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A CHINESE ROOTWOOD BRUSHPOT of complex gnarled form with some openings, the honey-coloured wood with a rich patina, the base with an ink inscription, Qing Dynasty, 17th/18th century, 23cm wide. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A PAIR OF CHINESE HUANGHUALI TRUNK-FORM BRUSH POTS naturalistically carved with gnarls and branches, the well-patinated wood of honey and caramel tones, Qing Dynasty, 18th/19th century, 13.7cm high (2). Provenance: An Important Private Collection of Chinese and other East Asian Art.

A RARE JAPANESE WOOD TOAD-FORM HAND WARMER the creature with its head raised and metal-lined mouth open, the chest area with a poetic inscription signed San'yo (Rai San'yo 1780-1832), the back carved with warts, the eyes inlaid, Edo period, circa 1820-30, 21cm long; the softwood box with hakogaki reading 'Hiki, te-aburi Shiko zoju" (toad, a treasured collection of Shiko, a hand-warmer), also with a label inscribed 'Jidai kiri gama teaburi' (a piece of antique item, paulownia wood, toad, hand-warmer) This hand-warmer is an unusual and fascinating object which exemplifies the mixture of humour and sophistication inherent in Japanese literati sensibility. Rai San'yo (1780-1832) was a noted Neo-Confucian scholar and philosopher, author of many books, Chinese classic poet, and a generous patron to literati and painters of the time. The inscription on the box indicates that the hand warmer was at one time in the collection of the painter Kojima Shiko (1889-1960) - a distinguished artist who showed his work at Government-sponsored exhibitions. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE POTTERY FIGURE OF A PRANCING HORSE, the animal with its right foreleg raised and head looking to the left, Han Dynasty, 22.8cm long. Provenance: Roger Keverne Ltd London 1997. An Important Private Collection of Chinese and other East Asian Art. The dating of this lot is consistent with thermoluminescence testing by Oxford Authentication.

A CHINESE HUANGYANGMU (BOXWOOD) GUANYIN, the deity seated cross-legged with hands together in dhyanamudar, her face with a serene expression and downcast gaze, late MIng - early Qing Dynasty, 24cm high. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A JAPANESE GILT-LACQUERED WOOD JIZO BOSATSU, the bald-headed figure with long robes, holding a metal staff in one hand and a buddhist jewel in the other, on a lotus base, the face with a composed serene look, Edo period, 17th/18th century, 32cm high. Provenance: Gerard Hawthorn Ltd London 2002. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE ROOTWOOD SAKYAMUNI GROTTO, the emaciated deity seated with one knee raised, his wizened face with inlaid eyes, within a gnarled rootwood grotto surround, Qing Dynasty, 17th/18th century, 34cm high. Provenance: Gerard Hawthorn Ltd London 1999. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE HUALI WOOD TABLE BUREAU, the fall-front revealing an arrangement of drawers and cupboards, above two frieze drawers, Qing Dynasty, 18th century; on an English George III mahogany stand, 101cm high x 59cm wide x 36cm deep overall. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE MARBLE-TOPPED HARDWOOD TRIPLE STAND, the square tops above openwork scrolls, Qing Dynasty, 19th century, 49cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE AGATE CHILONG CARVING, the two creatures facing each other on top of a gourd, Qing Dynasty, 17th/18th century, 4.8cm long. Provenance: Gerard Hawthorn Ltd London 2003. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE AMETHYST MINIATURE EWER with a rodent-form handle, the body carved with a mythical creature, Qing Dynasty, 18th/19th century, 4.7cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE SMOKY QUARTZ WATER POT, the vessel of irregular form and carved to the exterior with lingzhi, Qing Dynasty, 18th/19th century, 6.6cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE SMOKY QUARTZ WATERPOT, the flush opening above a tapering body and short foot, the exterior carved with birds and foliage, Qing Dynasty, 18th/19th century, 6.5cm diameter. Provenance: Spink and Son Ltd London 1954. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE LONGQUAN 'LOTUS' BOWL, of gently rounded form, the exterior suggesting petals, Southern Song Dynasty, 11.3cm diameter. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE ROCK CRYSTAL CARVING OF A HORSE AND GROOM, late Qing Dynasty, 11cm high. Provenance: Spink and Son Ltd London 1990. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE 'HAIR' CRYSTAL WATER POT, in the form of a recumbent horse holding a lingzhi spray, Qing Dynasty, 18th/19th century, 7cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A MINATURE CHINESE YELLOW PEKING GLASS MYTHICAL CREATURE, crouching on all fours with its mouth open, the details finely modelled and the vertebrae and rib cage visible, possibly Imperial, Qianlong, 5.5cm long. Provenance: Spink and Son Ltd London 1989. An Important Private Collection of Chinese and other East Asian Art.

A RARE CHINESE SOAPSTONE 'CHILONG' BOULDER, the warm stone of amber-yellow tone, carved with five writhing chilong dragons, late Ming - early Qing Dynasty, 9cm long. Provenance: Spink and Son Ltd London 1975. An Important Private Collection of Chinese and other East Asian Art. For a comparable carving see Sotheby's New York, 17th September 2013, lot 117.

A CHINESE SOAPSTONE SEAL, carved with lotus flowers, the stone of rich amber tones, late Ming - early Qing Dynasty, 5.5cm high. Provenance: Spink and Son Ltd London 1980. An Important Private Collection of Chinese and other East Asian Art.

A LARGE CHINESE SOAPSTONE 'CHILONG' BOULDER, carved with four chilong dragons among lingzhi and bats, the stone of mottled amber tones, late Ming - early Qing Dynasty, 14.5cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE SOAPSTONE 'CHILONG' WEIGHT, the two creatures crouching low and facing each other on a square base, late Ming - Qing Dynasty, 7cm x 7cm. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE SOAPSTONE RECUMBENT ELEPHANT, the creature reclining to one side with its eyes closed and a peaceful expression, its head turned slightly to the right, Qing Dynasty, 17th/18th century, 7cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A SMALL CHINESE AMBER WATER COUPE, carved in the form of a lotus leaf, the underside with a lotus bouquet, Qing Dynasty, 18th/19th, 6cm long. Provenance: Spink and Son Ltd London 1975. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE AMBER PENDANT, carved on each side with figures in a landscape, the material of variegated caramel and honey tones, Qing Dynasty, 18th/19th century, 5.5cm high. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE PRESSED AMBER WATER COUPE, the exterior with five chilong dragons peering over the rim, late Qing Dynasty - Republic period, 8cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A SET OF THREE CHINESE SOAPSTONE SEALS, each with a dragon finial, the box with a label inscribed 'Du ling keng long niu yin' (duling stone seals with dragon finials, three pieces), the smaller seal 7cm high, the larger seals 8cm high, late Qing Dynasty - Republic period. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE AMBER WATER COUPE, of irregular form, the exterior carved with three lively chilong dragons, the material of an even translucent reddish tone, late Ming - early Qing dynasty, 8cm long. Provenance: Roger Keverne Ltd London 2000. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE PALE CELADON AND RUSSET JADE GARMENT HOOK, the tapering curved body terminating in a dragon head, Song - Ming Dynasty, 8.4cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE PALE CELADON AND BLACK JADE GROUP, carved as a monkey climbing on a recumbent horse, late Ming - early Qing Dynasty, 4.7cm long. Provenance: Spink and Son Ltd London 1981. An Important Private Collection of Chinese and other East Asian Art. A monkey climbing on a horse (mashang hou) forms the rebus "May you be immediately appointed to the rank of marquis".

A CHINESE MOTTLED JADE BIRD, the creature with its head turned backwards and carved feather details, the underside also carved, Ming Dynasty, 4.4cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE YELLOWISH-CELADON JADE GOOSE, the bird with its neck coiled and head turned slightly to the left, the feathers finely carved, the feet in relief underneath, the warm-coloured stone with some dark russet markings, Ming Dynasty, 7.7cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE OPAQUE PALE CELADON JADE RECUMBENT LION, the creature with its' head turned to the rear, the vertebrae, tail and mane finely detailed, late Ming - Qing Dynasty, 7.9cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE QINGBAI SMALL BOWL, of rounded form, the central well with a relief prunus spray moon in slip to one side, beneath a bluish glaze, the rim in biscuit, Song - Yuan Dynasty, 9.8cm diameter. Provenance: The Collection of Mr and Mrs Alfred Clark; Sotheby's London, Important Chinese Ceramics, The Property of Mrs Alfred Clark, 25th March 1975, lot 74. Adrian Maynard London 1986. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE CELADON JADE RECUMBENT BUFFALO, the animal lying flat with its' head turned to the right, Ming Dynasty, 9.5cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A LARGE CHINESE CELADON RECUMBENT DEER, of compact form, the well-modelled creature with its' head looking upward and turned slightly to the left, the stone with some darker horizontal markings on the body, late Ming - early Qing Dynasty, 13.5cm long. Provenance: The Oriental Art Gallery London 1994. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE CELADON JADE RECUMBENT HORSE PENDANT with its' head turned to one side, the mane with finely carved details, the stone with some darker markings, Song - Ming Dynasty, 5.2cm long. Provenace: Spink & Son Ltd London 1961. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE GREEN JADE WATER POT, the exterior carved in relief with three chilong dragons around the pronounced lip, the base with four naturalistic feet, the stone with some fine and pronounced markings, Ming Dynasty, 7cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE WHITE JADE DOUBLE-QUAIL GROUP, the two birds with finely detailed feathers, both holding the same branch of millet in their beaks, the stone with some russet markings, Qing Dynasty, 17th/18th century, 7.5cm long. The combination of two quails with grain (anchun sui) forms a rebus conferring the wish "May there be peace and a good harvest". Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE TRANSLUCENT WHITISH JADE FITMENT of ruyi form, with a lobed border, carved on each side with flowers, one side with a suspension loop, Qing Dynasty, 18th century, 5.5cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE PALE CELADON AND RUSSET JADE LION AND CUB of curved form, the adult creature crouching on waves and playfully grasping the young with its' mouth, the underside with a russet skin, Qing Dynasty, 18th century, 9cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE WHITE AND RUSSET JADE CARVING OF TWO CAT FISH, the creatures facing each other and surrounded by lingzhi, Qing Dynasty, 18th/19th century, 7.5cm long Two catfish with sacred fungus (nianyu lingzhi) forms a rebus "May your wishes come true year after year". Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE PALE CELADON AND RUSSET JADE RECUMBENT BUFFALO of compact form with its head turned to one side, the body with a central aperture, late Ming - Qing Dynasty, 5.7cm long. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE MARBLE BUDDHA FRAGMENT, the deity with an expression of deep peace and warmth, wearing flowing robes draped and tied at the chest, the left hand pointing downwards and open in offering, probably Tang Dynasty, 28cm high; on a modern stand Provenance: John Sparks Ltd London (label). An Important Private Collection of Chinese and other East Asian Art.

A FINE CHINESE DINGYAO SHALLOW WASHER, the centre carved with a peony flower and foliage, the sides tapering and gently rounded towards the recessed foot, the rim metal-bound, Northern Song Dynasty, 13.5cm diameter. Provenance: Spink and Son Ltd London 1976. An Important Private Collection of Chinese and other East Asian Art. A Dingyao dish of exactly the same size and similar decoration, formerly in the collection of Lord Cunliffe (TT17), is now in a private collection.

AN IMPORTANT LARGE CHINESE GREEN JADE RECUMBENT HORSE, the animal reclining to one side, its' head turned to the right with ears pointed forward and mane finely carved, the face with a serene and confident expression communicated through the crisply-defined mouth, nostrils and eyes, the front legs tucked under the body, the finely-detailed tail swept around and tucked between the back leg and generous hindquarters, the underside showing the four folded legs, the stone of sea-green tones with lighter and darker markings, the back area with some russet and brown skin remaining, late Ming - early Qing Dynasty, 17th century, 23.5cm long; in a custom-made fitted box with integral hardwood stand and wood outer case. Provenance: Spink & Son Ltd London 1961. An Important Private Collection of Chinese and other East Asian Art.  CONVEYOR OF PEACE AND STRENGTH: AN IMPORTANT LARGE GREEN JADE RECUMBENT HORSE    “… among the most ambitious and monumental examples of jade ever worked in China; and perhaps all of them once had their place in the pavilions of the various palaces in Peking.” These are the words of Jessica Rawson and John Ayers describing the important and rare group of large Chinese jade carvings of horses and buffalo to which the present lot belongs. They are from the catalogue to the 1975 exhibition ‘Chinese Jade Through the Ages’ organised by the Arts Council of Great Britain and the Oriental Ceramic Society and held at the Victoria and Albert Museum (see pages 118-120 of the text). The exhibition included no fewer than eight examples from this group – surely the largest number ever exhibited together, and gathered from important collections, including Mr and Mrs John D. Rockerfeller, Somerset de Chair, and the Fitzwilliam Museum Cambridge. In discussing the horses, the authors continue: “The horses in particular are remarkable for their intense observation and their powerful stylisation of artistic form, by means of which the artist has succeeded wonderfully in conveying the alert strength of the animal despite its fundamental attitude of repose.” It is difficult to imagine what better words could summarise the achievement of the anonymous Chinese jade carvers who created these magnificent works of sculpture. Although the details of their commissioning are unclear, it is likely that they were made for Imperial consumption, as the quote above suggests. Connoisseurship in this area has its own criteria and cannot be compared to the standard imposed upon later Qing Dynasty jade carvings where purity of stone is so critical. Generally thought to have been made in the 17th century, when there was a paucity of purer stone, it is the way in which the carver worked with the available material that counts. In this context, natural flaws are transformed and celebrated. For instance, on this horse the sea-green stone with its lighter opaque markings evokes a wonderful sense of depth which expresses the mysterious beauty of the stone. Also, the artist has left areas of the stone’s skin exposed on the back of the horse, no doubt caused by the constraints of the boulder but also appearing as an act of reverence to the material. The contrast of exquisite carving with the natural roughness of the stone’s skin is part of the object’s beauty and rewards handling.   The form of the horse is also of great interest and appears unique on this scale. Other examples have a raised head whereas this one has its head low. This position seems to emphasise the sense of peace and confidence which the carver has captured on the horse’s face and which expresses so clearly the significance of the animal in Chinese culture. In doing this the artist has shown exceptional creativity, transforming the natural limitations of the boulder into such a successful composition. At 23.5cm long the present lot is towards the lower end of the size range within the group, with most falling between 20cm and 35cm in length. It is very rare for examples to appear on the market. A larger horse (31.5cm) from the Collection of Lord Cunliffe was sold by Bonhams London on 11th November 2002, lot 9. More recently a smaller example (19.5cm) was offered at the same salerooms on 10th November 2011, lot 349. This horse is an exciting discovery, having remained in a private collection since its purchase from Spinks in 1961. It now joins the group of published examples and thus adds to our understanding of these important jade sculptures.      

ZHU XU (Qing Dynasty) A mountain landscape with two figures crossing a bridge approaching a pavilion, on the far side of the river scholars discourse in a retreat set behind two large trees nestled under a rocky outcrop, further mountain ranges stretch into the distance; signed Shisun di Zhu Xu and sealed Xian-gu and Xiao-shan; titled and inscribed 'Willow Tree and High Buildings, in the (lychee) summer of the year of ding-hai (1827 or 1887), two days after the beginning of Autumn, painted in the manner of Li Sixun, whilst staying at the Palace of Mo Ruyi', ink and colour on paper, framed in the round, 23.5cm diameter. Zhu Xu was a noted Qing Dynasty painter, poet, seal and ink stone carver, who studied with Zhang Qian. Li Sixun (651-716) was a famous Tang Dynasty general, politician and painter who developed a style of painting which became popular among some Qing Dynasty artists reacting against more modern styles. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A CHINESE PAINTED STUCCO PANEL showing a reclining female figure holding a lily, with her hair tied up and wearing a red robe, Tang - Song Dynasty, 19cm x 21cm Provenance: John Sparks Ltd London 1955. Formerly in the H. Oppenheim Collection. An Important Private Collection of Chinese and other East Asian Art.

BY OR AFTER QIAN WEICHENG (1720-1772) An extensive mountain landscape, the foreground with a group of buildings nestled amongst trees beside a river and bridge, beyond this two scholars are seated in an open pavilion under rocks, above a deep ravine divides the composition with further mountains beyond, signed, sealed, dated and inscribed, ink and colour on paper, 145cm x 48.5cm; mounted as a hanging scroll The right inscription, signed Chashan, mentions a painting in the residence of the Grand Councillor Yu Minzhong (1714-1799) in the style of the Four Masters of the Yuan Dynasty which inspired the artist. The left inscription, signed Weicheng and dated Winter 1766, discusses a plan to give the picture to his brother the following year. Qian Weicheng was a leading Orthodox School painter of the 18th century. He had a distinguished official career, rising to the rank of Vice President of the Board of Works. At the same time the Qianlong Emperor considered him to be one of the outstanding painters of the age. In over twenty years service at court he produced more than 275 paintings for the Emperor. The reference in the inscription on the right of this painting to Yu Minzhong (1714-1799) is interesting. He was a contemporary of Qian Weicheng in the court of Qianlong and several extant works by the artist are inscribed by him. Provenance: An Important Private Collection of Chinese and other East Asian Art.

TANKE GESSEN (1721-1809) 'Shoshi san' en no zu, Gessen-ga' (pine trees, three gibbons) signed Gessen, and sealed Shozan sha and Jakusho shujin, ink on silk, 91cm x 37cm; mounted as a hanging scroll with a patterned silk border in an inscribed softwood box Gessen is recorded in Roberts 'Japanese Painters' page 31. He was a priest and resided at the Jakusho-ji Temple, whose 'mountain name' is Ei-Shozan, Ise. Provenance: An Important Private Collection of Chinese and other East Asian Art.

YOKOYAMA KAZAN (1784-1837) A scenic view of a mountain in spring; and an old Shinto shrine in a snowscape (a pair), signed Kazan, ink and colour on silk, 49.5cm x 30.5c;, mounted as hanging scrolls with patterned silk borders, in an inscribed softwood box (2) See Roberts 'Japanese Painters' page 74 for a note about the artist. Provenance: An Important Private Collection of Chinese and other East Asian Art.

KISHI CHIKUDO (1826-1897) 'Fuyu' (Winter), the scene depicting a wolf in winter moonlight between two trees, signed Chikudo and also with collectors seal, ink and colour on silk, 116cm x 42cm; mounted as a hanging scroll with a patterned silk border, in a softwood box Kishi Chikudo was a leading Meiji painter who was appointed as an Imperial Craftsman. A comparable painting of a howling wolf in the moonlight is in the collection at the Shiga Prefecture Museum of Modern Art (J-114). Provenance: An Important Private Collection of Chinese and other East Asian Art.

RICHARD BLOME (1635-1705) 'A New Mapp of Ye Empire of China', 1682, colour engraving, 30.5cm x 39.5cm (plate size). Provenance: An Important Private Collection of Chinese and other East Asian Art.

BY OR AFTER ZHOU PEI CHUN an official funeral procession, ink and colour on silk, 32cm x 68cm. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A SMALL CHINESE JUNYAO 'MOON WHITE' SAUCER DISH, the broad everted rim above a gently rounded body, the thick light-blue glaze suffused with tiny whitish particles, Northern Song Dynasty, 11.5cm diameter. Provenance: The George de Menasce Collection. Spink and Son Ltd London 1972. An Important Private Collection of Chinese and other East Asian Art. This type of lighter blue Junyao glaze has traditionally been referred to by Chinese scholars as 'moon-white'. This analogy rights expresses appreciation for its great subtlety. The present example, with a glaze appearing suffused with tiny white particles, brings to mind the softness of a fresh dusting of snow in the moonlight. For a foliated dish in the Sir Percival David Collection see 'Song Ceramics: Objects of Admiration', by Stacey Pierson, London 2003, pp.46-47.

A FINE SMALL CHINESE JUNYAO 'BUBBLE' BOWL, the steep sides of gently rounded form, the thick glaze of milky-blue and moon-white tones suffused with tiny bubbles and pooling above the unglazed foot, Northern Song Dynasty, 8.3cm diameter. Provenance: T. Y. King Jnr to Bluett and Sons, October 19th 1960 (£90). Bluett and Sons to R. G. Hill, April 6th 1961 (£115). R. G. Hill to Bluett and Sons 1964 (£90). Bluett and Sons to the present collection, March 18th 1964 (£160). An Important Private Collection of Chinese and other East Asian Art. This exquisite little bowl exemplifies the so-called Junyao 'bubble' type - a relatively rare group within the range of Jun wares. The name derives from the presence within the glaze of small pearlescent bubbles which develope during firing and reinforces the attention to detail and subtlety inherent in connoisseurship of Song Dynasty ceramics. For a very similar bowl from the Feng Wen Tang Collection see Bonhams Hong Kong, 9th October 2014, lot 116.

A KOREAN CELADON OVOID VASE, the shoulder inlaid with a foliate band, above the rounded body carved with lotus flowers and scrolling foliage with a lappet band below, Choson Dynasty, probably 19th century, 9cm diameter Provance: Compagnie de la Chine & des Indes Paris (label). An Important Private Collection of Chinese and other East Asian Art.

A KOREAN CELADON CONICAL BOWL, with a slightly everted rim and gently rounded body, the glaze an even greyish-green tone, Koryo Dynasty, 17.5cm diameter. Provenance: John Sparks Ltd London 1975. An Important Private Collection of Chinese and other East Asian Art.

A CHINESE YUEYAO FROG-FORM WATER POT, the rounded body modelled in relief with the creatures head, arms and legs, and with incised details, Western Jin Dynasty, 8cm long. Provenance: George de Menasce Collection. Spink and Son Ltd London 1974. Exhibited: Mostra D'Arte Cinese Venezia, 1954. An Important Private Collection of Chinese and other East Asian Art

A THAI SAWANKAHLOK JOSS STICK HOLDER, in the form of a kneeling figure, the glaze with some blue areas, 15th-17th century, 7cm high. Provenance: An Important Private Collection of Chinese and other East Asian Art.

A KOREAN INLAID CELADON 'OIL' JAR, the shoulder decorated with a band of chrysanthemum flowers, Koryo Dynasty, 8cm diameter. Provenance: John Sparks Ltd London 1975. An Important Private Collection of Chinese and other East Asian Art.