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Francis Newton Souza (1924-2002)Untitled (Head of Nixon) executed in 1970chemical alteration and mixed media on printed magazine paper28 x 21.1cm (11 x 8 5/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in New York.'For a long time Tolstoy and others have asked the big question: What is Art? I now know my answer quite simply: Art is what I do.' - F.N Souza'Souza began experimenting with the altered image in the 1950s, drawing over newspaper and magazine images. By the late 1960s Souza discovered a special chemical solvent that would dissolve away part of the photographic image. He would then re-work it and draw over it to produce a juxtaposition of painting and the commercially produced print, called chemicals.' (Saffron Art & Grosvenor Gallery, Francis Newton Souza, Planet Saffron Inc. and Grosvenor Gallery (Fine Arts) Ltd, 2005, p.78) To see a another work from the Time portrait series see, Christies, South Asian Modern & Contemporary Art, 9th June 2011, Lot 31.Francis Newton Souza, a trailblazing artist of the 20th century, left an indelible mark on the world of modern Indian art. His distinctive style, marked by bold colours, striking compositions, and a fearless exploration of the human form, made him one of India's most celebrated and controversial artists. Born on April 12, 1924, in Saligao, Goa, Souza's life journey was a tumultuous one, marked by artistic triumphs and personal tribulations.Early Life and EducationSouza was born into a Roman Catholic family in Portuguese-occupied Goa. His early years were fraught with challenges, including poverty and the loss of his father at a young age. Despite these hardships, Souza displayed a remarkable talent for drawing, catching the attention of his teachers and local artists. Encouraged by their support, he pursued formal art education at the Sir J.J. School of Art in Mumbai, where he honed his skills and developed a strong foundation in classical European art techniques.The Progressive Artists' GroupAfter completing his formal education, Souza moved to London in 1949, where he was exposed to the avant-garde art scene. He soon became a prominent member of the 'Progressive Artists' Group,' a collective of artists who aimed to break free from the confines of traditional Indian art and embrace contemporary, international influences. Souza's work from this period is characterized by a blend of Western modernism and a distinct Indian sensibility.Artistic Style and ThemesSouza's style was bold and unapologetic. He painted with a sense of urgency, often using thick impasto layers and vibrant colours to depict his subjects. His subjects ranged from portraits and landscapes to religious and erotic themes. Souza's fascination with the human form was a recurring motif in his work, which he often rendered in an abstract and distorted manner, exploring themes of desire, sexuality, and spirituality.Controversy and CritiqueSouza's provocative art often courted controversy, and his provocative themes led to both admiration and condemnation. His bold depictions of sexuality and religion sometimes raised eyebrows, even leading to legal troubles. Despite these challenges, Souza remained uncompromising in his artistic vision, and his work continued to garner attention on the international stage.International SuccessIn the 1950s and 1960s, Souza's reputation as a groundbreaking artist grew beyond India's borders. He exhibited extensively in London, New York, and other major art capitals, earning critical acclaim and commercial success. His paintings were acquired by major museums and private collectors worldwide, solidifying his status as a leading figure in contemporary art.Later Life and LegacySouza's later years were marked by personal struggles, including health issues and financial difficulties. He spent the last years of his life in New York, where he continued to paint prolifically until his passing on March 28, 2002. Souza's legacy endures through his pioneering contributions to modern Indian art, inspiring subsequent generations of artists to push boundaries and challenge conventions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Abdulrahim Apabhai Almelkar (1920-1982)Hut signed 'Almelkar 64' in Devanagiri lower leftoil on canvas, framed38.7 x 45.2cm (15 1/4 x 17 13/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired from a charity shop in Windsor in the early 1990s.'A.A. Almelkar (1920 - 1982), not directly related to the revivalist movement at [Bombay's Sir] J.J. [School of Art], was friendly with artists from the Progressive Artists' Group. But he was obsessed with Indian miniatures along with tribal and folk traditions. His paintings after 1952, are truly Indian in character and full of rhythm, enhanced by a rich texture and the graceful serpentine black line, encompassing various forms into a coherent whole.'- Excerpt from S. Bahulkar and D. Ghare, Artists of the Bombay SchoolAlmelkar was a contemporary of the Bombay Progressive Artists and graduated in 1948 from the Sir J.J. School of Art. Heavily influenced by the impressionist inclinations of his fellow artists, Walter Langhammer and N.S Bendre, he began as a landscape painter, before shifting his focus towards depicting rural Indian life, an example of which can be seen in Hut. Here, as in many other works he has combined techniques from western art such as thick impasto, with Indian folk art to create a unique visual language. The hut dominates the canvas, and is devoid of humans. The two water vessels to the bottom left are the only other objects that populate the composition, indicating that the hut is a living organism. The sophisticated and muted colour palette employed by Almelkar consists of the earthy greens, browns and whites and enhances the tranquillity of the scene. These colours are applied in blocks, and then worked on using both his brush and fingers to give the work a textural quality. Given his artistic prowess it is unsurprising to learn that he held over 40 solo exhibitions in Asia and was the recipient of the 1955, 1956 and 1960 awards at the Art Society of India and the Lalit Kala Academy respectively. Moreover, he was awarded 20 gold and 24 silver medals, which is testament to his contribution to the art scene.To see a similar work from 1965 sold at Sotheby's, see Modern & Contemporary South Asian Art, 10th September 2012, lot 50.For further information on this lot please visit Bonhams.com

A.R. Nagori (1938-2011)Untitled (Five Figures) circa 1980soil on board, framed28.1 x 22.2cm (11 1/16 x 8 3/4in).Footnotes:ProvenanceProperty from a private collection, Pakistan. 'Nagori came from a social background and was angry enough at inequities, to be able to produce politically committed painting of a far authentic order than any other painter in Pakistan... Nagori showed profiles of protest publicly in Karachi in the hope of causing scandal. He built his public personality as a provocateur who, if he did not upset the officials of Pakistan National Council of Arts through his paintings, read papers in seminars in which he attacked real or imagined pressure groups and individuals who had harmed him in his mind.' (Akbar Naqvi, Image and Identity: Fifty years of Painting and Sculpture in Pakistan, Karachi, 1998, p.520-522)Nagori is known for his statement making works about injustice and the present lot comes from this series. Cut vertically into two equal parts, this is a painting of two halves. On the left side, we have what appears to be a holy man, holding tasbih beads, and a woman with a child bent in prayer, whilst on the right side we have a man, someone in authority as denoted by his headgear, and a woman and a child. The child bears a perplexed look, as the mother gazes straight ahead. The right side of the canvas is bathed in red, and the only respite is the blazing yellow sun, whilst the colours have been reversed on the left side of the canvas. The women and children appear to be unaware of the dual holy man/men, and this appears to have been deliberate on Nagori's part, as he likely attempted to show that a force greater than man was watching the events unfold. It is an engaging work and raises copious questions. It is not meant to be pleasant, and that is precisely where its triumph lies. For a similar work by the artist sold on these premises see Bonhams, Modern and Contemporary South Asian Art, 6th June 2023, lot 27.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sheikh Mohammed Sultan (1923-1994)Untitled (Kashmir Landscape) signed 'S M Sultan 1968' lower rightwatercolour on paper, framed34.7 x 54.5cm (13 11/16 x 21 7/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan.'S.M. Sultan lived in Karachi after wandering through Kashmir, without money or any other resource and a short stay in Lahore. Sultan was a quick painter who, according to a story from Amjad Ali, announced in the Lahore papers that he was going to hold an exhibition within two weeks, and managed to paint twenty large water-colour sketches of Kashmir in time.' (S. Amjad Ali, Painters of Pakistan, National Book Foundation, 1996, p.323)One of the pioneers of modern art in Bangladesh, Sultan was awarded the Ekushey Padak in 1981; the Bangladesh Charu Shilpi Sangsad Award in 1986; and the Independence Day Award in 1993. Born in the Narail district of present day Bangladesh, then India and subsequently East Pakistan, Sultan spent the years 1949-1953 and 1967-1971 in the West Pakistani cities of Lahore and Karachi, where he held exhibitions of his works. This was one of the most prolific periods of Sultan's life, as he produced a large body of works based on his travels to Kashmir, mainly water-colours and pen and ink drawings on brown coloured wrapping paper; the material readily available at the time. These paintings were largely village scenes, as seen in Untitled (Kashmir Landscape, where huts, humans and nature lived in harmony. Through this work, Sultan captures the serene and enchanting vistas of Kashmir. He has used soft edges and muted tones creating a sense of distance and a feeling of vastness. These works pre-date his muscular depictions of the peasants in Bangladeshi villages, however the scenery painted during this time is a precursor to his later works.For a similar work sold at Sotheby's see, Modern & Contemporary South Asian Art, 16th March 2020, lot 45.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE AND LARGE CHINESE SPINACH-GREEN JADE FIGURE OF A LUOHAN 18TH CENTURY Depicted seated in dhyanasana holding a tablet in his left hand and a brush in his right, he wears long layered robes which fall in folds around his bare left foot, his well-defined face detailed with downcast eyes and wrinkles to his forehead, with finely incised hairs to his long beard and moustache, the deep green stone with brown and dark inclusions, 23.5cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Several of the Eighteen Luohans are associated with books or Buddhist scriptures, including Nandimitra and Panthaka. The figure depicted here is likely to be Angida, who is often portrayed as a learned old monk who could read scriptures written in Sanskrit. Jade sculptures of this kind have previously been dated to the Ming dynasty, but the style of the representation and carving somehow fits more comfortably with that of the early Qing dynasty. Cf. Catalogue of the International Exhibition of Chinese Art, 1935-6, no.2860 for a similar figure lent to the exhibition by Mr and Mrs Edward Sonnenschein; see also G Wills, Jade of the East, p.104, nos.63-64 and N Zhou, Ancient Jades in Man, Immortal and Buddha, p.309, nos.360-361 for further related examples; see also Asian Art I, 17th November 2010, lot 337 for a comparable spinach-green jade figure of Buddha of the same size previously sold in these rooms.十八世紀 碧玉雕羅漢來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

AN EXCEPTIONAL AND FINE CHINESE IMPERIAL WHITE JADE INCENSE BURNER AND COVER QIANLONG 1736-95 Based on the form of an archaic bronze gui, the low rounded body supported on a broad flared foot, subtly decorated in low relief to the shoulder with a narrow band of ruyi-heads, with two slender S-shaped handles rising from the sides, the domed cover surmounted by a compressed circular knop, the finial carved with narrow petals radiating from a central medallion incised with swirling petals, the translucent stone of a superb even white tone, 13.1cm wide. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The beauty of this object lies essentially in the quality of the stone. The Chinese rank jades according to their colour tones, with the most prized jades being the yangzhiyu, 'mutton fat' nephrite that is sourced from the rivers in Khotan. The jade carver used nephrite of the highest quality, and kept a simplicity in its design. The collector's appreciation derives from the creamy-tone of the jade and its simple form. Cf. J Li, Chinese Jades Throughout the Ages - Connoisseurship of Chinese Jades, vol.12, pp.186-187, no.93 for a related incense burner and cover in the collection of the Palace Museum carved in jade of a comparable high quality; see also Asian Art I, 18th May 2011, lot 471 for an Imperial Qianlong period white jade teapot and cover previously sold in these rooms, which was worked in similarly high quality stone.清乾隆 御製白玉雕如意紋香爐來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE CHINESE PALE CELADON JADE INCENSE HOLDERS QIANLONG 1736-95 Each with a square-section body, worked in relief and openwork with figures in continuous mountain landscapes, the depicted scenes including two young boys walking along a path, three scholars looking at a painting, an old man and his young attendant beneath a pine tree, and Shoulao accompanied by his deer, with dark speckles dispersed through the pale stone, the waisted spinach-green tops and bases carved with bands of lappets, the ends pierced with flowers surrounded by scrolling foliage, 28.2cm. (2) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The incense holder is also known as a perfumier. The incense is placed inside the perfumier and the smoke emerges through the holes while the lighted incense fragrances the room. Perfumiers were popular in the Ming and Qing dynasties, when they were usually made of carved bamboo. They were sought after by the literati class who liked to place them on their desks. Incense holders made of more expensive materials such as jade were usually created for the Imperial Palace. Such pictorial representations are clearly based on traditional landscape paintings in ink. The subjects express belief in longevity and immortality. In Chinese religion, Immortals are always associated with mountains and hills. The carving is of exceptional quality. One can imagine the incense smoke wafting through the pierced holes, like clouds moving through high mountains, bringing these scenes to life. In the early Qing period, such landscape art was practised by literati artists and was much favoured at the Imperial Court, in particular by the Yongzheng and Qianlong Emperors. Here, the jade carver successfully crafted scenes from two-dimensional landscape paintings into this three-dimensional incense burner, creating a masterpiece that can equal any other great works of art. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.239, no.198, p.242, no.201 and p.243, no.202 for comparable pairs of incense holders in pale celadon jade; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.46-49, nos.36-38 for single cylindrical perfumiers with similar decoration; see also R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p.118, no.98 for a related example; see also Asian Art I, 17th November 2010, lot 335 for a comparable incense holder with spinach-green jade fittings previously sold in these rooms. 清乾隆 青灰玉鏤雕香薰 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A RARE AND LARGE CHINESE SPINACH-GREEN JADE FIGURE OF A LUOHAN 18TH CENTURY Carved seated in dhyanasana wearing a shawl and long robes, his garments held by a clasp at his left shoulder, he holds a stupa in his left hand whilst raising his right hand behind the precious object in a variation of abhaya mudra, his serene face detailed with a small finely incised moustache and beard, the green stone with brown flecks and inclusions, 23.5cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. In prehistoric times, jade was carved into human form. Such pieces are usually identified as religious worshippers and priests, sometimes as Immortals. The mysterious quality of the jade itself lent a special meaning to the figure it represented. This particular figure is carved from a large boulder of spinach-green nephrite. He has been conventionally identified as a Chinese sage, but his long, flowing robe is closer to the attire of Buddhist monks. The name Luohan comes from the Sanskrit arhan or arhat, referring to the Buddhist ascetics. They are disciples of Sakyamuni Buddha, who have passed the eight-fold path (right belief, resolve, speech, work, livelihood, training, mindfulness, abstract, meditation), and reached Nirvana or Enlightenment. They are essentially associated with the Hinayana School of Buddhism, and each has the title Samantha prabhasa or general wisdom; they can teach or train others to attain perfection. Luohans are very popular in China, as it is believed they can protect patrons and believers by expelling ignorance and defeating robbers. In the Buddhist legend, there are normally 500 Luohans, but the most famous ones usually appear together in groups of 16 or 18. Luohans are represented in painted portraits as well as in sculpture. All have distinctive attributes: for instance, Pindola the Bharadvaja has elongated eyebrows, Vajraputra is lean, ribbed and hairy; Nakula is always shown with a mongoose. However, it is quite difficult to identify the present figure with a particular Luohan. Many Luohans have a book or staff in their hands, but in this case the figure holds a stupa, perhaps suggesting that he has entered Nirvana. Cf. Catalogue of the International Exhibition of Chinese Art, 1935-6, no.2860 for a similar figure lent to the exhibition by Mr and Mrs Edward Sonnenschein; see also G Wills, Jade of the East, p.104, nos.63-64 and N Zhou, Ancient Jades in Man, Immortal and Buddha, p.309, nos.360-361 for further related examples; see also Asian Art I, 17th November 2010, lot 337 for a comparable spinach-green jade figure of Buddha of the same size previously sold in these rooms. 十八世紀碧玉雕托塔羅漢來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A collection of sixteen books on South East Asian Art [16]

1 Large late 19th century Damascene from Spain.This is a very cool 19th century example of an early art form created originally in Damascus Syria in the 700's AD . In later years the Spanish colonies adopted the art form and this button was most likely created their in the late 1900's. The Japanese eventually adopted the art form, for at least the making of buttons, in the early 20th century but those depictions are always Asian themed. This example is a Damascene plaque set into a brass base, take a close look at the animal border on it, very cool. From the collection of Nikki Deal. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Unless otherwise noted we find no significant condition concerns except for normal age related wear for the age of these items.

NO RESERVE Friedel (Helmut) Noriyuki Haraguchi: Catalogue Raisonné 1963-2001, Ostfildern, 2001 § Takamatsu (Jiro) All Drawings, Hiroshima, 2009 § Yang Liming, Paris, n.d. § Kazuo Shiraga, New York & London, 2015 § Maekawa II, Antwerp, 2016 § Ryuji Tanaka, Antwerp, 2016, illustrations, some colour, original cloth or boards, the first three with dust-jackets, the second with wrap-around (torn); and c.90 others, modern & contemporary Asian art, mostly Japanese, some duplicates, particularly of the last, v.s. (4 boxes)

3 Large size 19th/20th century buttons including Ivoroid.This lor includes the detailed ivoroid example of Balmoral Castle, the detailed Art Nouveau ladies head , and a nice Asian scene of brass set in a tight top celluloid base. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Unless otherwise noted we find no significant condition concerns except for normal age related wear for the age of these items.

A SET OF FIVE CHINESE IMARI PLATES, QING DYNASTY, QIANLONG PERIOD (1736-95) each painted in underglaze-blue, iron-red and gilt to the interior with a medallion enclosing a maiden and boys at play within a fenced garden, all within cusped lotus panels reserved on a landscape ground at the flaring rim, 21.3cm diameter; together with a similar dishProvenance:Wooley and Wallis, Asian Art 2, 17th May 2016, lot 645.From the collection of the late A.J. (John) Lippitt (1928-2019), Hampshire.清乾隆 一組五件青花礬紅伊万里瓷盤

A LARGE CHINESE BLUE AND WHITE 'LANDSCAPE' CHARGER, QING DYNASTY, 18TH CENTURY painted to the interior with a river landscape within a Fitzhugh border at the flaring rim, 54.5cm diameterProvenance: Private Collection, Holland Park, London.Wooley and Wallis, Asian Art 1, 17th May 2016, lot 220.From the collection of the late A.J. (John) Lippitt (1928-2019), Hampshire.清 青花山水圖大盤

A good Chinese Doucai 'Eight Horses of Mu Wang' plate, late Transitional to early Kangxi, brightly enamelled in vivid colours to the centre with eight horses and one gentleman sitting on the rock, all outlined in underglaze blue and coloured with overglaze enamels, 26.2cm diameter Compare with a similar design Doucai bowl dated to the Kangxi period in the Asian Art Museum San Francisco, museum accession number B60P1727; and a similar Doucai 'Eight Horses of Mu Wang' plate sold at Johan's, Beijing, Lot 12, 17th September 2010清康熙 鬥彩穆王八駿圖盤 Condition Report: surface wears and scratches small chips and firing blemishes to the rim and foot rimsee additional images for visual reference to the condition Condition Report Disclaimer

A Collection of Asian art auction cataloguesComprising of auction catalogues published between 2018 - 2019 of major auction houses, including Christie's, Sotheby's, Bonhams, Poly and China Guardian. each roughly 29.5 x 23cm. (137)亞洲藝術品拍賣圖錄一組 

A Collection of Asian art auction cataloguesComprising of auction catalogues published between 2015 - 2019 of major auction houses worldwide, including Christie's, Sotheby's, Bonhams, as well as eighteen Japanese art auction catalogues, and a collection of academic articles from the Symposium on Trade Pottery in East and Southeast Asia (September 4-8, 1978)each roughly 29.5 x 23cm. (155)亞洲藝術品拍賣圖錄一組

A group of various auction catalogues on Chinese snuff bottles, paintings, furniture and literati art1987 - 2018Comprising twenty-four Sotheby's catalogues of snuff bottles auctions, various locations, October 1987 - June 1998; twelve Christie's catalogues of snuff bottle sales, various locations, November 1994 - September 2018; a China Guardian snuff bottles catalogue from May 2012; two copies of the Journal of the Asian Snuff bottle Society, Autumn 1996 and Autumn 1997; nine Christie's and Sotheby's catalogues of Fine Chinese paintings and one Sotheby's catalogue of Southeast Asian paintings, various locations, September 1997 - November 2018; and twelve Christie's, Sotheby's, China Guardian and Ravenel auctions catalogues of furniture and literati art, 2008 - 2018.Various sizes, some duplicates (60).一九八七 - 二零一八 中國藝術品拍賣圖錄一組六十本Condition Report: Please note that at least three catalogues are in double copy. please refer to department for additional images.

A group of Asian Art catalogues from European auctions1988 - 2017Comprising: four Sotheby's Monaco catalogues, 1988 - 1992; three Christies Monaco catalogues, 1988 - 1990; eight Sotheby's Amsterdam catalogues, 1988 - 2004; eight Christie's Amsterdam catalogues, 1987 - 1989; one Uppsala Auktionskammare, 4 December 2015; six Nagel Auctions catalogues, 2005 - 2011; eleven catalogues from various Parisian auction houses, 2011- 2017; and one Johan Auction, Beijing, 13 November 2011.Various sizes (42).一九八八 - 二零一七 亞洲藝術及歐洲藝術品拍賣圖錄一組四十二本

Mixed selection of Asian remnants separated from art objects due to damage, including four jade snuff bottle stoppers together with two others, a hardstone and cloisonne example, a marble size rock crystal ball, a similar sized pierced and carved green jade bead and a miniature example, a red dice form tassel weight and a pair of egg-shaped possibly carnelian tassel weights, an amethyst pebble and a mixed selection of porcelain, cloisonné, wood and lacquer vessel lids and various other Asian parts for Japanese and Chinese art subjects (34) All with signs of wear consistent with age and use. Some pieces with chips. Some pieces with crazing.

Edited by Evelyn S. Rawski and Jessica RawsonThe Three Emperors 1662-1795, first published on the occassion of the Exhibition 'China: The Three Emperors 1662-1795' in 2005 by Royal Academy of Arts, London,Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving Part I, published for an exhibition in The 3rd Festival of Asian Art presented by The Urban Council Hong Kong, first published in 1978 by the Urban Counciland S.J. Vainker, Chinese Pottery and Porcelain, From Prehistory to the Present, published for the Trustees of the British Museum by the British Museum Press, first published in London in 1991 (3) All with some signs of wear consistent with age and use. Chinese Bamboo Carving Book with tear to cover and time/UV fade to spine. Label stuck on the inside of the Chinese Bamboo Carving book. Chinese Pottery and Porcelain book has been written on in pencil in the inside.

Collection of books and auction catalogues on Asian Art to include Chinese, Japanese, Korean, Indian, Nepalese, Himalayan and Southeast Asian Artto include Sotheby's and Bonhamsincluding National Palace Museum, Ch,in Hsiao Director 'Great National Treasures of China', October 10th 1983; James Cahill, Parting the Shore, Chinese Painting of the Early and Middle Ming Dynasty 1368-1580; Jessica Rawson, Chinese Ornament: The Lotus and the Dragon monochrome and coloured illustrations 1984, The University of Michigan Ann Arbor by Richard Edwards and contributions by Ling-Yun, Shuh Liu, Steven D. Owyoung and James Robinson, 'The Art of Wen Cheng-ming (1470-1559) United States 1974-1975 and Sam Fogg Rare Books catalogue on an East Asian Books Sale covering China, Japan, Tibet, Burma, Thailand and Java,including Sherman E. Lee, director, of The Cleaveland Museum of Art, 'FAR EASTERN ART' (Revised Edition), with illustrations in colour and monochrome,including a Chinese folio-sized hardback book of paintings by Chi-Pi-Shi commencing with a portrait and introduction in black ink style by the artist followed by details of all the black and coloured paintings illustrated one to a pagea Japanese 362-page book entitled in gold lacquer upon a rounded spine on the subject of early iron and soft metal decorated Tsuba, illustrated two to a page in monochrome with details of artists, schools, and designs, with cardboard case with title on flat spine in blackan all-Japanese standard-sized book on Japanese iron Tsuba with details of artists and history,a Japanese folio-sized issue of Japanese paintings found on furniture, such as screens and rooms by various schools including Kano, Hasegawa, Kaiho, Unkoku, Soga and Tosa 'Monochrome and coloured illustrations and with a list of the individual illustrations in English, printed in Japan 1967a Japanese-printed folio-sized issue of Japanese Works of Art by famous artists including Tawaraya Sotatsu, Ho,ami Koetsu, Ogata Kenzan, Ogata Korin and others, covering subjects on calligraphy, paintings, screens, lacquer work, ceramics, including Raku ware and tea wares and scrolls,a well-illustrated 262-page folio-size book, Decorative Arts of Japan, well illustrated, one item to a page in colour, General Editor Chisaburoh F. Yamada, Associate Editor Eric Sackheim and subject editors Ceramics - Fujio Koyama, Metalwork - Osamu Kurata, Lacquerware - Yuzurus Okada, Textiles - Tomoyuki Yamanobe, Captions translated by Toshizo Imai and Yuko Kobayashi, first edition 1964, published by Kodansha International, with cardboard storage case (11) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Collection of publications on Asian Artto include guides, handbooks, reports, journals and exhibition cataloguesto include a paperback issue by The Museum of Far Eastern Antiquities (Ostasiatiska Museet) Stockholm 'Bulletin No. 46 Stockholm 1974: A Japanese Illustrated paper backed Exhibition catalogue of Eastern Art celebrating the opening of the Gallery of the Eastern Antiquities Tokyo National Museum 1968 with Japanese and English descriptions, a Japanese paper backed folio sized issue of an exhibition of Japanese and Chinese ceramics under Yamanaka & Co text and inscriptions in Japanese, two issues by The Oriental Ceramic Society Chinese Blue and White porcelain 14th to 19th Century, 16th December 1953 to 23rd January 1954 and The Victoria and Albert Museum, in association with The Oriental Ceramic Society, Chinese translations, No. 1, Important finds of ancient Chinese ceramics since 1949, by Feng Hsien-Ming in Wen Mu 1965 No. 9, pp. 26-56, translated by Mrs Hin-Cheung Lovell, M.A. and six various mixed sized paper backed issues on Oriental Art (12) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Collection of books/catalogues on Asian Art and Furniture to include Friends of the House, Furniture from China's Towns and Villages, by Nancy Berliner and Sarah Handler, published by Peabody Essex Museum, vol 131, dated 1995, illustrated in monochrome and colour;Journal of the Classical Chinese Furniture Society, volume two, number three, Summer Quarter 1992;a notebook-size book, 'Images of Asia', Chinese Classical Furniture by Grace Wu Bruce, Hong Kong, Oxford University Press, 1995, illustrated in colour and monochrome, 1st published 1995;a notebook paper back issue, The Chair in China by Louise Hawley Stone, published by Royal Ontario Museum Toronto 1952,a paper covered hard-backed issues, dated Chinese Antiquities 600-1650, 195 illustrations alongside descriptions, by Sheila Riddell, 1979, in Memory of His Majesty King Gustaf VI Adolf of Sweden 1882 - 1973, first published in 1979 by Faber and Faber,a paper covered issue Selection of Master Works in The Collection of The National Palace Museum, with a preface by Chiang Fu-tsung, 1972, illustrated in colour and monochrome and inscriptions in Chinese and English,Chinese Ceramics from the Museum Yamato Bunkakan Collection, an illustrated catalogue series No. 7 - 1977,a hardback book by Margaret Jourdain and R. Soame Jenyns, Chinese Export Art in the 18th Century, published in 1967, with 144 illustrations, first issued in 1950 by Country Life Ltd,a similar issue, catalogue of the Memorial Exhibition 'Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger', first published in 1981 by the Ashmolean Museum and Sotheby Parke Bernet Publications by Philip Wilson Publishers Ltd.,a jacket paper covered hardback folio size issue with 80 pages and 60 coloured illustrations 'Masterpieces of Chinese Export Porcelain from the Mottahedeh Collection in the Virginia Museum by David Howard and John Ayres, published by Philip Wilson for Sotheby Park Bernet publications,a hardback folio issue The Arts of The Ching Dynasty, An Exhibition Organised by The Arts Council of Great Britain and The Oriental Ceramic Society from May 26th to July 1964, covering some ten materials with 144 illustrations,a paper-backed issue, Masterworks in Wood in China and Japan by Donald Jenkins assisted by Robin Sribnick, Portland Art Museum and Asia House Art Gallery,a paper-backed issue, Chinese Art Under the Mongols: The Yüan Dynasty (1279-1368) by Sherman E Lee and Wai Kam-Ho, published by The Cleaveland Museum of Art, copyright 1968 (13) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

A fine and rare Chinese blue and white 'bagua' bowlQing dynasty, Kangxi mark and periodThe thinly potted vessel rising from a straight foot to a gently everted rim, finely painted around the exterior in washes of cobalt blue with eight trigrams, bagua, symbolising the eight natural phenomena, above a band of crested waves, the interior with a taijitu symbol to the centre within double rings around the base and to the interior of the rim, the base with a six-character mark also within a double circle.12.1cm diameter.Provenance: the Collection of Frederick Knight, the nephew of Henry Knight (1903-1970)Bluett and Sons (label).清 康熙 八卦海水紋盌來源：Frederick Knight 收藏，Bluett and Sons (標籤)。The exterior of the bowl is decorated with the Eight Trigrams (bagua) symbolising the eight Dao/Tao natural forces: Heaven, Earth, Water, Fire, Wind, Thunder, Mountain and Lake. Each consists of three lines, each line either “broken” or “unbroken”. The interior depicts the yin-yang symbol, which is often seen in conjunction with the Eight Trigrams. By the end of the Ming period, this diagram had become a widespread representation of Chinese cosmology, representing the fundamental principles of reality.Cf. Similar examples can be found in Chinese Porcelain, The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 50, where it is noted that bagua are rarely found on Qing Dynasty porcelain.There are a number of examples in notable museum collections, including a bowl in the Palace Museum, Beijing, illustrated in Qing Shunzhi Kangxi chao qinghua ci, Beijing, 2005, no. 118; one in the Percival David Foundation, British Museum, no. PDF C619; and one in the The Smithsonian's National Museum of Asian Art, accession no. F1995.8.For an example offered at auction within the last decade, see Christies, New York, 18 September 2015, lot 2233.Condition Report: Sympathetic overpainting to 3/4 of the foot ring possibly covering three hairlines.

A lot of Asian art consisting of two wooden sculptures, an incense burner and a cloisonne lidded vase. China, early 20th century.

Ca. 618-907 AD.A large, hollow-moulded terracotta horse depicted with an inclined head, attentive ears, and a docked tail. Red pigment adorns the body of the horse and the tassles of its intricate harness. Atop its back sits a large, bulky saddle rendered in a white-grey pigment, which also features on the harness, bridle, mane and lower legs of the horse. Accompanied by a TL test from Oxford Authentication laboratory, UK, confirming age and authenticity. Reference: C123j89. For similar see: The Metropolitan Museum of Art, Accession Number: 25.20.4. Item comes with a professional historical report from Ancient Report Specialists. Size: L:690mm / W:650mm ; 16.4kg Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong. This item has been checked against the Art Loss Register database.

Ca. 618-907 AD.An impressive terracotta horse depicted with a downturned head, docked tail and well-sculpted musculature. The black saddle and red blanket form a striking contrast to the grey-white pigment of the animal's body. Accompanied by a TL test from Oxford Authentication laboratory, UK, confirming age and authenticity. Reference: C123j86. For similar see: The Metropolitan Museum of Art, Accession Number: 25.20.4. Item comes with a professional historical report from Ancient Report Specialists. Size: L:650mm / W:660mm ; 16.4kg Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong. This item has been checked against the Art Loss Register database.

Ca. 206 BC-220 AD.A polychrome ceramic figure of a soldier. He stands resolute, clad in a cross-over coat and puffy trousers. His small eyes beneath arched brows and lips are accentuated with a vibrant crimson hue. The hands are folded resolutely before the chest. Accompanied by a TL test from Oxford Authentication laboratory, UK, confirming age and authenticity. Reference: C123j92. Size: L:550mm / W:155mm ; 3.5kg Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong. This item has been checked against the Art Loss Register database.

Ca. 1368-1644 AD.A glazed terracotta mingqi depicting a standing attendant on a tiered, integral base. Portrayed in a noble and dignified manner, with an upright posture and an expression of calm composure. The details of the figure's face are carefully crafted, and are comprised of high cheekbones, a prominent nose, almond-shaped eyes, and delicately arched eyebrows. The figure is dressed in a long, flowing green robe with contrasting accents on the sides, which are painted in red. The figure carries a box-like object under his left arm and his both hands are clenched. For similar see: Christie's Live Auction 5564, Asian Art, 15 September 2005, Lot 407. Size: L:195mm / W:54mm ; 295g Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 200-400 AD.A schist stone head of a Buddha with closed, slightly smiling lips and full cheeks. He has long pendulous earlobes, with almond-shaped eyes and thin, arching eyebrows. His hair is formed of Classical-style waves, arranged into a Buddhist-style top knot. He has an urna on his forehead. For similar see: Bonhams, Indian, Himalayan and Southeast Asian Art, New York, 22 March 2022, Lot 301. Size: L:120mm / W:70mm ; 1.88kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Japan; previously in 1970s Japanese collection. This item has been checked against the Art Loss Register database.

Lots 59-100: A Single Owner CollectionBorn in Norfolk in 1873, Edmund Bruce Ball (1873-1944) had a long and illustrious career in the field of engineering. Starting employment as an engineering apprentice in Thetford, he went on to study further at the Manchester School of Technology, achieving many academic awards along the way. After holding several senior and managerial positions in the UK, he took his first overseas appointment, residing in Italy from 1905. In 1908, Bruce Ball headed for China to take on the position of engineer and commercial agent for Messrs Samuel McGregor & Co. of Shanghai, a role which led to him travelling throughout the Far East and Siberia representing the interests of several British firms. He found the experience fascinating and unlike anything he had encountered before, no doubt fuelling his passion for collecting Asian Art.At the end of the First World War, Bruce Ball took up the position of managing director at Glenfield & Kennedy Ltd. in Kilmarnock, Scotland, a role he held for more than a quarter of a century and where he was considered with high regard, not only for his professional expertise, but also for the efforts he made in improving the overall welfare of his employees. By the end of his life, he was a recognised authority in the field of hydraulic engineering and had received many professional honours and accolades.A pair of Chinese blue and white bowls,Daoguang (1821-1850), the rounded sides rising from a circular foot, the interior painted with fruiting branches of peaches, pomegranates and finger citrons, the exterior with shou characters among sprigs of lotus flowers, a four-character Baoshanzhai zhi (Studio for Treasuring Goodness) studio mark to base,12.9cm diameter (2)Provenance: The Collection of Mr Edmund Bruce Ball (1873-1944), and thence by descent.清道光 青花三多纹碗 《宝善斋制》青花楷书款 一对Condition ReportNo obvious faults.

A KYOTO SCHOOL IVORY NETSUKE OF HOTEIUnsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)Of typical triangular section (sankaku), depicting the lucky god Hotei dressed in a loosely fitted, cloud-patterned robe revealing his potbelly. Hotei is seated at ease and has an amusing expression formed by a wide grin framed by large, pendulous earlobes. Good himotoshi to the back and underside. The ivory bearing a fine, yellowish patina. Unsigned, however in the manner of Yoshinaga of Kyoto and his followers.HEIGHT 4.5 cm, LENGTH 5.2 cmCondition: Very good condition with minor typical wear and few natural age cracks.Provenance: Collection of Robert and Isabelle de Strycker, and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Trade Certificate: The trade certificate for the sale of this lot within the EU has been grantedThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

AN IVORY SEAL-TYPE (INGYO) NETSUKE OF A SHISHI, ATTRIBUTED TO ANRAKUAttributed to Shukosai Anraku, unsignedJapan, Osaka, second half of the 19th centuryFinely carved, the seal-type netsuke with a male lion posed on the top of a waisted Chinese alter table with a key-fret (rinzu) border and tapering legs. The lion posed dynamically with its head turned back over his shoulder, placing one hand on a ball, with an elaborately incised mane and tail. Natural himotoshi between the table legs. The ivory finely stained in the manner characteristic of the artist Anraku.HEIGHT 4.6 cmCondition: Good condition with minor wear and a small loss to the apron of the alter table.Provenance: Duval Gallery, Brussels, 30 May 1945. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Auction comparison:Compare a closely related netsuke of a shishi with a ball on a table, signed Anraku, sold at Sotheby's, A Collection of Netsuke, Inro and Lacquer Wares, 16 November 1983, London, lot 1 (sold for GBP 495).Trade Certificate: The trade certificate for the sale of this lot within the EU has been grantedThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

BAISEKI: A SUPERB WOOD NETSUKE OF A SNAIL ON A FURLED LEAFBy Gokyotei Baiseki, signed Baiseki kore o chokoku 楳石彫刻之 with seal sha 社Japan, Iwami province, late 18th century, Edo period (1615-1868)Published: Earle, Joe (2000) The Robert S. Huthart Collection of Iwami Netsuke, Vol. II, p. 296, no. 266.A well-sized wood netsuke depicting a large, fully grown snail slithering out of its shell and onto a leaf, both of which are carved with remarkable detail and near-unfathomable naturalism, the old shell of the mollusk and the decaying veiny leaf detailed with intentional wear and irregularities. The snail's body is detailed with beautiful, large ukibori pimples as it folds its head over the shell, slowly extending its tentacles. The underside shows the asymmetrical himotoshi and the neatly engraved signature BAISEKI kore o chokoku (Baiseki carved this) with a square seal sha (社 shrine). LENGTH 5.3 cmCondition: Good condition with minor wear and traces of use. Some small chips to the leaf.Provenance: Ex-collection Virginia Atchley, California. Ex-collection Robert S. Huthart, acquired from the above.Literature comparison:Baiseki is a rarely encountered artist from the Iwami province with a likely affiliation to Bokugyuken Toshiharu and Baitetsu. The seal sha [shrine] is invariably found on his carvings, indicating a religious affinity which is certainly reflected in the carver's choice of subject matter. A selection of most of his recorded works is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, pp. 302-304.Museum comparison: A closely related wood netsuke of a snail is in the Metropolitan Museum of Art (The MET), New York, accession no. 91.1.1054. This netsuke is also illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 304.Auction comparison:Compare a related wood netsuke of a snail on taro leaf by the Iwami master carver Seiyodo Tomiharu at Zacke, Asian Art Discoveries, 29 June 2022, Vienna, lot 445 (sold for EUR 11,376).

A BOXWOOD NETSUKE OF WASHERWOMANBy Hakusen, signed Hakusen 白仙 Japan, Edo (Tokyo), c. 1800, Edo period (1615-1868)The woman slightly bent over a round tub as she beats her clothes clean with a pestle. The mortar naturalistically fashioned with a simulated carved crack held together with two bone staples, one of which is stained green. The base with a large himotoshi and a second aperture through the side. Signed underneath HAKUSEN – a rare early Edo school artist with only very few works recorded.HEIGHT 4.8 cmCondition: Very good condition with minor wear commensurate with age. A tiny, old, smoothed out chip to the edge of one foot.Provenance: H. Van Hoof, 23 July 1945. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Museum comparison:A closely related boxwood netsuke of a woman washing clothes, by the Edo netsuke-shi Gyokurintei, is in the Bristol Museum, United Kingdom, accession no. N6199.

MIWA: AN AMUSING WOOD NETSUKE OF A SARUMAWASHI (MONKEY TRAINER)By Miwa, signed Miwa 三輪Japan, Edo (Tokyo), c. 1800, Edo period (1615-1868)Published: Barry Davies Oriental Art (1996) Netsuke from the Teddy Hahn Collection, no. 69.A finely carved wood netsuke, bearing irresistible character and charm, depicting a seated monkey trainer with his attention-seeking monkey clambering onto his lap and pulling him by the ear. The sarumawashi's expression is masterfully crafted and imbued with humor, typical for the Miwa lineage, his face contorted into an indulgent smile as he grabs the monkey by a patch of fur on its back. Large himotoshi to the back and underside. Signed MIWA.HEIGHT 4 cm, LENGTH 3.8 cmCondition: Some old repairs. Otherwise, good condition with minor wear and an excellent, old patina.Provenance: From the collection of Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Barry Davies Oriental Art, London, 1996. Hotel Drouot, December 2005. Ex-collection Guy de Lasteyrie, acquired from the above. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.Museum comparison:Compare a closely related wood netsuke of a monkey trainer with monkey by Miwa in the Fitzwilliam Museum, Cambridge, object number O.69-1991.Auction comparison:Compare a related wood netsuke of Gama sennin by Miwa (compare particularly the similarly crafted facial features) at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 164 (sold for EUR 11,052).

AKISHIGE: A FINE TOKYO SCHOOL IVORY NETSUKE OF A STRETCHING MANBy Akishige, signed Akishige 明重Japan, Tokyo, Meiji period (1868-1912)Finely carved as a seated man, paused mid-reading, yawning and stretching his arms high above his head, channeling his inner Daruma. Robed in an expertly carved kimono with detailing to the hems, tied at the back, the Buddhist scripture open on his lap has impressive sumi-stained text detailed on both pages. Two small himotoshi to the back. The netsuke is carved from a choice piece of ivory with a beautifully lustrous polish, sealed to the base with a rectangular, red-lacquered tablet AKISHIGE.HEIGHT 3.7 cmCondition: Excellent condition with minor wear. Auction comparison:Compare a related netsuke of a stretching Hotei by the same artist, signed Akishige, sold at Zacke, Asian Art Discoveries, 20 January 2023, Vienna, lot 1527 (sold for EUR 3,640).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207512929-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A FINE AND RARE PALE WOOD MASK NETSUKE OF A HEIKE CRAB MAN, ATTRIBUTED TO KOKEISAI SANSHOAttributed to Kokeisai Sansho (1871-1936), unsignedJapan, Osaka, early 20th centuryPublished: Sagemonoya (2007) Netsuke at the Miami Kappa Convention: From Sea to Shore, pl. 60.Carved with grotesque, crab-like features, the mask with hollowed pupils on bulging eyes, a broad and prominent nose with pierced nostrils, and a distinctly shaped mouth displaying an upper row of teeth. The mask surmounted by horns shaped like pincers, the nose as well with crab pincers, the full cheeks stippled with crab-skin, the gaping mouth similarly textured. The reverse with a central himotoshi bar.HEIGHT 3.8 cmCondition: Small crack with a repair to the himotoshi bar, otherwise in very good condition with only very minor surface wear.Provenance: Robert Fleischel, Paris, 2007. European collection P. Jacquesson, acquired from the above.Literature comparison:Compare a closely related netsuke of a 'heike crab' mask illustrated in Bushell, Raymond (1985), Netsuke Masks, pl. 323. For further examples of wood mask netsukes attributed to and signed by Kokeisai Sansho, see Boris Filatov (Spring 2012) Kokeisai Sansho: Mystery of the Genius International Netsuke Society Journal, vol. 32, no. 1, p. 25.Auction comparison:Compare a related wood mask netsuke by Mitsuaki at Zacke, Asian Art Discoveries-Japanese Art, 8 September 2023, Vienna, lot 826 (sold for EUR 2,600).

HAKUHAKUSAI: AN AMUSING WALRUS TUSK RYUSA MANJU NETSUKE DEPICTING A STRETCHING DARUMABy Hakuhakusai, signed Hakuhakusai 白々斎Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, partly carved in openwork, poking fun at a yawning and stretching Daruma in front of iron bars – an allusion to a brothel window. The face is finely detailed with incised facial hair, hooped earrings, and sumi-stained chest hair. The reverse with an inscribed poem, 'Momo kuri sannen kaki hachinen, Daruma wa kyunen narikaneru' 桃栗三年柿八歳、達磨ハ九年成兼る ('Planted peach and chestnut trees take three years to bear fruit, persimmons take eight, and it took Daruma nine years [of facing the wall and meditating] to achieve enlightenment'). This humorous depiction of Daruma satirizes the enlightenment he achieved. The reverse with a single himotoshi, the cord attachment within. Signed on the back, HAKUHAKUSAI. The stained ivory has a rich yellow with a deep, honey-yellow hue.DIAMETER 3.8 cmCondition: Good condition with minor wear, some nibbling to the interior rim.Provenance: Tamenne Gallery, Brussels, 24 May 1968. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

MASATOMO: A NAGOYA SCHOOL WOOD NETSUKE OF A WASP NEST WITH LARVAEBy Sato Masatomo, signed Masatomo 正義Japan, Nagoya, first half of 19th century, Edo period (1615-1868)Finely and naturalistically carved as a deteriorating wasp nest, some of the larvae having already hatched and left the nest, a few bone-inlaid larvae still remaining, the largest carved from wood and movable in the central alveoli. The well-toned wood bearing a beautiful patina. The 'natural' himotoshi cleverly incorporated into the design. Signed in a rectangular reserve in slightly worn characters MASATOMO.HEIGHT 3 cmCondition: Very good with minor expected wear and traces of use consistent with age and handling.Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.

SEIMIN: A RARE INLAID DOUBLE WALNUT (KURUMI) NETSUKEBy Seimin, signed Seimin 晴民Japan, Iwashiro, c. 1850, Edo period (1615-1868)A finely carved and attractively stained double-walnut with a design of The Queen Mother of the West, Seiobo, dressed in voluminous robes, wearing an ornate tiara, and holding a fan, a karako attendant handing her an immortality-granting peach. The carving is embellished with various stained inlays including antler, horn, mother-of-pearl, coral, and pewter. One of the himotoshi ringed in green-stained antler and signed to the back within a raised oval reserve SEIMIN.LENGTH 5 cmCondition: Good condition. Some typical losses to inlays with associated repairs. Some 'natural flaws' such as tiny pinholes and typical wear associated with kurumi netsuke.Provenance: Collection of Robert and Isabelle de Strycker, and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Auction comparison:Compare a related Kurumi netsuke, attributed to Seimin, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 285 (sold for 1,896 EUR).

A TSUISHU LACQUER HYOTAN-FORM NETSUKEUnsignedJapan, 18th century, Edo period (1615-1868)Finely lacquered in tsuishu (carved red lacquer), with a revolving image of Chinese boys (karako) running and flying kites while others sweep and sieve rice, the landscape with scrolling clouds, shrubs, craggy rocks, and the moon's reflection, all against a fine wood ground incised with an asanoha design. Silver and patinated metal mounts serve as stopper and looped himotoshi.HEIGHT 6 cmCondition: Excellent condition, only very minor surface wear.Provenance: Wright Gallery, London, 23 October 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. A collector's label, 'N, 285.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).This type of netsuke was part of a yatate sagemono set and was used to store powdered ink.Auction comparison:Compare a closely related tsuishu hyotan-form netsuke with kemari players at Zacke, Fine Netsuke & Sagemono, 22nd April 2022, Vienna, lot 332 (sold for EUR 2,022).

A RARE LACQUER NETSUKE REFERENCING SOSHI DREAMING OF THE BUTTERFLYUnsigned Japan, 19th century, Edo period (1615-1868)Of foliate form, the stunning matte sabiji-nuri ground lacquered in rich gold hiramaki-e and nashiji with butterflies detailed with kirigane, the center reserve with the kanji character 'yume' 夢 (dream) raised in takamaki-e. Asymmetrical himotoshi to the back.LENGTH 3.3 cmCondition: Very good condition with minor wear and rubbings to the nashiji. The kirigane with typical wear and some losses.Provenance: Galerie Eymery, Paris, February 1944. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).The present netsuke references Soshi (Zhuang Zhou, commonly known as Zhuangzi), who was an influential Chinese philosopher who lived around the 4th century BC during the Warring States period. He is credited with writing one of the foundational texts of Daoism, known by his name, the Zhuangzi. The most famous of all Zhuangzi stories – Zhuang Zhou Dreams of Being a Butterfly – appears at the end of the second chapter, On the Equality of Things: “Once, Zhuang Zhou dreamed he was a butterfly, a butterfly flitting and fluttering about, happy with himself and doing as he pleased. He didn't know that he was Zhuang Zhou. Suddenly he woke up and there he was, solid and unmistakable Zhuang Zhou. But he didn't know if he was Zhuang Zhou who had dreamt he was a butterfly, or a butterfly dreaming that he was Zhuang Zhou. Between Zhuang Zhou and the butterfly there must be some distinction! This is called the Transformation of Things.” (Zhuangzi, chapter 2 [Watson translation])

A FINE LACQUER HAKO NETSUKE DEPICTING AUTUMNAL FLOWERSUnsignedJapan, 19th century, Edo period (1615-1868)The two-part hako (box) netsuke bearing a highly attractive roiro ground and lacquered in rich gold takamaki-e and e-nashiji with blooming autumn flowers amongst leaves, the details embellished with kirigane flakes. The interior of dense nashiji with gold fundame rims. Central himotoshi to the back, the cord attachment within.LENGTH 3.2 cmCondition: Very good condition with minor wear, the kirigane with typical wear and some losses.Provenance: Tamenne Gallery, Brussels, December 26, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. An old collector's label, 'N 289 bis.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).

A RARE LACQUER AND CERAMIC HAKO NETSUKE WITH A VIEW OF MOUNT FUJIUnsignedJapan, 19th centuryThe two-part hako (box) netsuke with an overhanging cover bearing a highly attractive dark-brown ground. The cover inlaid with ceramic in a fan-shaped reserve decorated with a view of Mount Fuji in underglaze blue and further flanked by shaped reserves depicting camellia and nandina, rendered in gold and silver takamaki-e and nashiji. The interior of nashiji. Central himotoshi to the back, the cord attachment within.LENGTH 3.5 cmCondition: Good condition with minor wear to the edges, traces of use, and some minuscule losses to lacquer.Provenance: Tamenne Gallery, Brussels, November 29, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. An old collector's label, 'N, 220.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).

A Collection of Asian Art, including a pair of papier mache opera dolls, hardstone and jade carvings, Chinese watercoloures, silk neeldework, Japanese lacquer table cabinet and a pair of Japanese hardwood trays inlaid with mixed metals (qty)Book form photo frame with losses to the corners, desk seals and hardstone carvings with flea bite chips, fish carvings, one with a repaired tail the other with losses to the tail, painting with foxing, dolls with losses and chips to the faces, damage to the fingers on both and losses to the paintwork on the feet of both dolls, the clothes with noticable wear fraying and staining

RARE BLACK POTTERY WINE VESSEL, JUE SHANG DYNASTY 商 黑陶爵 elegantly potted, the oval body supported on three blade legs, the mouth extended to a cupped pouring tip at one end and a raised pointed tip at the opposite flanked by two vertical posts with conical finials in between, one side of the vessel applied with a loop handle Dimensions:19cm high Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired at Christie's London, 19 Jun 2001, lot 3, with an original receipt. The result of the Oxford Authentication Ltd. thermoluminescence analysis test, sample no. C101j70, is consistent with the dating of this lot, with a photocopied certificate dated 1 May 2001. Note: Note: Ritual wine vessels in the form of a jue are more commonly seen in bronze. They were designated for heating and pouring wine during Shang dynasty rituals. The capped posts rising from the rim would have allowed the hot metal vessel to be lifted from the heat and poured, whereas the ceramic form of this vessel would not have been suitable for this.Compared to zun and gu vessels dated to the Shang dynasty made in the form of ceramic instead of bronze, fewer jue and jia vessels are known. Compare to a greatly simplified and squatted jue, dated to the late Shang dynasty, in the Asian Art Museum, San Francisco, object no. B60P1834, and illustrated by He Li in Chinese Ceramics - The New Standard Guide, London: Thames and Hudson, 1996, p. 63, no. 20. Also see other similar simplified examples, Shang dynasty, one in Princeton University Art Museum, museum no. y1965-52; some in Institute of History and Philology, Academia Sinica Taipei, accession nos. R023599BBWA_2, R000175CCWA, R000174CCWK_1. These tripod vessels with slender legs, like this lot, would have been more difficult to fire successfully.

TWIN-HANDLED BLACK POTTERY JAR HAN DYNASTY 漢 黑陶雙耳壺 each side carved with two spirals seeming to issue from the base of the broad strap handles, with hatched bands on the faceted neck below the rim formed by an angular spout on either side Dimensions:15.2cm high Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired from David Bowden Chinese & Japanese Art, 17 June 2000, with a photocopied receipt. Note: Note: A slightly larger example dated to the Warring States, Qin or Han dynasty, 20.2cm high, is in the Meiyintang Collection, see Krahl, R. Chinese Ceramics from the Meiyintang Collection, Volume One, Azimuth Editions, London, 1994, no. 65, p. 53. Larger comparable examples, ca. 33cm high, dated to the Han dynasty, can be seen in auctions, one sold at Sotheby's London, 10 Nov 2022, lot 18; one at Bonham's London, 8 Nov 2018, lot 14; and one painted example, sold at Christie's Hong Kong, 6 Jun 2023, lot 3203.

COLLECTION OF ART REFERENCE BOOKS ON ASIAN CERAMICS中國陶瓷藝術參考書籍（共八十五本）含：重要陶瓷研究及出版著作、大英博物館大維德中國藝術基金會若干收藏、顯赫收藏拍賣圖錄、古董商著作及圖錄等 including art reference books on asian art ceramics, in total 85 publications:Ashmolean Museum, Eastern Ceramics: and other works of art from the collection of Gerald Reitlinger, Oxford: Ashmolean Museum, 1981Battie, David (ed.), Sotheby's Concise Encyclopaedia of Porcelain, London: Conran Octopus Limited, 1994Beurdeley, Cecile, A Connoisseur's Guide to Chinese Ceramics, Office du Livre, 1985Butler, Michael, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, London: Scala Publishers Limited, 2006Carswell, John, Blue & White: Chinese Porcelain Around the World, London: The British Museum, 2000Carswell, John, Chinese Ceramics in the Sadberk Hanim Museum, Istandbul: Sadberk Hanim Museum, 1995Catalogue of a Special Exhibition of Early Ming Period Porcelain, Taipei: National Palace MuseumChina without Dragons: Rare Pieces from the Oriental Ceramics Society Members, Hong Kong: CA Book Publishing, 2020Chinese Ceramics: Selected articles from Orientations 1982-2003, Hong Kong: Orientations Magazine Ltd., 2004Vainker, S.J., Chinese Pottery and Porcelain: From Prehistory to the Present, London: The British Museum, 1991Crick, Monique (ed.), Celadon: Grès des musées de la province du Zhejiang, Chine, Paris: Paris-Musées, 2005Davidson, Gerald, The Handbook of Marks on Chinese Ceramics, London: Han - Shan Books, 1994Eskenazi: Song ceramics 10th to 13th century (catalogue), 2003Fischell, Rosalind, Blue & White China: Origins/Western Influences, Boston: Little Brown & Company, 1987Foundation Amaverunt, Musée Ariana, La porcelaine chinoise de transition et ses influences sur la céramique japonaise, proche-orientale et européenneFrick Collection, Chinese Blue-and-white Porcelain in the Frick Collection, Frick Collection, 1992Fung, Rebecca, Ming Colours: Polychrome Porcelain from Jingdezhen, London: School of Oriental and African Studies, 2006Garner, Harry, Oriental Blue & White, London: Faber and Faber Limited, 1954Gray, Anita, A Catalogue of Oriental Ceramics and Works of ArtGray, Anita, A Catalogue of Oriental Ceramics and Works of ArtGray, Basil, Sung Porcelain & Stoneware, London: Faber and Faber Limited, 1984Hardy, Sheila Yorke, Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1999Harrison-Hall, Jessica, Ming Ceramics in the British Museum, London: The British Museum, 2001Heaven and Earth Seen Within Song Ceramics from the Robert Barron Collection, New Orleans: New Orleans Museum of Art, 2000Ho, Lee Ying, Antique Ceramics: translated by Goh Beng Choo, Singapore: Asiapac Books PTE Ltd., 1996Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1997Illustrated Catalogue of Ming and Ming Style Polychrome Wares in The Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 2006Illustrated Catalogue of Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1989Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares in the Percival David Foundation of Chinese Art, Hardy, Sheila Yorke, London: School of Oriental & African Studies, 1999Jenyns, Soame, Japanese Pottery, London: Faber and Faber Limited, 1971Jenyns, Soame, Ming Pottery and Porcelain, London: Faber and Faber Limited, 1988Kerr, Rose (et al.), The World in Colours: an exhibition of ceramics with coloured decoration dating from 700 to 1920 belonging to members of the Oriental Ceramic Society, London: The Oriental Ceramic Society, 2006Kerr, Rose, Song Dynasty Ceramics, London: V&A Publications, 2004Krahl, Regina, Dawn of the Yellow Earth: Ancient Chinese Ceramics from the Meiyintang Collection, New York: China Institute Gallery, 2000Kuwayama, George, Chinese Ceramics in Colonial Mexico, Los Angeles: Los Angeles County Museum of Art, 1997Li, He, Chinese Ceramics: The New Standard Guide, London: Thames and Hudson, 1996Little, Stephen, Chinese Ceramics of the Transitional Period: 1620-1683, New York: China Institute in America, 1983Littleton & Hennessy, Littleton & Hennessy: Exhibition of Qing Porcelain, London: Littleton & Hennessy, 2005Liu, Liang-yu, A Survey of Chinese Ceramics: Ch'ing Official and Popular Wares, Taipei: Aries Gemini Publishing Ltd., 1991Liu, Liang-yu, A Survey of Chinese Ceramics: Ming Official Wares, Taipei: Aries Gemini Publishing Ltd., 1991Liu, Liang-yu, A Survey of Chinese Ceramics: Sung Wares, Taipei: Aries Gemini Publishing Ltd., 1991Lo, Kai-Yin (ed.), Bright as Silver White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Yung Ming Tang, 1998Macintosh, Duncan, Chinese Blue and White Porcelain: Third Edition, Woodbridge: Antique Collectors' Club Ltd., 1994Medley, Margaret, Illustrated Catalogue of Ming Polychrome Wares, London: School of Oriental & African Studies, 1978Medley, Margaret, Illustrated Catalogue of Ting and Allied Wares, London: School of Oriental & African Studies, 1980Medley, Margaret, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 2004Medley, Margaret, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains, London: School of Oriental & African Studies, 1976Medley, Margaret, Metalwork and Chinese Ceramics, London: School of Oriental & African Studies, 1972Medley, Margaret, The Chinese Potter: A Practical History of Chinese Ceramics, Oxford, Phaidon Press Limited, 1999Medley, Margaret, Yuan Porcelain & Stoneware, London: Faber and Faber Limited, 1974For full list, please see: https://www.lyonandturnbull.com/auction/lot/lot-241---collection-of-art-reference-books/?lot=279991&so=0&st=&sto=0&au=9380&ef=&et=&ic=False&sd=0&pp=96&pn=3&g=1Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Note:Please note this lot will be offered with no reserve. 本拍品不設底價

COLLECTION OF ART REFERENCE BOOKS ON ASIAN WORKS OF ART 中國藝術參考書籍（共四十六本）含玉器、雜項、考古等研究、重要館藏及展覽圖錄等著作 including art reference books for jade, works or art, archaeology, musuem and exhibition catalogues, in total 46 publications.12th Annual New York Arts of Pacific Asia Show, New York, 2004Asian Art Museum: Selected articles from Orientations, Hong Kong: Orientations Magazine Ltd., 1999Bonhams: Fine Asian Art, London: Bonhams, 2005Chinese Buddhist Sculpture: from the collection of C.R. Moss O.B.E. and other properties (catalogue), Oriental Arts, 2000Chinese Jade Animals, Hong Kong: Urban Council of Hong Kong, 1997Chinese Jade: Selected articles from Orientations 1983-1996, Hong Kong: Orientations Magazine Ltd., 1997Christie's: Fine Chinese Ceramics and Works of Art Including Export Art, 2008Denwood, Philip (ed.), The Arts of the Eurasian Steppelands: a Colloquy held 27-29 June 1977 (Colloquies on Art & Archaeology in Asia No.7), London: School of Oriental and African Studies, 1977Fong, Wen and Watt, James C.Y., Possessing the Past: Treasures from the National Palace Museum, Taipei, New York: The Metropolitan Museum of Art, 1996Forsyth, Angus and McElney, Brian, Jades from China, Bath: The Museum of East Asian Art, 1994Hansford, S. Howard, Chinese Carved Jades, London: Faber and Faber Limited, 1968Howard, David S., A Tale of Three Cities: Canton, Shanghai & Hong Kong, London: Sotheby's, 1997Juliano, Annette L., Lerner, Judith A., Alram, Michael, Monks and Merchants: Silk Road Treasures from Northwest China, New York: Harry N. Abrams, 2001Kerr, Rose, Chinese Art and Design: The T.T. Tsui Gallery of Chinese Art, London: Victoria and Albert Museum, 1991Knapston Rasti catalogue Nov 05Knapston Rasti catalogue Nov 07Leiper, Susan, Precious Cargo: Scots and the China Trade, Edinburgh: National Museums of Scotland, 1997Lin, James C.S. (ed.), The Search for Immortality: Tomb Treasures of Han China, New Haven: Yale University Press, 2012Lu, Wenbao, Jades of the Liangzhu Culture, Hong Kong: The Chinese University of Hong Kong Art, 1998Michaelson, Carol, Gilded Dragons: Buried Treasures from China's Golden Ages, London: The British Museum, 1999Ming, Yu, Chinese Jade, Cambridge: Cambridge University Press, 2011Morgan, Michell (ed.), The Museum of East Asian Art Journal Volume V, Bath: The Museum of East Asian Art, 1999Morgan, Michelle, 100 Treasures: The Museum of East Asian Art, Bath: The Museum of East Asian Art, 2000National Museums of Scotland, Ming: The Golden Empire, Edinburgh: National Museums of Scotland, 2014Oriental Art Vol 44 No. 2 (1998)Oriental Art Vol 45 No. 1 (1999)Peterson, Harold (ed.), Chinese Jades: Archaic and Modern from the Minneapolis Institute of Arts, Rutland: Charles E. Tuttle Company, 1977Pirazzoli-t'Serstevens, Michele, The Han Dynasty, New York: Rizzoli International Publications, 1982Portal, Jane and Duan, Qingbo (ed.) The First Emperor: China's Terracotta Army, London: The British Museum, 2007Rawson, Jessica (ed.), Treasures from Shanghai: Ancient Chinese Bronzes and Jades, London: The British Museum, 2009Rawson, Jessica, Chinese Jade from the Neolithic to the Qing, London: The British Museum, 2002Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, London: The British Museum, 1984Schafer, Edward H., The Golden Peaches of Samarkand: A Study of Tang Exotics, Berkeley: The University of California Press, 1985Scott, Rosemary E., Chinese Jades (Colloquies on Art & Archaeology in Asia No.18), London: School of Oriental and African Studies, 1997Shanghai Museum Chinese Painting Gallery, Shanghai: Shanghai MuseumSickman, Laurence and Soper, Alexander, The Art and Architecture of China, New Haven: Yale University Press, 1992So, Jenny F. and Bunker, Emma C., Traders and Raiders on China's Northern Frontier, Washington: Smithsonian Institution, 1995The International Asian Art Fair, 2004Watson, William, The Arts of China to AD 900, New Haven: Yale University Press, 1995Watson, William, The Genius of China: An exhibition of archaeological finds of the People's Republic of China, London: Times Newspapers Ltd., 1973Watt, James C.Y. (et al.), China: Dawn of a Golden Age, 200-750 AD, New York: The Metropolitan Museum of Art, 2004Whitfield, Roderick (ed.), The Problem of Meaning in Early Chinese Ritual Bronzes (Colloquies on Art & Archaeology in Asia No.15), London: School of Oriental and African Studies, 1993Wilson, Ming, Chinese Jades (Victoria & Albert Museum Far Eastern Series), London: V&A Publications, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Cultures and Civilizations Reconsidered (Vol 1), New Haven: Yale University Press, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Major Archaeological Discoveries in Twentieth Century China (Vol 2), New Haven: Yale University Press, 2004Zhang, Hongxing, The Qianlong Emperor: Treasures from the Forbidden City, Edinburgh: National Museums of Scotland, 2002 Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

LARGE GREY POTTERY JAR WESTERN HAN DYNASTY 西漢 細繩紋灰陶壺 eight narrow bands of sharply delineated slanting s-scrolls decorating the body, with ribbed neck and flaring mouth Dimensions:33cm high Provenance:Provenance: Little River Asian Art, 28 February 2013, with an original invoice.Dr. Kenneth P. Lawley's inventory number: Cer.153. Note: Note: See two smaller related grey pottery bottles, dated to the late Zhou dynasty, with burnished decoration of bands with sawtooth and s-scrolls, are illustrated in The Charles B. Hoyt Collection: Memorial Exhibition, 1952, pl. 13 & 14.Please note this lot will be offered with no reserve. 本拍品不設底價

RARE WHITE-GLAZED POTTERY JAR TANG DYNASTY 唐 白釉罐 of tapering ovoid form rising from a flat straight foot, high rounded shoulders and inverted mouth, applied with a creamy white glaze, the glaze stops undulatingly above foot, with a later carved wooden lid Dimensions:26.9cm high Provenance:Provenance: Bluett & Sons, 1984. Illustrated in the Exhibition of Early Chinese Pottery and Porcelain and Iranian Works of Art, London: Messrs Bluett & Sons, 1967, with a copy of the catalogue and an associated label on base.Dr. Kenneth P. Lawley's inventory number: Cer.96. Note: Note: Jar in oviform like this, with high shoulders rounding inwards to surround the mouth is atypical in Tang pottery wares. Most glazed pottery jars of the Tang dynasty are surmounted by a neck and are of more globular shape. The collector also observes, from a production-line point of view, it could readily have been turned into an amphora or a meiping by adding a neck and handles. A related example covered in sancai glaze, slightly smaller, is in the Asian Art Museum, San Francisco, object no. B60P201, and illustrated in He Li, 1996, Chinese Ceramics: A New Comprehensive Survey, New York: Rizzoli International Publications, pl. 161. The author notes on p.122, that two other neckless jars of ovoid shape have been found in Shaanxi and Henan provinces, and are published in Wenwu Ziliao Congkan, 1982:2, pg. 140 and Kaogu yu Wenwu, 1984:1, pl. 7.3, where they are described as 'olive-shaped'.Also compare to two similar jars, glazed in sancai, Tang dynasty, one sold at Christie's New York, 17 Sep 2008, lot 234; the other with a lid, previously in the Robert B. and Beatrice C. Mayer family collection, sold at Christie's New York, 13 Sep 2019, lot 1071.Please note this lot will be offered with no reserve. 本拍品不設底價

CERAMIC REFERENCE BOOK COLLECTION 中國陶瓷藝術參考書籍（共四十四本）含：高古、中古、明清陶瓷研究及出版著作、顯赫館藏等 Including: early pottery, Chinese Ming and Qing dynasty ceramics, museum and private collection, in total 44 publications.Asahi Shimbun Cultural Planning Department (Ed.). Newly Discovered Southern Song Ceramics: A Thirteenth-Century "Time Capsule". Tokyo: Asahi Shimbun Publishing Company, 1998.Ayers, John. The Seligman Collection of Oriental Art: Chinese and Korean Pottery and Porcelain. London: The Arts Council of Great Britain, 1964.Chen, Quanfang. Yaozhou Kiln. Shaanxi: Shaanxi Travel & Tourism Press, 1992.Chinese Ceramics: Leeds Art Gallery and Temple Newsam House. Leeds: Beck & Partridge Ltd, 1966.D'Argence, Rene Yvon Lefebvre. The Hans Popper Collection of Oriental Art. Japan: Kodansha International Ltd, 1973.Duan, Qing Bo. Ancient Chinese Pottery. Wuhan: Hubei Fine Arts Publishing House, 2001.Gerald, Reitlinger. Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger. Oxford: The Ashmolean Museum, 1981.Gompertz, G. St. G. M. Chinese Celadon Wares. London: Faber & Faber, 1958.Houli, Yang, and Fan, Fengmei. Dated Qingbai Wares of the Song and Yuan Dynasties. Hong Kong: Ching Leng Foundation, 1998.Hughes-Stanton, P. and Kerr, Rose. Kiln sites of ancient China: An exhibition lent by the People's Republic of China, 1981.Illustrated Catalogue of Celadon Wares in The Percival David Foundation of Chinese Art. London: School of Oriental and African Studies, 1997Joseph, Adrian Malcolm (Ed.). Chinese Pottery Burial Objects of the Sui and Tang Dynasties. London: Hugh M. Moss Ltd., 1970.Kerr, Rose. Song Dynasty Ceramics (Victoria & Albert Museum - Far Eastern Series). London: V&A Publications, 2004.Kotz, Suzanne (Ed.). Imperial Taste: Chinese Ceramics from the Percival David Foundation. San Francisco: Chronicle Books, 1989.Krahl, Regina. Yuegutang: Eine Berliner Sammlung Chinesischer Keramik / A Collection Of Chinese Ceramics In Berlin. Berlin: G + H Verlag, 2000.Lau, Aileen (Ed.). Spirit of Han: Ceramics for the After-life. Singapore: Sun Tree Publishing, 1991.Laurence, Desmond Roger. Chinese Porcelain: 25 years of unscholarly collecting. London: D.R. Lawrence, 2003.Laurence, S.J.. Chinese Pottery and Porcelain: From Prehistory to the Present. London: British Museum Press, 1991.Li, Hui Bing. Porcelain of the Song Dynasty (vol 1). Shanghai: Shanghai Science and Technology Press, 2002.Li, Hui Bing. Porcelain of the Song Dynasty (vol 2). Shanghai: Shanghai Science and Technology Press, 2002.Lu, Yaw, Feng, Xianming, and Tregar, Mary. Song Ceramics: With an Illustrated Catalogue of the Exhibition Organized by the Southeast Asian Ceramic Society and Held at the National Museum, Singapore in May-June 1983. Singapore: Southeast Asian Ceramic Society, 1983.M.H. de Young Memorial Museum. Avery Brundage Collection: Chinese Ceramics. San Francisco: de Young Museum Society, 1967.McElney, Brian Shane. Museum of East Asian Art: Chinese Ceramics v. 1: Inaugural Exhibition. Bath: Museum of East Asian Art, 1993.Medley, Margaret (Ed.). Decorative Techniques and Styles in Asian Ceramics: Colloquies on Art & Archaeology in Asia No.8. London: School of Oriental and African Studies, 1978.Medley, Margaret. Yuan Porcelain and Stoneware. London: Faber & Faber, 1974.Mino, Yutaka and Tsiang¸ Katherine. Ice and Green Clouds: Traditions of Chinese Celadon. Indianapolis: Indiana University Press, 1986.Mowry, Robert D., Farrell, Eugene, and Rousmaniere, Nicole Coolidge. Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black Glazed Ceramics, 400-1400. Cambridge: Harvard University Art Museums, 1996.Pierson, Stacey (Ed.). Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties. London: Percival David Foundation of Chinese Art, 2011.Pierson, Stacey (Ed.). Song Ceramics: Art History, Archaeology and Technology: Colloquies on Art & Archaeology in Asia No. 22. London: Percival David Foundation of Chinese Art, 2004Pierson, Stacey (Ed.). The Museum of East Asian Art Journal. Bath: Museum of East Asian Art, 1995.Pope, John Alexander. Fourteenth-Century Blue and White: A Group of Chinese Porcelains in the Topkapi Sarayi Muzesi, Istanbul. Washington: Freer Gallery of Art Occasional Papers, 1952.Scott, Rosemary E. (Ed.). The Tectus Collection: Tectussamlingen, Centraltryckeriet AB Boras. 1991.Sullivan, Michael. Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow. London: Faber and Faber Limited, 1963.Sydney L. Moss Ltd.. Chinese Monochromes From the P.J. Donnelly Collection. London: Sydney L. Moss Ltd., 1974.The Burrell Collection: Chinese Stonewares and Porcelains. Glasgow: Glasgow Art Gallery, 1950s.The Museum of Oriental Ceramics, Osaka. Song Ceramics. Tokyo: Asahi Shimbun Publishing Company, 1999.The Vancouver Society for Asian Art Presents The Talking Jars. 1971Tregear, Mary. Early Chinese Green Wares: in the collection of the Ashmolean Museum. Oxford: Oriental Art, 1967.Tregear, Mary. Guide to the Chinese Ceramics in the Department of Eastern Art Ashmolean Museum. Walsall: Finaprint Ltd, 1966.Tung, Wu. Earth Transformed: Chinese Ceramics In The Museum Of Fine Arts, Boston. Boston: Museum of Fine Arts, 2001.Watson, William. Pre-Tang Ceramics of China: Chinese Pottery from 4000 BC to 600 AD. London: Faber & Faber, 1991.Watson, William. Tang and Liao Ceramics. New York: Rizzoli International Publications Ltd., 1984.Wirgin, Jan. Sung Ceramic Designs. 1970.Wood, Nigel. Chinese Glazes. Philadelphia: University of Pennsylvania Press, 1999. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

WORKS OF ART REFERENCE BOOK COLLECTION 中國藝術參考書籍（共三十六本）含雜項、漆器、掐絲琺瑯、青銅器、家具、文房珍玩、佛教藝術等著作 Including: Chinese works of art, cloisonne enamel, archaic bronze, furniture, Buddhist art, Scholar's pieces etc, in total 36 publications.Including but not limited to:Berliner, Nancy Zeng. Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries. Boston: Museum of Fine Arts, 1996.Brinker, Helmut, and Lutz, Albert. Chinese Cloisonné: The Pierre Uldry Collection. London: Bamboo Publishing, 1989.Chou, Ju-His. Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors. Cleveland: Cleveland Museum of Art Bookstore, 2000.Clifford, Derek. Chinese Carved Lacquer. London: Bamboo Publishing, 1992.Deydier, Christian. Ancient Chinese Bronze Vessels, Gilt Bronzes and Early Ceramics. 1986.Dye, Daniel Sheets. Chinese Lattice Designs. New York: Dover Publications, 1974.Eskenazi. Chinese Lacquer From The Jean-Pierre Dubosc Collection And Others. London: Eskenazi, 1992.Fang, Jing Pei. Treasures Of The Chinese Scholar. New York: Weatherhill Inc., 1997.FitzGerald, C. P. Barbarian Beds: the origin of the chair in China. London: The Cresset Press, 1965.Gyllensvärd, Bo. Chinese Gold, Silver and Porcelain: The Kempe Collection. New York: The Asia Society, 1971.Hu, Shih-Chang. Chinese Lacquer. Edinburgh: National Museums of Scotland Publishing, 2001.Jenyns, Soame, and Watson, William. Chinese Art: Gold, Silver, Later Bronzes, Cloisonne, Cantonese Enamel, Lacquer, Furniture, Wood (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Jenyns, Soame. Chinese Art: Textiles, Glass and Painting on Glass, Carvings in Ivory and Rhinoceros Horn, Carving in Hardstones, Snuff Bottles, Inkcakes and Ink Stones (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Kates, George N. Chinese Household Furniture. New York: Dover Publications, 1962.Kerr, Rose. Later Chinese Bronzes. London: Bamboo Publishing, 1990.Krahl, Regina and Morgan, Brian. From Innovation to Conformity: Chinese Lacquer from the 13th to 16th Centuries. London: Bluett & Sons, 1989.Moss, Paul. Educated Palates: an exhibition at 63 East 82nd Street New York. London: Sydney L. Moss Ltd., 1987.Moss, Paul. The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects. Hong Kong: Andamans East International Ltd., 1986.Moss, Paul. The Second Bronze Age: Later Chinese Metalwork. London: Sydney L. Moss Ltd., 1991.Mowry, Robert D., and Brown, Claudia. Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks. Cambridge: Harvard University Art Museums, 1997.Page, J. and Page, S. The Woven Mystery: Old Tibetan Rugs. Bangkok: Craftsman Press, 1990.Pratapaditya, Pal et al. Art of the Himalayas: Treasures from Nepal and Tibet. New York: Hudson Hills, 1992.Rawson, Jessica (Ed.). Treasures from Shanghai: ancient Chinese bronzes and jades. London: British Museum Press, 2009.Rawson, Jessica. Chinese Bronzes: Art and Ritual. London: British Museum Press, 1987.Rawson, Jessica. The Ornament on Chinese Silver of the T'ang Dynasty, A.D.618-906. London: British Museum Press, 1982.Sir Garner, Harry. Chinese and Japanese Cloisonné Enamels. London: Faber & Faber, 1970.Spink. Lacquer From The Collection of Derek Clifford. London: Spink, 1999.The British Museum. Chinese and Associated Lacquer from the Garner Collection. London: British Museum, 1973.The furniture of the Ch'ing dynasty: the art pieces with utility purposes. Taipei: Chun Kuei-miao, 1989.Thurman, Robert A. F., and Weldon, David. Sacred Symbols: The Ritual Art of Tibet. New York: Sotheby's, 1999.Vainker, Shelagh. Chinese Silk: A Cultural History. London: British Museum Press, 2004.Watt, James C. Y. and Barbara Brennan Ford. East Asian Lacquer: The Florence and Herbert Irving Collection. New York: Metropolitan Museum of Art, 1991.Watt, James C. Y. and Knight, Michael. Chinese Jades from the Collection of the Seattle Art Museum. Seattle: Seattle Art Museum, 1989.Watt, James C. Y.. The Sumptuous Basket: Chinese Lacquer with Basketry Panels. New York: China House Gallery, 1985.河北省文物硏究所，《歷代銅鏡紋飾》，河北：河北美術出版社，1996.Li, Jiufang. Metal-bodied Enamel Ware (金屬胎琺瑯器). Hong Kong: The Commercial Press, 2001. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

NISHIZAWA GYOKUSHU (1889-1969) LACQUER WRITING TABLE, BUNDAI, LATE TAISHO-EARLY SHOWA PERIOD 大正末至昭和初 「玉舟作」款 西沢玉舟（1889-1969） 朱金漆稻穗紋文臺 共箱 of rectangular form, raised on spade-headed bracket feet, the flattened top decorated with wind-swept rice plants on red ground, signed 'Gyokushu saku' on lower left, with an original signed and sealed tomobako Dimensions:60.6cm x 12.4cm x 32.6cm Provenance:Provenance: Simon Pilling East Asian Art & Interiors, 19 October 2020, with an original receipt.Dr. Kenneth P. Lawley's inventory number: Misc.17. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

SHOCHIKUSAI YUHO (1968-1936) CARVED CHERRYWOOD INCENSE TRAY, KOBON, LATE MEIJI TO TAISHO PERIOD, C. 1912-1926 明治至大正 櫻桃木雕五福香皿 共箱 of irregular oval form, finely carved with five bats in flight across a fluid sky with clouds, bats' eyes inlaid, the back signed 'Yuho', with a tomobako Dimensions:60cm wide Provenance:Provenance: Simon Pilling East Asian Art & Interiors, 19 October 2020, with an original receipt.Dr. Kenneth P. Lawley's inventory number: Misc.14. Note: Note: Shochikusai Yuho, or Shochikusai Shudo, is the art name of Ichikawa Manjiro, an artist of samurai descent from Himeji Prefecture.Please note this lot will be offered with no reserve. 本拍品不設底價

BRONZE BEAKER VASE EDO PERIOD 江戶 銅獸面紋花觚 cast in the form of two trumpets with a bulging middle section, decorated with four stylised lion masks linked by a thin double string course Dimensions:34.5cm high; 2637g Provenance:Provenance: Gregg Baker Asian Art, 9 November 2010, with an original receipt.Dr. Kenneth P. Lawley's inventory number: M.39. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

BRONZE VASE BY SEKIGUCHI SHINYA (1877- ca.1932), TAISHO-EARLY SHOWA PERIOD 関口真也（1899-約1932） 「真也刻」款 銅龍蝦紋罐 共箱 of compressed ovoid form with high shoulders, decorated with two confronting lobsters with clams and vegetation, the decoration highlighted with coloured patination and with gold inlay, chiselled on one side ' Shinya koku' (carved by Shinya), with original inscribed and sealed tomobako Dimensions:30cm diameter; 3764g Provenance:Provenance: Simon Pilling East Asian Art & Interiors, 2 November 2022, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.73. Note: Note: Sekiguchi Shinya was born in Tokyo as the son of the celebrated metalworker Sekiguchi Ichiya (1850-1933), who himself was under the tutelage of Goto Ichijo (1791-1876). Shinya studied painting with Hashimoto Gaho (1835-1908) and exhibited at the fourth Naikoku Kangyo Hakurankai (National Industrial Exposition) in 1895.Please note this lot will be offered with no reserve. 本拍品不設底價

OTOWA EARTHENWARE BRAZIER, SHURO EDO PERIOD 江戶 京都音羽陶常春藤紋火缽 共箱 decorated with ivy leaves with tendrils against soft pink glaze, near the mouth with two perforations for the brass tongs, lacquered carved wooden pierced cover, impressed seal 'Otowa', with tomobako Dimensions:28cm high Provenance:Provenance: Simon Pilling East Asian Art & Interiors, 5 November 2018, with a photocopied receipt.Dr. Kenneth P. Lawley's inventory number: Cer.170. Note: Please note this lot will be offered with no reserve. 本拍品不設底價