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美国 北京时间
09月17日 晚上9点 开拍 / 09月15日 下午3点 截止委托
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PROPERTY FROM AN IMPORTANT EAST COAST COLLECTION VARIOUS ARTISTS Celebrating the Sheizhuang Residence, for Yongting (Ye Tianci), 1775-c. 1798 Two albums, comprising a total of thirty-eight leaves of calligraphic inscriptions, and twenty leaves of landscape paintings, the individual leaves dated variously to the last quarter of the 18th century, most leaves dedicated to or referencing Ye Tianci or Yongting, the individual leaves with signatures and seals of Yuan Mei (1716-1798), Ji Yun (1724-1805), Luo Pin (1733-1799) and his wife Fang Wanyi (1732-1779), Yi Bingshou (1754-1815), Guan Xining (1712-1785), Wu Xiqi (1746-1818) etc.; each album with a blue fabric case, the cases both with labels dated Guangxu renyin (1902), with seals of Yu Dan (1861-?). Approximately 7 1/2 x 8 5/8in (19 x 24.5cm) (painting only) each leaf (2). Footnotes 袁枚(1716-1798)、紀昀(1724-1805)、羅?(1733-1799)、方婉儀(1732-1779)、伊秉綬(1754-1815)、管希寧(1712-1785)、吳錫麒(1746-1818)等眾家 誰莊圖詠 一七七五至約一七九八年間作 一幀為水墨灑金箋 餘則水墨或淺設色紙本 冊頁二函 共二十九開 計三十八頁書畫心 俞旦(1861-?)題簽 冊一:〈誰莊圖詠〉:(二字漫漶)葉氏本,同治癸酉(1873)歸婺原俞氏,光緒壬寅(1902)以半還原主人孫季雲(孫傳檙,1852-1923),今尚存二冊,冊十五開。鈐印:俞旦長壽 冊二:同上,唯少「孫」字。鈐印:騃人、俞大 鑒藏印:婺原俞旦收集金石書畫印(見冊一頁三) Provenance: Collection of Sun Chuancheng (1852-1923) Collection of Yu Dan (1861-?), Wuyuan, Jiangxi Province, 1873 Property from an important East Coast collection Published: The inscription by Ji Yun 紀昀 (1724-1805) (Leaf Two, Album Two): Ji, Yun. "Ti Youren Hua" 題友人畫 (Inscription on a Friend's Painting). In Ji Wenda Gong Yiji 紀文達公遺集 (Posthumous Anthology of Master Ji Wenda). Vol. 10, p. 34, compiled by Ji Shuxin, published in 1812. The inscription by Yi Bingshou 伊秉綬 (1754-1815) (Leaf Four, Album Two): Yi, Bingshou. "Pei Zhu Zhujun Yun Yin Huanxi Bieshu" 陪朱竹君筠飲環溪別墅 (Accompanying Zhu Yun [1729-1781] Drinking in a Stream-surrounded Villa). In Liuchun Caotang Shichao 留春草堂詩鈔 (Poetry Anthology of Liuchun Cottage) Vol. 1, p. 2, published in 1814. 來源: 孫傳檙(1852-1923)舊藏 俞旦(1861-?)舊藏,1873年 美國東海岸重要珍藏 著錄: 紀昀(1724-1805)題跋:紀昀著,〈題友人畫〉,收錄於紀樹馨編《紀文達公遺集》卷十,頁三四,清嘉慶十七年刻本 伊秉綬(1754-1814)題跋:伊秉綬著,〈陪朱竹君筠飲環溪別墅〉,收錄於《留春草堂詩鈔》卷一,頁二,清嘉慶十九年刻本 部分題跋: 葉天賜:宅東隙地數弓,稱花園者舊矣。重巖雙柏,挺翠環青而亭榭闕如。右折為吳家莊,土沃泉薌,歷久如故要,皆不知昔之主之者誰。乙未(1775)春,予構數椽於其畔。或曰誰為之,予因憬然,曰為誰為之。噫嘻!蘧盧過客,誰去誰留,今之誰予也?予不能卜,繼予而歌哭於斯者誰也?微論其他,屬即遍及之予子予孫魯,予亦不得預定其主名之為誰也。後之人誠愛是地之襟山帶嶺、嘉樹叢蔭,而修之葺之廓大之則又誰?非予者,爰是遂以誰名予莊。詠亭居士跋並書 汪中(1744-1794)題序:〈誰莊圖序〉,江都汪中。誰莊者,吾友詠亭之所築也,綜其命名取裁有四。夫其地惟一畝,樹則百年。記童子之嬉遊,懷詩人之恭敬。屬家風中隕,宅相早衰,江潭之柳,已移金谷之華。空發徒淹,留於耆舊,竟悲吟於樵牧,於是有先世之感焉。桑弧早射,棧車未休。客星自占,停雲[闕一字]託。聽蟋蟀於東壁,想鷦鷯於一枝。社燕長來,明月直入,於是有勞人之歎焉。孟氏奉親,小園是築。潘生侍養,閒居成賦。方將藉玆遊息,慰彼劬勞,而慈鳥方哺,枯魚已蠹。掩故寢而不居,歷側階而若欬。杯棬永謝,寒泉不流,於是有孝子之思焉。子又生子,孫又生孫。來著難誣,吾生易化。苟有懷於作室,將自求於保世。列通矦之第,勢家無奪;訪臨江之宅,異代長居。他族不滋,吾宗是競,於是有翼子之謀焉。固非抱逆旅之達觀,進傳舍之危論者矣。由是折意畫師,託心豪素,欲使藍田雖邈,尚寶輞川之圖。高臺已傾,不墮雍門之淚,輒申膚末,箸在簡端。 紀昀(1724-1805)題書頁:百世迅風燈,瞥眼即成故。佛法超死生,乃亦有過去。如何指一隅,云是吾常住。輞川尚有圖,莊竟覓何處?達者知其然,澄觀心有悟。昔未屬我前,閱主已無數。過此落誰手,應亦聽所遇。且隨現在緣,領此當前趣。翻階嬝娜花,遶屋扶疎樹。高臥到羲皇,餘者何須顧。詠亭先生屬題,河間紀昀。鈐印:紀、昀 袁枚(1716-1798)題書頁:莊好號誰莊,先生真坐忘。三間古茅屋,九曲小滄浪。有樹天皆綠,無風草亦香。不知危坐者,雲可濕衣裳。詠庭主人命題,袁枚。鈐印:__ __、袁枚、隨園 羅?(1733-1799)畫並題:常笑人謂我室,堪思自署誰莊。著屐一生幾兩,得徜徉處徜徉。乙未(1775)十月題應詠亭尊兄教,愚弟羅?稿。鈐印:兩、峰 方婉儀(1732-1779)次題書頁:不論秋菊與春花,每到花時不在家。畢竟林亭誰是主,簾鉤半卷綠陰斜。聯墅邨女方婉儀,集唐李昌符、張祜、白居易、徐鉉句以題之。鈐印:白蓮女史 伊秉綬(1754-1815)題書頁:木蘭高館搖藂竹,張燈夜傍水聲宿。聞道株茅宋玉居,歌衫舞扇層層綠。買石晴移白嶽雲,開軒曉占藍田春。松筠忍閉王給事,風雨欲過何將軍。年年香埃飄紫陌,不知誰主寔誰客。且醉山翁倒接籬,狂來笑問並州兒。題奉詠亭老先生雅正,閩中伊秉綬。鈐印二:__ __、秉綬之印 Dust in the Vast Sea 滄海飛塵 人世因緣 The garden depicted in the two albums has an intriguing name Sheizhuang 誰莊, meaning "Whose Residence " According to the owner's autobiographical note (Fig.1), this name reflects his belief in the permanence of the physical property (the Residence) contrasted with the impermanence of ownership and life. He uses the term qulu guoke 蘧盧過客, meaning "transient guests of a traveler's lodge," to convey this idea. This concept is echoed throughout the album by other calligraphers, who refer to the Residence as qulu 蘧盧 and express their reflections on the profound transformations of the world with the phrase canghai sangtian 滄海桑田 (the blue sea turned into mulberry fields). The owner is addressed by the calligraphers and painters as Yongting 詠亭 while he also refers to himself as Eshei 阿誰, meaning "Who," (Leaf 3, Album One) with the intention of concealing his identity. Ironically, as Li Zhucen 李竹岑notes in his colophon (Leaf 13, Album Two), "自是逃名逃不得,又教圖詠遍詩人 Though [the owner] attempts to escape being identified, he will inevitably fail, as the albums of paintings and poems will circulate among poets (or 世人 the world)." Both the residence and the owner are documented in contemporary literature. For instance, in Guangling Shi Shi 廣陵詩事 (Poetic Events in Guangling [Yangzhou]), completed by Ruan Yuan 阮元 (1764-1849) in 1799, there is an entry of Ye Yongting 葉詠亭 that reads: 葉詠亭,天賜,本歙人,移籍江都,工詩善書法,名其居曰誰莊,一時名流題詠殆遍。其莊實在歙,不在揚也。 Ye Yongting, [primary name] Tianci, hailed from She County (Anhui Province) and later relocated to Jiangdu (Yangzhou). He was skilled in poetry and calligraphy. His residence was named Sheizhuang, and numerous celebrities inscribed poems and eulogies for it. The residence is in fact located in She County instead of Yangzhou. (Fig.2) Nonetheless, records on Ye Tianci are relatively scarce. Apart from Ruan Yuan's notes, there is also a mention of him in Yangzhou Huafang Lu 揚州畫舫錄 (Records of Pleasure Boats in Yangzhou) by his contemporary Li Dou 李斗 (1750-1817). Interestingly, both sources highlight his literary and artistic talents while omitting his successful career as a salt merchant in Yangzhou. In the 18th century, merchants often engaged with the literati by financially supporting artists and scholars to enhance their social standing. These two albums exemplify this phenomenon, serving as valuable historical records of Ye Tianci and his social circles. His connections extended to high-ranking officials like Ji Xiaolan 紀曉嵐 (Ji Yun 紀昀) and his cousin Niu Nianwen 牛捻文, as well as renowned scholars such as Yuan Mei 袁枚, close relatives of the affluent Yangzhou salt merchant Jiang Chun 江春 (1720-1789), prominent Yangzhou artists Luo Ping 羅聘, his wife Fang Wanyi 方婉儀and his father-in-law Fang Baojian 方寶儉. The albums also feature works by lesser-known but highly skilled painters and calligraphers who are not well documented. Thus, these albums are not only a record of a single individual but also a glimpse into a lost chapter of history. Album One begins with a leaf featuring the album's title Sheizhuang Shihua 誰莊詩畫 (Poetry and Paintings of Sheizhuang) , inscribed by Ye Tianci (Leaf 1, Album One), followed by another with a one-line inscription noting that the residence is located east of She County (Leaf 2, Album One) , which aligns with Ruan Yuan's previously cited account. The album then formally opens with a preface written by Wang Zhong 汪中 (Leaf 3, Album One), a native of Yangzhou and one of the most esteemed scholars of the Yangzhou School of Learning 揚州學派. His preface, composed in an archaic parallel-prose style , explains that the residence was primarily constructed by Ye Tianci to care for his elderly mother, Madame Wang 汪氏, who was in her seventies at the time. Ye Tianci was widely recognized as a filial son, as evidenced by many poems in the albums. In his own work, Shu Xue 述學, Wang Zhong documented a biography of Madame Wang titled "Ye Tianci Mu Wangshi Jiazhuan" 葉天賜母汪氏家傳 (Biography of Ye Tianci's Mother Madame Wang) (Fig.3). The succinct biography offers valuable insights into Ye Tianci's life, noting that his father, Ye Dingxi 葉鼎熙, a hermit from She County, passed away before Ye Tianci was born. Living in poverty, Madame Wang faced great hardships in raising and educating her son. To honor his mother's selfless devotion and to promote the virtue of filial piety, Ye Tianci erected an arch for his mother in She County in 1762, which still stands at the entrance of Lantian Village in She County today (Fig.4). According to Ye Tianci's own preface, Sheizhuang was completed in the spring of 1775. That same year, Ye Tianci commissioned several artists to create paintings and compose poems for the residence. In the fifth month, Zhong Heqing 仲鶴慶 (Zhong Songlan 仲松嵐), an elder scholar-official, classic lecturer and artist from Rugao 如皋, Jiangsu Province, inscribed two seven-syllable poems (Leaf 4, Album One). On the opposite side of the leaf is an ink landscape by Chen Mu 陳模 (Chen Xiaoshan 陳小山), a literary painter from Tongzhou 通州, Jiangsu Province. Although the two leaves might not have been executed simultaneously or originally intended as a pair, Zhong Heqing and Chen Mu were indeed close fellows in literary circles in Rugao. Renowned artists such as Zheng Xie 鄭燮 (1693-1766) and Huang Shen 黃慎 (1687-1772) were also close to Zhong Heqing. Chen Mu, although relatively obscure today with few surviving records of his work, created around four leaves of paintings for Ye Tianci's residence. Each leaf demonstrates high execution skill and displays a variety of styles (Leaf 4, Album One; Leaves 2, 4 and 7, Album Two). In 1781, Chen Mu and Ye Tianci became colleagues in Yangzhou when they both served on the committee responsible for reviewing opera manuscripts under Emperor Qianlong's policy of "literary inquisition" (wenziyu 文字獄). Also included in the committee were Luo Ping 羅聘 (Luo Liangfeng 羅兩峰), Guan Tao 管濤 (Guan Jijiu 管虀臼). In the fifth month of 1775, Guan Tao created a simple, close-up representation of the residence, a composition that underwent several revisions. He inscribed his work both on the painting itself and on a second leaf (Leaf 6, Album One), which was followed by two additional colophons commenting on Guan Tao's painting. One of these was written by Guan Tao's friend, Wu Shuyuan 吳叔元 from Xiuning, Anhui Province. In the autumn of 1775, Wu Shuyuan also created an ink painting of the residence (Leaf 7, Album One), drawing inspiration from Guan Tao's piece. He noted that it was Guan Tao who requested him to paint and inscribe the work. Interestingly, while Guan Tao's painting was based on his firsthand experience visiting the residence, Wu Shuyuan's work was derived from a draft (fenben 粉本) that Guan Tao had drawn for him. Luo Ping and his wife Fang Wanyi 方婉儀, both natives of She County, contributed to the album in the tenth month of 1775 (Leaf 8, Album One; Fig.5). Luo Ping painted a charming, light-colored scene of the residence, featuring a simplified figure seated on the second floor of a building and two striking cypress trees in the courtyard. He inscribed a six-syllable quatrain on the opposite sheet (the seals can be found in Shanghai Museum ed., Zhongguo Shuhuajia Yinjian Kuanzhi Vol. II 中國書畫家印鑒款識·下, Beijing, 1993, artist no. 1170, seal no. 98, p. 1576), followed by seven-syllable quatrain composed of fourTang poetic verses by Fang Wanyi (The seal can be found in ibid., Vol. I, artist no. 129, seal no. 3, p. 197). Fang particularly signed with her birthplace Lianshu Village 聯墅邨 in She County, highlighting their close relationship with Ye Tianci as fellow townspeople. Additionally, Fang Wanyi's father, Fang Baojian 方寶儉 was also invited to inscribe (Leaf 9, Album One). On the same leaf where Fang Baojian inscribed , there a colophon by Jiang Zhenlu 江振鷺, a nephew of the influential salt merchant Jiang Chun 江春 (1720-1789), who was likely a business partner of Ye Tiance. The Jiang clan's ancestral home is also in She County, and Jiang Zhenlu was acquainted with Luo Ping, both being from She County and active in Yangzhou. The two calligraphers who inscribed the opposite sheet of Wu Shuyuan's painting were Jiang Chun's cousins, Jiang Li 江立 and Jiang Fang 江昉 (Jiang Chengli 江橙里), a prominent salt merchant himself, was also known for his skill in poetry. Among the undated leaves, some were created by prestigious individuals of the time. Ji Yun 紀昀, more commonly known by his style name Ji Xiaolan 紀曉嵐, hailed from Hejian 河間, Hebei Province. (Leaf 2, Album Two; Fig.6) He was one of the most influential scholar-officials during the Qianlong and Jiaqing (1796-1820) periods, particularly favored by Emperor Qianlong. During Emperor Jiaqing's reign, Ji Yun was appointed Minister of War 兵部尚書 in 1796, Minister of Rites 禮部尚書 in 1797 and Assistant Grand Secretary 協辦大學士 in 1805. Ji Yun's connection with Ye Tianci likely stemmed from Lu Jianzeng 盧見曾 (1690-1768), the salt distribution commissioner in the Huai region (Lianghuai yanyunshi 兩淮鹽運使), whose eldest grandson, Lu Yinwen 盧蔭文, married Ji Yun's eldest daughter. Ye Tianci must have closely collaborated with Lu Jianzeng, who was also a significant patron of the Yangzhou School painters and Yuan Mei. In 1768, Ji Yun became embroiled in a bribery case against Lu Jianzeng after warning him about the severity of the pending charges. As a result, Ji Yun was exiled to Ili (modern-day Xinjiang Province), while Lu Jianzeng died in prison in Yangzhou. Although Ji Yun returned to court three years later and was appointed chief editor for the compilation of Siku Quanshu 四庫全書in 1773, the largest compendium of books in Chinese history, this episode must have left a lasting impact on him. Ji Yun's inscription on the album leaf is brimmed with a melancholy detachment from the fickleness of mundane life, especially in the first two lines: 百世迅風燈,瞥眼即成故 (Hundreds of centuries change as rapidly as lamplight in wind. Within a fleeting glance, the life's vicissitudes have all passed). This colophon is recorded in his Ji Wenda Gong Yiji 紀文達公遺集 (Posthumous Anthology of Master Ji Wenda), Vol. 10, published by his grandson Ji Shuxin 紀樹馨 several years after Ji Yun's demise. The colophon is simply titled "Ti Youren Hua" 題友人畫 (Inscription on a Friend's Painting) (Fig.7). The present album, therefore, recontextualizes the text being isolated from its creation motivation. Album Two of the present lot also includes an inscription by Ji Yun's elder counsin Niu Nianwen 牛捻文 (Leaf 3, Album Two), who served as the governor of Tianjin 天津太守. Another inscription, a seven-syllable poem, included in published anthologies by Yi Bingshou 伊秉綬 (Leaf 4, Album Two; Fig.8), a native of Fujian Province who later became an important political and literary figure in both the capital and Yangzhou. The inscription is titled "Pei Zhu Zhujun Yun Yin Huanxi Bieshu" 陪朱竹君筠飲環溪別墅 (Accompanying Zhu Yun [1729-1781] Drinking in a Stream-surrounded Villa), included in Liuchun Caotang Shichao 留春草堂詩鈔 (Poetry Anthology of Liuchun Cottage) Vol. 1, published in 1814 (Fig.9). The title reveals that the primary guest at this gathering at Ye Tianci's residence was Zhu Yun 朱筠 (1729-1781), an dominant scholar official, bibliophile and calligrapher in the capital, who also participated in the compilation of Siku Quanshu. He was particularly known particularly for promoting young scholars, including Yi Bingshou. In 1779, Yi Bingshou participated in the provincial examination overseen by Zhu Yun's brother, Zhu Gui 朱珪 (1731-1807). That same year, Zhu Yun was appointed Fujian Provincial Educational Commissioner 福建提督學政. It's likely that Yi Bingshou and the Zhu brothers became acquainted with the Zhu brothers during this time, though it was only two years before Zhu Yun's death. Hence, Yi Bingshou's colophon in the present album was created between 1779 and 1781, making it a rare piece of his early calligraphy, executed in his 20s. Due to a lack of context, some scholars have incorrectly assumed that this seven-syllable poem recorded a gathering in the capital, where Yi Bingshou made a brief visit in 1780. These two albums are crucial in rectifying such speculations and serve as an important record of their interactions. Additionally, the friendship between Yi Bingshou, Ji Yun, and Luo Ping in Yi's later years is well-documented. However, the present album suggests a possible overlap in their social circles much earlier in their lives. The Bingshou zhi yin seal impressed on this album can be compared with Shanghai Museum ed., Zhongguo Shuhuajia Yinjian Kuanzhi Vol. I 中國書畫家印鑒款識·上, Beijing, 1993, artist no. 205, seal no. 30, p. 313. Equally famed as Ji Yun during that era was Yuan Mei, often mentioned alongside Ji Yun as the "Nan Yuan Bei Ji" 南袁北紀 (Yuan of the south and Ji of the north). A child prodigy, Yuan Mei entered the prestigious Hanlin Academy at the age of 24. In 1745, he was appointed as zhixian 知縣 (magistrate) of Jiangning Prefect 江寧府 (the present-day Nanjing, Jiangsu Province), one of the most prosperous regions in the 18th century China, and a significant stop on Emperor Qianlong's southern inspections. However, Yuan Mei decided to retire at his 38, and to enjoy his life in the famous Sui Garden he purchased in Nanjing. As an influential figure in the Jiangnan area, Yuan Mei was acquainted with artists in Yangzhou, and it is unsurprising that he established connections with salt merchants like Ye Tianci. It is documented that he had a close relationship with the Jiang salt merchant family. The Yuan Mei seal impressed on this album (Leaf 9, Album Two; Fig.10) can be compared with Shanghai Museum ed., Zhongguo Shuhuajia Yinjian Kuanzhi Vol. I 中國書畫家印鑒款識·上, Beijing, 1993, artist no. 533, seal no. 13, p. 722. The inscriber of the two blue-clothed cases is Yu Dan 俞旦 (Fig.11), a scholar and bibliophile born in Wuyuan, Jiangxi Province, who later became active in Guangdong Province. He was known to be close to the expert seal carver Huang Shiling 黃士陵 (original name Huang Mufu 黃牧甫, 1849-1908), who carved many seals for him. The si ren 騃人 seal on the titleslip and the Wuyuan Yu Dan shouji jinshi shuhua yin 婺原俞旦收集金石書畫印 on leaf 3, Album One (Wang Zhong's preface) were both carved by Huang Shiling, with the latter recognized as an exemplar of Huang's expertise in philology. According to Yu Dan's inscription on the titleslips, he acquired the Sheizhuang albums in 1873, and returned half of them to the previous owner Sun Jiyun in 1902. This indicates that the two albums in the present lot are not complete. On the leaf inscribed by Fang Shoumen 方壽門, he mentions that this is his second colophons; however, the first colophon is not found. Through quick archival research, it is evident that other scholars and artists who inscribed and painted for Sheizhuang include Ling Tingkan 凌廷堪 (1757-1809), Deng Shiru 鄧石如 (1743-1805), Xu Shushou 徐書受 (1751-1805) and Le Jun 樂鈞 (1766-1814/6). Sun Jiyun refers to Sun Chuancheng (1852-1923), who was born into a prominent family in Shouzhou, Anhui Province. His fifth uncle Sun Jianai 孫家鼐 (1827-1909) served as a teacher to Emperor Guangxu (r. 1875-1908). His second brother Sun Chuanyue 孫傳樾 (1839-1886) married a daughter of Li Hanzhang 李瀚章 (1821-1899), Li Hongzhang 李鴻章 (1823-1901)'s elder brother. After passing the provincial examination in 1891, Sun Chuancheng held various official positions in Anhui and Jiangxi provinces. For further information about this lot please visit the lot listing

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1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
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