San Francisco

Australia Daniel Herskee San Francisco

Ling Shang San Francisco

Rachel Du Los Angeles

Yvett Klein Sydney

Asia Representatives Bobbie Hu Taipei

Vivian Zhang Beijing

Bernadette Rankine Singapore Sale Information

BIDS BUYERS COLLECTION & The following symbol is used IMPORTANT NOTICES +44 (0) 20 7447 7447 STORAGE AFTER SALE to denote that VAT is due on +44 (0) 20 7447 7401 fax SOLD LOTS MARKED TP the hammer price and buyer’s IVORY To bid via the internet please visit All sold lots marked TP will premium The United States Government www.bonhams.com be removed to Bonhams Oxford has banned the import of ivory Warehouse, Banbury Rd, Kidlington † VAT 20% on hammer price into the USA. Lots containing PAYMENTS OX5 1JH from 9am Friday 8 November and buyer’s premium ivory are indicated by the symbol Buyers 2019 and will be available for collection Ф printed beside the lot number +44 (0) 20 7447 7447 from 12pm Monday 11 November VAT on imported items at a in this catalogue. +44 (0) 20 7447 7401 fax 2019 and then every working day preferential* rate of 5% on hammer between 9am-4.30pm price and the prevailing rate on Please note since March 2016 Sellers buyer’s premium China has imposed a ban on the Payment of sale proceeds Collections are by appointment only import of ivory +44 (0) 20 7447 7447 & a booking email or phone call Y These lots are subject to CITES +44 (0) 20 7447 7401 fax are required in advance to ensure regulations, please read the lots are ready at time of collection, information at the back of VALUATIONS, TAXATION photographic id will be required at the catalogue. & HERITAGE time of collection & if a third party is +44 (0) 20 7468 8340 collecting written authorisation from +44 (0) 20 7468 5860 fax the successful buyer is required in [email protected] advance. Photographic id of the third party will be requested at CATALOGUE SUBSCRIPTIONS the time of collection. To arrange To obtain any Bonhams catalogue a collection time please email: or to take out an annual subscription: [email protected] or Subscriptions Department telephone +44 (0) 1865 853 640 +44 (0) 1666 502 200 +44 (0) 1666 505 107 fax All other sold lots will remain in the [email protected] collections room at Bonhams New Bond Street without charges until SHIPPING 5.30pm Wednesday 20 November For information and estimates 2019. Lots not collected by this time on domestic and international will be returned to the department shipping as well as export storage charges may apply. licenses please contact Alban Shipping on +44 (0) 1582 493 099 [email protected] 145 (detail) 1 A RARE GILT COPPER-ALLOY FIGURE OF Provenance: J.C. Moreau Gobard, Paris, 1963 SHAKYAMUNI BUDDHA Sotheby’s New York, 17 September 2013, lot 62 Tibet, 15th century The deity finely cast seated in dhyanasana on a waisted platform, 來源：法國巴黎古董商，J.C. Moreau Gobard，1963年 the hands at the chest in dharmachakramudra, wearing a sanghati 紐約蘇富比，2013年9月17日，拍品編號62 draped over one shoulder and falling over the crossed legs in pleated folds, the broad face with down-turned eyes displaying a benevolent This present figure depicts the Shakyamuni Buddha with his hands in expression, the long pendulous ears cut with vertical slots, the hair the gesture of turning the Buddhist Wheel of Law and expounding the arranged in rows of small pointed whorls and surmounted by a domed dharma. ushnisha, base unsealed. 17.5cm (6 7/8in) high.

£8,000 - 12,000 CNY71,000 - 110,000

十五世紀銅鎏金釋迦牟尼坐像

For details of the charges payable in addition to the final Hammer Price of each Lot 8 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Lady 女士藏品

2 The incised inscription on the reverse of the pedestal reads: A VERY RARE GILT-BRONZE INSCRIBED FIGURE OF དཔའ་བོའི་སྡེ་ལ་ན་མོ་ ‘dpa’ bo’i sde la na mo’, which may be translated as ‘Worship to BUDDHA VĪRASENA Tibet, 16th/17th century Vīrasena’, thus identifying the present figure as the Buddha Vīrasena. Well cast seated in dhayanasana on a double-lotus pedestal framed by beaded borders, the hands held in dharmachakra mudra holding Vīrasena, also known as Pawö-dé (‘Leader of the Warriors’) is two lotus stems bearing a sutra and a sword rising to the shoulders, one of the 35 Buddhas of Confession. These are known from the wearing a dhoti folded over the left shoulder, the benevolent face Mahāyāna Sutra of the Three Heaps (Triskandhadharmasutra). This well modelled below the usnisha and flanked by elongated ears, the sutra describes the practice of purification by confession and making reverse of the pedestal with an incised Tibetan inscription reading prostrations to these Buddhas and is part of the larger Stack of Jewels ‘dpa’ bo’i sde la na mo’. sutra (Ratnakutasutra). The Buddhas of Confession represent the 19.2cm (7 5/8in) high. omnipresence of Buddha with the power to help sentient beings realise the nature of their sin. The present lot would therefore, have belonged to a set of 35 Confessional Buddhas that have a similar appearance £10,000 - 15,000 to each other. Compare with a related gilt-bronze figure of Buddha CNY89,000 - 130,000 Viranandi, holding a sun in the right hand and a lotus in the left, Tibet, 18th century, from the Museum der Kulturen, Basel, illustrated on 十六/十七世紀銅鎏金精進軍佛坐像 Himalayanart.org (item no.3313897).

Provenance: an English private collection

來源：英國私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 3

The Property of a Lady 女士藏品 Lots 3 - 6

3 4 A GILT-BRONZE FIGURE OF BUDDHA AKSHOBHYA A RARE GILT-BRONZE INSCRIBED FIGURE OF Tibet,16th/17th century LHA JEGAR TÖNPA Finely cast seated in dhyanasana on a double-lotus pedestal, an urna Tibet, 17th century on his forehead and eyes lowered in serene contemplation, his left Seated in dhyanasana on a double-lotus pedestal, the figure wearing hand resting on his legs with the palm facing upward, his right hand voluminous patchwork robes cascading in numerous pleats, his left over his right leg touching the lotus throne in bhumisparsa mudra. hand resting on his legs with the palm facing upward, his right hand 13cm (5 1/8in) high. over his right leg touching the lotus throne in bhumisparsa mudra, Tibetan inscription on the front of the base. £800 - 1,200 10.5cm (4 1/8in) high. CNY7,100 - 11,000 £1,500 - 2,000 十六/十七世紀銅鎏金阿閦佛坐像 CNY13,000 - 18,000

Provenance: a European private collection 十七世紀銅鎏金上師像

來源：歐洲私人收藏 Provenance: a European private collection

來源：歐洲私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 10 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The front is inscribed: ‘rje ‘gar na mo’ (གར་ན་མོ) which may be translated as ‘Worship to Lord Gar’. The person referred to is most likely Lha Jegar Tönpa (lha rje ‘gar ston pa), active as an Anuyoga teacher in the 12th century and related to the early Nyingma school.

4 (inscription)

5 A GILT-BRONZE FIGURE OF A SEATED LAMA Tibet, 18th century The plump figure finely cast seated on two rectangular cushions intricately detailed with cartouches enclosing sprays of blossoming lotus reserved on diaper patterns, his right hand raised in vitarkamudra, his left hand resting on his lap, dressed in voluminous robes with hems incised with floral scrolls, the bearded face with jovial expression, flanked by pendulous ears. 16.5cm (6 1/2in) high.

£1,500 - 2,000 CNY13,000 - 18,000

十八世紀銅鎏金喇嘛坐像

Provenance: a European private collection

來源：歐洲私人收藏 5

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 11 6

The Property of a Gentleman 紳士藏品

6 7 A GILT-BRONZE FIGURE OF MAITREYA A GILT COPPER-ALLOY FIGURE OF AVALOKITESHVARA 18th century CHATURBHUJA Finely cast seated cross-legged in vajraparyanasana with hands in Tibet, 15th/16th century dharmachakra mudra, adorned in a long flowing robe draped around The Bodhisattva seated in padmasana over a double lotus throne, the arms and legs, with a well-defined waist and broad shoulders, wearing a clinging, dhoti and elaborate jewellery with turquoise and the serene face with a downward benevolent gaze and smile, the hair glass insets, its principal arms folded before its torso, the other pair coiled up in a high chignon, the stems of lotus flowers curled between held in mudra at shoulder height, the face cast in a serene expression, his thumbs and forefingers, adorned with elaborate jewellery. the hair piled high on the head with curling locks cascading down at 20.5cm (8 1/8in) high. either side. 15cm (5 7/8in) high. £2,000 - 3,000 CNY18,000 - 27,000 £2,000 - 3,000 CNY18,000 - 27,000 十八世紀銅鎏金彌勒菩薩坐像十五/十六世紀銅鎏金四臂觀音坐像 Provenance: a European private collection Provenance: a English private collection 來源：歐洲私人收藏來源：英國私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 12 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 7

The Property of a Lady 女士藏品

8 A PAIR OF GILT-BRONZE FIGURES OF ZHOU CANG AND GUAN PING 18th century Both attendants of Guandi standing upright on rectangular pedestals, Guan Ping with both arms raised proffering respectfully a wrapped box, Zhou Cang with a full beard and bulging eyes, his left arm resting on his hip, his right hand holding a spear. Each 11cm (4 3/8in) high. (2).

£1,200 - 1,500 CNY11,000 - 13,000

十八世紀銅鎏金周倉及關平立像一對

Zhou Cang and Guan Ping are the attendants of Guandi in temples. Zou Cang is Guandi’s weapon bearer but also sometimes accompanies Guandi in his role as a war god, alongside Guan Yu’s adopted son Guan Ping. Usually, Zhou Cang’s face is portrayed as black, in contrast to Guandi’s red and Guan Ping’s white. 8

9 A RARE GILT COPPER-ALLOY FIGURE OF CROWNED BUDDHA Tibet, 15th century The figure exquisitely cast seated in vajrasana, with the right hand reaching down towards the ground in bhumisparsha mudra, the left hand held gently in the lap in dhyana mudra, adorned in a simple dhoti with beaded and ring-punched hems, the serene face with a gentle smile beneath a high six-pointed tiara with Buddhas and inlaid with turquoise, the base unsealed, with scrolls within the interior. 27cm (10 5/8in) high.

£50,000 - 70,000 CNY440,000 - 620,000

十五世紀銅鎏金寶冠佛像

Provenance: a European private collection

來源：歐洲私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 14 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

This figure may represent either Akshobhya, assuming it was part of a set of Five Presiding Buddhas, or Crowned Shakyamuni, assuming it was the central element of its ensemble. While Shakyamuni’s renunciation of his royal birth makes it unlikely he would be represented with a crown, Bautze-Picron has explained the coalescence of Indian political, devotional, and philosophical developments that resulted in Shakyamuni’s spiritual authority being emphasised with royal regalia by the end of the first millenium AD; see Bautze-Picron, The Bejewelled Buddha from India to Burma, New Delhi, 2010.

Compare with a related but slightly earlier gilt-bronze figure of Buddha Vajradhara, 14th century, illustrated by A.Lutz, On the Path to Enlightenment: The Berti Aschman Foundation of Tibetan Art at the Museum Rietberg Zurich, Zurich, 1995, p.61, no.21.

16 | BONHAMS

The Property of a Lady 女士藏品

10 A GILT-BRONZE FIGURE OF VAJRABHAIRAVA Tibet, 18th century The yidam and consort striding in alidhasana trampling a menagerie of animals including geese and deer raised on figures of deities on a separate beaded lotus pedestal, the central ferocious face surrounded by six human faces and two above, the primary hands wrapped around his consort holding a chopper and a skull cup, the other radiating arms holding various attributes, adorned with elaborate beaded jewellery and a garland of severed heads. 20cm (7 7/8in) high.

£2,000 - 3,000 CNY18,000 - 27,000

十八世紀銅鎏金大威德金剛像

Provenance: a European private collection

來源：歐洲私人收藏 For details of the charges payable in addition to the final Hammer Price of each Lot 18 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Lady 女士藏品

11 A RARE GILT-BRONZE INSCRIBED FIGURE OF This rare and impressive sculpture depicts the Karkota. On the reverse NĀGA KING KARKOTA it is inscribed ‘stobs rgyu’ (སྟོབས་རྒྱུ་།) referring to Karkoṭa (one of the Eight Tibet, 18th century Great Nāga). Compare with a related gilt-bronze figure of a Nāga King, Cast with a six-pointed curled tiara above the blue-tinted coiled hair probably Karkota, with serpentine body, illustrated on Himalayan Art of the deity, the eyes gazing down at the hands clasped together in Resources, item no.94996. See also a related stone carving of a Nāga uttarabodhi, the gesture of perfection, above a snake-like body on King, also illustrated on Himalayan Art Resources, item no.21297. a lotus pedestal with further Naga-like figures with human heads, inscription on the back. 14.5cm (5 3/4in) high. (2).

£8,000 - 10,000 CNY71,000 - 89,000

十八世紀銅鎏金龍尊王佛坐像 (inscription)

12 A RARE SILVER-ALLOY ‘DAOIST’ SEAL 19th century Of rectangular form, cast as a ferocious four- legged mythical beast with a curling horn, the head turned sharply to its left, with protruding eyes beneath heavy brows, the writhing body flanked by a pair of wings, the top of the seal cast with an eight-character inscription in standard script, the underside seal face cast with a Daoist talisman. 5.3cm (2.4in) high.

£3,000 - 5,000 CNY27,000 - 44,000

十九世紀銀合金瑞獸鈕符咒印

Provenance: an English private collection

(sealface) 來源：英國私人收藏

The seal is inscribed: ‘護身鎮宅六丁玉女’, which may be translated as: ‘protecting the body and house; the Jade Goddess Liu Ding.’

For details of the charges payable in addition to the final Hammer Price of each Lot 20 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Lady 女士藏品

13 A SILVER-WIRE-INLAID BRONZE FIGURE OF GUANYIN Inlaid Shisou two-character mark, Qing Dynasty The seated Goddess of Mercy cast with a serene expression, her body swaying to her right, her coiled hands placed on her right knee holding a scroll, dressed with long looping robe draping to her bare feet and inlaid in silver wire with clouds and tendril borders. 29.4cm (11 5/8in) high.

£6,000 - 8,000 CNY53,000 - 71,000

清銅嵌銀觀音坐像嵌銀絲「石叟」款

Provenance: an Irish private collection; according to the owner, acquired in Hong Kong circa late 1970s.

來源：愛爾蘭私人收藏；據稱現買家於二十年代七十世紀購自香港

Compare with a slightly smaller silver-inlaid bronze figure of Guanyin, 17th/18th century, which was sold at Christie’s New York, 21-22 March 2013, lot 1282; and another example, 17th/18th century, which was also sold at Christie’s New York, 15-16 March 2015, lot 3209.

The Property of a Lady 女士藏品

14 A GILT-BRONZE REPOUSSÉ STUPA Tibet, 18th/19th century With a waisted square plinth elaborately decorated in relief with pairs of mythical lions, the domed body raised on a four-tiered stepped base, encircled by pendent jewels with a Buddha within a niche, surmounted by tapered parasols flanked by floral scrolls beneath a sun and moon finial, sealed base. 24cm (9 1/2in) high.

£2,000 - 3,000 CNY18,000 - 27,000

十八/十九世紀銅鎏金錘鍱佛塔

Provenance: a European private collection

來源：歐洲私人收藏

14 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 21 Property from the Mark and Peter Dineley Collections Lots 15 - 20

Alice Getty, The Gods of Northern Buddhism, Oxford, 1914; Henry Harrison Getty (1838-1919)

According to family history much of the Chinese, Tibetan and Nepalese art was collected in the late 19th/ early 20th century by the American lumber baron Henry Harrison Getty (1838-1919). Born in Batavia, New York, Getty retired from a successful career in the lumber business aged 50, in order to travel in Europe and Asia to collect Far Eastern Art. In 1890 his wife Carrie died, so Getty was accompanied on his explorations by their daughter Alice. Settling in Paris in the early years of the 20th century, Getty encouraged Alice to compile a catalogue of his collection, which focussed on the Hindu- Buddhist pantheon. This she did, and in 1914 Oxford Clarendon Press published The Gods of Northern Buddhism, still one of the foremost books on Tibetan art.

Following Henry Harrison Getty’s death, it seems that Alice Eliza Getty (1868-1946) sold much of the collection to Courtenay Morgan, Viscount Tredegar (1867-1934) in the 1920’s. Based at Tredegar House near Newport in South Wales, one of the finest 17th century houses in Britain, the Morgan family were one of Wales’s wealthiest families, having made a fortune over successive generations, and establishing Newport as an important industrial and commercial centre. Viscount Tredegar travelled extensively, and after Courtenay Morgan, Viscount Tredegar the First World War he made two circumnavigations around the world (1867-1934) on his steam yacht Liberty, during which he visited every colony in the British Empire.

Viscount Tredegar died in 1934, and was succeeded by his son Evan Morgan, 2nd Viscount Tredegar (1893-1949). Deeply eccentric, he lived alone at Tredegar with a menagerie of animals and birds. Fascinated by the magic, he had a diverse and eclectic group of friends, from the occultist Aliester Crowley to Lord Berners and Augustus John. A keen art collector, Lord Tredegar had a interest in Chinese jade, and visited China with Peter Watson the art collector. He exhibited works from his collection at the Berkeley Galleries exhibition of Chinese Art in the summer of 1943, and opened the Exhibition of Art of Tibet and Neighbouring Countries at the Berkeley Galleries in December 1945.

By the 1940’s Lord Tredegar’s lifestyle had eroded his vast inheritance, and he started selling off parts of his art collection, before dying in 1949. A Professor Bellerby is believed to have purchased the Tibetan bronzes from Lord Tredegar. His wife subsequently sold the collection to Mark Dineley after her husband’s death. In 1960s a handwritten ‘A Catalogue of the Dineley Collection of Tibetiana and Associated Buddhistic Objects’ was compiled by the family listing many of the pieces in the collection. Evan Morgan, 2nd Viscount Tredegar (1893-1949)

22 | BONHAMS Aubrey House

Mark Dineley (1901-1975) and his son, Peter Cleverly Dineley (1938-2018) collected antique arms and armour, Chinese, Tibetan and Nepalese art amongst other interests. The collections were displayed in the former family home, Aubrey House, located in Holland Park, London – a stately 18th century house, built on the site of the ancient medical spring called Kensington Wells.

Aubrey House came into the Dineley family when it was acquired in 1873 by William Cleverly Alexander (1840-1916) from whom Mark and Peter were descended. Alexander was a banker, and ultimately senior partner in his father’s firm, Alexander & Co. A great connoisseur, he was a patron of the painter James McNeill Whistler, who advised on the decoration of various rooms at Aubrey House. Alexander was a renowned collector of Han, Tang, Song and Qing dynasty porcelain, jade carvings, as well as Japanese art, much of which is now in the British Museum, London, including the Northern Song Alexander Bowl. He was among the lenders to exhibitions held at the Burlington Fine Arts Club in 1895, 1896 and 1910, to the City of Manchester Art Gallery’s Exhibition of Chinese Applied Art in 1913 and to exhibitions presented at the Victoria and Albert Museum. In May 1931 his collection of Chinese ceramics including 355 lots was William Cleverly Alexander (1840-1916) sold over two days and Sir Percival David acquired a significant part of the collection, which is now in the British Museum.

On the death of William Cleverley Alexander, Aubrey House was left to his three youngest daughters, and then descended to their great-nephews, Peter and Francis Dineley, the two grandsons of Commander Francis Dineley (1865-1908) who had married Emily Alexander (1871-1962), another of W.C. Alexander’s ten children.

Mark Dineley and his son Peter owned and ran Bapty & Co., a firm specialising in supplying arms and armour to the film industry, contributing to films such as A Bridge Too Far, Star Wars, Indiana Jones, Saving Private Ryan and Stanley Kubrick’s film Barry Lyndon, which won an Oscar in 1975. Liberty

FINE CHINESE ART | 23 16 (detail) 英國馬克及彼得 ·戴尼利藏品拍品 15 - 20

美國木業鉅子亨利·哈里遜·蓋蒂（Henry Harrison Getty，1838-1919）的西藏州和相關的佛教物品收藏目錄（A Catalogue of the Dineley 的家族歷史記載，蓋蒂於十九世紀晚期到二十世紀早期建立起自己的 Collection of Tibetiana and Associated Buddhistic Objects）》於六十中原、西藏及尼泊爾藝術品收藏體系。蓋蒂生於紐約州巴達維亞市，五年代完成，其中便包括了多件來自於這批收藏的鎏金佛像。十歲時為了全心遊歷歐亞兩洲收藏遠東藝術品，決定從如日中天的木材生意退休。妻子嘉莉在兩年後離世，女兒愛麗絲·伊莉莎·蓋蒂（Alice 馬克 · 戴尼利（1901-1975）和兒子彼得 · 戴尼利（1938-2018）主要 Eliza Getty，1868-1934）自此在亨利的收藏之路上陪伴左右，他們由二收藏中原、西藏和尼泊爾的古代兵器和盔甲。藏品展示在他們位於倫十世紀初開始定居法國巴黎。在亨利的鼓勵之下，愛麗絲把他的藏品收敦荷蘭公園區的家族舊宅奧布里樓（Aubrey House）。此樓建於十八錄成書，聚焦於印度教和佛教造像，後由牛津大學出版社於1914年出世紀，佇立在歷史古跡肯辛頓溫泉（Kensington Wells）遺址上，傳承版，定名為《北佛眾神》（ The Gods of Northern Buddhism）。至今，歷史頗為複雜：先為威廉·急庇利·亞歷山大William Cleverly Alexan- 此書在西藏藝術相關著作中依然舉足輕重。 der（1840-1916) 所有，亞歷山大去世後傳給了他的三個最年輕的女兒，此後再傳給了她們的侄孫彼得 · 戴尼利和弗朗西斯·戴尼利（Francis 亨利離世後，愛麗絲在二十世紀二十年代似乎將大部藏品賣給了卓德 Dineley）。彼得和弗朗西斯的祖父弗朗西斯·戴尼利（Francis Dine- 嘉子爵（ Viscount Tredegar）考特尼 ·摩根（ Courtenay Morgan, 1867- ley，1865-1908）將軍—和孫子同名—即威廉·亞歷山大的女婿，他和 1934）。摩根家族在威爾士南部紐波特世代經商，是威爾士最富有的亞歷山大的另一個女兒艾米莉（ 1871-1962）結婚，亞歷山大家族男丁單家族之一，亦直接令當地成為重要的工業和商業中心。家族定居在卓薄，最終財產和物業流傳到了曾外孫戴尼利一脈。德嘉莊園（ Tredegar House），為英國十七世紀最宏偉的鄉間別墅之一。特里迪格子爵遊歷經驗豐富，一戰後曾兩次駕駛其蒸汽遊艇自由號亞歷山大是一位銀行家，最終成為家族公司Alexander & Co.的資深合（Liberty）環遊世界，沿途更經過了大英帝國當時所有的殖民地。夥人。他同時是一位藝術品鑒賞家，收藏中國漢代、唐代、宋代和清代的瓷器和玉器，以及日本藝術品，其中大部分現時皆收藏在倫敦大英博物特里迪格子爵於1934年去世，兒子艾文·摩根（Evan Morgan）, 特里迪館，包括一件以他命名的北宋張公巷汝窯「亞歷山大」碗。亞歷山大熱格子爵二世（ 1893-1949）繼承家產。他深居簡出，在卓德嘉莊園陪伴他心公眾藝術活動，他組織了1895年，1896年和1910年在伯靈頓美術俱的僅有一位動物飼養員。艾文的神秘氣質吸引了一眾身份各異，不拘一樂部（ Burlington Fine Arts Club）舉辦的展覽；隨後他亦策劃了1913年格的友人。神秘學者阿萊斯特·克勞利（Aliester Crowley）乃至伯納斯在曼徹斯特城畫廊（ City of Manchester Art Gallery）舉辦的中國實用藝爵士（ Lord Berners）和奧古斯都·約翰（Augustus John）皆為座上賓。術展；維多利亞和艾伯特博物館（Victoria and Albert Museum）舉辦的特里迪格子爵二世同時是一位狂熱的藝術收藏家，尤愛中國玉器，曾和多場重要展覽俱是亞氏手筆。1931年五月，他的355件/套中國瓷器藏品收藏家彼德 ·華生（ Peter Watson）一起遊歷中國。1943年夏天，他於在歷時兩天的拍賣會中散諸同好，斐西瓦樂·大維德爵士（Sir Percival 伯克利畫廊（ Berkeley Galleries）的中國藝術展覽向公眾展示了個人收 David）在該場購買了多件珍貴的中國瓷器，現時同樣藏於大英博物館。藏，更在 1945年12月在同一場地正式展覽《西藏以及鄰近國家的藝術品（Exhibition of Art of Tibet and Neighbouring Countries）》的開幕。馬克 · 戴尼利和兒子彼得共同擁有並經營Bapty & Co. 公司，專門提供武器和盔甲道具給電影製作公司。《奪橋遺恨》（A Bridge Too Far）, 為了維持奢華的生活方式，特里迪格子爵二世在上個世紀四十年代開始《星球大戰》系列（Star Wars）, 《印第安納·瓊斯》系列（Indiana 出售藏品，直至 1949年去世。據信，貝勒比教授（ Professor Bellerby）從 Jones）, 《拯救大兵瑞恩》（Saving Private Ryan）和導演史丹利 ·庫柏特里迪格子爵二世手上買到這批西藏銅鎏金佛像，他的妻子又在貝勒比利克（ Stanley Kubrick）的 1975年奧斯卡得獎電影《亂世兒女》（Barry 去世後把藏品轉讓給了馬克 · 戴尼利。戴尼利家族手稿《戴尼利家族 Lyndon）等知名電影作品皆使用戴尼利父子公司提供的道具。 Property from the Mark and Peter Dineley Collections Mark 與 Peter Dineley 珍藏 Lots 15 - 20

15 TWO LARGE GILT-COPPER-ALLOY REPOUSSÉ FIGURES Nepal, 15th/16th century The larger depicting Maitreya finely modelled standing on a lotus pedestal before pierced scrolling lotus and a flaming mandorla, the torso slightly swaying with her right hand raised in auspicious mudra, the left arm by her side, wearing a five peaked tiara, a stupa set within the high chignon bun; the smaller figure of a bodhisattva standing upright with right hand on the right knee, both adorned with elaborate jewellery and mounted on wood panels. The larger, 76cm (30in) high (2).

£8,000 - 12,000 CNY71,000 - 110,000

十五/十六世紀尼泊爾銅鎏金錘鍱佛像一組兩件

For details of the charges payable in addition to the final Hammer Price of each Lot 26 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Provenance: Henry Harrison Getty (1838-1919), by repute Alice Getty (d.1946), by repute Courtenay Morgan, Viscount Tredegar (1867-1934), by repute Evan Morgan, 2nd Viscount Tredegar (1893-1949), by repute Professor and Mrs Bellerby, by repute Mark Dineley (1901-1975) Peter Dineley (1938-2018), and thence by descent

Featured in the Himalayan Art Resources, item nos. 16790 and 16791.

來源：傳Henry Harrison Getty（1838-1919年）舊藏傳Alice Getty（卒於1946年）舊藏傳Tredegar子爵Courtenay Morgan（1867-1934 年）舊藏傳Tredegar子爵二世Evan Morgan（1893-1949年）舊藏傳Bellerby教授及夫人舊藏 Mark Dineley（1901-1975年）舊藏 Peter Dineley（1938-2018年）舊藏，並由後人保存迄今

收錄於Himalayan Art Resources數據庫，編號 16790與16791

The large scale, deep relief, and exceptional detail suggest that these panels originated from an important shrine to a Buddha or bodhisattva. Compare with a related gilt-copper alloy repoussé figure of a Bodhisattva illustrated on Himalayanart. org (item no.11654).

FINE CHINESE ART | 27 Image after Le Musee Chinois de I’Imperatrice Eugenie, Fontainebleau, 1994, fig.17 Equatorial armillary on a dragon-decorated bronze stand, made by Verbiest for the Kangxi emperor; image after M.Holdsworth and C.Courtauld, Forbidden City: The Great Within, London, 2008, p.43

16 A VERY LARGE IMPERIAL GILT-BRONZE REPOUSSÉ MODEL OF A FIVE-CLAWED DRAGON 18th/19th century The imposing beast with scaly S-shaped body standing upright with his two feet clasping two flaming pearls and clouds, with five-clawed arms raised, the head set with later stag-horn antlers above bushy brows, bulbous eyes, large flaring nostrils and jaws agape revealing sharp fangs above the wispy mane. 103cm (40 1/2in) high (excluding horns).

£8,000 - 12,000 CNY71,000 - 110,000

十八/十九世紀銅鎏金錘鍱遊立像

Provenance: Henry Harrison Getty (1838-1919), by repute The present lot is impressive for its magnificent size and dynamic Alice Getty (d.1946), by repute modelling. Its size and posture strongly suggest that it would have Courtenay Morgan, Viscount Tredegar (1867-1934), by repute been part of a support holding perhaps an astronomical or scientific Evan Morgan, 2nd Viscount Tredegar (1893-1949), by repute instrument. Compare with a large globe, supported by four dragons, Professor and Mrs Bellerby, by repute Qianlong, illustrated in Life in the Forbidden City of Qing Dynasty, Mark Dineley (1901-1975) Beijing, 2007, pp.148-149. See also bronze dragons supporting an Peter Dineley (1938-2018), and thence by descent astronomical instrument illustrated in Forbidden City: The Great Within, London, 1995, p.43 來源：傳Henry Harrison Getty（1838-1919年）舊藏傳Alice Getty（卒於1946年）舊藏 A pair of gilt-bronze seated dragons, each with one paw resting on 傳Tredegar子爵Courtenay Morgan（1867-1934年）舊藏 a ball, is in Chateau de Fontainebleau and is illustrated in Le Musee 傳Tredegar子爵二世Evan Morgan（1893-1949年）舊藏 Chinois de I’Imperatrice Eugenie, Fontainebleau, 1994, fig.17. On 傳Bellerby教授及夫人舊藏 display in the Forbidden City are large gilt-bronze dragon placed at hall Mark Dineley（1901-1975年）舊藏 entrances such as the one seen in situ placed in front of Cining Men Peter Dineley（1938-2018年）舊藏，並由後人保存迄今 guarding the entrance to Yang Xin Dian (Hall of Mental Cultivation), illustrated in Life in the Forbidden City, Beijing, 1985, p.26, fig.16.

For details of the charges payable in addition to the final Hammer Price of each Lot 28 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

17 A PAIR OF GILT-BRONZE FIGURES OF AMITAYUS Tibet,18th/19th century The Celestial Buddhas of Infinite Life each cast seated in flowing floral robes, wearing elaborate necklaces, armlets and earrings, the serene faces crowned with a five-pointed tiara, all raised on a lotus throne. Each 11cm (4 3/8in) high.

£2,000 - 3,000 CNY18,000 - 27,000

十八/十九世紀銅鎏金無量壽佛坐像一對

Provenance: Henry Harrison Getty (1838-1919), by repute Alice Getty (d.1946), by repute Courtenay Morgan, Viscount Tredegar (1867-1934), by repute Evan Morgan, 2nd Viscount Tredegar (1893-1949), by repute Professor and Mrs Bellerby, by repute Mark Dineley (1901-1975) Peter Dineley (1938-2018), and thence by descent

Recorded in the handwritten family ‘A Catalogue of the Dineley Collection of Tibetiana and Associated Buddhistic Objects’, early 1960s, p.100. 17 Featured in the Himalayan Art Resources, items nos.16788 and 16789.

來源：傳Henry Harrison Getty（1838-1919年）舊藏傳Alice Getty（卒於1946年）舊藏傳Tredegar子爵Courtenay Morgan（1867-1934年）舊藏傳Tredegar子爵二世Evan Morgan（1893-1949年）舊藏傳Bellerby教授及夫人舊藏 Mark Dineley（1901-1975年）舊藏 Peter Dineley（1938-2018年）舊藏，並由後人保存迄今

載於二十世紀六十年代完成的Dineley家族手稿，《Dineley家族收藏西藏地區和相關佛教物品目錄（A Catalogue of the Dineley Collection of Tibetiana and Associated Buddhistic Objects）》，頁100

收錄於Himalayan Art Resources數據庫，編號16788與16789

18 TWO GILT-BRONZE VAJRAS Tibet,18th/19th century Each of the thunderbolt sceptres heavily cast with prongs at each end, one sceptre’s prongs emerging from the mouths of four makaras supported on a single-lotus pedestal, both sceptres divided by a central round grip. The largest, 18.2cm (7 1/8in) long (2).

£4,000 - 6,000 CNY35,000 - 53,000

十八/十九世紀銅鎏金金剛杵一對

Provenance: Mark and Peter Dineley Collections

Featured in the Himalayan Art Resources, items nos.16794 and 16795.

來源：Mark Dineley（1901-1975年）與 Peter Dineley（1938-2018年）舊藏

收錄於Himalayan Art Resources數據庫，編號16794與16795

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 19 TWO METAL SCROLL-CASES AND COVERS Tibet, 19th century Comprising a reticulated gilt copper-alloy case, decorated with sinuous dragons weaving amongst densely-scrolling foliage; and a white-metal copper-alloy case incised with foliate scrollwork, both with lotus-bud terminals. 43cm (17in) and 33cm (13in) long (4).

£1,000 - 1,500 CNY8,900 - 13,000

十九世紀藏傳銅製經卷筒一組兩件

Featured in the Himalayan Art Resources, item no.16793.

來源：傳Henry Harrison Getty（1838-1919年）舊藏傳Alice Getty（卒於1946年）舊藏傳Tredegar子爵Courtenay Morgan（1867-1934年）舊藏傳Tredegar子爵二世Evan Morgan（1893-1949年）舊藏傳Bellerby教授及夫人舊藏 Mark Dineley（1901-1975年）舊藏 Peter Dineley（1938-2018年）舊藏，並由後人保存迄今

收錄於Himalayan Art Resources數據庫，編號16793

The smaller case is recorded in the handwritten family ‘A Catalogue of the Dineley Collection of Tibetiana and Associated Buddhistic Objects’, early 1960s, p.153; bearing a label stating it is the ‘Ceremonial pen holder of the Grand Abbot of the Tashilhunpo [Monastery]’.

The Panchen Lamas became the abbots of Tashilhunpo monastery, near Shigatse, in the former Tsang Province of Central Tibet. Second only in authority to the Dalai Lama within the Gelug tradition of Tibetan Buddhism, the Panchen Lama lineage was established during the 16th century by the Fifth Dalai Lama, when he first bestowed the title of Panchen, or ‘great scholar’, on his own teacher, Lobsang Choekyi Gyaltsen (1570-1662). 19 20 AN ASIAN GILT COPPER-ALLOY CEREMONIAL MACE 19th century With a large bulbous head mounted on a long tubular shaft terminating in a small globular finial. 53cm (20 7/8in) long.

£3,000 - 5,000 CNY27,000 - 44,000

十九世紀銅鎏金錘

Featured in the Himalayan Art Resources, item no.16796.

來源：傳Henry Harrison Getty（1838-1919年）舊藏傳Alice Getty（卒於1946年）舊藏傳Tredegar子爵Courtenay Morgan（1867-1934年）舊藏傳Tredegar子爵二世Evan Morgan（1893-1949年）舊藏傳Bellerby教授及夫人舊藏 Mark Dineley（1901-1975年）舊藏 Peter Dineley（1938-2018年）舊藏，並由後人保存迄今 20

收錄於Himalayan Art Resources數據庫，編號16796

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 21

21 A LIMESTONE HEAD OF A BODHISATTVA The refined carving of the facial features, high elaborate chignon, Tang Dynasty and very earthly quality of this bodhisattva, relate to several similar The face gracefully carved with slender eyes barely open in meditation, examples from the Longmen caves; one is in the Avery Brundage the nose flaring above a sensuous bud mouth, with pendulous ears Collection, illustrated in Chinese, Korean and Japanese Sculpture, San and hair arranged into a tall chignon, traces of black pigment visible, Francisco, 1974, p.222, no.110. Other related sculptures are illustrated wood stand. in Longmen liusan diaoxiang ji, Shanghai, 1993, pls.72, 77 and 79. 29.8cm(11 3/4in) high (2). The present lot would have been commissioned by a family or groups £8,000 - 12,000 of individuals hoping to accumulate karmic merit for themselves or CNY71,000 - 110,000 their ancestors. According to Buddhist scriptures, such as the ‘Lotus Sutra’, compiled during the first century BC, accumulating merit by means of constructing devotional images, temples and shrines, would 唐石雕佛首像 ensure one’s rebirth in the wondrous land inhabited by the Buddha.

Provenance: an English private collection, and thence by descent A similar head was included in the exhibition of Buddhist Art of the

Silk Road and East Asia: Transcending Time and Space, Fukui, 2010, 來源：英國私人收藏，並由後人保存迄今 pp.40-41, no.23.

For details of the charges payable in addition to the final Hammer Price of each Lot 32 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 22

22 TWO WOOD FIGURES OF ANANDA AND KASYAPA 來源：英國倫敦古董商，Gerard Hawthorn Ltd. Oriental Art，2000年 Ming Dynasty or earlier Each disciple standing on a lotus pedestal wearing long sleeved 出版著錄：英國倫敦，Gerard Hawthorn，《Two Thousand Years of flowing robes wrapped in layers across the body, Ananda with a serene Chinese and Japanese Sculpture》，2000年，編號8 expression beneath a shaven head and flanked by pendulous ears, the hands joined at the chest in nebina ghasso symbolising a sincere and Shakyamuni Buddha had ten major disciples but is usually depicted firm heart, Kaspaya with hands raised and locked together in the kanjo- in Buddhist art and sculpture with just Ananda and Kasyapa beside in mudra to accompany the ceremony of unction, the robes of both him. Kasyapa is perhaps the most famous of Shakyamuni’s disciples figures detailed with fine fabric underneath a lacquered layer. and he accepted his master’s clothes after his death; while Ananda 30.5cm (12in) high. (2). was known and praised by the Buddha for his memory, erudition and compassion. A large wood figure of a luohan, Song dynasty, in £6,000 - 8,000 the National Museum of History, Taipei, bears a very similar fabric CNY53,000 - 71,000 and lacquer cover to the wood as the present example, illustrated in Chinese Buddhist Wooden Sculptures from the Sung and Yuan Dynasties, Taipei, 1997, p.61. Another wood figure of a luohan, Song 明或更早木雕阿難陀與迦葉羅漢像一組兩件 dynasty, is illustrated by R.Y.Lefebvre d’Argence, ed., Chinese, Korean, and Japanese Sculpture: The Avery Brundage Collection, Provenance: Gerard Hawthorn Ltd. Oriental Art, London, 2000. San Francisco, 1974, no.150.

Published and Illustrated: Gerard Hawthorn, Two Thousand Years A larger wood figure of a luohan, Song/Yuan dynasty, also from the of Chinese and Japanese Sculpture, London, 2000, no.8. collection of Gerard Hawthorn, was sold at Bonhams New York, 19 March 2018, lot 8185.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 33 23 TP A RARE AND LARGE GILT-LACQUERED WOOD FIGURE OF WENCHANG 17th century The God of Literature carved seated wearing a scholar’s hat and long cascading robes falling in folds over the legs revealing two slippers, the left hand raised to the chest, his right hand resting on his knee, the face with serene expression flanked by a pair of long pendulous ears, the surface extensively gilt, wood stand. 90cm (35 1/2in) high. (2).

£60,000 - 80,000 CNY530,000 - 710,000

十七世紀木漆金文昌帝君坐像

Displaying a remarkable level of refinement, evidenced in the exorcism. His cult ultimately achieved a national following; see S.Little, upturned slippers and the intricate designs decorating the hems of Taoism and the Arts of China, Chicago, 2000, p.267. the voluminuous robes cascading in multiple folds, the figure may be identified as Wenchang Wang, the Daoist God of Culture and Literature. The technique of coating carved wood figures with gilt lacquer appears First worshipped as a snake god known as ‘the viper’ in Sichuan during to have emerged during the early part of the Ming dynasty, continuing the Six Dynasties period, he rose to prominence until by the Tang into the Qing dynasty and echoing in form and decoration Buddhist dynasty he was worshipped as part of the Imperial cult. In the Song bronze figures. See a related gilt and lacquered wood figure of dynasty the deity revealed himself in human form as a Daoist god, the Guanyin, Qing dynasty, in the British Museum (ref.no.OA+.7339). Divine Lord of Zitong. From the Song period onwards, Wenchang was widely worshiped by the literati, particularly candidates in the civil service A related large gilt-lacquered wood figure of Guanyin, 17th/18th examinations; he was also venerated for his powers of healing and century, was sold at Bonhams London, 14 May 2015, lot 64.

For details of the charges payable in addition to the final Hammer Price of each Lot 34 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Fine Chinese Sculpture and Works of Art from the Collection of John J. Studzinski CBE Lots 24 - 64 John J. Studzinski CBE

John J. Studzinski CBE (b.1956) is an American-born British Tate Americas Foundations.In 2017, he received the UK Montblanc de investment banker, philanthropist and art collector. In 2007, the la Culture Arts Patronage award for the Genesis Foundation’s work in Bank of England voted Mr Studzinski the Banker of the Year and nurturing excellence among young artists. he currently serves as Managing Director and Vice Chairman for PIMCO, a global investment-management firm based in California, “I’ve always been a philanthropist. I was raised with the view that London, and New York. to whom much has been given, much is expected. And when I say that I’m not talking about money; I’m talking about the three Mr Studzinski is devoted to many philanthropic activities. He has Ts: time, talent and treasures. Those were what I was given in my been chairing several initiatives and institutions such as the UK Prime childhood,” mentioned Studzinski in an interview published in the Minister’s Business Against Modern Slavery Forum, the Human Tablet Magazine in 2018. Rights Watch and the Arise Foundation, which he also co-founded. In 2000, he received the Prince of Wales’ Ambassadors’ award for Often referred to by the media as a ‘Renaissance man’ he has his contribution to the homeless. In 2004 he received the prestigious always been fascinated by “characters in history that have multiple Beacon Prize for Philanthropy and in 2008 Queen Elizabeth layers” and has certainly gained a high reputation in this respect honoured him as a Commander of the British Empire (CBE). throughout his important life achievements.

In the art field, Mr Studzinski is highly focused on creating opportunities Mr Studzinski’s remarkable collection of Chinese sculpture and to people in the early stages of their careers and his numerous projects ceramics has been beautifully displayed throughout his London have included awarding scholarships to emerging actors, musicians, home. He acquired most of the works since 1990 from leading opera composers, librettists, directors, and designers. He is Founder Chinese and Asian art galleries including Eskenazi Ltd., A & J and Chairman of the Genesis Foundation, a UK-based charitable Speelman, J.J. Lally, Jacques Barrere, Ben Janssens Oriental Art, foundation that nurtures the careers of outstanding young artists, and Vanderven Oriental Art, Jonathan Tucker Antonia Tozer Asian Art, is on the U.S. boards of the J. Paul Getty Trust, Scholars at Risk, and John Eskenazi Asian Art, and Michael Goedhuis.

38 | BONHAMS 大英帝國司令勳章受勳者John J. Studzinski，1956年生於美國，是知年，他因 Genesis基金會在培養年輕藝術家方面的傑出成就而獲頒英名英籍銀行家、慈善家和藝術品收藏家。 2007年被票選為英格蘭銀國萬寶龍文化藝術贊助人獎。行”年度銀行家”。目前於全球知名的投資管理公司PIMCO任董事總經理兼副主席。 Studzinski先生在2018年Tablet雜誌的一次採訪中談到： “我一直都是慈善家。自小我就被教導，一個人被給予的越多，所受的期望也就越 Studzinski先生投身於慈善事業，主持了多項倡議和多個機構，包括“ 多；這裡我指的不是金錢，而是三個“T”：時間（ time）、才華（ talent）英國首相反對現代奴隸製商業論壇” 、“人權觀察” 、以及由他共同和財物（ treasures），這些都是我兒時被給予的東西。 ” 發起的 A r i s e 基金會。 2000年，他因對無家可歸者的貢獻獲頒威爾士親王大使獎；2004年獲頒慈善事業燈塔獎；2008年，被英國伊麗莎白作為媒體口中的 “ 多才多藝之人 ”， Studzinski先生一直著迷於“ 具有多女王授予大英帝國司令勳章。面性的歷史人物”，並顯然也在他的個人人生成就中贏得了這個聲譽。 Studzinski先生收藏的傑出中國雕塑和陶瓷藝術品遍布其倫敦的住所。在藝術領域，Studzinski先生則致力於為在職業生涯早期的藝術家們其中絕大部分是1990年以來，購於知名的中國和亞洲藝術古董商，包括創造機會，並為新晉演員、音樂家、歌劇作曲家、自由作家、導演和設 Eskenazi Ltd.，A＆J Speelman，J.J. Lally，Jacques Barrere，Ben 計師提供獎金。他創立並主持Genesis基金會，一家總部位於英國，致 Janssens Oriental Art，Vanderven Oriental Art，Jonathan Tucker 力於培養傑出年輕藝術家的慈善基金會；同時還是J.Paul Getty 基金 Antonia Tozer Asian Art，John Eskenazi Asian Art，以及 Michael 會、Scholars at Risk以及泰特美洲基金會的美國董事會成員。 2017 Goedhuis等。 Property from the Collection of John J. Studzinski CBE 大英帝國司令勳章受勳者John J. Studzinski珍藏 Lots 24 - 64

24 A RARE SET OF EIGHT ARCHAIC GRADUATED RITUAL BRONZE BELLS, BIANZHONG Eastern Zhou Dynasty The bodies of oval cross-section with a concave base, cast on each side with bosses, all within borders of yunlei spirals, each applied with rope-twist loop handles at the top, the surfaces of a green patina with some encrustation, stands. The largest, 22cm (8 5/8in) high. (16).

£20,000 - 30,000 CNY180,000 - 270,000

東周青銅夔龍紋鐘一組八件

Provenance: Vanderven Oriental Art, ‘s-Hertogenbosch, 31 March 2000. John J. Studzinski CBE, London

來源：荷蘭斯海爾托亨博斯古董商，Vanderven Oriental Art，2000年 3月31日大英帝國司令勳章受勳者John J. Studzinski珍藏

Bells play an important role among the bronze objects cast during According to the Zhouli (The Rites of Zhou), from the Eastern Zhou, the Shang and Zhou dynasties where they served primarily in rituals only kings, marquises and other select members of the aristocracy worshipping the ancestors. They formed part of an orchestra that were entitled to possess such bronze bells, which in turn symbolised provided musical accompaniment to ritual dances and singing. social status becoming auspicious gifts among the aristocratic class. Glimpses of Zhou ancestral ritual may be found in the shi jing (Classic It is believed that these bells were made only with refined material of Poetry), a collection of songs and ritual hymns of Western and early on an auspicious day and their completion was celebrated with Eastern Zhou date. The following poem describes the musicians and receptions where guests could enjoy the tunes and the original golden dancers in action: sheen of the newly cast bells; see Feng Guangsheng, ‘Chime-bells. Musical Instruments’, Artistic Style of Cultural Relics from the Tomb of ‘They strike the bells solemnly, Zenghouyi, Wuhan, 1991, p.158. See also B.Karlgren, The Book of They play their se and qin zithers, Odes: Chinese Text, Transcription and Translation, Stockholm, 1950, The reed-organs and the musical stones blend their sounds; pp.159-161; and L.Von Falkenhausen, Suspended Music: Chime - Accompanied by them they perform the Ya and Nan [dances], Bells in the Culture of Bronze Age China, London, 1993, pp.23-28. They wield their flutes without error.’ Compare with a related set of seven ritual bronze bells, Western Zhou dynasty, which was sold at Sotheby’s New York, 20 March 2019, lot 663.

For details of the charges payable in addition to the final Hammer Price of each Lot 40 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

25 A VERY RARE CARVED WOOD FIGURE OF A COURT LADY Chu Kingdom/Warring States Period Carved from a single piece of wood with long and narrow body, the head flat with almond-shaped eyes, marked brows, straight nose and lightly cut mouth, clothed in a silk gown, stand. 49cm (19 1/4in) high. (2).

£3,000 - 5,000 CNY27,000 - 44,000

楚/戰國木雕仕女立像

Provenance: Jacques Barrere, Paris, purchased in 21 March 2001 John J. Studzinski CBE, London

來源：法國巴黎古董商，Jacques Barrere， 2001年3月21日大英帝國司令勳章受勳者John J. Studzinski珍藏

Notable for its great simplicity and delicacy and for the remarkable preservation of brocaded textile fragments attached to the body, the present figure was likely intended for internment in a burial belonging to a high-ranking member of the Zhou society and together with a vast array of furnishing, sustained the occupant in their afterlife.

Compare with a similarly-sized wood figure of a lady, Eastern Zhou dynasty, excavated in Hubei Province, illustrated by Wang Chuanfu and Yang Minghong, ‘A Tomb of the State of Chu Wuchang Cemetery in Jiangling, Hubei’, in Wenwu, 1989, vol.3, pl.3, figs.5 and 6.

For details of the charges payable in addition to the final Hammer Price of each Lot 42 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 26 A VERY RARE CARVED WOOD SEATED FIGURE Han Dynasty The figure carved seated cross-legged with large rounded shoulders and back, the round face with jovial expression, tilted slightly to the right, both hands holding his rotund belly, stand. 38cm (15in) high. (2).

£4,000 - 6,000 CNY35,000 - 53,000

漢木雕坐像

Provenance: Jacques Barrere, Paris, 8 December 2005 John J. Studzinski CBE, London

Published and illustrated: Jacques Barrere, Catalogue, Paris, 1998, pp.110-111

來源：法國巴黎古董商，Jacques Barrere， 2005年12月8日大英帝國司令勳章受勳者John J. Studzinski珍藏

出版著錄：法國巴黎，Jacques Barrere，《Catalogue》，1998年，頁110-111

The present lot most probably originates from Sichuan Province, which has a long tradition of depicting lively, caricature-like effigies of humans, as is evident in some of its pottery figures of entertainers, such as a figure of a grimacing drummer in the Sichuan Provincial Museum; see R.Bagley, Ancient Sichuan: Treasures from a Lost Civilization, Seattle, 2001, p.298, no.111.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 27 A VERY RARE CARVED STONE FIGURE OF A DRUMMER Han Dynasty Deftly carved as a lively musician standing with knees bent, his right hand holding a drum stick, the left with drum held against his protruding belly, with animated expression and furrowed brow, stand. 49.5cm (19 1/2in) high. (2).

£10,000 - 15,000 CNY89,000 - 130,000

漢石雕擊鼓人像

Provenance: Jacques Barrere, Paris, 30 March 1998. John J. Studzinski CBE, London

Published and Illustrated: Jacques Barrere, Jacques Barrere Arts d’Extreme Orient, Paris, 1996

來源：法國巴黎古董商，Jacques Barrere，1998年3月30日大英帝國司令勳章受勳者John J. Studzinski珍藏

出版著錄：法國巴黎，Jacques Barrere，《Jacques Barrere Arts d’Extreme Orient》，1996年

Vividly depicted in a swaying posture with his legs bent, his torso slightly twisted and his back arched, the present figure is stylistically closely related to a group of pottery figures of entertainers which have been excavated from high-ranking Han dynasty tombs in Sichuan Province. These entertainers have been examined as those specialising in a genre of storytelling whereby their stories were both spoken and sung. The expansion of the Han empire, particularly during the reign of Han Wudi, (141-87BC), provided communication and transport between the court and several non-Han frontier areas, which resulted in free circulation of musicians and other entertainers from the Han urban centres to the mansions of the nobility and the imperial court.

Compare with a similar pottery figure of a grimacing drummer from the Sichuan Provincial Museum, illustrated by J.Rawson, Mysteries of Ancient China. New Discoveries from the Early Dinasties, London, 1996, p.110.

For details of the charges payable in addition to the final Hammer Price of each Lot 44 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

28 A VERY LARGE AND RARE LACQUERED-WOOD MODEL OF A HORSE Western Han Dynasty The horse shown standing four-square with head facing forward and mouth slightly open, the body carved from one piece of wood, and the tail carved separately, with detailed nostrils and eyes, arched neck and short legs, with traces of pigment. 73cm (28 3/4in) long.

£20,000 - 30,000 CNY180,000 - 270,000

西漢彩漆木雕立馬

Provenance: Jacques Barrere, Paris, 30 March 1998 John J. Studzinski CBE, London

來源：法國巴黎，Jacques Barrere，1998年3月30日大英帝國司令勳章受勳者John J. Studzinski珍藏

The result of the Isotrace Radiocarbon Laboratory, Toronto, Sample TO-6506 carbon 14 test, 1998, notes 95.5% probability of the date between 125 BC and 10 AD.

加拿大多倫多Isotrace Radiocarbon Laboratory實驗室碳-14測定結果（1998年，樣本TO-6506）顯示本拍品有95.5%的可能性處於公元前125年至公元10年之間。

Standing foursquare and carved from a single piece of wood, the ‘the Heavenly Horse incarnates divine prowess, holds the foreign enemy present horse is exceptionally rare as wood horses dating to the Han in submission, crossing the sands, it convinces the barbarians of its dynasty usually had the body carved from one piece of wood and the power’ Han Wudi mentioned in his hymn included in the ‘Rituals and legs carved separately. Music’ chapter of the ‘Book of Han’ (Hanshu 漢書).

The present horse may have been deemed to embody one of the Because of their endurance and speed, the horses of Ferghana were ‘heavenly horses’, tianma, 天馬, which Han emperor Wudi had associated with power and prestige and even thought of to posses imported from Dayuan, present-day Ferghana, for use in battles divine powers to transport the emperor to heaven. See C.Michaelson, against the Xiongnu nomads. According to historical records, Wudi Gilded Dragons. Buried Treasures from China’s Golden Ages, London, ordered a gilded bronze horse to donate as a gift to the ruler of the 1999, pp.47-48. See also Lin Ying, Celestial Horses, Beijing, 2002. Western Region, in the hope that he would, in return, present the Han emperor with some of his swift, long-legged, horses. Upon the A closely related example of a lacquered wood model of a horse, Han foreigner’s rejection of the gift, Wudi appointed General Li Guangli to dynasty, carved from a single piece of wood and of a similar size as seize the sought-after horses and wage war against Ferghana. The city the present example, is illustrated by the Chengdu Municipal Institute finally collapsed under the surrender terms of a treaty consisting of an of Cultural Relics and Archaeology and Jingzhou Conservation Center, annual tribute of three thousand ‘heavenly horses’ to be paid to the ‘The Laoguanshan Cemetery of the Western Han Dynasty in Tianhui, Han empire. Chengdu’, in “Chinese Archaeology”, 2015, vol.15, p.70; another model of a horse, Western Han Dynasty, carved from a single piece of wood, in the Portland Art Museum, Ohio, is illustrated by D.Jenkins, Masterworks in Wood: China and Japan, Portland, 1976, pp.20-21, no.1.

For details of the charges payable in addition to the final Hammer Price of each Lot 46 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

29 A TORTOISE-SHAPED POTTERY The result of ASA Authentication et a long life, tortoises symbolised longevity INK-STONE AND COVER Datation d’Objects d’Art et d’Archaeologie but also immutability and steadfastness. The Han Dynasty par Methodes Scientifiques, Paris, use of the tortoise as support, such as in the Naturalistically modelled as a tortoise standing thermoluminescence test no.14.24.27- present example, probably derives from the four-square on short legs, the head gazing TL 102.062, dated 19 February 2001, is observation of the animal’s habit of burying upward, the back hollowed to form the inkwell, consistent with the dating of this lot. itself under the ground and re-emerge at the cover incised with hexagrams and trigrams. certain times. The use of the tortoise as an 23.5cm (9 1/4 in) long (2). 巴黎ASA Authentication et Datation ink-stone probably derived from the tortoise’s d’Objects d’Art et d’Archaeologie par further association with water. For reference £15,000 - 20,000 Methodes Scientifiques熱釋光檢測結 see C.Michaelson, Gilded Dragons. Buried CNY130,000 - 180,000 果（2001年2月19日，編號14.24.27- TL Treasures from China’s Golden Ages, London, 102.062）顯示年代與本拍品年代一致。 1999, pp.54-55.

漢陶胎龜形硯連蓋 Tortoise-shaped ink-stones appear to have A similar but slightly larger tortoise-shaped been in use in China for many centuries, from ink-stone and cover, Han dynasty, from the Provenance: Gisèle Croës Arts d’Extrême- the Han dynasty (206 BC –AD 220) onwards, collection of the Miho Museum, Kyoto, is Orient, Brussels, 18 May 2001. and are known both with and without cover, illustrated in Catalogue of the Miho Museum John J. Studzinski CBE, London in stone and in pottery. Since the very early (The South Wing), Kyoto, 1997, pl.119. literary references, the shell of the tortoise 來源：比利時布魯塞爾古董商，Gisèle Croës was considered evocative of the cosmos, with Compare with a related tortoise-shaped Arts d’Extrême-Orient，2001年5月18日 the upper surface reminiscent of the vaulted pottery ink-stone, Han/Tang dynasty, which 大英帝國司令勳章受勳者John J. Studzinski heaven, and the underside analogous to the was sold at Sotheby’s Hong Kong, 2-3 June 珍藏 flat disc of the earth. As animals living 2016, lot 693.

For details of the charges payable in addition to the final Hammer Price of each Lot 48 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 30 A GREY POTTERY TORTOISE-SHAPED INK-STONE The result of ASA Authentication et Datation d’Objects AND COVER d’Art et d’Archaeologie par Methodes Scientifiques, Paris, Han Dynasty thermoluminescence test no.14.24.27- TL 102.061, dated The base cleverly modelled as a tortoise standing four square with 19 February 2001, is consistent with the dating of this lot. the head raised, gazing upward with rounded eyes, the domed shell forming the removable cover, incised with hexagons and hexagrams, 巴黎ASA Authentication et Datation d’Objects d’Art et the oblong lower body recessed to function as the ink-well. d’Archaeologie par Methodes Scientifiques熱釋光檢測結果（2001年 24.5cm (9 5/8in) long. (2). 2月19日，編號14.24.27- TL 102.061）顯示年代與本拍品年代一致。

£15,000 - 20,000 Please see note to previous Lot 29. CNY130,000 - 180,000

漢灰陶龜形硯連蓋

Provenance: Gisèle Croës Arts d’Extrême-Orient, Brussels, 19 May 2001. John J. Studzinski CBE, London

來源：比利時布魯塞爾古董商，Gisèle Croës Arts d’Extrême- Orient，2001年5月19日大英帝國司令勳章受勳者John J. Studzinski珍藏

(another view)

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 31

31 A PAIR OF POTTERY HORSE HEADS Han Dynasty Crisply modelled with sharp molded features, covered with red pigment, stands. Each 16cm (2 9/16in) high (4).

£1,000 - 1,500 CNY8,900 - 13,000

漢陶胎彩繪馬首像一對

Provenance: John J. Studzinski CBE, London

來源：大英帝國司令勳章受勳者John J. Studzinski珍藏

A similar pottery horse head, Han dynasty, was sold at Christie’s New York, 2-3 December 2003, lot 157.

For details of the charges payable in addition to the final Hammer Price of each Lot 50 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 32 A BRONZE GARLIC-HEAD VASE Han Dynasty Of compressed globular form, with a long slender neck set with a single raised and stepped band, widening to a lobed garlic-head mouth, the surface a smooth brownish-green patina. 39.7cm (15 5/8in) high.

£3,000 - 5,000 CNY27,000 - 44,000

漢銅蒜頭瓶

Provenance: John J. Studzinski CBE, London

來源：大英帝國司令勳章受勳者John J. Studzinski 珍藏

33 A BRONZE WINE VESSEL, BIANHU Han Dynasty Of compressed oval form, set on a tapering foot, the sides with taotie mask and loose-ring handles, with recessed panels curving down the body. 28cm (11in) high.

£3,000 - 5,000 CNY27,000 - 44,000

漢銅扁壺

Provenance: John J. Studzinski CBE, London

來源：大英帝國司令勳章受勳者John J. Studzinski 珍藏

33 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 51 34 A GREY POTTERY FIGURE OF A SOLDIER Northern Wei Dynasty Dynamically modelled with his legs set a full stride apart, his arm upraised as if throwing a spear, wearing a long tunic with rolled-back sleeves over baggy trousers, his head turned sharply over one shoulder and carved with large rounded eyes beneath arched brows, the mouth open showing well detailed teeth, and trim beard, all beneath a headdress tied on top of his head. 39cm (15 1/4in) high.

£10,000 - 15,000 CNY89,000 - 130,000

北魏灰陶兵俑

Provenance: J.J. Lally & Co., New York, 13 November 1999 John J. Studzinski CBE, London

來源：美國紐約古董商，J.J. Lally & Co.，1999年 11月13日大英帝國司令勳章受勳者John J. Studzinski珍藏

The result of Oxford Authentication Ltd. thermoluminescence test no. 566n18, is consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（編號566n18）顯示年代與本拍品年代一致。

Compare with a related grey pottery figure of a soldier, 4th century, in similar striding pose in the Cernuschi museum, Paris, (ac.no.M.C. 7600).

For details of the charges payable in addition to the final Hammer Price of each Lot 52 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 35 A PAINTED POTTERY MODEL OF AN OX The result of Oxford Authentication Ltd. thermoluminescence test Northern Qi Dynasty no. C100b16, dated 13 January 2000, is consistent with the dating Naturalistically modelled standing confidently four-square on a of this lot. rectangular base with full detail to the facial features, with rounded eyes, flaring nostrils, and an open mouth beneath a pair of sharp Oxford Authentication Ltd公司熱釋光檢測結果（2000年1月13日， horns, the strapwork harnesses across its rump and head featuring 編號C100b16）顯示年代與本拍品年代一致。 raised circular bosses. 37.5cm (14 3/4in) long. See a similar pottery figure of an ox, Northern Qi dynasty, which was sold at Christie’s Paris, 10 December 2014, lot 341; another pottery £6,000 - 8,000 figure of an ox, Northern Qi dynasty, was sold at Bonhams London, CNY53,000 - 71,000 7 November 2005, lot 258.

北齊陶牛

Provenance: Orientique, Hong Kong, 2004 John J. Studzinski CBE, London

來源：香港古董商，Orientique，2004年大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 36 A VERY RARE LIMESTONE BUST OF THE BUDDHA Northern Qi Dynasty Expertly carved with serene face, the eyes down-cast in meditation, the body slightly elongated and wearing a close-fitting robe defined by shallowly-incised incision lines, the stone with traces of red pigment, malachite and gold remainings, the curls of the hair with traces of lapis lazuli, stand. 56cm (22in) high (2).

£50,000 - 80,000 CNY440,000 - 710,000

北齊石雕佛像

Provenance: Jonathan Tucker Antonia Tozer Asian Art, London, 20 January 2003 John J. Studzinski CBE, London

來源：倫敦古董商，Jonathan Tucker Antonia Tozer Asian Art， 2003年1月20日大英帝國司令勳章受勳者John J. Studzinski珍藏

Elegantly rendered in deep meditation, its features defined by Historical Buddha, Lord of the Universe.) For a detailed discussion long and arched eyebrows merging into a straight nose, between see Zhang Zong, ‘The Qingzhou Region: A Centre of Buddhist Art elongated downcast eyes and full bud lips set in a serious, slightly in the 6th Century’ in L.Nickel, Return of the Buddha: The Qingzhou smiling expression, the present figure is one of the finest examples Discoveries, London, 2002, pp.49-53. See also Wang Huaqing, ed., of the highest standards achieved in the sculpting tradition of the The Art of Buddhist Statuary at Longxing, Jinan, 1999, pp.110-122. Northern Qi dynasty. Buddhism flourished during the Northern Qi dynasty and the Qi The sculpture is remarkably close in style to a small group of 6th aristocracts, headed by a military class of nomadic origin, were century Buddhist figures discovered at the Longxing Temple in receptive to foreign influences, especially in art. Hence, a style Qingzhou, Shandong Province, and probably originated from the same influenced by the Gupta art of India, noted in the long and arched area. The thin robes emphasising the slender body of the figure are eyebrows and the clinging robes worn by the present figure, acquired very similar to those noted on the Qingzhou examples, as is the use of pre-eminence soon after the Northern Qi dynasty came to power. coloured pigments particularly the gold to cover the skin and sapphire blue to depict the curly hair, in accordance with the established canon Compare with a related limestone figure of a standing Buddha, of Buddha images. Northern Qi dynasty, illustrated in Return of the Buddha: The Qingzhou Discoveries, London, 2002, pp.104-105, no.14. Compare also with a The figures discovered at Qingzhou were usually depicted wearing related bust of a limestone standing figure of the Buddha, Northern Qi, patchwork robes painted in red and green pigments, and have been illustrated in Masterpieces of Buddhist Statuary from Qingzhoy City, identified as personifying either Vairocana, (the main Buddha of the Beijing, 1999, p.102. Flower Garland Sutra, Huayan Jing 華厳経, or Shakyamuni, the

For details of the charges payable in addition to the final Hammer Price of each Lot 54 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

37 A GREY LIMESTONE BUDDHIST STELE Northern Qi Dynasty Exquisitely carved with a standing figure of Buddha flanked on his left by a Bodhisattva, the Buddha clad in plain flowing robes falling in neat pleats, the face with serene expression beneath tightly rolled curls on his head, all before a halo of lotus petals, the bodhisattva draped in layered diaphanous robes tied into knots in the centre, adorned with elaborate necklaces and crown, standing on a lotus pedestal issuing from the mouth of a lomng sinuous dragon, stand. 29cm (11 3/8in) high. (2).

£8,000 - 12,000 CNY71,000 - 110,000

北齊背屏式佛與脅侍菩薩立像

Provenance: Ben Janssens Oriental Art Ltd., London, 20 February 2006 John J. Studzinski CBE, London

來源：英國倫敦古董商，Ben Janssens Oriental Art Ltd.， 2006年2月20日大英帝國司令勳章受勳者John J. Studzinski珍藏

The Buddha and bodhisattva on the present lot are similar to a number The pointed base of the stele would have fitted into the central cavity of sculptures discovered at Qingzhou, Shandong Province in 1996. of a separate lotus stand. Tetsuei Tsuda points out that the basic The sculptures in this group range in date from the Northern Wei to form of this type of two-part stone stele was developed from small the Northern Song dynasty. In the present lot, the realistic portrayal votive bronzes that were popular as early as the 5th century, see of the figures, as well as the simplicity of the Buddha’s attire, his L.Nickel, The Return of the Buddha: Buddhist Sculptures of the 6th slightly rounded face and his hair style of tightly rolled curls all refer to Century from Qingzhou, China, Zurich, 2002, p.117. It is known from a Northern Qi dynasty date. See L.Nickel, The Return of the Buddha: inscriptions that sculptures such as the present lot were commissioned Buddhist Sculptures of the 6th Century from Qingzhou, China, Zurich, both by individuals and by groups of Buddhist laymen, as well as by 2002, nos.21, 22 and 25; another similar but larger, triad, Northern Qi, monks and nuns, and that they were donated for the accumulation of is in the Aurora Foundation Collection, Taiwan; see Chen Hui-hsia and merit and good karma; see Ibid., p.121. Lee Yu-Min, The Art of Contemplation: Religious Sculpture from Private Collections, Taipei, 1997, pp.92-93, no.21. A slightly earlier related Compare with a related small pale grey stone Buddhist stele fragment, stele is in the Musee Guimet in Paris, illustrated by W.Watson, The Arts Northern Qi dynasty, which was sold at Christie’s New York, 13-14 of China to AD 900, London, 1995, p.144, no.235. September 2018, lot 1133.

56 | BONHAMS

38 A RARE CARVED LIMESTONE FIGURE OF A BODHISATTVA Northern Qi Dynasty Crisply carved with a serene face, the eyes half open in contemplation, a scalloped hairline topped by a beaded headdress and secured by a band with a ring to either side, clad in a high dhoti knotted at the front and with bows at the shoulders, adorned with elaborate jewellery, stand. 71cm (28in) high. (2).

£40,000 - 80,000 CNY350,000 - 710,000

北齊石雕菩薩立像

Provenance: Jonathan Tucker Antonia Tozer Asian Art, London, 15 February 2003. John J. Studzinski CBE, London

來源：英國倫敦古董商，Jonathan Tucker Antonia Tozer Asian Art，2003年2月15日大英帝國司令勳章受勳者John J. Studzinski珍藏

The present remarkable figure displays several stylistic features typical as the present example; see I.Y.Klein-Bednay, Schmuck und Gewand of the Northern Chinese sculptural tradition dating to the second half Des Bodhisattva In Der Fruhchinesischen Plastik, Bonn, 1984, fig.97, of the sixth century, where emphasis was placed towards the volume p.93. The elaborate strings of jewels depicted on the chest, consisting of the body, evident here in the stocky upper body and the convexity of lengths of pearls separated by coral twigs, however, can be traced of the stomach, and the folds of the robe, gently cascading towards to the Central Asian and Indian ornaments worn by Indian noblemen the bottom of the body. and can be found on Gandharan sculptures. See K.Isao, The World of the Buddha. Ghandara Art, Tokyo, 1990, vol.2, p.177, fig.13. The Northern Qi dynasty (550-577) was one of the most vibrant periods in the history of Chinese art, especially in the context of A very similar torso of a bodhisattva, mid to late 6th century, in the Buddhist art, which experienced a glorious moment following the Metropolitan Museum of Art, is illustrated by D.P.Leidy and D.Strahan, contamination of foreign ideas and styles. Wisdom Embodied, Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, New York, 2010, p.172, fig. A13. Another The two hems depicted above the ankles suggest that the figure similar stone figure of a bodhisattva, Northern Qi, in the Museum of is wearing a double garment. This feature does not appear to have Fine Arts, Boston, is illustrated by D.P.Leidy, ‘Avalokiteshvara in Sixth- a counterpart in India or Central Asia and was probably a Chinese century China’, in J.Baker ed., The Flowering of a Foreign Faith: New innovation. See, a stone figure of a bodhisattva, Sui dynasty, in cave Studies in Chinese Buddhist Art, Mumbai, 1998, figs.8 and 8a. no.427 at Dunhuang, which displays a similar treatment of the hems

For details of the charges payable in addition to the final Hammer Price of each Lot 58 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

39 A SUPERB CARVED POLYCHROME LIMESTONE HEAD OF BUDDHA Sui Dynasty The smoothly carved face with meditative expression, the heavilly lidded eyes down-cast beneath arched brows, the thin nose above gently curving lips, the hair carved as tight curls, all between long pendulous ears, the stone of dark-grey and yellow-ochre tone, stand. 36cm (14 1/4in) high. (2).

£40,000 - 60,000 CNY350,000 - 530,000

隋石雕佛首像

Provenance: Jacques Barrere, Paris, 19 January 1999. John J. Studzinski CBE, London

來源：法國巴黎古董商，Jacques Barrere，1999年1月19日大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot 60 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

The serene meditative expression of this sculpture, rendered through The Sui dynasty emperors used this invigoration of Buddhist faith the sensitive carving style and harmonious curves, epitomizes the as an opportunity to embark on major building projects, including high quality achieved by stone carvers in the Sui dynasty. The fleshy the construction of pagodas, temples and religious statuary, as a face, narrow eyes, and sharply carved arched brows which form a means of unifying the fragmented empire. Indeed, Emperor Wen harmonious curve with the ridge of the nose, encapsulate the classic and his empress had converted to Buddhism to legitimise imperial style of the Buddha image in the Sui dynasty. authority over China. The emperor presented himself as a Cakravartin king, a Buddhist monarch who would use military force to defend The political and social turmoil that accompanied dynastic changes the Buddhist faith. This religio-political agenda also led to increased leading to China’s unification under the Sui dynasty in the late 6th communication across eastern Eurasia, which contributed to the century significantly impacted Chinese Buddhist practice in several transmission of Buddhist concepts and artistic styles from South and ways which are reflected in religious art of the period. In their search Central Asia into China, and from China to Korea and Japan. for refuge beyond the chaos of the material world, a variant form of Pure Land Buddhism which allowed adherents to be reborn in Compare with a related stone head of Buddha, Tang dynasty, with Sukhavati (the Western Paradise of the Buddha Amitabha), grew in similarly low forehead, in the Metropolitan Museum of Art, New York popularity. Consequently, images of Buddha proliferated in the third (ac.no.13.151.1). See also a monumental marble Amitabha Buddha, quarter of the 6th century, as evidenced by the present and numerous Sui dynasty, in the British Museum, London, illustrated in Chinese contemporaneous examples. Sculpture, New Haven, 2006, fig.3.95. Compare also with a related limestone head of Buddha, Northern Qi/Sui dynasty, which was sold at Bonhams New York, 19 March 2018, lot 8160.

62 | BONHAMS

40 A FINE AND RARE WHITE MARBLE FIGURE OF A COURT LADY Late Tang Dynasty/Five Dynasties Deftly carved standing in a languid pose, with full rounded face and delicate features, her head tilted to one side and hair coiffed into a bun, her right hand raised to her chest grasping a shawl draped loosely over her shoulders, her left hand concealed by voluminous robes tied with a sash around her waist, falling in neat pleats to reveal the right toe of her slipper, the stone of sugary-white tone, stand. 24cm (9 1/2in) high (2).

£60,000 - 100,000 CNY530,000 - 890,000

唐晚期/五代大理石雕仕女立像

Provenance: J.J.Lally & Co., New York, 14 May 2004 John J. Studzinski CBE, London

來源：美國紐約古董商，J.J.Lally & Co.，2004年5 月14日大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot 64 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Figures of plump ladies in long flowing robes are a classic Tang dynasty image which continued well into the Five Dynasties period. Compare the images of plump court ladies with similar hairstyles and long flowing robes in painted marble reliefs in the tomb of Wang Chuzi (died 923.AD) in Xiyanchuan, Quyang, Hebei Province, published in ‘Wu Dai Wang Chuzhi Mu’, in Wenwu, Beijing, 1998, pp.33-57. Compare also with a smaller seated white marble female figure, Tang dynasty, excavated from Nianliwang village, Changan county, Shaanxi Province, illustrated in Wu Hua Tian Bo: Tangdai Guizu de Wuzhi Shenghuo, Hong Kong, 1993, p.49, no.8.

(two views) 41 A PAINTED POTTERY MODEL OF A BACTRIAN CAMEL AND RIDER Tang Dynasty Superbly modelled with a foreign rider sitting on top of a recumbent Bactrian camel, the rider perched forward and leaning slightly to the left with its right arm clasping the camel’s hump, the wide lapels of his fur-lined jacket thrown open, the face with inquisitive expression as if looking in the far distance, the camel with bulging eyes and flared nostrils gazing into the same direction as the rider, the body painted in ochre and red pigments, with orange detail to the nose and black to the eyes, the saddle cloth decorated with sylised floral patterns in red, green and black. 48cm (19in) long.

£30,000 - 50,000 CNY270,000 - 440,000

唐騎駝胡人俑

Provenance: Ben Janssens Oriental Art Ltd., London, 6 July 2001 John J. Studzinski CBE, London

來源：英國倫敦古董商，Ben Janssens Oriental Art Ltd.，2001年7月6日大英帝國司令勳章受勳者John J. Studzinski珍藏

The result of Oxford Authentication Ltd. thermoluminescence test no. C101g22, dated 5 April 2001, is consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（2001年4月5日，編號C101g22）顯示年代與本拍品年代一致。

Recumbent camels with non-Chinese riders are rare and the Vast riches poured into the Tang capital, Chang’an, from the Silk Road. animated pose of the rider, his expression and the texture of his Merchants came from far afield to acquire silk, bamboo and lacquer sheep-skin coat have been masterfully rendered. From the 6th wares, and imported perfumes, horse and jewels. Through most of century and throughout the entire Tang dynasty, the Bactrian camel the Tang dynasty, the capital cities of Chang’an and Luoyang were frequently appears among the tomb figures of China. The camel cosmopolitan centres, where men and women of different races and was an essential means of transporting merchants and merchandise religions coexisted in relative freedom. The all embracing attitude adopted along the Silk Road into China. It was imported from the areas of by Tang dynasty Taizong emperor, facilitated the cultural exchanges the Tarim Basin, eastern Turkestan and Mongolia. This species was between the Han Chinese and the foreigners. Travellers included highly regarded by the Tang emperors who established dedicated Songdians, Turks, Uighurs, Arabs, Mongols, Persians and Indians. For offices to oversees the imperial camel herd. Referred to as the reference see E.Schafer, The Golden Peaches of Samarkand: A Study ships of the desert, camels endured hot temperatures and were the of Tang Exotics, Berkeley, 1963, pp.7-40. See also E.R. Krauer, The essential method of transport for merchants wishing to conduct trade Camel’s Load In Life & Death, Cambridge, 1998, pp.50-120. with the oasis cities of Central Asia, such as Samarkand, Bukhara and Isfahan, along the trading routes of the Silk Road. A related recumbent camel with a foreign rider is illustrated in Shaanxi Provincial Museum, Xi’an, 1983, pl.58; another recumbent camel with a Persian rider is illustrated in the Handbook, for the Nelson Gallery of Art- Atkins Museum, vol.II, Kansas City, 1973, p.82.

For details of the charges payable in addition to the final Hammer Price of each Lot 66 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

42 A PAINTED POTTERY FIGURE OF A COURT LADY Tang Dynasty The elegant figure standing slightly swaying to the left, wearing a long, loose-fitting robe with long sleeves decorated with flowers, her arms folded in the front with he right hand pointing forward, the left hand concealed in the sleeve, the round face with gentle expression beneath a heavy chignon, stand. 33cm (13in) high. (2).

£3,000 - 5,000 CNY27,000 - 44,000

唐陶胎彩繪仕女俑

Provenance: Vanderven Oriental Art, ‘s-Hertogenbosch, 27 June 2007 John J. Studzinski CBE, London

來源：荷蘭斯海爾托亨博斯古董商，Vanderven Oriental Art，2007年 6月27日大英帝國司令勳章受勳者John J. Studzinski珍藏

The result of Oxford Authentication Ltd. thermoluminescence test no.C107r74, is consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（編號C107r74）顯示年代與本拍品年代一致。

This portly female figure represents the ideal of beauty during the Tang dynasty, which was often associated with Yang Guifei, one of China’s great beauties and the influential concubine of the Tang emperor Xuangzong (r.712–756). The floral designs depicted on the flowing robes may have represented the extravagant floral scrolls and medallions seen on Tang dynasty silk textiles. The flowers appearing on this lady’s garment are similar to those on a fragment of a Tang dynasty silk in the British Museum (acc.no.MAS856). A related pottery figure of a court lady, Tang dynasty, in the Palace Museum, Beijing, is illustrated in Diao Shi Ru Sheng: Gugong Cang Sui Tang Taoyong, Beijing, 2006, no.41, p.95.; another pottery figure, Tang dynasty, is illustrated in the Museum of Oriental Ceramics, Exhibition of Oriental Ceramics, Osaka, 1982, p.21, no.4.

43 A PAINTED POTTERY MODEL OF A HORSE AND FEMALE ENTERTAINER Tang Dynasty Well modelled, the horse standing four-square with head down, the sinewy body painted with carmine pigments setting off the black painted saddle, the female rider with peaceful facial expression, wearing a headdress featuring raised circular bosses, with one hand touching her chest. 37cm (14 3/5in) high.

£6,000 - 8,000 CNY53,000 - 71,000

唐陶胎彩繪仕女騎馬俑

Provenance: John Eskenazi Ltd., London, 9 February 1995 John J. Studzinski CBE, London

來源：英國倫敦古董商，John Eskenazi Ltd.，1995年2月9日大英帝國司令勳章受勳者John J. Studzinski珍藏

The result of Oxford Authentication Ltd. thermoluminescence test no. 666c66 dated 22 May 1992, is consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（1992年5月22日，編號666c66）顯示年代與本拍品年代一致。

For details of the charges payable in addition to the final Hammer Price of each Lot 68 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Dressed in a long sleeved tunic, the present figure may have been and Central Asian countries. Songs and dances from the Western deemed to represent a female entertainer engaging in a musical and regions gradually blended within the Han Chinese culture during the whirling dance performance. Because music enjoyed such a great Tang dynasty, forming an essential aspect of performances. popularity at the Tang court, a special section was set up to train both Chinese and foreign female entertainers. Tributes in form of dancing Compare with a related figure of a horse and rider, Tang dynasty, which and singing troupes were presented to the Chinese court from Persia was sold at Bonhams New York, 19 March 2018, lot 8039. 44 A LARGE PAINTED POTTERY FIGURE OF A COURT LADY Tang Dynasty Finely modelled, the figure elegantly standing in a swaying pose with hands in front of the chest, one hand revealed by the full sleeves of the long loose robe falling in deep folds over the upturned slippers, the round face detailed with a ruby-red blush, with elongated eyes, full cheeks, a crisply carved mouth, and dimpled chin, all beneath the hair elaborately coiffed in a double-bun topknot, the figure covered in white slip with traces of green pigment. 55cm (21 3/5in) high.

£8,000 - 10,000 CNY71,000 - 89,000

唐陶胎彩繪仕女俑

Provenance: John J. Studzinski CBE, London

來源：大英帝國司令勳章受勳者John J. Studzinski珍藏

This elegant and full-bodied lady exemplified the typically high-ranking female figures of the Tang Court, reflecting the increasingly sedentary and luxurious lifestyle of the Tang elites. In the Tang period, it was common to beautify female faces with extensive make-up. Rouged cheeks and lips, bold and thick eyebrows, and gaudy ornaments between the eyebrows and at the temples were in vogue at the time. Blush was often applied to the cheeks, reaching the eyelids, to resemble the complexion tone achieved by drinking wine, which was thought to imbue women with greater grace. A great number of eyebrow styles also appear to have been popular, ranging from willow-leaf to extremely broad and thick in shape. For references about Tang cosmetics, see E.Schafer, ‘The Early History of Lead Pigments and Cosmetics in China,’ in Toung Pao, 1956, vol.44, pp.413-438. Compare with a similar painted pottery figure of a lady, Tang dynasty, in the Metropolitan Museum of Art, New York, illustrated by S.Valenstein, A Handbook of Chinese Ceramics, New York, 1975, p.67. A related pottery figure of a court lady, Tang dynasty was sold at Bonhams London, 8 November 2018, lot 10. A related but larger figure of a pottery lady displaying a similar hair style to the current example, was sold at Christie’s New York, 21 March 2002, lot 100.

45 A RARE AND LARGE SANCAI-GLAZED MODEL OF A BACTRIAN CAMEL Tang Dynasty Powerfully modelled standing four-square with its tall hair-lined neck reared back, the head raised and mouth open as if bellowing, the straw- glazed body surmounted by a brilliant green, chestnut and straw-glazed saddle flanked by elaborate bags relief-moulded on each side by a large bulging pack modelled as a large grimacing monster mask, surrounded by a raised border suggestive of leather outlined with a pleated scallopped fringe, the thick glaze running down the muscular legs, the camel covered predominantly in amber glaze, wood base. 54cm (21.4in) high (2).

£20,000 - 30,000 CNY180,000 - 270,000

唐三彩駱駝俑

Provenance: The Chinese Porcelain Company, New York, 31 March 1998 John J. Studzinski CBE, London

來源：美國紐約古董商，The Chinese Porcelain Company，1998年3 月31日大英帝國司令勳章受勳者John J. Studzinski珍藏

The result of Oxford Authentication Ltd. thermoluminescence test no. 666s39, dated 30 November 1993, is consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（1993年11月30日，編號666s39）顯示年代與本拍品年代一致。

For details of the charges payable in addition to the final Hammer Price of each Lot 70 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Bactrian camel was brought into China from the Tarim Basin, By the Tang dynasty, the tombs constructed for the highest-ranking eastern Turkestan and Mongolia. This species was highly regarded by members of society were decorated in a way that suggested a courtly the Tang emperors who established dedicated offices to oversee the architectural compound through painted designs of receiving halls, garden imperial camel herds. The heavy load of pouches, ewers and animal settings and official gatherings, furnished with a large number of pottery meat, so vividly slung between the two humps of the exquisite camel figures of courtiers, attendants, entertainers, horses and camels. These by means of an elaborate structure of hinged slats of wood and figures represented of daily life and are found in conjunction with a variety poles, recalls the importance of foreign trade in Tang China. Referred of extravagantly shaped vessels and personal ornaments made of gold, to as ‘the ships of the desert,’ camels endured hot temperatures silver, and other precious materials, which reflected the prosperity of the and were the essential method of transport for merchants wishing empire. A sancai-glazed camel, Tang dynasty, bearing different goods to conduct trade with the cities of Central Asia, such as Samarkand, on its pannier, was sold at Christie’s Hong Kong, 30 November 2016, lot Bukhara and Isfahan, along the trading routes of the Silk Road. 3305; another was sold at Christie’s New York, 20 September 2005, lot 191. Compare also with a larger but related sancai-glazed camel, Tang dynasty, which was sold at Bonhams London, 8 November 2018, lot 28. 46 A POTTERY FIGURE OF A COURT LADY Tang Dynasty The plump figure standing straight with hands raised in front of her chest, one hand concealed by the long robe, the fleshy face detailed with rosy-pink blush and bright red lipstick, and almond-shaped eyes, all beneath the hair dressed in a high double-shaped topknot. 45.5cm (17 4/5in) high.

£15,000 - 25,000 CNY130,000 - 220,000

唐陶胎彩繪仕女俑

Provenance: C.C.Wang Collection, New York Eskenazi Ltd., London, 15 November 1999 John J. Studzinski CBE, London

來源：美國紐約，王季遷（1907-2003）舊藏英國倫敦古董商，Eskenazi Ltd.，1999年11 月15日大英帝國司令勳章受勳者John J. Studzinski 珍藏

The elegant modelling of the present figure, characterised by a full body and thin garments falling gracefully to her feet, reflects the changes in the ideal of feminine beauty taking place during the middle of the 8th century. At this time, the highest-ranking classes of the Tang dynasty had become more sedentary and interested in interior pursuits. Tang poets spoke passionately about these new canons of beauty. Xu Feng in his ‘Palace Poem’ wrote that ‘Court ladies in their quarters adorning their faces at dawn, peering out to search for their men who are now late, whiling away the monotonous time listening to the dripping of the water-clock, wearing silk gowns and refreshing their perfume’;see W.Bynner (trans.), Tang Shi San Bai Shou, New York, 1920, vol.1, no.221.

For details of the charges payable in addition to the final Hammer Price of each Lot 72 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 47 A LARGE POTTERY FIGURE OF A COURT LADY Tang Dynasty The elegant figure modelled standing, the loose robes pleated in the front to accentuate the sway of her body, with both hands in front of the chest concealed by the long sleeves, the face with full cheeks, a crisply carved mouth and almond-shaped eyes, all beneath a coiffure drawn up into a overhanging chignon, the figure covered in white slip. 62.5cm (24 5/8in) high.

£20,000 - 30,000 CNY180,000 - 270,000

唐陶胎彩繪仕女俑

Provenance: J.J.Lally & Co., New York John J. Studzinski CBE, London

來源：美國紐約古董商，J.J.Lally & Co. 大英帝國司令勳章受勳者John J. Studzinski 珍藏

Wearing extravagantly styled hair and a long, flowing, brocaded robe, this court lady provides important elements in relation to the study of Tang dynasty society and costumes. The elegant modelling of the present figure reflects the changes in the ideal of feminine eauty taking place during the middle of the 8th century.

Garments made from silk, as well as wool and linen were commonly worn at the time, though strict laws specified the kind of clothes and jewels appropriate for each social class. It was considered a style for the ladies to be dressed in hufu, 胡服, which was the outfit of those who resided in the western regions. The gowns were low cut with high waist-band. In perfect accordance with the Tang aesthetic of opulence, women pleated their skirts in an accordion form and raised the waist all the way up to the armpits. This way, the waistline was barrel shaped to show afull and rounded body contour. For reference see Saito Masaru, ‘A Reconsideration of the Silk and Horse Trades between the Tang dynasty and the Uighur Empire,’, Shigaku-Zasshi, vol.108, no.10, pp.33-57; see also J.Watt, Dawn of a Golden Age 200-750AD, New York, 2005, pp.66-77.

Compare with a related pottery figure of a court lady, Tang dynasty, in the Los Angeles County Museum of Art,illustrated in The Quest for Eternity. Chinese Ceramic Sculptures from the People’s Republic of China, Los Angeles, 1987, no.83, p.139. A related but larger pottery figure of a court lady, Tang dynasty, was sold at Christie’s New York, 21 March 2014, lot 2070.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 48 AN EXCEPTIONAL CARVED SANDSTONE HEAD OF A LUOHAN The sensitive rendering of the luohan’s expressive countenance is Tang/Jin Dynasty particularly fine on this superbly carved head. The head is striking for Naturalistically carved with large expressive almond-shaped eyes its vivid realism. By skilfully carving the head in the round, intricate and painted black beneath finely painted brows and a pronounced bump naturalistic detailing of the gentle curvature of the skull is captured. on the forehead, the nose gently curving slightly above the painted lips, the fleshy face framed between a pair of pendulous ears, the Luohan or arhats, were close personal disciples of Buddha Shakyamuni. buff-coloured stone with traces of pigment remaining, wood stand. Although they attained Buddhahood during the course of their lives, they 14cm (5 1/2in) high. (2). delayed entering Nirvana and remained on earth to protect the Buddhist dharma and to aid others in seeking Enlightenment according to the £10,000 - 15,000 instruction of the Buddha. Luohan figures became increasingly popular CNY89,000 - 130,000 from the Tang dynasty onwards; see A.Paludan, Chinese Sculpture: A Great Tradition, Chicago, 2006, p.270. 唐/金石雕羅漢頭像

Provenance: Jacques Barrere, Paris, 19 September 2002 John J. Studzinski CBE, London

來源：法國巴黎古董商，Jacques Barrere，2002年9月19日大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot 74 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 49 A RARE CARVED BLACK LIMESTONE HEAD OF A LUOHAN It is possible that the present figure is a representation of Buddha’s Tang Dynasty disciple Ananda, who (together with Kasyapa) is often portrayed flanking The smooth shaved head carved with meditative downcast eyes Buddha. The Tang dynasty emperors adhered to all three major beliefs beneath gently arched brows, the full-lips curled in a gentle smile – Buddhism, Daoism and Confucianism - to secure popular support beneath a pointed nose, all flanked by long pendulous earlobes, stand. for their dynasty and in so doing reinforced the close association 19.5cm (7 5/8in) high. (2). of sculpture and state; see A.Paludan, Chinese Sculpture: A Great Tradition, Chicago, 2006, p.270. The present head of a luohan belongs £25,000 - 35,000 to the Buddhist category and closely resembles sculptures of disciples CNY220,000 - 310,000 flanking Buddha in the Qianfodong (Cave of a Thousand Buddhas) dated to the early Tang period; see also those in the Longmen Grottoes, Luoyang, Henan Province, illustrated by A.Paludan, Ibid., p.293, fig.178; 唐石雕羅漢頭像 and other examples in Cyugoku Sekkutsu: Ryumon Sekkutsu, vol.2, Heibonsha series, 1988, pls.55 and 64. Provenance: Jacques Barrere, Paris, 19 September 2002 John J. Studzinski CBE, London

來源：法國巴黎古董商，Jacques Barrere，2002年9月19日大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 50 A VERY RARE CARVED WOOD FIGURE OF GUANYIN Northern Song/Jin Dynasty The Goddess of Mercy seated in the posture of rajalilasana or ‘royal ease’ on a rock and wave base representing Mount Potalaka, leaning on her left arm with her head inclined to the right, the right hand holding a loop of drapery, the left foot resting on a small lotus pod, the serene face with contemplative expression beneath braided hair centrally parted and dressed in a three-looped top-knot pushed through a diadem with tresses of hair falling gracefully over each shoulder, her layered dhoti clinging to the legs and forming deep folds, adorned with elaborate jewellery, with areas of pigment still visible. 57cm (22 1/2in) high.

£60,000 - 80,000 CNY530,000 - 710,000

北宋/金木雕自在觀音像

Provenance: Gualino Collection, Rome Eskenazi Ltd., London, 19 March 1998 John J. Studzinski CBE, London

Published and Illustrated: Eskenazi Ltd., Chinese Buddhist Sculpture, London, 1997, no.13 (and illustrated on the inside front cover)

來源：意大利羅馬，Gualino舊藏英國倫敦古董商，Eskenazi Ltd.，1998年3月19日大英帝國司令勳章受勳者John J. Studzinski珍藏

出版著錄：英國倫敦，Eskenazi Ltd.，《Chinese Buddhist Sculpture》， 1997年，編號13；並刊登於圖錄封面內頁

For details of the charges payable in addition to the final Hammer Price of each Lot 76 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Seated in the pose of ‘royal ease’, the deity probably depicts the A similar figure of Guanyin is in the collection of the British Museum, Water-Moon Guanyin, an iconography derived from Tang dynasty London, and illustrated by Hai-wai yi-chen; Buddhist Sculpture, vol. paintings. 1, Taipei, 1986; and another similar figure in the Metropolitan Museum of Art, New York, is illustrated by D.Patry Leidy and D.Strahan, According to the ‘Lotus Sutra’, Guanyin can take any form necessary Wisdom Embodied, New York, 2010, p.180, no.A44; pl.133. Like the to save sentient beings, and mentions thirty-three form which the deity present lot, the example in the Metropolitan Museum which is dated could take, of which seven were female. The figure’s sensual curves Northern Song dynasty, is of almost the same size and has a similar however, evoke a distinctly feminine feel, and by the Ming dynasty, necklace, armbands, bracelets, attire and facial expression. A similar Guanyin was usually depicted in a feminine form. wood sculpture of Guanyin is in the Denver Art Museum, illustrated by D.Jenkins, Masterworks in Wood: China and Japan, New York, Guanyin images seated in the relaxed position of royal ease are 1976, no.10. See also H.Trubner, The Arts of the T’ang Dynasty, Los referred to as zizai Guanyin, literally meaning Guanyin at ease. When Angeles, 1957, no.57;and R.L.Thorp and V.Bower, Spirit and Ritual: such figures are placed in a grotto or seated on a rocky platform, The Morse Collection of Ancient Chinese Art, New York, 1982, no.59. they reference the Water Moon Guanyin, who sits by the water’s edge contemplating the reflection of the moon in the water and recognising A similarly-posed wood Guanyin, Song dynasty, was sold at Bonhams the illusory nature of all phenomena, gently smiles at the humans, who New York, 9 September 2019, lot 853; another wood example of a grasp for the reflection of the moon mistaking it for reality. seated Guanyin, Song dynasty, was sold at Christie’s Hong Kong, 31 May 2010, lot 1957.

Eskenazi Ltd., Chinese Buddhist Sculpture, London, 1997 (inside front cover); image courtesy of Eskenazi Ltd., London.

78 | BONHAMS

51 A RARE CARVED WOOD HEAD OF A LOKAPALA Song Dynasty With wide bulging eyes, the pupils painted, the nose flat with flaring nostrils, the forehead and eyebrows protruding and mouth close with lower lip jutting out, covered in coarse cloth with traces of pigment and lacquer, a strip of cloth with Sanskrit inscription applied across the dome of the head, stand. 39cm (15 1/4in) high. (2).

£20,000 - 30,000 CNY180,000 - 270,000

宋木雕天王頭像

Provenance: A & J Speelman Ltd., London, 20 November 1990 John J. Studzinski CBE, London

Published and illustrated: A & J Speelman Ltd., Catalogue, London, 1990, no.10

來源：倫敦古董商，A & J Speelman Ltd.，1990年11月20日大英帝國司令勳章受勳者John J. Studzinski珍藏

出版著錄：英國倫敦，A & J Speelman Ltd.，《Catalogue》，1990 年，編號10

The present lot is a fine example of realism with exceptionally fine which may be translated as: carving. The facial features are emphasized by the definition of the muscles, especially the frown lines between the eye brows and the ‘Worship to all tathāgata, arhats and fully awakens Buddhas; he, he! nose bridge. Remain, remain! Bind, bind! Hold, hold! Restrain, restrain! O Ūrṇāmaṇi, svāhā!’ The inscription applied on a strip of cloth over the dome of the present lokapala’s head reads: Compare with a related example of a stucco luohan with a similar facial expression, Yuan dynasty, in the Asian Art Museum, San Francisco (ac. ‘ན་མོ་ས་རྭ་ཏ་ཐ་ག་ཏེ་བྷྱོ་ཨ་ར་ཧ་ཏེ་བྷྱོ་ས་མྱག་སཾ་བུད་དེ་བྷྱོ་ཧེ་ཧེ་宷ན་䞷་宷ན་䞷་༅་༅་༅་䞷་ར་....་ཨུར་ཨ་ན་ནི་སཝ་ཧ།་ནམ་ no.B60S319). See also a similar wood head from the Avery Brundage སརབ༹ཏཐགཏེབྷྱོའརཧདབྷྱ་སམྱཀསམབུདདྷེབྷྱ་༑་ཧེ་ཧེ་བན䞷་བན䞷་ཏིཧ་ཏིཧ་䞷རཡ་䞷རཡ་ནིརུན䞷་ནིརུན䞷་རམཨི་སབ༹ཧའ’ Collection, illustrated in Chinese, Korean and Japanese Sculptures, Tokyo, 1974, pl.142. The expressive power of this style of sculpture produced in the Song dynasty strongly influenced Japanese sculpture of the Kamakura period (1185-1332).

See a related but later carved wood figure of a luohan, Ming dynasty, which was sold at Sotheby’s New York, 23 March 2019, lot 1666.

For details of the charges payable in addition to the final Hammer Price of each Lot 80 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

52 A RARE PAIR OF RED-GROUND AND GOLD FOIL EMBROIDERED SILK ‘PHOENIX’ BANNERS Liao Dynasty Each banner delicately embroidered with three phoenix, the central one depicted standing facing outward, between two further phoenix depicted in flight with outspread wings and trailing long, flowing tail feathers, framed and glazed. Each 101cm (39 3/4in) long (3).

£20,000 - 30,000 CNY180,000 - 270,000

遼紅地繡金絲彩鳳紋幡一對

Provenance: Eskenazi Ltd., London, 20 March 1998 John J. Studzinski CBE, London

來源：英國倫敦古董商，Eskenazi Ltd.，1998年3月20日大英帝國司令勳章受勳者John J. Studzinski珍藏

Phoenixes were traditionally associated with the figure of the empress in China. According to the ‘Classic of Mountains and Seas’, Shanhai jing, compiled during the Han dynasty, the mythical birds were amongst the fantastic creatures inhabiting the immortal lands of the Queen Mother of the West, and embodied all the qualities a queen must possess, such as benevolence, righteousness, propriety, wisdom, and sincerity; see J.Rawson, Chinese Ornament: The lotus and the Dragon, London, 1984, pp.99-107.

The tomb of Princess Chen (d.1080), excavated in Inner Mongolia, yielded a large variety of personal accoutrements made of precious materials such as gold, silver and brocaded silks decorated with scrolling phoenixes. In particular, the peacock-like tailed phoenix, noted on this lot, is very similar to the phoenix decorating a silver saddle found in this burial, illustrated in the Research Institute of Cultural Relics and Archaeology of Inner Mongolia, The Tomb of Liao Princess Chen, Beijing, 1993, pl.XXXII, no.1. In addition, the stylistic convention of surrounding phoenix with serpentine-like clouds, reminiscent of scrolling tendrils, can also be noted on a gold headdress and a pair of gilded silver boots, excavated from the same site, illustrated in ibid., pl.VIII, no.1 and pl.XVI, no.1.

For details of the charges payable in addition to the final Hammer Price of each Lot 82 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

53 A VERY RARE GOLD MASK Liao Dynasty With straps encircling the crown of the head and joined at the top by a circular medallion, the facial features created by repousse with the hair finely incised, the circumference of the mask with punched and chased border, stand. 23cm (9in) long, 130.8gr (2).

£30,000 - 50,000 CNY270,000 - 440,000

遼金制面具

Provenance: A & J Speelman Ltd., London, 24 June 1998 John J. Studzinski CBE, London

Published and illustrated: A & J Speelman Ltd., Catalogue, London, 1990, no.14

來源：英國倫敦古董商，A & J Speelman Ltd.，1998年6月24日大英帝國司令勳章受勳者John J. Studzinski珍藏

出版著錄：英國倫敦，A & J Speelman Ltd.，《Catalogue》，1990 年，編號14

Gold masks made of gold sheets such as the present example appear to have been an important part of the elaborate burial regalia of the Liao aristocracy.

The discovery in 2003 of the Liao dynasty tomb of the Princess of Chen and her husband, Xiao Shaoju, in Naiman Banner, Inner Mongolia, provided archaeological evidence of masks being made from gold sheet. The tomb also yielded a profusion of personal ornaments made of silver such as boots, headdresses, belts and purses but also jewellery made of precious and semi-precious stones such as jade, agate, amber and crystal and finally garments manufactured with the finest silk. These findings suggests that the finest materials appear to have been exclusively reserved for consumption by the highest nobility of the Liao society; for reference see Neimenggu Wenwu Kaogu Yanjiu, ‘Liao tomb of Princess of the State of Chen’, Wenwu, 11, 1987.

Two gold masks of a type similar to the present example are illustrated in Chinesisches Gold und Silber: Die Sammlung Pierre Uldry, Zürich, 1994, pp.212-213, nos.239 and 241, as well as a similar ‘net’ of eight narrow straps radiating from a central circular medallion.

Compare with a similar gold mask, Liao dynasty, which was sold at Christie’s New York, 26 March 2010, lot 1292.

For details of the charges payable in addition to the final Hammer Price of each Lot 84 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

54 TP A MASSIVE CARVED STONE FIGURE OF THE BUDDHA Ming Dynasty, dated by inscription to the 21st year of the Jiajing reign corresponding to 1542 and of the period Well carved standing on a tiered base consisting of a row of lotus petals in turn supported on a hexagonal base with rectangular recessed panel carved with lotus and foliage, the Buddha with serene expression, hooded eyes, broad nose and long pendulous earlobes, dressed in layered, loose-fitting robes open at the chest, his left hand clutching a large pearl, the right arm stretched by his body with the palm facing forward, the head with tightly rolled curls and an ushnisha, all before a full length, flame-shaped mandorla inscribed on the reverse with the date and donor’s name. 151cm (59 1/2in) high.

£30,000 - 50,000 CNY270,000 - 440,000

明嘉靖二十一年石雕佛立像

Provenance: Ben Janssens Oriental Art Ltd., London, 20 February 2006 John J. Studzinski CBE, London

來源：英國倫敦古董商，Ben Janssens Oriental Art Ltd.，2006年2月20日大英帝國司令勳章受勳者John J. Studzinski珍藏

The inscription on the right hand side of the base at the front records the name of the donor Li Guifang, and his professional status, Shan Zhu or ‘Clerk to the Mountain Chief’, as well as two further names, Pang [Lan] and Zhang Renshi, most probably representing Li Guifang’s wife and concubine. The inscription ‘Guanyin Hall’ (觀音堂) on the back of the sculpture may refer to a chamber in which this statue was intended to reside, evidently in the company of four further sculptures of the Buddha, according to another inscription on the back ‘Five Buddhas standing together’ (五佛同立).

For details of the charges payable in addition to the final Hammer Price of each Lot 86 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

55 A RARE SANDSTONE HEAD OF A LUOHAN Animated like portraits of luohans are extremely rare, most examples 14th/15th century being straightforward and somewhat idealised renditions. The present Expressively carved with a broad smile and deep-cut lines, beneath lot most probably originates from Sichuan Province, which has a long a short bulbous nose and narrow squinting eyes, all between large tradition of depicting lively, caricature-like effigies of humans, as is pendulous ears, the stone of dark reddish-brown tone, stand. evident in some of its pottery figures of entertainers, such as a figure 25cm (9 7/8in) high (2). of the grimacing drummer in the Sichuan Provincial Museum; see R.Bagley, Ancient Sichuan: Treasures from a Lost Civilization, Seattle, £8,000 - 12,000 2001, p.298, no.111. A more naturalistic trend in sculpture was CNY71,000 - 110,000 initiated by Song dynasty sculptors, who also often depicted human figures with animated, expressive faces. This trend continued into the subsequent Yuan and Ming dynasties. Two sandstone sculptures of 十四/十五世紀石雕羅漢頭像 arhats, one with a tiger, the other with a dragon, were discovered in 1980 at the Boshan Temple site in Fu county, Shaanxi Province; see Provenance: Ben Janssens Oriental Art Ltd., London, 20 February 2006 H.Rogers, China 5000 Years: Innovation and Transformation in the John J. Studzinski CBE, London Arts, New York, 1998, no.177.

來源：英國倫敦古董商，Ben Janssens Oriental Art Ltd.，2006年2月20日大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot 88 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 56 A CARVED LIMESTONE HEAD OF A GUARDIAN This powerfully sculpted figure may represent a Dvarapala, which were Ming Dynasty based on Hindu guardians and adopted by Buddhism as fearsome The face smoothly carved with large bulbous eyes beneath protruding armed the guardians of the four quarters of the world. Depictions of furrowed brows and a cap with mythical-beast head motif at the front, these figures appear throughout the Dunhuang caves, where they are the nose with wide nostrils between full cheeks and above pursed lips, often dressed in Sui and Tang style armor. all between long ears, stand. 28.2cm (11 1/8in) high (2). Compare with a related but larger iron head of a guardian, Yuan dynasty, in the British Museum, London, acc.no.1960.0729.1. £10,000 - 15,000 CNY89,000 - 130,000

明石雕天王頭像

Provenance: John J. Studzinski CBE, London

來源：大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 57 A BRONZE ‘OX’ WATER DROPPER Song/Ming Dynasty Cast as a recumbent ox with a hump above its neck, its head slightly lifted to form the spout, the legs neatly folded and tucked underneath the rounded body. 8.5cm (3 3/8in) long.

£2,000 - 3,000 CNY18,000 - 27,000

宋/明銅製瑞獸水丞

Provenance: John J. Studzinski CBE, London

Published and Illustrated: Michael Goedhuis, Chinese and Japanese Bronzes AD. 1100-1900, London, 1989, pl.35.

來源：大英帝國司令勳章受勳者 John J. Studzinski珍藏

出版著錄：英國倫敦，Michael Goedhuis，《Chinese and Japanese Bronzes AD. 1100- 1900》，1989年，編號35

Naturalistic, beautifully worked reclining animal water-droppers with smooth, tactile surfaces are generally considered to be in Song dynasty style. Compare with a related bronze waterdropper of a reclining buffalo, Song/Yuan dynasty, 12th-14th century, illustrated in The Second Bronze Age: Later Chinese Metalwork, London, 1991, no.24. 57

58 A BRONZE ‘MALLET-SHAPED’ VASE 17th century Of slim cylindrical form, the baluster body raised on a short slightly tapered foot, all beneath a long neck rising to a cupped mouth, the neck flanked by a pair of long loop handles. 37cm (14 3/5in) high.

£3,000 - 5,000 CNY27,000 - 44,000

十七世紀銅雙耳紙槌瓶

Provenance: John J. Studzinski CBE, London

來源：大英帝國司令勳章受勳者 John J. Studzinski珍藏

58 For details of the charges payable in addition to the final Hammer Price of each Lot 90 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 59 A VERY FINE BRONZE ‘MYTHICAL BEAST’ WATER-POT Silver-wire-inlaid Shisou mark, late Ming Dynasty The recumbent animal finely cast with almond-shaped eyes, small nostrils and gentle smile beneath a single short horn between two long ears, its head turned sharply overlooking the aperture on its rounded back, its tail sweeping over its right haunch, the slightly recessed base with silver-wire inlaid mark surrounded by stylised dragons. 13cm (5 1/8in) long.

£10,000 - 15,000 CNY89,000 - 130,000

明晚期銅製瑞獸水丞嵌銀絲「石叟」款

Provenance: John J. Studzinski CBE, London

Published and Illustrated: Michael Goedhuis, Chinese and Japanese Bronzes AD. 1100-1900, London, 1989, pl.36.

來源：大英帝國司令勳章受勳者John J. Studzinski珍藏

出版著錄：英國倫敦，Michael Goedhuis，《Chinese and Japanese Bronzes AD. 1100-1900》，1989年，編號36

Compare with a related bronze figure of a Buddhist lion inlaid with gold and silver, 15th/16th century, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, p.89, no.73.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 60

60 61 A CARVED TIXI LACQUER SQUARE TRAY AN IRON-RED ENAMELLED AND GILT BOTTLE-VASE Ming Dynasty Kangxi Crisply carved through layers of lustrous dark brown and red lacquer Of elegant pear shape supported on a short spreading foot, boldly with three concentric bands of pommel scrolls radiating from a central decorated around the body in iron-red with spiralling lines, the bulbous florette comprised of four C-scrolls, all above a short foot surrounding neck with a band of gilt chrysanthemums. 22.8cm (9in) high. the recessed base, Japanese wood box and cover. 19.9cm (7 6/8in) wide. (2). £6,000 - 8,000 CNY53,000 - 71,000

£3,000 - 5,000 清康熙礬紅彩盤繞紋瓶 CNY27,000 - 44,000 Provenance: Luisa Feltrinelli Doria Collection (label) 明剔犀如意雲紋方盤 B.F.Edwards Collection (label) H.Moog, Atlanta (label) Provenance: Ben Janssens Oriental Art Ltd., London, Vanderven Oriental Art, ‘s-Hertogenbosch (label) 10 February 2007 John J. Studzinski CBE, London John J. Studzinski CBE, London 來源： Luisa Feltrinelli Doria舊藏（標籤） B.F.Edwards舊藏（標籤）來源：英國倫敦古董商，Ben Janssens Oriental Art Ltd.，美國亞特蘭大，H.Moog（標籤） 2007年2月10日荷蘭斯海爾托亨博斯古董商，Vanderven Oriental Art（標籤）大英帝國司令勳章受勳者John J. Studzinski珍藏大英帝國司令勳章受勳者John J. Studzinski珍藏

Compare with a very similar carved tixi lacquer square tray, Compare with a very similar vase, Kangxi, in the collection of the Ming dynasty, 16th century, which was sold at Sothebys London, Metropolitan Museum of Art, New York, illustrated by C.Le Corbeiller 10 May 2017, lot 142. and A.C.Frelinghuysen, Chinese Export Porcelain, New York, 2003, p.11. See also a very similar bottle vase, Kangxi, illustrated by R.W.Fuchs II and D.S.Howard, Made in China: Export Porcelain from the Leo and Doris Hodroff Collection, Winterthur, 2005, no.106.

For details of the charges payable in addition to the final Hammer Price of each Lot 92 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 61 62

62 AN IRON-RED ENAMELLED AND GILT BOTTLE-VASE The present lot is interesting for its mixture of styles. The shape of the Kangxi vase with the bulge in the neck is based ultimately on Persian metal Of elegant pear shape supported on a short spreading foot, boldly and ceramic models and appears frequently from the beginning of the decorated around the body in iron-red with spiralling lines, the transitional period between the end of the Ming dynasty and beginning bulbous neck with a band of gilt chrysanthemums. of the Qing dynasty from about 1635. Various versions of pear- 29.7cm (11 3/4in) high. shaped vases are among the most popular form of export porcelain of the Kangxi period. The spiral-shaped decoration could possibly £8,000 - 12,000 have been derived from 17th century Venetian latticino glass in which CNY71,000 - 110,000 white enamel threads were made to swirl by turning the glass. The chrysanthemums are also reminiscent of the Japanese kiku emblem.

清康熙礬紅彩盤繞紋瓶 For a similar pair of iron-red and gilt bottle vases, Kangxi, see E.Strober, La maladie de porcelaine: East Asian Porcelain from Provenance: Vanderven Oriental Art, ‘s-Herogenbosch the Collection of Augustus the Strong, Leipzig, 2001, pp.84-85, John J. Studzinski CBE, London no.35. See another very similar vase, Kangxi, in the collection of the Metropolitan Museum of Art, New York, illustrated by C.Le Corbeiller 來源：荷蘭斯海爾托亨博斯古董商，Vanderven Oriental Art and A.C.Frelinghuysen, Chinese Export Porcelain, New York, 2003, 大英帝國司令勳章受勳者John J. Studzinski珍藏 p.11. See also a very similar bottle vase, Kangxi, illustrated by R.W.Fuchs II and D.S.Howard, Made in China: Export Porcelain from the Leo and Doris Hodroff Collection, Winterthur, 2005, no.106.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 93 63

63 64 A PAIR FAMILLE VERTE OF CORAL-GROUND SQUARE JARS A PAIR OF BLUE AND WHITE ‘LANTERN’ JARLETS AND COVERS Yongzheng six-character marks and of the period Kangxi Each with slightly curved sides supported on a recessed base, gently The sides enamelled with shaped panels enclosing scenes of brids, rising to a rounded shoulder, surmounted by a waisted neck below a small flowers, figures and landscapes, on a coral-red ground with gilt lipped mouth, finely painted on the exteriors with stylised Islamic star motif decoration of flowers, the edges with a cross-pattern border, the enclosing floral scrolls, the florets divided by double-lozenge cartouches, circular covers similarly decorated. all between a band of cresting wave motifs and floral scroll border. Each 24.5cm (9 5/8in) high. (4). Each 8cm (3 1/8in) high. (2).

£3,000 - 5,000 £12,000 - 18,000 CNY27,000 - 44,000 CNY110,000 - 160,000

清康熙珊瑚紅地開光五彩帶蓋方瓶一對清雍正青花開光錦紋小罐一對青花「大清雍正年製」楷書款 Provenance: S.Marchant and Son, London, (label) John J. Studzinski CBE, London Provenance: Sotheby’s Hong Kong, 1 April 2004, lot 314 John J. Studzinski CBE, London 來源：英國倫敦，S.Marchant and Son（標籤）大英帝國司令勳章受勳者John J. Studzinski珍藏來源：香港蘇富比，2004年4月1日，編號314 大英帝國司令勳章受勳者John J. Studzinski珍藏

For details of the charges payable in addition to the final Hammer Price of each Lot 94 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The original Xuande-period prototypes were inspired by Islamic geometric patterns, highlighting the significant cross-cultural links between China and the Middle East at that time.

Compare with a similar blue and white jarlet, Yongzheng six-character mark and of the period, which was sold at Sotheby’s New York, 12 September 2018, lot 147.

64 Rolf Cunliffe began collecting Chinese art when he was a Royal Air Force pilot stationed in London towards the end of World War II. Over the next 20 years, he acquired over one thousand Chinese ceramics, jades and bronzes. At his flat near Grosvenor Square, London, he had to build special storage units for his collection in the bathroom. As his son, the 3rd Baron Cunliffe remembers, ‘visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath discussing the finer points of a jade rhyton or a Junyao bowl.’

Rolf Cunliffe勳爵為英格蘭東南部薩里郡Baron Cunliffe 第二代，二戰前曾擔任英國皇家空軍飛行員。二戰後的二十年中，開始收藏中國陶瓷器，古代青銅器、玉器、鼻煙壺，是最具影響力的中國藝術品收藏家之一。他酷愛中國藝術，甚至把藏品放在位於倫敦格羅夫納廣場家裡浴室的保險櫃中。其子第三代勳爵曾回憶：「記得當瑞士國王來拜訪時，他和我父親兩人在浴室裡為討論一件玉杯或鈞窯洗可以坐上整整幾個小時。」

Rolf, Lord Cunliffe (1899 - 1963)

The Property of a Gentleman 紳士藏品

65 * A RARE DINGYAO MOULDED ‘FLORAL’ BOWL Provenance: Cheng Te-k’un, prior to October 1950 Jin Dynasty Bluett & Sons Ltd., London, 1950 The thinly potted bowl with a plain exterior and typical olive teardrop Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern trails, the interior crisply moulded in six panels each with an upright Collections at the Fitzwilliam Museum, Cambridge cluster of floral sprays including daisy, peony and camellia, a strip Sold at Bonhams London, 11 November 2002, lot 16 of corroded metal adhering at one point to the unglazed biscuit rim, Acquired from R & V Tregaskis, Sydney, on 3 February 2010, no.2896 fitted box. The Reid Collection 19.3cm (7 5/8in) diam. (2). 來源： 1950年10月前，Cheng Te-k’un先生舊藏 £30,000 - 50,000 英國倫敦古董商，Bluett & Sons Ltd.，1950年 CNY270,000 - 440,000 劍橋大學菲茨威廉博物館東方藝術部名譽主任，Rolf Cunliffe勳爵 (1899-1963)舊藏倫敦邦瀚斯，2002年11月11日，拍品編號16 金定窯白釉印花卉紋盌現藏家於2010年2月3日購自悉尼古董商R & V Tregaskis，編號2896

Reid 收藏

For a very similar Dingyao bowl, early 13th century, see Teiyo hakuji, Tokyo, 1983, no.133. For another similarly-moulded bowl in the Museum of East Asian Art, Bath, but with a central medallion of two fish, see B.McElney, Inaugural Exhibition, vol.1 Chinese Ceramics, Bath, 1993, no.88.; Another related Ding bowl with floral patterns in six sections around the interior, Song dynasty, is illustrated in Selected Chinese Antiquities from the Collection of Gustaf Adolf Crown Prince of Sweden, Stockholm, 1948, pp.118-119, pl.75.

For details of the charges payable in addition to the final Hammer Price of each Lot 96 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 97 The Property of a Lady 女士藏品

66 A DINGYAO SQUARE DISH Liao/Northern Song Dynasty The four sides tapering to a roliate rim, moulded in relief in the interior with four intertwined leaves beneath individually-fluted petals, covered overall with a rich creamy white glaze ecept for the base, revealing the high-fired biscuit body. 12.1cm (4 3/4in) wide.

£30,000 - 40,000 CNY270,000 - 350,000

遼/北宋定窯白釉印花四方花口盤

Provenance: The Honorable Mr. Justice Robert Tang Kwok-ching, SBS, The Xiwenguozhai Collection, Hong Kong Marchant, London A London private collection

Published and Illustrated: Marchant, Chinese Ceramics Han to Song, London, 2018, no.11

來源：香港大紫荊勳章受勳者鄧楨法官，喜聞過齋舊藏英國倫敦古董商，Marchant 英國倫敦私人收藏

展覽著錄：英國倫敦，Marchant，《中國陶瓷：由漢至宋》，2018年，編號11

The shape of this dish imitates gold and silver wares and the decorations in the exhibition Ceramics of the Liao Dynasty: formerly The is also reminiscent of high relief repoussé decoration on gold and silver Hayashibara Museum Collection, Tokyo, 2012, no.131; another wares. A shard of Ding square dish of similar form but decorated with related dish with four flutes and gently lobed corners, in the Carl a pair of confronted butterflies was found at the Ding kiln site and Kempe Collection, Museum of Far Eastern Antiquities, Stockholm, illustrated in Selection of Ding Ware-the Palace Museum’s Collection is illustrated by W.Watson, Tang and Liao Ceramics, Munich, 1984, and Archaeological Excavation, Beijing, 2012, pp.68-9, no.20.fig.1. p.240, no.295.

A set of six slightly smaller dishes of this design with similar fluting in Compare with a similar pair of square Dingyao dishes, Song dynasty, the cavetto was included by Y.Inouye, N.Maesaka and K.Nakamura, which were sold at Christie’s Hong Kong, 30 May 2018, lot 2925.

For details of the charges payable in addition to the final Hammer Price of each Lot 98 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (two views) The Property of a Lady 女士藏品

67 A SMALL DINGYAO ‘LOTUS’ BOWL Northern Song Dynasty Finely potted with thin deep rounded sides rising from a short straight foot, the interior carved with a single lotus flower spray amidst scrolling foliage, all covered with a creamy ivory-white glaze. 9cm (3 1/2in) diam.

£30,000 - 40,000 CNY270,000 - 350,000

北宋定窯白釉刻蓮紋小盌

Provenance: The Honorable Mr. Justice Robert Tang Kwok-ching, SBS, The Xiwenguozhai Collection, Hong Kong Marchant, London A London private collection

Published and Illustrated: Marchant, Chinese Ceramics Han to Song, London, 2018, no.13

來源：香港大紫荊勳章受勳者鄧楨法官，喜聞過齋舊藏英國倫敦古董商，Marchant 英國倫敦私人收藏

展覽著錄：英國倫敦，Marchant，《中國陶瓷：由漢至宋》，2018年，編號13

A comparable Dingyao cup is illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol.1, pp.204-205, no.361; another related Dingyao bowl, Song dynasty, is illustrated in Bright as Silver White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Examples from the Kai-Yin Lo Collection, Hong Kong, 1998, pp.122-123, pl.19; see also a further example of a Dingyao bowl in the Metropolitan Museum of Art, New York is illustrated by S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1975, p.89, no.82.

For details of the charges payable in addition to the final Hammer Price of each Lot 100 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 101 The Property of a Lady 女士藏品

68 A QINGBAI CARVED ‘PEONY’ BOWL Southern Song Dynasty Thinly potted of shallow hexafoil form, freely carved on the interior with a leafy peony bloom with combed petals, all within a single- line border, covered overall with a light-blue glaze save the base, fitted box. 20.1cm (7 7/8in) diam. (2).

£2,000 - 3,000 CNY18,000 - 27,000

南宋青白釉刻花紋盌

Provenance: Kaikodo, New York A Scottish private collection

來源：美國紐約古董商，懷古堂蘇格蘭私人收藏

The Property of a Lady 女士藏品

69 * A LONGQUAN CELADON-GLAZED TRIPOD INCENSE BURNER Ming Dynasty Well moulded around the cylindrical body with the bagua amongst incised floral motif, between plain bands at the slightly-flared neck and the base divided by three cabriole legs, all covered in a soft green glaze. 24.5cm (9 5/8in) diam. 68 £3,000 - 5,000 CNY27,000 - 44,000

明龍泉青釉八卦紋奩式爐

The Property of a Gentleman 紳士藏品

70 A DINGYAO CARVED ‘DAY-LILIES’ DISH Song Dynasty The shallow dish thinly potted with gently rounded sides rising from a short straight foot, the interior finely carved across the well with curling day-lily blossoms on winding foliate stems, all covered with a rich creamy glaze, box. 17.2cm (6 3/4in) diam. (2).

£15,000 - 20,000 CNY130,000 - 180,000

宋定窯白釉刻萱草紋盤

Provenance: Ben Janssens Oriental Art Ltd., London An English private collection

69 來源：英國倫敦古董商，Ben Janssens Oriental Art 英國私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 102 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Day-lilies (xuancao) gained their name for flowering only for one day. Compare with a related Dingyao dish carved with floral design, Song In China it was known as wangyoucao, the ‘plant that dispels grief’; dynasty, in the Qing Court Collection, illustrated in The Complete yinancao, or ‘favouring boy herb’ which expressed the desire for male Collection of Treasures of the Palace Museum: Porcelain of the Song offspring. Boldly-carved decorations featured on Ding ware are a Song Dynasty (I), Hong Kong, 1996, p.71, pl.62. A related pair of Dingyao dynasty innovation and have a painterly quality. dishes, Song dynasty, is illustrated in Bright as Silver: White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Examples from the Kai-Yin Lo Collection , Hong Kong, 1998, pl.20.

FINE CHINESE ART | 103 71 A FLAMBÉ-GLAZED ‘POMEGRANATE’ VASE Provenance: a European private collection, and thence by descent Qianlong seal mark and of the period Of hexafoil section, the lobed body rising from a spreading foot to a 來源：歐洲私人收藏，並由後人保存迄今 waisted neck and everted rim, covered overall with a rich purplish-red glaze streaked with lavender blue, the interior highlighted with milky See a very similar flambé-glazed ‘pomegranate’ vase, Qianlong seal cascades of sky-blue with white striations, draining to a mushroom mark and of the period, illustrated by R.Krahl, Chinese Ceramics from tone at the rim, the base with the incised mark under a mottled toffee- the Meiyintang Collection, vol.4 (II), pp.364-365, no.1811. aother brown glaze. similar flambé-glazed ‘pomegranate’ vase, Qianlong seal mark and of 19cm (7 1/2in) high. the period, is in the National Palace Museum, Taiwan, and illustrated in Gugong Qing ci tulu, Taipei, 1981, pl.75. £3,000 - 5,000 CNY27,000 - 44,000 Compare with a very similar flambé-glazed ‘pomegranate’ vase, Qianlong seal mark and of the period, which was sold at Sotheby’s London, 5 November 2014, lot 162. 清乾隆窯變釉石榴形尊青花「大清乾隆年製」篆書款

For details of the charges payable in addition to the final Hammer Price of each Lot 104 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 72 73

72 73 A BLANC-DE-CHINE FIGURE OF GUANYIN AND ACOLYTES A BLANC-DE-CHINE FIGURE OF THE BUDDHA 17th century Late Ming Dynasty The group finely modelled with the Goddess of Mercy seated cross- Finely modelled seated on a lotus pedestal with legs crossed in legged in long flowing robes atop a craggy rock, her hands resting on padmasana, his hands resting on his feet in dhyanamudra, draped in her lap in dhyanamudra, the serene face with down-cast eyes below a loose robes cascading over the shoulders and tied above the waist high chignon covered by a cowl, flanked with her attendants Sudhana exposing his chest with an auspicious wan character and elaborate and an official in cap, all covered in a creamy white glaze. necklace, the serene face with down-cast eyes between elongated 23cm (9in) high. earlobes, all beneath an urna on his forehead and a mass of tight curls covering the head, covered in a rich cream glaze. 26cm (10 1/4in) high.

£5,000 - 8,000 £7,000 - 9,000 CNY44,000 - 71,000 CNY62,000 - 80,000

十七世紀德化白釉觀音及隨侍像明晚期德化白釉佛陀坐像

Compare with a related blanc-de-Chine figure of Guanyin and acolyte, Provenance: a European private collection late Ming dynasty, illustrated by P.J.Donnelly, Blanc de Chine, New 來源：歐洲私人收藏 York, 1969, pl.72.A.

Compare with a similar blanc-de-Chine figure of Buddha, 1625-1725, but without a lotus pedestal, illustrated by P.J.Donnelly, Blanc de Chine, p.151, pl.78B. See also another related blanc-de-Chine figure Buddha, Qing dynasty, from the Qing Court Collection, illustrated in Dehua Wares Collected by the Palace Museum I, Beijing, 2016, p.150, no.49.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 74 A PAIR OF GILT-DECORATED POWDER- BLUE GLAZED BALUSTER VASES Kangxi Each of hexagonal, baluster form, finely painted in gilt around the bodies with mountainous landscape scenes on each side, separated by prunus and bamboo, the waisted necks with further prunus, bamboo and orchids, all between diaper-pattern bands, flanked by pairs of stylised dragon handles. Each 51cm (20 1/8) high. (2).

£10,000 - 15,000 CNY89,000 - 130,000

清康熙藍地描金山居圖六角雙耳大瓶一對

Compare with a related pair of hexagonal powder blue-glazed vases, 18th century, but with later European ormlou gilt-bronze mounts, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol. II, London, 2016, p.561, nos.1358-1359.

75 A LARGE GILT-DECORATED POWDER- BLUE GLAZED DISH Qianlong six-character mark, Guangxu Finely decorated in gilt with a large writhing dragon in the centre, amidst wispy clouds 74 chasing a flaming pearl, the cavetto with pairs of confronting dragons chasing the flaming pearl, below floral cartouches on a prunus and cracked-ice ground on the everted rim, the reverse with floral sprays. 52.5cm (20 5/8in) diam.

£6,000 - 8,000 CNY53,000 - 71,000

清光緒藍釉描金龍紋折沿大盤「大清乾隆年製」楷書款

The Property of a Lady 女士藏品 Lots 76 - 81

76 TWO BLUE-GLAZED BOWLS Qianlong seal marks and of the period Each elegantly potted with deep rounded sides rising from a short foot, the larger under a lustrous blue glaze overall except on the base, the smaller covered with a blue glaze on the exterior, the interior and the base white. The larger 17.9cm (7in) diam. (2).

£2,800 - 3,000 CNY25,000 - 27,000

清乾隆霽藍釉盌一組兩件青花「大清乾隆年製」篆書款

Provenance: Ludwik Rajchman (1881-1965), great-grandfather of the present owner

來源：現藏家曾祖父 Ludwik Rajchman （1881-1965）

75 For details of the charges payable in addition to the final Hammer Price of each Lot 106 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Lots 76-81 were all purchased by Ludwik Rajchman probably in the early 1930s in China, when he was serving as first Director of the League of Nations Health Organisation (1921-1938).

A bacteriologist by training in his homeland, Poland, Rajchman was very active in his early career in the fight against several waves of a typhus epidemic which was devastating Eastern Europe. For this success, he was identified as an important medical coordinator by the League of Nations, which appointed him in 1921 to set up a Health Organization for the League of Nations based in Europe. As part of his innovative international medical programmes, he visited China regularly, and played an important role in helping the Chinese establish a quarantine system on the China/Japan border. He was held in great esteem by the Chinese for his services to improving health at all levels of the Chinese population during the 1920s and 76 ‘30s. He was a close friend of the wife and family of T. V Soong, the Chinese Minister of Finance, who became head of the Bank of China during the Second World War. (T.V Soong’s sister Mei-Ling would later marry President Chiang Kai-Shek).

As a direct result of his friendship with the major political figures in China during the later years of the Republic, Ludwik Rajchman was detested by the victorious Chinese Communist factions. After the War, therefore, he turned his attention to new challenges. When the United Nations Relief and Rehabilitation Administration announced at a United Nations meeting in Geneva that it would be putting an end to its relief efforts, Rajchman objected vociferously and called for the creation of a Fund dedicated to helping children throughout the world. His proposal was accepted and by the beginning of 1947, the new body called UNICEF was already helping children, notably in nutrition and immunization. Rajchman remained Chairman of the Board at UNICEF until 1950 and refused to be paid for his work.

77 THREE BLUE-GLAZED BOWLS Tongzhi six-character marks and of the period Each elegantly potted with deep rounded sides rising from a short slightly tapering foot to a flared mouth rim, covered around the exterior with an attractive deep-blue glaze thinning at the mouth and foot rim, the interior and base white. Each 14.9cm (5 7/8in) diam. (3).

£1,500 - 2,000 CNY13,000 - 18,000

清同治霽藍釉盌一組三件青花「大清同治年製」楷書款

Provenance: Ludwik Rajchman (1881-1965), great-grandfather of the present owner 77 來源：現藏家曾祖父 Ludwik Rajchman （1881-1965）

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 107 78

78 79 80 A RARE CELADON-GLAZED BOWL A SET OF SIX RARE BLUE AND A RARE PAIR OF MING-STYLE BLUE Yongzheng six-character mark and WHITE ‘PEONY’ SAUCER-DISHES AND WHITE SAUCER-DISHES of the period Yongzheng six-character marks and Yongzheng six character marks and of the period The elegantly rounded sides rising to a slightly of the period Each with gently curving sides raised on a everted rim, all supported on an inward Each with shallow rounded sides rising short tapering foot, the interior painted in vivid tapering foot, covered overall in a pale sea- from a short tapering food, painted in rich shades of blue with lotus and peony flower green glaze thinning to a mushroom-grey at cobalt-blue on the interior with a medallion heads on a dense ground of scrolling foliage, the rim, the base glazed white. of three dominant stylised peonies borne on surrounded by further meander bordered by a 12cm (4 3/4in) diam. leafy scrolling meander, the exterior similarly stylised scrolling band to the rim, the exterior decorated with a frieze of scrolling peonies, similarly decorated with floral scrolls beneath £2,000 - 3,000 all within double-line borders. a continuous key-fret band. CNY18,000 - 27,000 Each 15.1cm (6in) diam. (6). Each 11.8cm (4 5/8in) diam. (2).

清雍正淺青釉盌 £6,000 - 9,000 £4,000 - 6,000 青花「大清雍正年製」楷書款 CNY53,000 - 80,000 CNY35,000 - 53,000

Provenance: Ludwik Rajchman (1881-1965), 清雍正青花纏枝花卉紋盤一組六件清雍正仿明青花纏枝花卉紋盤一對 great-grandfather of the present owner 青花「大清雍正年制」楷書款青花「大清雍正年製」楷書款

來源：現藏家曾祖父 Ludwik Rajchman Provenance: Ludwik Rajchman (1881-1965), Provenance: Ludwik Rajchman (1881-1965), （1881-1965） great-grandfather of the present owner great-grandfather of the present owner

Compare with a related celadon-glazed 來源：現藏家曾祖父 Ludwik Rajchman 來源：現藏家曾祖父 Ludwik Rajchman bowl, Yongzheng six-character mark and （1881-1965）（1881-1965） of the period, illustrated in A Millennium of Monochromes: From the Great Tang to Compare with a larger (21cm diam.) but very the High Qing, the Baur and Zhuyuetang similar dish with the same motif of stylised Collections, Geneva, 2018, p.183, no.51. peonies, Yongzheng six-character mark and of the period, which was sold at Sotheby’s Hong Kong, 30-31 May 2019, lot 428.

For details of the charges payable in addition to the final Hammer Price of each Lot 108 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 79

81 A RARE PAIR OF BLUE AND WHITE ‘LONGEVITY’ SAUCER-DISHES Jiaqing seal marks and of the period Each finely potted with shallow sides rising from short tapering feet, the well with a central medallion enclosed within a double-ring three flowers and stylised Shou characters amidst 80 meandering foliate scrolls, the exteriors with further Shou characters above florets borne on leafy scrolls. Each 10.9cm (4 1/4in) diam. (2).

£4,000 - 6,000 CNY35,000 - 53,000

清嘉慶青花花卉壽字紋盤一對青花「大清嘉慶年製」篆書款

Provenance: Ludwik Rajchman (1881-1965), great-grandfather of the present owner

來源：現藏家曾祖父 Ludwik Rajchman （1881-1965）

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 109 82

82 83 A PAIR OF FAMILLE VERTE A FAMILLE ROSE BALUSTER VASE Provenance: Alfred Morrison Collection BALUSTER JARS AND COVER Rt.Hon. Lord Margadale of Islay Collection, Kangxi Yongzheng T.D.Fonthill House, Wiltshire Each finely decorated around the exteriors Fineley decorated around the exterior of the Christie’s London, ‘The Morrison Collection of with continuous scenes of birds and various elegant baluster body with shaped panels Chinese Porcelain’, 18 October 1971, lot 27 flowers among rock-work, all between ruyi- enclosing various scenes of mountainous head band on the neck and lappets on the landscapes or flowers and birds, reserved 來源：Alfred Morrison放山居舊藏 foot, the neck with further floral sprays, wood on a black ground with meandering scrolls 英國威爾特郡T.D.Fonthill House，Alfred stands and covers. in green and blossoming flower-heads, all Morrison後人Margadale勳爵舊藏 33.5cm (13 1/4in) high (6). between ruby enamelled lappets further 倫敦佳士得，”Morrison家族珍藏中國瓷器專 enclosing floral motifs, the similarly decorated 場”，1971年10月18日，拍品編號27 £7,000 - 9,000 domed cover surmounted by a lion-finial. CNY62,000 - 80,000 63.5cm (25in) high (2).

清康熙五彩花鳥紋大罐一對 £25,000 - 35,000 CNY220,000 - 310,000

清雍正粉彩開光花木山水蓋罐

For details of the charges payable in addition to the final Hammer Price of each Lot 110 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Fonthill Heirlooms remains one of the most important collection of in the sacking of the Summer Palace in 1860. It appears that Mr imperial Qing porcelain and works of art formed by a European in the Morrison bought, still packed in the original campaign chests, the 19th century. It was originally collected by Alfred Morrison, the London- mementoes which Lord Loch had brought back from Beijing. However, based Member of Parliament, who was an active purchaser during it is unclear how much of the Fonthill Heirlooms formed part of this the last decades of the 19th century, when Chinese and Japanese purchase traceable directly back to the sacking, and how much was art were both culturally very much at the forefront of aesthetic tastes subsequently acquired by Mr Morrison from London antique dealers as pioneered by artistic taste-formers like James Whistler and Oscar emerging into leading taste creators around the new antique dealing Wilde, and also available in rather larger quantities than previously. areas of Belgravia, Mayfair and Bond Street. The Fonthill Heirlooms became particularly well-known because Alfred Morrison was apparently able to buy a substantial quantity of Chinese A very similar pair of famille rose baluster vases and covers, art from Lord Loch of Drylaw. Before ennoblement, Lord Loch had Yongzheng, with the same motif and design, formerly in the collection been an aide-de-camp of Lord Elgin, British Minister Plenipotentiary of Lord Granard, is illustrated by G.C.Williamson, The Book of Famille in charge of the Western military campaign in China which culminated Rose, Tokyo, 1970, pl.LIV.

FINE CHINESE ART | 111 The Property of a Gentleman 紳士藏品

84 AN EXCEPTIONALLY RARE AND LARGE DOUCAI ‘PHOENIX AND LOTUS’ DISH Qianlong seal mark and of the period The large dish potted with wide flaring sides, meticulously painted on the interior in brilliant enamels with a central medallion formed by a pair of confronted phoenix with their wings outstretched and tails fanned open, enclosed within a foliate scroll bearing four stylised blossoming lotus heads enamelled in aubergine, green, yellow and iron-red, the cavetto decorated with the Eight Buddhist Emblems bajixiang, tied with fluttering ribbons amidst colourful wispy clouds, the everted rim with eight further symbols on a rolling-wave ground, the reverse with an elaborate lotus meander. 50.4cm (19 7/8in) diam.

£25,000 - 35,000 CNY220,000 - 310,000

清乾隆鬥彩夔鳳八寶紋大盤青花「大清乾隆年製」篆書款

Provenance: a distinguished Middle Eastern private collection

來源：中東顯赫私人收藏

The massive doucai charger was meant to impress and display the Only a small number of similar doucai dishes of such scale, Qianlong technical virtuosity and abilities of the Imperial kilns in successfully firing seal mark and period, would appear to be recorded: the first, in the a porcelain vessel of such impressive size. Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pp.300- In form and design the present dish follows directly from the 301; a second example included in the exhibition Imperial Life in the Yongzheng period. Compare with a very similar doucai dish, Qing Dynasty: Treasures from the Shenyang Palace Museum, China, Yongzheng mark and period, in the Qing Court Collection, similarly Singapore, 1989, illustrated as the frontispiece of the catalogue; a third decorated but of smaller size (45.5cm diam.), illustrated in The example was sold at Christie’s London, 8 December 1986, lot 436; Complete Collection of the Treasures of the Palace Museum: and a fourth example was sold at Sotheby’s Hong Kong, 13 November Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1990, lot 346 and again at Christie’s Hong Kong, 29 April 2001, lot 2007, no.231. 599, and is illustrated in Sotheby’s Hong Kong: Twenty Years, Hong Kong, 1993, no.240.

For details of the charges payable in addition to the final Hammer Price of each Lot 112 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 113 85 * A PAIR OF YELLOW-GROUND GREEN AND AUBERGINE-GLAZED SAUCER-DISHES Qianlong seal marks and of the period Each finely incised in the interior with a medallion enclosing two ferocious scaly dragons in mutual pursuit of a flaming pearl, one glazed green, the other aubergine and all reserved on a rich yellow ground, the exterior with four green and aubergine-glazed bunches of grapes. Each 13cm (5 1/8in.) diam. (2).

£6,000 - 8,000 CNY53,000 - 71,000

清乾隆黃地素三彩雙龍戲珠紋盤兩只青花「大清乾隆年製」篆書款

Provenance: an Asian private collection

來源：亞洲私人收藏

Compare with a similar pair of yellow-ground green and aubergine-glazed saucer-dishes, Qianlong seal marks and of the period, which were sold at Sotheby’s Hong Kong, 8 October 2013, lot 3266.

86 A FAMILLE ROSE AND UNDERGLAZE BLUE YELLOW-GROUND ‘THREE RAMS’ 85 MEDALLION BOWL Guangxu six-character mark and of the period The interior painted in underglaze blue with a central roundel of three auspicious rams surrounded by four flowering branches supporting ribboned auspicious symbols, the exterior walls finely decorated with three circular reserves of rams in landscapes surrounded by flower-filled vases and other ornaments rendered in bright enamels on the lemon- yellow sgraffiato ground. 15cm (5 8/9in) diam.

£4,000 - 6,000 CNY35,000 - 53,000

清光緒粉彩黃地軋道開光三羊開泰內青花盌青花「大清光緒年製」楷書款

Provenance: Gustaf Oscar Wallenberg (1863‑1937)

來源：瑞典外交官、政治家Gustaf Oscar Wallenberg（1863‑1937）舊藏

Gustaf Oscar Wallenberg was a Swedish diplomat and politician. Originally a captain in the Swedish navy, he left and devoted himself to maritime trade in 1891. In the years 1900-1907 he was a member of Parliament’s second chamber as representative of the city of Stockholm. In 1906 he was appointed envoy in Tokyo, and Beijing from 1907. Wallenberg thus became the first permanently-stationed Swedish career diplomat in East Asia. He returned to Sweden in 1919 before becoming minister to Turkey in Constantinople and later ambassador in Sofia until 1930.

Compare with a very similar yellow-ground ‘three rams’ bowl, Guangxu six-character mark and of the 86 period, which was sold at Sotheby’s New York, 18- 19 March 2014, lot 484.

For details of the charges payable in addition to the final Hammer Price of each Lot 114 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 87 * A RARE ENAMELLED RECTANGULAR PLAQUE Iron-red Hongxian four-character mark, Republic Period Well enamelled in shades of grisaille and coral-red with a tranquil mountainous riverscape enclosing a sage and his attendant standing on a riverbank beneath gnarled pine trees while his other attendant crossing a bridge approaching a pavilion enclosure, inscribed at the top right, with the seal at the bottom left. 42.8cm x 29.8cm (17in x 11 3/4in), framed.

£4,000 - 6,000 CNY35,000 - 53,000

民國墨彩繪碧山來人圖瓷板礬紅「洪憲年製」楷書款

Provenance: a distinguished Asian private collection, and thence by descent

來源：亞洲顯赫私人收藏，並由後人保存迄今 87 Compare with a later enamelled rectangular plaque signed by Wang Yeting (1884-1942), dated 1933, which was sold at Bonhams London on 10 November 2011, lot 596.

88 * A FINE FAMILLE ROSE FIGURAL VASE Qianlong seal mark, Republic Period Exquisitely decorated around the exterior with a continuous scene of a nobleman seated beside a table with books and scrolls, surrounded by a retinue of guards and attendants, before the seated dignitary is a an elegant lady taking her guqin out of its cloth case, just to her right is an incense stand supporting a censer with long thin smoke rising, all within a fenced garden setting with a gnarled tree beside a craggy rock. 38cm (15in) high.

£2,000 - 3,000 CNY18,000 - 27,000

民國粉彩人物故事圖瓶礬紅「大清乾隆年製」篆書款

Provenance: an Asian private collection

來源：亞洲私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 115 89

89 90 * A BLUE AND WHITE ‘KRAAK A RARE BLUE AND WHITE ‘MAGIC The Jiajing emperor was so concerned with PORCELAIN’ LOBED BOWL FOUNTAIN’ EWER immortality that many decorative motifs Circa 1585-1600 Changsheng bulao four-character mark, were associated with longevity. The precise Painted to the interior of the deep U-shaped Jiajing meaning and origins of these fountains are lobed body with a medallion enclosing a Of compressed globular form with a long unclear, but the motif appears to evoke the lakeside landscape, encircled by ten cakra waisted neck below a galleried rim, painted in wish of extending life, or living forever. This and a continuous landscape band, the vivid tones of blue on each side of the body theme is carried on by the mark on the base exterior with composite floral sprays beneath with an elaborate water fountain surmounted reading ‘chang sheng bu lao’, which can be a broad flying horse band at the foliate rim, by a cross and supported by a mythical qilin, translated as ‘live forever and never become all supported on a short straight foot, maker’s the neck with upright plantain leaves, the old’, implying almost that to drink from this mark on the base. elegantly curved spout issuing from a mythical ewer would extend one’s own life. 21.6cm (8 1/2in) diam. beast-head and arched strap-handle further decorated with writhing dragons amidst floral These ewers also found their way to Europe £3,000 - 5,000 scrolls, fitted box. where they were appreciated for their CNY27,000 - 44,000 33cm (13in) high. (2). exoticism. An oil painting in the Museo Nacional Thyssen-Bornemisza, Madrid, by Willem Kalf, circa 1660, depicts a still life with 約1585-1600年青花克拉克瓷大盌 £22,000 - 28,000 CNY190,000 - 250,000 a very similar blue and white ewer with the 青花「富貴佳器」款 same motif (ac.no.1981.77).

Provenance: a European private collection 明嘉靖青花噴泉麒麟紋執壺 A related blue and white ewer with similar 青花「長生不老」楷書款 motif, Xuande six-character mark, 16th 來源：歐洲私人收藏 century, is illustrated by J.Pope, Chinese Porcelains from the Ardebil Shrine, London, For a very similar silver-gilt mounted bowl, 1981, pl.99. Another similar blue and white known as ‘The Walsingham Bowl’, see ewer with the same motif is in the Victoria and J.Carswell, Blue and White: Chinese Porcelain Albert Museum, London (acc.no.C.105-1928). Around the World, London, 2000, no.165, where the author notes that by tradition the bowl Compare with a related blue and white ewer was given by Queen Elizabeth to her godchild with similar motif, Jiajing, which was sold at Sir Thomas Walsingham; and for another, see Sotheby’s London, 5 November 2014, lot 318. M.Rinaldi, Kraak Porcelain: A Moment in the History of Trade, London, 1989, pl.168.

For details of the charges payable in addition to the final Hammer Price of each Lot 116 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 90

FINE CHINESE ART | 117 The Property of a Lady 女士藏品

91 Provenance: an English private collection A RARE BLUE AND WHITE FLASK FOR This bottle has been featured on the BBC’s ‘Antiques Roadshow.’ THE JAPANESE MARKET Tianqi/Chongzhen Of ovoid shape with narrow short neck and channelled mouth rim, 來源：英國私人收藏，此拍品曾於BBC”鑑寶路秀”中播出 painted around the exterior with sampan boats and larger fleets journeying through a riverside landscape with distant pavilions, Compare with a very similar blue and white flask for the Japanese amongst the ‘Three Friends of Winter’ and a shan border on the market, Tianqi/Chongzhen, but with a reduced neck with later silver luting line, encircled at the shoulder with a floral scroll. mounts, which was sold at Sotheby’s London, 15 May 2013, lot 129. 18.5cm (7 1/4in) high. The present lot is extremely rare for its combination of Chinese and Japanese elements, perfectly encapsulating a short yet unique period £18,000 - 24,000 of history of trade between China and Japan during the 17th century. CNY160,000 - 210,000 Its rarity is due not only to the short time-span of history in which Chinese merchants could trade directly in Japan but also because the 明天啟/崇禎外銷日本市場青花山水歲寒三友紋罐 present lot would have been most probably designed in accordance to the highly refined taste of the tea masters who ordered original wares for their personal use.

For details of the charges payable in addition to the final Hammer Price of each Lot 118 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Although trade between China and Japan by vessels of either nation As trade with Japan developed during the Tianqi period, a profusion was officially banned by Ming emperors during the 16th century, of new shapes and decorative motifs emerged. The present lot was following the weakening of central authority and power, Chinese inspired by a Japanese shape; see for example a very similarly shaped merchants regularly sailed from Nanjing, Fuzhou, Quanzhou and Xiamen Imari blue-glazed bottle vase, 18th century, illustrated in Old Imari to Nagasaki; see for example the early 17th century ‘Selden’ map of Ware, Tokyo, 1991, p.62, no.123. Although the shape is Japanese, China and East Asia, in the Bodleian Library, Oxford, which shows the decoration is essentially Chinese: landscapes with small figures in the ‘un-official’ lined trade routes between China and Japan (acc.no. boats and the Three Friends of Winter. The Japanese influence is also MS.Selden supra 105). From the end of the Wanli reign until the seen in the unusual arrangement of the shan patterned border around overthrow of the Ming dynasty in 1644, Chinese merchants exported the body, and the floral band around the shoulder. wares for use in the Japanese tea ceremony. These pieces became known to the Japanese as ‘Ko-sometsuke’ (literally ‘old blue and white’). The feudal lords and their tea masters who ordered these wares required original designs for their personal use or limited number of followers. Although orders were small, the prices paid were very high.

(two views) (detail) A Rare Large Blue and White Rouleau Vase Kangxi

終南別業

中歲頗好道，晚家南山陲。興來每獨往，勝事空自知。行到水窮處，坐看雲起時。偶然值林叟，談笑無還期。

王維 (699–759)

My Retreat in the Zhongnan Mountains

My heart in middle age found the Way. And I came to dwell at the foot of this mountain. When the spirit moves, I wander alone, Amid beauty that is all for me.... I will walk till the water checks my path, Then sit and watch the rising clouds – And some day meet an old wood-cutter, And talk and laugh and never return.

Wang Wei (699–759) 92 A RARE LARGE BLUE AND WHITE ROULEAU VASE Kangxi Boldy and brightly painted around the cylindrical body with a continuous scene of scholars and attendants in a mountainous riverscape dotted with large pavilions, the neck with horizontal bands of ruyi-heads, key-fret border, trellis pattern, and swirl band. 76.5cm (30in) high.

£120,000 - 150,000 CNY1,100,000 - 1,300,000

清康熙青花山水人物圖大棒槌瓶

Provenance: an English private collection Bonhams London, 12 May 2011, lot 293

來源：英國私人收藏倫敦邦瀚斯，2011年5月12日，拍品編號293

Compare with a blue and white rouleau vase, Kangxi, of similar massive size and form, and another of similar design, but smaller, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (II), Hong Kong, 2000, pls.14 and 15. See also a similarly-painted large blue and white rouleau vase in the Shanghai Museum, illustrated by Wang Qingzheng, ed., in Underglaze Blue & Red, Hong Kong, 1987, pl.186.; another large blue and white rouleau vase in the Salting Collection in the Victoria and Albert Museum, London, is illustrated by W.B.Honey, A Guide to the Later Chinese Porcelain, London, 1927, pl.31. see also a further pair formerly in the Bahr collection, illustrated by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, London, 1911, pl.LVIII.

Compare with a related blue and white rouleau vase, Kangxi, which was sold at Christie’s Hong Kong, 3 June 2015, lot 3226.

For details of the charges payable in addition to the final Hammer Price of each Lot 122 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

(detail) A Rare Large Blue and White Rouleau Vase Kangxi

山居秋暝

空山新雨後，天氣晚來秋。明月松間照，清泉石上流。

王維 (699–759)

Autumn Dusk at the Mountain Dwelling

After fresh rain in the empty mountains, The evening weather heralds Autumn’s arrival. The bright moon shines between the pines, The clear spring water flows over the stones.

Wang Wei (699–759) 93 A RARE BLUE AND WHITE ROULEAU VASE Kangxi Boldly painted in dark vivid blue all around the body with moonlit riverscapes, small figures in crafts in the foreground and pairs of figures idly conversing on the zigzag river bank beneath clouds eddying around mountain peaks. 72cm (29 1/8in) high.

£60,000 - 90,000 CNY530,000 - 800,000

清康熙青花湖山泛舟圖大棒槌瓶

Provenance: an English private collection Bonhams London, 12 May 2011, lot 298

來源：英國私人收藏倫敦邦瀚斯，2011年5月12日，拍品編號298

Compare with a similar blue and white rouleau vase, Kangxi, of similar size and form, and another of similar design, but smaller, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (II), Hong Kong, 2000, pls.14 and 15. See also a similarly-painted large blue and white rouleau vase in the Shanghai Museum, illustrated by Wang Qingzheng, ed., in Underglaze Blue & Red, Hong Kong, 1987, pl.186.

Compare with a related but smaller blue and white rouleau vase, Kangxi, which was sold at Christie’s New York, 19-20 September 2013, lot 1319.

For details of the charges payable in addition to the final Hammer Price of each Lot 126 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

94 A RARE THREE-COLOUR LACQUER CARVED DOCUMENT Provenance: a European private collection BOX AND COVER Qianlong 來源：歐洲私人收藏 Intricately carved on the cover with a central shou medallion encircled by five bats, wu fu amidst blooming peonies, the front, back and side The present lot is rare in being three-coloured. Boxes of the same panels similarly carved, the interior lacquered black and decorated form as the present example appear to have been manufactured also with gilt floral sprigs, the sides fitted with bail handles, the ontfr with a in zitan, since both zitan and lacquer were highly regarded at the Qing foliate-incised rectangular lock plate and ruyi clasp. court. Compare with two similar cinnabar lacquer examples, Qianlong, 42cm (16 1/2) wide (2). which were sold at Sotheby’s New York, 13 September 2016, lot 351, and Sotheby’s Hong Kong, 11th April 2008, lot 2864. A similarly sized £8,000 - 12,000 and shaped zitan box, 18th century, fitted with gilt-bronze handles, CNY71,000 - 110,000 is illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, vol.4, Hong Kong, 2002, pl.235. 清乾隆剔彩五福捧壽花卉紋寶奩

For details of the charges payable in addition to the final Hammer Price of each Lot 128 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 95 Y A LARGE HUANGHUALI BRUSHPOT, BITONG Qing Dynasty Of cylindrical form with straight sides, the attractively-grained wood with a warm brown patina. 19.7cm (7 3/4in) high.

£3,000 - 5,000 CNY27,000 - 44,000

清黃花梨大筆筒

Provenance: an English private collection

來源：英國私人收藏

96 A FINELY-CARVED BAMBOO ‘HEHE ERXIAN’ GROUP 17th/18th century The group delicately carved as the pair of twins, one seated on the ground leaning onto a lobed round box and cover, the left knee raised, holding a peach in his left hand, the other standing holding a lotus spray issuing a large blossom over his head, both figures depicted with smiling faces, wearing loose robes open at the chest, each bold head surrounded by a mane of long hair draped over the shoulders.13.4cm (5 3/8in) high. 95

£15,000 - 20,000 CNY130,000 - 180,000

十七/十八世紀竹雕和合二仙

Provenance: Gerard Hawthorn Ltd. Oriental Art, London, 2003

Published and Illustrated: Gerard Hawthorn, Chinese and Japanese Sculpture, 2003, London, no.17.

來源：英國倫敦古董商，Gerard Hawthorn Ltd. Oriental Art，2003年

出版著錄：英國倫敦，Gerard Hawthorn，《Chinese and Japanese Sculpture》，2003年，編號17

Hehe Erxian, also known as the ‘Two Immortals of Harmony and Union’, are traditionally believed to be associated with a long, happy marriage. The two Daoist Immortals originated from famous poet- monks of the Tang dynasty (618-906), Hanshan and Shide. In the late Ming dynasty they began to be depicted holding a lotus and a box. The typical iconography of the boys holding a lotus and a box forms the same homophone of he, meaning ‘harmony’ and ‘union’ respectively. In 1733, the Yongzheng emperor decreed that they should be known as ‘saints of harmony and unity.’ Compare with a related bamboo carving of the Hehe Erxian, mid Qing dynasty, also from the Gerard Hawthorn Collection, which was sold at Bonhams Hong Kong, 26 May 2013, lot 8. Another related bamboo carving of the Hehe Erxian group, 18th century, was sold at 96 Christie’s Hong Kong, 3 December 2008, lot 2343.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 129 97 A PAIR OF BLUE AND WHITE JARS AND COVERS Kangxi Each painted around the exterior in vibrant tones with shaped panels containing mountainous landscapes, baskets of flowers, and blooming peonies issuing from rocks, the central bands divided by and overlapping circles, all between ruyi- shaped panels on the foot and shoulder with floral scrolls, the covers similarly painted surmounted by a lotus-bud finial. 44.5cm (17 1/4in) high (4).

£7,000 - 9,000 CNY62,000 - 80,000

清康熙青花開光山水花卉蓋罐一對

98 A BLUE AND WHITE EWER FOR THE ISLAMIC MARKET Kangxi The flattened pear-shaped sides brightly painted on both sides with rockwork issuing sprays of blossoms, all surrounded by floral sprigs on the rest of the body, the spout and handle with stylised cloud motifs. 28cm (11in) high.

£4,000 - 6,000 CNY35,000 - 53,000

清康熙外銷伊斯蘭青花花卉紋執壺

The shape of this ewer derives from metal vessels, known as aftaba, which were produced in Turkey and India and used in conjunction with a basin for hand-washing.

Compare with an ewer of similar decoration, dated to the late 17th/early 18th century, illustrated by R.Krahl and J.Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul: A Complete Catalogue, III, Qing Dynasty Porcelains, London, 1986, no.2153.

For details of the charges payable in addition to the final Hammer Price of each Lot 130 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 99 Y A LARGE PAIR OF BLUE AND WHITE JARS AND COVERS Kangxi Finely potted with moulded petal-shaped panels, painted around the bodies with butterflies amongst densely-flowering leafy peony sprays, within floral and foliate pattern borders, the domed covers similarly decorated and surmounted by lotus-bud finials, wood stands. Each 56.5cm (22 1/2in) high (6).

£10,000 - 15,000 CNY89,000 - 130,000

清康熙青花開光花卉紋蓋罐一對

For a very similar jar and cover, see R.Krahl, Chinese Ceramics In The Topkapi Saray Museum, Qing Dynasty Porcelain, Vol.III, London, 1986, p.1001, fig.2126.

100 A PAIR OF BLUE AND WHITE FLARING VASES Kangxi Each of baluster form rising to a flared foliate rim, densely painted in vibrant blue around the exterior with different registers of scrolling branches and blossoming peonies, the foot and rim moulded with petal-shaped panels containing further sprigs of flowers. The tallest, 49cm (19 1/4in) high (2).

£6,000 - 8,000 CNY53,000 - 71,000

清康熙青花纏枝花卉紋鳳尾尊一對

100

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 131 101

The Property of a British Family 英國家族藏品

101 A RED-OVERLAY WHITE GLASS ‘PRUNUS AND BAMBOO’ VASE Provenance: according to family history, which is supported by family Qianlong four-character mark and of the period records illustrating the progress of British troops in Beijing at the time, With a globular body rising to a tall tubular neck with a lipped rim and this object was acquired by a military attaché posted to Beijing at the supported on a splayed foot, the exterior of the body skillfully carved time of the Boxer Rebellion in 1900. He was attached to the staff of through the single layer of red with a butterfly, bamboo, and plum Brigadier-General A.Gaselee, the commander of the British contingent. blossoms below a band of upright banana leaves encircling the neck, further decorated with a band of C-scrolls beneath the mouth-rim. 來源：據家族歷史記錄，1900年義和團運動期間，藏家作為英國准將 18cm (4 4/5in) high. A. Gaselee的隨行外交官得此拍品於北京。

£2,000 - 3,000 Compare with a related red-overlay white glass bottle vase, Qianlong CNY18,000 - 27,000 incised six-character mark and of the period, which was sold at Christie’s Hong Kong, 30 May 2018, lot 2914. 清乾隆御製白套紅玻璃竹蝶圖瓶「乾隆年製」楷書刻款

For details of the charges payable in addition to the final Hammer Price of each Lot 132 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Gentlemen 紳士藏品

102 Y Ф AN INLAID HONGMU BRUSHPOT, BITONG Qing Dynasty Of Cylindrical form supported on three feet and rising to a lipped rim, inlaid around the exterior with mother-of-pearl, stained ivory and other stones depicting chrysanthemums issuing from a craggy rock and butterflies. 10.2cm (3 1/2in) high.

£2,000 - 3,000 CNY18,000 - 27,000

清紅木嵌寶花蝶圖筆筒

102

The Property of a Gentlemen 紳士藏品

103 A BRONZE TRIPOD INCENSE BURNER, DING Xuande six-character mark, 18th century The compressed body rising to a waisted neck flanked by a pair of arched handles, supported on three low conical feet, the base with a pair of scaly, writhing dragons surrounding the apocryphal Xuande mark, the body with dark-brownish patina. 20.5cm (8 1/8in) wide.

£2,500 - 4,000 CNY22,000 - 35,000

十八世紀銅橋耳爐「大明宣德年製」楷書鑄款

Provenance: an English private collection

來源：英國私人收藏 103

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 133 104 A MASSIVE BLUE AND WHITE JAR AND COVER Kangxi With moulded petal-shaped panels enclosing butterflies and birds amongst densely-flowering leafy peony sprays, within floral and foliate pattern borders, the domed cover similarly painted, surmounted by a lotus-bud finial. 75.6cm (29 3/4in) high. (2).

£8,000 - 10,000 CNY71,000 - 89,000

清康熙青花開光花卉紋大蓋罐

For a very similar jar and cover, see R.Krahl, Chinese Ceramics In The Topkapi Saray Museum, Qing Dynasty Porcelain, Vol. III, London, 1986, p.1001, fig.2126.

104

105 A LARGE PAIR OF BLUE AND WHITE POWDER-BLUE-GROUND ROULEAU VASES Kangxi Painted with variously shaped panels enclosing insect and birds amid rocks and flowers, children and ladies, various antiques and scholarly items, all reserved on powder-blue grounds. The tallest, 54.5cm (21 1/2in) high (2).

£15,000 - 18,000 CNY130,000 - 160,000

清康熙灑藍地開光博古花鳥人物圖棒槌瓶一對

A related pair of blue and white rouleau vases, decorated with panels reserved on a blue ground is illustrated by C.J.A.Jörg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, London, 1997, fig.152, pp.142 and 143.

105

For details of the charges payable in addition to the final Hammer Price of each Lot 134 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 106 A LARGE BLUE AND WHITE ‘HUNDRED ANTIQUES’ JAR AND COVER Kangxi Finely painted around the exterior with shaped panels containing auspicious and scholarly objects known collectively as the ‘one hundred antiques’ motif as well as flowers and birds, all reserved on a diaper- pattern ground, the waisted neck with a scrolling band of chysanthemums, the domed cover similarly decorated and surmounted by a Buddhist-lion finial. 81cm (31 7/8in) high (2).

£8,000 - 12,000 CNY71,000 - 110,000

清康熙青花開光博古紋獅鈕大蓋罐

The design known as the ‘hundred antiques’ encapsulates the traditional scholar’s interest in collecting various objects which symbolised his refinement and learning. It was fashionable to use antiques as decoration on porcelain in the late Ming and early Qing periods.

106

107 * A BLUE AND WHITE ‘LADIES’ BASIN Kangxi six-character mark and of the period Finely potted with deep rounded sides and foliate rim, the well painted with a lady riding a horse, accompanied by two attendants within a fenced garden setting, the cavetto and rim painted with eight radiating panels containing flower motifs and figures of elegant ladies divided by diaper-patterns. 34cm (13 3/8in) diam.

£4,000 - 6,000 CNY35,000 - 53,000

清康熙青花人物故事圖折沿盆青花「大清康熙年製」楷書款

Provenance: an Asian private collection

來源：亞洲私人收藏

Compare with a related blue and white basin, Kangxi, with motif of ladies and peonies, illustrated in Porcelain of the National Palace Museum: Blue and White Ware of the Ch’ing Dynasty, Hong Kong, 1968, p.52, pl.10.

107

108 A RARE AND LARGE BLUE AND WHITE ‘PEONY’ MOONFLASK, BIANHU 18th century The circular body rising from a splayed oval foot to a short cylindrical neck, the convex sides of the flattened body meticulously painted in vibrant tones of cobalt-blue and enhanced by simulated ‘heaping and piling’ effect with large blooming peony heads borne on dense leafy scrolls, the sides similarly decorated with composite floral scroll and with two raised bosses decorated with a floret, all below the neck painted with a band of flower heads. 44.5cm (17.2in) high.

£15,000 - 20,000 CNY130,000 - 180,000

十八世紀青花纏枝花卉紋扁壺

Provenance: an English private collection

來源：英國私人收藏

The present lot appears to be particularly rare among the various the garlic neck, flaring foot, and the shape of the handles which can types of moonflasks made in the 18th century, distinguished by its be compared with a Yongle moonflask, such as illustrated by Geng exceptional floral motif and particular shape. There are only two known Baochang, ed., Gugong Bowuyuan cang Ming chu qinghua ci [Early comparable examples of moonflasks with similar motif and shape, Ming blue-and-white porcelain in the Palace Museum], Beijing, 2002, both bearing a Qianlong seal mark and of the period. One is illustrated vol.1, pl.22. in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, Hong Kong, 2000, pl.139; Other than the shape of ceramics, the painting style of the early the other is in the Mak Museum, Vienna (ac.no.KE 1544-2). Ming period was consciously recreated during the Qing dynasty. The current flask is a demonstration of how porcelain painters in the 18th The current moonflask encapsulates the combination of archaism century took inspiration from the appearance of early 15th century and creativity at the Qing Court. During the reign of the Yongzheng blue and white. The painters imitated the deliberate uneven darker emperor, Ming dynasty moonflasks began to be imitated on a large cobalt spots from the Ming prototypes, the so-called ‘heaped and scale. The Yongzheng designs follow the Ming forms closely, either piled’ effect. Another example of archaism re-worked in the Qianlong with a raised boss or a flat body, with a straight neck or a garlic neck. court is the use of the peony motif. The peony had long been favoured During the reign of the Qianlong emperor, other than the existing by poets and scholars as ‘the king of flowers’ and symbolised the models, the artists of the imperial kilns appear to have been keen Imperial family, which as early as the Tang dynasty grew it in the palace on diversifying the shapes of moonflasks. It is noted that flasks of gardens. Grand in stature and magnificently decorated, the motif of this description are recorded from the second year of Qianlong peony depicted on the present moonflask is characteristic of the 18th (corresponding to 13 October 1737) in the Qinggong Neiwufu century style where stylised petals radiate from the ruyi pistils. The Zaobanchu huoji dang’an zonghui [Documents in the Archives of representation of ruyi pistils can be traced back to the 15th century; the Workshop of the Qing Palace Imperial Household Department]. compare with a blue and white temple vase dated 1496 in the British According to this document, the Qianlong emperor commissioned Museum, illustrated by J.Harrison-Hall, Ming Ceramics in the British a number of archaistic ceramics, he specifically asked Tang Ying Museum, London, 2001, pp.174, fig.2. The deliberate selection of this (the renowned supervisor of the imperial kilns) to diversify the forms motif shows an interplay between elegance and archaic stateliness of Yongle and Xuande mooonflasks in different glazes. The shapes from the combination of peony and ruyi. became more complex where the body is not only circular but can also be hexagonal, octagonal, oval, quatrefoil, peach etc. The present A related blue and white moonflask, Yongzheng period, was sold at flask is an example of combination of elements from Ming shapes, Christie’s London, 6 November 2018, lot 171.

For details of the charges payable in addition to the final Hammer Price of each Lot 136 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 137 109

109 A RARE PAIR OF BLUE AND WHITE TEAPOTS AND COVERS Qianlong Of octagonal form, with rounded corners, set on four ruyi form feet, decorated with four square reticulated panels of geometric designs, the cover finial encircled with a pierced floriform panel, the vessel painted with flowerheads on diaper, whorl and cracked-ice pattern grounds. Each 17cm (6 3/4in) long. (4).

£7,000 - 10,000 CNY62,000 - 89,000

清乾隆青花鏤壁倭角方壺一對

110 A BLUE AND WHITE RETICULATED TEAPOT AND COVER Qianlong Of octagonal form, with rounded corners, set on four ruyi form feet, decorated with four square reticulated panels of geometric designs, the cover finial encircled with a pierced floriform panel, the vessel painted with flowerheads on diaper, whorl and cracked-ice pattern grounds. 17cm (6 3/4in) long. (2).

£4,000 - 6,000 CNY35,000 - 53,000 110

清乾隆青花鏤壁倭角方壺

Provenance: an English private collection

來源：英國私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 138 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Gentleman 紳士藏品

111 A MING-STYLE BLUE AND WHITE BOTTLE VASE Qianlong seal mark and of the period The globular body rising from a short spreading foot to a tall elegant waisted neck, finely painted in rich ‘heaped and piled’ cobalt-blue tones with a composite flower scroll band, all between lotus lappet and ‘classic’ scroll bands at the base and a ruyi-band at the shoulder, the neck with stiff plantain leaf and key-fret bands. 32cm (12 1/2in) high.

£10,000 - 15,000 CNY89,000 - 130,000

清乾隆青花纏枝花卉紋賞瓶青花「大清乾隆年製」篆書款

Provenance: a European private collection

來源：歐洲私人收藏

A closely-related example in the Nanjing Museum, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.233; one in the Shanghai Museum is published in Zhongguo taoci quanji, vol.15, Shanghai, 2000, pl.2; four vases are illustrated by R.Krahl, Chinese Ceramics in the Topkapi Saray Museum, vol.III, London, 1986, pl.2564.

Compare with a very similar blue and white vase, Qianlong seal mark and of the period, which was sold at Sotheby’s New York, 20 March 2019, lot 527.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Lady 女士藏品

112 A RARE AND EXTENSIVE BLUE AND WHITE ‘ROMANCE Provenance: a European private collection OF THE WESTERN CHAMBER’ DINNER-SERVICE Qianlong, circa 1740 來源：歐洲私人收藏 Each piece vividly painted with a scene from the Romance of the Western Chamber, depicting scholar Zhang playing the guqin while Yingying and Hongniang listen, comprising: two tureens, covers and stands; two tureen stands; two butter dishes, covers and stands; two sauce boats, covers and leaf-shaped stands; nine small circular dishes; five small foliate-rim dishes; one hot plate; six meat platters; five large circular dishes; nine circular plates; eleven foliate rim dishes; two very large foliate rime plates; seven large foliate rim plates; fifty one foliate rim plates. The largest stand, 44cm (14 1/3in) wide. (124).

£30,000 - 50,000 CNY270,000 - 440,000

清乾隆，約十八世紀四十年代青花西廂記人物故事圖餐具一組

For details of the charges payable in addition to the final Hammer Price of each Lot 140 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Each piece depicts scenes from the popular 13th century drama secret union. When Yingying’s mother discovered what had happened, Xixiang Ji (西廂記), or ‘The Romance of the Western Chamber’. The she reluctantly agreed to a formal marriage on the condition that play narrates a secret love affair between the young scholar Zhang Zhang must pass the Civil Service examination. To the joy of the young Sheng, and Cui Yingying, daughter of a chief minister. lovers, Zhang Sheng passes, is appointed to high office, and the two are finally married. Although scholar Zhang and Cui Yingying fell in love with each other at a Buddhist monastery, Cui Yingying’s mother disapproved of the Compare with a very similar blue and white dinner service, Qianlong, match because of Zhang’s low station. Yingying’s maid Hongniang, but slightly smaller with 120 pieces, which was sold at Sotheby’s New however, took pity on them and arranged to bring them together in a York, 21 January 2011, lot 27. The Property of a Lady 女士藏品

113 Y AN EXCEPTIONALLY RARE PALE GREEN JADE FIGURE OF MAHĀSTHĀMAPRĀPTA Circa 13th/14th century Boldy carved seated in ‘royal ease’ with the right hand holding the edge of the celestial long flowing robe draped over both shoulders tied in a sash around the waist and over the chest revealing a necklace, the robe decorated with a diaper ground, the face with a serene expression below almond-shaped eyes below the finely incised eyebrows and tall crown adorned with a double-gourd elixir bottle framing the high chignon tied with a sash falling in two pleats to the reverse, the base with with two hollowed points for securing the figure to a stand, the stone of celadon tone with minor inclusions, wood stand. 18.4cm (7 1/8in) high (2).

£80,000 - 120,000 CNY710,000 - 1,100,000

約十三/十四世紀青白玉雕大勢至菩薩像

Provenance: an English private collection, and thence by descent

來源：英國私人收藏，並由後人保存迄今

For details of the charges payable in addition to the final Hammer Price of each Lot 142 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Image after The Jade of Lustrous Virtue: Song Dynasty Jade from the Wuzhang shanfang Collection, Hangzhou, 2018, p.23.

The present figure is a very rare and relatively large jade figure of linear carvings of the facial features, elongated ears and incised lines, Mahāsthāmaprāpta, the Bodhisattva of Wisdom, known in Chinese are all typical of jade carvings of the 12th-13th century. Compare as Dashizhi Pusa. She is recognisable by the elixir bottle in her crown. with a jade figure of an arhat, Song dynasty, unearthed from the Xilin See for example, a wood carving of Dashizhi Pusa with a bottle in her Pagoda, Songjiang, Shanghai, illustrated in Shanghai Museum Ancient crown, Sui dynasty, in Harvard Art Museum (acc.no.1943.53.25). Chinese Jade Gallery, Shanghai, p.34. See also the closely related diaper-ground decorating the robes of a russet jade carving of a boy, Compare with a very similar jade figure of Tankasri Avalokiteshvara, Song Song dynasty, illustrated in The Complete Collection of Treasures of dynasty, illustrated in The Jade of Lustrous Virtue: Song Dynasty Jade the Palace Museum: Jadeware (II), Hong Kong, 1995, no.83. from the Wuzhang shanfang Collection, Hangzhou, 2018, pp.22-27. See a related but later celadon jade figure of Avalokiteshvara, Yuan- The strong and masterful style of carving apparent in the sharp cuts Ming dynasty, which was sold at Sotheby’s Hong Kong, 30 November depicting the robe and sashes, the bold carving of the crown adorned 2017, lot 66. with cloud scrolls flanking the double-gourd, and the deftly carved

144 | BONHAMS

114

114 A PALE GREEN JADE CARVING OF LYCHEE Compare with a related jade ornament carving of lychees, Ming 16th century dynasty, illustrated in the Compendium of Collections in the Palace Finely pierced and worked as three ripe fruits incised with a diamond Museum: Jade, 6, Beijing, 2011, p.213, no.199. Motifs of lychee pattern, borne on a gnarled leafy stem, the stone of greenish-yellow were very popular in the Ming dynasty as also exemplified by two jade tone with some russet inclusions. boxes and covers decorated with lychees, Ming dynasty, illustrated in 7.3cm (2 7/8in) long. Compendium of Collections in the Palace Museum: Jade, 7, Beijing, 2011, pp.241-242, nos.229 and 230. £7,000 - 10,000 CNY62,000 - 89,000

十六世紀青白玉雕荔枝把件

For details of the charges payable in addition to the final Hammer Price of each Lot 146 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The Property of a Lady 女士藏品

115 A WHITE AND RUSSET JADE ‘CICADA’ SNUFF BOTTLE 18th century Expertly hollowed as a cicada with carapace and folded wings crisply incised, the underside with two pomegranates borne on gnarled branches, the abdomen carved with notched ridges, the stone of pale white tone with caramel-brown patches. 6.6cm (2 5/8in) long.

£3,000 - 5,000 CNY27,000 - 44,000

十八世紀白玉帶皮蟬形鼻煙壺

Provenence: an English private collection, and thence by descent

來源：英國私人收藏，並由後人保存迄今

The cicada has many auspicious meanings. Traditionally they were considered pure because they were thought to subsist on dew and lofty because of their perch in high treetops. Cicadas were also symbols of resurrection due to its fascinating life cycle. Newly hatched insects drop from branches to burrow into the ground, where they nourish themselves on tree roots for as long as seventeen years before emerging into the sunlight. Then, they climb high into the trees, and their outer skin splits open to allow the full-grown insects to 115 appear. This process was seen as an analogy for the spirits of the dead rising on a path to eternal existence in a transcendent realm.

116 A SMALL WHITE AND RUSSET JADE CARVING OF A BOY 18th century The pebble smoothly carved as a boy with loose clothes, a jovial expression on his face beneath two tufts of hair on his shaved pate, holding a large curling plantain leaf with finely incised veins, the stone of pale white tone with russet and cloudy inclusions. 6.5cm (2 1/2in) high.

£4,000 - 6,000 CNY35,000 - 53,000

十八世紀白玉帶皮童子把件

Compare with a related white jade carving of a boy and leaf, Qianlong, which was sold at Sotheby’s Hong Kong, 27 May 2014, lot 39; see also a pale green and russet jade carving of a boy, early Qing dynasty, which was sold at Bonhams Hong Kong, 24 November 2013, lot 272.

116 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 147 The Property of a Gentleman 紳士藏品

117 * A RARE VERY PALE GREEN JADE INSCRIBED ‘LUOHANS KALIKA AND ANGAJA’ BOULDER Qianlong Superbly carved in high relief on one side with the luohan Kalika in crisply carved loose flowing robes, seated in a grotto beneath a gnarled pine tree next to an inscription, holding a bell in each hand, his right knee raised before a rocky outcrop with an incense burner, vase with incense tools and books, the reverse with the luohan Angaja holding a fly-whisk within a craggy grotto with further pine trees and another inscription, all below ruyi-shaped clouds, the stone of very pale green tone with minor russet and cloudy inclusions, stand. 16.1cm (6 5/16in) high (2).

£15,000 - 20,000 CNY130,000 - 180,000

清乾隆青白玉雕羅漢山子

Provenance: Dunt King, Hong Kong Dr Sigfried (Sigi) Ramler, Hong Kong and Sevenoaks, UK, acquired from the above circa late 1940s/1950s, and thence by descent

來源：香港Dunt King舊藏香港及英國肯特郡七橡樹鎮，Dr Sigfried (Sigi) Ramler，於約二十世紀四五十年代購自前述藏家，並由後人保存迄今

Dr Ramler and his mother left Vienna to go to Shanghai in 1938 due to the rise of the Nazis in Germany. From Shanghai they travelled to Hong Kong. However, in Hong Kong he was incarcerated by the Japanese in 1942-1943. Afterwards, he continued to live in Hong Kong and retired to Sevenoaks in the UK in 1962.

Ding Guanpeng, ‘Seventeen Paintings of Buddha and Luohans’, the 21st year of the Qianlong reign corresponding to 1756; image courtesy of Shenyang Palace Museum

For details of the charges payable in addition to the final Hammer Price of each Lot 148 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (front) The present lot belongs to an important group of closely related jade ‘The Fourth Luohan, Kalika, hearing it he is enlightened, with broad carvings carved with a luohan in a mountain grotto. The subject matter heart and stout body, the sweet fragrance reaches his chants, how may have derived from a woodblock print on the theme, printed in narrow how broad, with both fingers pointing, each ringing the gold the 18th century catalogue Gu yu tu pu (古玉圖譜), attributed to the bell, that is ringing and quiet, silent and not silent’. Southern Song dynasty. The luohans depicted in the present lot may be identified as Angaja and Kalika, two of the Sixteen Luohans. For related examples of jade ‘luohan’ boulders carved with inscriptions see one from the National Palace Museum, Taipei, Buddhism as the foremost state religion during the Qing dynasty with the inscription denoting the luohan Cūdapanthaka, illustrated received great attention during the reign of the Qianlong emperor. The in The Refined Taste of the Emperor: Special Exhibition of Archaic emperor ordered the Court painter Ding Guanpeng (1708-1771) to and Pictorial Jades of the Qing Court, Taipei, 1997, p.148, fig.43; paint the sixteen luohans after the original set by Guanxiu (823-912) another example in the Palace Museum, Beijing, is illustrated in The that he had seen during his visit to Hangzhou in 1757. Importantly, the Complete Collection of Treasures of the Palace Museum: Jadeware inscriptions on the jade boulder are the same as on the paintings by (II), Shanghai, 2008, p.76, no.56; two further examples, one un- Ding Guanpeng. One side is inscribed: inscribed but of similar jade stone and inclusions, 17th/18th century, and another with an inscription, 18th century, in the British Museum, 第一阿迎阿機達尊者, 龎眉皓首, 赤腳露肘, 一亦不立, 二復何有, 左執 London, illustrated by J.Rawson, Chinese Jade: From the Neolithic 提鑪, 香云無量, 以拂拂之, 是真供養 to the Qing, London, 1995, pp.409-410, no.29:19 and fig.1; and one inscribed and carved with the luohan Kanaka, 18th century, from Which may be translated as: the Hebert R. Bishop Collection, is in the Metropolitan Museum of Art, New York (acc.no.02.18.640). See also a related jade ‘luohan’ ‘The First Luohan, Angaja, with long eyebrows and bright faced, with inscribed boulder, Qianlong, illustrated by R.Kerr, et al., Chinese bare feet and elbows revealed, if one does not stand, how can the Antiquities from the Wou Kiuan Collection, Surrey, 2011, pl.177. other two stand, to the left the incense burner, fragrant clouds without limit, blowing gently, this is the true way to make offerings’. Compare with a related but larger inscribed pale green and russet jade ‘luohan’ boulder, Qianlong, which was sold at Bonhams Hong Kong, The other side is inscribed: 27 November 2018, lot 77. See also a related celadon jade ‘luohan’ inscribed boulder, Qing dynasty, illustrated by R.Keverne, ed., Jade, 第四嘎禮嘎尊者, 聞之吾參, 心廣體胖, 芬及須歌, 何隘何寬, 雙手指端, London, 1995, p.145, fig.41., which was later sold at Sotheby’s New 各振金鈴, 即聲即寂, 非寂非聲 York, 10 September 2019, lot 17.

Ding Guanpeng, ‘Seventeen Paintings of Buddha and Luohans’, the 21st year of the Qianlong reign corresponding to 1756; image courtesy of Shenyang Palace Museum

150 | BONHAMS (reverse) 118 Y A SPINACH-GREEN JADE ‘CHRYSANTHEMUM’ VASE AND COVER 18th Century Deftly carved in relief around the entire body of the flattened vase with scrolling chrysanthemums, the tall tapering neck flanked by a pair of further chrysanthemum openwork handles, the domed cover similarly carved and surmounted by a large chrysanthemum-flower finial, all supported on a short spreading foot, the stone of dark-green tone with black inclusions, openwork stand. 33.7cm (13 1/4in) high. (3).

£30,000 - 40,000 CNY270,000 - 350,000

十八世紀碧玉菊紋雙耳蓋瓶

Provenance: Curi collection, South America, by repute

來源：傳為南美Curi收藏 Image courtesy of the Seattle Art Museum

The present lot is delicately carved and detailed with elegant and Chrysanthemums have long been closely associated with Autumn and crisply- carved chrysanthemum. The pair to this vase and cover, of the hermetic poet Tao Qian (365-427 AD). Living during a turbulent the same size and design, is illustrated by J.C.Y.Watt, Chinese Jades period in China, he retired in midlife to a small estate to live out his from the Collection of the Seattle Art Museum, Seattle, 1989, p.125, days in rustic obscurity, drinking wine and writing poetry. Private no.109. The author notes that the style ‘owes something to Mughal and quiet as his life was, his reputation grew steadily after his death, influence’. particularly for his association with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate. Since Mughal jade vessels from India were renowned for their exceptional then, the chrysanthemum has come to symbolise the literatus ideal of carving and naturalistic motifs. The Qianlong emperor greatly admired tranquil solitude in one’s Autumn years. The chrysanthemum would the fine quality of the Mughal jade workmanship, and wrote poems also have been associated with the’Double Nine’ festival, also known praising the Mughal pieces in his collection, describing them as ‘thin as the ‘chrysanthemum’ festival, when on the ninth day of the ninth as paper’. Chinese carvers thereafter strove to imitate the Mughal month it is traditional to drink chrysanthemum wine. style, combining it with Chinese elements and symbolism such as the chrysanthemum. Compare with a related spinach green jade vase and cover, Qing dynasty, with similarly carved floral handles, but with a design of lotus, illustrated in Compendium of Collections in the Palace Museum: Jade, vol.10. Beijing, 2011, p.71, no.43. For another related jade vase and cover with Mughal style flowers, Qianlong, see S.C.Nott, Chinese Jade throughout the Ages, London, 1936, pl.CVIII.

For details of the charges payable in addition to the final Hammer Price of each Lot 152 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

119 Y A FINE WHITE AND RUSSET JADE VASE AND COVER 18th century The deftly-hollowed vase of square baluster form, intricately carved around the exterior in low relief with archaistic taotie-masks between a border of florets and ruyi-shaped plantain leaves, the neck flanked by a pair of elephant-head loop handles, with stepped cover beneath a square finial, the flaring foot beside craggy rocks issuing young bamboo and blossoming chrysanthemums cleverly highlighted in russet, the stone of pale white tone, wood stand, box. 12.8cm (5in) high (4).

£8,000 - 12,000 CNY71,000 - 110,000

十八世紀白玉帶皮仿古紋雙耳蓋瓶

The present lot is rich in auspicious symbolism. The elephant handles Originating in the Han dynasty, it marks the day when Chinese families for example, together with the vase form a rebus. The ‘vase’ (ping gather to pay respect to their departed ancestors. It was customary 瓶) which puns with ‘peace’ (ping 平), and elephant (xiang 象) which to climb a high mountain, drink chrysanthemum wine and visit the also means ‘sign’ or ‘portent’, forms a rebus for the phrase taiping ancestral grave while praying for long life. youxiang (太平有象), meaning ‘Where there is peace, there is a sign (or elephant)’. The archaistic taotie-mask patterns on the exterior also reflect the 18th century and specifically the Qianlong emperor’s fascination and taste The chrysanthemums carved on the side of the vase are also laden for antiquity. Compare with a related green jade vase with rocks and with meaning. They are closely associated with Autumn and the flowers, Qing dynasty, illustrated in the Compendium of Collections in hermetic poet Tao Qian (365-427 AD). After leaving office to avoid the Palace Museum: Jade, 10, Beijing, 2011, p.65, no.38. the troubles of the mundane world, Tao Qian returned to his rustic estate and planted chrysanthemums. Since then, the chrysanthemum Compare also with a related but larger pale green jade vase and has come to symbolise the literatus ideal of tranquil solitude in one’s cover, Qianlong, which was sold at Sotheby’s London, 8 November Autumn years. Chrysanthemums are also closely associated with the 2017, lot 22. ‘Double Ninth’ festival (occurring on the ninth day of the ninth month).

For details of the charges payable in addition to the final Hammer Price of each Lot 154 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

120

The Property of a Gentleman 紳士藏品

120 A RARE AND FINE VERY PALE GREEN JADE ‘CHILONG’ The style and quality of the present lot embodies much of the BRUSHWASHER celebrated 18th century jade production under the Qianlong emperor. 18th century The remarkable even tone of the stone was admired by the master The attractive stone of even tone and smoothly carved as a bowl carver who chose to highlight its quality by retaining plain undecorated with slightly flaring rim and a shallow recessed base, the plain sides sides. This was cleverly contrasted with the high-relief carving to the contrasting with a crisp high-relief carved chilong curling its body interior well, showcasing the carver’s virtuosity and creativity with the inside the central well and entwined with leafy tendrils. interwoven layers of leaves above and around the dragon. 11.6cm (4½in) diam. The raised relief decoration at the centre was not merely decorative £12,000 - 15,000 but also utilitarian allowing the brush to be cleaned against the dragon CNY110,000 - 130,000 carving. Compare with a similar chilong brushwasher, Qing dynasty, illustrated in Gems of Beijing Cultural Relics Series:Jades, Beijing, 1999, pl.248, p.206. Compare also with the form of another white jade 十八世紀青白玉雕螭龍穿花洗 ‘double fish’ brushwasher, 18th century, illustrated by J.C.S.Lin, The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Provenance: Baron Fould-Springer, Royaumont Abbatial Palace, France Century, Cambridge, 2009, no.103, p.124. A further related example, S. Marchant & Son, London 18th century, was sold at Sotheby’s Hong Kong, 8 October 2014, A distinguished English private collection lot 3657. A related dish with similarly crisp treatment of the relief carving, but with shallower sides of lobed petal-form, is illustrated 來源：法國皇宮的男爵舊藏 Royaumont Abbatial Palace Fould-Springer in the Compendium of Collections in the Palace Museum: Jade 10: 倫敦古董商， S. Marchant & Son Qing Dynasty, Beijing, 2011, no.183. See also a similar bowl or brush 英國顯赫私人收藏 washer with a double fish medallion in the well, illustrated by R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.124., no.103.

Compare also with a related very pale greenish-white jade ‘dragon’ washer, Qianlong/ Jiaqing, which was sold at Bonhams Hong Kong, 28 November 2017, lot 9.

For details of the charges payable in addition to the final Hammer Price of each Lot 156 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 121 A SOAPSTONE ‘PHOENIX’ SEAL Late Qing Dynasty The seal of square section, carved on the top with a phoenix amidst wispy, curling clouds, the mythical bird with finely incised feathers, inscribed in archaic seal script on the base ‘mo chi qing xing’, which may be translated as ‘rising pure from the ink pool’ the stone of mottled yellow, red and orange with (underside) dark blue striations. 7cm (2 6/8in) high.

£3,000 - 4,000 CNY27,000 - 35,000

清晚期石雕鳳鈕方章印文「墨池清興」

Provenance: an English private collection

來源：英國私人收藏

121

122 A SOAPSTONE BOULDER Signed Shiqing (1924-2013), 20th century One side finely carved with a group of bearded sages gazing at a scroll, beneath a gnarled pine tree and rockwork, a pavillion in the distance, the reverse with calligraphic inscription, the stone of lustrous amber tone. 10cm (3 7/8in) high. (reverse detail)

£2,000 - 3,000 CNY18,000 - 27,000 (underside)

二十世紀壽山石薄意雕松下高士擺件

The boulder is inscribed:

‘北山白雲裡，隱者自怡悅，石卿作’

Which may be translated as:

‘Northern mountains amidst white clouds, the hermit alone is joyous. By Shiqing’

122 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 123 AN ARCHAIC BRONZE RITUAL WINE VESSEL, JUE Shang Dynasty The vessel with a deep U-shaped body rising from three splayed triangular blade legs to a pointed rim opposite a guttered spout flanked by a pair of posts capped with conical ‘fire-whorl’ medallions, the exterior boldly cast with two taotie masks with bulging eyes separated by flanges, one side set with a loop handle issuing from a bovine mask, a pictogram under the handle. 19.5cm (7 5/8in) high.

£18,000 - 20,000 CNY160,000 - 180,000

商青銅饕餮紋爵

A bronze jue, 12th-11th century BC, of similar form and decoration is illustrated by R.Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collection, Washington D.C., 1987, p.195, pl.18 and p.251, fig.36.2. Further examples can be found in the collection of the British Museum, see W.Watson, Ancient Chinese Bronzes, London, 1977, pl.10b; and in the Shanghai Museum, see Shanghai Museum: Ancient Chinese Bronze Gallery, Shanghai, p.9. See also two jue with similar taotie designs, illustrated by C.Deydier, Archaic Chinese Bronzes, Paris, 1995, p.250, pl.3.

A related bronze jue, Shang dynasty, was sold at Bonhams London, 16 May 2019, lot 3.

For details of the charges payable in addition to the final Hammer Price of each Lot 158 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. (pictogram)

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 159 124 Y A RARE ARCHAISTIC BRONZE SILVER-WIRE INLAID TRIPOD VESSEL, DING Song/Ming Dynasty The deep round body flanked by two upright loop handles and supported on three cylindrical legs, finely inlaid with silver-wire around the exterior with archaistic taotie masks with prominent eyes and curling horns, on a leiwen ground, the legs each decorated with a cicada motif, later wood cover with carnelian finial, wood stand. 21.2cm (8 2/8in) high (3).

£30,000 - 50,000 CNY270,000 - 440,000

宋/明銅嵌銀饕餮紋鼎

The result of Oxford Authentication Ltd. thermoluminescence test no.C119g91, dated 20 June 2019, is consistent with the dating of this lot. According to the test it was estimated that the date of last firing was between 600 and 1000 years ago.

Oxford Authentication Ltd公司熱釋光檢測結果（2019年6月20日，編號C119g91）顯示年代與本拍品年代一致。結果顯示本拍品最後燒製的日期約在600至1000年前。

The decorative technique of silver-wire inlay on bronze first appeared Compare with a related silver-wire inlaid tripod vessel, 17th/18th century, during the late Zhou dynasty, and was revived and became illustrated by M.Maucuer, Bronzes de la Chine imperiale des Song aux popular from the Song dynasty onwards when archaism became a Qing, Paris, 2013, p.101, no.52. A related bronze tripod incense burner predominant style in the production of artefacts. The Ming period metal with gold and silver inlay, 16th/17th century, is illustrated by R.Kerr, Later smith known as Shi Sou (Old man Shi) was famous for specialising Chinese Bronzes, London, 1990,p.53, pl.41. See also another related in the production of bronze objects with inlaid designs, and his style silver-wire and gold inlaid tripod incense burner, early 17th century, became the precedent for later wares, made from the 17th century illustrated in Later Chinese Bronzes: The Saint Louis Art Museum and and throughout the Qing dynasty. Robert E.Kresko Collections, Saint Louis, 2008, no.9.

For details of the charges payable in addition to the final Hammer Price of each Lot 160 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

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125 TP A RARE PAIR OF BLACK LACQUER GILT-DECORATED Black and gilt lacquered furniture were most popular during the DOUBLE-LOZENGE STANDS reign of the Yongzheng emperor. The high status of refined forms 18th century such as the present stands may be seen in the choice of furnishings Each supported on six legs of square section joined by stretchers depicted in the Yongzheng period paintings ‘Twelve Beauties in the with angular scrolls, all beneath carved ruyi-head aprons, meticulously Yuanmingyuan’ in the Palace Museum, Beijing. For more on the topic detailed in gilt on the top with large blossoming peony flowers on a see Tian Jiaqing, ‘Early Qing Furniture in a Set of Qing Dynasty Court diaper-pattern ground, bordered by landscape scenes of trees and Paintings’, Chinese Furniture Selected Articles from Orientations 1984- pavilions, the sides with floral scrolls extending down the legs. 2003, Hong Kong, 2004, pp.153-161; two of the paintings include 87cm (34 1/4in) high x 55cm (21 5/8in) wide x 37cm (14 1/2in) deep (2). black and gilt lacquer stands figs.15 and 17.

£60,000 - 80,000 Compare with a related gilt-decorated black lacquered table, CNY530,000 - 710,000 Yongzheng, from the Qing Court Collection, decorated with peonies, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II), Hong Kong, 十八世紀黑漆描金牡丹圖方勝形香几一對 2002, no.89. For a related gilt-decorated black lacquered double-

lozenge table from the Qing Court Collection, see Collections of the Palace Museum: Painted Furniture, Beijing, 2009, pl.88.

For details of the charges payable in addition to the final Hammer Price of each Lot 162 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 163 126

The Property of a Gentleman 紳士藏品 Lots 126 - 127

126 A RARE SILK COURT ‘SILVER PHEASANTS’ During the 17th century, under pressure from the Manchu to institute RANK BADGE, BUZI their own style of court attire, the shape of the buzi or insignia badges, 17th century became more exactingly square. The nine-grade system which The badge finely embroidered with a pair of silver pheasants, each assigned pictorial badges to all in attendance at the at the imperial bird rendered with outstretched wings soaring amidst large clusters court was codified in 1391. Under the Ming and Qing dynasties, of lozenge-shaped clouds, above rolling waves and prism-like rocks, badges with different categories of beasts were assigned to distinguish all worked in vibrant shades of green, orange, blue, yellow and white the aristocracy from the gentry and differenciate status within the couched silk floss and couched gold threads on a twisted blue silk elaborate military and civil bureaucracies. thread ground. 37.3cm (14 1/2in) long x 36.3cm (14 2/8in) wide. The present badge was part of a large group comprising over thirty similar silk badges, mainly representing lions and silver pheasants, £5,000 - 7,000 once sewn into a large curtain or canopy from the collection of the CNY44,000 - 62,000 Palazzo Corsini, Florence. It has been suggested that these badges were likely assembled in Tibet to form a large hanging or a canopy. For published examples of similar Ming badges from the Corsini 十七世紀白鷴紋刺繡補子 group see C.Hall, et al., One Thousand Years of Chinese Textiles, Hong Kong, 1995, pp.66-68; see also J.Vollmer, Silks For Thrones Provenance: Palazzo Corsini, Florence and Altars: Chinese Costumes and Textiles from the Liao Through The Plum Blossom Gallery, Hong Kong, November 1994 the Qing Dynasty, Paris, 2003, no.12, pp.36-37; see C.Hall, Power A European private collection Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Singapore, 2006, p.240, no.69. 來源：意大利佛羅倫薩，Palazzo Corsini 香港古董商，萬玉堂，1994年11月 A related silk ‘lion’ badge, Ming dynasty, from the Corsini collection, 歐洲私人收藏 was sold at Christie’s New York, 19 March 2008, lot 19.

For details of the charges payable in addition to the final Hammer Price of each Lot 164 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 127

127 A RARE SILK COURT ‘LION’ RANK BADGE, BUZI During the 17th century, under pressure from the Manchu to institute 17th century their own style of court attire, the shape of the buzi or insignia badges, Made for a second rank military official, the badge colourfully became more exactingly square. Second rank military officers were embroidered with a lion seated on its haunches with its bushy tail assigned square lion badges, such as the present example, which flicked upwards and head turned to the left, surrounded by large were applied to the chest and back of their official robes. The bold clusters of lozenge-shaped clouds, prism-like rocks and rolling waves, design of the present badge, with large lozenge-shaped clouds prism- all worked in vibrant shades of green, orange, blue, yellow and white like rock, reflects the aesthetic developments of the later phases of the couched silk floss and couched gold threads on a twisted blue silk Ming dynasty. thread ground. 39cm (15 3/8) wide x 37cm (14 1/2in) long. The present badge was part of a large group comprising over thirty similar silk badges, mainly representing lions and silver pheasants, £12,000 - 15,000 once sewn into a large curtain or canopy from the collection of the CNY110,000 - 130,000 Palazzo Corsini, Florence. It has been suggested that these badges were likely assembled in Tibet to form a large hanging or a canopy. 十七世紀獅子紋刺繡補子 For published examples of similar Ming badges from the Corsini group see C.Hall, et al., One Thousand Years of Chinese Textiles, Provenance: Palazzo Corsini, Florence Hong Kong, 1995, pp.66-68; see also J.Vollmer, Silks For Thrones The Plum Blossom Gallery, Hong Kong, November 1994 and Altars: Chinese Costumes and Textiles from the Liao Through the A European private collection Qing Dynasty, Paris, 2003, no.12, pp.36-37. See also C.Hall, Power Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, 來源：意大利佛羅倫薩，Palazzo Corsini Singapore, 2006, p.240, no.69. 香港古董商，萬玉堂，1994年11月歐洲私人收藏 A nearly identical ‘lion’ silk badge, Ming dynasty, from the Corsini collection, was sold at Christie’s New York, 19 March 2008, lot 19.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 165 128 A VERY RARE CLOISONNÉ-ENAMEL ‘BUDDHIST LIONS’ EWER 16th century Of baluster form with high arched handle and spout, the body decorated in bright enamels with a continuous scene of Buddhist lions playing with embroidered balls and long flowing ribbons, surrounded by wispy clouds against a turquoise background, all between ruyi- head lappets around the shoulder and lotus petals around the foot, the handle enameled with two bands of ruyi-heads borne on foliate scrolls and the neck and spout with floral scrolls. 21.8cm (8 5/8in) wide.

£60,000 - 80,000 CNY530,000 - 710,000

十六世紀掐絲琺瑯瑞獅戲球圖執壺

Although the lion is not native to China, its image has long been Compare with a very similar cloisonné enamel ewer and cover, 16th important to the repertoire of Chinese iconography. Lions were first century, also decorated with lions and with the cover, illustrated by presented to the Han court by emissaries from Central Asia and H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, Persia, and the Chinese for lion (shi 獅) is thought to be derived London, 1989, no.98. The author notes that ‘no prototype in porcelain from the Persian word šer. Lions were often seen in stone statuary, [of this shape] exist, but other examples are known in cloisonné symbolising protection and law, and from the Tang dynasty, appeared enamel. These ewers, sometimes decorated with lions, sometimes on decorative arts. The Buddha’s teachings are often referred to as the with scrolling lotus, possibly served as ritual vessels in Buddhist or ‘lion’s roar’ in the sutras, indicating their power and nobility. Buddhist Lamaist ritual ceremonies.’ lions playing with a brocade ball became the most popular form of imagery for the lion and appear during the Ming dynasty. For a very Compare with a very similar cloisonné-enamel ewer and cover, 16th similar decoration of Buddhist lions, see a cloisonné enamel dish, century, which was sold at Christie’s Paris, 7 December 2007, lot 6; see 16th century, illustrated by C.Brown, Chinese Cloisonné: The Clague another very similar cloisonné-enamel ewer and cover, 17th century, Collection, Phoenix Art Museum, 1980, pp.22-23, pl.3. which was sold at Christie’s London, 12 November 2010, lot 1146.

For details of the charges payable in addition to the final Hammer Price of each Lot 166 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

129

The Property of a Gentleman 紳士藏品 Lots 129 - 130

129 130 A KESI ‘SHOU’ PANEL A RARE SILK KESI ‘DRAGON’ PANEL Capable of flying high in the sky and diving Wanli Wanli back in the sea, dragons were since the The panel colourfully woven with a large The rectangular panel finely decorated with earliest phases of Chinese history seen as shou character flanked by a pair of cranes a large front-facing dragon coiling around a intermediaries between Heaven and Earth in flight amidst scrolling clouds and above flaming pearl and emerging from turbulent and regarded as vehicles transporting humans rocks and turbulent waves, all reserved on waves interspersed with pointed rocks, all to immortal realms. According to the ‘Book a brick-red ground. delicately woven in gold wrapped thread of Songs’, compiled in the 3rd century BC, 90cm (35 3/8in) wide x 19cm (7 1/2in) long. and shades of blue, coral, green, black and dragons represent victory over the forces of yellow, framed and glazed. darkness, cast light onto the Gate of Heaven £6,000 - 10,000 92.5cm (36 3/8in) wide x and allow one to glimpse the wondrous CNY53,000 - 89,000 62.5cm (24 5/8in) long. residence of immortal beings.

A similar kesi ‘dragon’ panel, 17th century, 明萬曆緙絲雙鶴捧壽 £10,000 - 15,000 CNY89,000 - 130,000 with a gilt ground was sold at Christie’s South Kensington, 11 November 2015, lot 610, and Provenance: Sotheby’s London, a further kesi dragon panel, 17th century, as a 5 November 2008, lot 371 明萬曆緙絲趕珠龍紋掛屏 table frontal from the collection of Jean-Pierre A European private collection Dubosc (1903-1988), was sold at Christie’s Provenance: Sotheby’s London, Paris, 9 June 2015, lot 18. 來源：倫敦蘇富比，2008年11月5日， 5 November 2008, lot 372 拍品編號371 A European private collection 歐洲私人收藏來源：倫敦蘇富比，2008年11月5日，拍品編號372 歐洲私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 168 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 130

FINE CHINESE ART | 169 Lieutenant-Colonel T.S.Cox (detail)

紳士藏品 The Property of a Gentleman Lieutenant-Colonel T.S. Cox in China 1900 – 1902 July 1900: Cox was ordered to North China to join the China 131 Expeditionary Force to relieve the siege of the Beijing International * Legation Area by Chinese ‘Boxers’. Collected a troop of 16th Bengal A VERY RARE AND LARGE CLOISONNÉ ENAMEL Lancers in Hong Kong on August 15 1900 and disembarked at AND GILT-BRONZE CANDLESTICK Qianlong four-character mark and of the period Sinho for Tianjin on September 11. Advanced on Beijing September/ With a large bell-shaped base rising to a central bulb supporting a October 1900. Subsequently placed in charge of a ‘Flying Column’ large circular dish tray, set to the centre with a tall tapering cylindrical sent to capture Boxer leaders at Baoding, a hundred miles south-west neck, surmounted by a small bulbous section, decorated in brilliant of Beijing. Campaign medal, and learned to speak Chinese. Passed enamels on a bright turquoise ground with stylized lotus blossoms 6-day Chinese language examination. borne on dense scrolling leafy stems, the rims with gilt key-fret bands. 68.2cm (26 7/8in) high. January - June 1901 worked for the British Military Commander, General Sir Alfred Gaselee, and awarded Military Order of the Dragon in April. July 1901 promoted Staff Captain and seconded to raise £15,000 - 20,000 and train a Battalion of Chinese Railway Police, whose task was to CNY130,000 - 180,000 guard the Beijing, Tongshan, and Tianjin districts for the British High Command, stationed at the Temple of Heaven in Beijing. 清乾隆掐絲琺瑯纏枝蓮紋大燭台「乾隆年製」楷書刻款 January 1 - December 25 1902 Cox was the Officer Commanding Railway Police, Chinese Imperial Railways, most of this time under Provenance: Lieutenant-Colonel T.S.Cox, and thence by descent contract to the Chinese Imperial Government. In addition to this role, from June 1 to December 1902 he was ‘Confidential Adviser’ to His 來源：T.S.Cox中校收藏，並由後人保存迄今 Imperial Highness Prince Su, Governor of Beijing (the emperor’s uncle), and from August 15 to December 1902 also ‘Confidential Adviser’ to Lieutenant-Colonel T.S.Cox graduated from Sandhurst Military his imperial Highness Prince Qing, Head of Chinese Octroi (Customs) Academy in 1892 and was commissioned in 1894 into the 16th Indian Department. Cox received a Letter of Appreciation and was awarded a Cavalry, The Bengal Lancers. His noteworthy military service included Chinese Imperial Decoration for his services. He left Beijing for India on in 1897, Tochi Field Force, N.W. Frontier; and in 1900, the China December 25 1902. Expeditionary Force during the Boxer Rebellion, when he was awarded the US Military Order of the Dragon. In 1901 he was seconded The present lot would have originally served as a part of a garniture as Advisor to the Chinese Government and awarded an Imperial set for ritual or ancestral altars. By the Qing dynasty, garnitures had decoration by Shanqi, Prince Su (1866-1922). In 1903 he was elected become imposing displays, proclaiming the wealth and status of the to the Royal Geographical Society. In 1903 he served as Captain in commissioner or owner as they graced the altars of temples and the Indian Army; between 1904–1907, he was posted in the D.M.O. imperial households. War Office, London, the Balkans, Asia Minor, Somaliland, Abyssinia, Russian Central Asia, and Ottoman Middle East; in 1911 he was Compare with a very similar cloisonné-enamel pricket candlestick, awarded the King George V Delhi Coronation Durbar medal. Between Qianlong mark and period, which is probably the pair to the present 1912-1913 he was posted in the Middle East and Central Asia. In lot, illustrated in Chinese Cloisonne: The Pierre Uldry Collection, 1915, he took part in the Gallipoli Campaign and in 1916 transferred New York, 1989, p.250, no.250a. For a related five-piece cloisonné to command the 37th Dogras. In 1917 he served in the Mesopotamian enamel garniture in the Qing Court Collection, comprising a related campaign and was wounded whilst serving in the Aden Field Force. In pair of pricket candlesticks decorated with lotus meanders, see The 1920 he served with the Waziristan Field Force, NW Frontier; in 1921 Complete Collection of Treasures of the Palace Museum: Metal-bodied he transferred to command the 3rd Madras Regiment and in 1925 he Enamel Ware, Hong Kong, 2002, pl.138. retired from the Indian Army as Lieutenant-Colonel.

For details of the charges payable in addition to the final Hammer Price of each Lot 170 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

An Exceedingly Rare Imperial Kesi Orange-ground Twelve-symbol Robe 19th century The Property of a Gentleman 紳士藏品

132 AN EXCEEDINGLY RARE IMPERIAL KESI ORANGE-GROUND TWELVE-SYMBOL ROBE 19th century The kesi ground finely worked in satin stitches in shades of blue, green, red, aubergine and ochre couched vibrant gold threads with nine five-clawed dragons pursuing ‘flaming pearls’ amidst trialling ruyi clouds interspersed with bats; the Twelve Imperial Symbols arranged in three groups of four beginning with the sun, moon, constellation and mountains around the neck; the axe head, the fu symbol, paired dragons and pheasant around the upper body of the robe; the water weed, pair of sacrificial vessels, fire and grain above the terrestrial diagram and lishui stripe at the hem, all interspersed with the Eight Buddhist Emblems and further dragons emerging from rolling waves, against a rich apricot ground; the matching dark blue-ground cuffs and collar worked with further dragons amidst bats, clouds and waves, below sleeve extensions woven with roundels depicting further dragons chasing flaming pearls, lined in original imperial yellow silk, with a three-character inscription and seal mark on the inside flap. 183cm (72in) wide x 145cm (57in) long.

£150,000 - 250,000 CNY1,300,000 - 2,200,000

十九世紀御製杏黃地緙絲金龍十二章紋龍袍

Provenance: Linda Wrigglesworth, London, 1997 A Western private collection

來源：英國倫敦古董商，Linda Wrigglesworth，1997年西方私人收藏

Image Courtesy of the University of Alberta Musuem, Alberta

For details of the charges payable in addition to the final Hammer Price of each Lot 174 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

Authority in Silk The Hidden Tales of a Sublime Imperial ‘Twelve-Symbol’ Apricot-Ground Robe Linda Wrigglesworth

Superbly woven in the refined kesi technique with nine resplendent, and vigour. According to the ‘Book of History’ (Shujing 書經), the lively, five-clawed dragons riding the heavens and finely worked in legendary Emperor Shun, believed to have ruled during the third metallic gold threads amidst a profusion of shaded blue trailing clouds millennium BC, referred to these symbols as suitable decoration for interspersed with the Twelve Symbols of Imperial Sovereignty, the imperial formal attire and in 1766, the Qianlong emperor restricted present robe is exceptionally rare for its pristine condition. No identical the use of these motifs to imperial robes (See note 5). examples would appear to have been preserved in public collections. A rigid scheme defined the position of the Twelve Symbols on the The yellow lining, dragon cuffs, neck bands and gold brocade robes. The sun, moon, stars, and mountain, symbolised the four edgings are all original to the robe. In addition, the imperial dragons main ceremonies which the emperor presided throughout the year emerging from the turbulent waves and the roundels depicting further at the Altars of Heaven, Earth, Sun and Moon. They were placed dragons, woven within the rich midnight-blue ground of the sleeve in pairs at the shoulders, chest and mid-back area. The paired extensions, are very unusual and rarely encountered on imperial dragons, the golden pheasant, the confronted ji character and the orange-ground robes. hatchet, represented all things on earth and the ruler’s ability to make decisions. They decorated the chest area, while the sacrificial This robe probably dates to the 1880s and may have been worn vessels, the aquatic grass, the grains of millet and the flames, by the Guangxu emperor (1871-1908) during the earlier years of his representing ancestor worship and four of the Five Elements, were reign. The apricot-orange colour xinghuang, is referred to in the placed at the mid-calf level of the coat. Huangchao liqi tushi 皇朝禮器圖式 (‘Illustrated Precedents for the Ritual Paraphernalia of the Imperial Court’), edited in 1759, as one of The seven-shaded lishui bands are flawlessly woven and include the the ‘Five Imperial Yellows’ used at the Qing Court, which could only aniline purple tone, which was imported into China from Europe circa be worn by Princes and Princesses of the First Rank and Imperial 1863 and was highly-favoured by the Dowager empress Cixi (See note 6). Consorts of the Second and Third Degree (See note 1). Compare with a related orange-ground, ‘Twelve-Symbol’ kesi robe, Following the death of the Tongzhi emperor in 1875 and in the absence Guangxu period, lacking the water dragons from the foaming waves of an immediate heir, his mother, the formidable Dowager empress, in the lishui and featuring the more common gilded stripes on the Cixi, designated her four-year old nephew, Zaitian, to be successor to sleeve extensions instead of the woven ‘dragon’ roundels, which the throne as the Guangxu emperor, although she continued to be in decorate the present robe, from the Mactaggart Art Collection, control of the government for the first fourteen years of the new ruler’s University of Alberta Museum, Alberta, illustrated by J.Vollmer and reign (See note 2). At this time, the court dress legislation, promulgated J.Simcox, Emblems of the Empire, Alberta, 2009, pp.30 and 31. by the Qianlong emperor more than a century earlier, appears to have become similarly adapted to these new circumstances. Not only do FOOTNOTES numerous portraits depict the Dowager empress wearing imperial yellow robes, as was appropriate to her rank, but also a few ‘Twelve- 1. M.Medley, The Illustrated Regulations for Ceremonial Parphernalia of the Symbol’ robes, dating to the Guangxu emperor’s reign, survive Ch’ing Dynasty, London, 1982. displaying a wide range of the basic ground colours. These deviations probably reflected empress Cixi’s break from the Court conventions of 2. M.Holdsworth and C.Courtauld, Forbidden City: The Great Within, London, 1995, p.123. previous times, particularly when she appointed her nephew Zaitian, a cousin of the Tongzhi emperor, to succeed him (See note 3). Within this 3. J.Vollmer and J.Simcox, Emblems of Empire, Alberta, 2009, p.30. context, an apricot-ground ‘Twelve-Symbol’ robe would have certainly been considered appropriate to signify the young Guangxu emperor’s 4. L.S.Kwong, ‘Chinese Politics at the Cross-roads: Reflections on the status as heir apparent, when he had not yet formally assumed control Hundred Days Reform of 1898,’ Modern Asian Studies, 2000, vol.34, no. 3, pp.663-95. of the government (See note 4). 5. G.Dickinson and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, The quintessential symbol of imperial power, five-clawed dragons pp.14-30. embodied royalty and dominion and expressed the visual metaphor of the good ruler who behaved wisely for the wellbeing of his 6. R. Silberstein, ‘Vicious Purple’ or a “First Class Dye”?: Finding a Place for subjects. The Twelve Symbols of Imperial Authority further reinforce the Foreign in Nineteenth-Century Chinese Dress Culture,’ Paper presented the emperor’s essence over eloquence, articulation, forcefulness at College Art Association Annual Conference, New York, 2013.

133

133 Y 134 135 A FINE PAIR OF CLOISONNÉ-ENAMEL A BLUE-GROUND GAUZE SILK A BLUE-GROUND ‘DRAGON’ ROBE, JIFU DOUBLE-SIDED TABLE SCREENS ‘NINE-DRAGON’ ROBE, JIFU 19th century Qianlong 19th century Finely embroidered in couched gold thread The screens each brightly enamelled on one The blue silk gauze worked in couched gold and fine counted stitch with nine five-clawed side with buildings and pavilions amongst thread and fine counted stitch with nine five- dragons pursuing flaming pearls amidst five- various trees and craggy rocks, the reverse clawed dragons pursuing flaming pearls amidst colour clouds interspersed with bats and the with pairs of birds perched amongst flowering trialing clouds interspersed with bats, cranes, Auspicious Emblems, above a wide terrestrial peonies issuing from gnarled rocks, the wondrous pavilions and the Eight Buddhist diagram and lishui stripe separated by billowing varying tones of green, blue and yellow on Emblems above a terrestrial diagram and lishui ruyi clouds, with similar decoration repeated a lustrous deep blue ground, all set within stripe separated by ruyi clouds, with similar on the border, collar and horsehoof cuffs, with openwork wood frames and stand. decoration repeated on the border, collar and midnight blue silk gauze sleeve extensions. Each overall 31cm (12 1/4in) high (4). horsehoof cuffs. 229cm (90 1/8in) wide. 137.5cm (54 1/8in) long. £20,000 - 30,000 £3,000 - 5,000 CNY180,000 - 270,000 £3,000 - 5,000 CNY27,000 - 44,000 CNY27,000 - 44,000 清乾隆掐絲琺瑯山水花鳥插屏一對十九世紀藍地雲龍紋吉服袍十九世紀藍地緙絲雲龍紋吉服袍 The present lot is very rare. A plaque from this Provenance: a private English collection; set, of the same size, Qianlong, is illustrated Provenance: a European private collection according to the owner acquired at Christie’s by H.Brinker and A.Lutz, Chinese Cloisonne: South Kensington, circa 1980s the Pierre Uldry Collection, New York, 1989, 來源：歐洲私人收藏 no.311. 來源：英國私人收藏據稱現藏家於二十世紀八十年代購自倫敦佳士得南肯辛頓

For details of the charges payable in addition to the final Hammer Price of each Lot 178 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 134

135

FINE CHINESE ART | 179 The Property of a Gentleman 紳士藏品 Lots 136 - 137

136 TP AN IMPERIAL CLOISONNÉ AND CHAMPLEVÉ ENAMEL ‘PHOENIX’ ICE CHEST Qianlong/Jiaqing Of square section with straight sides tapering to the base, divided into three horizontal registers by two raised ribs, the middle section enamelled with shou medallions within a foliate sunburst, flanked by a pair of formal lotus flowers, the top and bottom registers each with pairs of confronted red phoenixes centred on a blue bat grasping a wan character in its mouth, all reserved on a dense foliate turquoise- blue ground, two sides set with gilt-bronze C-shaped handles, the interior with a fitted metal liner, wood stand. (2).

£60,000 - 80,000 CNY530,000 - 710,000

清乾隆/嘉慶禦制銅胎掐絲及內填琺瑯福壽瑞鳳紋冰盒

Provenance: a European private collection, acquired from Anna Puchar del Bello in 1968, who inherited it from her father, a captain on a Trieste-based merchant ship that often travelled to the Asia.

來源：歐洲私人收藏，現藏家於1968年購自一名往返於意大利里雅斯特與亞洲間商船船長之女，Anna Puchar del Bello

Impressive in size and its magnificent detailed design, the decorative members of the imperial Household Department received an allocation combination of auspicious motifs such as phoenixes, bats and shou of two blocks of ice per day. The pierced covers of the ice box allowed characters on a dense foliate scroll indicate that it most likely was cool air to escape, which would then be fanned into the rooms by intended for the emperor’s chambers. A related cloisonné enamel ice servants. Large ice chests of this type derive from wooden prototypes chest, Qianlong mark and of the period, but decorated with foliate lotus lined with a metal such as lead; see an example in the Victoria and scrolls, is illustrated in The Complete Collection of Treasures of the Albert Museum, London, illustrated by C.Clunas, Chinese Furniture, Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, pl.129. London, 1997, p.99, pl.89. The form and horizontal gilt-metal ribs are examples of the original wooden structure that have been retained, Ice chests were filled with ice and used in the Qing palaces during the along with the transportable nature of these chests represented by in hot summer months to cool drinks and food, as well as cooling the the sturdily-constructed handles. surrounding area. In winter ice blocks were cut from the Inner Golden River and were stored in the five ice vaults in the Forbidden City near Compare with a related cloisonné enamel ice chest, Qianlong, which the Gate of the Great Ancestors. During the period from the first day was sold at Christie’s New York, 20 0ctober 2004, lot 601. of the fifth month to the twentieth day of the seventh month specific

For details of the charges payable in addition to the final Hammer Price of each Lot 180 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

(detail)

137 TP A RARE AND LARGE IMPERIAL ‘LOTUS’ VELVET DAIS COVER Yongzheng The cover consisting of three joined panels of cut and uncut silk velvet, centred with a large orange lotus bloom surrounded by six smaller blooms, all outlined in silvery-grey thread on a dense ground of curly-leafed scroll designs in gilt metal-wrapped thread on a honey-coloured cut-pile background, enclosed within a triple border of geometric fretwork, meandering lotus scroll and key-fret. 350cm (137 6/8in) x 190cm (74 7/8in).

£60,000 - 80,000 CNY530,000 - 710,000

清雍正金絲地絲絨纏枝菊紋炕罩

Provenance: The Textile Gallery, London, 1982 Lady Schiennen, Kent, England Christopher Bruckner Asian Art Gallery, London, 2007 A European private collection

Published and Illustrated: Christopher Bruckner, Chinese Imperial Patronage: Treasures from Temples and Palaces, London, 2005, no.33.

來源：英國倫敦，The Textile Gallery，1982年英國肯特郡，Schiennen夫人舊藏英國倫敦，Christopher Bruckner Asian Art Gallery，2007年歐洲私人收藏

出版著錄：英國倫敦，Christopher Bruckner，《Chinese Imperial Patronage: Treasures from Temples and Palaces》，2005年，編號33

Sumptuous covers made of delicate silk velvet, such as the present The rich honey-coloured ground and the interlocking key-fret designs example, are extremely rare and were produced in limited quantities for ending with dragon heads, which the present example displays, the imperial court in workshops based in Fujian and Jiangsu Provinces. appear to be features characterising the earliest production of silk Constructed of three silk-velvet panels which were joined together after velvet carpets in China, datable to late 17th/early 18th century. weaving, this lavish carpet was probably meant to cover important See a honey-ground silk velvet carpet, late 17th/early 18th century, furniture, such as the kang platform of an imperial residence that was decorated with blossoming lotus and similar interlocking designs heated by braziers and supported other furniture. ending with dragon heads, from the Art Institute of Chicago, illustrated by J.Vollmer, Clothed to Rule the Universe. Ming to Qing Dynasty Textiles at the Art Institute of Chicago, Chicago, 2000, pl.30, pp.47.

For details of the charges payable in addition to the final Hammer Price of each Lot 184 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Finely woven in the brilliant shades of cinnabar red and golden Compare with a similar but later silk velvet cover, late 18th century, yellow, the panel evokes powerful religious associations concerning woven in gold metal-wrapped thread with orange blossoming lotus the attainment of immortality. Emerging from the mud, lotus flowers amidst meandering leafy scrolls on a navy ground, from the collection were a highly-regarded symbol of Buddhist purity and enlightenment. of the Minneapolis Institute of Art, illustrated by R.Jacobsen, Ch’ing Both sutras and actual depictions of Buddhist realms, dating from at Dynasty Textiles in the Minneapolis Institute of Arts, Minneapolis, 2002, least the fourth century, relate to the lotus calyx as means releasing vol.2, pp.1094, cat.no.543. the reborn souls into the Pure Land presided by Buddha Amitabha. The blossoming red flowers, however, also recall the transmutation of cinnabar into gold, a Daoist process aimed at driving away the malignant spirits and ascending to heaven in broad daylight.

FINE CHINESE ART | 185 138

138 139 A RARE PAINTED ENAMEL EWER AND BARBER’S BOWL A PAIR OF CLOISONNÉ ENAMEL PRICKET CANDLESTICKS FOR THE PORTUGUESE MARKET, 18TH CENTURY Qianlong 18th century Of square section, the flared bases rising to the curved shallow drip- The oval bowl finely painted into the well with mandarin ducks floating pans and columns rising to smaller drip-pans surmounted by prickets, on a lotus pond, the cavetto with shaped cartouches containing floral decorated around the exterior in bright enamels on a turquoise ground sprays, the everted rim with further colourful floral scrolls interspersed with leafy foliate scrolls amid stylised florets and lotus blossoms. with bold butterflies, the exterior with grapevines, 41cm (16 1/4in) Each 39.5cm (15 1/2in) high. (2). wide; the nautilus-shell-shaped ewer brightly painted around the body with shaped panels enclosing lotus pond and ducks, floral sprays, and £22,000 - 28,000 butterflies, reserved on a stylised leafy ground, applied to the side with CNY190,000 - 250,000 a large strapwork handle and all supported on a similarly-decorated tall spreading foot, 27cm (10 1/2in) high. (2). 清乾隆掐絲琺瑯花卉紋燭臺一對

£10,000 - 15,000 The present lot would have originally served as a part of a garniture set CNY89,000 - 130,000 for ritual or ancestral altars. Compare with a related pair of cloisonné enamel candlesticks, of square section, Qianlong, illustrated as part 十八世紀外銷葡萄牙市場銅胎畫琺瑯執壺及剃須盤一組兩件 of a five-piece altar set by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, pl.267. A single cloisonné D.S.Howard and J.Ayers in China for the West, vol.1, London, 1978, enamel candlestick, Qianlong four-character mark and of the period, p.144, pl.125, discuss ewers of this nautilus shell form and argue that with the same interlacing lotus design, but of cylindrical section, is they probably copied European silver or pewter, the scallop shell in illustrated in Compendium of Collections in the Palace Museum: particular being common from the 17th century. They argue that wares Enamels, vol.2, Beijing, 2011, p.368, no.296. of this form date usually between 1720 and 1725. A Canton painted enamel ewer and basin are in the collection of the Hermitage Museum, Compare with a related pair of cloisonné enamel candlesticks of St.Petersburg, illustrated by T.B.Arapova, Chinese Painted Enamels, square section, Qianlong, which was sold at Bonhams Hong Kong, Moscow, 1988, pl.2(3). See also a similar painted enamel ewer and 26 May 2007, lot 200. basin, 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.II, London, 2016, p.954, nos.2136-2137.

For details of the charges payable in addition to the final Hammer Price of each Lot 186 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 139

FINE CHINESE ART | 187 The Property of a Gentleman 紳士藏品

140 TP A RARE AND LARGE IMPERIAL ‘LOTUS’ VELVET DAIS COVER Mid-Qing Dynasty The cover consisting of three joined panels of cut and uncut silk velvet, centred with a large orange blossoming lotus surrounded by six smaller blooms, all on a dense ground of curly-leafed scroll designs in gilt metal-wrapped thread on a black background, enclosed within a triple border of geometric fretwork, meandering lotus scroll and key-fret. 350cm (137 6/8in) x 190cm (74 7/8in).

£50,000 - 80,000 CNY440,000 - 710,000

清中期金絲地絲絨纏枝蓮紋炕罩

Provenance: Danon, Rome A European private collection

來源：意大利羅馬古董商，Danon 歐洲私人收藏

Finely woven in brilliant shades of cinnabar red and golden yellow, the daylight. According to the ‘Records of the Great Historian’, Shiji, sumptuous carpet evokes powerful religious associations concerning compiled during the first century BC, the alchemical method was the attainment of immortality. first performed by the mythical Yellow Emperor and promoted by Li Shaojun, a Han specialist in astrology, divination and geomancy. The Emerging from the mud, lotus flowers were a highly-regarded symbol process involved the presentation of offerings to an alchemical stove in of Buddhist purity and enlightenment, however, they also recall order to summon the supernatural beings. During this ritual, cinnabar the transmutation of cinnabar into gold, a Daoist practice aimed at was transformed into gold and employed to manufacture food and driving away the malignant spirits and ascending to heaven in broad drink vessels that were thought of prolonging one’s life and granting

For details of the charges payable in addition to the final Hammer Price of each Lot 188 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. admission in the ranks of the celestial bureaucracy. For references see F.Pregadio, Great Clarity: Daoism and Alchemy in Early Medieval China, Stanford, 2006.

A closely related rectangular silk velvet panel, early 19th century, centred with large lotus blossoms surrounded by six smaller blooms amongst foliate scrolls enclosed within a triple border of scrolling lotus and key-fret is illustrated by R.Jacobsen, Ch’ing Dynasty Textiles in the Minneapolis Institute of Arts, Minneaapolis, 2002, vol.2, pp.1094, no.543.

FINE CHINESE ART | 189 141

141 Y TP A HUANGHUALI TABLE 17th century The top set into a rectangular frame with a moulded edge, supported by beaded legs at the corners terminating in hoof feet and joined by beaded humpbacked stretchers joined by four vertical struts on the long side and two on the short sides, the wood of an attractive amber hue. 92cm (36 1/4in) wide x 51.5cm (21in) deep x 41cm (16in) high.

£10,000 - 15,000 CNY89,000 - 130,000

十七世紀黃花梨直足無束腰羅鍋棖加矮老矮桌

The design of the present table was inspired by bamboo furniture. The present table would have been commissioned by a wealthy family, attracted to the humble origins of bamboo furniture, but seeking the luxury and status associated with precious huanghuali. Compare with a related cypress wood table, Qing dynasty, with similar struts and rounded elements, illustrated in Fine Ming and Qing Furniture in the Shanghai Museum, Hong Kong, 1998, pp.88- 89, no.35.

Compare with a related pair of bamboo-inspired 142 huanghuali rectangular tables, but with ring-struts, 17th/18th century, which was sold at Christie’s New York, 17-18 March 2016, lot 1316.

For details of the charges payable in addition to the final Hammer Price of each Lot 190 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 143

142 Y TP 143 A HUANGHUALI RECTANGULAR INCENSE BURNER STAND A RARE BLUE-GROUND SILK ‘LOTUS’ THRONE COVER Mid Qing Dynasty Qianlong The single-panel top set within a rectangular frame, above a narrow The rectangular cover delicately embroidered in gilt thread with a central waist and apron carved with stylised archaistic scrolls, the elegant legs panel enclosing an oblong cartouche defined by interlocking borders of square section joined by humpback base stretchers. and decorated with a blossoming lotus flower issuing from curving 85cm (33 1/2in) high x 34.5cm (13 5/8in) deep x 45.5cm (17.8in) wide. tendrils and acanthus leaves, amidst further lotus depicted in different blossoming stages amidst hovering bats, their eyes picked out in ‘Peking knot,’ the border similarly decorated with a profusion of lotus in £6,000 - 8,000 various orientations interspersed amidst a continuous leafy meander. CNY53,000 - 71,000 140cm (55in) wide 106.5cm (42in) long.

清中期黃花梨四足有束腰長方香几 £10,000 - 15,000

CNY89,000 - 130,000 For a discussion on incense stands, their origins and use, see S.Handler, Austere Luminosity of Classical Chinese Furniture, Berkeley, 2001, pp.295-302, where the author explores the inspirational role 清乾隆藍地盤金繡纏枝蓮紋寶座褥 played by the incense stand in the life of the Chinese literati who would commonly use incense to induce a poetic state of mind. Provenance: Linda Wrigglesworth, London

來源：英國倫敦古董商，Linda Wrigglesworth

Compare with a similar blue-ground silk ‘lotus’ cushion cover, 18th century, embroidered in blue and peach coloured satin silks, illustrated in Spink and Son Ltd., Threads of Imagination, London, 199, no.26.

144 A VERY LARGE AND IMPERIAL MIDNIGHT-BLUE-GROUND SILK EMBROIDERED ‘DRAGON’ PANEL Kangxi The rectangular panel finely embroidered with a powerful five-clawed dragon featuring a sinuous body finely picked up in dense couched gold thread and leaping above tumultuous waves in pursuit of a partially-visible ‘flaming pearl’, surrounded by colourful wispy clouds, all on a midnight-blue ground. 217cm (85 1/2in) x 93cm (36 1/2in).

£30,000 - 50,000 CNY270,000 - 440,000

清康熙禦制藍地五爪龍紋壓金彩繡

Provenance: a Hong Kong private collection, late 1980s John Eskenazi Ltd., London, 1990 An English private collection, 1994-2005 John Eskenazi Ltd., London, 2007 Christopher Bruckner Asian Art Gallery, London, 2007 A European private collection

Published and Illustrated: J.Eskenazi, Chinese Silk Textiles from 14th-18th Century, Milan, February-March 1995 Hali, magazine issue 79, February / March 1995, pp. 58-59 Christopher Bruckner, Chinese Imperial Patronage: Treasures from Temples and Palaces, London, 2005, no.33.

來源：香港私人收藏，二十世紀八十年代末英國倫敦古董商，John Eskenazi Ltd.，1990年英國私人收藏，1994-2005年英國倫敦古董商，John Eskenazi Ltd.，2007年英國倫敦古董商，Christopher Bruckner Asian Art Gallery，2007年歐洲私人收藏

展覽著錄：意大利米蘭，J.Eskenazi，《Chinese Silk Textiles from 14th-18th Century》，1995年2月至3月 Hali雜誌第79期，1995年2/3月，58-59頁英國倫敦，Christopher Bruckner，《Chinese Imperial Patronage: Treasures from Temples and Palaces》，2005年，編號33

The powerful dragon on the present panel displays the extraordinary In style, the present embroidery closely compares with a silk hanging weaving of the imperial workshops of the Qing dynasty. This panel of a full-faced dragon embroidered on a velvet panel, 17th century, probably formed part of a very large imperial hanging that functioned illustrated in Heavens’ Embroidered Cloths. One Thousand Year of either as a backdrop or curtain in one of the ceremonial halls within the Chinese Textiles, Hong Kong, 1995, no.9. Also compare with a similarly Forbidden City. Brilliantly woven in gold and five-coloured silk threads, rendered dragon, Kangxi, illustrated in Weaving China’s Past. The Amy the dragon features a shining face and scales that contrast with its S. Clague Collection of Chinese Textiles, Phoenix, 2000, no.22. matte tongue, mane, and claw tips.

For details of the charges payable in addition to the final Hammer Price of each Lot 192 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

145 AN EXCEPTIONALLY LARGE AND RARE IMPERIAL YELLOW-GROUND EMBROIDERED SILK ‘DRAGON’ PANEL Qianlong The massive panel with an impressive central gilt-couched front-facing five-clawed dragon clutching a flaming pearl, flanked by two side- facing dragons amongst further flaming pearls interspersed amidst colourful ruyi cloud scrolls and above crashing waves. 364cm (143 2/8in) long x 239cm (94cm) wide.

£30,000 - 50,000 CNY270,000 - 440,000

清乾隆禦制黃地彩繡趕珠龍紋掛屏

Provenance: Linda Wrigglesworth, London

來源：英國倫敦古董商，Linda Wrigglesworth

Superbly woven and impressive in its exceptionally large size, this magnificent brocade is a splendid testament to the scale and opulence of the Qianlong court. This panel was probably the central part of a very large imperial hanging which functioned either as a backdrop or curtain in one of the ceremonial halls within the Forbidden City. The complete panel would have likely consisted of nine writhing dragons interspersed within a celestial landscape of clouds, mountain and waves.

Capable of flying high in the sky and diving back in the sea, dragons were regarded in China as intermediaries between Heaven and Earth and empowered with extraordinary powers that compared with those of the emperors. In conjunction with the flaming pearl, the dragon formed the visual metaphor of the good ruler who behaved wisely for the well being of his subjects.

A closely related Imperial yellow-ground ‘dragon’ panel, mid-18th century, featured as the central part of a massive curtain hanging, is illustrated by R.Jacobsen, Imperial Silks: Chi’ing Dynasty Textiles In The Minneapolis Institute Of Arts, Minneapolis, 2002, pp.956-957, cat.no.474.

Image courtesy of The Minneapolis Institute Of Arts, Minneapolis

For details of the charges payable in addition to the final Hammer Price of each Lot 194 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

146

147

146 147 FOUR RARE PAIRS OF EMBROIDERED SLEEVE BANDS THREE UNUSUAL PAIRS OF EMBROIDERED SLEEVE BANDS 19th century 19th century All finely embroidered in multi-coloured satin stitch and Peking knot, All delicately embroidered in satin stitch and Peking knot, the bands the first pair of bands decorated with two confronted scaly dragons of the first pair with peacocks standing besides pitted rocks amidst pursuing the flaming pearl amidst Auspicious Emblems and clouds blossoming peonies and a lotus pond, all on a cream ground, the on an ochre ground, the second pair with children amidst sprays of second with blossoming flowers, peaches and melons amidst golden blossoming peonies issuing from pitted rocks on a cream ground, the tendrils on a blue ground, the third with a lakeside scene featuring third pair with blossoming flowers and pavilions on an ivory ground, court ladies and scholars on a white ground. the fourth with roosters and magpies besides a pine trees and Embroidered area of the largest pair 58cm (22 7/8in) long. (6). chrysanthemums, on a white ground. Embroidered area of the largest pair 50.5cm (19 7/8in) long. (8). £1,500 - 2,000 CNY13,000 - 18,000 £2,000 - 3,000 CNY18,000 - 27,000 十九世紀各式緞地刺繡袖帶三對

十九世紀各式緞地刺繡袖帶四對 For details of the charges payable in addition to the final Hammer Price of each Lot 196 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 148

149

148 149 FOUR UNUSUAL PAIRS OF EMBROIDERED SLEEVE BANDS FOUR RARE PAIRS OF EMBROIDERED SLEEVE BANDS 19th century 19th century All delicately embroidered in fine satin stitch and Peking knot, the Each delicately embroidered in multi-coloured satin stitch and Peking bands of the first pair with children amidst blossoming flowers and knot, the first pair with court ladies in garden settings on a white pitted rocks on a duck-egg blue ground, the second with court ladies ground, the second pair with boys engaging in leisurely pursuits on an in a fenced garden dotted with bamboo and pine trees on a cream ochre ground, the third pair with cartouches depicting pavilions and ground, the third with colourful butterflies and blooming peonies on flowers reserved on geometric designs on a navy blue ground, the a turquoise ground, the fourth with floral medallions alternating with fourth with the Paragons of Filial Piety on an ivory ground. further floral sprays on an ivory ground. Embroidered area of the largest pair 54cm (21 2/8in) long. (8). Embroidered area of the largest pair 55cm (21 5/8in) long. (8). £2,000 - 3,000 £2,000 - 3,000 CNY18,000 - 27,000 CNY18,000 - 27,000 十九世紀各式緞地刺繡袖帶四對十九世紀各式緞地刺繡袖帶四對

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 197 150 A MASSIVE PAINTED POTTERY MODEL OF A HORSE Tang Dynasty Naturalistically modelled in mid-stride on a rectangular plinth with a gracefully arched neck and a proud face conveying an alert expression detailed with bulging eyes set below a split forelock and pricked ears, pronounced jaw bones and flaring nostrils, the short tail neatly cropped and the saddle hanging over a draped blanket, the anatomy well rendered with muscular legs, covered overall with rich red and orange pigments. 87cm (37 1/4in) high.

£40,000 - 60,000 CNY350,000 - 530,000

唐陶胎彩繪馬俑

The result of Oxford Authentication Ltd. thermoluminescence test no. C105j8, dated 24 March 2005, is consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（2005年3月24日，編號C105j8）顯示年代與本拍品年代一致。

Notable for its impressive size and naturalistically modelled in a forward the reward for military invasions and the foundation of imperial solidity. moving posture with long muscular legs, pricked ears and alert Galloping horses involved in the game of polo graced the tomb walls expression, this massive horse, unusual for his red pigments, conveys of Prince Zhang Guai (654-684 AD) in Xian, Shaanxi Province, and a remarkable sense of realism which characteristics the highest military parades including horses were depicted on the tomb walls of standards achieved in the sculptural production of the Tang dynasty. Princess Yongtai (684–701 AD) and Prince Yide (682–701 AD) also excavated in Xian. The powerful sculpture would have been commissioned for internment in a burial belonging to an elite member of the Tang society, and Thoroughbred horses were traded with neighbouring Arab nations together with a vast array of furnishing in the form of other animal for silk from as early as the Han dynasty and gradually replaced figures, courtiers, entertainers and food and drink vessels, contributed to the sturdier steppe ponies indigenous to China. In 636, the Taizong sustain the tomb occupant in their afterlife. For reference see J.Rawson, emperor (r.599-649 AD) commissioned the manufacturing of six stone ‘The Power of Images: The Model Universe of The First Emperor and Its sculptures, each representing one of his favourite horses, which he Legacy’, Historical Research, 2002, vol.75, no.188, pp.123-54. selected from the military victories that brought him to power, and even composed a laudatory poem for each of these horses. The frequency and exceptional sculptural quality of pottery horses dating to the Tang dynasty testifies to the importance attributed to the Two closely comparable grey pottery figures of walking horses, animal by contemporary society. Horses represented high status and Tang dynasty, both covered in polychrome pigments and similar in wealth as only the nobility and the imperial household were allowed to proportions to the present horse, are illustrated by V.Choi, Horses ride them. The creatures were also employed in recreational activities for Eternity. Terracotta Equestrian Tomb Sculpture of Dynastic China, involving dancing, polo and hunting and finally, they were considered Hong Kong, 2007, nos.96 and 99, pp.224, 226, 230-231.

For details of the charges payable in addition to the final Hammer Price of each Lot 198 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.

151 Y TP A HUANGHUALI LOW TABLE, KANG 19th century The rectangular panelled top set within a wide border above a recessed waist and a shaped, beaded apron, richly carved with archaistic scrolls, supported on four humpback corner feet ending with upturned foliate terminals. 77cm (30 1/4in) wide x 45cm (17 3/4in) deep x 30cm (11 7/8in) high.

£3,000 - 5,000 CNY27,000 - 44,000

十九世紀黃花梨有束腰三彎腿炕桌

152 Y TP A SMALL HUANGHUALI CABINET Late Qing Dynasty/Republic Period The rectangular outline with an open upper shelf, above a pair of tall rectangular doors with well- figured panels within grooved edges opening to 151 a single shelf, set with metal lockplate and pull handles, with later separate stand. 73cm (28 3/4in) wide x 32cm (12 3/5in) deep x 96.5cm (34in) high.

£6,000 - 8,000 CNY53,000 - 71,000

清晚期/民國黃花梨亮格小櫃

The austere minimalistic form of the present lot follows directly from Ming dynasty furniture. Compare with a huanghuali open cabinet with two drawers and stands, Ming dynasty, illustrated by Quincy Chuang, ed., The Chuang Family Bequest of Fine Ming and Qing Furniture in the Shanghai Museum, Hong Kong, 1998, pp.102-103, no.103.

153 TWO PAINTED POTTERY FIGURES OF COURT LADIES Tang Dynasty The plump figures clad in voluminous high-waisted robes defined by long pleated skirts falling above the upturned slippers, the round faces with small painted lips, brows and narrow eyes beneath large elaborate chignons, with traces of coloured pigments remaining. The taller 51.5cm (20 1/4in) high. (2).

£12,000 - 15,000 CNY110,000 - 130,000

唐陶胎彩繪仕女俑一組兩件

The results of Oxford Authentication Ltd. thermoluminescence test nos. C111k94, dated 7 September 2011, and C119n19, dated 5 September 2019, are consistent with the dating 152 of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（2011年9月7日，編號C111k94，與2019年9月5 日，編號C119n19）顯示年代與本拍品年代一致。

For details of the charges payable in addition to the final Hammer Price of each Lot 200 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Gracefully rendered, the elegant ladies wear loose gowns with long available and mangoes were imported from Southeast Asia. The sleeves and sport elaborate coiffures which reflected the fashion of emperors hosted great feasts for the members of their household, the time. which required several meal supervisors and cooks to manage the delicacies that were sent as tributes to the Court. According The plumpness of the body, conveyed by the full cheeks, dimpled to surviving literary records, in 644, 768 and 826 the Court served chins and broad chests, is often found in pottery figures and thousands of officers as well as numerous court ladies and tomb frescoes dating from the 8th century. These features may members of the imperial family. well have been influenced by the full-figured concubines of the Xuanzong emperor(r. 713-756). The sedentary lifestyle and the The size, facial features and the hairstyle of the present figures are greater availability and variety of food delicacies, imported from similar to those displayed on a pottery figure, Tang dynasty, illustrated neighbouring countries, must have prompted an increase in weight in the Los Angeles County Museum Exhibition, The Quest for Eternity. among the high-ranking members of Tang society. ‘There is nothing Chinese Ceramic Sculptures from the People’s Republic of China, Los that cannot be eaten’, declared a Tang general in the 8th century. Angeles, 1987, no.83, p.139. Golden peaches from Samarkand graced the tables of the emperor and his favourites; pistachios, imported from Persia, started to A similar pottery figure of a lady, Tang dynasty, was sold at Christie’s be grown in Southeast China by the 9th century. High-quality New York, 19-20 September 2013, lot 1255; another similar example pine seed and ginseng roots originating from Korea were also was sold at Sotheby’s London, 9 June 2004, lot 77.

153

FINE CHINESE ART | 201 154 Y TP The present huanghuali table is rare in its design around the apron, A RARE HUANGHUALI LOW TABLE, KANG comparable to that on a long zitan table, early Qing dynasty, 17th century illustrated in the Collection of the Palace Museum: Red Sandalwood The panelled top set within a mitered, mortise and tenon frame with Furniture, Beijing, 2007, pl.123; and to that carved on a huanghuali ice-plate edge above a recessed waist and a shaped apron, richly table, Ming dynasty, illustrated by Wang Shixiang in Ming Furniture, carved with geometric scroll work continuing down the square legs Beijing, 2003, pl.113. above scroll feet.

97cm wide (38 1/4in) x 69.5cm (27 1/2in) deep x 31.5cm (12 1/2in) high.

£20,000 - 30,000 CNY180,000 - 270,000

十七世紀黃花梨有束腰馬蹄足雕螭龍紋炕桌

For details of the charges payable in addition to the final Hammer Price of each Lot 202 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. The fine and rare quality of the joinery demonstrated in the present Compare with a related but slightly later huanghuali kang table, table is clearly evident in the accomplished and well-proportioned 18th century, with archaistic scrolls on the apron, which was sold design around the apron, and the attention to detail given to every at Bonhams New York, 16 March 2015, lot 8081. part of the finely-carved archaistic geometric scrolls. This table is also unusual for the relatively good condition of the lacquer applied to the underside of the table.

155 A PAIR OF VERY LARGE PAINTED POTTERY HORSES The result of Oxford Authentication Ltd. thermoluminescence Tang Dynasty test no. C111k94, dated 7 September 2011, is consistent with Both finely modelled in mid-stride with heads raised, mouths agape, the dating of this lot. flaring nostrils and bulging eyes, the features finely detailed with forelocks swept back towards the trimmed mane falling short of Oxford Authentication Ltd公司熱釋光檢測結果（2011年9月7日， the saddle, traces of red pigment over white slip remaining. 編號C111k94）顯示年代與本拍品年代一致。 Each 64.5cm (25 1/4in) long. (2).

£15,000 - 20,000 CNY130,000 - 180,000

唐陶胎彩繪馬俑一對

For details of the charges payable in addition to the final Hammer Price of each Lot 204 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Realistically modelled in a forward moving posture, with long striding dancing. A particular breed of foreign horse were favoured by the legs, pricked ears and flowing saddle cloth, this large pair of horses Xuanzhong emperor to perform a variety of dancing performances display a remarkable degree of observation on the sculptor part (r.667-731 AD) on the occasion of his birthday. See R.Jacobsen, which is vividly captured in the finest examples of pottery figures Celestial Horses and Long Sleeve Dancers: The David W. Dewey manufactured during the Tang dynasty. Collection of Ancient Tomb Sculptures, Minneapolis, 2013.

Horses in Tang-dynasty China were admired for their speed, A related pottery model of a horse, Tang dynasty, is illustrated in tenaciousness, and intelligence; they were deemed important means V.Choi, Horses for Eternity-Terracotta Equestrian Tomb Sculpture in the realms of travel and war and played a big role in the leisure of Dynastic China, Hong Kong, 2007, no.67, pp.186-7. activities of the highest-ranking classes, such as polo, hunting and

FINE CHINESE ART | 205 156

156 * 157 Y TP A PAIR OF SANCAI-GLAZED POTTERY The result of Oxford Authentication Ltd. A HUANGHUALI ‘PAINTING’ TABLE, HORSES AND RIDERS thermoluminescence test no.C103c51, HUA’AN Tang Dynasty dated 28 February 2003, is consistent Qing Dynasty/Republic Period The chestnut-glazed horses standing four- with the dating of this lot. The single-panel top set within the wide square on unglazed rectangular bases, the rectangular frame with a beaded edge finely-moulded heads reaching forward, the Oxford Authentication Ltd公司熱釋光檢測結 above plain aprons and spandrels, the frame male and female riders respectively wearing 果（2003年2月28日，編號C103c51）顯示年 supported on thick legs of round section glazed green tunics, with finely painted faces, 代與本拍品年代一致。 joined by pairs of stretchers. the arms raised and folded at the elbows, 207cm (81 1/2in) wide x 43cm (17in) deep x wood stands. Related sancai glazed groups of horse and 79cm (31in) high. Each 38cm (15in) long (4). rider, Tang dynasty, have been excavated from high-ranking burials in Luoyang, illustrated in £15,000 - 20,000 Luoyang Tang dynasty Sancai, Beijing, 2980, £10,000 - 15,000 CNY130,000 - 180,000 pls.28, 30 and 31; another related pottery CNY89,000 - 130,000 group of horse and rider, Tang, is illustrated by R.Krahl, Chinese Ceramics From the 清/民國黃花梨夾頭榫平頭畫案唐三彩騎馬俑一對 Meyintang Collection, London, 1994, vol.1, pp.118-119, pls.193-195. Compare with a related huanghuali ‘painting’ Provenance: Vanderven Oriental Art, table, but with legs of square section, 19th ‘s-Hertogenbosch, 17 November 2003 century, which was sold at Bonhams London, A Swiss private collection 12 May 2016, lot 231.

來源：荷蘭斯海爾托亨博斯古董商，Vanderven Oriental Art，2003年11月17日瑞士私人收藏

For details of the charges payable in addition to the final Hammer Price of each Lot 206 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 157

158 Y TP A HUANGHUALI ‘MEDITATION’ STOOL Qing Dynasty Of mitered, mortise and tenon frame construction with a beaded edge, the frame enclosing a mat seat, above a narrow waist and simple apron, all supported on legs of square section joined by humpback stretchers and terminating in hoof feet. 63.5cm (25in) square x 34.5cm (13 1/2in) high.

£9,000 - 12,000 CNY80,000 - 110,000

清黃花梨羅鍋棖加矮老禪凳

Stools of this design were meant to allow the sitter to sit cross-legged in meditation, represent one of the most reproduced forms in Chinese furniture. Wang Shixiang in Connoissuership of Chinese Furniture: Ming and Early Qing Dynasties, vol.1, Hong Kong, 1990, p.174, notes that soft-cane seats are not only ergonomic, adjusting subtly to the changing movements and weight shifts of the sitting human form, they also allow air flow; hence they were favoured in the areas of Suzhou and Guangzhou from the Ming dynasty onwards. See for example, a 158 related huanghuali stool, late 16th/early 17th century, illustrated by Grace Wu Bruce, Living with Ming: The Lu Ming Shi Collection, 2000, p.70, no.9.

Compare with a related huanghuali meditation stool, 17th century, illustrated by S.Handler, Austere Luminosity of Classical Chinese Furniture, Berkeley, 2001.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 159 A NEAR PAIR OF PAINTED POTTERY MODELS OF Carefully fashioned with close attention to detail such as detailed CAPARISONED HORSES harnesses embellished with conch shells and bells, and floating Northern Wei Dynasty blankets that resembled flowing wings, the horse is a fine example of Each finely modelled standing four-square, the head well proportioned the limited sculptural production of the Wei dynasty that has survived with alert ears, a tasselled rope looped around the top of the curving to this date. It is possible that the horse may have been imported neck and ornaments on the chest collar, the back covered with a long from the Central Asian region of Ferghana, whose horses were highly cloth, the crupper on the rump hung with ornaments, with traces of favoured by the Chinese imperial Court and upper classes for their red and grey pigment remaining. spirit and vitality. 40cm (15 3/4in) and 43.5cm (17 1/8in) long. (2). Compare with a similar horse, Wei dynasty, illustrated in The Tsui £8,000 - 12,000 Museum of Art, Chinese Ceramics, Neolithic to Liao, vol.1, Hong CNY71,000 - 110,000 Kong, 1993, no.71; and another, which was sold at Christie’s New York, 22 March 1999, lot 221. 北魏陶胎彩繪馬俑一組兩件

The result of Oxford Authentication Ltd. thermoluminescence tests no. C109e41, dated 8 March 2009, and C110p82, dated 22 November 2010, are consistent with the dating of this lot.

Oxford Authentication Ltd公司熱釋光檢測結果（2009年3月8日，編號C109e41；以及2010年11月22日，編號C110p82）顯示年代與本拍品年代一致。

For details of the charges payable in addition to the final Hammer Price of each Lot 208 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 160 Y TP A HONGMU AND BURLWOOD REVOLVING CIRCULAR TABLE Late Qing Dynasty The large round burlwood panel set within a finely- grained hongmu frame, above the apron carved with archaistic stylised dragon supported by arms decorated with further stylised dragons, the foot carved with openwork panels of intricate floral scrolls and dragons, all supported on bracket feet. 89.5cm (35 1/4in) diam. x 84cm (33in) high.

£10,000 - 15,000 CNY89,000 - 130,000

清晚期紅木及癭木鏤雕圓桌

Compare with a related hongmu, marble-top revolving circular table, late Qing dynasty, which was sold at Bonhams London, 8 November 2018, lot 293.

The Property of a Gentleman 紳士藏品 162 Lots 161 - 162 ZHU QIZHAN (1892-1996) Gourds, 1974 161 Ink and colour on paper, inscribed and signed Qizhan with three seals CUI ZIFAN (1915-2011) of the artist, framed and glazed. Lotus, 1985 69cm x 66cm (27 1/4in x 26in). Ink and pigment on paper, inscribed by the artist and dated Yichou (1985), signed Zifan with one artist’s seal reading Cui Zifan, framed and glazed. 101cm x 52.5cm (39 3/4in x 20 3/4in). £2,000 - 3,000 CNY18,000 - 27,000 £3,000 - 4,000 CNY27,000 - 35,000 1974年朱屺瞻(1892-1996年) 葫蘆設色紙本鏡框裝裱

1985年崔子範(1915-2011年) 香遠益清設色紙本鏡框裝裱 Provenance: an English private collection 乙丑歲子范來源：英國私人收藏 Provenance: an English private collection Zhu Qizhan is heralded today as one of China’s foremost modern 來源：英國私人收藏 artists, with a museum dedicated to his art in Shanghai. His works can also be found in the British Museum in London and the Metropolitan Cui Zifan was one of the leading modern masters of the Chinese Museum of Art in New York. In 1918 he went to study in Japan, where Expressionist school of ink painting (da xieyi). He was born in Shandong he discovered the post-Impressionist painters Vincent van Gogh and Province to a family of farmers, but as a child he was drawn to Paul Cézanne, and the vibrant works of Matisse. He returned to China calligraphy and painting. Although his family was so impoverished that they could not afford art materials, he practiced on slate with chalk. In to teach at the Shanghai Art Academy and established the Moshe Art 1940, he was studying at Yan’an and by 1956 he was General Secretary Society with the painter Xu Beihong. With the establishment of the of the Academy of Painting in Beijing where Qi Baishi was honorary People’s Republic of China in 1949, Zhu turned to traditional Chinese president. Compare with a similar painting of red lotus by Cui Zifan, painting, travelling to the countryside and drawing workers in the fields 1981, which was sold at Bonhams New York, 13 March 2017, lot 2100. and in the factories.

For details of the charges payable in addition to the final Hammer Price of each Lot 210 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 163 Y TP A FINE HONGMU RECTANGULAR ‘PRUNUS’ TABLE 19th century The tightly-grained top panel set within a rectangular frame above a short narrow waist exquisitely carved with a key-fret border above stylised curling leaves and a wide apron intricately carved and pierced as gnarled prunus branches, supported on four legs of square section similarly carved as intertwining gnarled prunus branches laden with flowering blooms and opening buds. 150cm (59 1/16in) long x 84.8cm (33 1/2in) high x 43.7cm (17 1/4in) deep.

£10,000 - 15,000 CNY89,000 - 130,000

十九世紀紅木雕梅花條案

Compare with a similar hongmu ‘prunus’ table, 19th century, which was sold at Bonhams London, 16 May 2019, lot 266.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 164

164 165 Y TP Compare with a zitan demi-lune table, FIVE PAINTINGS A LARGE HONGMU MARBLE-TOP 19th century without the marble top, and carved with CONSOLE TABLE Tempera on board, depicting scenes of 19th century rococo style foliage in the Palace Museum, daily life including ladies playing dominoes, The lobed top inset with a mottled marble Beijing, illustrated in Ming Qing Guting Jiaju ladies drinking wine, playing in the garden, panel of pink-tone, supported on four cabriole Daquan, vol.II, Beijing, 2006, fig.178. The gentlemen praying to the ancestors and legs issuing from beast-heads and terminating taste for floral and rococo style carving in playing board games, glazed and framed. with scaly fish-dragon creatures, joined with furniture appears to have been particularly 49.5cm (19 1/2in) wide x 35cm (12in) long (5). stretchers, the elaborate frieze carved with a popular within the Qing Court. European-style central cartouche enclosing a Chinese opera floral scroll work can also be seen on the £4,000 - 6,000 scene, all surrounded by squirrels and grapes, apron of a red sandalwood chair in the Qing CNY35,000 - 53,000 the wood with an attractive dark patina. Court Collection, illustrated in The Complete 150cm (59 1/16in) x 75cm (29 1/2in) x Collection of Treasures of the Palace Museum: 86.5cm (34in). Furniture of the Ming and Qing Dynasties (II), 十九世紀外銷畫一組五幅 Hong Kong, 2002, pl.55.

Provenance: a European private collection £5,000 - 8,000 Compare with a related hongmu and marble- CNY44,000 - 71,000 inset console table, 19th century, which was 來源：歐洲私人收藏 sold at Christie’s London, 9 November 2016, 十九世紀紅木鏤雕人物故事圖嵌大理石邊桌 lot 329. See also a similar marble top demi- lune hardwood table, 19th century, which was sold at Bonhams London, 5 November 2009, lot 293.

For details of the charges payable in addition to the final Hammer Price of each Lot 212 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 165

166 IN THE MANNER OF YUN SHOUPING (1633-1690) Flowers and Rock Ink and pigment on silk, inscribed and signed, with three apocryphal seals of the artist, Nantian caoyi, Zheng shu, Ji yueyun, and collectors seals, framed and glazed. 162.5cm long x 68.8cm (64in x 27in) wide (2).

£3,000 - 5,000 CNY27,000 - 44,000

金粟仙糧圖設色紙本鏡框裝裱

Provenance: an English private collection, and thence by descent

來源：英國私人收藏，並由後人保存迄今

Yun Shouping (惲壽平), also known as Nantian (南田) (1633–1690), was a major artist of the early Qing dynasty. He was regarded as one of the ‘Six Masters’ of the Qing period, together with the Four Wangs and Wu Li. He boldly used strong colours, such as reds and purples, which had traditionally been shunned by Chinese painters as they were seen as gaudy and offensive. He revived the genre of flower paintings in China and became popular throughout the country.

166

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. Property from the Collection of Quek Kiok Lee (1921-2018) 郭克禮珍藏

Lots 167 - 179

Quek Kiok Lee (1921-2018) - who always asserted that he was ‘born Inspired by the remarkable art collections that some of these eminent to collect’ - arrived in Singapore as an impoverished 17 year old non persons possessed, he embarked on what was to become his lifelong English-speaker from Swatow (Shantung) in 1938. Over the next passion for Chinese works of art. Whilst establishing himself as highly two years, this young man topped his school at both the Junior and successful businessman, banker, entrepreneur and investor, Mr Quek Senior Cambridge exams with grades 1 and A, respectively. He was voraciously spent much of his free time meeting with (and poring over then appointed Assistant Secretary by the Chinese Chambers of the artefacts of) collectors and dealers; visiting museums; attending Commerce, which was ‘home’ to the leaders of Singapore’s Chinese auctions and exhibitions around the globe; and studying whatever community, including preeminent business luminaries such as Lee he could get his hands on to build up his expertise on a subject that Kong Chian, Lien Ying Chow, Tan Chin Tuan, Tan Kah Kee, Quek quickly grew to become his pleasurable obsession. Besides acquiring Bak Song and Tan Siak Kew. Mr Quek’s impressive performance property in Asia and the UK as well as building a multi-million-dollar in his role included successfully persuading the British post-war investment company, Mr Quek enthusiastically invested in building administration to treat - and compensate accordingly - the time up his collection of Chinese antiques. In due course, he became served during the Japanese occupation by Singapore civil servants well known to the premier auction houses and leading authorities on (who had till then worked for the British) as continuous British service. Chinese art for both his expansive knowledge of the subject and his Such accomplishments favourably brought him to the attention of collection, which was to grow for over 70 years. He also served as the aforementioned tycoons. Consequently, a few approached him to Acquisitions Advisor on Chinese antiquities to the Singapore University join their businesses – and their families. This began Mr Quek’s rapid Museum for 6 years (3 terms) until 2000. Even to the very end of ascension in business and in society. his very rich and colourful life, he loved spending time admiring and handling his beloved collection.

167 * The sides are also inscribed ‘臣汪近聖呈按易水法虔製’, which may be TWO RECTANGULAR ‘ELEGANT GATHERING’ INK-CAKES Qianlong eight-character marks dated and possibly of the period translated as ‘Minister Wang Jinsheng presents this [ink-cake] made One red, the other dark grey, both finely moulded on one side with a according to the methods of Yi [County]’. Yi refers to the Yizhou, a scene of an elegant gathering of scholars engaged in various pursuits centre for ink-cake production. including painting, calligraphy, playing the qin and looking at antiques, the reverse sides with long essays beside two scholars engaged in The motif and essay on these pair of ink-cakes refer to the ‘Elegant conversation by water. Gathering in the Western Garden’, a famous gathering that took place The larger, 28.7cm (11 1/4in) wide (2). during the Northern Song dynasty. According to tradition, in 1087 sixteen famous statesmen, literati, and artists gathered in the capital Kaifeng at the Western Garden of Wang Shen (1036-after 1089), who £800 - 1,200 was the son-in-law of the Yingzong emperor (reigned 1064-1067). CNY7,100 - 11,000 Important guests included the poet and calligrapher Su Shi (1037- 1101), the eccentric Mi Fu (1051-1107) and the famous painter Li 清乾隆西園雅集圖貢墨兩錠 Gonglin (1049-1106), all of whom have long been considered cultural 「大清乾隆御覽之寶」陽文楷書款 heroes and models of scholarly virtue. Li Gonglin was believed to have recorded the gathering in a painting. The subject of the ‘Elegant Provenance: Quek Kiok Lee Collection (1921 – 2018), Singapore, Gathering in the Western Garden’ has been interpreted as an ideal and thence by descent or imaginary meeting that celebrates the cultural heroes of the Song dynasty, rather than as an actual event. Featuring the leading figures of 來源：新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今 poetry, calligraphy, and painting, as well as Confucians, a Daoist, and a Buddhist, the group represents the highest philosophical and artistic achievements during a period perceived as a high point in Chinese civilisation. Over the centuries, this legendary gathering became a frequent theme in Chinese art.

Compare with an imperial circular ink-cake, Qianlong mark and of the period, also inscribed by Wang Jingsheng, which was sold at Sotheby’s New York, 22 March 2000, lot 42.

For details of the charges payable in addition to the final Hammer Price of each Lot 214 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 167 (front and reverse)

168 * A RARE ARCHAISTIC YELLOW JADE SWORD SLIDE 17th/18th century Of rectangular profile with incised C-scrolls across the flat top and a taotie mask that fills the curving tip near the reticulated rectangular loop on the underside, the stone of light greenish-yellow tone. 9.5cm (3 3/4in) long.

£3,000 - 5,000 CNY27,000 - 44,000

十七/十八世紀仿古紋黃玉劍璏

Provenance: Quek Kiok Lee Collection (1921 – 2018), Singapore, and thence by descent

來源：新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今

The archaistic motif on the present lot reflects the scholarly trend of the ‘search for evidence’ (kaozheng 考證) movement beginning in the early 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage, it led to a greater fascination for decorative designs adopted from ancient bronzes too. Responding to this wave of archaism which would later be adopted by the imperial court, artisans reproduced the motifs and patterns of ancient bronzes on their jades wares. Although designed as a sword slide, it could easily be used by literati as a stand for ink sticks or as a scroll-weight. 168

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. FINE CHINESE ART | 215 169

169 * 170 * 171 * A LARGE BLUE AND WHITE ‘CHILONG AN YIXING TREETRUNK-SHAPED A YELLOW-GLAZED ‘EIGHT HORSES OF AND LOTUS’ VASE, HU BRUSHPOT, BITONG MU WANG’ BRUSHPOT, BITONG 19th century Chen Mingyuan seal mark Chen Guozhi four-character mark, late Qing Boldly painted around the broad body with Nationalistically modelled as a section of Dynasty/Republic Period a dense wide band of confronted dragons prunus trunk, potted and carved in high Of cylindrical form, deftly carved around the amidst meandering large-headed lotus, the relief with gnarled branches and luxuriant body in various levels of relief with a continuous shoulder with a band of ruyi-lappets, the flower buds and blossom, the body of a rich scene of eight horses within a mountainous neck similarly painted with dragons amidst chocolate-brown colour. 12.5cm (4 3/4in) high. riverscape with rocky outcrops, trees and lotus between bands of key-fret and crashing grass, covered with a lemon-yellow glaze. £1,500 - 2,000 waves, flanked by a pair of lug handles with 16.3cm (6 1/2in) high. CNY13,000 - 18,000 crashing waves. 56cm (22in) high. 宜興紫砂梅樁筆筒 £1,000 - 1,500 £3,000 - 5,000 「陳」「鳴遠」篆書模款 CNY8,900 - 13,000 CNY27,000 - 44,000 Provenance: Quek Kiok Lee Collection (1921 清晚期/民國黃釉穆王八駿圖筆筒十九世紀青花纏枝蓮螭龍紋雙耳大壺 – 2018), acquired on 8 September 1972, 「陳國治作」篆書模款 Singapore, and thence by descent Provenance: Quek Kiok Lee Collection (1921 Provenance: Quek Kiok Lee Collection 來源：新加坡郭克禮（1921 – 2018）舊藏，於 – 2018), Singapore, and thence by descent (1921 – 2018), acquired in 4 February 1969, 1972年9月8日購自新加坡，並由後人保存迄今 Singapore, and thence by descent.

來源：新加坡郭克禮（1921 – 2018）舊藏， Compare with two related examples of treetrunk- 來源：並由後人保存迄今 shaped brushpots, both bearing the seal of Chen 新加坡郭克禮（1921 – 2018）舊 Mingyuan, illustrated in Themes and Variations: 藏，1969年2月4日購於新加坡，並由後人保 The Zisha Pottery of Chen Mingyuan, Hong 存迄今 Kong, 1997, pls.39 and 40. See also G.Tsang and H. Moss, Arts from the Scholar’s Studio, Hong Kong, 1986, no.167, for a discussion about Yixing potters of the 20th century.

For details of the charges payable in addition to the final Hammer Price of each Lot 216 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 170 171

172 * A YELLOW-GLAZED BRUSHPOT, BITONG Daoguang seal mark and of the period Of cylindrical form with a pin-pricked rim and recessed base to simulate bamboo, moulded around the exterior with a continuous scene of a a scholar holding a guqin engaged in conversation with another gentleman, all within a mountainous landscape with trees, gnarled rocks and shrubs, box. 12cm (4 3/4in) high. (2).

£2,000 - 3,000 CNY18,000 - 27,000

清道光黃釉高士圖仿竹雕筆筒「大清道光年製」篆書模款

Provenance: Dr Ip Yee (1921-1984) Sotheby’s Hong Kong, 22 November 1984, lot 743 Quek Kiok Lee Collection (1921 – 2018), Singapore, and thence by descent

來源：Dr Ip Yee 舊藏 (1921-1984) 香港蘇富比，1984年11月22日，編號743 新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今

172

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 173 * A PAIR OF LARGE FAMILLE ROSE ‘MILLEFLEURS’ VASES, Provenance: Quek Kiok Lee Collection (1921 – 2018), Singapore, TIANQIUPING and thence by descent Qianlong iron-red seal marks, Republic Period Each sturdily potted with a large globular body rising to a slightly 來源：新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今 flaring tall narrow neck, brightly and profusely enamelled with myriads of flowers including asters, lilies, peonies, and chrysanthemums, the bases with apocryphal Qianlong seal marks. Each 59cm (23 1/4in) high. (2).

£5,000 - 8,000 CNY44,000 - 71,000

民國粉彩萬花錦地天球瓶一對礬紅「大清乾隆年製」篆書款

For details of the charges payable in addition to the final Hammer Price of each Lot 218 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 174 * A PAIR OF FAMILLE ROSE CYLINDRICAL VASES Kun maker’s marks, signed Wang Dafan, dated by inscription to 1928 Each of tall cylindrical form and finely decorated around the exterior with a Luohan seated in meditation before a three-legged incense burner, a halo around his head with bushy eyebrows and scraggly beard, behind the sage stands a boy-attendant in red carrying a fly-whisk, a long calligraphic inscription on the reverse side, boxes. Each 28.5cm (11 1/4in) high. (4).

£1,000 - 1,500 CNY8,900 - 13,000

粉彩筒瓶一對礬紅「堃」字款，王大凡題款，1928年

Provenance: purchased from Alex Koh, Singapore, on 24 February 1997 Quek Kiok Lee Collection (1921 – 2018), Singapore, and thence by descent

來源：於1997年2月24日購自新加坡Alex Koh 新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今

174

175 * A FAMILLE ROSE ‘LIU HAI’ VASE Kun maker’s mark, signed Wang Dafan, dated by inscription Autumn 1928 Finely decorated around the exterior with a large figure of Liu Hai in a long flowing blue robe goading a three-legged toad with a string of cash, the other side with a long calligraphic inscription. 27cm (10 1/4in) high. (2).

£1,000 - 1,500 CNY8,900 - 13,000

粉彩劉海戲金蟾圖瓶礬紅「堃」字款，王大凡題款，1928年

Provenance: purchased from Alex Koh, Singapore, on 24 February 1997 Quek Kiok Lee Collection (1921 – 2018), Singapore, and thence by descent

來源：於1997年2月24日購自新加坡Alex Koh 新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今

For details of the charges payable in addition to the final Hammer Price of each Lot 175 please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 176 177

176 * 177 * A FAMILLE ROSE ‘LUOHAN’ BALUSTER VASE A FAMILLE ROSE ‘BOYS AT PLAY’ VASE Juren Tang four-character mark Hongxian four-character mark Finely decorated around the exterior with a continuous scene of a Finely decorated around the exterior in bright enamels with a Luohan with a halo holding a Buddhist lion in his hands, standing continuous scene of five boys playing ‘Blind Man’s Buff’, five red bats amidst craggy rockwork and bamboo, calligraphic inscription on the flying above, the reverse with a calligraphic inscription and seals, box. other side with seals of the artist, box. 23.5cm (9 1/4 in) high. (2). 26.5cm (12 3/4in) high (2). £800 - 1,200 £1,000 - 1,500 CNY7,100 - 11,000 CNY8,900 - 13,000 粉彩嬰戲圖瓶粉彩羅漢圖瓶礬紅「洪憲年製」楷書款礬紅「居仁堂製」篆書款 Provenance: Quek Kiok Lee Collection (1921 – 2018) acquired in Provenance: purchased from Alex Koh, Singapore, December 1972, Singapore, and thence by descent on 24 February 1997 Quek Kiok Lee Collection (1921 – 2018), Singapore, 來源：新加坡郭克禮（1921 – 2018）舊藏，1972年12月購於新加 and thence by descent 坡，並由後人保存迄今

來源：於1997年2月24日購自新加坡Alex Koh 新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今

For details of the charges payable in addition to the final Hammer Price of each Lot 220 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 178 179

178 * 179 * A FAMILLE ROSE ‘SHOULAO’ BALUSTER VASE A FAMILLE ROSE VASE Qianlong seal mark Hongxian four-character mark Expertly decorated around the exterior with a continuous scene of Decorated around the exterior with a continuous scene of a bearded, Shoulao with large domed forehead receiving a large peach from a elderly ferry-man with an oar approaching a dignitary, lady holding a boy, standing beside an auspicious deer and elegant lady holding a staff and two boys, all beneath two auspicious red-headed cranes tray of fruit and tea box, all beneath a large gnarled pine tree, with flying above. poetic inscription and seals. 35cm (12in) high. 26.5cm (12 3/4in) high (2). £1,000 - 1,500 £1,000 - 1,500 CNY8,900 - 13,000 CNY8,900 - 13,000 粉彩人物圖瓶粉彩獻壽圖瓶「洪憲年製」楷書款青花「大清乾隆年製」篆書款 Provenance: Quek Kiok Lee Collection (1921 – 2018), acquired in Provenance: purchased from Alex Koh, Singapore, 1972, Singapore, and thence by descent on 24 February 1997 Quek Kiok Lee Collection (1921 – 2018), Singapore, 來源：新加坡郭克禮（1921 – 2018）舊藏，購於1972年，並由後人 and thence by descent 保存迄今

來源：於1997年2月24日購自新加坡Alex Koh 新加坡郭克禮（1921 – 2018）舊藏，並由後人保存迄今

NEOLITHIC CULTURES

Cishan-Peiligang c. 6500-5000 BC Sui 589-618 Central Yangshao c. 5000-3000 BC Tang 618-906 Gansu Yangshao c. 3000-1500 BC Five Dynasties 907-960 Hemadu c. 5000-3000 BC Liao 907-1125 Daxi c. 5000-3000 BC Song Majiabang c. 5000-3500 BC Northern Song 960-1126 Dawenkou c. 4300-2400 BC Southern Song 1127-1279 Songze c. 4000-2500 BC Jin 1115-1234 Hongshan c. 3800-2700 BC Yuan 1279-1368 Liangzhu c. 3300-2250 BC Ming Longshan c. 3000-1700 BC Hongwu 1368-1398 Qijia c. 2250-1900 BC Jianwen 1399-1402 Yongle 1403-1424 EARLY DYNASTIES Hongxi 1425 Xuande 1426-1435 Shang c. 1500-1050 BC Zhengtong 1436-1449 Western Zhou 1050-771 BC Jingtai 1450-1456 Eastern Zhou Tianshun 1457-1464 Spring & Autumn 770-475 BC Chenghua 1465-1487 Warring States 475-221 BC Hongzhi 1488-1505 Zhengde 1506-1521 IMPERIAL CHINA Jiajing 1522-1566 Longqing 1567-1572 Qin 221-207 BC Wanli 1573-1620 Han Taichang 1620 Western Han 206 BC-AD 9 Tianqi 1621-1627 Xin AD 9-25 Chongzhen 1628-1644 Eastern Han AD 25-220 Qing Three Kingdoms Shunzhi 1644-1661 Shu (Han) 221-263 Kangxi 1662-1722 Wei 220-265 Yongzheng 1723-1735 Wu 222-280 Qianlong 1736-1795 Southern dynasties (Six Dynasties) Jiaqing 1796-1820 Western Jin 265-316 Daoguang 1821-1850 Eastern Jin 317-420 Xianfeng 1851-1861 Liu Song 420-479 Tongzhi 1862-1874 Southern Qi 479-502 Guangxu 1875-1908 Liang 502-557 Xuantong 1909-1911 Chen 557-589 Northern dynasties REPUBLICAN CHINA Northern Wei 386-535 Eastern Wei 534-550 Republic 1912-1949 Western Wei 535-557 People’s Republic 1949- Northern Qi 550-577 Northern Zhou 557-581 International Asian Art Auction Calendar

2019 2020

ASIAN ART CHINESE WORKS OF ART ASIAN ART Monday 4 November Tuesday 16 March Monday 2 November Tuesday 5 November New York Tuesday 3 November London, Montpelier Street London, Montpelier Street ASIAN ART THE ROBERT S. HUTHART Thursday 18 March FINE CHINESE ART COLLECTION OF IWAMI NETSUKE Edinburgh Thursday 5 November Wednesday 6 November London, New Bond Street London, New Bond Street ASIAN ART Monday 11 May FINE CHINESE CERAMICS FINE CHINESE ART Tuesday 12 May AND WORKS OF ART Thursday 7 November London, Montpelier Street Tuesday 24 November London, New Bond Street Hong Kong FINE CHINESE ART MASTERPIECES OF Thursday 14 May FINE ASIAN WORKS OF ART JAPANESE ART FROM London, New Bond Street December A ROYAL COLLECTION Los Angeles Thursday 7 November FINE CHINESE CERAMICS London, New Bond Street AND WORKS OF ART ASIAN DECORATIVE Tuesday 26 May WORKS OF ART FINE JAPANESE ART Hong Kong December Thursday 7 November Los Angeles London, New Bond Street FINE ASIAN WORKS OF ART June ASIAN ART Los Angeles Thursday 14 November Edinburgh ASIAN DECORATIVE WORKS OF ART ASIAN ART June Thursday 21 November Los Angeles Sydney ASIAN ART FINE CHINESE CERAMICS Monday 2 September AND WORKS OF ART Edinburgh Tuesday 26 November Hong Kong CHINESE WORKS OF ART Monday 14 September FINE ASIAN WORKS OF ART New York Tuesday 17 December Los Angeles

ASIAN DECORATIVE WORKS OF ART Wednesday 18 December Los Angeles Fine Chinese Ceramics and Works of Art Hong Kong | 26 November 2019

VIEWING AN EXTREMELY RARE BLUE AND WHITE Provenance: 23 - 25 November 2019 ‘MUSK-MALLOW AND LINGZHI’ VASE An English private collection, acquired in the Qianlong seal mark and of the period early 20th century, and thence by descent ENQUIRIES 27.5cm (10 7/8in) high An important Asian private collection HK$10,000,000 - 12,000,000 * +852 2918 4321 來源： Prices shown include buyer’s premium. Details can be found at bonhams.com [email protected] 清乾隆青花秋葵靈芝如意耳橄欖瓶英國私人收藏，後由家族繼承 bonhams.com/chinese 青花「大清乾隆年製」篆書款

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide Fine Chinese Ceramics and Works of Art Fine Chinese Ceramics and Works of Art Hong Kong | 26 November 2019 Hong Kong | 26 November 2019, 2pm

VIEWING AN EXTREMELY RARE BLUE AND WHITE Provenance: VIEWING ENQUIRIES AN EXCEPTIONALLY RARE GILT The collection will be offered at 23 - 25 November 2019 ‘MUSK-MALLOW AND LINGZHI’ VASE An English private collection, acquired in the 23 - 26 November 2019 Xibo Wang COPPER-ALLOY GROUP OF Bonhams London on 4 & 7 November Qianlong seal mark and of the period early 20th century, and thence by descent +852 2918 4321 VAJRABHAIRAVA AND VAJRAVETALI and Hong Kong on 26 November Bonhams Hong Kong 27.5cm (10 7/8in) high An important Asian private collection [email protected] TIBET, 17TH CENTURY including over 40 Buddhist figures ENQUIRIES Suite 2001, One Pacific Place HK$10,000,000 - 12,000,000 * bonhams.com/chinese 西藏十七世紀銅鎏金大威德金剛像 and ritual objects originating in the +852 2918 4321 來源： Hong Kong collections of Henry H. Getty and Alice Prices shown include buyer’s premium. Details can be found at bonhams.com49cm high Prices shown include buyer’s premium. Details can be found at bonhams.com [email protected] 清乾隆青花秋葵靈芝如意耳橄欖瓶英國私人收藏，後由家族繼承 Getty, Viscounts Tredegar, Professor bonhams.com/chinese 青花「大清乾隆年製」篆書款 HK$2,500,000 – 3,500,000 Bellerby and Mark and Peter Dineley.

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide Travel & Exploration Montpelier Street, London | 26 February 2020

We will be previewing this work and another ENQUIRIES GEORGE CHINNERY RHA significant oil by George Chinnery in our +44 207 393 3865 (TIPPERARY 1774-1852 MACAU) Hong Kong salerooms from 20th October [email protected] A view of Macau looking towards until 20th November. Please contact the bonhams.com/travelpictures the gardens of the Casa department for further information. oil on canvas Prices shown include buyer’s premium. Details can be found at bonhams.com £70,000 - 100,000 *

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide Travel & Exploration Asian Art Montpelier Street, London | 26 February 2020 Montpelier Street, London | 4 - 5 November 2019

We will be previewing this work and another ENQUIRIES GEORGE CHINNERY RHA ENQUIRIES OBJECTS OF DESIRE: significant oil by George Chinnery in our +44 207 393 3865 (TIPPERARY 1774-1852 MACAU) +44 (0)20 7393 3943 A EUROPEAN PRIVATE COLLECTION Hong Kong salerooms from 20th October [email protected] A view of Macau looking towards [email protected] OF CHINESE SNUFF BOTTLES until 20th November. Please contact the the gardens of the Casa bonhams.com/travelpictures bonhams.com/chinese Estimates ranging: £1,000 - 4,000 * department for further information. oil on canvas Prices shown include buyer’s premium. Details can be found at bonhams.com Prices shown include buyer’s premium. Details can be found at bonhams.com £70,000 - 100,000 *

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide * For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide NOTICE TO BIDDERS This notice is addressed by Bonhams to any person who may will be suitable for connection to the mains electricity supply You should not suppose that such examinations, investigations be interested in a Lot, and to all persons participating in the and you should obtain a report from a qualified electrician on or tests have occurred. auction process including auction attendees, Bidders and their status before doing so. Such items which are unsuitable potential Bidders (including any eventual Buyer of the Lot). For for connection are sold as items of interest for display Bonhams does not make or agree to make any representation ease of reference we refer to such persons as “Bidders” or purposes only. If you yourself do not have expertise regarding of fact, and undertakes no obligation or duty (whether in “you”. Our List of Definitions and Glossary is incorporated into a Lot, you should consult someone who does to advise you. contract or tort) in respect of the accuracy or completeness this Notice to Bidders. It is at Appendix 3 at the back of the We can assist in arranging facilities for you to carry out or have of any statement or representation made by Bonhams or on Catalogue. Where words and phrases are used in this notice carried out more detailed inspections and tests. Please ask our Bonhams’ behalf which is in any way descriptive of any Lot which are in the List of Definitions, they are printed in italics. staff for details. or as to the anticipated or likely selling price of any Lot. No statement or representation by Bonhams or on its behalf in any IMPORTANT: Additional information applicable to the Sale Any person who damages a Lot will be held liable for the way descriptive of any Lot or any Estimate is incorporated into may be set out in the Catalogue for the Sale, in an insert in loss caused. our Buyer’s Agreement. the Catalogue and/or in a notice displayed at the Sale venue and you should read them as well. Announcements affecting 3. DESCRIPTIONS OF LOTS AND ESTIMATES Alterations the Sale may also be given out orally before and during the Descriptions and Estimates may be amended at Bonhams’ Sale without prior written notice. You should be alert to the Contractual Description of a Lot discretion from time to time by notice given orally or in possibility of changes and ask in advance of bidding if there The Catalogue contains an Entry about each Lot. Each Lot writing before or during a Sale. have been any. is sold by its respective Seller to the Buyer of the Lot as corresponding only with that part of the Entry which is printed THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST 1. OUR ROLE in bold letters and (except for the colour, which may be FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE inaccurately reproduced) with any photograph of the Lot in the STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT In its role as Auctioneer of Lots, Bonhams acts solely for Catalogue. The remainder of the Entry, which is not printed in EXAMINED ON YOUR BEHALF BEFORE THE SALE. and in the interests of the Seller. Bonhams’ job is to sell the bold letters, represents Bonhams’ opinion (given on behalf of Lot at the highest price obtainable at the Sale to a Bidder. the Seller) about the Lot only and is not part of the Contractual 4. CONDUCT OF THE SALE Bonhams does not act for Buyers or Bidders in this role and Description in accordance with which the Lot is sold by the does not give advice to Buyers or Bidders. When it or its Seller. Our Sales are public auctions which persons may attend and staff make statements about a Lot or, if Bonhams provides you should take the opportunity to do so. We reserve the right a Condition Report on a Lot it is doing that on behalf of the Estimates at our sole discretion to refuse admission to our premises or Seller of the Lot. Bidders and Buyers who are themselves In most cases, an Estimate is printed beside the Entry. to any Sale and to remove any person from our premises and not expert in the Lots are strongly advised to seek and obtain Estimates are only an expression of Bonhams’ opinion made Sales, without stating a reason. We have complete discretion independent advice on the Lots and their value before bidding on behalf of the Seller of the range where Bonhams thinks the as to whether the Sale proceeds, whether any Lot is included for them. The Seller has authorised Bonhams to sell the Lot Hammer Price for the Lot is likely to fall; it is not an Estimate in the Sale, the manner in which the Sale is conducted and we as its agent on its behalf and, save where we expressly make of value. It does not take into account any VAT or Buyer’s may offerLots for Sale in any order we choose notwithstanding it clear to the contrary, Bonhams acts only as agent for the Premium payable or any other fees payable by the Buyer, the numbers given to Lots in the Catalogue. You should Seller. Any statement or representation we make in respect which are detailed in paragraph 7 of the Notice to Bidders, therefore check the date and starting time of the Sale, whether of a Lot is made on the Seller’s behalf and, unless Bonhams below. Prices depend upon bidding and lots can sell for there have been any withdrawals or late entries. Remember sells a Lot as principal, not on our behalf and any Contract for Hammer Prices below and above the Estimates, so Estimates that withdrawals and late entries may affect the time at Sale is between the Buyer and the Seller and not with us. If should not be relied on as an indication of the actual selling which a Lot you are interested is put up for Sale. We have Bonhams sells a Lot as principal this will either be stated in the price or value of a Lot. Estimates are in the currency of the complete discretion in which to refuse any bid, to nominate Catalogue or an announcement to that effect will be made by Sale. any bidding increment we consider appropriate, to divide any the Auctioneer, or it will be stated in a notice at the Sale or an Lot, to combine two or more Lots, to withdraw any Lot from insert in the Catalogue. Condition Reports a Sale and, before the Sale has been closed, to put up any In respect of most Lots, you may ask Bonhams for a Condition Lot for auction again. Auction speeds can exceed 100 Lots Bonhams does not owe or undertake or agree to any duty Report on the Lot’s general physical condition. If you do to the hour and bidding increments are generally about 10%; or responsibility to you in contract or tort (whether direct, so, this will be provided by Bonhams on behalf of the Seller however, these do vary from Sale to Sale and from Auctioneer collateral, express, implied or otherwise). If you successfully bid free of charge. As this is offered additionally and without to Auctioneer. Please check with the department organising for a Lot and buy it, at that stage Bonhams does enter into an charge, Bonhams is not entering into a contract with you in the Sale for advice on this. Where a Reserve has been applied agreement with you as the Buyer. The terms of that contract respect of the Condition Report and accordingly does not to a Lot, the Auctioneer may, in his absolute discretion, are set out in our Buyer’s Agreement, which you will find at assume responsibility to you in respect of it. The Condition place bids (up to an amount not equalling or exceeding such Appendix 2 at the back of the Catalogue, and this will govern Report represents Bonhams’ reasonable opinion as to the Reserve) on behalf of the Seller. We are not responsible to Bonhams’ relationship with the Buyer. Lot’s general condition in the terms stated in the particular you in respect of the presence or absence of any Reserve report, and Bonhams does not represent or guarantee that a in respect of any Lot. If there is a Reserve it will be no higher 2. LOTS Condition Report includes all aspects of the internal or external than the lower figure for any Estimate in the Catalogue, condition of the Lot. Neither does the Seller owe or agree to assuming that the currency of the Reserve has not fluctuated Subject to the Contractual Description printed in bold letters owe you as a Bidder or Buyer any obligation or duty in respect adversely against the currency of the Estimate. The Buyer will in the Entry about the Lot in the Catalogue (see paragraph 3 of this free report about a Lot, which is available for your own be the Bidder who makes the highest bid acceptable to the below), Lots are sold to the Buyer on an “as is” basis, with inspection or for inspection by an expert instructed by you. Auctioneer for any Lot (subject to any applicable Reserve) to all faults and imperfections. Illustrations and photographs whom the Lot is knocked down by the Auctioneer at the fall contained in the Catalogue (other than photographs forming The Seller’s responsibility to you of the Auctioneer’s hammer. Any dispute as to the highest part of the Contractual Description) or elsewhere of any Lots The Seller does not make or agree to make any representation acceptable bid will be settled by the Auctioneer in his absolute are for identification purposes only. A photograph or illustration of fact or contractual promise, Guarantee or warranty and discretion. All bids tendered will relate to the actual Lot number may not reflect an accurate reproduction of the colour(s) or undertakes no obligation or duty, whether in contract or in announced by the Auctioneer. An electronic currency converter true condition of the Lot. 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Electronic Bonhams undertakes no obligation to you to examine, or mechanical items or parts are sold for their artistic, historic investigate or carry out any tests, either in sufficient depth or at or cultural interest and may not operate or may not comply all, on each Lot to establish the accuracy or otherwise of any with current statutory requirements. You should not assume Descriptions or opinions given by Bonhams, or by any person that electrical items designed to operate on mains electricity on Bonhams’ behalf, whether in the Catalogue or elsewhere.

NTB/MAIN/V1/6.2019 5. BIDDING such bids. All bids made on your behalf will be made at the 7. BUYER’S PREMIUM AND OTHER CHARGES lowest level possible subject to Reserves and other bids made PAYABLE BY THE BUYER You must complete and deliver to us one of our Bidding for the Lot. Where appropriate your bids will be rounded down Forms, either our Bidder Registration Form, Absentee Bidding to the nearest amount consistent with the Auctioneer’s bidding Under the Buyer’s Agreement, a premium (the Buyer’s Form or Telephone Bidding Form in order to bid at our Sales. increments. New Bidders must also provide proof of identity Premium) is payable to us by the Buyer in accordance with the and address when submitting bids. Failure to do this will result terms of the Buyer’s Agreement and at rates set out below, If you are a new client at Bonhams or have not recently in your bid not being placed. calculated by reference to the Hammer Price and payable in updated your registration details with us, you must pre-register addition to it. to bid at least two working days before the Sale at which you Bidding via the internet wish to bid. You will be required to provide government-issued Please visit our Website at http://www.bonhams.com for For this Sale the following rates of Buyer’s Premium will be proof of identity and residence, and if you are a company, your details of how to bid via the internet. payable by Buyers on each Lot purchased: certificate of incorporation or equivalent documentation with your name and registered address, government issued proof Bonhams will not be liable for service delays, interruptions 27.5% up to £2,500 of the Hammer Price of your current address, documentary proof of your beneficial or other failures to make a bid caused by losses of internet 25% of the Hammer Price above £2,500 and up to £300,000 owners and directors, and proof of authority to transact. connection, fault or failure with the website or bidding process, 20% of the Hammer Price above £300,000 and up to £3,000,000 or malfunction of any software or system, computer or mobile 13.9% of the Hammer Price above £3,000,000 We may also request a financial reference and /or deposit from device. you before allowing you to bid. Storage and handling charges may also be payable by the Bidding through an agent Buyer as detailed on the specific Sale Information page at the We reserve the rights at our discretion to request further Bids will be treated as placed exclusively by and on behalf front of the catalogue. information in order to complete our client identification and of the person named on the Bidding Form unless otherwise to decline to register any person as a Bidder, and to decline agreed by us in writing in advance of the Sale. If you wish The Buyer’s Premium and all other charges payable to us by to accept their bids if they have been so registered. We also to bid on behalf of another person (your principal) you must the Buyer are subject to VAT at the prevailing rate, currently reserve the rights to postpone completion of the Sale of any complete the pre-registration requirements set out above 20%. Lot at our discretion while we complete our registration and both on your own behalf and with full details of your principal, identification enquiries, and to cancel the Sale of any Lot if you and we will require written confirmation from the principal VAT may also be payable on the Hammer Price of the Lot, are in breach of your warranties as Buyer, or if we consider confirming your authority to bid. where indicated by a symbol beside the Lot number. See that such Sale would be unlawful or otherwise cause liabilities paragraph 8 below for details. for the Seller or Bonhams or be detrimental to Bonhams’ You are specifically referred to your due diligence reputation. requirements concerning your principal and their source On certain Lots, which will be marked “AR” in the Catalogue of funds, and the warranties you give in the event you and which are sold for a Hammer Price of €1,000 or greater Bidding in person are the Buyer, which are contained in paragraph 3 of the (converted into the currency of the Sale using the European So long as you have pre-registered to bid or have updated Buyer’s Agreement, set out at Appendix 2 at the back of Central Bank Reference rate prevailing on the date of the Sale), your existing registration recently, you should come to our the Catalogue. the Additional Premium will be payable to us by the Buyer to Bidder registration desk at the Sale venue and fill out a cover our Expenses relating to the payment of royalties under Registration and Bidding Form on (or, if possible, before) the Nevertheless, as the Bidding Form explains, any person the Artists Resale Right Regulations 2006. The Additional day of the Sale. The bidding number system is sometimes placing a bid as agent on behalf of another (whether or not he Premium will be a percentage of the amount of the Hammer referred to as “paddle bidding”. You will be issued with a large has disclosed that fact) will be jointly and severally liable with Price calculated in accordance with the table below, and shall card (a “paddle”) with a printed number on it. This will be the principal to the Seller and to Bonhams under any contract not exceed €12,500 (converted into the currency of the Sale attributed to you for the purposes of the Sale. Should you be resulting from the acceptance of a bid. using the European Central Bank Reference rate prevailing on a successful Bidder you will need to ensure that your number the date of the Sale). can be clearly seen by the Auctioneer and that it is your Equally, please let us know if you intend to nominate another number which is identified as the Buyer’s. You should not let person to bid on your behalf at the Sale unless this is to be Hammer Price Percentage amount anyone else use your paddle as all Lots will be invoiced to the carried out by us pursuant to a Telephone or Absentee Bidding From €0 to €50,000 4% name and address given on your Bidder Registration Form. Form that you have completed. If we do not approve the From €50,000.01 to €200,000 3% Once an invoice is issued it will not be changed. If there is agency arrangements in writing before the Sale, we are entitled From €200,000.01 to €350,000 1% any doubt as to the Hammer Price of, or whether you are the to assume that the person bidding at the Sale is bidding on From €350,000.01 to €500,000 0.5% successful Bidder of, a particular Lot, you must draw this to his own behalf. Accordingly, the person bidding at the Sale will Exceeding €500,000 0.25% the attention of the Auctioneer before the next Lot is offered for be the Buyer and will be liable to pay the Hammer Price and Sale. At the end of the Sale, or when you have finished bidding Buyer’s Premium and associated charges. If we approve the 8. VAT please return your paddle to the Bidder registration desk. identity of your client in advance, we will be in a position to address the invoice to your principal rather than you. We will The prevailing rate of VAT at the time of going to press is 20%, Bidding by telephone require proof of the agent’s client’s identity and residence in but this is subject to government change and the rate payable If you wish to bid at the Sale by telephone, and have pre- advance of any bids made by the agent on his behalf. Please will be the rate in force on the date of the Sale. registered to bid or have updated your existing registration refer to our Conditions of Business and contact our Customer details recently, please complete a Registration and Bidding Services Department for further details. The following symbols, shown beside the Lot number, are Form, which is available from our offices or in the Catalogue. used to denote that VAT is due on the Hammer Price and Please then return it to the office responsible for the Sale at 6. CONTRACTS BETWEEN THE BUYER AND SELLER Buyer’s Premium: least 24 hours in advance of the Sale. It is your responsibility AND THE BUYER AND BONHAMS † VAT at the prevailing rate on Hammer Price and to check with our Bids Office that your bid has been received. Buyer’s Premium Telephone calls will be recorded. The telephone bidding facility On the Lot being knocked down to the Buyer, a Contract for Ω VAT on imported items at the prevailing rate on Hammer is a discretionary service offered at no additional charge and Sale of the Lot will be entered into between the Seller and the Price and Buyer’s Premium may not be available in relation to all Lots. We will not be Buyer on the terms of the Contract for Sale set out in Appendix * VAT on imported items at a preferential rate of 5% responsible for bidding on your behalf if you are unavailable 1 at the back of the Catalogue. You will be liable to pay the on Hammer Price and the prevailing rate on Buyer’s at the time of the Sale or if the telephone connection is Purchase Price, which is the Hammer Price plus any applicable Premium interrupted during bidding. Please contact us for further details. VAT. At the same time, a separate contract is also entered into G Gold bullion exempt from VAT on the Hammer Price between us as Auctioneers and the Buyer. This is our Buyer’s and subject to VAT at the prevailing rate on the Buyer’s Bidding by post or fax Agreement, the terms of which are set out in Appendix 2 at the Premium Absentee Bidding Forms can be found in the back of this back of the Catalogue. Please read the terms of the Contract • Zero rated for VAT, no VAT will be added to the Hammer Catalogue and should be completed and sent to the office for Sale and our Buyer’s Agreement contained in the Catalogue Price or the Buyer’s Premium responsible for the Sale, once you have pre-registered to bid in case you are the successful Bidder including the warranties a Buyers from within the EU: VAT is payable at the or have updated your existing registration details recently. It is as to your status and source of funds. We may change the prevailing rate on just the Buyer’s Premium (NOT the in your interests to return your form as soon as possible, as if terms of either or both of these agreements in advance of Hammer Price). Buyers from outside the EU: VAT is two or more Bidders submit identical bids for a Lot, the first their being entered into, by setting out different terms in the payable at the prevailing rate on both Hammer Price and bid received takes preference. In any event, all bids should Catalogue and/or by placing an insert in the Catalogue and/ Buyer’s Premium. If a Buyer, having registered under be received at least 24 hours before the start of the Sale. or by notices at the Sale venue and/or by oral announcements a non-EU address, decides that the item is not to be Please check your Absentee Bidding Form carefully before before and during the Sale. It is your responsibility to exported from the EU, then he should advise Bonhams returning it to us, fully completed and signed by you. It is your ensure you are aware of the up to date terms of the Buyer’s immediately. responsibility to check with our Bids Office that your bid has Agreement for this Sale. been received. This additional service is complimentary and is confidential. Such bids are made at your own risk and we cannot accept liability for our failure to receive and/or place any

NTB/MAIN/V1/6.2019 In all other instances no VAT will be charged on the Hammer We reserve the rights to investigate and identify the source where we and/or the Seller are liable in relation to any Lot or Price, but VAT at the prevailing rate will be added to Buyer’s of any funds received by us, to postpone completion of any Description or Estimate made of any Lot, or the conduct Premium which will be invoiced on a VAT inclusive basis. the sale of any Lot at our discretion while we complete our of any Sale in relation to any Lot, whether in damages, for investigations, and to cancel the Sale of any Lot if you are in an indemnity or contribution, or for a restitutionary remedy or 9. PAYMENT breach of your warranties as Buyer, if we consider that such otherwise, our and/or the Seller’s liability (combined, if both It is of critical importance that you ensure that you have readily Sale would be unlawful or otherwise cause liabilities for the we and the Seller are liable) will be limited to payment of a sum available funds to pay the Purchase Price and the Buyer’s Seller or Bonhams, or would be detrimental to Bonhams’ which will not exceed by way of maximum the amount of the Premium (plus VAT and any other charges and Expenses to us) reputation. Purchase Price of the Lot irrespective in any case of the nature, in full before making a bid for the Lot. If you are a successful volume or source of any loss or damage alleged to be suffered Bidder, payment will be due to us by 4.30 pm on the second 10. COLLECTION AND STORAGE or sum claimed as due, and irrespective of whether the liability working day after the Sale so that all sums are cleared by the arises from any negligence, other tort, breach of contract (if eighth working day after the Sale. Payments made by anyone The Buyer of a Lot will not be allowed to collect it until payment any) or statutory duty or otherwise. Nothing set out above will other than the registered Buyer will not be accepted. Bonhams in full and in cleared funds has been made (unless we have be construed as excluding or restricting (whether directly or reserves the right to vary the terms of payment at any time. made a special arrangement with the Buyer). For collection and indirectly) our liability or excluding or restricting any person’s removal of purchased Lots, please refer to Sale Information at rights or remedies in respect of (i) fraud, or (ii) death or Bonhams’ preferred payment method is by the front of the Catalogue. Our offices are open 9.00am – 5pm personal injury caused by our negligence (or by the negligence bank transfer. Monday to Friday. Details relating to the collection of a Lot, the of any person under our control or for whom we are legally storage of a Lot and our Storage Contractor after the Sale are responsible), or (iii) acts or omissions for which we are liable You may electronically transfer funds to our Account. If you do set out in the Catalogue. under the Occupiers Liability Act 1957, or (iv) any other liability so, please quote your paddle number and invoice number as to the extent the same may not be excluded or restricted as the reference. Our Account details are as follows: 11. SHIPPING a matter of law or (v) our undertakings under paragraphs 9 (in For information and estimates on domestic and international relation to specialist Stamp or Book Sales only) and 10 of the Bank: National Westminster Bank Plc shipping as well as export licenses please contact Buyer’s Agreement. The same applies in respect of the Seller, Address: PO Box 4RY Alban Shipping on +44 (0) 1582 493 099 as if references to us in this paragraph were substituted with 250 Regent Street [email protected] references to the Seller. London W1A 4RY Account Name: Bonhams 1793 Limited 12. EXPORT/TRADE RESTRICTIONS 15. BOOKS Account Number: 25563009 Sort Code: 56-00-27 It is your sole responsibility to comply with all export and As stated above, all Lots are sold on an “as is” basis, subject IBAN Number: GB 33 NWBK 560027 25563009 import regulations relating to your purchases and also to to all faults, imperfections and errors of Description save as obtain any relevant export and/or import licence(s). Export set out below. However, you will be entitled to reject a Book If paying by bank transfer, the amount received after the licences are issued by Arts Council England and application in the circumstances set out in paragraph 11 of the Buyers deduction of any bank fees and/or conversion of the currency forms can be obtained from its Export Licensing Unit. The Agreement. Please note that Lots comprising printed Books, of payment to pounds sterling must not be less than the detailed provisions of the export licensing arrangements can unframed maps and bound manuscripts are not liable to VAT sterling amount payable, as set out on the invoice. be found on the ACE website http://www.artscouncil.org.uk/ on the Buyer’s Premium. what-we-do/supporting-museums/cultural-property/export- Payment may also be made by one of the following methods: controls/export-licensing/ or by phoning ACE on +44 (0)20 16. CLOCKS AND WATCHES 7973 5188. The need for import licences varies from country Sterling personal cheque drawn on a UK branch of a bank to country and you should acquaint yourself with all relevant All Lots are sold “as is”, and the absence of any reference to or building society: all cheques must be cleared before you local requirements and provisions. The refusal of any import or the condition of a clock or watch does not imply that the Lot is can collect your purchases and should be made payable to export licence(s) or in good condition and without defects, repairs or restorations. Bonhams 1793 Limited. any delay in obtaining such licence(s) shall not permit the Most clocks and watches have been repaired in the course of rescission of any Sale nor allow any delay in making full their normal lifetime and may now incorporate parts not original Cash: you may pay for Lots purchased by you at this Sale payment for the Lot. Generally, please contact our shipping to them. Furthermore, Bonhams makes no representation or with notes or coins in the currency in which the Sale is department before the Sale if you require assistance in warranty that any clock or watch is in working order. As clocks conducted (but not any other currency) provided that the total relation to export regulations. and watches often contain fine and complex mechanisms, amount payable by you in respect of all Lots purchased by Bidders should be aware that a general service, change of you at the Sale does not exceed £3,000, or the equivalent 13. CITES REGULATIONS battery or further repair work, for which the Buyer is solely in the currency in which the Sale is conducted, at the time responsible, may be necessary. Bidders should be aware when payment is made. If the amount payable by you for Lots Please be aware that all Lots marked with the symbol Y are that the importation of watches such as Rolex, Frank Muller exceeds that sum, the balance must be paid otherwise than subject to CITES regulations when exporting these items and Corum into the United States is highly restricted. These in coins or notes; this limit applies to both payment at our outside the EU. These regulations may be found at watches may not be shipped to the USA and can only be premises and direct deposit into our bank account. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or imported personally. may be requested from: Debit cards issued in the name of the Buyer (including China Animal Health and Veterinary Laboratories Agency (AHVLA) 17. FIREARMS – PROOF, CONDITION AND Union Pay (CUP) cards and debit cards issued by Visa Wildlife Licensing CERTIFICATION There is no limit on payment value if and MasterCard only). Floor 1, Zone 17, Temple Quay House payment is made in person using Chip & Pin verification. 2 The Square, Temple Quay Proof of Firearms The term “proof exemption” indicates that a firearm has been BRISTOL BS1 6EB may also be accepted up to £5,000, examined at a Proof House, but not proved, as either (a) it was Payment by telephone Tel: +44 (0) 117 372 8774 subject to appropriate verification procedures, although this deemed of interest and not intended for use, or (b) ammunition The refusal of any CITES licence or permit and any delay in facility is not available for first time buyers. If the amount was not available. In either case, the firearm must be regarded obtaining such licences or permits shall not give rise to the payable by you for Lots exceeds that sum, the balance must as unsafe to fire unless subsequently proved. Firearms rescission or cancellation of any Sale, nor allow any delay in be paid by other means. proved for Black Powder should not be used with smokeless making full payment for the Lot. ammunition. Credit cards issued in the name of the Buyer (including 14. THE SELLERS AND/OR BONHAMS’ LIABILITY China Union Pay (CUP) cards and credit cards issued The term “Certificate of Unprovability” indicates that a firearm There is a £5,000 limit on has been examined at a Proof House and is deemed both by Visa and MasterCard only). Other than any liability of the Seller to the Buyer of a Lot payment value if payment is made in person using Chip & Pin unsuitable for proof and use. Reproof is required before any under the Contract for Sale, neither we nor the Seller are verification. such firearm is to be used. liable (whether in negligence or otherwise) for any error or misdescription or omission in any Description of a Lot or any It may be advisable to notify your debit or credit card provider Estimate in respect of it, whether contained in the Catalogue or Guns Sold as Parts of your intended purchase in advance to reduce delays caused Barrels of guns sold as parts will only be made available for otherwise, whether given orally or in writing and whether given by us having to seek authority when you come to pay. sleeving and measurements once rendered unserviceable before or during the Sale. Neither we nor the Seller will be according to the Gun Barrel Proof Act of 1968 to 1978 and the liable for any loss of Business, profits, revenue or income, or Rules of Proof. Note: only one debit or credit card may be used for payment for loss of reputation, or for disruption to Business or wasted of an account balance. If you have any questions with time on the part of management or staff, or for indirect losses regards to card payments, please contact our Customer or consequential damages of any kind, irrespective in any Condition of Firearms Comment in this Catalogue is restricted, in general, to Services Department. case of the nature, volume or source of the loss or damage exceptional condition and to those defects that might alleged to be suffered, and irrespective of whether the said affect the immediate safety of a firearm in normal use. An loss or damage is caused by or claimed in respect of any intending Bidder unable to make technical examinations negligence, other tort, breach of contract (if any) or statutory duty, restitutionary claim or otherwise. In any circumstances

NTB/MAIN/V1/6.2019 and assessments is recommended to seek advice from a 19. JEWELLERY 21. PICTURES gunmaker or from a modern firearms specialist. All prospective Explanation of Catalogue Terms Bidders are advised to consult the of bore and wall-thickness ˚ Gemstones The following terms used in the Catalogue have the following measurements posted in the saleroom and available from the Historically many gemstones have been subjected to a variety meanings but are subject to the general provisions relating to department. Bidders should note that guns are stripped only of treatments to enhance their appearance. Sapphires and Descriptions contained in the Contract for Sale: where there is a strong indication of a mechanical malfunction. rubies are routinely heat treated to improve their colour and • “Jacopo Bassano”: in our opinion a work by the artist. Stripping is not, otherwise, undertaken. Guns intended for use clarity, similarly emeralds are frequently treated with oils When the artist’s forename(s) is not known, a series of should be stripped and cleaned beforehand. Hammer guns or resin for the same purpose. Other treatments such as asterisks, followed by the surname of the artist, whether should have their rebound mechanisms checked before use. staining, irradiation or coating may have been used on other preceded by an initial or not, indicates that in our opinion The safety mechanisms of all guns must be tested before use. gemstones. These treatments may be permanent, whilst the work is by the artist named; All measurements are approximate. others may need special care or re-treatment over the years • “Attributed to Jacopo Bassano”: in our opinion probably to retain their appearance. Bidders should be aware that a work by the artist but less certainty as to authorship is Estimates assume that gemstones may have been subjected Original Gun Specifications Derived from Gunmakers expressed than in the preceding category; The Sporting Gun Department endeavours to confirm a gun’s to such treatments. A number of laboratories issue certificates • “Studio/Workshop of Jacopo Bassano”: in our opinion a original specification and date of manufacture with makers who that give more detailed Descriptions of gemstones. However work by an unknown hand in a studio of the artist which hold their original records. there may not be consensus between different laboratories on may or may not have been executed under the artist’s the degrees, or types of treatment for any particular gemstone. direction; In the event that Bonhams has been given or has obtained Licensing Requirements • “Circle of Jacopo Bassano”: in our opinion a work by certificates for any Lot in the Sale these certificates will be Firearms Act 1968 as amended a hand closely associated with a named artist but not Bonhams is constantly reviewing its procedures and would disclosed in the Catalogue. Although, as a matter of policy, necessarily his pupil; remind you that, in the case of firearms or shotguns subject to Bonhams endeavours to provide certificates from recognised • “Follower of Jacopo Bassano”: in our opinion a work by a certification, to conform with current legislation, Bonhams is laboratories for certain gemstones, it is not feasible to obtain painter working in the artist’s style, contemporary or nearly required to see, as appropriate, your original registered firearms certificates for each Lot. In the event that no certificate is contemporary, but not necessarily his pupil; dealer’s certificate / shot gun certificate / firearm certificate / published in the Catalogue, Bidders should assume that the • “Manner of Jacopo Bassano”: in our opinion a work in the museum firearms licence / Section 5 authority or import licence gemstones may have been treated. Neither Bonhams nor style of the artist and of a later date; (or details of any exemption from which you may benefit, for the Seller accepts any liability for contradictions or differing • “After Jacopo Bassano”: in our opinion, a copy of a known instance Crown servant status) for the firearm(s) you have certificates obtained by Buyers on any Lots subsequent to work of the artist; purchased prior to taking full payment of the amount shown the Sale. • “Signed and/or dated and/or inscribed”: in our opinion the on your invoice. Should you not already be in possession of signature and/or date and/or inscription are from the hand such an authority or exemption, you are required to initially Estimated Weights of the artist; pay a deposit of 95% of the total invoice with the balance of If a stone(s) weight appears within the body of the Description • “Bears a signature and/or date and/or inscription”: in our 5% payable on presentation of your valid certificate or licence in capital letters, the stone(s) has been unmounted and opinion the signature and/or date and/or inscription have showing your authority to hold the firearm(s) concerned. weighed by Bonhams. If the weight of the stone(s) is stated been added by another hand. to be approximate and does not appear in capital letters, the Please be advised that if a successful Bidder is then unable stone(s) has been assessed by us within its/their settings, 22. PORCELAIN AND GLASS to produce the correct paperwork, the Lot(s) will be reoffered and the stated weight is a statement of our opinion only. This by Bonhams in the next appropriate Sale, on standard terms information is given as a guide and Bidders should satisfy Damage and Restoration for Sellers, and you will be responsible for any loss incurred by themselves with regard to this information as to its accuracy. For your guidance, in our Catalogues we attempt to detail, Bonhams on the original Sale to you. as far as practicable, all significant defects, cracks and Signatures restoration. Such practicable Descriptions of damage cannot In the case of RFD certificates and Section 5 authorities, we 1. A diamond brooch, by Kutchinsky be definitive, and in providing Condition Reports, we cannot wish to keep an up-to-date copy on file. Please supply us with When the maker’s name appears in the title, in Bonhams’ Guarantee that there are no other defects present which have a Fax or photocopy. It would be helpful if you could send us an opinion the piece is by that maker. not been mentioned. Bidders should satisfy themselves by updated copy whenever your certificate or authority is renewed inspection, as to the condition of each Lot. Please see the or changed. 2. A diamond brooch, signed Kutchinsky Contract for Sale printed in this Catalogue. Because of the Has a signature that, in Bonhams’ opinion, is authentic but difficulty in determining whether an item of glass has been Lots marked ‘S1´ and bearing red labels are Section 1 firearms may contain gemstones that are not original, or the piece may repolished, in our Catalogues reference is only made to visible and require a valid British Firearms certificate, RFD Licence or have been altered. chips and cracks. No mention is made of repolishing, severe import licence. or otherwise. 3. A diamond brooch, mounted by Kutchinsky Lots marked ‘S2’ and bearing blue labels are Section 2 Has been created by the jeweller, in Bonhams’ opinion, but 23. VEHICLES firearms and require a valid British Shotgun certificate, RFD using stones or designs supplied by the client. licence or import licence. The Veteran Car Club of Great Britain 20. PHOTOGRAPHS

Lots marked ‘S5´ and bearing specially marked red labels are Dating Plates and Certificates Section 5 prohibited firearms and require a valid Section 5 Explanation of Catalogue Terms • “Bill Brandt”: in our opinion a work by the artist. When mention is made of a Veteran Car Club Dating Plate or Authority or import licence. • “Attributed to Bill Brandt”: in our opinion probably a work by Dating Certificate in this Catalogue, it should be borne in mind the artist, but less certainty to authorship is expressed than that the Veteran Car Club of Great Britain using the services of Lots marked with a ‘S58´ and bearing yellow labels are for in the preceding category. Veteran Car Company Ltd, does from time to time, review cars obsolete calibres and no licence is required unless ammunition • “Signed and/or titled and/or dated and/or inscribed”: in already dated and, in some instances, where fresh evidence is held. our opinion the signature and/or title and/or date and/or becomes available, the review can result in an alteration of inscription are in the artist’s hand. date. Whilst the Club and Veteran Car Company Ltd make Unmarked Lots require no licence. • “Signed and/or titled and/or dated and/or inscribed in every effort to ensure accuracy, the date shown on the Dating another hand”: in our opinion the signature and/or title and/ Plate or Dating Certificate cannot be guaranteed as correct and Please do not hesitate to contact the Modern Sporting Gun or date and/or inscription have been added by intending purchasers should make their own enquiries as to the Department should you have any queries. another hand. date of the car. • The date given is that of the image (negative). Where no Taxidermy and Related Items further date is given, this indicates that the photographic 24. WINE On behalf of the Seller of these articles, Bonhams undertakes print is vintage (the term “vintage” may also be included in to comply fully with Cites and DEFRA regulations. Buyers the Lot Description). A vintage photograph is one which Lots which are lying under Bond and those liable to VAT may are advised to inform themselves of all such regulations and was made within approximately 5-10 years of the negative. not be available for immediate collection. should expect the exportation of items to take some time to Where a second, later date appears, this refers to the date arrange. of printing. Where the exact printing date is not known, but Examining the wines understood to be later, “printed later” will appear in the Lot It is occasionally possible to provide a pre-Sale tasting for 18. FURNITURE Description. larger parcels (as defined below). This is generally limited to • Unless otherwise specified, dimensions given are those of more recent and everyday drinking wines. Please contact the

Upholstered Furniture the piece of paper on which the image is printed, including department for details. Whilst we take every care in cataloguing furniture which has any margins. Some photographs may appear in the been upholstered we offer no Guarantee as to the originality Catalogue without margins illustrated. of the wood covered by fabric or upholstery. • All photographs are sold unframed unless stated in the Lot Description.

NTB/MAIN/V1/6.2019 It is not our policy to inspect every unopened case. In the case under the Artists Resale Right Regulations 2006. See 2 SELLER’S UNDERTAKINGS of wines older than 20 years the boxes will usually have been clause 7 for details. opened and levels and appearance noted in the Catalogue ○ The Seller has been guaranteed a minimum price for the 2.1 The Seller undertakes to you that: where necessary. You should make proper allowance for Lot, either by Bonhams or a third party. This may take the variations in ullage levels and conditions of corks, capsules form of an irrevocable bid by a third party, who may make and labels. a financial gain on a successful Sale or a financial loss if 2.1.1 the Seller is the owner of the Lot or is duly authorised unsuccessful. to sell the Lot by the owner; Corks and Ullages ▲ Bonhams owns the Lot either wholly or partially or may Ullage refers to the space between the base of the cork otherwise have an economic interest. and the wine. Ullage levels for Bordeaux shaped bottles are Ф This lot contains or is made of ivory. The United States 2.1.2 save as disclosed in the Entry for the Lot in the only normally noted when below the neck and for Burgundy, Government has banned the import of ivory into Catalogue, the Seller sells the Lot with full title Alsace, German and Cognac shaped bottles when greater the USA. guarantee or, where the Seller is an executor, trustee, than 4 centimetres (cm). Acceptable ullage levels increase with liquidator, receiver or administrator, with whatever age; generally acceptable levels are as follows: •, †, *, G, Ω, a see clause 8, VAT, for details. right, title or interest he may have in the Lot; Under 15 years old – into neck or less than 4cm DATA PROTECTION – USE OF YOUR INFORMATION 15 to 30 years old – top shoulder (ts) or up to 5cm 2.1.3 except where the Sale is by an executor, trustee, Over 30 years old – high shoulder (hs) or up to 6cm liquidator, receiver or administrator the Seller is both Where we obtain any personal information about you, we legally entitled to sell the Lot, and legally capable shall only use it in accordance with the terms of our Privacy It should be noted that ullages may change between of conferring on you quiet possession of the Lot Policy (subject to any additional specific consent(s) you may publication of the Catalogue and the Sale and that corks may and that the Sale conforms in every respect with have given at the time your information was disclosed). A fail as a result of transporting the wine. We will only accept the terms implied by the Sale of Goods Act 1979, copy of our Privacy Policy can be found on our Website www. responsibility for Descriptions of condition at the time of Sections 12(1) and 12(2) (see the Definitions and bonhams.com or requested by post from Customer Services publication of the Catalogue and cannot accept responsibility Glossary); Department, 101 New Bond Street, London, W1S 1SR or by for any loss resulting from failure of corks either before or after email from [email protected] this point. 2.1.4 the Seller has complied with all requirements, legal or otherwise, relating to any export or import of the Lot, Options to buy parcels APPENDIX 1 and all duties and taxes in respect of the export or A parcel is a number of Lots of identical size of the same wine, import of the Lot have (unless stated to the contrary bottle size and Description. The Buyer of any of these Lots has in the Catalogue or announced by the Auctioneer) the option to accept some or all of the remaining Lots in the CONTRACT FOR SALE been paid and, so far as the Seller is aware, all third parcel at the same price, although such options will be at the parties have complied with such requirements in the Auctioneer’s sole discretion. Absentee Bidders are, therefore, past; advised to bid on the first Lot in a parcel. IMPORTANT: These terms may be changed in advance of the Sale of the Lot to you, by the setting out of different Wines in Bond terms in the Catalogue for the Sale and/or by placing 2.1.5 subject to any alterations expressly identified as Wines lying in Bond are marked Δ. All Lots sold under Bond, an insert in the Catalogue and/or by notices at the Sale such made by announcement or notice at the Sale and which the Buyer wishes to remain under Bond, will be venue and/or on Bonhams’ website, and/or by oral venue or by the Notice to Bidders or by an insert in invoiced without VAT or Duty on the Hammer Price. If the announcements before and during the Sale at the Sale the Catalogue or on the Bonhams website, the Lot Buyer wishes to take the Lot as Duty paid, UK Excise Duty and venue. You should be alert to this possibility of changes corresponds with the Contractual Description of VAT will be added to the Hammer Price on the invoice. and ask in advance of bidding if there have been any. the Lot, being that part of the Entry about the Lot in the Catalogue which is in bold letters and (except Buyers must notify Bonhams at the time of the sale whether Under this contract the Seller’s liability in respect of for colour) with any photograph of the Lot in the they wish to take their wines under Bond or Duty paid. If a the quality of the Lot, it’s fitness for any purpose and Catalogue. Lot is taken under Bond, the Buyer will be responsible for all its conformity with any Description is limited. You are VAT, Duty, clearance and other charges that may be payable strongly advised to examine the Lot for yourself and/ thereon. 3 DESCRIPTIONS OF THE LOT or obtain an independent examination of it before you buy it. Buyers outside the UK must be aware that any forwarding 3.1 Paragraph 2.1.5 sets out what is the Contractual agent appointed to export their purchases must have a Description of the Lot. In particular, the Lot is not movement certificate for Lots to be released under Bond. 1 THE CONTRACT sold as corresponding with any part of the Entry in the Catalogue which is not printed in bold letters, Bottling Details and Case Terms 1.1 These terms and the relevant terms for Bidders and the remainder of which Entry merely sets out (on The following terms used in the Catalogue have the following Buyers in the Notice to Bidders govern the Contract the Seller’s behalf) Bonhams’ opinion about the Lot meanings: for Sale of the Lot by the Seller to the Buyer. and which is not part of the Contractual Description CB – Château bottled upon which the Lot is sold. Any statement or DB – Domaine bottled representation other than that part of the Entry EstB – Estate bottled 1.2 The Definitions and Glossary contained in Appendix referred to in paragraph 2.1.5 (together with any BB – Bordeaux bottled 3 in the Catalogue are incorporated into this Contract express alteration to it as referred to in paragraph BE – Belgian bottled for Sale and a separate copy can also be provided 2.1.5), including any Description or Estimate, FB – French bottled by Bonhams on request. Where words and phrases whether made orally or in writing, including in the GB – German bottled are used which are in the List of Definitions, they are Catalogue or on Bonhams’ Website, or by conduct, OB – Oporto bottled printed in italics. or otherwise, and whether by or on behalf of the UK – United Kingdom bottled Seller or Bonhams and whether made prior to owc – original wooden case or during the Sale, is not part of the Contractual iwc – individual wooden case 1.3 The Seller sells the Lot as the principal to the Description upon which the Lot is sold. oc – original carton Contract for Sale, such contract being made between the Seller and you through Bonhams which SYMBOLS acts in the sole capacity as the Seller’s agent and not 3.2 Except as provided in paragraph 2.1.5, the Seller as an additional principal. However, if the Catalogue does not make or give and does not agree to THE FOLLOWING SYMBOLS ARE USED TO DENOTE states that Bonhams sells the Lot as principal, or make or give any contractual promise, undertaking, such a statement is made by an announcement obligation, guarantee, warranty, or representation Y Subject to CITES regulations when exporting these items by the Auctioneer, or by a notice at the Sale, or an outside the EU, see clause 13. of fact, or undertake any duty of care, in relation insert in the Catalogue, then Bonhams is the Seller to any Description of the Lot or any Estimate in TP Objects displayed with a TP will be located at the for the purposes of this agreement. Cadogan Tate warehouse and will only be available for relation to it, nor of the accuracy or completeness collection from this location. of any Description or Estimate which may have W Objects displayed with a w will be located in the 1.4 The contract is made on the fall of the Auctioneer’s been Bonhams. No such Description or Estimate is Bonhams Warehouse and will only be available for hammer in respect of the Lot when it is knocked incorporated into this Contract for Sale. collection from this location. down to you. Δ Wines lying in Bond. AR An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties

NTB/MAIN/V1/6.2019 4 FITNESS FOR PURPOSE AND SATISFACTORY 7.2 The Seller is entitled to withhold possession from you 8.1.8 to retain possession of any other property sold to QUALITY of any other Lot he has sold to you at the same or you by the Seller at the Sale or any other auction at any other Sale and whether currently in Bonhams’ or by private treaty until all sums due under the possession or not, until payment in full and in cleared Contract for Sale shall have been paid in full in 4.1 The Seller does not make and does not agree funds of the Purchase Price and all other sums due cleared funds; to make any contractual promise, undertaking, to the Seller and/or Bonhams in respect of the Lot. obligation, guarantee, warranty, or representation of fact in relation to the satisfactory quality of the Lot or 8.1.9 to retain possession of, and on three months’ written its fitness for any purpose. 7.3 You should note that Bonhams has reserved the right notice to sell, Without Reserve, any of your other not to release the Lot to you until its investigations property in the possession of the Seller and/or of under paragraph 3.11 of the Buyers’ Agreement Bonhams (as bailee for the Seller) for any purpose 4.2 The Seller will not be liable for any breach of any set out in Appendix 2 have been completed to (including, without limitation, other goods sold to undertaking, whether implied by the Sale of Goods Bonhams’ satisfaction. you) and to apply any monies due to you as a result Act 1979 or otherwise, as to the satisfactory quality of such Sale in satisfaction or part satisfaction of any of the Lot or its fitness for any purpose. amounts owed to the Seller or to Bonhams; and 7.4 You will collect and remove the Lot at your own expense from Bonhams’ custody and/ or control or 5 RISK, PROPERTY AND TITLE from the Storage Contractor’s custody in accordance 8.1.10 so long as such goods remain in the possession with Bonhams’ instructions or requirements. of the Seller or Bonhams as its bailee, to rescind 5.1 Risk in the Lot passes to you after 7 days from the the contract for the Sale of any other goods sold to day upon which it is knocked down to you on the you by the Seller at the Sale or at any other auction 7.5 You will be wholly responsible for packing, handling or by private treaty and apply any monies received fall of the Auctioneer’s hammer in respect of the and transport of the Lot on collection and for Lot, or upon collection of the Lot if earlier. The Seller from you in respect of such goods in part or full complying with all import or export regulations in satisfaction of any amounts owed to the Seller or to will not be responsible thereafter for the Lot prior connection with the Lot. to you collecting it from Bonhams or the Storage Bonhams by you. Contractor, with whom you have separate contract(s) as Buyer. You will indemnify the Seller and keep the 7.6 You will be wholly responsible for any removal, 8.2 You agree to indemnify the Seller against all legal Seller fully indemnified from and against all claims, storage or other charges or expenses incurred by and other costs of enforcement, all losses and other proceedings, costs, expenses and losses arising in the Seller if you do not remove the Lot in accordance expenses and costs (including any monies payable respect of any injury, loss and damage caused to with this paragraph 7 and will indemnify the Seller to Bonhams in order to obtain the release of the the Lot beyond 7 days from the day of the fall of the against all charges, costs, including any legal costs Lot) incurred by the Seller (whether or not court Auctioneer’s hammer until you obtain full title to it. and fees, expenses and losses suffered by the Seller proceedings will have been issued) as a result of by reason of your failure to remove the Lot including Bonhams taking steps under this paragraph 8 on any charges due under any Storage Contract. All 5.2 Title to the Lot remains in and is retained by the a full indemnity basis together with interest thereon such sums due to the Seller will be payable on (after as well as before judgement or order) at the Seller until: (i) the Purchase Price and all other demand. sums payable by you to Bonhams in relation to rate specified in paragraph 8.1.6 from the date upon the Lot have been paid in full to and received in which the Seller becomes liable to pay the same until payment by you. cleared funds by Bonhams, and (ii) Bonhams has 8 FAILURE TO PAY FOR THE LOT completed its investigations pursuant to clause 3.11 of the Buyer’s Agreement with Bonhams set out in 8.1 If the Purchase Price for a Lot is not paid to 8.3 On any resale of the Lot under paragraph 8.1.2, the Appendix 2 in the catalogue. Bonhams in full in accordance with the Contract for Seller will account to you in respect of any balance Sale, the Seller will be entitled, with the prior written remaining from any monies received by him or on his behalf in respect of the Lot, after the payment of 6 PAYMENT agreement of Bonhams but without further notice to you, to exercise one or more of the following rights all sums due to the Seller and to Bonhams, within (whether through Bonhams or otherwise): 28 days of receipt of such monies by him or on his 6.1 Your obligation to pay the Purchase Price arises behalf. when the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. 8.1.1 to terminate immediately the Contract for Sale of the Lot for your breach of contract; 9 THE SELLER’S LIABILITY

6.2 Time will be of the essence in relation to payment of the Purchase Price and all other sums payable by 8.1.2 to resell the Lot by auction, private treaty or any 9.1 The Seller will not be liable for any injury, loss or you to Bonhams. Unless agreed in writing with you other means on giving seven days’ written notice to damage caused by the Lot after the fall of the by Bonhams on the Seller’s behalf (in which case you of the intention to resell; Auctioneer’s hammer in respect of the Lot. you must comply with the terms of that agreement), all such sums must be paid to Bonhams by you in 8.1.3 to retain possession of the Lot; 9.2 Subject to paragraph 9.3 below, except for breach of the currency in which the Sale was conducted by the express undertaking provided in paragraph 2.1.5, not later than 4.30pm on the second working day the Seller will not be liable for any breach of any term following the Sale and you must ensure that the 8.1.4 to remove and store the Lot at your expense; that the Lot will correspond with any Description funds are cleared by the seventh working day after applied to it by or on behalf of the Seller, whether the Sale. Payment must be made to Bonhams by implied by the Sale of Goods Act 1979 or otherwise. one of the methods stated in the Notice to Bidders 8.1.5 to take legal proceedings against you for any sum unless otherwise agreed with you in writing by due under the Contract for Sale and/or damages for Bonhams. If you do not pay in full any sums due in breach of contract; 9.3 Unless the Seller sells the Lot in the course of a accordance with this paragraph, the Seller will have Business and the Buyer buys it as a Consumer, the rights set out in paragraph 8 below. 8.1.6 to be paid interest on any monies due (after as well as before judgement or order) at the annual rate 9.3.1 the Seller will not be liable (whether in negligence, 7 COLLECTION OF THE LOT of 5% per annum above the base rate of National other tort, breach of contract or statutory duty or in Westminster Bank Plc from time to time to be restitution or under the Misrepresentation Act 1967, calculated on a daily basis from the date upon which or in any other way) for any lack of conformity with, 7.1 Unless otherwise agreed in writing with you by such monies become payable until the date of actual or inaccuracy, error, misdescription or omission in Bonhams, the Lot will be released to you or to your payment; any Description of the Lot or any Entry or Estimate in order only when: (i) Bonhams has received cleared relation to the Lot made by or on behalf of the Seller funds to the amount of the full Purchase Price (whether made in writing, including in the Catalogue, and all other sums owed by you to the Seller and 8.1.7 to repossess the Lot (or any part thereof) which has or on the Website, or orally, or by conduct or to Bonhams and (ii) Bonhams has completed its not become your property, and for this purpose otherwise) and whether made before or after this investigations pursuant to clause 3.11 of the Buyer’s (unless the Buyer buys the Lot as a Consumer from agreement or prior to or during the Sale; Agreement with Bonhams set out in Appendix 2 in the Seller selling in the course of a Business) you the catalogue. hereby grant an irrevocable licence to the Seller by himself and to his servants or agents to enter upon all or any of your premises (with or without vehicles) during normal Business hours to take possession of the Lot or part thereof;

NTB/MAIN/V1/6.2019 9.3.2 the Seller will not be liable for any loss of Business, 10.5 If any term or any part of any term of the Contract 1 THE CONTRACT Business profits or revenue or income or for loss of for Sale is held to be unenforceable or invalid, reputation or for disruption to Business or wasted such unenforceability or invalidity will not affect the 1.1 These terms govern the contract between Bonhams time on the part of the Buyer or of the Buyer’s enforceability and validity of the remaining terms or personally and the Buyer, being the person to whom management or staff or, for any indirect losses or the remainder of the relevant term. a Lot has been knocked down by the Auctioneer. consequential damages of any kind, irrespective in any case of the nature, volume or source of the loss 1.2 The Definitions and Glossary contained in Appendix 10.6 References in the Contract for Sale to Bonhams will, or damage alleged to be suffered, and irrespective 3 to the Catalogue for the Sale are incorporated where appropriate, include reference to Bonhams’ of whether the said loss or damage is caused by into this agreement and a separate copy can also officers, employees and agents and to any subsidiary or claimed in respect of any negligence, other tort, be provided by us on request. Where words and of Bonhams Holdings Limited and to its officers, breach of contract, statutory duty, restitutionary claim phrases which are defined in the List of Definitions employees and agents. or otherwise; are used in this agreement, they are printed in italics. Reference is made in this agreement to information 10.7 The headings used in the Contract for Sale are for printed in the Notice to Bidders, printed in the 9.3.3 in any circumstances where the Seller is liable to convenience only and will not affect its interpretation. Catalogue for the Sale, and where such information you in respect of the Lot, or any act, omission, is referred to it is incorporated into this agreement. statement, or representation in respect of it, or this agreement or its performance, and whether in 10.8 In the Contract for Sale “including” means “including, 1.3 Except as specified in paragraph 4 of the Notice to damages, for an indemnity or contribution or for without limitation”. Bidders the Contract for Sale of the Lot between you a restitutionary remedy or in any way whatsoever, and the Seller is made on the fall of the Auctioneer’s the Seller’s liability will be limited to payment of a hammer in respect of the Lot, when it is knocked 10.9 References to the singular will include reference to sum which will not exceed by way of maximum the down to you. At that moment a separate contract is the plural (and vice versa) and reference to any one amount of the Purchase Price of the Lot irrespective also made between you and Bonhams on the terms gender will include reference to the other genders. in any case of the nature, volume or source of in this Buyer’s Agreement. any loss or damage alleged to be suffered or sum claimed as due, and irrespective of whether the 10.10 Reference to a numbered paragraph is to a 1.4 We act as agents for the Seller and are not liability arises from any negligence, other tort, breach paragraph of the Contract for Sale. answerable or personally responsible to you for any of contract, statutory duty, bailee’s duty, restitutionary breach of contract or other default by the Seller, claim or otherwise. unless Bonhams sells the Lot as principal. 10.11 Save as expressly provided in paragraph 10.12 nothing in the Contract for Sale confers (or purports 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will 1.5 Our personal obligations to you are governed by to confer) on any person who is not a party to the be construed as excluding or restricting (whether this agreement and we agree, subject to the terms Contract for Sale any benefit conferred by, or the directly or indirectly) any person’s liability or excluding below, to the following obligations: right to enforce any term of, the Contract for Sale. or restricting any person’s rights or remedies in respect of (i) fraud, or (ii) death or personal injury 1.5.1 we will, until the date and time specified in the Notice to Bidders or otherwise notified to you, store the Lot caused by the Seller’s negligence (or any person 10.12 Where the Contract for Sale confers an immunity in accordance with paragraph 5; under the Seller’s control or for whom the Seller is from, and/or an exclusion or restriction of, the legally responsible), or (iii) acts or omissions for which responsibility and/or liability of the Seller, it will also 1.5.2 subject to any power of the Seller or us to refuse to the Seller is liable under the Occupiers Liability Act operate in favour and for the benefit of Bonhams, release the Lot to you, we will release the Lot to you 1957, or (iv) any other liability to the extent the same Bonhams’ holding company and the subsidiaries in accordance with paragraph 4 once you have paid may not be excluded or restricted as a matter of law. of such holding company and the successors and to us, in cleared funds, everything due to us and assigns of Bonhams and of such companies and of the Seller and following completion of our enquiries any officer, employee and agent of Bonhams and pursuant to paragraph 3.11; 10 MISCELLANEOUS such companies, each of whom will be entitled to rely on the relevant immunity and/or exclusion and/or 1.5.3 we will provide guarantees in the terms set out in 10.1 You may not assign either the benefit or burden of restriction within and for the purposes of Contracts paragraphs 9 and 10. the Contract for Sale. (Rights of Third Parties) Act 1999, which enables the benefit of a contract to be extended to a person who 1.6 We do not make or give and do not agree to make is not a party to the contract, and generally at law. 10.2 The Seller’s failure or delay in enforcing or exercising or give any contractual promise, undertaking, any power or right under the Contract for Sale will obligation, Guarantee, warranty, representation of not operate or be deemed to operate as a waiver of 11 GOVERNING LAW fact in relation to any Description of the Lot or any his rights under it except to the extent of any express Estimate in relation to it, nor of the accuracy or waiver given to you in writing. Any such waiver will completeness of any Description or Estimate which All transactions to which the Contract for Sale not affect the Seller’s ability subsequently to enforce may have been made by us or on our behalf or by applies and all connected matters will be governed any right arising under the Contract for Sale. or on behalf of the Seller (whether made orally or in by and construed in accordance with the laws of writing, including in the Catalogue or on Bonhams’ that part of the United Kingdom where the Sale Website, or by conduct, or otherwise), and whether 10.3 If either party to the Contract for Sale is prevented takes place and the Seller and you each submit to made before or after this agreement or prior to or from performing that party’s respective obligations the exclusive jurisdiction of the courts of that part during the Sale. No such Description or Estimate is under the Contract for Sale by circumstances of the United Kingdom, save that the Seller may incorporated into this agreement between you and beyond its reasonable control or if performance of its bring proceedings against you in any other court of us. Any such Description or Estimate, if made by us obligations would by reason of such circumstances competent jurisdiction to the extent permitted by or on our behalf, was (unless Bonhams itself sells give rise to a significantly increased financial the laws of the relevant jurisdiction. Bonhams has a the Lot as principal) made as agent on behalf of the cost to it, that party will not, for so long as such complaints procedure in place. Seller. circumstances prevail, be required to perform such obligations. This paragraph does not apply to the APPENDIX 2 2 PERFORMANCE OF THE CONTRACT FOR obligations imposed on you by paragraph 6. SALE

BUYER’S AGREEMENT WITH BONHAMS You undertake to us personally that you will 10.4 Any notice or other communication to be given under observe and comply with all your obligations and the Contract for Sale must be in writing and may be undertakings to the Seller under the Contract for delivered by hand or sent by first class post or air These terms may be changed in advance of the IMPORTANT: Sale in respect of the Lot. mail or fax transmission, if to the Seller, addressed Sale of the Lot to you, by the setting out of different terms in c/o Bonhams at its address or fax number in the the Catalogue for the Sale and/or by placing an insert in the Catalogue (marked for the attention of the Company Catalogue and/or by notices at the Sale venue and/or by oral 3 PAYMENT AND BUYER WARRANTIES Secretary), and if to you to the address or fax number announcements before and during the Sale at the Sale venue. 3.1 Unless agreed in writing between you and us or as of the Buyer given in the Bidding Form (unless You should be alert to this possibility of changes and ask in otherwise set out in the Notice to Bidders, you must notice of any change of address is given in writing). advance of bidding if there have been any. It is the responsibility of the sender of the notice or pay to us by not later than 4.30pm on the second communication to ensure that it is received in a legible working day following the Sale: form within any applicable time period. 3.1.1 the Purchase Price for the Lot;

NTB/MAIN/V1/6.2019 3.1.2 a Buyer’s Premium in accordance with the rates set 3.10.3 funds used for your or your Principal’s purchase charges due under the Storage Contract. out in the Notice to Bidders on each lot, and are not connected with or derived from any criminal activity, including without limitation tax evasion, 4.7 You will be wholly responsible for packing, handling 3.1.3 if the Lot is marked [AR], an Additional Premium money laundering or terrorist financing; and transport of the Lot on collection and for which is calculated and payable in accordance with complying with all import or export regulations in the Notice to Bidders together with VAT on that sum 3.10.4 items purchased by you and your Principal through connection with the Lot. if applicable so that all sums due to us are cleared Bonhams are not being purchased or to be used funds by the seventh working day after the Sale. in any way connected with or to facilitate breaches 4.8 You will be wholly responsible for any removal, of applicable Tax, Anti-Money Laundering or Anti- storage, or other charges for any Lot not removed 3.2 You must also pay us on demand any Expenses Terrorism laws and regulations; and in accordance with paragraph 4.2, payable at our payable pursuant to this agreement. current rates, and any Expenses we incur (including 3.10.5 that you consent to Bonhams relying upon your any charges due under the Storage Contract), all of 3.3 All payments to us must be made in the currency customer due diligence, undertaking to retain which must be paid by you on demand and in any in which the Sale was conducted, using, unless records of your due diligence for at least 5 years and event before any collection of the Lot by you or on otherwise agreed by us in writing, one of the to make such due diligence records available for your behalf. methods of payment set out in the Notice to inspection by an independent auditor in the event we Bidders. Our invoices will only be addressed to the request you to do so. 5 STORING THE LOT registered Bidder unless the Bidder is acting as an agent for a named principal and we have approved 3.11 We reserve the rights to make enquiries about any We agree to store the Lot until the earlier of your that arrangement, in which case we will address the person transacting with us and to identify the source removal of the Lot or until the time and date set out invoice to the principal. of any funds received from you. In the event we have in the Notice to Bidders, on the Sale Information not completed our investigations in respect of anti- Page or at the back of the catalogue (or if no date 3.4 Unless otherwise stated in this agreement all terrorism financing, anti-money laundering or other is specified, by 4.30pm on the seventh day after the sums payable to us will be subject to VAT at the financial and identity checks concerning either you Sale) and, subject to paragraphs 3, 6 and 10, to be appropriate rate and VAT will be payable by you on or the Seller, to our satisfaction at our discretion, we responsible as bailee to you for damage to or the all such sums. shall be entitled to retain Lots and/or proceeds of loss or destruction of the Lot (notwithstanding that it Sale, postpone or cancel any sale and to take any is not your property before payment of the Purchase 3.5 We may deduct and retain for our own benefit from other actions required or permitted under applicable Price). If you do not collect the Lot before the time the monies paid by you to us the Buyer’s Premium, law, without liability to you. and date set out in the Notice to Bidders (or if no the Commission payable by the Seller in respect date is specified, by 4.30pm on the seventh day of the Lot, any Expenses and VAT and any interest 4 COLLECTION OF THE LOT after the Sale) we may remove the Lot to another earned and/or incurred until payment to the Seller. location, the details of which will usually be set out 4.1 Subject to any power of the Seller or us to refuse to in the relevant section of the Catalogue. If you have 3.6 Time will be of the essence in relation to any release the Lot to you, once you have paid to us, in not paid for the Lot in accordance with paragraph 3, payment payable to us. If you do not pay the cleared funds, everything due to the Seller and to and the Lot is moved to any third party’s premises, Purchase Price, or any other sum due to us in us, and once we have completed our investigations the Lot will be held by such third party strictly to accordance with this paragraph 3, we will have the under paragraph 3.11, we will release the Lot to Bonhams’ order and we will retain our lien over the rights set out in paragraph 7 below. you or as you may direct us in writing. The Lot will Lot until we have been paid in full in accordance with only be released on production of a buyer collection paragraph 3. 3.7 Where a number of Lots have been knocked down document, obtained from our cashier’s office. to you, any monies we receive from you will be 6 RESPONSIBILITY FOR THE LOT applied firstly pro-rata to pay the Purchase Price of 4.2 You must collect and remove the Lot at your own each Lot and secondly pro-rata to pay all amounts expense by the date and time specified in the Notice 6.1 Title (ownership) in the Lot passes to you (i) on due to Bonhams. to Bidders, or if no date is specified, by 4.30pm on payment of the Purchase Price to us in full in the seventh day after the Sale. cleared funds and (ii) when investigations have been 3.8 You warrant that neither you nor - if you are a completed to our satisfaction under paragraph 3.11. company, your directors, officers or your owner or 4.3 For the period referred to in paragraph 4.2, the Lot their directors or shareholders - are an individual can be collected from the address referred to in the 6.2 Please note however, that under the Contract for or an entity that is, or is owned or controlled by Notice to Bidders for collection on the days and Sale, the risk in the Lot passes to you after 7 days individuals or entities that are: times specified in the Notice to Bidders. Thereafter, from the day upon which it is knocked down to the Lot may be removed elsewhere for storage and you or upon collection of the Lot if earlier, and you 3.8.1 the subject of any sanctions administered or you must enquire from us as to when and where you are advised to obtain insurance in respect of the Lot enforced by the U.S. Department of the Treasury’s can collect it, although this information will usually be as soon as possible after the Sale. Office of Foreign Assets Control, the U.S. Departure set out in the Notice to Bidders. of State, the United Nations Security Council, the European Union, Her Majesty’s Treasury, or other 4.4 If you have not collected the Lot by the date 7 FAILURE TO PAY OR TO REMOVE THE LOT relevant sanctions authority (“Sanctions” and a specified in the Notice to Bidders, you authorise AND PART PAYMENTS “Sanctioned Party”); or us, acting in this instance as your agent and on your behalf, to enter into a contract (the “Storage 3.8.2 located, organised or resident in a country or territory Contract”) with the Storage Contractor for the 7.1 If all sums payable to us are not so paid in full at the that is, or whose government is, the subject of storage of the Lot on the then current standard time they are due and/or the Lot is not removed in Sanctions, including without limitation, Iran, North terms and conditions agreed between Bonhams and accordance with this agreement, we will (without Korea, Sudan and Syria. the Storage Contractor (copies of which are available further notice to you unless otherwise provided on request). If the Lot is stored at our premises below), be entitled to exercise one or more of the 3.9 You warrant that the funds being used for your storage fees at our current daily rates (currently a following rights (without prejudice to any rights we purchase have no link with criminal activity including minimum of £3 plus VAT per Lot per day) will be may exercise on behalf of the Seller): without limitation money laundering, tax evasion payable from the expiry of the period referred to in or terrorist financing, and that you not under paragraph 4.2. These storage fees form part of our 7.1.1 to terminate this agreement immediately for your investigation for neither have been charged nor Expenses. breach of contract; convicted in connection with any criminal activity. 4.5 Until you have paid the Purchase Price and any 7.1.2 to retain possession of the Lot; 3.10 Where you are acting as agent for another party Expenses in full the Lot will either be held by us as (“your Principal”), you undertake and warrant that: agent on behalf of the Seller or held by the Storage 7.1.3 to remove, and/or store the Lot at your expense; Contractor as agent on behalf of the Seller and 3.10.1 you have conducted suitable customer due diligence ourselves on the terms contained in the Storage 7.1.4 to take legal proceedings against you for payment into your Principal under applicable Sanctions and Contract. of any sums payable to us by you (including the Anti-Money Laundering laws and regulations; Purchase Price) and/or damages for breach of 4.6 You undertake to comply with the terms of any contract; 3.10.2 your Principal is not a Sanctioned Party and not Storage Contract and in particular to pay the owned, partially owned or controlled by a Sanctioned charges (and all costs of moving the Lot into storage) Party, and you have no reason to suspect that your due under any Storage Contract. You acknowledge Principal has been charged or convicted with, money and agree that you will not be able to collect the Lot laundering, terrorism or other crimes; from the Storage Contractor’s premises until you have paid the Purchase Price, any Expenses and all

NTB/MAIN/V1/6.2019 7.1.5 to be paid interest on any monies due to us (after 8 CLAIMS BY OTHER PERSONS IN RESPECT OF 9.4 You authorise us to carry out such processes and as well as before judgement or order) at the annual THE LOT tests on the Lot as we in our absolute discretion rate of 5% per annum above the base lending rate consider necessary to satisfy ourselves that the Lot of National Westminster Bank Plc from time to time 8.1 Whenever it becomes apparent to us that the Lot is is or is not a Forgery. to be calculated on a daily basis from the date upon the subject of a claim by someone other than you which such monies become payable until the date of and other than the Seller (or that such a claim can 9.5 If we are satisfied that a Lot is a Forgery we will (as actual payment; reasonably be expected to be made), we may, at our principal) purchase the Lot from you and you will absolute discretion, deal with the Lot in any manner transfer the title to the Lot in question to us, with 7.1.6 to repossess the Lot (or any part thereof) which has which appears to us to recognise the legitimate full title guarantee, free from any liens, charges, not become your property, and for this purpose interests of ourselves and the other parties involved encumbrances and adverse claims, in accordance (unless you buy the Lot as a Consumer) you hereby and lawfully to protect our position and our legitimate with the provisions of Sections 12(1) and 12(2) of grant an irrevocable licence to us, by ourselves, our interests. Without prejudice to the generality of the the Sale of Goods Act 1979 and we will pay to you servants or agents, to enter upon all or any of your discretion and by way of example, we may: an amount equal to the sum of the Purchase Price, premises (with or without vehicles) during normal Buyer’s Premium, VAT and Expenses paid by you in business hours to take possession of any Lot or part 8.1.1 retain the Lot to investigate any question raised or respect of the Lot. thereof; reasonably expected by us to be raised in relation to the Lot; and/or 9.6 The benefit of paragraph 9 is personal to, and 7.1.7 to sell the Lot Without Reserve by auction, private incapable of assignment by, you. treaty or any other means on giving you three 8.1.2 deliver the Lot to a person other than you; and/or months’ written notice of our intention to do so; 9.7 If you sell or otherwise dispose of your interest in the 8.1.3 commence interpleader proceedings or seek any Lot, all rights and benefits under this paragraph 9 will 7.1.8 to retain possession of any of your other property in other order of any court, mediator, arbitrator or cease. our possession for any purpose (including, without government body; and/or limitation, other goods sold to you or with us for Sale) 9.8 Paragraph 9 does not apply to a Lot made up of or until all sums due to us have been paid in full; 8.1.4 require an indemnity and/or security from you in including a Chinese painting or Chinese paintings, a return for pursuing a course of action agreed to by motor vehicle or motor vehicles, a Stamp or Stamps 7.1.9 to apply any monies received from you for any you. or a Book or Books. purpose whether at the time of your default or at any time thereafter in payment or part payment of any 8.2 The discretion referred to in paragraph 8.1: 10 OUR LIABILITY sums due to us by you under this agreement; 8.2.1 may be exercised at any time during which we have 10.1 We will not be liable whether in negligence, other 7.1.10 on three months’ written notice to sell, Without actual or constructive possession of the Lot, or at tort, breach of contract or statutory duty or in Reserve, any of your other property in our any time after such possession, where the cessation restitution or under the Misrepresentation Act 1967 possession or under our control for any purpose of such possession has occurred by reason of any or in any other way for lack of conformity with or (including other goods sold to you or with us for decision, order or ruling of any court, mediator, any inaccuracy, error, misdescription or omission in Sale) and to apply any monies due to you as a result arbitrator or government body; and any Description of the Lot or any Entry or Estimate of such Sale in payment or part payment of any in respect of it, made by us or on our behalf or by amounts owed to us; 8.2.2 will not be exercised unless we believe that there or on behalf of the Seller (whether made in writing, exists a serious prospect of a good arguable case in including in the Catalogue, or on the Bonhams’ 7.1.11 refuse to allow you to register for a future Sale or to favour of the claim. Website, or orally, or by conduct or otherwise) and reject a bid from you at any future Sale or to require whether made before or after this agreement or prior you to pay a deposit before any bid is accepted by 9 FORGERIES to or during the Sale. us at any future Sale in which case we will be entitled to apply such deposit in payment or part payment, 9.1 We undertake a personal responsibility for any 10.2 Our duty to you while the Lot is at your risk and/or as the case may be, of the Purchase Price of any Lot Forgery in accordance with the terms of this your property and in our custody and/or control is to of which you are the Buyer. paragraph 9. exercise reasonable care in relation to it, but we will not be responsible for damage to the Lot or to other 7.1.12 having made reasonable efforts to inform you, to 9.2 Paragraph 9 applies only if: persons or things caused by: release your name and address to the Seller, so they might take appropriate steps to recover the amounts 9.2.1 your name appears as the named person to whom 10.2.1 handling the Lot if it was affected at the time ofSale due and legal costs associated with such steps. the original invoice was made out by us in respect of to you by woodworm and any damage is caused as the Lot and that invoice has been paid; and a result of it being affected by woodworm; or 7.2 You agree to indemnify us against all legal and other costs, all losses and all other Expenses (whether or 9.2.2 you notify us in writing as soon as reasonably 10.2.2 changes in atmospheric pressure; nor will we be not court proceedings will have been issued) incurred practicable after you have become aware that the liable for: by us as a result of our taking steps under this Lot is or may be a Forgery, and in any event within paragraph 7 on a full indemnity basis together with one year after the Sale, that the Lot is a Forgery; and 10.2.3 damage to tension stringed musical instruments; or interest thereon (after as well as before judgement or order) at the rate specified in paragraph 7.1.5 from 9.2.3 within one month after such notification has been 10.2.4 damage to gilded picture frames, plaster picture the date upon which we become liable to pay the given, you return the Lot to us in the same condition frames or picture frame glass; and if the Lot is or same until payment by you. as it was at the time of the Sale, accompanied by becomes dangerous, we may dispose of it without written evidence that the Lot is a Forgery and details notice to you in advance in any manner we think fit 7.3 If you pay us only part of the sums due to us such of the Sale and Lot number sufficient to identify the and we will be under no liability to you for doing so. payment shall be applied firstly to the Purchase Price Lot. of the Lot (or where you have purchased more than 10.3.1 We will not be liable to you for any loss of Business, one Lot pro-rata towards the Purchase Price of each 9.3 Paragraph 9 will not apply in respect of a Forgery if: Business profits, revenue or income or for loss of Lot) and secondly to the Buyer’s Premium (or where Business reputation or for disruption to Business or you have purchased more than one Lot pro-rata to 9.3.1 the Entry in relation to the Lot contained in the wasted time on the part of the Buyer’s management the Buyer’s Premium on each Lot) and thirdly to any Catalogue reflected the then accepted general or staff or, if you are buying the Lot in the course of other sums due to us. opinion of scholars and experts or fairly indicated a Business, for any indirect losses or consequential that there was a conflict of such opinion or reflected damages of any kind, irrespective in any case of 7.4 We will account to you in respect of any balance we the then current opinion of an expert acknowledged the nature, volume or source of the loss or damage hold remaining from any monies received by us in to be a leading expert in the relevant field; or alleged to be suffered, and irrespective of whether respect of any Sale of the Lot under our rights under the said loss or damage is caused by or claimed this paragraph 7 after the payment of all sums due to 9.3.2 it can be established that the Lot is a Forgery only in respect of any negligence, other tort, breach of us and/or the Seller within 28 days of receipt by us of by means of a process not generally accepted for contract, statutory duty, bailee’s duty, a restitutionary all such sums paid to us. use until after the date on which the Catalogue was claim or otherwise. published or by means of a process which it was unreasonable in all the circumstances for us to have employed.

NTB/MAIN/V1/6.2019 10.3.2 Unless you buy the Lot as a Consumer, in any the Lot was listed in the Catalogue under confer) on any person who is not a party to this circumstances where we are liable to you in “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to respect of a Lot, or any act, omission, statement, was stated in the Catalogue to comprise or contain a enforce any term of, this agreement. representation in respect of it, or this agreement collection, issue or Books which are undescribed or or its performance, and whether in damages, for the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity an indemnity or contribution or for a restitutionary relevant parts of the Book contain blanks, half titles from, and/or an exclusion or restriction of, the remedy or in any way whatsoever, our liability will be or advertisements. responsibility and/or liability of Bonhams, it will also limited to payment of a sum which will not exceed operate in favour and for the benefit of Bonhams’ by way of maximum the amount of the Purchase If we are reasonably satisfied that a Lot is a non- holding company and the subsidiaries of such Price of the Lot plus Buyer’s Premium (less any conforming Lot, we will (as principal) purchase the holding company and the successors and assigns sum you may be entitled to recover from the Seller) Lot from you and you will transfer the title to the Lot of Bonhams and of such companies and of any irrespective in any case of the nature, volume or in question to us, with full title guarantee, free from officer, employee and agent of Bonhams and such source of any loss or damage alleged to be suffered any liens, charges, encumbrances and adverse companies, each of whom will be entitled to rely or sum claimed as due, and irrespective of whether claims and we will pay to you an amount equal to on the relevant immunity and/or exclusion and/or the liability arises from negligence, other tort, the sum of the Purchase Price and Buyer’s Premium restriction within and for the purposes of Contracts breach of contract, statutory duty, bailee’s duty, a paid by you in respect of the Lot. (Rights of Third Parties) Act 1999, which enables the restitutionary claim or otherwise. benefit of a contract to be extended to a person who The benefit of paragraph 10 is personal to, and is not a party to the contract, and generally at law. You may wish to protect yourself against loss by incapable of assignment by, you and if you sell or obtaining insurance. otherwise dispose of your interest in the Lot, all rights 13 GOVERNING LAW and benefits under this paragraph will cease. 10.4 Nothing set out above will be construed as excluding All transactions to which this agreement applies or restricting (whether directly or indirectly) any 12 MISCELLANEOUS and all connected matters will be governed by and person’s liability or excluding or restricting any construed in accordance with the laws of that part person’s rights or remedies in respect of (i) fraud, or 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or (ii) death or personal injury caused by our negligence this agreement. is to take) place and we and you each submit to (or any person under our control or for whom we the exclusive jurisdiction of the courts of that part are legally responsible), or (iii) acts or omissions for 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring which we are liable under the Occupiers Liability Act power or right under this agreement will not operate proceedings against you in any other court of 1957, or (iv) any other liability to the extent the same or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by may not be excluded or restricted as a matter of law, under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a or (v) under our undertaking in paragraph 9 of these given to you in writing. Any such waiver will not affect complaints procedure in place. conditions. our ability subsequently to enforce any right arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION 11 BOOKS MISSING TEXT OR ILLUSTRATIONS 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we Where the Lot is made up wholly of a Book or Books performing that party’s respective obligations shall only use it in accordance with the terms of our Privacy and any Book does not contain text or illustrations (in under this agreement by circumstances beyond its Policy (subject to any additional specific consent(s) you may either case referred to as a “non-conforming Lot”), reasonable control or if performance of its obligations have given at the time your information was disclosed). A we undertake a personal responsibility for such a would by reason of such circumstances give rise copy of our Privacy Policy can be found on our Website www. non-conforming Lot in accordance with the terms of to a significantly increased financial cost to it, that bonhams.com or requested by post from Customer Services this paragraph, if: party will not, for so long as such circumstances Department, 101 New Bond Street, London W1S 1SR, United prevail, be required to perform such obligations. This Kingdom or by email from [email protected]. the original invoice was made out by us to you in paragraph does not apply to the obligations imposed respect of the Lot and that invoice has been paid; on you by paragraph 3. APPENDIX 3 and 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY you notify us in writing as soon as reasonably under this agreement must be in writing and may practicable after you have become aware that the be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the Lot is or may be a non-conforming Lot, and in any air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context event within 20 days after the Sale (or such longer for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The period as we may agree in writing) that the Lot is a address or fax number of the relevant party given Glossary is to assist you to understand words and phrases non-conforming Lot; and in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not of address is given in writing). It is the responsibility be familiar. within 20 days of the date of the relevant Sale (or of the sender of the notice or communication to such longer period as we may agree in writing) you ensure that it is received in a legible form within any LIST OF DEFINITIONS return the Lot to us in the same condition as it was applicable time period. “Account” the bank account of Bonhams into which all sums at the time of the Sale, accompanied by written received in respect of the Purchase Price of any Lot will be evidence that the Lot is a non-conforming Lot and 12.5 If any term or any part of any term of this agreement paid. details of the Sale and Lot number sufficient to is held to be unenforceable or invalid, such “Additional Premium” a premium, calculated in accordance identify the Lot. unenforceability or invalidity will not affect the with the Notice to Bidders, to cover Bonhams’ Expenses enforceability and validity of the remaining terms or relating to the payment of royalties under the Artists Resale but not if: the remainder of the relevant term. Right Regulations 2006 which is payable by the Buyer to Bonhams on any Lot marked [AR] which sells for a Hammer the Entry in the Catalogue in respect of the Lot 12.6 References in this agreement to Bonhams will, where Price which together with the Buyer’s Premium (but excluding indicates that the rights given by this paragraph do appropriate, include reference to Bonhams’ officers, any VAT) equals or exceeds 1000 euros (converted into not apply to it; or employees and agents. the currency of the Sale using the European Central Bank Reference rate prevailing on the date of the Sale). the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are for “Auctioneer” the representative of Bonhams conducting reflected the then accepted general opinion of convenience only and will not affect its interpretation. the Sale. scholars and experts or fairly indicated that there “Bidder” Any person considering, attempting or making a Bid, was a conflict of such opinion; or 12.8 In this agreement “including” means “including, including those who have completed a Bidding Form. without limitation”. “Bidding Form” our Bidding Registration Form, our Absentee it can be established that the Lot is a non- Bidding Form or our Telephone Bidding Form. conforming Lot only by means of a process not 12.9 References to the singular will include reference to “Bonhams” Bonhams 1793 Limited or its successors or generally accepted for use until after the date on the plural (and vice versa) and reference to any one assigns. Bonhams is also referred to in the Buyer’s Agreement, which the Catalogue was published or by means gender will include reference to the other genders. the Conditions of Business and the Notice to Bidders by the of a process which it was unreasonable in all the words “we”, “us” and “our”. circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a “Book” a printed Book offered for Sale at a specialist Book paragraph of this agreement. Sale. the Lot comprises atlases, maps, autographs, “Business” includes any trade, Business and profession. manuscripts, extra illustrated books, music or 12.11 Save as expressly provided in paragraph 12.12 periodical publications; or nothing in this agreement confers (or purports to

NTB/MAIN/V1/6.2019 “Buyer” the person to whom a Lot is knocked down by the “Lot” any item consigned to Bonhams with a view to its Sale “indemnity”: an obligation to put the person who has the Auctioneer. The Buyer is also referred to in the Contract for at auction or by private treaty (and reference to any Lot will benefit of the indemnity in the same position in which he would Sale and the Buyer’s Agreement by the words “you” and include, unless the context otherwise requires, reference to have been, had the circumstances giving rise to the indemnity “your”. individual items comprised in a group of two or more items not arisen and the expression “indemnify” is construed “Buyer’s Agreement” the contract entered into by Bonhams offered for Sale as one Lot). accordingly. with the Buyer (see Appendix 2 in the Catalogue). “Motoring Catalogue Fee” a fee payable by the Seller to “interpleader proceedings”: proceedings in the Courts to “Buyer’s Premium” the sum calculated on the Hammer Price Bonhams in consideration of the additional work undertaken determine ownership or rights over a Lot. at the rates stated in the Notice to Bidders. by Bonhams in respect of the cataloguing of motor vehicles “knocked down”: when a Lot is sold to a Bidder, indicated by “Catalogue” the Catalogue relating to the relevant Sale, and in respect of the promotion of Sales of motor vehicles. the fall of the hammer at the Sale. including any representation of the Catalogue published on “New Bond Street” means Bonhams’ saleroom at 101 New “lien”: a right for the person who has possession of the Lot to our Website. Bond Street, London W1S 1SR. retain possession of it. “Commission” the Commission payable by the Seller to “Notional Charges” the amount of Commission and VAT “risk”: the possibility that a Lot may be lost, damaged, Bonhams calculated at the rates stated in the Contract Form. which would have been payable if the Lot had been sold at the destroyed, stolen, or deteriorate in condition or value. “Condition Report” a report on the physical condition of a Lot Notional Price. “title”: the legal and equitable right to the ownership of a Lot. provided to a Bidder or potential Bidder by Bonhams on behalf “Notional Fee” the sum on which the Consignment Fee “tort”: a legal wrong done to someone to whom the wrong of the Seller. payable to Bonhams by the Seller is based and which is doer has a duty of care. “Conditions of Sale” the Notice to Bidders, Contract for Sale, calculated according to the formula set out in the Conditions Buyer’s Agreement and Definitions and Glossary. of Business. SALE OF GOODS ACT 1979 “Consignment Fee” a fee payable to Bonhams by the Seller “Notional Price” the latest in time of the average of the calculated at rates set out in the Conditions of Business. high and low Estimates given by us to you or stated in the The following is an extract from the Sale of Goods Act 1979: “Consumer” a natural person who is acting for the relevant Catalogue or, if no such Estimates have been given or stated, purpose outside his trade, Business or profession. the Reserve applicable to the Lot. “Section 12 Implied terms about title, etc “Contract Form” the Contract Form, or vehicle Entry form, as “Notice to Bidders” the notice printed at the back or front of applicable, signed by or on behalf of the Seller listing the Lots our Catalogues. (1) In a contract of sale, other than one to which subsection to be offered for Sale by Bonhams. “Purchase Price” the aggregate of the Hammer Price and (3) below applies, there is an implied term on the part of “Contract for Sale” the Sale contract entered into by the VAT on the Hammer Price (where applicable), the Buyer’s the seller that in the case of a sale he has a right to sell Seller with the Buyer (see Appendix 1 in the Catalogue). Premium and VAT on the Buyer’s Premium and any Expenses. the goods, and in the case of an agreement to sell he “Contractual Description” the only Description of the Lot “Reserve” the minimum price at which a Lot may be sold will have such a right at the time when the property is to (being that part of the Entry about the Lot in the Catalogue (whether at auction or by private treaty). pass. which is in bold letters, any photograph (except for the colour) “Sale” the auction Sale at which a Lot is to be offered forSale and the contents of any Condition Report) to which the Seller by Bonhams. (2) In a contract of sale, other than one to which subsection undertakes in the Contract of Sale the Lot corresponds. “Sale Proceeds” the net amount due to the Seller from the (3) below applies, there is also an implied term that- “Description” any statement or representation in any Sale of a Lot, being the Hammer Price less the Commission, way descriptive of the Lot, including any statement or any VAT chargeable thereon, Expenses and any other amount (a) the goods are free, and will remain free until representation relating to its authorship, attribution, condition, due to us in whatever capacity and howsoever arising. the time when the property is to pass, from any provenance, authenticity, style, period, age, suitability, quality, “Seller” the person who offers the Lot for Sale named on charge or encumbrance not disclosed or known origin, value, estimated selling price (including the Hammer the Contract Form. Where the person so named identifies on to the buyer before the contract is made, and Price). the form another person as acting as his agent, or where the “Entry” a written statement in the Catalogue identifying the person named on the Contract Form acts as an agent for a (b) the buyer will enjoy quiet possession of the Lot and its Lot number which may contain a Description and principal (whether such agency is disclosed to Bonhams or goods except in so far as it may be disturbed by illustration(s) relating to the Lot. not), “Seller” includes both the agent and the principal who the owner or other person entitled to the benefit “Estimate” a statement of our opinion of the range within shall be jointly and severally liable as such. The Seller is also of any charge or encumbrance so disclosed or which the hammer is likely to fall. referred to in the Conditions of Business by the words “you” known. “Expenses” charges and Expenses paid or payable by and “your”. Bonhams in respect of the Lot including legal Expenses, “Specialist Examination” a visual examination of a Lot by a (3) This subsection applies to a contract of sale in the banking charges and Expenses incurred as a result of specialist on the Lot. case of which there appears from the contract or is an electronic transfer of money, charges and Expenses “Stamp” means a postage Stamp offered for Sale at a to be inferred from its circumstances an intention that for loss and damage cover, insurance, Catalogue and Specialist Stamp Sale. the seller should transfer only such title as he or a third other reproductions and illustrations, any customs duties, “Standard Examination” a visual examination of a Lot by a person may have. advertising, packing or shipping costs, reproductions rights’ non-specialist member of Bonhams’ staff. fees, taxes, levies, costs of testing, searches or enquiries, “Storage Contract” means the contract described in (4) In a contract to which subsection (3) above applies there preparation of the Lot for Sale, storage charges, removal paragraph 8.3.3 of the Conditions of Business or paragraph is an implied term that all charges or encumbrances charges, removal charges or costs of collection from the Seller 4.4 of the Buyer’s Agreement (as appropriate). known to the seller and not known to the buyer have as the Seller’s agents or from a defaulting Buyer, plus VAT if “Storage Contractor” means the company identified as such been disclosed to the buyer before the contract is applicable. in the Catalogue. made. “Forgery” an imitation intended by the maker or any other “Terrorism” means any act or threatened act of terrorism, person to deceive as to authorship, attribution, origin, whether any person is acting alone or on behalf of or in (5) In a contract to which subsection (3) above applies authenticity, style, date, age, period, provenance, culture, connection with any organisation(s) and/or government(s), there is also an implied term that none of the following source or composition, which at the date of the Sale had a committed for political, religious or ideological or similar will disturb the buyer’s quiet possession of the goods, value materially less than it would have had if the Lot had not purposes including, but not limited to, the intention to influence namely: been such an imitation, and which is not stated to be such any government and/or put the public or any section of the an imitation in any description of the Lot. A Lot will not be a public into fear. (a) the seller; Forgery by reason of any damage to, and/or restoration and/ “VAT” value added tax at the prevailing rate at the date of the or modification work (including repainting or over painting) Sale in the United Kingdom. (b) in a case where the parties to the contract intend having been carried out on the Lot, where that damage, “Website” Bonhams Website at www.bonhams.com that the seller should transfer only such title as a restoration or modification work (as the case may be) does not “Withdrawal Notice” the Seller’s written notice to Bonhams third person may have, that person; substantially affect the identity of the Lot as one conforming to revoking Bonhams’ instructions to sell a Lot. the Description of the Lot. “Without Reserve” where there is no minimum price at which (c) anyone claiming through or under the seller or “Guarantee” the obligation undertaken personally by a Lot may be sold (whether at auction or by private treaty). that third person otherwise than under a charge Bonhams to the Buyer in respect of any Forgery and, in the or encumbrance disclosed or known to the buyer case of specialist Stamp Sales and/or specialist Book Sales, a GLOSSARY before the contract is made. Lot made up of a Stamp or Stamps or a Book or Books as set out in the Buyer’s Agreement. The following expressions have specific legal meanings with (5A) As regards England and Wales and Northern Ireland, the “Hammer Price” the price in the currency in which the Sale is which you may not be familiar. The following glossary is term implied by subsection (1) above is a condition and conducted at which a Lot is knocked down by the Auctioneer. intended to give you an understanding of those expressions the terms implied by subsections (2), (4) and (5) above “Loss and Damage Warranty” means the warranty described but is not intended to limit their legal meanings: are warranties.” in paragraph 8.2 of the Conditions of Business. “artist’s resale right”: the right of the creator of a work of art “Loss and Damage Warranty Fee” means the fee described to receive a payment on Sales of that work subsequent to the in paragraph 8.2.3 of the Conditions of Business. original Sale of that work by the creator of it as set out in the Artists Resale Right Regulations 2006. “bailee”: a person to whom goods are entrusted.

NTB/MAIN/V1/6.2019 Bonhams Specialist Departments

19th Century Paintings Australian Colonial Furniture Chinese Paintings Golf Sporting Mechanical Music Motorcycles Prints and Multiples Wine London and Australiana Hong Kong Memorabilia London London London London Charles O’ Brien +61 2 8412 2222 Iris Miao Edinburgh Jon Baddeley Ben Walker Lucia Tro Santafe Richard Harvey +44 20 7468 8360 +852 3607 0011 Kevin McGimpsey +44 20 7393 3872 +44 20 8963 2819 +44 20 7468 8262 +44 20 7468 5811 New York Books, Maps & Manuscripts Hamish Wilson James Stensel New York San Francisco Madalina Lazen London Clocks +44 131 240 0916 Modern & Contemporary +44 20 8963 2818 Deborah Ripley Christine Ballard +1 212 644 9108 Matthew Haley London African Art Los Angeles +1 212 644 9059 +1 415 503 3221 +44 20 7393 3817 James Stratton Irish Art London Craig Mallery Los Angeles Hong Kong 20th Century British Art New York +44 20 7468 8364 London Giles Peppiatt +1 323 436 5470 Morisa Rosenberg Daniel Lam London Ian Ehling New York Penny Day + 44 20 7468 8355 +1 323 436 5435 +852 2918 4321 Matthew Bradbury +1 212 644 9094 Jonathan Snellenburg +44 20 7468 8366 New York Museum Services +44 20 7468 8295 Darren Sutherland +1 212 461 6530 Hayley Grundy San Francisco Russian Art Client Services Departments +1 212 461 6531 I +1 917 206 1624 Laura King Pfaff London mpressionist & +1 415 503 3210 20th Century Fine Art Los Angeles Coins & Medals Modern Art Daria Khristova U.S.A. San Francisco Catherine Williamson London London Modern & Contemporary +44 20 7468 8334 Sonja Moro +1 323 436 5442 John Millensted India Phillips Native American Art New York Middle Eastern Art Los Angeles San Francisco +1 415 694 9002 San Francisco +44 20 7393 3914 +44 20 7468 8328 London Yelena Harbick (415) 861 7500 Ingmars Lindbergs +1 212 644 9136 Adam Stackhouse Los Angeles New York Nima Sagharchi +1 415 503 3393 (415) 861 8951 fax Aboriginal Art +1 415 503 3266 Paul Song Caitlyn Pickens +44 20 7468 8342 Kim Jarand Monday - Friday, 9am to 5pm Australia +1 323 436 5455 +1 212 644 9135 +1 323 436 5430 Scientific Instruments Francesca Cavazzini British & European Glass Los Angeles Modern & Contemporary London Los Angeles +61 2 8412 2222 London Entertainment Memorabilia Kathy Wong South Asian Art Jon Baddeley (323) 850 7500 Natural History +44 20 7393 3872 Fergus Gambon London +1 323 436 5415 London Los Angeles (323) 850 6090 fax African, Oceanic +44 20 7468 8245 Katherine Schofield Tahmina Ghaffar Claudia Florian New York Monday - Friday, 9am to 5pm & Pre-Columbian Art +44 20 7393 3871 Indian, Himalayan & +44 207 468 8382 +1 323 436 5437 Jonathan Snellenburg Los Angeles British Ceramics Los Angeles Southeast Asian Art Thomas E. Lindgren +1 212 461 6530 New York Fredric W. Backlar London Catherine Williamson Hong Kong Modern Decorative +1 310 469 8567 • (212) 644 9001 +1 323 436 5416 • Fergus Gambon +1 323 436 5442 Edward Wilkinson Art + Design Scottish Pictures (212) 644 9009 fax +44 20 7468 8245 Dana Hawkes +852 2918 4321 London Old Master Pictures Edinburgh Monday - Friday, 9am to 5pm American Paintings +1 978 283 1518 New York Mark Oliver London Chris Brickley New York California & Western Mark Rasmussen +44 20 7393 3856 Andrew Mckenzie +44 131 240 2297 Toll Free Jennifer Jacobsen Paintings & Sculpture European Ceramics +1 917 206 1688 New York +44 20 7468 8261 (800) 223 2854 +1 917 206 1699 Los Angeles London Benjamin Walker Silver & Gold Boxes Scot Levitt Sebastian Kuhn Islamic & Indian Art +1 212 710 1306 Orientalist Art London U.K. Antiquities +1 323 436 5425 +44 20 7468 8384 London Dan Tolson London Ellis Finch Monday to Friday 8.30 to 6.00 Charles O’Brien London Kathy Wong Oliver White +1 917 206 1611 +44 20 7393 3973 +44 (0) 20 7447 7447 +44 20 7468 8360 Francesca Hickin +1 323 436 5415 European Paintings +44 20 7468 8303 Los Angeles +44 20 7468 8226 San Francisco London Jason Stein Sporting Guns Bids Aaron Bastian Charles O’ Brien Japanese Art +1 323 436 5466 Photography London +44 (0) 20 7447 7447 +1 415 503 3241 +44 20 7468 8360 New York Patrick Hawes +44 (0) 20 7447 7401 fax Antique Arms & Armour London Laura Paterson Suzannah Yip +44 20 7393 3815 To bid via the internet please visit London New York Motor Cars +1 917 206 1653 David Williams Carpets Madalina Lazen +44 20 7468 8368 London bonhams.com +44 20 7393 3807 +1 212 644 9108 New York Tim Schofield Space History London Post-War and Helena Gumley-Mason Los Angeles Jeff Olson +44 20 7468 5804 San Francisco Contemporary Art Art Collections, Estates & Valuations +44 20 8393 2615 Rocco Rich +1 212 461 6516 New York Adam Stackhouse London +1 415 503 3266 London +1 323 436 5410 Rupert Banner Ralph Taylor Harvey Cammell Chinese & Asian Art Jewellery +1 212 461 6515 +44 20 7447 7403 +44 (0) 20 7468 8340 London European Sculptures London Eric Minoff Giacomo Balsamo Travel Pictures New York Asaph Hyman & Works of Art Jean Ghika 1 917 206 1630 +44 20 7468 5837 London Veronique Scorer Sherri Cohen +44 20 7468 5888 London +44 20 7468 8282 Evan Ide New York +1 917 206 1671 Rosangela Assennato Michael Lake Emily Barber +1 917 340 4657 Muys Snijders +44 20 7393 3962 Los Angeles +44 20 7393 3883 +44 20 8963 6813 +44 20 7468 8284 Los Angeles +212 644 9020 Leslie Wright Edinburgh New York Jakob Greisen Jacqueline Towers-Perkins Watches & +1 323 436 5408 Ian Glennie Furniture and Decorative Art Brett O’Connor +1 415 503 3284 +1 212 644 9039 Wristwatches Joseph Francaviglia +44 131 240 2299 London +1 212 461 6525 Michael Caimano Lisa De Simone London +1 323 436 5443 New York Thomas Moore Caroline Morrissey +1 929 666 2243 +1 917 206 1607 Jonathan Darracott Lydia Ganley Bruce MacLaren +44 20 8963 2816 +1 212 644 9046 San Francisco Los Angeles +44 20 7447 7412 +1 323 436 4496 +1 917 206 1677 Los Angeles Leslie Roskind Mark Osborne Sharon Squires New York San Francisco Los Angeles Angela Past +1 212 644 9035 +1 415 503 3353 +1 323 436 5404 Jonathan Snellenburg Victoria Richardson Rachel Du +1 323 436 5422 Los Angeles Europe Laura Bjorstad +1 212 461 6530 +1 415 503 3207 +1 323 436 5587 Anna Hicks Emily Waterfall Philip Kantor +1 323 436 5446 Hong Kong

Celeste Smith San Francisco +1 323 436 5463 +1 323 436 5426 +32 476 879 471 Tim Bourne +1 415 503 3214 Dessa Goddard San Francisco San Francisco +852 3607 0021 +1 415 503 3333 Jeffrey Smith Shannon Beck Automobilia Australian Art Hong Kong +1 415 215 7385 +1 415 503 3306 London Whisky Australia Xibo Wang Hong Kong Toby Wilson Edinburgh Merryn Schriever +852 3607 0010 Greek Art Anastasia Chao +44 20 8963 2842 Martin Green +61 2 8412 2222 Alex Clark Sydney London +852 3607 0007 Adrian Pipiros +44 131 225 2266 +61 3 8640 4088 Yvett Klein Anastasia Orfanidou Ellen Sin +44 20 8963 2840 Hong Kong +61 2 8412 2231 +44 20 7468 8356 +852 3607 0017 Daniel Lam +852 2918 4321 Marine Art London Veronique Scorer • +44 20 7393 3962 Indicates independent contractor

G-NET24/9/19 Bonhams Specialist Departments

G-NET24/9/19 Bonhams Global Network

International Salerooms

London New York Hong Kong London Edinburgh Los Angeles 101 New Bond Street 580 Madison Avenue Suite 2001 Montpelier Street London 22 Queen Street 7601 W. Sunset Boulevard London W1S 1SR New York, NY 10022 One Pacific Place SW7 1HH Edinburgh Los Angeles +44 20 7447 7447 +1 (212) 644 9001 88 Queensway +44 20 7393 3900 EH2 1JX CA 90046 +44 20 7447 7400 fax +1 (212) 644 9007 fax Admiralty +44 20 7393 3905 fax +44 131 225 2266 +1 (323) 850 7500 Hong Kong +44 131 220 2547 fax +1 (323) 850 6090 fax +852 2918 4321 +852 2918 4320 fax

Offices and Associated Companies

Africa Singapore Germany - Hamburg Italy - Rome Switzerland - Zurich Florida Texas - Dallas Middle East South West Midlands Channel Islands Bernadette Rankine Marie Becker Lingenthal Emma Dalla Libera Andrea Bodmer April Matteini Mary Holm England mary.holm@ Nigeria 11th Floor, Wisma Atria marie.beckerlingenthal@ emma.dallalibera@ andrea.bodmer@ april.matteini@ Israel Knowle Jersey Neil Coventry 435 Orchard Road bonhams.com bonhams.com bonhams.com bonhams.com bonhams.com Joslynne Halibard Bath The Old House La Chasse +234 (0) 8110 033 792 Singapore 238877 +49 (0) 17 4236 0022 Via Sicilia 50 Dreikönigstrasse 31a +1 (305) 978 2459 +1 (214) 557 2716 joslynne.halibard@ Queen Square House Station Road La Rue de la Vallee +27 (0) 7611 20171 +65 (0) 6701 8038 hamburg@ 00187 Roma 8002 Zürich Alexis Butler [email protected] bonhams.com Charlotte Street Knowle, Solihull St Mary neil.coventry@ +65 (0) 6701 8001 fax bonhams.com +39 06 485 900 +41 44 281 9535 alexis.butler@ +972 (0) 54 553 5337 Bath, BA1 2LL West Midlands Jersey, JE3 3DL +44 1225 788 988 B93 0HT +44 1534 722 441 bonhams.com bernadette.rankine@ [email protected] [email protected] bonhams.com Texas - Houston bonhams.com Germany - Munich +1 (305) 878 5366 Lindsay Davis [email protected] +44 1564 776 151 [email protected] lindsay.davis@ knowle@ South Africa - Thomas Kamm The Netherlands [email protected] bonhams.com bonhams.com Representative: Johannesburg Taiwan thomas.kamm@ Koen Samson United Cornwall - Truro Penny Culverwell Jenny Tsai bonhams.com koen.samson@ North Georgia +1 (713) 855 7452 36 Lemon Street Guernsey +27 (0) 71 342 2670 37th Floor, Maximilianstrasse 52 bonhams.com Mary Moore Bethea [email protected] Kingdom Truro Oxford +44 1481 722 448 Taipei 101 Tower 80538 Munich De Lairessestraat 154 America mary.bethea@ Cornwall Banbury Road guernsey@ penny.culverwell@ South East bonhams.com No. 7 Xinyi Road, +49 (0) 89 2420 5812 1075 HL Amsterdam bonhams.com Virginia TR1 2NR Shipton on Cherwell bonhams.com Section 5 [email protected] +31 (0) 20 67 09 701 USA +1 (404) 842 1500 Gertraud Hechl England +44 1872 250 170 Kidlington OX5 1JH Taipei, 100 amsterdam@ [email protected] gertraud.hechl@ [email protected] +44 1865 853 640 Representatives: +886 2 8758 2898 bonhams.com bonhams.com Guildford oxford@ Germany - Stuttgart Millmead, Scotland +886 2 8758 2897 fax Arizona +1 (202) 422 2733 bonhams.com Australia Katharina Schmid Terri Adrian-Hardy Illinois & Midwest Guildford, Exeter [email protected] katharina.schmid@ Natalie B. Waechter virginia@ The Lodge Portugal terri.hardy@ Surrey GU2 4BE Bonhams West bonhams.com Filipa De Andrade natalie.waechter@ bonhams.com Southernhay West Bonhams MPH Sydney bonhams.com +44 1483 504 030 of Scotland 97-99 Queen Street, Neue Brücke 2 filipa.deandrade@ bonhams.com Exeter, Devon The Guard House Kirkhill House +1 (602) 859 1843 guildford@ Woollahra, NSW 2025 New Bridge Offices bonhams.com +1 (773) 267 3300 EX1 1JG Bicester Heritage Broom Road East [email protected] Washington bonhams.com Australia Europe 70173 Stuttgart Rua Bartolomeu Dias Shawn Marsh & Alaska +44 1392 425 264 Bicester, Oxfordshire Newton Mearns +61 (0) 2 8412 2222 +49 (0) 711 2195 2640 no160. 1o shawn.marsh@ Heather O’Mahony [email protected] OX26 5HA Glasgow, G77 5LL +61 (0) 2 9475 4110 fax Austria California heather.omahony@ Isle of Wight +44 1869 229 477 +44 141 223 8866 +49 (0) 157 9234 6717 Belem Central Valley bonhams.com [email protected] Thomas Kamm bonhams.com +44 1273 220 000 [email protected] glasgow@ [email protected] 1400-031 Lisbon David Daniel +1 (773) 680 2881 Tetbury thomas.kamm@ +1 (206) 566 3913 isleofwight@ Eight Bells House bonhams.com +351 218 293 291 david.daniel@ [email protected] bonhams.com seattle@ bonhams.com 14 Church Street Melbourne Greece [email protected] bonhams.com Como House +49 900 89 2420 5812 bonhams.com Tetbury 7 Neofytou Vamva +1 (916) 364 1645 Massachusetts Yorkshire & North Como Avenue [email protected] Representative: Gloucestershire Street Spain - Barcelona [email protected] & New England East England Wales South Yarra Athens 10674 Amy Corcoran Brighton & Hove GL8 8JG & North Washington DC Tim Squire-Sanders Melbourne VIC 3141 Belgium +30 (0) 210 3636 404 Teresa Ybarra amy.corcoran@ Mid-Atlantic Region +44 1666 502 200 Leeds Representatives: California - +44 1273 220 000 Australia Christine De Schaetzen [email protected] teresa.ybarra@ bonhams.com Gertraud Hechl tetbury_office@ The West Wing Cardiff +61 (0) 3 8640 4088 christine.deschaetzen@ Palm Springs gertraud.hechl@ [email protected] bonhams.com Bowcliffe Hall Jeff Muse bonhams.com Brooke Sivo +1 (617) 742 0909 +61 (0) 2 9475 4110 fax bonhams.com bonhams.com Bramham +44 2920 727 980 Ireland +34 930 156 686 brooke.sivo@ [email protected] [email protected] Boulevard Saint +1 (202) 422 2733 West Sussex Representatives: Leeds, LS23 6LP [email protected] Kieran O’Boyle +34 680 347 606 bonhams.com Michel 101 washingtonDC@ +44 (0) 1273 220 000 +44 113 234 5755 kieran.oboyle@ barcelona@ +1 (760) 350 4255 Nevada Dorset 1040 Brussels bonhams.com sussex@ Matthew Lacey [email protected] bonhams.com bonhams.com palmsprings@ David Daniel +32 (0) 2 736 5076 bonhams.com +44 1935 815 271 31 Molesworth Street bonhams.com david.daniel@ Asia [email protected] Dublin 2 Spain - Madrid bonhams.com +353 (0) 1 602 0990 Johann Leibbrandt +1 (775) 831 0330 Canada East Anglia and North West England Beijing France California - San Diego [email protected] johann.leibbrandt@ Brooke Sivo [email protected] Bury St. Edmunds Vivian Zhang Catherine Yaiche Michael Steel bonhams.com brooke.sivo@ Toronto, Ontario Chester Unit S102A, Beijing catherine.yaiche@ Kristin Kearney +44 1284 716 190 2 St Johns Court Italy - Milan Núñez de Balboa bonhams.com New Mexico Lufthansa Center, bonhams.com 340 King St East [email protected] Vicars Lane Luca Curradi no 4-1C +1 (760) 567 1744 Terri Adrian-Hardy 50 Liangmaqiao Road, 4 rue de la Paix 2nd floor, Office 213 Chester, CH1 1QE luca.curradi@ 28001 Madrid sandiego@ terri.hardy@ Chaoyang District, 75002 Paris Toronto ON +44 1244 313 936 bonhams.com +34 915 78 17 27 bonhams.com bonhams.com Norfolk Beijing 100125, China +33 (0) 1 42 61 10 10 Via Boccaccio 22 +1 (602) 859 1843 M5A 1 KB The Market Place chester@ +86 (0) 10 8424 3188 [email protected] 20123 Milano Switzerland - Geneva newmexico@ kristin.kearney@ Reepham bonhams.com [email protected] Colorado bonhams.com Norfolk, NR10 4JJ +39 0 2 4953 9020 Live Gallone Moeller Lance Vigil bonhams.com Germany - Cologne +1 (416) 462 9004 +44 1603 871 443 [email protected] livie.gallonemoeller@ lance.vigil@ Manchester Katharina Schmid info.ca@ norfolk@ The Stables bonhams.com bonhams.com Oregon & Idaho katharina.schmid@ bonhams.com bonhams.com 213 Ashley Road Rue Etienne-Dumont 10 +1 (720) 355 3737 Sheryl Acheson bonhams.com Hale, WA15 9TB 1204 Geneva colorado@ sheryl.acheson@ +49 (0) 221 9865 3419 +44 161 927 3822 +41 22 300 3160 bonhams.com bonhams.com Montreal, Quebec +49 (0) 157 9234 6717 [email protected] +1 (971) 727 7797 +1 (514) 209 2377 manchester@ [email protected] [email protected] info.ca@ bonhams.com bonhams.com

G-NET14/8/19 Bonhams Global Network

International Salerooms

Offices and Associated Companies

G-NET14/8/19 Registration and Bidding Form Bonhams Global Network (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above. Paddle number (for office use only) International Salerooms This sale will be conducted in accordance with Fine Chinese Art 7 November 2019 Bonhams’ Conditions of Sale and bidding and buying Sale title: Sale date: London New York Hong Kong London Edinburgh Los Angeles at the Sale will be regulated by these Conditions. You 101 New Bond Street 580 Madison Avenue Suite 2001 Montpelier Street London 22 Queen Street 7601 W. Sunset Boulevard should read the Conditions in conjunction with the Sale no. 25358 Sale venue: New Bond Street, London London W1S 1SR New York, NY 10022 One Pacific Place SW7 1HH Edinburgh Los Angeles Sale Information relating to this Sale which sets out the +44 20 7447 7447 +1 (212) 644 9001 88 Queensway +44 20 7393 3900 EH2 1JX CA 90046 charges payable by you on the purchases you make If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours +44 20 7447 7400 fax +1 (212) 644 9007 fax Admiralty +44 20 7393 3905 fax +44 131 225 2266 +1 (323) 850 7500 and other terms relating to bidding and buying at the prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Hong Kong +44 131 220 2547 fax +1 (323) 850 6090 fax Sale. You should ask any questions you have about the for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will +852 2918 4321 Conditions before signing this form. These Conditions endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. +852 2918 4320 fax also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to bidders and buyers. General Bid Increments: £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s Data protection – use of your information £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s Where we obtain any personal information about you, we £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s shall only use it in accordance with the terms of our Privacy £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s Offices and Associated Companies Policy (subject to any additional specific consent(s) you may £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion have given at the time your information was disclosed). A £5,000 - 10,000 ...... by 500s copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post from Customer The auctioneer has discretion to split any bid at any time. Texas - Dallas South West Midlands Channel Islands Africa Singapore Germany - Hamburg Italy - Rome Switzerland - Zurich Florida Middle East Services Department, 101 New Bond Street, London W1S Bernadette Rankine Marie Becker Lingenthal Emma Dalla Libera Andrea Bodmer April Matteini Mary Holm England Customer Number Title mary.holm@ 1SR United Kingdom or by e-mail from [email protected]. Nigeria 11th Floor, Wisma Atria marie.beckerlingenthal@ emma.dallalibera@ andrea.bodmer@ april.matteini@ Israel Knowle Jersey We may disclose your personal information to any member of bonhams.com The Old House La Chasse Neil Coventry 435 Orchard Road bonhams.com bonhams.com bonhams.com bonhams.com Joslynne Halibard Bath our group which means our subsidiaries, our ultimate holding First Name Last Name +234 (0) 8110 033 792 Singapore 238877 +49 (0) 17 4236 0022 Via Sicilia 50 Dreikönigstrasse 31a +1 (305) 978 2459 +1 (214) 557 2716 joslynne.halibard@ Queen Square House Station Road La Rue de la Vallee company and its subsidiaries (whether registered in the UK or +27 (0) 7611 20171 +65 (0) 6701 8038 hamburg@ 00187 Roma 8002 Zürich Alexis Butler [email protected] bonhams.com Charlotte Street Knowle, Solihull St Mary elsewhere). We will not disclose your data to anyone outside Company name (if applicable) neil.coventry@ +65 (0) 6701 8001 fax bonhams.com +39 06 485 900 +41 44 281 9535 alexis.butler@ +972 (0) 54 553 5337 Bath, BA1 2LL West Midlands Jersey, JE3 3DL our group but we may from time to time provide you with +44 1225 788 988 B93 0HT +44 1534 722 441 Company Registration number (if applicable) bonhams.com bernadette.rankine@ [email protected] [email protected] bonhams.com Texas - Houston information about goods and services which we feel maybe of bonhams.com Germany - Munich +1 (305) 878 5366 Lindsay Davis [email protected] +44 1564 776 151 [email protected] interest to you including those provided by third parties. lindsay.davis@ knowle@ Address South Africa - Thomas Kamm The Netherlands [email protected] If you do not want to receive such information (except for Taiwan thomas.kamm@ Koen Samson bonhams.com United Cornwall - Truro bonhams.com Representative: information you specifically requested) please tick this box Johannesburg City Penny Culverwell Jenny Tsai bonhams.com koen.samson@ North Georgia +1 (713) 855 7452 36 Lemon Street Guernsey Would you like to receive e-mailed information from us? if so 37th Floor, Maximilianstrasse 52 bonhams.com Mary Moore Bethea [email protected] Kingdom Truro Oxford +44 1481 722 448 please tick this box +27 (0) 71 342 2670 America Post / Zip code County / State penny.culverwell@ Taipei 101 Tower 80538 Munich De Lairessestraat 154 mary.bethea@ Cornwall Banbury Road guernsey@ No. 7 Xinyi Road, +49 (0) 89 2420 5812 1075 HL Amsterdam bonhams.com Virginia South East TR1 2NR Shipton on Cherwell bonhams.com Notice to Bidders. bonhams.com Telephone (mobile) Country Section 5 [email protected] +31 (0) 20 67 09 701 USA +1 (404) 842 1500 Gertraud Hechl England +44 1872 250 170 Kidlington OX5 1JH At least 24 hours before the Sale, clients must provide Taipei, 100 amsterdam@ [email protected] gertraud.hechl@ [email protected] +44 1865 853 640 government or state issued photographic proof of ID and date Representatives: Telephone (landline) +886 2 8758 2898 bonhams.com bonhams.com Guildford oxford@ of birth e.g. - passport, driving licence - and if not included in Germany - Stuttgart Millmead, Scotland +886 2 8758 2897 fax Arizona +1 (202) 422 2733 bonhams.com ID document, proof of address e.g - utility bill, bank or credit Australia Katharina Schmid Terri Adrian-Hardy Illinois & Midwest Guildford, Exeter E-mail (in capitals) [email protected] katharina.schmid@ Natalie B. Waechter virginia@ The Lodge Bonhams West card statement etc. Corporate clients should also provide a Portugal terri.hardy@ Surrey GU2 4BE copy of their articles of association / company registration Sydney bonhams.com Filipa De Andrade natalie.waechter@ bonhams.com Southernhay West Bonhams MPH of Scotland Please answer all questions below bonhams.com +44 1483 504 030 documents, and the entities name and registered address, 97-99 Queen Street, Neue Brücke 2 filipa.deandrade@ bonhams.com Exeter, Devon The Guard House Kirkhill House +1 (602) 859 1843 guildford@ documentary proof of its beneficial owners and directors, 1. ID supplied: Government issued ID and (if the ID does not confirm your address) current utility bill/ bank statement. Woollahra, NSW 2025 New Bridge Offices bonhams.com +1 (773) 267 3300 EX1 1JG Bicester Heritage Broom Road East [email protected] Washington together with a letter authorising the individual to bid on the If a corporate entity, please provide the Certificate of Incorporation or Partnership Deed and a letter authorising you to act. Australia bonhams.com +44 1392 425 264 Bicester, Oxfordshire Newton Mearns Europe 70173 Stuttgart Rua Bartolomeu Dias Shawn Marsh & Alaska company’s behalf. Failure to provide this may result in your Heather O’Mahony [email protected] OX26 5HA Glasgow, G77 5LL +61 (0) 2 8412 2222 +49 (0) 711 2195 2640 no160. 1o shawn.marsh@ bids not being processed or completed. For higher value lots 2. Are you representing the Bidder? If yes, please complete question 3. +61 (0) 2 9475 4110 fax Austria California heather.omahony@ Isle of Wight +44 1869 229 477 +44 141 223 8866 +49 (0) 157 9234 6717 Belem Central Valley bonhams.com you may also be asked to provide a bank reference. [email protected] Thomas Kamm bonhams.com +44 1273 220 000 [email protected] glasgow@ 3. Bidder's name, address and contact details (phone and email): [email protected] 1400-031 Lisbon David Daniel +1 (773) 680 2881 Tetbury thomas.kamm@ +1 (206) 566 3913 isleofwight@ Eight Bells House bonhams.com Bidder’s ID: Government issued ID and (if the ID does not confirm their address) current utility bill/bank statement +351 218 293 291 david.daniel@ [email protected] If successful bonhams.com seattle@ bonhams.com 14 Church Street Melbourne Greece [email protected] bonhams.com I will collect the purchases myself Como House +49 900 89 2420 5812 7 Neofytou Vamva bonhams.com Tetbury Are you acting in a business capacity? If registered for VAT in the EU please enter your registration here: +1 (916) 364 1645 Massachusetts Representative: Yorkshire & North Como Avenue [email protected] Street Gloucestershire East England Wales Please arrange shippers to contact me with Yes No - - Spain - Barcelona [email protected] & New England a quote and I agree that you may pass them / South Yarra Athens 10674 Amy Corcoran Washington DC Brighton & Hove GL8 8JG & North Tim Squire-Sanders my contact details. Melbourne VIC 3141 Belgium +30 (0) 210 3636 404 Teresa Ybarra amy.corcoran@ Mid-Atlantic Region +44 1666 502 200 Leeds Representatives: Please note that all telephone calls are recorded. Christine De Schaetzen California - Gertraud Hechl +44 1273 220 000 tetbury_office@ The West Wing Australia [email protected] teresa.ybarra@ bonhams.com Cardiff MAX bid in GBP +61 (0) 3 8640 4088 christine.deschaetzen@ Palm Springs gertraud.hechl@ [email protected] bonhams.com Bowcliffe Hall Jeff Muse Telephone or bonhams.com Brooke Sivo +1 (617) 742 0909 Lot no. Brief description (excluding premium Covering bid +61 (0) 2 9475 4110 fax bonhams.com bonhams.com Bramham +44 2920 727 980 Absentee (T / A) Ireland +34 930 156 686 brooke.sivo@ [email protected] & VAT) * [email protected] Boulevard Saint +1 (202) 422 2733 West Sussex Representatives: Leeds, LS23 6LP [email protected] Kieran O’Boyle +34 680 347 606 bonhams.com Michel 101 washingtonDC@ +44 (0) 1273 220 000 +44 113 234 5755 kieran.oboyle@ barcelona@ +1 (760) 350 4255 Nevada Dorset 1040 Brussels bonhams.com sussex@ Matthew Lacey [email protected] bonhams.com bonhams.com palmsprings@ David Daniel +32 (0) 2 736 5076 bonhams.com +44 1935 815 271 31 Molesworth Street bonhams.com david.daniel@ Asia [email protected] Dublin 2 Spain - Madrid bonhams.com +353 (0) 1 602 0990 Johann Leibbrandt +1 (775) 831 0330 Canada East Anglia and North West England Beijing France California - San Diego [email protected] johann.leibbrandt@ Brooke Sivo [email protected] Bury St. Edmunds Vivian Zhang Catherine Yaiche Michael Steel bonhams.com brooke.sivo@ Toronto, Ontario Chester Unit S102A, Beijing catherine.yaiche@ Kristin Kearney +44 1284 716 190 2 St Johns Court Italy - Milan Núñez de Balboa bonhams.com New Mexico Lufthansa Center, bonhams.com 340 King St East [email protected] Vicars Lane Luca Curradi no 4-1C +1 (760) 567 1744 Terri Adrian-Hardy 50 Liangmaqiao Road, 4 rue de la Paix 2nd floor, Office 213 Chester, CH1 1QE luca.curradi@ 28001 Madrid sandiego@ terri.hardy@ Chaoyang District, 75002 Paris Toronto ON +44 1244 313 936 bonhams.com +34 915 78 17 27 bonhams.com bonhams.com Norfolk Beijing 100125, China +33 (0) 1 42 61 10 10 Via Boccaccio 22 +1 (602) 859 1843 M5A 1 KB The Market Place chester@ +86 (0) 10 8424 3188 [email protected] 20123 Milano Switzerland - Geneva newmexico@ kristin.kearney@ Reepham bonhams.com [email protected] Colorado bonhams.com Norfolk, NR10 4JJ FOR WINE SALES ONLY +39 0 2 4953 9020 Live Gallone Moeller Lance Vigil bonhams.com Germany - Cologne +1 (416) 462 9004 +44 1603 871 443 [email protected] livie.gallonemoeller@ lance.vigil@ Manchester Katharina Schmid info.ca@ norfolk@ The Stables Please leave lots “available under bond” in bond Please include delivery charges (minimum charge of £20 + VAT) bonhams.com bonhams.com Oregon & Idaho katharina.schmid@ bonhams.com bonhams.com 213 Ashley Road Rue Etienne-Dumont 10 +1 (720) 355 3737 Sheryl Acheson bonhams.com Hale, WA15 9TB BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE SEEN THE CATALOGUE AND HAVE READ AND UNDERSTOOD OUR CONDITIONS OF SALE INCLUDING BUYER’S WARRANTIES AND WISH 1204 Geneva colorado@ sheryl.acheson@ +49 (0) 221 9865 3419 +44 161 927 3822 TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER’S PREMIUM, VAT AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS YOUR LEGAL RIGHTS. +41 22 300 3160 bonhams.com bonhams.com Montreal, Quebec +49 (0) 157 9234 6717 [email protected] +1 (971) 727 7797 +1 (514) 209 2377 manchester@ [email protected] [email protected] info.ca@ bonhams.com Bidder/Agent’s (please delete one) signature: Date: bonhams.com Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. G-NET14/8/19 NB.* Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. UK/08/19

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