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4th-3rd century BC. A D-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 258 grams, 17.5cm (7"). Property of a gentleman; acquired on the Asian art market. . Fine condition.

4th-3rd century BC. A triangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 182 grams, 17cm (6 1/2"). Property of a gentleman; acquired on the Asian art market. . Fine condition.

4th-3rd century BC. A large rectangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 536 grams, 20cm (8"). Property of a gentleman; acquired on the Asian art market. . Fine condition.

4th-3rd century BC. An oval-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 260 grams, 21cm (8"). Property of a gentleman; acquired on the Asian art market. . Fine condition.

Gupta Period, 4th-6th century AD. A red sandstone figure of the Buddha with large halo decorated with scrolling plants, rosettes and birds, and with two naked apsaras to the top; the Buddha has hair pulled into a top knot, elongated ears, urna to the centre of the eyebrows, and long monastic robes clinging to the body and with the folds prominently carved; the left hand is holding the hem of the robes and the right is held up in blessing; to either side of the Buddha are kneeling figures praying; base decorated with three lions, one facing frontally, two to the corners facing out; mounted on a custom-made stand, 12.2 kg, 61cm including stand (24"). From an important London collection, acquired in the 1990s. The Gupta period is noted as a time during which the quintessential Buddha image was created, becoming an iconic form which was disseminated and copied throughout the Asian Buddhist world. Gupta style stands at a crossroads in art historical developments in the sub-continent. The Gupta style embodies the earlier figurative styles of North and North West India, such as Mathura and Gandhara, while achieving a new power and sophistication. It is noted for the full, sensuous modelling of faces and bodies, for a subtlety of expression and for the harmonious proportions of its figures. During these centuries the workshops at Sarnath, a monastic complex built on the site of the Buddha's first sermon, became especially artistically influential. A particular type of standing Buddha image was produced here whose body is covered by a diaphanous robe, which clings to the figure while flaring at the sides. This was to become the prototype for a multitude of later images including the Radiant Buddha. . Very fine condition.

4th-3rd century BC. A lozenge-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 124 grams, 14cm (5 3/4"). Property of a gentleman; acquired on the Asian art market. . Fine condition.

A large collection of Asian art auction catalogues, including Christie's and Bonhams, approx 125 in total.

A collection of Asian art auction catalogues, the majority Christie's, approx 110 in total.

A small collection of nine Asian art reference books, including Chinese Cloisonné, The Pierre Uldry Collection, Lacquer of the West by Hans Huth, Japanese Inro from the Brozman Collection, and Chinese Snuff Bottles by Lilia S. Perry.

A collection of African/Asian ethnic art including elephants; etc.

A interesting and extensive collection of reference books relating to oriental and other eastern ceramics including The Choice Of The Private Trader by David S Howard, Chinese Blue and White Porcelain by Duncan Macintosh, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, a two volume set of The Catalogue of the Gandhara Sculpture in the British Museum by W Zwalf (in slip case), The Museum of East Asian Art (Bath) Inaugural Exhibition, volumes one and two, etc together with three volumes relating to Chinese Jade, including Jade, edited by Roger Keverne, Chinese Jade by Jessica Rawson and the Museum of East Asian Art (Bath) Jades From China. (Displayed on Bookcase at end of oriental section)

"ASIAN-AFRICAN ANTI-IMPERIALIST COMICS EXHIBITION"Chinese softbound publication, "Asian-African Anti-Imperialist Comics Exhibition" [n.p.]Asian-African Journalists Association, 1966. 32pp. 8vo., a guide to an anti-imperialist art exhibition, featuring a collection of thirty political cartoons decrying western and specifically American imperialism and militarism. Prominently featured figures include President Lyndon Johnson, who in one instance is depicted choking on Vietnam, as well as other western leaders. Most of the cartoons featured here explicitly condemn the United States' presence in Vietnam. Some slight reading wear and toning, else very good. From a single collection obtained entirely in China pre-2000.

“SUPPORT THE PEOPLE'S ANTI-IMPERIALIST MOVEMENT ACROSS THE WHOLE WORLD!"Striking color poster by artist You Long Gu: "Support the People's anti-imperialist movement across the whole world!”, published by Shanghai People’s Art Publishing House, 1967. A dramatic, vividly colored 30" x 42" poster from the "internationalist" period of the Cultural Revolution, when the Chinese and their Cuban allies were making inroads into Latin America and Africa. Depicts three figures, a black man, an Hispanic man holding a rifle, and an Asian woman, looking hopefully towards the horizon and the future, with a red sun representing Mao and his teachings in the background. Very minor edge wear, else fine condition. From a single collection obtained entirely in China pre-2000.

LITERATURE, A LIBRARY OF AUCTION CATALOGUES RELATING TO CHINESE AND ASIAN ART FROM CHRISTIE’S, SOTHEBY’S AND BONHAMS, FROM LONDON, NEW YORK, HONG KONG AND AMSTERDAM, FROM 1992 TO 2016, CONTAINED IN THREE BOOKCASES. (680)

A PAIR OF CHINESE FOLDING PORCELAIN PANELS, QING DYNASTY Decorated with bamboo, lotus, crab, a poem from Zhao Mengfu and a seal mark, contained in hardwood and bamboo-veneered frames, 26cm. (2) Provenance: by repute, from the collection of R A G Forrest, Professor of Asian Art at Oxford in the 1920s. 清 瓷板四屏 來源：1920年代牛津亞洲藝術教授R A G Forrest收藏（傳）

Han Dynasty (206 BC – 220 AD) A gilt bronze in the form of a dragon head with jet inlaid eyes. It has a long snout, divided into three curved sections, a curled nose, elongated ears and distinctive eyes and lined eyebrows. There are long horns over the head extending beyond the ears. The fitting ends in a circular hollow ring decorated with an intricate geometric pattern. This bronze may possibly have fitted onto a chariot handle. Even though there is considerable corrosion, the remaining gilding is in excellent condition. The un- gilded base has a green, brown, red patina. Dimensions: Length 20cms, width 6.5cms, weight 820 grams Reference See Met Museum of Art online Asian bronze No 17.25.2.

Western Han period 2nd – 1st century BC. This gilt bronze phoenix is cast with finely engraved linear detailing. The head shows a powerful beak with open mouth. Eyes inlaid with jet and with fine lines along the curling eyebrows, either side of the head and the delicate pointed ears. There are feather-tufts sweeping back on each side behind the eyes. Arising from the head is a curved feather plume inlaid with agate, and topped with a smaller curved plume. The prominent body would have had a central stone on its chest (now missing). There is a pointed delineated triangular tuft of feathers in front extending down from the rounded chest. The two large wings with different feather patterns, sweep backwards. between these, arises the large tail cast as four plumes of diminishing size, arranged symmetrically each terminating in a curled end with a gilt boss. The tail rises between six shorter tail feathers curled down in matching groups of three on each side. The back shows a square shaped hollow section which suggests that this bronze may have been a decorative fitting. The powerful legs have large talons and the phoenix stands on a base which has swirled engraving and is inlaid with agate and turquoise stones. Much of the original gilding remains but there is heavy green patination and corrosion in places and on the underside of the base. Han gilt bronze depictions of phoenix are very rare, especially in free standing form. This elegant bronze is a magnificent depiction of everything the phoenix represents in Chinese art. Dimensions: Height 21.5cms, width 9cms, weight 795 grams. References: 1. See illustration in Kandai no Bijutsee col.pl.60. 2. Also, see Exhibition of Art of the Han 1979 Chinese Institute in America. New York catalogue no.49. 3. Comparison see Eternal China: Splendors from the First Dynasties. Dayton, 1998, p66-67, no.5 phoenix Qin dynasty (221 – 206bC). 4. Chinese, Korean and Japanese Sculpture: The Avery Bundage Collection, Asian Art Museum of San Franscisco, Tokyo, 1974, pp.60-61, no.16 where author cites another example from a Han dynasty tomb in ding county, Herbei province, published in Wenwu, 1964, No.12,pl.1-3. 5. See gilt bronze phoenix finial in exhibition catalogue Setagaya Museum of Art exhibition catalogue, Shin no Shik tei to sono jidaiten (Exhibition of the Archaeological Relics of the Emperor Qin Shihuang), Tokyo, 1994, no.115. 6. Ancient Chinese Bronzes by J.J.Lally and Co. 2011. pl.20

EARLY 20TH CENTURY JEWELLERY BOXthe wooden box with East Asian-inspired brass mounts and lock; together with two Sterling silver brooches in the Mackintosh style, a trench art style letter opener, three vintage hat pins, 'A Royal Game: Interesting & Instructive' playing card set and a small selection of vintage postcards

A collection of reference works about African Art, Oceanic Art, South Indian Bronzes, African Masks, and Himalayan and South Asian Art

Approximately 40 Christie's catalogues, 2000-2008 on Indian and Islamic Works of Art and Textiles and Asian Decorative Arts.

Peter Moss,'Asian Furniture: A Directory and Source Book',published by Thames & Hudson, 2007,Namban Screens (Portuguese and English Language);Kazuko Koizumi,'Traditional Japanese Furniture: A Definitive Guide',published by Kodansha International, 1986,Rosy Clarke,'Japanese Antique Furniture: A guide to Evaluating and Restoring',published by Weatherhill, 1991,'Chinese Hardwood Furniture in Hawaiian Collections',published by the Honolulu Academy of Arts, 1982,Oliver Impey and Christiaan Jorg,'Japanese Export Lacquer 1580 -1850',published by Hotei Publishing, 2005,Hans Huth,'Lacquer of The West: The History of a Craft and an Industry 1550-1950',published by University of Chicago Press, 1971,'Lacquer: An International History and Collector's Guide',published by Bracken Books, 1989,Martha Boyer,'Japanese Export Lacquers from the seventeenth Century in the National Museum of Denmark',published by The National Museum Copenhagen, 1959,'Art and Influence of Japan',publis

Ten books on Chinese or Asian Art, comprising: three Gerard Hawthorn Ltd Catalogues; Catalogue of The Sensuous Immortals by Pratapaditya Pal (Los Angeles County Museum of Art); Asiatic Art in the Seattle Art Museum; Selection of Masterworks in the Collection of The National Palace Museum (1974); Wood from the Scholar's Table/Chinese Hardwood Carvings and Scholar's Articles; The Avery Brundage Collection/Chinese, Korean and Japanese Sculpture/Asian Art Museum of San Francisco and two volumes of Chinese Bamboo Carving/Published for an Exhibition in The 3rd Festival of Asian Art presented by The Urban Council/Hong Kong. (10) Condition Report Some wear, dust and deterioration.

A quantity of books on Chinese and Asian Culture, comprising: Oriental Trade Ceramics in South East Asia; Straits Chinese Silver by Ho Wing Men; Bamboo and Wood Carvings of China and The East by Spinks; Khmer Ceramics 9th/14th Century by the South East Asian Ceramic Society; The International London Asian Art Fair Catalogue, 2003; Archaeological Treasures Excavated in The People's Republic of China, 1973; The Meeting of Eastern and Western Art by Michael Sullivan; Chinese Pottery and Porcelain by Stephen W. Bushell; Style Motif and Design in Chinese Art by Michael Ridley; Western Impressions of Nature and Landscape in Southeast Asia; China at Work by Rudolf P.Hommel; The Minor Arts of China IV by Spinks; Transitional Wares and Their Forerunners by O.C.S. Hong Kong, 1981; Shiwan Wares, 1979 Exhibition Catalogue; and a four-volume, Chinese text, Chinese Ceramic History. Condition Report Please note that this lot is offered as found and that the deterioration, loss and wear may vary from book to book.

A rare armorial Imari porcelain dish for the American market dating: Kangxi (1662-1722) provenance: China Painted in imari style with gilding, featuring the Horsemonden family badge; featuring other four, smaller emblems at the border alternated with four, ruyi-shaped cartouches enclosing floral decorations; surrounded by a beautiful ramage of flowers and peonies; featuring two stylized, underglazed blue branches at the back. A restored breakage with no missing parts at the border. Period: 1716 circa. An almost identical dish was sold at Bonhams, Sale Number 22658; ASIAN ART; 9 November 2015, London, Knightsbridge; lot. 233. An identical dish is at Victoria and Albert Museum; Museum number FE.441978; Gallery location: Ceramics Study Galleries, Asia & Europe, room 137, case 13, shelf 3. See a pair of similar, bigger dishes in Jie Rui Tang Collection; Catalogue Numbers 0845 & 0846. See also a sample in the British Museum; Registration number Franks.758.+. The Horsemonden family was from Horsemonden, in Kent. Several members of this family moved to the USA between the 17th and the 18th Century. This set was presumably made for Daniel Horsemonden (1691 – 1778) who died in Flatbush, New York. John Horsemonden, his brother or cousin, might have brought this set from China in 1716; John Horsemonden was a navy commissioner on the “Marlborough” (an East Indiaman) and Second Member of the East indies in Canton, in 1721. dimensions: diameter 22 cm.

A signed 1960'S Shiy De Jinn art book plus two other Asian art books***AMENDED DESCRIPTION***

TRIBAL ART. A PAIR OF AFRICAN CARVED GOURD RATTLES 34CM L AND A SOUTH EAST ASIAN CARVED WOOD AND IRON MOUNTED STIRRUP

A collection of eighteen Asian art auction catalogues, the majority relating to Buddhistic bronze statues.

A collection of Asian art reference books, including 'Historical Relics Unearthed in New China' and 'Chinese Art Collection of the Hahn Cultural Foundation', two volumes, and a collection of Asian art auction catalogues.

Constantine XI Palaeologus AR Stavraton. Constantinople, Siege of Constantinople, AD 1453. Bust of Christ facing, wearing nimbus cruciger and holding book of Gospels, IC and B to left and right / KWNCTANTINOC ΔΕCΠΟΤΗC Ο ΠΑΛΕΟΛΟΓ in the outer circle, ΘV ΧΑΡΙΤΗ ΒΑCΙΛΕΩC ΡΟΜΕΟΝ in the inner circle, crowned bust of Constantine facing, wearing maniakon. Bendall, Revue Numismatique 1991, ‘The Coinage of Constantine XI’, pp. 135-142, pl. XV, 93 (this coin). 6.78g, 23mm, 12h. Extremely Fine for this issue. Extremely Rare and of great historical importance. Purchased from Harlan J. Berk Ltd., 16 July 1990; From the Constantine XI Hoard. The reign of Constantine XI is primarily remembered for marking the end of the so-called ‘Byzantine’ Empire, the remainder of the Eastern Roman Empire that had stood for a thousand years after the fall of Rome and the West. Constantine XI succeeded his brother John VIII Palaiologos on 6 January 1449, and had reigned for only two years when the Ottoman Sultan Murad II died, being followed by his zealous nineteen year old son Mehmed II, who was obsessed with the conquest of Constantinople. A diplomatic miscalculation on the part of Constantine was seized upon by Mehmed as a convenient casus belli, and preparations for war commenced. In the winter of 1451/2 Mehmed cut off Constantinople from the Black sea by establishing a fortification on the European side of the Bosporus which together with the existing fort on the Asian side, gave the Turks complete control of the strait. Specifically, it prevented help from Genoese colonies on the Black Sea coast from reaching Constantinople. Realising that a siege was imminent, Constantine prepared his defence of the city. Despite appealing to the Pope and Western princes for aid in the defence of the city, little help came. France and England were weakened by the Hundred Years War, Spain was in the final stages of the Reconquista, the German states were wracked by infighting and Hungary and Poland had suffered a crushing defeat at Varna which they had not recovered from. In the end only a few soldiers from the northern Italian city states arrived, together with some adventurers and independent companies. Any hope of help from Constantine’s brothers in Morea was dashed by an Ottoman invasion of the peninsula intended to pin down their troops. In the winter of 1452 Mehmed arrived with his army at Constantinople, and the siege of the city began. Greatly depopulated over the years, Constantinople was now a city of just 50,000 inhabitants, with an army of only 7,000 to defend them. Arrayed against Constantine was a force at least ten times larger than his, with state of the art artillery provided by the gunsmith Orban. After a siege of fifty-three days and determined fighting, the city fell. When all hope had faded, according to Michael Critobulus (writing later in Mehmed's service) Constantine tore off his imperial regalia so as to let nothing distinguish him from any other soldier and led his remaining men in a last charge, perishing in the fighting. Struck during the siege of Constantinople, the present coin is illustrative of how far the empire had fallen. Its fabric is crude, struck on recycled silver from church altar vessels in order to pay mercenaries, and the quality of the artistry no better than the worst barbaric imitative issues of the migration period, yet the historical importance of these extremely rare coins cannot be overstated. 29 May 1453 is often cited as end of the late Middle Ages of the post-classical era, and the start of the early-modern period. The siege coinage of Constantine XI can thus rightly considered to be the last ‘ancient’ coins.

A small collection of Asian Works of Art, including a carved jade lotus bowl, a brass Indian god, a carved bone figure and other items (a parcel)

4th-3rd century BC. A discoid slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 101 grams, 11.5cm (4 1/2"). Property of a gentleman; acquired on the Asian art market. Fine condition.

4th century BC. A rhyolite funerary idol with conical head and body, low-relief facial features and ribbed headdress; traces of red pigment. 1.5 kg, 17cm (6 3/4"). Property of a gentleman; acquired on the Asian art market. See the Gloman Meritt private collection of ancient artifacts from the Philippines for a similar item. Fine condition.

4th century BC. An oval polished stone with carved face features and hands to the both sides. 3.5 kg, 16cm (6 1/4"). Property of a gentleman; acquired on the Asian art market. See Gloman Meritt private collection of ancient artifacts from the Philippines. Fine condition.

4th-3rd century BC. A D-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 181 grams, 12.7cm (5"). Property of a gentleman; acquired on the Asian art market. Fine condition.

Early 19th century AD. A tall bronze piriform jar with flared base, collar to the neck, everted rim; the surface painted with a background of dense foliage and reserved polychrome panels depicting female busts, flowers, perching birds, scenes of armed men fighting and hunting lions. 3.6 kg, 49cm (19 1/4"). Fine condition, some abrasion and usage wear. Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. From their roots as a Turkmen tribe of shepherd-warriors centered in Azerbaijan, the Qajar Dynasty would become a fully assimilated Perso-Islamic monarchy that reunified Persia and, through their modernisation programs, laid the foundation for the modern nation-state now known as Iran. The Central Asian origins of the Qajar dynasty are illustrated through the art of the time which draws on themes popular among the nomadic people of the area as well as traditional Islamic patterns and designs. The Qajar period is now increasingly recognised as a time of significant change in Persian society. Perhaps the most obvious influence was the impact of Western ideas and technology, which accompanied the diplomats, military and technical advisers, merchants, travellers, and missionaries who flocked into 19th-century Persia. Qajar art is characterised by an exuberant style and flamboyant use of colour, which became more emphatic as the 19th century progressed; here Persian art may be compared with developments in 19th-century Europe, where technological mastery made virtuoso forms of decoration possible. A particularly important feature of Qajar art is the richness of its iconography. Flowers (especially roses and irises), foliage, and fruit function both as central and supporting motifs. There are views of pastoral landscapes and buildings mainly inspired by imported European illustrations. There are also many narratives. Nostalgia for Persia’s past is reflected in scenes of Sasanian rulers, traditional themes of Persian literature, and more recent battles with the Ottoman Turks and Mughals.

4th century BC. A rhyolite funerary idol with bulbous head and body, low-relief facial features and arms; traces of red pigment. 1.4 kg, 13cm (5"). Property of a gentleman; acquired on the Asian art market. See the Gloman Meritt private collection of ancient artifacts from the Philippines for a similar item. Fine condition.

4th-3rd century BC. A heater-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 182 grams, 12.4cm (4 3/4"). Property of a gentleman; acquired on the Asian art market. Fine condition.

4th-3rd century BC. A rectangular slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 275 grams, 18cm (7"). Property of a gentleman; acquired on the Asian art market. Fine condition.

4th-3rd century BC. A D-shaped ceramic mask with two eye-holes and incised stylised facial details; pierced at the upper corners for attachment. 258 grams, 13.3cm (5 1/4"). Property of a gentleman; acquired on the Asian art market. Fine condition. [No Reserve]

4th-3rd century BC. A trapezoidal slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 188 grams, 13cm (5"). Property of a gentleman; acquired on the Asian art market. Fine condition.

4th-3rd century BC. A rectangular slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 184 grams, 11.8cm (4 1/2"). Property of a gentleman; acquired on the Asian art market. Fine condition.

4th-3rd century BC. A trapezoidal slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 194 grams, 12.4cm (4 3/4"). Property of a gentleman; acquired on the Asian art market. Fine condition.

4th-3rd century BC. A D-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 304 grams, 17.6cm (7"). Property of a gentleman; acquired on the Asian art market. Fine condition.

A good mixed lot to include Wedgwood Jasperware decorated in the powder blue pattern, an Asian lidded ginger jar, a large art glass pedestal bowl, a heavy good quality triangular art glass vase, a small quantity of cobalt blue glass liners and Victorian blue and white ware (qty)

Fahr-Becker (Gabriele, editor). The Art of East Asia, volumes 1 & 2, 1998, numerous colour illustrations, original red cloth in dust jackets, and slipcase, large 4to, together with Singh (Madanjeet), Ajanta, Painting of the Sacred and the Secular, India, 1965, numerous colour and black and white illustrations, original brown faux morocco in dust jacket, and slipcase, covers slightly rubbed to head and foot, large 4to, and other modern Asian, Middle Eastern and Oriental art reference, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio Some with ex libris bookplates. (3 shelves)

Two shelves containing a quantity of ceramic teapots to include Furstenberg, Art porcelain, Tournay, Kyoto and a collection of Asian cups (qty) (2 shelves)

Asian Wall Art - a wall plaque depicting a Japanese lay set with mother of pearl and gilded highlights, 91cm (h) x 36cm (w)

Arte Cinese . A sandstone stele with Maitreya China, Qi dynasty, 5th - 6th century . Sandstone sculpture, presumably portraying the future Buddha sitting in meditation on an altar depicting two lions facing each other, next to a fire, and two offerings bearing figures on the sides. The serene face of the character is enriched by a crown and encircled by a circular halo, and the whole scene is framed by two dragon flower trees characterized by dragons coiled around the trunks. Maitreya, in the bodhisattva form, is one of the most represented themes of the period, since it was deemed that the influence of Buddha Sankyamuni, the Gautama Buddha, would have soon been over. Maitreya is portrayed here as a young prince, sitting between two dragon flowers trees, symbolizing paradise. For a similar item refer to the stele depicting a similar subject, at the Asian Art Museum of San Francisco (object number B60S279). . Cm 39,00 x 51,50 x 17,50.

AN ART DECO SILVER AND ENAMELLED SNUFF BOX, the covers enamelled in blue, red, yellow and white, with an Asian elephant and rider, within chased borders, with gilt interior, indistinctly marked to the rim and stamped 'sterling', 3" long

YAKOVLEV, ALEXANDER (1887-1938) Palmyra, signed and dated 1933. Oil on canvas, 101 by 251.5 cm. Provenance: The Russian Sale, Sotheby’s London, 19 May 2005, lot 119. Acquired at the above sale by the present owner. Private collection, UK. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Exhibited: Alexandre Iacovleff. Peintre attaché à l’Expédition Citroёn Centre-Asie, Galerie J. Charpentier, Paris, 16 May–4 June 1933. Literature: Exhibition catalogue, Alexandre Iacovleff. Peintre attaché à l’Expédition Citroёn Centre-Asie, Paris, 1933, p. 5, Nos. 4, 8 or 9, listed. The solo exhibition of the celebrated Russian artist and traveller Alexander Yakovlev, which opened on 16 May 1933 at the prestigious Jean Charpentier gallery, was one of the outstanding events of artistic life in Paris. The exhibition represented the artistic output of the Trans-Asian expedition (1931–1932) organised by the French automobile company Citroёn. Alexander Yakovlev brought back hundreds of drawings, sketches and studies which, once back in Paris, he used for a whole series of paintings. According to the exhibition catalogue, the artist presented 377 paintings and drawings. Amazed by their “abundance” and “high quality”, Alexander Benois wrote that “It is difficult to believe that every exhibit was the work of a single hand and executed in a very short space of time, a great many of them on the spot, in the most uncomfortable conditions, requiring a rude health and an utterly exceptional adaptability.” Adaptability was indeed crucially important in Asia, for the local populations were by no means always hospitable towards Europeans. The issue of posing for pictures was also difficult, since the Koran forbids portraiture. The travellers’ lives were further complicated by natural climatic disasters: dust storms, for example, impeded the view of Syria’s most important site, the celebrated Palmyra. It is no coincidence that three of the six pictures painted from the studies done in situ were entitled Palmyra in a SandStorm, The Necropolis of Palmyra after a Sand-Storm and Caravan Caught in a Sand-Storm. The other three canvasses had a shorter title – Palmyra. The present lot is one of these works. In this horizontally elongated picture the artist depicts a panoramic view of the ruins of ancient Palmyra, once the most beautiful town in the Roman provinces, which astonished people of the time with its magnificent temples, tombs and colonnades. Yakovlev had heard about the historical monuments of classical Palmyra while still a student at the Imperial Academy of Arts. When he saw it with his own eyes, he immediately recorded his impression of “unending rows of columns punctuated in places by arches or ruined temples” Yakovlev chose this particular composition to encompass the greatest possible expanse, to show the massive scale of the ruined stone-built town, its major ancient structures and the way they related to each other. Along the line of the horizon on the left, he depicts the famous Temple of Baal, its colonnade and the remains of other buildings; and on the right, in the distance, a barely-visible yet easily recognisable Great Colonnade of Palmyra. The artist filled the centre of the composition with the endless ruins covered in sand, the remains of shattered columns and decorated capitals; and in the bottom right-hand corner of the picture, in the foreground, he even placed the head of the statue of a god, pictured lying among the detritus. Yet, in this seemingly desolate world, there are signs of life. If you look closely, you can see an entrance to either an underground dwelling or a well. Right of centre, in the distance, sheep are moving along and, on the left, a man hearding a donkey. In the foreground, to the left, the painting is animated by the figures of two women in long, dark garments with enormous pitchers on their heads. The introduction of Arab women into the composition of this romantic antique landscape leads us to reflect on the juxtaposition of cultures within the confines of a single space. Alongside its value as a documentary record, the picture undoubtedly also has a philosophical aspect, evoking ideas about the fragility of existence, the shifts and downfalls of civilisations, the destruction of harmony and life, persevering in all these trials and tribulations. Dr Elena Yakovleva, Art Historian

Collection of Asian Marble Art Craft including Three Large Vases and Two Boxed Sets

A collection of various works of art, glass and metal wares including a Boodle & Dunthorn chromium plated strut clock and barometer, a silver mounted sugar shifter, a silver mounted cut glass decanter, a south east Asian carved wood book stand, a pair of arts and crafts style copper candlesticks etc.

A group of African tribal, South East Asian and Chinese decorative works of art including figures masks and musical instruments.

Asian art, a carved seated couple

Dhruva Mistry, CBE, RA (Indian, b.1957) "Head" signed lower right "Dhruva Mistry '82" pencil and crayon, in a black painted frame 40 x 30cm (16 x 12in) Other Notes: Dhruva Mistry was born in 1957 in Kanjari, Gujarat . He studied at the Faculty of Fine Arts, the M S University of Baroda in India from 1974 to 1981, then at the Royal College of Art in London from 1981-83 on a British Council Scholarship. Between 1984 and 1985 he held the role of artist in residence at Kettle's Yard Gallery in Cambridge, with a Fellowship at Churchill College at Cambridge University . In 1994 he held a solo show at 'Asian Artist Today' at the Fukuoka Art Museum. Dhruva was elected member of the Royal Academy of Arts in 1991 and Fellow of the Royal Society of British Sculptors, London in 1993. Mistry's work is included in group shows in national and international exhibitions and held in major public collections in the UK, Japan and India. He was made Sculptor in Residence at the Victoria & Albert Museum, London in 1988 and represented Britain at the Third Rodin Grand Prize Exhibition, Japan in 1990. He was awarded the CBE in 2001. A book on his life and work is currently planned by Lund Humphreys, London. Condition is fine.

A vintage Art Deco red and black necklace with carved cinnabar style beads interspersed with black glass and white metal beads with carved Asian fan pendant. Weight 105g. Measures 30 inches plus pendant.

4th-3rd century BC. A trapezoidal domed ceramic mask with two eye-holes and incised stylised facial details; pierced for attachment. Property of a gentleman; acquired on the Asian art market. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2) December 2005 and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines in Asian Perspectives Vol. 28, no. 1. 170 grams, 12.6cm (5"). Fine condition.

4th-3rd century BC. A trapezoidal domed ceramic mask with two eye-holes and incised stylised facial details; pierced for attachment. Property of a gentleman; acquired on the Asian art market. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2) December 2005 and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines in Asian Perspectives Vol. 28, no. 1. 164 grams, 15.5cm (6"). Fine condition.

4th-3rd century BC. A trapezoidal ceramic mask with two eye-holes and incised stylised facial details; pierced for attachment. Property of a gentleman; acquired on the Asian art market. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2) December 2005 and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines in Asian Perspectives Vol. 28, no. 1. 209 grams, 13.3cm (5 1/4"). Fine condition.

4th-3rd century BC. A trapezoidal slightly domed ceramic mask with two eye-holes and incised stylised facial details; pierced for attachment. Property of a gentleman; acquired on the Asian art market. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2) December 2005 and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines in Asian Perspectives Vol. 28, no. 1. 158 grams, 14.2cm (5 1/2"). Fine condition.