QIANLONG’S

PRECIOUS VESSEL
THE ZUO BAO YI GUI
周寶彝 - 清宮舊藏作寶彝簋

NEW YORK 13 SEPTEMBER 2018

 SPECIALISTS FOR THIS AUCTION & SERVICES

SPECIALISTS

Athena Zonars Michael Bass Margaret Gristina Olivia Hamilton

Co-Chairman International Director Senior Specialist Specialist
Asian Art, Deputy Head of Sale
Chairman Americas

Michelle Cheng Jessica Chang Andrew Lick Vicki Paloympis Ling’ao Tong Rufus Chen
Specialist Specialist Specialist Specialist Associate Specialist Junior Specialist
San Francisco

Athena Zonars ABSENTEE AND

TELEPHONE BIDS
tzonars@christies.com
Tel: +1 212 636 2437
Michael Bass
mbass@christies.com AUCTION RESULTS

Margaret Gristina christies.com

mgristina@christies.com CATALOGUES ONLINE
Olivia Hamilton Lotfinder®
ohamilton@christies.com christies.com
Michelle Cheng INSURANCE
mcheng@christies.com Tel: +1 212 484 4879
Jessica Chang Fax: +1 212 636 4957
jwchang@christies.com POST-SALE SERVICES

Andrew Lick Victoria Anderson

alick@christies.com Allison Ross
Post-Sale Coordinators
Vicki Paloympis
Payment, Shipping and Collection
vpaloympis@christies.com
Tel: +1 212 636 2650
Ling’ao Tong Fax: +1 212 636 4939
ltong@christies.com Email: PostSaleUS@christies.com
Rufus Chen
rchen@christies.com
Patricia Curtin, Consultant
pcurtin@christies.com
SALE COORDINATOR
Holly Rittweger
hrittweger@christies.com
Tel: +1 212 636 2180
Fax: +1 212 636 4934
HEAD OF SALE MANAGEMENT EMAIL SERVICES

Emma Winder For general enquiries about this

ewinder@christies.com auction, emails should be addressed
Tel: +1 212 636 2183 to the Sale Coordinator(s).

16/07/2018
2
3
 QIANLONG’S PRECIOUS VESSEL
THE ZUO BAO YI GUI
周寶彝 - 清宮舊藏作寶彝簋
AUCTION
Thursday 13 September 2018
at 11.00 am (Lot 888)

20 Rockefeller Plaza
New York, NY 10020

VIEWING
HIGH VALUE LOT PRE-REGISTRATION Friday 7 September 10.00 am - 5.00 pm
For further details, please contact our Client
Services Department at +1 212 636 2000 or visit
Saturday 8 September 10.00 am - 5.00 pm
www.christies.com/highvaluelots. Sunday 9 September 1.00 pm - 5.00 pm
Monday 10 September 10.00 am - 5.00 pm
Tuesday 11 September 10.00 am - 5.00 pm
Wednesday 12 September 10.00 am - 2.00 pm
front and back cover
Ink rubbing of the present Zuo Bao Yi
Gui by Li Zhi.
AUCTIONEER
opposite page Rahul Kadakia (#1005929)
Xiqing gujian. Image copyright
©The Palace Museum. Library.

opposite table of contents

Portrait of Emperor Qianlong.
©The Collection of National
Palace Museum. BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the
amount of the reserve either by making consecutive bids or by making bids in response to other
bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not
make any such bids at or above the reserve.

Please note lots marked with a square ■ will be moved AUCTION LICENSE
to Christie’s Fine Art Storage Services (CFASS in Red
These auctions feature
Hook, Brooklyn) on the last day of the sale. Lots are not Christie’s (#1213717)
available for collection at Christie’s Fine Art Storage
Services (CFASS in Red Hook, Brooklyn) until after AUCTION CODE AND NUMBER Bid live in Christie’s salerooms worldwide
the third business day following the sale. All lots will register at www.christies.com
In sending absentee bids or making
be stored free of charge for 30 days from auction date
at Christie’s Rockefeller Center or Christie’s Fine Art enquiries, this sale should be referred
Storage Services (CFASS in Red Hook, Brooklyn). to as GUI-17320 Browse this auction and view
Operation hours for collection from either location are real-time results on the Christie’s
from 9.30AM to 5.00 PM, Monday-Friday. After 30
CONDITIONS OF SALE App for iPhone and iPad
days from the auction date property may be moved
at Christie’s discretion. Please contact Post-Sale This auction is subject to the Important
Services to confirm the location of your property prior to Notices and Conditions of Sale set forth View catalogues and leave bids online
collection. Please consult the Lot Collection Notice for
collection information. This sheet is available from the in this catalogue. at christies.com
Bidder Registration staff, Purchaser Payments or the [40]
Packing Desk and will be sent with your invoice.

21/06/16

13/03/2018

5
 CONTENTS

2 Specialists for this Auction and Services

5 Auction Information
8 Property for Sale
62 International Asian Art Department
63 Conditions of Sale • Buying at Christie’s
66 Symbols used in this Catalogue •
Important Notices and Explanation of Cataloguing Practice
67 Storage and Collection
68 International Asian Art Auctions • High Value Lot Pre-Registration
69 Written Bids Form
70 Christie’s International Chinese Ceramics & Works of Art Department

7
 The subdued gleam (from bronze vessels) enlightens
the splendor of the Three Dynasties.

Emperor Qianlong

8
 淵
然
三 之
代 光
以 穆
上 乎
規 可
模 見
乾 氣
隆 象
皇
帝

9
 QIANLONG’S PRECIOUS VESSEL
THE ZUO BAO YI GUI
周寶彝 - 清宮舊藏作寶彝簋

10
11
12
13
14
 on the collector
藏家小識

T
his is a collector, unusual in today’s world, of exceptional 此君慧眼識珠，好古敏求，世所罕見。君之收藏深
decisiveness and aesthetic acumen. His acquisitions over 通古意，亦富美感。因而能將作寳彝簋收入囊中。
the years have been both intellectually impressive and the
manifestation of a sparkling intuitive eye. 是簋也，上通三代禮器之華，下達清宮御藏之雅，著
錄於《西清古鑑》之中。
This bronze gui is of exceptional quality and importance, both on account of its
calibre as a manifestation of Chinese bronze casting at its apogee, and the fact 與此君結交亦吾之幸也。廿載之中吾助其搜求名
that it was published in 1755 in the Xiqing gujian, the Qianlong Emperor’s grand 寳，君每以博古之識，審美之情全力赴之。
undertaking to catalogue the imperial collection of archaic bronzes.
君之雅好涵蓋世界各國藝術精品，蒐藏青銅則緣起
It has been a pleasure knowing the present owner for two decades, which is
另一美國收藏望族之影響。君又以科技巨頭之背
a relationship that has grown as I assisted his family in assembling a frst-class
景，深感中國古代青銅鑄造技術之精妙，收入作寳
collection of Chinese works of art. He has always collected with an astute awareness
of historical signifcance, rarity and above all of beauty. 彝簋等傑作。在其眼中，三代時期青銅技術凝聚國
族之力不正如今日尖端科技之溝通環宇乎？
He is a collector interested in a wide range of works of art from various
cultures, with his initial passion for bronzes ignited through his friendship with
the Sackler family. Subsequently, as a founder of a number of world-leading
Michael Goedhuis, 倫敦, 2018年
advanced technology companies, he developed a deep appreciation for the unique
achievement of early Chinese bronzes, an achievement that is so vividly expressed
by the technical virtuosity and aesthetic quality of the present gui. For him, bronzes
demonstrate the power of technology over the centuries to bring people together,
just as today his commitment to the most exciting new technology represents his
belief in the power of excellence.

Michael Goedhuis, London, 2018.

15
16
 tradition transformed
a western zhou legged gui vessel

師古汲新-西周四足簋

A
part from its bold decoration and fne patination, this magnifcent 此青銅簋 (食器) 端凝大氣，紋飾寫意灑脫，鏽色蒼
bronze gui 簋 food-serving vessel is art-historically important for its 翠喜人，且在傳統簋的樣式上添加四足，是藝術史
reinterpretation of the traditional gui form through the addition of 上繼往開來之作。綜而觀之，此器應屬西周初至中
four legs. As such, it joins a small handful of other legged gui vessels that were
葉一批寥寥可數的有足簋。
produced in the early and middle Western Zhou periods (西周早期, 西周中期).
簋乃盛放煮熟的黍、稷、稻、粱等糧食之容器，本青
A vessel for serving cooked millet, sorghum, rice, or other grains, this bronze gui
comprises a traditional, circular gui form resting on four legs, each in the form of 銅簋採用傳統的圓體樣式，底承四蹄足。器身呈S
a hoofed animal leg. With its S-curved profle, the container portion of the vessel 曲線，口微撇，束頸，鼓腹略扁，下承四長足，使簋
has a lightly faring lip, a constricted neck, and a lightly compressed globular bowl 身舉高，四足上截與圈足平行相連。器足上方飾饕
set on a circular footring. Attached to and overlapping the footring, four long 餮獸面紋，下若獸足，底作蹄形，器足中段微凸，狀
legs descend to elevate the vessel. The top of each leg suggests an animal head 若膝蓋。頸側各飾一立耳，作獸首啣環狀，下端連接
in the form of a half-taotie mask 饕餮紋, while the shaft of each resembles an 簋底，其曲線與鼓腹呼應。器表紋飾可明確區分為
animal leg with a hoof at the bottom and a bulge at the middle representing a
三段，間以細窄的光素帶。鼓腹的主紋飾帶以方格
knee. Issuing from a stylized animal head on either side of the vessel’s neck, two
乳釘雷紋為題，上下各飾一道細窄聯珠紋，器頸與
opposed, vertically oriented, loop handles reconnect to the vessel at the bottom
of the bowl, their curvature echoing the bowl’s full, bulging form. The bowl’s 圈足均飾三層獸面紋，居中雙眼狹長，上沿飾翮狀
surfaces are divided into three clearly articulated decorative registers effectively 紋。頸部三層獸面紋飾帶內，尚有一對生趣盎然的
separated by narrow, unembellished bands. Bordered top and bottom by a thin 寫實有角羊首，恰好位於雙耳之間。器頸的羊首及
band of small rings, the principal decorative register, around the bowl’s bulging 主紋飾帶的乳釘，均立體如高浮雕，但器足的抽象
belly, features a diamond-and-boss pattern 方格的乳釘雷紋, while the registers 紋飾乃陰刻而成。
around neck and footring sport so-called “animal triple bands”, which are
centered on pairs of large rectangular eyes and lined by quills along the upper 時至商代，中國的青銅鑄造已自成體系，許多喪葬
edges. A pair of naturalistic, horned ram’s heads enlivens the animal triple band 儀式用的彝器應運而生。除了盛水用的器皿，這些
around the neck, each head rising in relief and appearing a quarter turn from the 作品中最常見的是食器和酒器，其下還可細分為貯
handles. Unlike the ram’s heads at the neck and the bosses 乳釘 in the principal 存、盛放、加熱、炊煮、飲食之器。簋用於盛放熟食
register, which rise in relief, the abstract decoration on the vessel legs appears in 類供品，最早見於商代 (約公元前1600至1030年)，
intaglio lines.
周代 (公元前1030至256年) 仍製作不斷。
Bronze casting came fully into its own in China during the Shang dynasty
商朝 with the production of sacral vessels intended for use in funerary
ceremonies. Those vessels include ones for food and wine as well as ones for
water; those for food and wine, the types most frequently encountered, group
themselves into storage and presentation vessels as well as heating, cooking, and
serving vessels. A sacral vessel for serving offerings of cooked food, the gui frst
appeared during the Shang dynasty (c. 1600 BC–c. 1030 BC) and continued well
into the Zhou 周朝 (c. 1030 BC- 256 BC).

17
 Fig. 1 Bo Gui, early Western Zhou dynasty. The Capital Museum Collection.
After Zhongguo qingtongqi quanji (Complete Collection of Chinese Bronzes), vol. 6:
Western Zhou 2, Beijing, 1997, no. 15.

圖一 西周早期 伯簋 首都博物館藏

Although standard vessel shapes and established decorative motifs both persisted 商亡之後，西周 (約公元前1030至771年) 雖承襲
after the fall of Shang, the people of Western Zhou 西周 (c. 1030 BC – 771 BC) 了其標準形制和既有紋飾，但很快便迭有創新，這
quickly introduced changes, perhaps refecting slightly differing religious beliefs
或許也反映了兩者在宗教信仰和禮制方面的一些
and ceremonial practices; in fact, some vessel types disappeared, while others
細微差別；事實上，有的器物類別不復存在，有的
became more elaborate and thus more imposing. Except for its legs, this gui food-
serving vessel is conservative in shape, exhibiting the basic Shang interpretation 則日趨繁縟，外觀益發氣勢奪人。除四足之外，本
of the vessel form. Through its transformation by the addition of the four legs, 例盛放食物的青銅簋形制傳統，外觀大致不脫商簋
however, this vessel refects the new, post-Shang age in which it was produced. 本色。但其新添的四足，卻從側面反映了商滅周起
之後的新氣象。
Typically resting on a circular footring, gui vessels of the Shang dynasty claim a
compressed, globular bowl, frequently with a lightly faring neck and two visually 商簋大多採用圈足，鼓腹扁圓，頸泰半微撇，兩側
substantial, vertically oriented, loop handles. A variant vessel form with deep 飾立式 環耳。這類器形有一種變奏，其腹深鼓，大
rounded bowl, often lacking handles but occasionally with a pair of horizontally
多無耳，間或飾水平環耳，常名曰「盂」；簋和盂的
set, loop handles, is often categorized as a yu 盂; functionally and stylistically
用途、風格密切相關，兩者均是盛放煮熟糧食的容
related, both gui and yu vessels were used for serving cooked grains.1 Precise
distinctions between yu and gui vessels are diffcult to defne, and, according to 器。1 它們本身已難以明確區分，而羅森 (Jessica
Jessica Rawson, “even the evidence of vessels self-named in their inscriptions is Rawson) 更指出，「即便部份實例的銘文有提到
partly contradictory”. 2 器物名稱，當中亦不乏自相矛盾之處。」2
The standard Shang form of the gui continued into the Western Zhou, though 西周沿襲了商簋的標準樣式，但旋即在形制和紋飾
modifcations in both form and decoration soon ensued. The most obvious 上有所調整。以形制而言，最明顯的變化是加高器
alteration to the form involved elevating the vessel, often by presenting it on an 身，常用手法是設一連器合鑄的方底，3 但偶爾也會
integrally cast square socle, or base,3 but occasionally by setting it on four legs, as
添加四足，本拍品便是絕佳的例證。更有甚者，將
in this excellent example. In rare instances, an entire group of vessels might be
raised by placing them on a bronze altar table, known in Chinese as a jin 青銅禁,
整個青銅器組置於禁上，如紐約大都會博物館所
such as the example in The Metropolitan Museum of Art, New York (24.72.1)4. 藏例（24.72.1） 。4 加高簋身的原因雖無據可考，
The reasons for raising the vessels remain unknown but could involve changes 但當中可能涉及宗教或禮制方面的沿革，或僅是為
in religious needs or ceremonial requirements, for example, or perhaps a simple 了追求更佳的視覺效果。
desire for greater visual impact.

18
Fig. 2 Ban Gui, middle Western Zhou dynasty. The Capital Museum Collection. After Fig. 3 Zi Gui, early Western Zhou dynasty. The National Museum of China
Zhongguo qingtongqi quanji (Complete Collection of Chinese Bronzes), vol. 6: Western Collection. After Wenwu, 1959, no. 12, p. 59.
Zhou 2, Beijing, 1997, no. 15.

圖三 西周早期 鼒簋 國家博物館藏
圖二 西周中期 班簋 首都博物館藏

In discussing the present vessel, Jessica Rawson commented, “Animal-like legs on 羅森論述本例時曾提到：「簋之獸足，似乎源於一
gui seem to have developed from elaborate handles used on a few gui… On later 小批簋的精美雙耳……其後，精美的簋耳已被省
gui the elaborate handles were omitted, attention being focused instead on the 略，重點已像本例般轉至與圈足相連的簋足。」5 觀
legs attached to the footring, as here.”5 Early examples of legged gui vessels vary
乎早期的四足簋，其器足樣式與接合點皆變化多
in the shape of the legs and their point of attachment. In some vessels, the legs are
端。有的簋足為柱形，或作幾何形，甚或摹寫動
columnar, in others they claim a geometric shape, and in yet others they assume a
zoomorphic form, whether the trunk of an elephant or the leg of an animal (as in 物，如象鼻、獸足 (如本拍品) 等，不一而足。（圖一
this gui vessel). (Figs. 1-3) In some instances, the number of handles was increased 至三）有些簋的雙耳增至四耳，而連器合鑄的四耳
from two to four, with the integrally cast legs descending from the bottom of 則延長為四足，就此可證諸哈佛大學藝術博物館藏
the handles, as seen in the columnar legs of the Chen Chen Fu Yi Gui 臣辰父 臣辰父己簋的柱形器足 (館藏號1944.57.8.a-b)，6
乙簋 in the collection of the Harvard Art Museums (1944.57.8.a-b)6 or in the 香港佳士得於2003年拍出的清宮舊藏青銅簋之
columnar legs—albeit each with hoof at the bottom—of a gui that once was in 柱形足亦屬此例，惟其足底作蹄狀。7 (圖四）其後，
the Qing Palace collection and that was sold at Christie’s, Hong Kong, in 2003.7
器足漸與圈足相連，數目間或減為三足，就此可參
(Fig. 4) Over time, the legs came to be attached to the footring and occasionally
照上海博物館8 、舊金山亞洲藝術博物館9 及普林
were reduced in number to just three, as evinced by a gui in the collection of the
Shanghai Museum,8 another in the Asian Art Museum, San Francisco (B60B893),9 斯頓大學美術館10 藏青銅簋。本拍品的器足造型
and yet another in the Princeton University Art Museum (y1965-57).10 In fact, 生動，接合點一目了然，與其上的雙耳簋身渾然天
the shapely legs, their clearly defned points of attachment, and their harmonious 成，誠屬有足青銅簋的精絕之作。
relationship to the handled bowl they support rank the present vessel among the
雖然饕餮紋是商代青銅禮器最常用的裝飾題材，
most aesthetically successful of the legged gui.
但鳳鳥紋、龍紋或蛇紋等亦大行其道。除了「具象」
Although the taotie mask 饕餮紋 was the decorative motif most frequently 紋飾，商代青銅器還結合了各式各樣的抽象、幾何
encountered on bronze ritual vessels from the Shang dynasty, other motifs 及非具象圖案，從T形勾連紋、波折紋或燕尾紋，以
were popular as well, including long-tailed birds, dragon-like forms, and
至扉棱、斜方格乳釘雷紋等皆可得見。及至西周，
even snakes. Apart from those “representational” motifs, a variety of abstract,
不少題材仍風行不衰，具象題材多有革新，而抽象
non-representational, geometric motifs also appear on Shang bronzes, from
interlocking T-forms and zig-zag, or chevron, patterns to vertical ribs and 題材基本上仍偏於傳統和保守，但其組合與表現
diamond-and-boss patterns. Long forgotten, the meaning of such decorative 形式亦略有調整。2012年3月22-23日，紐約佳士
schemes, if any, has been lost to the mists of time for both geometric and 得拍出一例商代晚期青銅簋 (拍品編號1507)，器
representational types. 身飾斜方格乳釘雷紋，上下襯一道細窄聯珠紋，此

19
 Fig. 4 Bonze four-legged gui, early Western Zhou dynasty. Christie’s Hong Kong, 7 July 2003, lot 624;
now in the Compton Verney Collection.

圖四 西周早期 青銅四足簋 香港佳士得2003年7月7日拍品624號；現藏Compton Verney

Many such motifs continued into the Western Zhou, the “representational” motifs 作堪稱西周近似例的原型。11 紐約佳士得於2017
often showing a distinct evolution, the abstract motifs generally remaining more 年3月17日拍出一例西周初年的青銅簋(拍品編號
traditional and conservative, even if presented in slightly new combinations and 1005)，其斜方格乳釘雷紋上下亦飾一道細窄的聯
contexts. The late Shang gui with diamond-and-boss pattern, bordered above
珠紋，此例既印證了西周沿用的商代器形，亦代表
and below by a narrow band of small rings, that sold at Christie’s, New York on
了像本拍品般添加四足的新式青銅簋。12
22-23 March 2012 (lot 1507) stands as the model from which the related Western
Zhou gui vessels derive.11 And the early Western Zhou gui with diamond-and-boss 商代和西周初年的青銅彝器為祭祖之用，通常刻
pattern, again, bordered top and bottom by a narrow band of small rings, that sold 有簡短的造器銘文。青銅器的「金文」，亦與當時的
at Christie’s, New York on 17 March 2017 (lot 1005) demonstrates the Western
甲骨文密切相關，甲骨文為商代刻於牛肩胛骨或龜
Zhou continuation of the Shang type while also perfectly representing the type of
甲上的卜辭，現代漢字即從兩者演變而來。
vessel to which legs were added to create the present gui vessel.12
Used in ceremonies honoring the spirits of deceased ancestors, bronze sacral 本拍品的內底鑄銘文「作寶彜」，應是指「製此
vessels from the Shang and early Western Zhou periods often bear short, 寶彜」，但未提及製作者 (或更確切地說是其
dedicatory inscriptions. The so-called bronze-script characters 金文字 are related 製作對象) 的名稱，所以無從得知此器用於何
to contemporaneous oracle-bone characters 甲骨文字—that is, characters carved 人的喪葬儀式。無巧不成書，名器「作寳彜」簋
on ox scapulae 牛肩胛骨 or turtle plastrons 龜腹甲 as part of a divination 也有相同的銘文，該例先後為希臘雅典H.E.
process employed in Shang times—and they are the direct ancestors of modern A.J. Argyropoulos及奧地利維也納Julius
written Chinese.
Eberhardt珍藏。13
Integrally cast, a short inscription of three characters arranged in a single column
上海博物館藏「妅簋」與本拍品淵源尤深；14 事實
appears on the foor of this gui; it reads zuo bao yi 作寳彜 and may be translated
“Made [this] precious vessel”. As the name of the maker—more properly, the 上，兩者的斷代、風格和整體外觀皆如出一轍。
name of the person for whom the vessel was made—does not appear in the （圖五）妅簋鑄於西周初年，其四獸足無蹄，器形
inscription, we cannot know in whose funerary ceremonies this vessel was used. 為傳統簋式，鼓腹扁圓，圈足，頸微撇，卷唇。器身
Though likely no more than coincidence, the famous Zuo Bao Yi Gui 作寳彜簋 中段飾斜方格乳釘雷紋，蛇紋繞頸一匝，以雷紋為
formerly in the collection of Julius Eberhardt (of Vienna, Austria) and, before that, 地，圈足光素。妅簋雙耳不作簡單的環狀，其上端
in the collection of H.E. A.J. Argyropoulos (of Athens, Greece), bears the same 為象首，長鼻下垂，底端外捲，以橫片與腹底相連。
inscription.13

20
 Fig. 5 Hong gui, early Western Zhou dynasty. The Shanghai Museum Collection. After Chen Peifen, Xia Shang
Zhou qingtongqi yanjiu (Research on Xia, Shang, and Zhou Bronze Vessels), Shanghai, 2004, vol. 4, pp. 84-85,
no. 231.

圖五 西周早期 妅簋 上海博物館藏

The Hong Gui 妅簋 in the collection of the Shanghai Museum is the vessel most 妅簋內底銘「妅作寳尊彜」，據種種跡象看來，
closely akin to the present gui;14 in fact, the two vessels are exceptionally close 「妅」字應是人名，因為它既是這句公式化銘文的
in date, style, and general appearance. (Fig. 5) Dating to the early Western Zhou 頭一個字，而緊隨其後的「作」代表製作，可見此乃
period and standing on four clawed, rather than hoofed, zoomorphic legs, the
特為妅氏所鑄之重器。令人扼腕的是，史料中全無
Hong Gui claims a traditional gui form, with compressed globular bowl with a
circular footring below and a lightly faring neck with thickened lip at the top. Its 「妅」的記載，所以其身世、生卒年及境遇俱無從
midsection boasts a diamond-and-boss pattern, while the band around the neck 稽考。
sports a pattern of snakes 蛇紋 set against a leiwen 雷紋 ground; the footring is
本拍品來源顯赫，流傳有緒，在1749年以前即為乾
undecorated. Instead of simple loops, the handles of the Hong Gui have elephant
隆皇帝（1736至1795年間在位）所藏，並著錄於
heads at the top with descending trunks that curve elegantly outward at the end
but that are anchored to the bottom of the bowl by a strut. The inscription on 《西清古鑑》，卷十四，頁7，繼而又於1887年前進
the foor of the Hong Gui reads Hong zuo bao zun yi 妅作寳尊彜 and may be 入晚清著名收藏家吴大澂 (1835–1902)的愙齋並
translated “Hong made [this] precious vessel”. Based on the context, the frst 著錄於《愙齋集古錄》，卷7，頁11。在二十世紀，本
character, which is read “Hong” 妅, is believed to be a personal name—i.e., 拍品又一度為名家仇焱之收藏，15,16 後納入趙氏山
based on its occurrence as the frst word in this formulaic inscription and on its 海樓青銅珍藏。17 其亦曾於底特律和紐約展出，經
placement immediately before the verb 作 zuo (made). Alas, so far as is known, 手此簋之重要中國藝術商行包括盧芹齋 (1880–
Hong is otherwise unrecorded, so Hong’s identity and life dates and circumstances
1957)、埃斯卡納齊以及 Michael Goedhuis等。
remain unknown.
作寶彜簋的外觀美不勝收，且鑄造者自出機杼，在
The present gui claims the most impeccable, the most impressive of pedigrees. By
1749 it was in the Qing Imperial Collection, one of the bronzes collected by the 傳統形制的基礎上添加四足。由此看來，此器確然
Qianlong Emperor 乾隆 (r. 1736–1795); it is published in his Xiqing gujian 西清 無愧為西周青銅藝術史的標竿之作。
古鉴, the forty-volume catalogue of the ancient bronzes in his collection (vol. 14,
p. 7). Renowned collector Wu Dacheng 吴大澂 (1835–1902) had acquired it prior
to 1887, and it is recorded in catalogue Kezhai Jigulu 愙齋集古錄 (vol. 7, p. 11), 毛瑞 (Robert D. Mowry)
which was published posthumously in 1918. In the twentieth century this gui
was owned by celebrated collector Edward T. Chow 仇焱之15, 16 and subsequently 哈佛大學藝術博物館亞洲部榮譽主任暨
by acclaimed collectors Bella and P.P. Chiu (趙氏山海樓所藏古代青銅器).17 佳士得高級顧問

21
 The present Zuo Bao Yi Gui as documented in the Xiqing gujian (Mirror of Antiquities [prepared in
the] Xiqing [Southern Study Hall]), Imperial Printing Ofice in the Wuyingdian (Hall of Martial Valor),
Forbidden City, Beijing, 1755, vol. 14, p. 7. Collection of the Palace Museum, Beijing.
Image copyright © The Palace Museum. Library.

本件作寳彜簋在清乾隆二十年（1755）武英殿刊本《西清古鑑》，卷14，頁7中的
著錄。故宮博物院藏。

Featured in exhibitions in Detroit and New York, this gui has also passed through
the galleries of such prominent art dealers as C.T. Loo 盧芹齋 (1880–1957),
Eskenazi Ltd. and Michael Goedhuis Ltd.
A strikingly beautiful bronze and one with an exceptionally distinguished
provenance, this gui is art-historically important for its reinterpretation of the
traditional gui form through the addition of four legs. In fact, it is a major
monument in the history of Western Zhou bronzes.

Robert D. Mowry
Alan J. Dworsky Curator of Chinese Art Emeritus,
Harvard Art Museums, and
Senior Consultant, Christie’s

22
1
Ma Chengyuan, Ancient Chinese Bronzes (Oxford, Hong Kong, New York: Oxford 1
時學顏主編的馬承源著作《中國古代青銅器》英文版頁192 (牛津、香港、紐約：
University Press), 1986, ed. Hsio-yen Shih, p. 192. 牛津大學出版社，1986)。
2
For a discussion of this confusing nomenclature, see: Jessica Rawson, Western Zhou Ritual 2
關於名稱混淆之說，詳見羅森 (Jessica Rawson) 著作《Western Zhou Ritual
Bronzes from the Arthur M. Sackler Collections, vol. IIB (Washington, DC: The Arthur M. Bronzes from the Arthur M. Sackler Collections》卷IIB，頁454-459，編號
Sackler Foundation, and Cambridge, MA: Arthur M. Sackler Museum, Harvard University), 59 (華盛頓特區：賽克勒基金會；麻省劍橋：哈佛大學賽克勒博物館，1990)。
1990, pp. 454-459, no. 59. 3
其中一例可參見哈佛大學藝術博物館藏西周簋 (館藏號1944.57.1)，曾發表
3
For an example, see the Western Zhou gui in the collection of the Harvard Art Museums 於陳夢家著作《殷周靑銅器分類圖錄》編號A 219 (東京：汲古書屋，1977)
(1944.57.1), published in Chen Mengjia, Yin Zhou Qingtongqi Fenlei Tulu (A Corpus 。另外，請見 https://www.harvardartmuseums.org/collections/
of Chinese Bronzes in American Collections) (Tokyo: Kyuko Shoin), 1977, A 219. 陳 object/203788?position=31。此外，可參照著名的作寶彝簋，此簋先後納入
夢家, 殷周靑銅器分類圖錄 (東京: 汲古書屋), 1977, A 219. Also see: https://www. 希臘雅典H.E. A.J. Argyropoulos及奧地利維也納Julius Eberhardt珍藏；康蕊
harvardartmuseums.org/collections/object/203788?position=31. Also see the famous Zuo 君的德英雙語著作《Sammlung Julius Eberhardt: Frühe chinesiche Kunst
Bao Yi Gui 作寳彜簋 formerly in the collection of Julius Eberhardt (of Vienna, Austria) / Collection Julius Eberhardt: Early Chinese Art》(香港：Magnum Ltd.
and, before that, in the collection of H.E. A.J. Argyropoulos (of Athens, Greece): Regina ，2004) 卷一頁96-97編號39，德文譯者為Stefan B. Polter；另可參照蘇富比
Krahl, Sammlung Julius Eberhardt: Frühe chinesiche Kunst / Collection Julius Eberhardt: Early 《朱利思 • 艾伯哈特收藏重要中國古代青銅禮器》2013年9月17日的拍賣圖錄拍
Chinese Art (Hong Kong: Magnum Ltd.), 2004, vol. 1, pp. 96-97, no. 39, translated by Stefan 品編號3 (紐約：蘇富比，2013)。
B. Polter (bilingual, German and English); also see: Sotheby’s, New York, Magnifcent Ritual 4
Jessica Rawson，《The Bella and P.P. Chiu Collection of Ancient
Bronzes, 17 September 2013, lot 3.
Chinese Bronzes》，香港，1988年，66頁，編號21。
4
Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes (Hong Kong),
1988, p. 66, no. 21. 趙氏山海樓所藏古代青銅器 (香港), 1988, 66 頁, no. 21.
5
羅森著作《趙氏山海樓所藏古代青銅器》頁66，編號21 (香港：1988)。

5
See: Chen Mengjia, Yin Zhou Qingtongqi Fenlei Tulu, A 230; Hayashi, Minao, In Shu Jidai
6
詳見：陳夢家著作《殷周青銅器分類圖錄》編號A230；林巳奈夫所撰《殷周
Seidoki no Kenkyu [Research on Shang and Zhou Bronzes] (Tokyo:Yoshikawa Kobunkan), 時代靑銅器の硏究：殷周青銅器綜覽1》頁102，編號177 (東京：吉川弘文館，
Showa 59 [1984], vol. 1, In Shu Seidoki Soran [A Compendium of Shang and Zhou Bronzes], 昭和59年[1984])；及羅森著作《Western Zhou Ritual Bronzes from the
p. 102, no. 177. 林巳奈夫, 殷周時代靑銅器の硏究 (東京: 吉川弘文館), 昭和59 [1984], Arthur M. Sackler Collections》頁469，圖61.4。另可參見https://www.
殷周靑銅器綜覽, 1, 102頁, no. 177; Jessica Rawson, Western Zhou Ritual Bronzes from the harvardartmuseums.org/collections/object/204107?position=0。
Arthur M. Sackler Collections, p. 469, fg. 61.4. Also see: https://www.harvardartmuseums.org/ 7
佳士得2003年7月7日《中國宮廷御製藝術精品：中國瓷器和工藝精品》拍賣圖錄
collections/object/204107?position=0 拍品編號624 (香港：佳士得，2003)；林巳奈夫所撰《殷周時代靑銅器の硏究》卷
6
See: Christie’s, Hong Kong, The Imperial Sale: Chinese Ceramics and Works of Art, 7 July 一，頁108，編號235。
2003, lot 624; Hayashi, Minao, In Shu Jidai Seidoki no Kenkyu, vol. 1, p. 108, no. 235. 林巳奈 8
陳佩芬著作《夏商周靑銅器研究：上海博物館藏品》第1版，第2編，頁86-87，
夫, 殷周時代靑銅器の硏究, 1, 108頁, no. 235. 編號232 (上海：上海古籍出版社，2004)。
7
See: Chen Peifen, Xia Shang Zhou Qingtongqi Yanjiu: Shanghai Bowuguan Cangpin (Research
on Bronzes from the Xia Shang and Zhou Dynasties: Collection of the Shanghai Museum
9
林巳奈夫所撰《殷周時代靑銅器の硏究》卷一，頁109，編號237。
(Shanghai: Shanghai Guji Chubanshe), 2004, 1st ed., vol. 4, pp. 86-87, no. 232. 陳佩芬. 夏商 10
林巳奈夫所撰《殷周時代靑銅器の硏究》卷一，頁119，編號305。
周靑銅器研究: 上海博物館藏品 (上海: 上海古籍出版社), 2004, 第1版, 第2編 [v. 3-4],
86-87頁, no. 232. 11
佳士得2012年3月22-23日《中國瓷器和工藝精品 (II)》拍賣圖錄拍品編號1507
(紐約：佳士得，2012)。
See: Hayashi, Minao, In Shu Jidai Seidoki no Kenkyu, vol. 1, p. 109, no. 237. 林巳奈夫, 殷周
8

時代靑銅器の硏究, 1, 109頁, no. 237. 12

佳士得2017年3月17日《中國瓷器和工藝精品》拍賣圖錄拍品編號1005
(紐約：佳士得，2017)。
9
See: Hayashi, Minao, In Shu Jidai Seidoki no Kenkyu, vol. 1, p. 119, no. 305. 林巳奈夫, 殷周
時代靑銅器の硏究, 1, 119頁, no. 305. 唐蕊君著作《Sammlung Julius Eberhardt: Frühe chinesiche Kunst /
13

Collection Julius Eberhardt: Early Chinese Art》卷一，頁96-97，編號39；

10
See: Christie’s, New York, Fine Chinese Ceramics and Works of Art (Part II), 22-23 March 以及蘇富比2013年9月17日《朱利思•艾伯哈特收藏重要中國古代青銅禮器》拍賣
2012, lot 1507. 圖錄拍品編號3 (紐約：蘇富比，2013)。

11
Christie’s, New York , Fine Chinese Ceramics and Works of Art, 17 March 2017, lot 1005. 14
陳佩芬著作《夏商周靑銅器研究》第2編，頁84-85，編號231。

See: Regina Krahl, Sammlung Julius Eberhardt: Frühe chinesiche Kunst / Collection Julius
12 15
關於仇焱之 (1910-1980年) 的資料，可參考https://www.freersackler.
Eberhardt: Early Chinese Art, vol. 1, pp. 96-97, no. 39; also see: Sotheby’s, New York, si.edu/wp-content/uploads/2017/09//Chow-Edward.pdf。
Magnifcent Ritual Bronzes, 17 September 2013, lot 3. 蘇富比曾於1980年11月25日、1980年12月16日及1981年5月19日在香港和倫
16

13
See: Chen Peifen, Xia Shang Zhou Qingtongqi Yanjiu, vol. 4, pp. 84-85, no. 231. 陳佩芬. 敦舉行三場專拍，仇焱之珍藏於焉各散東西；詳見蘇富比1980年12月16日《The
Edward T. Chow Collection – Part Two: Early Chinese Ceramics and
夏商周靑銅器研究, 第2編 [v. 3-4], 84-85頁, no. 231.
Ancient Bronzes》拍賣圖錄拍品編號338 (倫敦：蘇富比，1980)。
14
For information on Edward T. Chow (1910–1980), see: https://www.freersackler.si.edu/
17
關於趙氏珍藏，請見羅森著作《趙氏山海樓所藏古代青銅器》(香港，1988)。
wp-content/uploads/2017/09//Chow-Edward.pdf
15
The Edward T. Chow collection was dispersed by Sotheby’s through auctions in Hong
Kong and London on 25 November 1980, 16 December 1980, and 19 May 1981. This
gui vessel was sold at Sotheby’s, London, on 16 December 1980; see: Sotheby’s, London,
The Edward T. Chow Collection – Part Two: Early Chinese Ceramics and Ancient Bronzes, 16
December 1980, lot 338.

For information on the Chiu collection, see: Jessica Rawson, The Bella and P.P. Chiu
16

Collection of Ancient Chinese Bronzes (Hong Kong), 1988. 趙氏山海樓所藏古代青銅器

(香港), 1988.

For information on the Chiu collection, see: Jessica Rawson, The Bella and P.P. Chiu
17

Collection of Ancient Chinese Bronzes (Hong Kong), 1988. 趙氏山海樓所藏古代青銅器

(香港), 1988.

23
PROPERTY FROM A DISTINGUISHED AMERICAN COLLECTION

888
THE ZUO BAO YI GUI 西周早期 公元前十一至十世紀 作寶彝簋

A HIGHLY IMPORTANT AND EXTREMELY RARE 敞口，束頸，鼓腹，高圈足下承四蹄足。口沿下飾一周四組列旗獸面紋，分別以獸

首耳及浮雕羊首為中心，蹄足間亦飾列旗獸面紋。腹飾乳釘雷紋，蹄足飾獸面紋
BRONZE RITUAL FOUR-LEGGED FOOD VESSEL 及夔紋。腹内底鑄三字銘文「作寳 」。
EARLY WESTERN ZHOU DYNASTY, 11TH-10TH CENTURY BC
The vessel is raised on four tall hoofed legs, each decorated at the top in 高18.8 公分，口徑18.1 公分
intaglio with a taotie mask shown in profle, above a kui dragon, the legs 3020克
forming the four corners of the ring foot decorated between the legs with
來源
a quilled triple band forming a taotie mask. The body is decorated with a
乾隆皇帝（1711-1799）收藏，入藏於1749年以前。
diamond-and-boss band between narrow borders of circles cast in thread
吳大澂（1835-1902）收藏，入藏於1887年以前。
relief, and the neck with a further quilled triple band centered on two sides
盧芹齋，紐約，1940年前後。
by a small ram mask cast in relief and interrupted on the other two sides by a
仇焱之（1910-1980）收藏。
pair of handles surmounted by horned animal masks and cast at the bottom
倫敦蘇富比，1980年12月16日，拍品338號。
with hooked pendants. The bottom of the interior is cast with a three-
埃斯卡納齊，倫敦，1980年。
character inscription reading zuo bao yi. The surface has an attractive, milky
趙不波收藏，入藏於1988年以前。
olive-green patina.
埃斯卡納齊，倫敦。
7¡ in. (18.8 cm.) high, 7¿ in. (18.1 cm.) mouth diam., cloth box Michael Goedhuis，紐約，1998年。
3020 g

$4,000,000-6,000,000

PROVENANCE

Collection of the Emperor Qianlong (1711-1799), by 1749.

Wu Dacheng (1835-1902) Collection, by 1887.
C. T. Loo & Co., New York, by 1940.
Edward T. Chow (1910-1980) Collection.
Sotheby’s London, 16th December 1980, lot 338.
Eskenazi Ltd., London, 1980.
Bella and P.P. Chiu Collection, by 1988.
Eskenazi Ltd., London.
Michael Goedhuis Ltd., New York, 1998.

(inscription)

24
25
EXHIBITED 展覽
Detroit, Exhibition of Ancient Chinese Ritual Bronzes Loaned by
底特律，《Exhibition of Ancient Chinese Ritual Bronzes Loaned by C.T.
C.T. Loo & Co., The Detroit Institute of Arts, 18 October-10 November 1940.
Loo & Co.》，底特律美術館，1940年10月18日至11月10日。
New York, Exhibition of Chinese Arts, C. T. Loo & Co., 1 November 1941-30
紐約，《Exhibition of Chinese Arts》，盧芹齋，1941年11月1日至1942年
April 1942.
4月30日。
LITERATURE
著錄
By the order of Emperor Qianlong, Liang Shizheng, Jiang Pu, Wang Youdun,
et al., Xiqing gujian (Mirror of Antiquities [prepared in the] Xiqing [Southern 梁詩正、蔣溥、汪由敦等奉敕撰，《西清古鑑》，清乾隆二十年（1755）
Study Hall]), Imperial Printing Ofice in the Wuyingdian (Hall of Martial Valor), 武英殿刊本，卷14，頁7。
Forbidden City, Beijing, 1755, vol. 14, p. 7. 吳大澂，《愙齋藏器目》，1887年。
Wu Dacheng, Kezhai cangqi mu (List of the Objects Collected by Kezhai [Wu 吳大澂，《愙齋集古錄》，1918，卷7，頁11。
Dacheng]), 1887. 劉體智，《小校經閣金文拓本》，1935年，卷7，頁61。
Wu Dacheng, Kezhai jigulu (The Records of Collecting Antiques by Kezhai [Wu 羅振玉，《三代吉金文存》，1937年，卷6，頁19。
Dacheng]), 1918, vol. 7, p. 11 (inscription only). 底特律美術館，《Exhibition of Ancient Chinese Ritual Bronzes Loaned
Liu Tizhi, Xiaojiaojinge jinwen taben (Rubbings of Archaic Bronze Inscriptions by C.T. Loo & Co.》，底特律，1940年，編號25。
at the Xiaojiaojingge Studio), 1935, vol. 7, p. 61 (inscription only). 盧芹齋，《Exhibition of Chinese Arts》，紐約，1941年，編號12。
Luo Zhenyu, Sandai jijin wencun (Surviving Writings from the Xia, Shang, and Phyllis Ackerman，《Ritual Bronzes of Ancient China》，紐約，1945年，
Zhou Dynasties), 1937, vol. 6, p. 19 (inscription only). 圖版29。
The Detroit Institute of Arts, Exhibition of Ancient Chinese Ritual Bronzes 陳夢家，《殷周青銅器分類圖錄》，東京，1977年，編號A177（圖片）及R363
Loaned by C.T. Loo & Co., New York, 1940, no. 25. （銘文）。
C.T. Loo & Co., Exhibition of Chinese Arts, New York, 1941, no. 12. 周法高，《三代吉金文存著錄表》，台北，1977年，編號1303。
Phyllis Ackerman, Ritual Bronzes of Ancient China, New York, 1945, pl. 29. 周法高，《三代吉金文存補》，台北，1980年，編號363。
Chen Mengjia, Yin Zhou qingtongqi fenlei tulu (In Shu seidoki bunrui zuroku; 孫稚雛，《金文著錄簡目》，北京，1981年，編號1735。
A Corpus of Chinese Bronzes in American Collections), Tokyo, 1977, nos. A177 嚴一萍，《金文總集》，台北，1983年，編號1909。
(illustration) and R363 (inscription). 林巳奈夫，《殷周青銅器綜覽》，卷一（圖版），東京，1984年，頁110，簋248。
Zhou Fagao, Zhang Risheng and Huang Qiuyue, Sandai jijin wencun zhulu biao Thomas Lawton，’An Imperial Legacy Revisited: Bronze Vessels
(Contents of Literature of Surviving Writings from the Xia, Shang, and Zhou from the Qing Palace Collection’，《Asian Art》，卷1，編號1，1987-8，
Dynasties), Taipei, 1977, no. 1303 (inscription only). 頁51-79。
Zhou Fagao, Sandaijijin wencun bu (Supplements of surviving writings from Jessica Rawson，《趙氏山海樓所藏古代青銅器》，香港，1988年，編號21。
the Xia, Shang and Zhou dynasties), Taipei, 1980, no. 363 (inscription only). 中國社會科學院考古研究所，《殷周金文集成》，北京，1984年，編號3270。
Sun Zhichu, Jinwen zhulu jianmu (Brief Contents of Literature of Archaic 馬承源，《中國青銅器》，上海，2009年，頁122，圖23。
Bronze Inscriptions), Beijing, 1981, no. 1735 (inscription only). 吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2012，卷8，頁221，
Yan Yiping, Jinwen Zongji (Corpus of Bronze Inscriptions), Taipei, 1983, no. 編號3922。
1909 (inscription only). Giuseppe Eskenazi with Hajni Elias，《A Dealer’s Hand, The Chinese
The Institute of Archaeology, Chinese Academy of Social Sciences, Yinzhou Art World Through the Eyes of Giuseppe Eskenazi》，倫敦，2012年，
jinwen jicheng (Compendium of Yin and Zhou Bronze Inscriptions), Beijing, 頁82，圖版71。
1984, no. 3270. (inscription only).
Minao Hayashi, In Shu seidoki soran (Conspectus of Yin and Zhou Bronzes),
vol. 1 (plates), Tokyo, 1984, p. 110, gui no. 248.
Thomas Lawton, ‘An Imperial Legacy Revisited: Bronze Vessels from the Qing
Palace Collection’, Asian Art, vol. 1, no. 1, Fall/Winter 1987-8, pp. 51-79.
Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes,
Hong Kong, 1988, no. 21.
Ma Chengyuan, Zhongguo qingtongqi (The Chinese Bronzes), Shanghai, 2009,
p. 122, fg. 23.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium
of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties),
Shanghai, 2012, vol. 8, p. 221, no. 3922.
Giuseppe Eskenazi with Hajni Elias, A Dealer’s Hand, The Chinese Art World
Through the Eyes of Giuseppe Eskenazi, London, 2012, p. 82, fg. 71.

26
27
 Let the ritual vessels when completed…
be able to boil without kindling, to hide
themselves without being lifted, and to
move themselves without being carried.

Mozi (470-391 BC)

28
 而
陶 昔
而鑄 者
自之 夏
臧於 后
不昆 開
遷吾 使
而 蜚
自 廉
行 不 折
炊 金
而 於
墨 自 山
子 烹 川
不
舉

29
30
31
2
3
 1755 The frst catalogue raisonné of Qianlong’s bronze collection, Xiqing 1868 Wu Dacheng passes the
gujian, is published. The present Zuo Bao Yi Gui is included in vol. 14 of imperial examination and is
Xiqing gujian. selected as a Bachelor at the
乾隆青銅收藏的第一部圖錄《西清古鑑》刊印，其中包括本件作寶彝簋。 Imperial Hanlin Academy.
吳大澂中同治七年戊辰科進士，
朝考入選，欽點翰林院庶吉士。
1736 Emperor Qianlong
accedes to the throne.
乾隆皇帝登基。

1730s 1740s 1750s 1760s–70s 1780s 1790s–1850s 1860s 1870s

1745 The frst catalogue raisonné of Qianlong’s 1776-1793 Three supplements to the Xiqing gujian
calligraphy and painting collection, Shiqu baoji are completed.
chubian, is completed. 《西清古鑑》的續集《寧壽鑑古》、《西清續鑑甲編》
乾隆書畫收藏的第一部目錄《石渠寳笈初編》成書。 、《西清續鑑乙編》陸續成書，合稱「乾隆四鑑」。
1890 Wu Dacheng completes a compen- 1940 C. T. Loo (1880-1957), prominent The Zuo Bao Yi Gui is 1980 The Zuo Bao 1988 The Zuo Bao 1998 The Zuo
dium of ink rubbings of bronze inscrip- dealer of Chinese art, exhibits the in the Edward T. Chow Yi Gui is acquired Yi Gui is published Bao Yi Gui is
tions, Kezhai jigu lu, which includes Zuo Bao Yi Gui at the Detroit Institute Collection. by distinguished in The Bella and P.P. acquired by the
an ink rubbing of the present Zuo Bao of Arts. 本件作寶彝簋為仇焱之 Chinese art dealer, Chiu Collection of current owner
Yi Gui. 盧芹齋在底特律美術館舉辦青銅器展覽，本 所藏。 Giuseppe Eskenazi. Ancient Chinese from Michael
吳大澂作《愙齋集古錄》，遍收當日所見 件作寶彝簋第一次在西方公開展出。 本件作寶彝簋為著名 Bronzes. Goedhuis.
彝器銘文拓片，其中包括本件作寶彝簋的 中國藝術品行家埃斯 本件作寶彝簋為趙不 本件作寶彝簋由
銘文拓片。 卡納齊購藏。 波所藏，著錄於《趙 Michael Goedhuis售
氏山海樓所藏古代青 予現藏家。
銅器》。

1880s 1890s–1930s 1940s 1950s 1960s 1970s 1980s 1990s 2000s

1883 Wu Dacheng publishes his seminal 1944-1947 Chen Mengjia

work on epigraphy, Shuowen guzhou bu.
吳大澂作《說文古籀補》，以先秦鐘鼎彝器銘
文補正許慎《說文解字》。
(1911-1966), a leading
Chinese antiquarian,
visits the U.S. and com-
piles a comprehensive
1970 The Metropolitan
survey of Chinese archaic
Museum of Art, New York
bronzes in American
holds the exhibition The Great
collections, including
Bronze Age of China, present-
the Zuo Bao Yi Gui.
ing 105 bronzes, jades, and
陳夢家訪美，遍訪包括本件 terracotta objects found in
作寶彝簋在内的美國公、私 recent archaeological
收藏青銅器。 discoveries and loaned by the
Chinese government for the
frst time outside of China.
紐約大都會博物館舉辦《The Great
Bronze Age of China》大展，由中
國政府借展105件商周青銅器、
玉器、陶器，這也是新中國成立
以後歷次重大考古發現第一次在
國外展出。
 While appreciating them as objects of
art, (bronzes) also evoke my profound
thoughts about ancient history.
This is such an elegant pursuit in this
peaceful and prosperous age.

Emperor Qianlong

34
 以
遊
遠 藝
思 之
亦 余
足 功
稱 寄
昇 鑑
平 古
乾 雅 之
隆 尚
皇 云
帝

35
Hongli guzhuangxiang zhou (Portrait of Emperor Qianlong in Ancient Costume),
Qianlong period (1736-1795). Collection of the Palace Museum, Beijing.
©The Palace Museum, Beijing. Photographer 孫躍 Sun Yue.

清乾隆《弘曆古裝像》軸 故宮博物院藏
37
Hongli shi yi shi er tu (One or Two? [Portrait of Emperor Qianlong surrounded by antiques from the Imperial
Collection]), Yangxindian (Hall of Mental Cultivation) version, Qianlong period (1736-1795). Collection of the
Palace Museum, Beijing. ©The Palace Museum, Beijing. Photographer 李凡 Li Fan.

清乾隆《弘曆是一是二圖》 軸 養心殿本 故宮博物院藏

38
Xiqing gujian (Mirror of Antiquities [prepared in the] Xiqing [Southern Study Hall]), Imperial Printing Ofice in
the Wuyingdian (Hall of Martial Valor), Forbidden City, Beijing, 1755, in which the Zuo Bao Yi Gui is included,
vol. 14, p. 7. Collection of the Palace Museum, Beijing.
©The Palace Museum, Beijing. Photographer 劉志崗 Liu Zhigang.

清乾隆二十年（1755） 武英殿刊本《西清古鑑》 故宮博物院藏

40
Archaic vessels emerge and disappear over time.
If I do not document them on paper, how can
scholars in the future study them?

Emperor Qianlong

古器顯晦有時及今不為之表章載之簡牘考索
者其奚取徵焉 ？

乾隆皇帝

41
The present Zuo Bao Yi Gui as catalogued in the original imperial printing of the Xiqing gujian (Mirror of
Antiquities [prepared in the] Xiqing [Southern Study Hall]), Imperial Printing Ofice in the Wuyingdian
(Hall of Martial Valor), Forbidden City, Beijing, 1755, vol. 14, p. 7. Collection of the Palace Museum, Beijing.

本件作寳彜簋在清乾隆二十年（1755）武英殿刊本《西清古鑑》，卷14，頁7中的著錄。
故宮博物院藏。
Pre-eminent late Qing dynasty scholar-oficial Wu Dacheng (1835-1902), whose renowned collection once
included the Zuo Bao Yi Gui, depicted amongst his bronzes on the frontispiece of the Kezhai jigu tu (Scroll
of Collecting Antiques by Kezhai [Wu Dacheng]), 18th year of the Guangxu reign (1892). Collection of the
Shanghai Museum.

清光緒十八年（1892） 陸恢，胡琴涵《愙齋集古圖》 上海博物館藏

44
45
Title page of the Kezhai jigulu (The Records of Collecting Antiques by Kezhai [Wu Dacheng]) by the
prominent painter and calligrapher Wu Changshuo (1844-1927) whose artistic style was infuenced
by Wu Dacheng and his collection.

吳昌碩（1844-1927）所題《愙齋集古錄》書名。

46
If we can learn from ancient bronze and seal
inscriptions, we will be able to expel the bad habits
(of calligraphy) of recent days.

Wu Dacheng

所論篆刻以鐘鼎、古印二者筆法為師，
可破近人陋習。

吳大澂

47
 The inscription of the Zuo Bao Yi Gui published by its second owner Wu Dacheng in Kezhai
jigulu (The Records of Collecting Antiques by Kezhai [Wu Dacheng]), 1918, vol. 7, p. 11,
with annotation by Wu Dacheng praising the Zuo Bao Yi Gui as the “best of its type.”
The table of contents is shown on the left.

本件作寳彜簋在吳大澂，《愙齋集古錄》，卷7，頁11中的著錄。

48
49
 The frst Western publication and exhibition of the Zuo Bao Yi Gui, in An Exhibition of Ancient
Chinese Ritual Bronzes Loaned by C. T. Loo & Co. , Detroit, 1940 no. 25

本件作寳彜簋在1940年底特律美術館展覽圖錄《An Exhibition of Ancient Chinese

Ritual Bronzes Loaned by C. T. Loo & Co》中的著錄。圖錄中指出此簋為乾隆及
吳大澂舊藏。

50
51
52
53
appendix i

Ink rubbing of the Zuo Bao Yi Gui by Li Zhi. （李穉拓）

54
55
 Zuo 作
The character zuo (work or manufacture)
depicts cutting plants with a sickle,
symbolizing all kinds of labor and can be
used as the verb ‘to manufacture’.

Bao 寶
The character bao (treasure) depicts a house
flled with jade, a cowry shell (used as
currency), and a pottery vessel, symbolizing
the wealth of a household.

Yi 彝
The character yi (ritual vessel) depicts
two hands grasping a tied, bleeding bird,
symbolizing sacrifce and the ritual vessels
used in sacrifces.

56
57
 appendix ii

58
59
60
61
 INTERNATIONAL ASIAN ART DEPARTMENT
GLOBAL MANAGING DIRECTOR CHAIRMAN CHAIRMAN
Francis Belin Jonathan Stone Athena Zonars
Tel: +852 2978 6756 Deputy Chairman, Asia Deputy Chairman, Americas
Tel: +852 2978 9989 Tel: +1 212 636 2177

ASIAN 20TH CENTURY CHINESE CERAMICS CHINESE PAINTINGS REGIONAL MANAGING

& CONTEMPORARY ART & WORKS OF ART DIRECTORS
Ben Kong, Deputy Chairman, Asia
Eric Chang, Deputy Chairman, Asia Pola Antebi, International Director International Specialist Head of Lillian Ng
International Director & Specialist Tel: +852 2978 9950 Department Tel: +852 2978 9995
Head of Department Tel: +852 2760 1766 Rachel Orkin-Ramey
Michael Bass, International Director
Tel: +852 2760 1766 Tel: +1 212 636 2194
Tel: +1 212 636 2180 BEIJING
BEIJING Géraldine Lenain, International Michael Xie Leila de Vos van Steenwijk
Dina Zhang Director Vicky Liu Tel: +44 (0)20 7389 2578
Tel: +86 (0) 10 8572 7928 Chairman's Office, Paris Tel: +86 (0) 10 8572 7939 Nicole Wright
Tel: +33 (0)1 40 76 84 22 Tel: +852 2978 9952
HONG KONG HONG KONG
Leila de Vos van Steenwijk,
Joyce Chan European Head Jessie Or
HEADS OF SALE MANAGEMENT
Marcello Kwan Tel: +44 (0)20 7389 2578 Carmen Shek Cerne & BUSINESS MANAGERS
Angel Yip Sara Mao
Janice Chan Rosemary Scott (Senior International Amy Cheng Yanie Choi
Cindy Lim Academic Consultant) Sophia Zhou Tel: +852 2978 9936
Ada Tsui Yorkie Tam Marie Faiola
Vanessa Chung BEIJING Frank Yang
Dai Dai Tel: +33 (0) 140 768 610
Tel: +852 2760 1766 Tel: +852 2760 1766
Felix Pei Yiwen Huang
JAKARTA Tel: +86 (0) 10 8572 7928 LONDON Tel: +866 223 220 007
Vanessa Pranoto Dr Malcolm McNeill Meg Kaye
Tel: +62 (0)21 7278 6268 HONG KONG Tel: +44 (0)20 7389 2577
Chi Fan Tsang Tel: +44 207 389 2657
NEW YORK Ruben Lien NEW YORK Annie Lee
Tianyue Jiang Liang-Lin Chen Elizabeth Hammer Tel: +852 2978 9994
Sarina Taylor Sherese Tong Jennie Tang Emma Winder
Tel: +1 212 468 7133 Joan Ho Amy Riggs Tel: +1 212 636 2183
Timothy Lai Tel: +1 212 636 2193
PARIS Tel: +852 2760 1766
Fiona Braslau TAIPEI PRIVATE SALES
Tel: +33 (0)1 40 76 85 83 LONDON Kim Yu Nelly Li
Marco Almeida Tel: +886 2 2736 3356 Tel: +852 2978 6797
SEOUL Kate Hunt
Yunah Jung Ivy Chan TOKYO
Tel: +82 2 720 5266 Katie Lundie Seiji Inami ASIA REGIONAL
Cecelia Zi Tel: +81 (0) 3 6267 1778 OFFICES
SHANGHAI Caroline Allen (Consultant Export Art)
Grace Zhuang Tel: +44 (0)20 7389 2577 BANGKOK
JAPANESE & Prapavadee Sophonpanich
Asia Chiao
NEW YORK KOREAN ART Tel: +66 (0) 2 252 3685
Tel: +86 (0)21 2226 1516
Margaret Gristina JAPAN
SINGAPORE Olivia Hamilton BEIJING
Katsura Yamaguchi, International Jinqing Cai
Dexter How Michelle Cheng
Director, Asian Art Tel: +86 (0) 10 8583 1766
Yunyi Lau Jessica Chang
Tel: +81 3 6267 1766
Tel: +65 6838 7202 Vicki Paloympis
Ling'ao Tong JAKARTA
LONDON
TAIPEI Rufus Chen Charmie Hamami
Anastasia von Seibold Tel: +62 (0)21 7278 6268
Lihua Tung Tel: +1 212 636 2180
Tel: +44 (0)20 7752 3127
Yu-Shan Lu Tel: +1 212 636 2211
KUALA LUMPUR
Elise Chen NEW YORK
Tel: +886 2 2736 3358 SAN FRANCISCO Jane Ngiam (Liaison)
Takaaki Murakami Tel: +65 6735 1766
Andrew Lick
Tel: +1 212 636 2160
TOKYO Tel: +1 415 982 0982
SEOUL
Gen Ogo
Chie Kawasaki SHANGHAI Jun Lee
Tel: +81 (0)3 6267 1782 Harriet Yu Tel: +82 2 720 5266
Tel: +86 (0) 21 2226 1527
SHANGHAI
ASIAN ART TOKYO Charlotte Liu
Masahiko Kuze Tel: +86 (0)21 6355 1766
PARIS
Tel: +81 (0)3 6267 1766
Tiphaine Nicoul SINGAPORE
Camille de Foresta Jane Ngiam
Zheng Ma Tel: +65 6735 1766
Tel: +33 (0)1 40 76 76 05
TAIPEI
Ada Ong
Tel: +886 2 2736 3356

TOKYO
Chie Hayashi
Tel: +81 (0)3 6267 1777

19/07/2018

62
CONDITIONS OF SALE • BUYING AT CHRISTIE’S
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices and
Explanation of Cataloguing Practice set out the terms on
which we offer the lots listed in this catalogue for sale.
By registering to bid and/or by bidding at auction you
agree to these terms, so you should read them carefully
before doing so. You will find a glossary at the end
explaining the meaning of the words and expressions
coloured in bold.
Unless we own a lot in whole or in part (Δ symbol),
Christie’s acts as agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description have
special meanings. You can find details of these on the
page headed “Important Notices and Explanation
of Cataloguing Practice” which forms part of these
terms. You can find a key to the Symbols found next
to certain catalogue entries under the section of the
catalogue called “Symbols Used in this Catalogue”.
(b) Our description of any lot in the catalogue, any
condition report and any other statement made
by us (whether orally or in writing) about any
lot, including about its nature or condition,
artist, period, materials, approximate dimensions,
or provenance are our opinion and not to be
relied upon as a statement of fact. We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the
nature of a lot apart from our authenticity warranty
contained in paragraph E2 and to the extent provided in
paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions can vary
widely due to factors such as age, previous damage,
restoration, repair and wear and tear. Their nature
means that they will rarely be in perfect condition.
Lots are sold “as is,” in the condition they are in at
the time of the sale, without any representation or
warranty or assumption of liability of any kind as to
condition by Christie’s or by the seller.
(b) Any reference to condition in a catalogue entry
or in a condition report will not amount to a
full description of condition, and images may not
show a lot clearly. Colours and shades may look
different in print or on screen to how they look
on physical inspection. Condition reports may be
available to help you evaluate the condition of a
lot. Condition reports are provided free of charge
as a convenience to our buyers and are for guidance
only. They offer our opinion but they may not refer
to all faults, inherent defects, restoration, alteration
or adaptation because our staff are not professional
restorers or conservators. For that reason condition
reports are not an alternative to examining a lot in
person or seeking your own professional advice. It is
your responsibility to ensure that you have requested,
received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.
We recommend you get your own advice from a
restorer or other professional adviser.
(b) Pre-auction viewings are open to the public free of
charge. Our specialists may be available to answer
questions at pre-auction viewings or by appointment.
5 ESTIMATES
Estimates are based on the condition, rarity, quality
and provenance of the lots and on prices recently
paid at auction for similar property. Estimates can
change. Neither you, nor anyone else, may rely on any
estimates as a prediction or guarantee of the actual
selling price of a lot or its value for any other purpose.
Estimates do not include the buyer’s premium or
any applicable taxes.
6 WITHDRAWAL
Christie’s may, at its option, withdraw any lot from
auction at any time prior to or during the sale of the
lot. Christie’s has no liability to you for any decision
to withdraw.
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires and
emeralds) may have been treated to improve their
look, through methods such as heating and oiling.
These methods are accepted by the international
jewellery trade but may make the gemstone less
strong and/or require special care over time.
(b) All types of gemstones may have been improved
by some method. You may request a gemmological
report for any item which does not have a report if
the request is made to us at least three weeks before
the date of the auction and you pay the fee for
the report.
(c) We do not obtain a gemmological report for
every gemstone sold in our auctions. Where we
do get gemmological reports from internationally
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from
American gemmological laboratories will describe
any improvement or treatment to the gemstone.
Reports from European gemmological laboratories
will describe any improvement or treatment only
if we request that they do so, but will confirm
when no improvement or treatment has been
made. Because of differences in approach and
technology, laboratories may not agree whether a
particular gemstone has been treated, the amount
of treatment, or whether treatment is permanent.
The gemmological laboratories will only report
on the improvements or treatments known to the
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the
information in any gemmological report. If no
report is available, assume that the gemstones may
have been treated or enhanced.
8 WATCHES & CLOCKS
(a) Almost all clocks and watches are repaired in their
lifetime and may include parts which are not original.
We do not give a warranty that any individual
component part of any watch is authentic.
Watchbands described as “associated” are not part of offered as a convenience to our clients and Christie’s
the original watch and may not be authentic. Clocks
may be sold without pendulums, weights or keys.
(b) As collectors’ watches often have very fine and
complex mechanisms, you are responsible for any
general service, change of battery, or further repair
work that may be necessary. We do not give a
warranty that any watch is in good working order.
Certificates are not available unless described in the
catalogue.
(c) Most wristwatches have been opened to find out
the type and quality of movement. For that reason,
wristwatches with water resistant cases may not be
waterproof and we recommend you have them
checked by a competent watchmaker before use.
Important information about the sale, transport and
shipping of watches and watchbands can be found in
paragraph H2(f).
B REGISTERING TO BID
1 NEW BIDDERS
(a) If this is your first time bidding at Christie’s or you
are a returning bidder who has not bought anything
from any of our salerooms within the last two years
you must register at least 48 hours before an auction
begins to give us enough time to process and approve
your registration. We may, at our option, decline to
permit you to register as a bidder. You will be asked
for the following:
(i) for individuals: Photo identification (driver’s
licence, national identity card, or passport) and,
if not shown on the ID document, proof of your
current address (for example, a current utility bill
or bank statement);
(ii) for corporate clients: Your Certificate of
Incorporation or equivalent document(s)
showing your name and registered address
together with documentary proof of directors and
beneficial owners; and
(iii) for trusts, partnerships, offshore companies and
other business structures, please contact us in
advance to discuss our requirements.
(b) We may also ask you to give us a financial reference
and/or a deposit as a condition of allowing you to
bid. For help, please contact our Credit Department
at +1 212-636-2490.
2 RETURNING BIDDERS
As described in paragraph B(1) above, we may at our
option ask you for current identification, a financial
reference, or a deposit as a condition of allowing you to
bid. If you have not bought anything from any of our
salerooms within the last two years or if you want to
spend more than on previous occasions, please contact
our Credit Department at +1 212-636-2490.
3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
If in our opinion you do not satisfy our bidder
identification and registration procedures including, but
not limited to completing any anti-money laundering
and/or anti-terrorism financing checks we may require
to our satisfaction, we may refuse to register you to bid,
and if you make a successful bid, we may cancel the
contract for sale between you and the seller.
4 BIDDING ON BEHALF OF
ANOTHER PERSON
If you are bidding on behalf of another person,
that person will need to complete the registration
requirements above before you can bid, and supply
a signed letter authorising you to bid for him/her. A
bidder accepts personal liability to pay the purchase
price and all other sums due unless it has been agreed
in writing with Christie’s, before commencement of the
auction, that the bidder is acting as an agent on behalf
of a named third party acceptable to Christie’s and that
Christie’s will only seek payment from the named
third party.
5 BIDDING IN PERSON
If you wish to bid in the saleroom you must register for a
numbered bidding paddle at least 30 minutes before the
auction. You may register online at www.christies.com
or in person. For help, please contact the Credit
Department on +1 212-636-2490.
6 BIDDING SERVICES
The bidding services described below are a free service
is not responsible for any error (human or otherwise),
omission, or breakdown in providing these services.
(a) Phone Bids
Your request for this service must be made no
later than 24 hours prior to the auction. We will
accept bids by telephone for lots only if our staff
are available to take the bids. If you need to bid in a
language other than in English, you must arrange this
well before the auction. We may record telephone
bids. By bidding on the telephone, you are agreeing
to us recording your conversations. You also agree
that your telephone bids are governed by these
Conditions of Sale.
(b) Internet Bids on Christie’s LIVE™
For certain auctions we will accept bids over
the Internet. For more information, please visit
https://www.christies.com/buying-services/
buying-guide/register-and-bid/ As well as these
Conditions of Sale, internet bids are governed by the
Christie’s LIVE™ Terms of Use which are available
on is https://www.christies.com/LiveBidding/
OnlineTermsOfUse.
(c) Written Bids
You can find a Written Bid Form at the back of our
catalogues, at any Christie’s office, or by choosing the
sale and viewing the lots online at www.christies.
com. We must receive your completed Written
Bid Form at least 24 hours before the auction. Bids
must be placed in the currency of the saleroom. The
auctioneer will take reasonable steps to carry out
written bids at the lowest possible price, taking into
account the reserve. If you make a written bid on
a lot which does not have a reserve and there is no
higher bid than yours, we will bid on your behalf at
around 50% of the low estimate or, if lower, the
amount of your bid. If we receive written bids on a
lot for identical amounts, and at the auction these are
the highest bids on the lot, we will sell the lot to the
bidder whose written bid we received first.
C AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our premises
or decline to permit participation in any auction or to
reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a reserve.
We identify lots that are offered without reserve with the
symbol • next to the lot number. The reserve cannot be
more than the lot’s low estimate.
3 AUCTIONEER’S DISCRETION
The auctioneer can at his or her sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any way
he or she may decide, or change the order of the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether during or
after the auction, to continue the bidding, determine
the successful bidder, cancel the sale of the lot, or
reoffer and resell any lot. If any dispute relating
to bidding arises during or after the auction, the
auctioneer’s decision in exercise of this option
is final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders;
(c) internet bidders through ‘Christie’s LIVE™ (as
shown above in paragraph B6); and
(d) written bids (also known as absentee bids or
commission bids) left with us by a bidder before
the auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid on
behalf of the seller up to but not including the amount
of the reserve either by making consecutive bids
or by making bids in response to other bidders. The
auctioneer will not identify these as bids made on behalf
of the seller and will not make any bid on behalf of the
seller at or above the reserve. If lots are offered without
reserve, the auctioneer will generally decide to open the
bidding at 50% of the low estimate for the lot. If no
bid is made at that level, the auctioneer may decide to go
backwards at his or her sole option until a bid is made,
and then continue up from that amount. In the event
that there are no bids on a lot, the auctioneer may deem
such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer will
decide at his or her sole option where the bidding should
start and the bid increments. The usual bid increments
are shown for guidance only on the Written Bid Form at
the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVE™) may
show bids in some other major currencies as well as US
dollars. Any conversion is for guidance only and we
cannot be bound by any rate of exchange used. Christie’s
is not responsible for any error (human or otherwise),
omission or breakdown in providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her discretion
as set out in paragraph C3 above, when the auctioneer’s
hammer strikes, we have accepted the last bid. This
means a contract for sale has been formed between the
seller and the successful bidder. We will issue an invoice
only to the registered bidder who made the successful
bid. While we send out invoices by mail and/or email
after the auction, we do not accept responsibility for
telling you whether or not your bid was successful. If
you have bid by written bid, you should contact us
by telephone or in person as soon as possible after the
auction to get details of the outcome of your bid to
avoid having to pay unnecessary storage charges.
9 LOCAL BIDDING LAWS
You agree that when bidding in any of our sales that you
will strictly comply with all local laws and regulations in
force at the time of the sale for the relevant sale site.
D THE BUYER’S PREMIUM AND TAXES
1 THE BUYER’S PREMIUM
In addition to the hammer price, the successful bidder
agrees to pay us a buyer’s premium on the hammer
price of each lot sold. On all lots we charge 25% of the
hammer price up to and including US$250,000, 20%
on that part of the hammer price over US$250,000
and up to and including US$4,000,000, and 12.5% of
that part of the hammer price above US$4,000,000.
2 TAXES
The successful bidder is responsible for any applicable
taxes including any sales or use tax or equivalent tax
wherever such taxes may arise on the hammer price,
the buyer’s premium, and/or any other charges
related to the lot.
For lots Christie’s ships to or within the United States,
a sales or use tax may be due on the hammer price,
buyer’s premium, and/or any other charges related
to the lot, regardless of the nationality or citizenship of
the successful bidder. Christie’s is currently required to
collect sales tax for lots it ships to the following states:
California; Florida; Illinois; New York;
Rhode Island and Texas. The applicable sales tax rate
will be determined based upon the state, county, or
locale to which the lot will be shipped.
In accordance with New York law, if Christie’s arranges
the shipment of a lot out of New York State, New
York sales tax does not apply, although sales tax or other
applicable taxes for other states may apply. If you hire
a shipper (other than a common carrier authorized by
Christie’s), to collect the lot from a Christie’s New York
location, Christie’s must collect New York sales tax
on the lot at a rate of 8.875% regardless of the ultimate
destination of the lot.
If Christie’s delivers the lot to, or the lot is collected
by, any framer, restorer or other similar service provider
in New York that you have hired, New York law
considers the lot delivered to the successful bidder in
New York and New York sales tax must be imposed
regardless of the ultimate destination of the lot. In this
circumstance, New York sales tax will apply to the lot
even if Christie’s or a common carrier (authorized by
Christie’s that you hire) subsequently delivers the lot
outside New York.
Successful bidders claiming an exemption from sales tax
must provide appropriate documentation to Christie’s
prior to the release of the lot or within 90 days after
the sale, whichever is earlier. For shipments to those
states for which Christie’s is not required to collect sales
tax, a successful bidder may have a use or similar tax
obligation. It is the successful bidder’s responsibility to pay all
taxes due. Christie’s recommends you consult your own
independent tax advisor with any questions.
E WARRANTIES
1 SELLER’S WARRANTIES
For each lot, the seller gives a warranty that the seller:
(a) is the owner of the lot or a joint owner of the lot
acting with the permission of the other co-owners
or, if the seller is not the owner or a joint owner of
the lot, has the permission of the owner to sell the
lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot to
the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the seller
shall not have to pay more than the purchase price (as
defined in paragraph F1(a) below) paid by you to us.
The seller will not be responsible to you for any reason
for loss of profits or business, expected savings, loss of
opportunity or interest, costs, damages, other damages
or expenses. The seller gives no warranty in relation to
any lot other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller to you,
and all other obligations upon the seller which may be
added to this agreement by law, are excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our “authenticity warranty”).
If, within 5 years of the date of the auction, you give
notice to us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in the
glossary at the end of these Conditions of Sale. The terms
of the authenticity warranty are as follows:
(a) It will be honored for claims notified within a
period of 5 years from the date of the auction. After
such time, we will not be obligated to honor the
authenticity warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the “Heading”). It does
64
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply to any
Heading or part of a Heading which is qualified.
Qualified means limited by a clarification in a lot’s
catalogue description or by the use in a Heading
of one of the terms listed in the section titled
Qualified Headings on the page of the catalogue
headed “Important Notices and Explanation of
Cataloguing Practice”. For example, use of the term
“ATTRIBUTED TO…” in a Heading means that
the lot is in Christie’s opinion probably a work by
the named artist but no warranty is provided that
the lot is the work of the named artist. Please read
the full list of Qualified Headings and a lot’s full
catalogue description before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply where
scholarship has developed since the auction leading
to a change in generally accepted opinion. Further,
it does not apply if the Heading either matched the
generally accepted opinion of experts at the date of the
auction or drew attention to any conflict of opinion.
(f) The authenticity warranty does not apply if the
lot can only be shown not to be authentic by a
scientific process which, on the date we published
the catalogue, was not available or generally accepted
for use, or which was unreasonably expensive or
impractical, or which was likely to have damaged
the lot.
(g) The benefit of the authenticity warranty is only
available to the original buyer shown on the invoice
for the lot issued at the time of the sale and only if
on the date of the notice of claim, the original buyer
is the full owner of the lot and the lot is free from
any claim, interest or restriction by anyone else. The
benefit of this authenticity warranty may not be
transferred to anyone else.
(h) In order to claim under the authenticity warranty
you must:
(i) give us written notice of your claim within 5 years
of the date of the auction. We may require full
details and supporting evidence of any such claim;
(ii) at Christie’s option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it
was in at the time of sale.
(i) Your only right under this authenticity warranty
is to cancel the sale and receive a refund of the
purchase price paid by you to us. We will not,
under any circumstances, be required to pay you
more than the purchase price nor will we be liable
for any loss of profits or business, loss of opportunity
or value, expected savings or interest, costs, damages,
other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 21 days from the date
of the auction that any lot is defective in text or
illustration, we will refund your purchase price,
subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards or
advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects
not affecting completeness of the text or
illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps
or periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the
lot to the sale room at which you bought it in
the same condition as at the time of sale, within
21 days of the date of the sale.
(k) South East Asian Modern and Contemporary
Art and Chinese Calligraphy and Painting.
In these categories, the authenticity warranty
does not apply because current scholarship does not
permit the making of definitive statements. Christie’s
does, however, agree to cancel a sale in either of
these two categories of art where it has been proven
the lot is a forgery. Christie’s will refund to the
original buyer the purchase price in accordance
with the terms of Christie’s Authenticity Warranty,
provided that the original buyer notifies us with full
supporting evidence documenting the forgery claim
within twelve (12) months of the date of the auction.
Such evidence must be satisfactory to us that the
property is a forgery in accordance with paragraph
E2(h)(ii) above and the property must be returned
to us in accordance with E2h(iii) above. Paragraphs
E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a
claim under these categories.
F PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must pay
the purchase price being:
(i) the hammer price; and
(ii) the buyer’s premium; and
(iii) any applicable duties, goods, sales, use,
compensating or service tax, or VAT.
Payment is due no later than by the end of the
7th calendar day following the date of the auction
(the “due date”).
(b) We will only accept payment from the registered
bidder. Once issued, we cannot change the buyer’s
name on an invoice or re-issue the invoice in a different
name. You must pay immediately even if you want to
export the lot and you need an export licence.
(c) You must pay for lots bought at Christie’s in the
United States in the currency stated on the invoice in
one of the following ways:
(i) Wire transfer
JP Morgan Chase Bank, N.A.,
270 Park Avenue, New York, NY 10017;
ABA# 021000021; FBO: Christie’s Inc.;
Account # 957-107978,
for international transfers, SWIFT: CHASUS33.
(ii) Credit Card.
We accept Visa, MasterCard, American Express
and China Union Pay. A limit of $50,000 for
credit card payment will apply. This limit is
inclusive of the buyer’s premium and any
applicable taxes. Credit card payments at the
New York premises will only be accepted for
New York sales. Christie’s will not accept credit
card payments for purchases in any other sale site.
To make a ‘cardholder not present’ (CNP) payment,
you must complete a CNP authorisation form which
you can get from our Post-Sale Services. You must send
a completed CNP authorisation form by fax to +1 212
636 4939 or you can mail to the address below. Details
of the conditions and restrictions applicable to credit card
payments are available from our Post-Sale Services, whose
details are set out in paragraph (d) below.
(iii) Cash
We accept cash payments (including money
orders and traveller’s checks) subject to a
maximum global aggregate of US$7,500 per
buyer per year at our Post-Sale Services only
(iv) Bank Checks
You must make these payable to Christie’s Inc.
and there may be conditions.
(v) Checks
You must make checks payable to Christie’s Inc.
and they must be drawn from US dollar accounts
from a US bank.
(d) You must quote the sale number, your invoice
number and client number when making a payment.
All payments sent by post must be sent to:
Christie’s Inc. Post-Sale Services,
20 Rockefeller Center, New York, NY 10020.
(e) For more information please contact our Post-Sale
Services by phone at +1 212 636 2650 or fax at +1
212 636 4939 or email PostSaleUS@christies.com.
2 TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of the lot will
not pass to you until we have received full and clear
payment of the purchase price, even in circumstances
where we have released the lot to you.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will transfer to
you from whichever is the earlier of the following:
(a) When you collect the lot; or
(b) At the end of the 30th day following the date of the
auction or, if earlier, the date the lot is taken into
care by a third party warehouse as set out on the page
headed ‘Storage and Collection’, unless we have
agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full by
the due date, we will be entitled to do one or more
of the following (as well as enforce our rights under
paragraph F5 and any other rights or remedies we
have by law):
(i) we can charge interest from the due date at a rate of
up to 1.34% per month on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this,
we may sell the lot again, publically or privately
on such terms we shall think necessary or
appropriate, in which case you must pay us any
shortfall between the purchase price and the
proceeds from the resale. You must also pay all
costs, expenses, losses, damages and legal fees we
have to pay or may suffer and any shortfall in the
seller’s commission on the resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by your default in which case you acknowledge
and understand that Christie’s will have all of
the rights of the seller to pursue you for
such amounts;
(iv) we can hold you legally responsible for
the purchase price and may begin legal
proceedings to recover it together with other
losses, interest, legal fees and costs as far as we are
allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christie’s
Group may owe you (including any deposit or
other part-payment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can reject at any future auction any bids made
by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any bids;
(viii) we can exercise all the rights and remedies of
a person holding security over any property
in our possession owned by you, whether by
way of pledge, security interest or in any other
way as permitted by the law of the place where
such property is located. You will be deemed
to have granted such security to us and we may
retain such property as collateral security for
your obligations to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another Christie’s
Group company, we can use any amount you do
pay, including any deposit or other part-payment
you have made to us, or which we owe you, to pay
off any amount you owe to us or another Christie’s
Group company for any transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christie’s
Group company, as well as the rights set out in F4
above, we can use or deal with any of your property we
hold or which is held by another Christie’s Group
company in any way we are allowed to by law. We will
only release your property to you after you pay us or the
relevant Christie’s Group company in full for what
you owe. However, if we choose, we can also sell your
property in any way we think appropriate. We will use
the proceeds of the sale against any amounts you owe us
and we will pay any amount left from that sale to you.
If there is a shortfall, you must pay us any difference
between the amount we have received from the sale and
the amount you owe us.
G COLLECTION AND STORAGE
(a) You must collect purchased lots within seven days
from the auction (but note that lots will not be
released to you until you have made full and
clear payment of all amounts due to us).
(b) Information on collecting lots is set out on the storage
and collection page and on an information sheet
which you can get from the bidder registration staff or
Christie’s Post-Sale Services Department on
+1 212 636 2650.
(c) If you do not collect any lot within thirty days
following the auction we may, at our option
(i) charge you storage costs at the rates set out at
www.christies.com/storage.
(ii) move the lot to another Christie’s location or an
affiliate or third party warehouse and charge you
transport costs and administration fees for doing
so and you will be subject to the third party
storage warehouse’s standard terms and to pay
for their standard fees and costs.
(iii) sell the lot in any commercially reasonable way
we think appropriate.
(d) The Storage conditions which can be found at
www.christies.com/storage will apply.
(e) In accordance with New York law, if you have paid
for the lot in full but you do not collect the lot within
180 calendar days of payment, we may charge you
New York sales tax for the lot.
(f) Nothing in this paragraph is intended to limit our
rights under paragraph F4.
H TRANSPORT AND SHIPPING
1 SHIPPING
We will enclose a transport and shipping form with each
invoice sent to you. You must make all transport and
shipping arrangements. However, we can arrange to
pack, transport, and ship your property if you ask us to
and pay the costs of doing so. We recommend that you
ask us for an estimate, especially for any large items or
items of high value that need professional packing. We
may also suggest other handlers, packers, transporters,
or experts if you ask us to do so. For more information,
please contact Christie’s Post-Sale Services at +1
212 636 2650. See the information set out at www.
christies.com/shipping or contact us at PostSaleUS@
christie.com. We will take reasonable care when we
are handling, packing, transporting, and shipping a.
However, if we recommend another company for any
of these purposes, we are not responsible for their acts,
failure to act, or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws on
exports from the country in which it is sold and the
import restrictions of other countries. Many countries
require a declaration of export for property leaving
the country and/or an import declaration on entry of
property into the country. Local laws may prevent you
from importing a lot or may prevent you selling a lot in
the country you import it into.
(a) You alone are responsible for getting advice about
and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still pay us
in full for the lot. We may be able to help you apply
for the appropriate licences if you ask us to and pay
our fee for doing so. However, we cannot guarantee
that you will get one. For more information, please
contact Christie’s Art Transport Department at
+1 212 636 2480. See the information set out at
www.christies.com/shipping or contact us at
ArtTransportNY@christies.com.
(b) Endangered and protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros
horn, whalebone certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries refuse
to allow you to import property containing these
materials, and some other countries require a licence
from the relevant regulatory agencies in the countries
of exportation as well as importation. In some cases,
the lot can only be shipped with an independent
scientific confirmation of species and/or age, and
you will need to obtain these at your own cost.
(c) Lots containing Ivory or materials
resembling ivory
If a lot contains elephant ivory, or any other wildlife
material that could be confused with elephant
ivory (for example, mammoth ivory, walrus ivory,
helmeted hornbill ivory) you may be prevented
from exporting the lot from the US or shipping it
between US States without first confirming its species
by way of a rigorous scientific test acceptable to the
applicable Fish and Wildlife authorities. You will
buy that lot at your own risk and be responsible for
any scientific test or other reports required for export In addition to the other rights of cancellation contained a judgment or where disclosure is required by law. The
from the USA or between US States at your own
cost. We will not be obliged to cancel your purchase reasonably believe that completing the transaction is,
and refund the purchase price if your lot may
not be exported, imported or shipped between US
States, or it is seized for any reason by a government
authority. It is your responsibility to determine and
satisfy the requirements of any applicable laws or
regulations relating to interstate shipping, export or
import of property containing such protected or
regulated material.
(d) Lots of Iranian origin
Some countries prohibit or restrict the purchase, the or share these recordings with another Christie’s
export and/or import of Iranian-origin “works of
conventional craftsmanship” (works that are not by
a recognized artist and/or that have a function, (for
example: carpets, bowls, ewers, tiles, ornamental
boxes). For example, the USA prohibits the import
and export of this type of property without a license
issued by the US Department of the Treasury, Office at any auction.
of Foreign Assets Control. Other countries, such as
Canada, only permit the import of this property in
certain circumstances. As a convenience to buyers,
Christie’s indicates under the title of a lot if the lot
originates from Iran (Persia). It is your responsibility 3 COPYRIGHT K GLOSSARY
to ensure you do not bid on or import a lot in We own the copyright in all images, illustrations and authentic: authentic : a genuine example, rather than a
contravention of the sanctions or trade embargoes written material produced by or for us relating to a copy or forgery of:
that apply to you. lot (including the contents of our catalogues unless (i) the work of a particular artist, author or
(f) Gold otherwise noted in the catalogue). You cannot use them manufacturer, if the lot is described in the
Gold of less than 18ct does not qualify in all countries without our prior written permission. We do not offer Heading as the work of that artist, author
as ‘gold’ and may be refused import into those any guarantee that you will gain any copyright or other or manufacturer;
countries as ‘gold’. reproduction rights to the lot. (ii) a work created within a particular period or
(g) Watches culture, if the lot is described in the Heading as
Many of the watches offered for sale in this catalogue are 4 ENFORCING THIS AGREEMENT a work created during that period or culture;
pictured with straps made of endangered or protected If a court finds that any part of this agreement is not valid (iii) a work for a particular origin source if the lot is
animal materials such as alligator or crocodile. These or is illegal or impossible to enforce, that part of the described in the Heading as being of that origin
lots are marked with the symbol Ψ in the catalogue. agreement will be treated as being deleted and the rest of or source; or
These endangered species straps are shown for display this agreement will not be affected. (iv) in the case of gems, a work which is made of a
purposes only and are not for sale. Christie’s will remove particular material, if the lot is described in the
and retain the strap prior to shipment from the sale 5 TRANSFERRING YOUR RIGHTS Heading as being made of that material.
site. At some sale sites, Christie’s may, at its discretion, AND RESPONSIBILITIES authenticity warranty: the guarantee we give in this
make the displayed endangered species strap available You may not grant a security over or transfer your rights agreement that a lot is authentic as set out in paragraph
to the buyer of the lot free of charge if collected in or responsibilities under these terms on the contract of E2 of this agreement.
person from the sale site within 1 year of the date of the sale with the buyer unless we have given our written buyer’s premium: the charge the buyer pays us along
auction. Please check with the department for details permission. This agreement will be binding on your with the hammer price.
on a particular lot. successors or estate and anyone who takes over your catalogue description: the description of a lot in the
rights and responsibilities. catalogue for the auction, as amended by any saleroom
For all symbols and other markings referred to in notice.
paragraph H2, please note that lots are marked as a 6 TRANSLATIONS Christie’s Group: Christie’s International Plc,
convenience to you, but we do not accept liability for If we have provided a translation of this agreement, we its subsidiaries and other companies within its
errors or for failing to mark lots. will use this original version in deciding any issues or corporate group.
disputes which arise under this agreement. condition: the physical condition of a lot.
I OUR LIABILITY TO YOU due date: has the meaning given to it paragraph F1(a).
(a) We give no warranty in relation to any statement 7 PERSONAL INFORMATION estimate: the price range included in the catalogue or
made, or information given, by us or our We will hold and process your personal information and any saleroom notice within which we believe a lot may
representatives or employees, about any lot other than may pass it to another Christie’s Group company for sell. Low estimate means the lower figure in the range
as set out in the authenticity warranty and, as far use as described in, and in line with, our privacy notice and high estimate means the higher figure. The mid
as we are allowed by law, all warranties and other at www.christies.com/about-us/contact/privacy. estimate is the midpoint between the two.
terms which may be added to this agreement by law hammer price: the amount of the highest bid the
are excluded. The seller’s warranties contained in 8 WAIVER auctioneer accepts for the sale of a lot.
paragraph E1 are their own and we do not have any No failure or delay to exercise any right or remedy Heading: has the meaning given to it in paragraph E2.
liability to you in relation to those warranties. provided under these Conditions of Sale shall constitute lot: an item to be offered at auction (or two or more
(b) (i) We are not responsible to you for any reason a waiver of that or any other right or remedy, nor shall items to be offered at auction as a group).
(whether for breaking this agreement or any other it prevent or restrict the further exercise of that or any other damages: any special, consequential, incidental
matter relating to your purchase of, or bid for, any other right or remedy. No single or partial exercise of or indirect damages of any kind or any damages which
lot) other than in the event of fraud or fraudulent such right or remedy shall prevent or restrict the further fall within the meaning of ‘special’, ‘incidental’ or
misrepresentation by us or other than as expressly exercise of that or any other right or remedy. ‘consequential’ under local law.
set out in these conditions of sale; or purchase price: has the meaning given to it in
(ii) give any representation, warranty or guarantee 9 LAW AND DISPUTES paragraph F1(a).
or assume any liability of any kind in respect of provenance: the ownership history of a lot.
This agreement, and any non-contractual obligations
any lot with regard to merchantability, fitness qualified: has the meaning given to it in paragraph
arising out of or in connection with this agreement, or
for a particular purpose, description, size, quality, any other rights you may have relating to the purchase of E2 and Qualified Headings means the paragraph
condition, attribution, authenticity, rarity, headed Qualified Headings on the page of the
a lot will be governed by the laws of New York. Before
importance, medium, provenance, exhibition catalogue headed ‘Important Notices and Explanation of
we or you start any court proceedings (except in the
history, literature, or historical relevance. Except limited circumstances where the dispute, controversy or Cataloguing Practice’.
as required by local law, any warranty of any kind claim is related to proceedings brought by someone else reserve: the confidential amount below which we will
is excluded by this paragraph. not sell a lot.
and this dispute could be joined to those proceedings),
(c) In particular, please be aware that our written and saleroom notice: a written notice posted next to
we agree we will each try to settle the dispute by
telephone bidding services, Christie’s LIVE™, the lot in the saleroom and on www.christies.com,
mediation submitted to JAMS, or its successor, for
condition reports, currency converter and which is also read to prospective telephone bidders and
mediation in New York. If the Dispute is not settled by
saleroom video screens are free services and we are notified to clients who have left commission bids, or
mediation within 60 days from the date when mediation
not responsible to you for any error (human or an announcement made by the auctioneer either at the
is initiated, then the Dispute shall be submitted to
otherwise), omission or breakdown in these services. JAMS, or its successor, for final and binding arbitration beginning of the sale, or before a particular lot
(d) We have no responsibility to any person other than a in accordance with its Comprehensive Arbitration is auctioned.
buyer in connection with the purchase of any lot. UPPER CASE type: means having all capital letters.
Rules and Procedures or, if the Dispute involves a non-
(e) If, in spite of the terms in paragraphs I(a) to (d) or warranty: a statement or representation in which the
U.S. party, the JAMS International Arbitration Rules.
E2(i) above, we are found to be liable to you for person making it guarantees that the facts set out in it
The seat of the arbitration shall be New York and the
any reason, we shall not have to pay more than the are correct.
arbitration shall be conducted by one arbitrator, who
purchase price paid by you to us. We will not be shall be appointed within 30 days after the initiation
responsible to you for any reason for loss of profits of the arbitration. The language used in the arbitral
or business, loss of opportunity or value, expected proceedings shall be English. The arbitrator shall order
savings or interest, costs, damages, or expenses. the production of documents only upon a showing
that such documents are relevant and material to the
J OTHER TERMS outcome of the Dispute. The arbitration shall be
1 OUR ABILITY TO CANCEL confidential, except to the extent necessary to enforce
in this agreement, we can cancel a sale of a lot if we arbitration award shall be final and binding on all parties
involved. Judgment upon the award may be entered
or may be, unlawful or that the sale places us or the seller by any court having jurisdiction thereof or having
under any liability to anyone else or may damage jurisdiction over the relevant party or its assets. This
our reputation. arbitration and any proceedings conducted hereunder
shall be governed by Title 9 (Arbitration) of the United
2 RECORDINGS States Code and by the United Nations Convention on
We may videotape and record proceedings at any the Recognition and Enforcement of Foreign Arbitral
auction. We will keep any personal information Awards of June 10, 1958.
confidential, except to the extent disclosure is required
by law. However, we may, through this process, use 10 REPORTING ON
WWW.CHRISTIES.COM
Group company and marketing partners to analyse our Details of all lots sold by us, including catalogue
customers and to help us to tailor our services for buyers. descriptions and prices, may be reported on
If you do not want to be videotaped, you may make www.christies.com. Sales totals are hammer price
arrangements to make a telephone or written bid or bid plus buyer’s premium and do not reflect costs,
on Christie’s LIVE™ instead. Unless we agree otherwise financing fees, or application of buyer’s or seller’s credits.
in writing, you may not videotape or record proceedings We regret that we cannot agree to requests to remove
these details from www.christies.com.
13/08/2018
65
SYMBOLS USED IN THIS CATALOGUE
The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’
º ♦
Christie’s has a direct financial interest in the lot.
See Important Notices and Explanation of Cataloguing
Practice.
Δ •
Owned by Christie’s or another Christie’s Group
company in whole or part. See Important Notices and
Explanation of Cataloguing Practice.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
IMPORTANT NOTICES AND EXPLANATION OF
CATALOGUING PRACTICE
IMPORTANT NOTICES
∆ Property Owned in part or in full by Christie’s
From time to time, Christie’s may offer a lot which it owns in whole or in
part. Such property is identified in the catalogue with the symbol Δ next
to its lot number.
º Minimum Price Guarantees
On occasion, Christie’s has a direct financial interest in the outcome of
the sale of certain lots consigned for sale. This will usually be where it has
guaranteed to the Seller that whatever the outcome of the auction, the
Seller will receive a minimum sale price for the work. This is known as a
minimum price guarantee. Where Christie’s holds such financial interest
we identify such lots with the symbol º next to the lot number.
º ♦ Third Party Guarantees/Irrevocable bids
Where Christie’s has provided a Minimum Price Guarantee it is at risk
of making a loss, which can be significant, if the lot fails to sell. Christie’s
therefore sometimes chooses to share that risk with a third party. In such
cases the third party agrees prior to the auction to place an irrevocable
written bid on the lot. The third party is therefore committed to bidding
on the lot and, even if there are no other bids, buying the lot at the level
of the written bid unless there are any higher bids. In doing so, the third
party takes on all or part of the risk of the lot not being sold. If the lot
is not sold, the third party may incur a loss. Lots which are subject to a
third party guarantee arrangement are identified in the catalogue with the
symbol º ♦.
In most cases, Christie’s compensates the third party in exchange for
accepting this risk. Where the third party is the successful bidder, the third
party’s remuneration is based on a fixed financing fee. If the third party is
not the successful bidder, the remuneration may either be based on a fixed
fee or an amount calculated against the final hammer price. The third party
may also bid for the lot above the written bid. Where the third party is the
successful bidder, Christie’s will report the final purchase price net of the
fixed financing fee.
Third party guarantors are required by us to disclose to anyone they are
advising their financial interest in any lots they are guaranteeing. However,
for the avoidance of any doubt, if you are advised by or bidding through
an agent on a lot identified as being subject to a third party guarantee you
should always ask your agent to confirm whether or not he or she has a
financial interest in relation to the lot.
66
Christie’s has a direct financial interest in the lot and
has funded all or part of our interest with the help of
someone else. See Important Notices and Explanation
of Cataloguing Practice.
Lot offered without reserve which will be sold to
the highest bidder regardless of the pre-sale estimate in
the catalogue.
Other Arrangements
Christie’s may enter into other arrangements not involving bids. These
include arrangements where Christie’s has given the Seller an Advance on
the proceeds of sale of the lot or where Christie’s has shared the risk of a
guarantee with a partner without the partner being required to place an
irrevocable written bid or otherwise participating in the bidding on the
lot. Because such arrangements are unrelated to the bidding process they
are not marked with a symbol in the catalogue.
Bidding by parties with an interest
In any case where a party has a financial interest in a lot and intends to bid
on it we will make a saleroom announcement to ensure that all bidders are
aware of this. Such financial interests can include where beneficiaries of
an Estate have reserved the right to bid on a lot consigned by the Estate or
where a partner in a risk-sharing arrangement has reserved the right to bid
on a lot and/or notified us of their intention to bid.
Please see http://www.christies.com/ financial-interest/ for a more
detailed explanation of minimum price guarantees and third party
financing arrangements.
Where Christie’s has an ownership or financial interest in every lot in the
catalogue, Christie’s will not designate each lot with a symbol, but will
state its interest in the front of the catalogue.
FOR PICTURES, DRAWINGS, PRINTS
AND MINIATURES
Terms used in this catalogue have the meanings ascribed to them below.
Please note that all statements in this catalogue as to authorship are made
subject to the provisions of the Conditions of Sale and authenticity
warranty. Buyers are advised to inspect the property themselves. Written
condition reports are usually available on request.
QUALIFIED HEADINGS
In Christie’s opinion a work by the artist.
*“Attributed to …”
In Christie’s qualified opinion probably a work by the artist in whole or
in part.
*“Studio of …”/ “Workshop of …”
In Christie’s qualified opinion a work executed in the studio or workshop
of the artist, possibly under his supervision.
*“Circle of …”
In Christie’s qualified opinion a work of the period of the artist and
showing his influence.
*“Follower of …”
In Christie’s qualified opinion a work executed in the artist’s style but not
necessarily by a pupil.
*“Manner of …”
In Christie’s qualified opinion a work executed in the artist’s style but of
a later date.
*“After …”
In Christie’s qualified opinion a copy (of any date) of a work of the artist.
“Signed …”/“Dated …”/
“Inscribed …”
~
Lot incorporates material from endangered species
which could result in export restrictions. See
Paragraph H2(b) of the Conditions of Sale.
■
See Storage and Collection pages in the catalogue.
Ψ
Lot incorporates material from endangered species that
is not for sale and shown for display purposes only.
See Paragraph H2(g) of the Conditions of Sale.
18/05/17
In Christie’s qualified opinion the work has been signed/dated/inscribed
by the artist.
“With signature …”/ “With date …”/
“With inscription …”
In Christie’s qualified opinion the signature/
date/inscription appears to be by a hand other than that of the artist.
The date given for Old Master, Modern and Contemporary Prints is the
date (or approximate date when prefixed with ‘circa’) on which the matrix
was worked and not necessarily the date when the impression was printed
or published.
*This term and its definition in this Explanation of Cataloguing Practice
are a qualified statement as to authorship. While the use of this term
is based upon careful study and represents the opinion of specialists,
Christie’s and the seller assume no risk, liability and responsibility for the
authenticity of authorship of any lot in this catalogue described by this
term, and the Authenticity Warranty shall not be available with respect
to lots described using this term.
POST 1950 FURNITURE
All items of post-1950 furniture included in this sale are items either
not originally supplied for use in a private home or now offered solely
as works of art. These items may not comply with the provisions of the
Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended
in 1989 and 1993, the “Regulations”). Accordingly, these items should
not be used as furniture in your home in their current condition. If you do
intend to use such items for this purpose, you must first ensure that they
are reupholstered, restuffed and/or recovered (as appropriate) in order
that they comply with the provisions of the Regulations.These will vary
by department.
EXPLANATION OF CATALOGUING PRACTICE
FOR CHINESE PORCELAIN AND WORKS OF ART
1. When a piece is in our opinion of a certain period, reign or dynasty its attribution appears in
small capitals directly below the heading of the description of the lot
e.g. A BLUE AND WHITE BOWL
18th century
2. When a piece is in our opinion not of the period to which it would normally be attributed on
stylistic grounds, this will be incorporated in the general text of the description
e.g. “… painted in the Ming style”
3. If the date, period or reign mark mentioned in small capitals after the bold type description
states that the mark is of the period, then in our opinion the piece is of the date, period or reign
of the mark
e.g. A BLUE AND WHITE BOWL
kangxi six-character mark and of the period
4. If the date, period or reign mark mentioned in small capitals after the bold type description
does not state that the mark is of the period, then in our opinion the piece is of uncertain date
or late manufacture
e.g. A BLUE AND WHITE BOWL
kangxi six-character mark
5. If no date, period or reign mark is mentioned in small capitals after the bold type description,
in our opinion the piece is of uncertain date, or later manufacture
e.g. A BLUE AND WHITE BOWL
18/05/17
STORAGE AND COLLECTION

PAYMENT OF ANY CHARGES DUE COLLECTION AND CONTACT DETAILS

Specified lots (sold and unsold) marked with a filled square (■) not collected from Lots will only be released on payment of all charges due and on production of a
Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Collection Form from Christie’s. Charges may be paid in advance or at the time of
Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the collection. We may charge fees for storage if your lot is not collected within thirty days
lot has been sent offsite. from the sale. Please see paragraph G of the Conditions of Sale for further detail.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for Tel: +1 212 636 2650
collection after the third business day following the sale. Email: PostSaleUS@christies.com
Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time
at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by
pre-booked appointment only. SHIPPING AND DELIVERY
Please be advised that after 50 days from the auction date property may be moved at Christie’s Post-Sale Service can organize domestic deliveries or international freight.
Christie’s discretion. Please contact Post-Sale Services to confirm the location of your Please contact them on +1 212 636 2650 or PostSaleUS@christies.com.
property prior to collection.

Tel: +1 212 636 2650

Email: PostSaleUS@christies.com
Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from
9:30 am to 5:00 pm, Monday – Friday.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.
Please contact CFASS New York for details and rates: +1 212 636 2070 or storage@cfass.com

STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

Christie’s Rockefeller Center Christie’s Fine Art Storage Services (CFASS)

20 Rockefeller Plaza, New York 10020 62-100 Imlay Street, Brooklyn, NY 11231
Tel: +1 212 636 2000 Tel: +1 212 974 4500
nycollections@christies.com nycollections@christies.com
Main Entrance on 49th Street Main Entrance on Corner of Imlay and Bowne St
Receiving/Shipping Entrance on 48th Street Hours: 9.30 AM - 5.00 PM
Hours: 9.30 AM - 5.00 PM Monday-Friday except Public Holidays
Monday-Friday except Public Holidays

13/08/18

67
INTERNATIONAL ASIAN ART AUCTIONS
AUCTION CALENDAR 2018
TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
11 SEPTEMBER
Fine Chinese Paintings
NEW YORK
12 SEPTEMBER
The Ruth and Carl Barron Collection
of Fine Chinese Snuff Bottles: Part VI
NEW YORK
13 SEPTEMBER
Masterpieces of Cizhou Ware:
The Linyushanren Collection, Part IV
NEW YORK
13 SEPTEMBER
Qianlong’s Precious Vessel-
The Zuo Bao Yi Gui
NEW YORK
13 SEPTEMBER
Fine Chinese Ceramics
and Works of Art, Part I
NEW YORK
13 SEPTEMBER
Fine Chinese Jade Carvings
from Private Collections
NEW YORK
HIGH VALUE LOT PRE-REGISTRATION
IF YOU ARE INTERESTED IN ANY HIGH
VALUE LOT (I.E., ALL LOTS OF OUR ASIAN
20TH CENTURY & CONTEMPORARY ART
EVENING SALE, THE PIONEERS AND IN
RESPECT OF OTHER CATEGORIES OF
LOTS, A LOT THE LOW ESTIMATE OF
WHICH IS HK$8,000,000 OR ABOVE),
YOU ARE INVITED TO COMPLETE THE
HIGH VALUE LOT PRE-REGISTRATION.
PLEASE NOTE THE POINTS BELOW IN
ORDER TO ASSIST YOU WITH THE PRE-
REGISTRATION AND PAYMENT PROCESS.
After you have successfully registered as a
bidder with Christie’s, you should complete
the High Value Lot pre-registration before the
date of sale through the Bid Department or
on the date of sale in the High Value Lot pre-
registration area.
68
14 SEPTEMBER
Fine Chinese Ceramcis and
Works of Art, Part II and III
NEW YORK
21 SEPTEMBER
First Open
SHANGHAI
21 SEPTEMBER
Asian 20th Century Art
(Evening Sale)
SHANGHAI
6 NOVEMBER
Fine Chinese Ceramics and Works of Art
LONDON, KING STREET
24 NOVEMBER
Asia 20th Century and Contemporary Art
(Evening sale)
HONG KONG
25 NOVEMBER
Asia Contemporary Art
(Day sale)
HONG KONG
• Unless otherwise agreed by us, you will
be permitted to bid for High Value Lots only
if Christie’s has confirmed your payment
of deposit and your completion of the High
Value Lot pre-registration before the sale.
• Upon the pre-registration, you should
pay a deposit equivalent to the higher of
HK$1,000,000, and 20% of the aggregate of
the low estimate of all lots you intend to bid
for. You will need to pay such deposit by way
of wire transfer or credit card(s) acceptable
to Christie’s for the prospective purchase(s).
Please note that Christie’s does not accept
payment from third parties. This also applies
to agents.
• If you are not successful in any bid and
do not owe Christie’s or Christie’s group
of companies any debt, the deposit will
25 NOVEMBER
Asia 20th Century Art
(Day sale)
HONG KONG
26 NOVEMBER
Chinese Contemporary Ink
HONG KONG
26 NOVEMBER
Fine Chinese Classical
Paintings and Calligraphy
HONG KONG
27 NOVEMBER
Fine Chinese Modern Paintings
HONG KONG
28 NOVEMBER
Important Chinese Ceramics
HONG KONG
12 DECEMBER
Art d’ Asie
PARIS
Subject to change
16/07/18
be refunded to you by way of wire transfer usually only accept bids made with the High
or such other methods as determined by Value Lot paddle or by its registered bidder.
Christie’s. Please make sure that you provide This applies to saleroom, telephone and
your bank details in the pre-registration form. absentee bids.
If you require payment other than in Hong • Christie’s has the right to change the High
Kong dollars, we shall charge you for any
Value Lot pre-registration procedures and
currency costs incurred and shall not be liable
requirements from time to time without
for any exchange rate loss. The exchange rate
notice.
as provided to us by the bank on the date of
exchange is final and binding on you. While ENQUIRIES
we will arrange to refund the deposit to you For further details, please contact our Client
within seven days after the date of sale, we
Services Department at +1 212 636 2000 or
do not guarantee when you will receive the visit www.christies.com/highvaluelots.
payment as the timefor banks to process a
fund transfer or refund varies.
• Upon successful pre-registration, you will
be given a numbered High Value Lot paddle
for identification purpose. The auctioneer will
 WRITTEN BIDS FORM
CHRISTIE’S NEW YORK

QIANLONG’S PRECIOUS VESSEL Written bids must be received at least 24 hours before the auction begins.
THE ZUO BAO YI GUI Christie’s will confrm all bids received by fax by return fax. If you have not
周寶彝 - 清宮舊藏作寶彝簋 received confrmation within one business day, please contact the Bid Department.
Tel: +1 212 636 2437 on-line www.christies.com
THURSDAY 13 SEPTEMBER 2018
AT 11.00 AM 17320
20 Rockefeller Plaza Client Number (if applicable) Sale Number

New York, NY 10020

CODE NAME: GUI Billing Name (please print)
SALE NUMBER: 17320

(Dealers billing name and address must agree Address

with tax exemption certificate. Invoices cannot

be changed after they have been printed.) City State Zone

BID ONLINE FOR THIS SALE AT CHRISTIES.COM

Daytime Telephone Evening Telephone
BIDDING INCREMENTS
Bidding generally starts below the low estimate and increases in steps
(bid increments) of up to 10 per cent. The auctioneer will decide where Fax (Important) Email
the bidding should start and the bid increments. Written bids that do Please tick if you prefer not to receive information about our upcoming sales by e-mail
not conform to the increments set below may be lowered to the next
I have read and understood this Written Bid Form and the Conditions of Sale — Buyer’s Agreement
bidding-interval.
US$100 to US$2,000 by US$100s
US$2,000 to US$3,000 by US$200s Signature
US$3,000 to US$5,000 by US$200, 500, 800
If you have not previously bid or consigned with Christie’s, please attach copies of the following
(e.g. US$4,200, 4,500, 4,800)
documents. Individuals: government-issued photo identification (such as a photo driving licence,
US$5,000 to US$10,000 by US$500s national identity card, or passport) and, if not shown on the ID document, proof of current address,
US$10,000 to US$20,000 by US$1,000s for example a utility bill or bank statement. Corporate clients: a certificate of incorporation.
US$20,000 to US$30,000 by US$2,000s Other business structures such as trusts, offshore companies or partnerships: please contact the
US$30,000 to US$50,000 by US$2,000, 5,000, 8,000 Credit Department at +1 212 636 2490 for advice on the information you should supply. If you are
registering to bid on behalf of someone who has not previously bid or consigned with Christie’s,
(e.g. US$32,000, 35,000, 38,000) please attach identification documents for yourself as well as the party on whose behalf you are
US$50,000 to US$100,000 by US$5,000s bidding, together with a signed letter of authorisation from that party. New clients, clients who
have not made a purchase from any Christie’s office within the last two years, and those wishing
US$100,000 to US$200,000 by US$10,000s
to spend more than on previous occasions will be asked to supply a bank reference.
Above US$200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the PLEASE PRINT CLEARLY
auction at his or her own discretion. Lot number Maximum Bid US$ Lot number Maximum Bid US$
1. I request Christie’s to bid on the stated lots up to the (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful the amount payable
will be the sum of the hammer price and the buyer’s
premium (together with any applicable state or local sales
or use taxes chargeable on the hammer price and buyer’s
premium) in accordance with the Conditions of Sale—
Buyer’s Agreement). The buyer’s premium rate shall be
an amount equal to 25% of the hammer price of each lot
up to and including US$250,000, 20% on any amount over
US$250,000 up to and including US$4,000,000 and 12.5%
of the amount above US$4,000,000.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christie’s receive written bids on a lot
for identical amounts and at the auction these are the highest
bids on the lot, Christie’s will sell the lot to the bidder whose
written bid it received and accepted first.
5. Written bids submitted on “no reserve” lots will, in the
absence of a higher bid, be executed at approximately 50% of
the low estimate or at the amount of the bid if it is less than
50% of the low estimate.
I understand that Christie’s written bid service is a free service
provided for clients and that, while Christie’s will be as careful as
it reasonably can be, Christie’s will not be liable for any problems If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS
with this service or loss or damage arising from circumstances Please quote number below:
beyond Christie’s reasonable control.
AUCTION RESULTS: CHRISTIES.COM

02/08/17 19/01/2015 69
INTERNATIONAL CHINESE CERAMICS & WORKS OF ART DEPARTMENT

Athena Zonars Pola Antebi Michael Bass Leila de Vos Géraldine Lenain Rosemary Scott
宋天娜 安蓓蕾 孟博瀚 van Steenwijk 羅拉 蘇玫瑰
Co-Chairman International Director International Director 吳夜蕾 International Director Senior International
Asian Art, Deputy Hong Kong New York European Head Chairman's Offce Academic Consultant
Chairman Americas London, King Street Paris Asian Art
London, King Street

ASIA

Chi Fan Tsang Ruben Lien Liang-Lin Chen Sherese Tong Joan Ho Timothy Lai
曾志芬 連懷恩 陳良玲 唐晞殷 何懿行 黎添銘
Head of Department Senior Specialist Specialist Associate Specialist Associate Specialist Junior Specialist
Hong Kong Hong Kong Head of Sale Hong Kong Hong Kong Hong Kong
Hong Kong

Dai Dai Felix Pei

戴岱 裴朝輝
Senior Specialist Specialist
Beijing Beijing

THE AMERICAS

Margaret Gristina Olivia Hamilton Michelle Cheng Jessica Chang Andrew Lick Vicki Paloympis Ling’ao Tong Rufus Chen
葛曼琪 高麗娜 鄭玉京 張為君 李安哲 潘薇琦 童凌驁 陳嘉安
Senior Specialist Specialist Specialist Associate Specialist Specialist Specialist Associate Specialist Junior Specialist
New York Head of Sale New York New York San Francisco New York New York New York
New York

EUROPE

Marco Almeida Kate Hunt Ivy Chan Katie Lundie Cecilia Zi Dr Malcolm McNeill Caroline Allen
安偉達 何玉清 陳以昕 龍愷曦 紫潮 莫友柯博士 安嘉麗
International Senior Head of Sale Specialist Associate Specialist Junior Specialist Consultant
Specialist, Chinese
Specialist London, King Street London, King Street London, King Street London, King Street Export Art
Paintings
London, King Street London, King Street London, King Street

Tiphaine Nicoul Camille de Foresta Zheng Ma

倪蒂芬 芳琴搖 馬征
Head of Sale Specialist Associate Specialist
Paris Paris Paris

19/07/18

70
CHRISTIE’S
CHRISTIE’S INTERNATIONAL PLC
François Pinault, Chairman
Guillaume Cerutti, Chief Executive Officer
Stephen Brooks, Deputy Chief Executive Officer
Jussi Pylkkänen, Global President
François Curiel, Chairman, Europe and Asia
Jean-François Palus
Stéphanie Renault
Héloïse Temple-Boyer
Sophie Carter, Company Secretary
INTERNATIONAL CHAIRMEN
Stephen Lash, Chairman Emeritus, Americas
The Earl of Snowdon, Honorary Chairman, EMERI
Charles Cator, Deputy Chairman, Christie’s Int.
CHRISTIE’S AMERICAS
Marc Porter, Chairman
Jennifer Zatorski, President
CHAIRMAN’S OFFICE
Ben Hall, Chairman
Alexander Rotter, Co-Chairman
Bonnie Brennan, Deputy Chairman
Cyanne Chutkow, Deputy Chairman
Sheri Farber, Deputy Chairman
Loïc Gouzer, Co-Chairman
John Hays, Deputy Chairman
Conor Jordan, Deputy Chairman
Richard Lloyd, Deputy Chairman
Maria C. Los, Deputy Chairman
Andrew Massad, Deputy Chairman
Ellanor Notides, Deputy Chairman
Jonathan Rendell, Deputy Chairman
Capera Ryan, Deputy Chairman
Barrett White, Deputy Chairman
Eric Widing, Deputy Chairman
Athena Zonars, Co-Chairman
CHRISTIE’S ADVISORY BOARD, AMERICAS
John L. Vogelstein, Chairman
Herb Allen, Elizabeth Ballantine, Charlie Blaquier,
Stephen Bronfman, Christina Chandris,
Bruno Eberli, Lynn Forester de Rothschild,
Ambassador Stuart E. Eizenstat,
Ashton Hawkins, Esq., J Tomilson Hill III,
Barbara Jakobson, Nancy M. Kissinger,
George Klein, Ambassador William H. Luers,
Hon. Nicholas Platt, Li Chung Pei,
Jeffrey E. Perelman, Tara Rockefeller, Denise Saul,
Andrew N. Schiff, M.D., Clifford M. Sobel,
Michael Steinhardt, Archbold D. van Beuren
2/8/18
CHRISTIE’S AMERICAS
SENIOR VICE PRESIDENTS ASSOCIATE VICE PRESIDENTS
Rachel Adey, Kelly Ayers, Martha Baer, Tyron Armstrong, Nicole Arnot, Nishad Avari,
Diane Baldwin, Heather Barnhart, Alyson Kristin Bisagna, Bernadine Boisson,
Barnes, Michael Bass, G. Max Bernheimer, Vanessa Booher, Anne Bracegirdle,
Rita Boyle, Catherine Busch, Max Carter, Elaine Brens, Christiana Bromberg, Natalie Brown,
Angelina Chen, Sandra Cobden, Dan Conn, Tristan Bruck, Elisa Catenazzi, Michelle Cha,
Kathy Coumou, Deborah Coy, Francois de Poortere, Megha Choudury, Patrick Conte, Cathy Delany,
Carrie Dillon, Yasaman Djunic, Monica Dugot, Alessandro Diotallevi, Julie Drennan, William Fischer,
Richard Entrup, Lydia Fenet, Jessica Fertig, Emily Fisher, Sara Fox, Kristen France, Juarez Francis,
Dani Finkel, Johanna Flaum, Sara Friedlander, Russell Gautsch, Emily Gladstone, Douglas Goldberg,
Sayuri Ganepola, Virgilio Garza, Benjamin Gore, Robert Gordy, Julia Gray, Emily Grimball,
Karen Gray, Jennifer K. Hall, Bill Hamm, Rachel Hagopian, Olivia Hamilton, Amy Indyke,
William Haydock, Darius Himes, Margaret Bennett Jackson, Stephen Jones, Paige Kestenman,
Hoag, Koji Inoue, Erik Jansson, Rahul Kadakia, Peter Kalogiannis, Jean M. Kim, Kirill Kluev,
Kathy Kaplan, Julie Kim, Sharon Kim, Stefan Kist, Paula Kowalczyk, Sibyl Lafontant, Madeline Lazaris,
Deepanjana Klein, David Kleiweg de Zwaan, Andrew Lick, David Lieu, Malcolm Lindquist,
Susan Kloman, Timothy Kompanchenko, Alexander Locke, Samantha Margolis,
James Leitch, Daphne Lingon, Gabriela Lobo, Laura Mathis, Nina Milbank, Ruth Mauldin,
Rebecca MacGuire, Erin McAndrew, Adrien Meyer, Nicole Moffatt, Leo Montan, Melissa Morris,
Rick Moeser, Richard Nelson, Tash Perrin, Takaaki Murakami, Libia Nahas, Margaret O’Connor,
Jason Pollack, Denise Ratinoff, Kimberly Ray, Ayub Patel, Daniel Peros, Jessica Phifer,
John Reardon, Margot Rosenberg, Sonya Roth, Nell Plumfield, Joseph Quigley, Rebecca Roundtree,
Sara Rutter, Nicole Sales, Emily Salzberg,
Caroline Sayan, Veronique Shagnon-Burke,
Adnan Shafique, Jill Sieffert, Jason Simonds,
Muys Snijders, Will Strafford, Sarah Vandeweerdt,
Hilary Smith, Victoria Solivan, Hannah Fox Solomon,
Cara Walsh, Hartley Waltman, Amy Wexler,
Natalie Stagnitti-White, Joey Steigelman,
Allison Whiting, Marissa Wilcox, Jody Wilkie,
Joanna Szymkowiak, Victoria Tudor, Lillian Vasquez,
Zackary Wright, Steven Wrightson, Steven J. Zick
Mike Wang, Stella Wang, Izzie Wang, Seth Watsky,
Candace Wetmore, Elizabeth Wight, Emma Winder,
VICE PRESIDENTS
Gretchen Yagielski
Tylee Abbott, Christine Layng Aschwald,
Danielle Austin, Victoria Ayers, Diane Baldwin,
Marina Bertoldi, Adrian Bijanada, Katie Bollom, AMERICAN BOARD
Diana Bramham, Eileen Brankovic, Maryum Busby, INTERNATIONAL REPRESENTATIVES
Cristina Carlisle, John Caruso, Elisa Catenazzi, Lisa Cavanaugh, Lydia Kimball, Natalie Lenci,
Ana Maria Celis, Veronique Chagnon-Burke, Mary Libby, Juanita Madrinan, David G. Ober,
Michelle Cheng, Margaret Conklin, Betsy Ray, Nancy Rome, Brett Sherlock
Kristen de Bruyn, Elise de la Selle, Aubrey Daval,
Cathy Delany, Ashish Desai, Christine Donahue,
Caitlin Donovan, Lauren Frank, Vanessa Fusco,
Christina Geiger, Joshua Glazer, Lisa Gluck,
Peggy Gottlieb,Lindsay Griffith, Margaret Gristina,
Izabela Grocholski, Helena Grubesic,
James Hamilton, Elizabeth Hammer-Munemura,
Natalie Hamrick, Minna Hanninen, Anne Hargrave,
Val Hoyt, Sima Jalili, Tianyue Jiang, Emily Kaplan,
Jessica Katz, Sumako Kawai, Marisa Kayyem,
Caroline Kelly, Peter Klarnet, Alexis Klein,
Kristin Kolich, Samantha Koslow, Noah Kupferman,
Alexandra Lenobel, Richard Lopez, Ryan Ludgate,
Adam McCoy, Michael Moore, Danielle Mosse,
Caroline Moustakis, Christopher Munro,
Libia Nahas, Laura Nagle, Marysol Nieves,
Remi Nouailles, Jonquil O’Reilly,
Rachel Orkin-Ramey, Joanna Ostrem,
Sam Pedder-Smith, Carleigh Queenth,
Joseph Quigley, Shlomi Rabi, Prakash Ramdas,
Jeremy Rhodes, Casey Rogers, Thomas Root,
William Russell, Emily Sarokin,
Arianna Savage, Stacey Sayer, Morris Scardigno,
Morgan Schoonhoven, Monique Sofo,
Jogendra Somarouthu, Edwina Stitt,
Gemma Sudlow, Bliss Summers, Bo Tan,
Scott Torrence, Arianna Tosto, Terence Vetter,
Beth Vilinsky, Jill Waddell, Michal Ward,
Frederic Watrelot, Alan Wintermute,
Jennifer Wright, Kristen Yraola, Timothy Yule,
Cara Zimmerman
© Christie, Manson & Woods Ltd. (2018)
72
3
20 ROCKEFELLER PLAZA NEW YORK NEW YORK 10020