Five: Lieutenant F. M. Edwards, Egyptian Camel Transport Corps, a Cross Country Blue at Cambridge, who was selected for the 3 mile team race at the 1908 Olympics, and was employed as a translator for Lord Allenby on his entrance into Jerusalem. He later served in the Egyptian Civil Service, and with the Cambridgeshire Home Guard 1914-15 Star (2. Lieut. F. M. Edwards. A.S.C.); British War and Victory Medals (2. Lieut. F. M. Edwards.); Defence Medal; Egypt, Order of the Nile, 5th Class breast badge, by Lattes, silver, silver-gilt and enamel, generally good very fine (5) £400-£500 --- Egypt, Order of the Nile, 5th Class London Gazette 16 March 1926: ‘Francis Millward Edwards, Esq., Inspector, Egyptian Ministry of Finance, Damanhur, Egypt.’ Francis Millward Edwards was born in Barton Regis, Bristol in March 1886. He studied Theology at Queens’ College, Cambridge, and was a Blue for Cross-Country - representing the university in the 3 mile race against Oxford on four occasions. Edwards was selected for the 3 mile team race at the 1908 Olympics, but was not called upon to run. An Arabic speaker, before the war he worked for the Egyptian Ministry of Education and was an assistant master at Tewfikia School. Edwards was appointed a second lieutenant with the Egypt Camel Transport Corps on 30 December 1915 and served at Kantara as Section Officer of ‘B’ Company. He was admitted to hospital at Cairo on 22 October 1916 and was found to be suffering from neurasthenia - his medical report stating: ‘... agitated; states that he is unable to control himself with natives. He is quite unfit for any work. Recommended for change to England, as he is unlikely to be fit for a long time.’ The doctor’s report was acted upon and Edwards was invalided to England in November 1916 aboard H.M.H.S. Herefordshire and thence Britannic. Recovering, he returned to Egypt in March 1917 and saw service in Palestine and Egypt with the Camel Transport Corps, where he acted as interpreter to Lord Allenby upon his entrance into Jerusalem. Edwards was released from military service on 17 June 1919 and in 1921 was granted the rank of lieutenant. Remaining in Egypt, Edwards was employed as an inspector with the Ministry of Finance and in 1926 was awarded the Order of the Nile. His life at this time in the Egyptian Civil Service is illustrated in Tales of Empire by D. Hopwood. Edwards returned to the UK, and was residing in Cambridge at the time of the Second World War. He served with the Cambridgeshire Home Guard, and his service is recalled in Adventures with Authors by S. C. Roberts: ‘Another part-time activity was service in the Home Guard. Being enrolled in the Trumpington platoon, I took part in the feverish preparation of a road-block at the junction of the Trumpington Road and Brooklands Avenue. The platoon was a healthy mix of town and gown.... As an instructor in anti-gas measures, I reached the rank of corporal. My closest friend in the platoon was F. M. Edwards, an old cross country running Blue of Queens’. He and I had many adventures together and the one Sunday morning I recall with real pleasure was that of a ‘security’ exercise in which the Trumpington platoon’s objective was to obtain a foothold on the railway bridge over the river, which would be strongly guarded by the Chesterton company. The role assigned to me, late on the Saturday night, was to pose as a staff officer. An Army car was put at my disposal and I was lent a major’s great-coat. Frank Edwards acted as my orderly and with the aid of a false moustache and a strip of red flannel round my hat, I bluffed my way through barbed wire and fixed bayonets to the bridge with considerable gusto and much to the amusement of Guy Dale, the C.O. of the Battalion.’ Edwards died in Bath, Somerset in March 1976, and his papers are held at the Middle East Centre, St. Antony’s College, Oxford. Sold with copied research.
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BARNUM P. T.: (1810-1891) American showman, promoter and founder of the Barnum & Bailey Circus. A.L.S., P. T. Barnum, one page, 4to, New York, 24th February 1856, to Messrs. Curtis & Scribner. Barnum writes concerning a property on Bank Street and states, in part, 'A Mr. Brayton of Cleveland (coal dealer) called on me to day to say that his wife Charlotte G. Brayton took a mortgage on that property for $1800 in July/53 & that the interest had been paid punctually until & except last payment due Jan[uary]y last. If the records show this prior mortgage to exist of course that weakens the securities so much. I hope you will learn the facts in the case & at all events I trust the matter will all be settled up as soon as possible'. Some very light, extremely minor age wear, VGIn the early 1850s Barnum had begun investing to develop East Bridgeport, Connecticut, making substantial loans which, by 1856 (the year of the present letter) had eliminated Barnum's wealth. Thus began four years of litigation and public humiliation, with many critics celebrating Barnum's public dilemma. However, the showman undertook a European tour with Tom Thumb, and also started his own lecture tour as a temperance speaker. By 1860, Barnum had emerged from debt.
JOHN XXIII: (1881-1963) Pope of the Catholic Church 1958-63. A good T.L.S., + Ang. Jos. Roncalli, as Apostolic Nuncio to France, two pages, 4to, Paris, 25th November 1950, to an unidentified correspondent ('Excellence Reverendissime'), in French. Roncalli writes to communicate the conclusions that have been reached following a carful examination regarding the International Council of Christians and Jews, stating, in part, 'This movement, although having the aim of combating anti-Semitism and defending, led with the support of Christians, the unjustly persecuted Jews, also deals in its congresses and meetings with pedagogical problems, and makes itself the promoter of religious tolerance and perfect equality of the various religious denominations. At the congress of Fribourg a speaker went so far as to maintain that young people should be educated in such a way that they hold 'an absolutely indifferent attitude with regard to nationality, race, religion'. This is why the Em[inent] Fathers…..have established that for a possible participation of the congresses….Catholics must observe the provisions……Provided that they are authorised by the competent ecclesiastical authority, Catholics may take part in the meetings of the International Council of Christians and Jews, but only as observers. It is inappropriate for such permission to be granted to prominent persons in the Catholic world. Likewise, meetings should not be held in the premises of Catholic Institutes……At the same time, we inform Your Excellency that the International Council of Christians and Jews, with the aim of spreading 'the intercultural education' which it primarily seeks to promote in the nations where this would be possible, the constitution of 'the intercultural alliance', in favour of which it solicits the collaboration of Catholics and Protestants'. A letter of interesting content. A few small, minor staple holes to the upper left edge, not affecting the text or signature, VG Roncalli played an active role in gaining Catholic Church support for the establishment of the State of Israel after 1944. The Nuncio's support for Zionism and the establishment of Israel was the result of his cultural and religious openness toward other faiths and cultures, and especially concern with the fate of Jews after World War II. Roncalli was one of the Vatican's most sympathetic diplomats toward Jewish immigration to Palestine, which he saw as a humanitarian issue, and not a matter of biblical theology.
A PALE CELADON JADE 'FISH' PENDANT, LATE SHANG TO WESTERN ZHOU DYNASTYChina, 1300-771 BC. Of flattened form, carved as a curved fish with rounded eyes, the long dorsal fin rising along the spine and two smaller fins extending from the belly, the mouth and tail pierced with a circular aperture for suspension. The semi-translucent stone of a pale celadon tone with areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Very good condition with expected old wear, weathering and small nibbles.Weight: 11.4 g Dimensions: Length 8.2 cmLiterature comparison:Compare a related jade pendant of a fish, late Shang dynasty, 6.2 cm, in the Smithsonian Museum, accession number S1987.473. Also compare a related jade pendant of a fish, late Shang dynasty, 5.9 cm, in the Smithsonian Museum, accession number S1987.634.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 10 September 2019, lot 37Price: USD 17,500 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A calcified jade 'fish' pendant, Shang - Western Zhou dynastyExpert remark: Compare the related form, motif, similar color of the jade, and size (8.8 cm)Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 30 November 2020, lot 2772Price: HKD 250,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A jade fish-form pendant, Western Zhou dynastyExpert remark: Compare the related form, motif, and size (9 cm). Note the different color of the stone.商末至西周青白玉魚形佩飾中國，公元前1300-771 年。青白色玉，作一魚，首尾皆向下彎，似呈珮璜之形。圓眼，近魚嘴處和魚尾鑽一小孔用以穿繩繫掛。紋飾簡單而渾樸古趣。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H。吳權(1910-1997)博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損、風化和小磕損。 重量：11.4 克 尺寸：長 8.2 厘米
A RARE CARVED BONE FIGURE OF A TIGER, SHANG DYNASTYChina, 11th century BC. Well carved in the round as a crouching tiger with tucked-in legs, curled tail, and forward-facing head, the rib cage neatly incised, the ears pricked and eyes open in an alert expression. The bone has a superb, naturally grown, warm patina. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.4.13. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition, commensurate with age. Displaying exceptionally well. Extensive wear, minor losses, chips, expected age cracks and other natural flaws in the bone, minor old repairs, signs of weathering and erosion, encrustations. Note that the patina took more than 3,000 years to develop and therefore is not only spectacular in appearance, but literally one-of-a-kind.Weight: 61.5 g Dimensions: Length 12.5 cmBone was widely used for both practical and decorative purposes in ancient China. It was made into vessels, spoons, and personal adornments. With its coiled tail and long muzzle, this bone carving of a tiger was probably used as an amulet or talisman, protecting its wearer from harm and danger.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-c. 1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9) - a thousand years after this pendant was made - the tiger was regarded as the 'king of the hundred beasts', or baishou zhi wang, due to its power and ferocity and especially for the markings on its forehead which typically resemble the character wang, or 'king'. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions - the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related bone carving of a tiger, 4.3 cm long, dated 13th-11th century BC, in the Metropolitan Museum of Art, accession number 1985.214.119. Compare a related bone carving of a tiger, 11.1 cm long, dated late Shang dynasty, 11th century BC, illustrated and exhibited by Eskenazi in Early Chinese Art from Private Collections, 3-25 November 2016, London.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2013, lot 1192 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A rare carved bone figure of a tiger, late Shang dynasty, 11th century BCExpert remark: Compare the related pose, with similar coiled tail and long muzzle, and patina. Note the size (11.1 cm).商代罕見臥虎形骨觿中國，公元前十一世紀。該虎為長條形，張口露齒，方眼短角，長身卷尾，四肢前屈，作伏臥狀。自然包漿，色澤溫暖。 來源：吳權博士收藏； 品相：品相良好，大面積磨損、輕微缺損、預期的年代裂縫和骨骼中的其他自然缺陷，輕微的小修、風化和侵蝕的跡象、結殼。請注意，包漿經過3,000 多年才形成，外觀獨特。 重量：61.5 克 尺寸：長 12.5 厘米
A STUCCO FRESCO FRAGMENT DEPICTING A CELESTIAL MAIDEN, YUAN TO MING DYNASTYChina, 13th-16th century. Finely painted in polychrome pigments with details picked out in gesso relief. Depicting a celestial maiden dressed in flowing robes of red, pale blue, and white, as well as long billowing scarves, holding two long scrolls, the head turned to the side, her face with delicate features, the hair tied behind an ornamental headdress with scrolling clouds and ruyi decoration, the background with rockwork. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.8.3. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition, commensurate with age. Old wear and expected age cracks, minor losses and touch-ups. The frame with some wear, nicks, and scratches. Presenting very well overall. Dimensions: Image size 80.6 x 46.7 cm, Size incl. frame 89.3 x 55.1 cmFramed behind glass and with a gilt wood frame. (2) Auction result comparison:Type: RelatedAuction: Sotheby's New York, 11 September 2019, lot 816Price: USD 37,500 or approx. EUR 41,000 converted and adjusted for inflation at the time of writingDescription: A polychrome stucco fresco fragment, Yuan / Ming dynastyExpert remark: Compare the related figural motif and size (77.5 x 45.5 cm)元至明代彩繪神女灰泥壁畫中國，十三至十六世紀。彩繪，細節浮雕，描繪一位神女身著紅、淡藍、白三色飄逸的長袍，飄揚的披巾，手執兩卷長卷，側首，五官清秀，頭髮束於頭飾，流雲如意紋飾，身後山水場景。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 M.8.3.。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：品相良好，磨損和年代裂縫、輕微缺損和小修補。框架有一些磨損、刻痕和劃痕。 尺寸：畫面80.6 x 46.7 釐米，總89.3 x 55.1 釐米 玻璃裝框，描金木框 (2) 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 816 價格：USD 37,500（相當於今日EUR 41,000） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較相近的人物主題和尺寸(77.5 x 45.5 厘米)。
A PALE GREEN JADE 'DRAGON' PENDANT, SHANG TO WESTERN ZHOU DYNASTYChina, 1300-1000 BC. Of flattened form, carved in the form of a recumbent dragon with open mouth and long tail. The translucent stone of a green tone with creamy white and russet speckles.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with expected old wear and weathering, little nibbling, few nicks, and light scratches.Weight: 10.3 g Dimensions: Length 8.4 cmSmall pendants in the form of animals form a major category of jades in the Shang period and can be found in many of the major burials of high-ranking individuals.Expert's note: The carving is unfinished on both sides, with only a small slit defining the opening of the mouth. For a similarly unfinished jade pendant, see Sotheby's London, 3 November 2021, lot 126.商至西周青綠玉龍形佩中國，公元前1300-1000 年。扁平龍形佩，龍張嘴，長尾巴，斜躺。綠色調的半透明玉料，白色和赤褐色斑點。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H.。吳權(1910-1997) 博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損和風化，小刻痕、輕微劃痕。 重量：10.3 克 尺寸：長 8.4 厘米 動物形狀的小佩飾是商代玉器的中一類，在許多達官貴人的墓葬中都能找到。 專家注釋：兩邊的雕刻都未完成，只有一個小縫隙表現了開口，一件同樣未完成的玉佩見倫敦蘇富比 2021年11月3日，lot 126。
A CELADON JADE 'TIGER' PENDANT, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, 1200-1100 BC. Of elongated flattened form, the arc-shaped pendant worked in the form of a crouching tiger with legs tucked beneath the body and a furcated tail that curls upwards, pierced at the snout and tail. The translucent stone of a fine celadon tone with cloudy inclusions and areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Old wear, some weathering, soil encrustations, surface alterations and traces of use, all as expected. Minor nibbling. The jade was broken into three pieces and reassembled, with associated small losses.Weight: 13.3 g Dimensions: Length 9.1 cmLiterature comparison:Compare a related jade pendant of a tiger, 9.4 cm, late Shang dynasty, in the Smithsonian Museum, accession number S1987.705.Auction result comparison:Type: RelatedAuction: Christie's, 30 November 2020, lot 2769Price: HKD 87,500 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A pale greenish jade tiger-form pendant, late Shang-early Western Zhou dynasty, c. 12th-11th century BCExpert remark: Compare the related subject, form, incision work, and color of the jade. Note the size (7.6 cm).商末至西周初期青玉虎形佩中國，公元前1200-1100年。此虎形佩呈扁平狀，兩面通體飾虎紋，虎張口，尾上卷，作爬行狀。虎口和尾各有一小孔可供穿系佩帶。青色半透明玉料，局部有沁蝕黑斑和白色鈣化區域。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 E.3.21A-H。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：磨損、一些風化、土壤結殼、使用痕跡，磕損。玉被打碎成三塊，重新組裝起來。 重量：13.3 克 尺寸：長 9.1 厘米 文獻比較： 比較一件相近的商代晚期虎形玉珮件，9.4 厘米，收藏於史密森學會，館藏編號S1987.705。
A PALE CELADON JADE 'HARE' PENDANT, LATE SHANG TO WESTERN ZHOU DYNASTYChina, 1100-1000 BC. Depicted crouching with its feet tucked underneath, slightly protruding eyes beneath short ears, and pierced through the mouth for suspension. The translucent stone of a pale celadon tone with darker shadings and areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Very good condition with expected old wear, some weathering, calcification and minuscule nibbling.Weight: 6.7 g Dimensions: Length 3.5 cmLiterature comparison:Compare a closely related jade pendant of a rabbit, late Shang dynasty to Western Zhou dynasty, 3.5 cm, in the Smithsonian Museum, accession number S2012.9.852. Compare two closely related rabbit-form pendants, dated to the late Shang dynasty, excavated from Tomb no. 2 at Jingjiecun, Lingshi, Shanxi Province, in the Shangxi Provincial Institute of Archeology, and illustrated in The Complete Collection of Jades Unearthed in China, vol. 3, Beijing, 2005, p. 62-63.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 3 December 2021, lot 840Price: HKD 94,500 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: An archaic jade 'hare' plaque, Shang dynastyExpert remark: Compare the related form, pose, and manner of carving. Note the larger size (5.9 cm) and different color of the jade.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 22 March 2022, lot 36Price: USD 27,720 or approx. EUR 26,500 converted at the time of writingDescription: A small pale green jade hare-form pendant, Early Western Zhou dynastyExpert remark: Compare the related flat form, pose, and simplistic carving style. Note the smaller size (2.5 cm) and different color of the jade.商末至西周青白玉兔形佩中國，公元前1100-1000年。兔子成蹲伏狀，雙腳伏在身下，短耳朵下方的眼睛略微突出，嘴部穿口用於懸掛。 淺青白色半透明玉料，帶有較深的陰影和白色鈣化區域。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H。吳權(1910-1997) 博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損、一些風化、鈣化和微小的磕損。 重量：6.7 克 尺寸：長 3.5 厘米
AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。
A PALE CELADON JADE 'CRESTED MYTHICAL BIRD' FRAGMENT, SHANG DYNASTYChina, 1600-1046 BC. The flattened jade is carved in profile as a crested bird depicted with round eyes, a large crest above its head, and an almond-shaped aperture to the tail. The body is decorated in low relief with a large angular scroll to each side. The translucent stone of a pale celadon color with areas of white calcification. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Commensurate with age, with remnants of ancient cinnabar pigment, some wear and minuscule nibbling. The jade was broken into several pieces and reassembled, with associated small losses. Signs of weathering and erosion, soil encrustations, and surface alterations.Weight: 16.2 g Dimensions: Length 6.9 cmLiterature comparison: Compare a related jade carving of a crowned bird, Shang dynasty, in the Aurora Museum Collection, but with two further birds in the middle section, illustrated in Jades of Shang Dynasty, Taipei, 2010, no. 127, p. 173. Compare a related jade pendant of a bird, 9 cm, ca. 1200 BC, in thei n the Victoria and Albert Museum, accession number FE.30-1973. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 30 November 2020, lot 2719Price: HKD 562,500 or approx. EUR 69,500 converted and adjusted for inflation at the time of writingDescription: A jade crested mythical bird pendant, Shang dynasty c. 1600-1046 BCExpert remark: Compare the related form, color of the jade, and remnants of cinnabar. Note the size (9.8 cm) and that this pendant is not a fragment like the present lot.商代青白玉鳥形佩殘片中國，公元前1600-1046年。此鳥形殘片呈扁平狀，兩面相同紋理，淺浮雕一隻有冠的鳥，圓眼，尾巴上有一個孔。淺青色的半透明玉石，有白色鈣化區域。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 E.3.21A-H。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：帶有硃砂色素殘留，一些磨損和微小的磕損。玉被打碎成幾塊又重新組裝，風化和侵蝕、土壤結殼和表面變化。 重量：16.2 克 尺寸：長 6.9 厘米
A LARGE DEHUA FIGURE OF BUDDHA, QING DYNASTY, LATE 18TH - EARLY 19TH CENTURYChina. Seated in dhyanasana atop a lotus base composed of three rows of petals rising from furled lily pads and lotus buds amid waves and dew drops, his hands held above the crossed legs, wearing loose-fitting robes draped over his left shoulder, the right arm with a beaded armlet. His serene face with heavy-lidded downcast eyes centered by an urna. The hair arranged in tight spikes around the domed ushnisha.Inscriptions: To the back, within a double gourd, 'de hua', above an impressed commendation seal mark, 'boji yuren' (shall virtue extend to all fishermen).Provenance: Sotheby's London, 17 March 1964, lot 38, together with a seated figure of Guanyin, dated 18th century. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. Q.4.22. A copy of the catalog entry for the present lot at Sotheby's London, 17 March 1964, lot 38, noting the buyer “Wou” and a purchase price of eighty-four British pounds, approximately three months' salary at the time, accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with minor wear and firing irregularities, including small glaze recesses, firing cracks, and kiln grit, the lotus petal tips with few tiny nicks.Weight: 1,428 g Dimensions: Height 32.3 cmAuction result comparison: Type: Closely related Auction: Sotheby's Paris, 18 December 2012, lot 160 Price: EUR 19,950 or approx. EUR 23,000 adjusted for inflation at the time of writing Description: A blanc-de-chine figure of Buddha, Qing dynasty, 19th centuryExpert remark: Compare the closely related pose, expression, hair, and base. Note the larger size (43.4 cm). Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2014, lot 168 Price: USD 17,500 or approx. EUR 20,500 adjusted for inflation at the time of writing Description: A Dehua Figure of Buddha Qing Dynasty, 19th CenturyExpert remark: Compare the two identical seals, one within a double-gourd reading Dehua, the other reading Bo ji yu ren within a square. Note the larger size (39.9 cm).十八世紀末至十九世紀初大型德化白釉佛陀坐蓮像中國。佛陀結跏趺坐坐在重瓣蓮花寶座上，蓮座從波浪中升騰而出，他的雙手相叠置於腿上，左肩披著寬鬆的僧袍，右臂佩瓔珞。面容安詳，雙眼微垂，雙眼之間有白毫，螺發。 款識：背面雙葫蘆印内可見“德化”字樣，鈐印 “博及漁人”。 來源：倫敦蘇富比，1964年3月17日，lot 38，與一個觀音坐像一起，十八世紀。吳權博士購於上述拍賣。吳蓮伯美術館，館藏編號 Q.4.22。隨附蘇富比拍賣的目錄複印件，上面注明買家 “Wou” 以及售價84英鎊。 品相：品相極佳，有輕微磨損和燒製不規則，包括小釉凹、燒製裂紋和窯砂，蓮瓣尖有少量細小刻痕。 重量：1,428 克 尺寸：高 32.3 厘米
A RARE BRONZE WINE JAR, HU, EASTERN HAN DYNASTYPublished: Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection, page 67, no. 39.China, 25-220 AD. The globular body supported on a short foot and rising to a stout cylindrical neck with galleried rim, finely cast with a broad leiwen band encircling the waist, applied with two taotie masks in high relief, each with a loop handle suspending a loose ring. The bronze with a superb, naturally grown, rich patina with malachite and cuprite encrustations.Provenance: Sotheby's London, 24 June 1958, lot 91 (dated to the Six Dynasties period). Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. H.4.2. A copy of the catalog entry for the present lot from Sotheby's London, 24 June 1958, lot 91, noting the buyer “Wou” and a purchase price of forty-six British pounds, approximately two months' salary at the time, accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Excellent condition, commensurate with age. Expected old wear, minor dents and losses, casting flaws, encrustations, signs of weathering and erosion, one loop handle with a small crack, all exactly as expected from a bronze that is 2,000 years old. Weight: 5,664 g Dimensions: Height 34.3 cm東漢罕見雙耳青銅壺中國，公元前25至公元220年。壺口外撇，頸微束，溜肩，肩部兩側分鑄一對獸面紋銜環舖首，腹部下收，肩腹飾雷紋帶，圈足高，嵌紅銅，皮色暗沉古穆。 出版：Rose Kerr et al.，《Chinese Antiquities from the Wou Kiuan Collection》，頁67，編號39。 來源：倫敦蘇富比，1958年6月24日，lot 91 (當時斷代為六朝時期)；吳權博士購於上述拍賣，吳蓮伯美術館，編號 H.4.2.。隨附一份蘇富比拍賣目錄複印件，上面寫著“Wou”，售價46英鎊。吳權(1910-1997)博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀態極佳，磨損、輕微的凹痕和缺損、鑄造缺陷、結殼、風化和侵蝕的跡象，一活環帶有小裂紋。 重量：5,664 克 尺寸：高 34.3 厘米
AN IMPORTANT BUDDHIST VOTIVE PAINTING DEPICTING BUDDHA, EARLY MING DYNASTY, 1400-1450Published: Roderick Whitfield et al., Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy, Wou Lien-Pai Museum, Hong Kong, 2011, pages 16-17, elaborately discussed in Roderick Whitfield's essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, and page 109, no. 6 (note that the size is erroneously noted as 136.5 x 68 cm).Expert's note: According to Roderick Whitfield in his essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, written in 2008, the present lot exhibits numerous features which are typical of Buddhist paintings on silk dating from the first half of the fifteenth century, some originating from the capital and others from Shanxi province. Roderick Whitfield (b. 1937) is a British scholar and art historian who was the Percival David Professor at the School of Oriental and African Studies of the University of London, as well as Assistant Keeper at the British Museum between 1968 and 1984 and head of the Percival David Foundation of Chinese Art between 1984 and 1993.China, first half of the 15th century. Ink and watercolors on silk. Depicting the Buddha seated on a double lotus over an elaborate hexagonal tiered throne supported by two striding guardian figures centered by a lion, his left hand holding a small flask and his right held above his lap, wearing loose-fitting robes and adorned with jewelry, backed by a circular halo of multi-colored rays of light. His serene face with heavy-lidded eyes and pursed lips, his blue hair arranged in spiral curls around the central ushnisha. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.38. The frame with an old label, 'KW P38', as well as further old labels to the back. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Extensive wear, creasing, losses, tears, and soiling. Minor old touch-ups here and there. The wood frame with wear, chips, and losses.Dimensions: Image size 148 x 70 cm, size incl. frame 157.5 x 80 cmWith a finely carved old gilt wood frame. (2)The present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the early Ming dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.As explained in Caroline Gyss-Vermandes' pioneering article about the sets of Shuilu (Water and Land) paintings obtained by Paul Pelliot from “a library in the Imperial Palace” and now in the Musee Guimet (Demons et Merveilles: vision de la nature dans une peinture liturgique du XVe siecle, Arts Asiatiques 43, 1988, pages 106-122), such paintings were not objects of worship, but rather illustrations of the pantheon invoked in the Water and Land rituals, hung up in a prescribed order on the left and right walls of the sanctuary, while the main deities, in a larger size, were hung slightly higher on the north wall. Literature comparison: Compare a related painting of the Medicine Buddha, dated 1477, in the University of Oregon Museum of Art, illustrated in Marsha Weidner, Latter Days of the Law: Images of Chinese Buddhism 850-1850, cat. no. 5, pl. 3.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2016, 1110 Price: USD 112,500 or approx. EUR 130,000 converted and adjusted for inflation at the time of writing Description: A Buddhist Figure, ink and color on silk, anonymousExpert remark: Compare the closely related manner of painting. Note the smaller size (95.7 x 50.4 cm).1400-1500年明初重要還願佛陀坐蓮像中國，十五世紀上半葉，絹本水墨設色。出版：Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年，頁16-17，Roderick Whitfield的文章 “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”，頁109，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米)。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 P.38。框上和背面有老標籤。 品相：大量磨損、摺痕、缺損、撕裂和汙跡，多處輕微的小修補，木框有磨損、刻痕和缺損。 尺寸：畫面148 x 70 厘米，含框 157.5 x 80 厘米 描金雕刻木框 (2)
A PALE CELADON AND RUSSET JADE 'BIRD' PENDANT, LATE SHANG DYNASTYChina, 1300-1050 BC. The flat stone worked in the form of a bird in profile, perched on its claws, with a distinct round beak pierced with a circular aperture for suspension, the head surmounted by a crest, and finely incised with plumage. The semi translucent stone of pale celadon color with russet inclusions and areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with expected old wear and weathering, little nibbling, and minuscule chips.Weight: 3.2 g Dimensions: Height 2.7 cmLiterature comparison:Compare a related jade pendant of a bird, late Shang dynasty, 3.7 cm, in the Smithsonian Museum, accession number F1979.25.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 22 September 2020, lot 248Estimate: USD 8,000 or approx. EUR 8,700 converted and adjusted for inflation at the time of writingDescription: A calcified jade 'bird' pendant, Shang dynasty or laterExpert remark: Compare the related flat form, pierced beak, and incision work. Note the slightly larger size (3.7 cm) and different color of the stone. Also note that this lot is possibly of a later date.商末青白玉帶皮鳥形佩中國，公元前1300-1050 年。扁平鳥形佩，站立狀，獨特的圓形喙，上面有一個圓形的孔，用於懸掛；頭部上方有一個冠，羽毛清晰。半透明的淺青色玉料，帶有黃褐色內沁和白色鈣化區域。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號E.3.21A-H。吳權(1910-1997) 博士曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有磨損、一些風化、微小的磕損和刻痕。 重量：3.2 克 尺寸：高 2.7 厘米 文獻比較： 比較一件相近的商代晚期鳥形佩，3.7 厘米，收藏於史密森尼學會，收藏編號F1979.25。
Conservative 'Shadow Cabinet', 1976 - Lowry designed greeting card, signed by members of the 'Shadow Cabinet' congratulating Viscount Tonypandy on becoming Speaker of the House of Commons, signatures include Margaret Thatcher, etc, and sundry ephemera relating to George Thomas, Viscount Tonypandy (1909-97), Speaker of the House of Commons (1976-83)
Dinky 23s Streamlined Racer/Record Car - green, silver including flashes, black ridged hubs; 38c Lagonda - green, dark green seats, black ridged hubs; 25m (410) Bedford End Tipper - green, black ridged hubs & 34c (492) Loud Speaker Van - fawn, black speakers and ridged hubs, silver trim (type 3 body) - conditions are generally Good to Excellent. (4)
Bachmann - an OO gauge model diesel hydraulic locomotive, running no D9017, 'The Durham Light Infantry' BR green livery with yellow ends, # 32-529, label on box suggests DCC, (untested and not checked for completeness, although one rear buffer is absent and body is loose on chassis - appears g in pw window box (this does not constitute a guarantee)Condition Report: There are no indications of a speaker under the model of the model - please refer to additional photograph.
Hornby - an OO gauge model diesel hydraulic locomotive, running no D9016, BR green livery with yellow ends, # R3497, label on box suggests DCC, (untested and not checked for completeness, although one rear buffer is absent) appears ex in pw incorrect window box (this does not constitute a guarantee)Condition Report: There are no indications of a speaker under the model of the model - please refer to additional photograph.
Hornby - an OO gauge model 4-4-2T DCC ready Adams Radial tank locomotive, running no 30584, BR lined black livery, # R3333, untested and not checked for completeness, front buffers and coal missing, some loose parts in box, appears f to g in nm window box with internal packing piece, ephemera and outer sleeve (this does not constitute a guarantee)Condition Report: There are no indications of a speaker under the model of the model - please refer to additional photograph.
Hornby - an OO gauge model diesel shunter (locomotive), running no 3256, BR green livery with striped yellow ends, label on box indicates DCC fitted, (untested and not checked for completeness) front coupling loose, appears otherwise ex in window box with internal packing piece and outer card sleeve (this does not constitute a guarantee)Condition Report: There is a broken part on the underside located next to the coupling hook which has some signs of gluing. There are no indications of a speaker under the body of the model - please refer to additional photographs.
A BOX OF ELECTRONIC EQUIPMENT, to include a boxed Pure Evoke - 1S DAB & FM portable radio, with a boxed Pure auxiliary speaker and ChargePAK, a boxed pair of Apple Air Pods with charging case, boxed Apple 'iPod Socks', a boxed Canon PowerShot A810 and Sony Cyber-shot digital cameras, Sony Active Speaker System SRS-T70 (1 box) (sd, untested)
Book Collection of 3 Signed Books featuring- The Gladiators from Capua by Caroline Lawrence, inscribed and dated 2004 by the author. Joe Simpson signed hardback book titled The sound of Gravity. A clear signature can be found on the inside title page from the author. Simpson is a British mountaineer, author, and motivational speaker. Brin Keenan signed hardback book titled I'll Tell Me Ma. Dedication, inscription and a clear signature can be found on the inside title page. Keenan) is a Northern Irish writer. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Indian Reservations. Annual Reports of the Department of the Interior for the Fiscal Year ended June 30, 1898, Indian Affairs, House of Representatives, 55th Congress, 3d Session, Document No.5, Washington: Government Printing Office, 1898, large folding colour lithograph map of the Indian Reservations within the limits of the United States (compiled under the direction of the Hon. W. A. Jones, Commissioner of Indian Affairs 1898), front blank and title with light insect damage to lower outer blank corners, near contemporary sheep, contrasting labels to spine, indistinct ink stamp to upper board, large 8vo, together with:House of Representatives, 49th Congress, 1st Session, Report N. 1076, To provide for the appointment of a Commission to Inspect and Report on the condition of Indians, Indian Affairs, and for other purposes. Mr. Holman, from the Committee of Expenditures for Indians and Yellowstone Park ... Report ... The Special Committee of the House of Representatives appointed by the Speaker on the 4th day of March 1885, to inquire into the expenditure of public moneys in the Indian service and the Yellowstone Park..., March 16, 1886, [Washington: Government Printing House, 1886], folding lithograph map, disbound 8vo QTY: (2)
Silver plated presentation trowel, the turned wooden handle above shaped blade engraved "Presented by TARMAC CONSTRUCTION and FIROKA TO LORD ULLSWATER at the "Topping Out" ceremony of THE HOLIDAY INN KINGS CROSS BLOOMSBURY on 14th October 1991, 28cm longProvenanceThe Hon. William Lowther bought the Campsea Ashe High House Estate in 1883 and where the family lived until the death of his son James William Lowther, Speaker of the House of Commons 1905-1921, 1st Viscount Ullswater, in 1949. Thence by descent.
'Quick Work Without a Contract' and 'A Society of Distinguished Painters'A pair of etchings with hand-colouring, on wove, printed and published at 31 Ely Place E.C., London, with margins, 300 x 385mm (11 7/8 x 15 1/8in)(PL)(2)ProvenanceThe Hon. William Lowther bought the Campsea Ashe High House Estate in the middle of the 19th Century and where the family lived until the death of his son James William Lowther, Speaker of the House of Commons 1905-1921, 1st Viscount Ullswater, in 1949. Thence by descent.
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