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AN ENAMELLED YIXING POTTERY SPITTOON Decorated with butterflies and birds amongst flowering foliage and lotus on a mottled purple ground, the interior and underside of base with a crackled white glaze Provenance: From the collection of Dato Prof. Cheah Jin Seng; Christie's Singapore, Straits Chinese Ceramics and Works of Art, 31 March 1996, Lot 834 Notes: A similar example, now in the collection of the Asian Civilisations Museum, Singapore, illustrated in Dr. Ho Wing Meng, Straits Chinese Porcelain, A Collector's Guide, Fig.59, Pg.95 8cm high Condition: Minor crazing to enamel, very small scratch to underside of foot rim. Fine condition with no visible chips, hairlines or cracks. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Ceremonial Kylych of the 1860s. Hallmarks: the master of the letter WL, the head of a girl with a moon in a pentagonal rhombus with the letter P, corresponding to the city of Budapest and the number 4, certifying the fourth Austrian standard (equal to the 72nd Russian). Supposedly belonged to a general staff officer, Kaiserliche und konigliche Armee - Imperial Royal Army, during the reign of Franz Joseph, Austro-Hungarian Empire 1867-1922. Material: Steel blade. The scabbard is made of chased silver with remnants of gilding, decorated with cabochon-cut semi-precious stones: ruby, garnet, jade, turquoise. The lower part of the scabbard in a later version. The rarest work of art made by master gunsmiths of the 19th century undoubtedly has historical and artistic value. Historical note: For the first time, the Central Asian Turks and their offshoots began to use curved cavalry swords, in the period from the end of the 3rd century BC. The earliest examples of curved Turkish swords can be found during the period of the Eastern Turkic Khaganate. After the Ottoman invasion of the Balkans, in most European armies, sabers of the Kilich type were adopted. Width: 23cm, Height: 98cm, Depth: 10cm, Weight: 5kg, Condition: Good, Material: Garnet

Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Virgin and Child"Oil on copper. Signed: "Fco. Clapera".42 x 32 cmFrancisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5

A GROUP OF ASIAN DRESSING TABLE WARES (6)Comprising; an oval hand mirror, a large clothes brush, two smaller clothes brushes and two hair brushes, with differing styles of decoration incorporating figures, animals and foliage, probably Indian or BurmeseProvenance:  Property from the collection of art critic Terence Mullaly

A GROUP OF ASIAN WARES (4)Comprising; a pair of stands with floral decoration, raised on lily pad feet, sample height 10cm, a cylindrical box and cover, decorated with animals and flowers below a border of fish, combined weight 371 gms and a Haig dimple bottle with an applied mount pierced with dragons (the stopper lacking)Provenance:  Property from the collection of art critic Terence Mullaly

AN ASIAN TWO PIECE PART TEA SETComprising; a milk jug and a twin handled sugar bowl, each piece of oval form, decorated with a band of figures above a sprial fluted band, raised on an oval foot, possibly Indian or Burmese, combined weight 448 gmsProvenance:  Property from the collection of art critic Terence Mullaly

TWO ASIAN MUGS (2)The tallest decorated with foliate sprays within arcarded borders and having a serpent form handle, height excluding handle 11.6cm, the smaller decorated with figures, trees and buildings, height 7.7 cms, detailed LIZZIE, combined weight 383 gmsProvenance:  Property from the collection of art critic Terence Mullaly

AN ASIAN TEAPOT AND AN ASIAN SCENT BOTTLE STAND (2)The teapot decorated with figures, raised on a pierced foot, the spout end decorated with a mythological animal's head, the handle formed as a figure, probably Burmese, (the cover lacking), the scent bottle stand decorated with dancing figures, height 15cm, weight 633 gmsProvenance:  Property from the collection of art critic Terence Mullaly

A LADY'S MAKE-UP SET AND A LADY'S POWDER COMPACT (2)The larger make-up set opening to reveal various compartments to include a compact and a cigarette section, the exterior with foliate scroll engraved decoration, detailed Sterling 950 ASAHI, size of case 14cm x 10.3cm, the rectangular compact with engraved decoration, (the mirror to the interior broken), size 7.9cm x 6.5cm, combined gross weight 490 gms (note; including mirrors and other non silver coloured metal components), probably AsianProvenance:  Property from the collection of art critic Terence Mullaly

AN ASIAN CIGARETTE BOX AND AN ASIAN BOWL (2)The rectangular cigarette box wooden lined within the base, the cover decorated with elephants, the sides decorated with peacocks, figures and elephants, size 16.3cm x 9.5cm, the bowl decorated with figures, elephants and a cart, rim diameter 13cm, weight of bowl 369 gms, both probably Indian or BurmeseProvenance:  Property from the collection of art critic Terence Mullaly

THREE ASIAN BOWLS (3)The largest decorated with signs of the zodiac, detailed P.ORR AND SONS MADRAS, height 7.8cm, the other two bowls decorated with animals and figures, combined weight 437 gmsProvenance:  Property from the collection of art critic Terence Mullaly

A GROUP OF FOREIGN AND PLATED WARES (8)Comprising; an Asian shaped rectangular visiting card case, with floral and scroll decoration, a small bowl decorated with figures, a spoon, detailed Sterling 950.S, an oval stand, (the glass liner lacking), detailed ORR SILVER and four minor plated itemsProvenance:  Property from the collection of art critic Terence Mullaly

A Sage Green Jade Vase and Cover, mid Qing dynasty, of flattened bottle form with double scroll handles on the neck, above a continuous scene of magnolia, peony, lotus and other flowering plants, finely carved in low relief around the body, the domed lid with seated qilin knop H: 16.5cm Ben Janssens Oriental Art, Mythical Animal, Graves Art Gallery, Sheffield, 1970's to early 1980's; Museum of East Asian Art, Bath, 1988-2019; Private Collection, UK

A Collection of Reference Books on Asian Art Good condition, see photos.

A lot of Sotheby's Asian Art Catalogues, 21 copies Some notes with transaction prices Good condition, see photos.

A lot of Sotheby's Asian Art Catalogues, 15 copies Some notes with transaction prices Good condition, see photos.

A lot of Sotheby's Asian Art Catalogues, 11 copies Some notes with transaction prices Good condition, see photos.

A lot of Sotheby's Asian Art Catalogues, 10 copies Some notes with transaction prices Good condition, see photos.

A lot of Sotheby's Asian Art Catalogues, 13 copies Some notes with transaction prices Good condition, see photos.

LITERATUREA LARGE COLLECTION OF REFERENCE BOOKSRelating to Chinese and Asian works of art from the Phillip Allen reference library. (a lot)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from the collection of Phillip Allen (1938-2022).

AFTER LEONARD TSUGUHARU FOUJITA (1886-1968)20TH CENTURYTwo drawings, both pencil on paper, one in pink with the three-quarter portrait of a young woman; the other in graphite with the head of a young girl looking up, her hair blowing in the wind; both signed in roman script 'Foujita' lower right, 29.5cm x 20.5cm and 29.5cm x 21cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.See Sotheby's London, 20th Century Asian Art, 6th May 2004, lot 62, for a drawing by Foujita entitled 'Tête de Jeune Fille' closely related to this first one. Also, see the Bailly Gallery, Geneva/Paris, for 'Portrait de Jeune Femme Blonde', another drawing by Foujita dated 1938 and related to the second portrait in this lot.

China, pair of blue and white porcelain cups and saucers, Kangxi period (1662-1722), each with canted sides and decorated with flowers (one cup with hairline, one saucer with restored rim) Provenance: Bekman Asian Art, Amsterdam [4]

Très rare plat creux à douze pans en porcelaine de Meissen du service « Gelbe Löwe », circa 1729-31A very rare Meissen twelve-sided deep dish from the 'Gelbe Löwe' Service, circa 1729-31The porcelain with very rare moulded flower heads visible in four places, largely covered by the enamel colours, Painted with the 'Gelber Löwe' pattern, on the right a stylised prunus trunk with young shoot sprouting from the gnarly base, on the left a yellow tiger, his large eye picked out in gold, wrapping itself around a bamboo shoot with blue, green and red flowers, 25cm across crossed swords mark in blue enamel, incised Japanese Palace inventory number N=8-/ W very minute chip to top corner, slight wearFootnotes:Provenance:The Royal Collections of Saxony, Japanese Palace, Dresden, delivered in April 1731;Albert Dasch Collection, Teplitz (sold by Rudolph Lepke's Kunst-Auctions-Haus, Berlin, 4 March 1913, lot 186);With J.J. Klejman Gallery, New York (applied label to reverse)For a comprehensive discussion of the history of the 'Gelber Löwe' service in the 18th century, see Julia Weber, Meißener Porzellane mit Dekoren nach ostasiatischen Vorbildern, vol. II (2013), pp. 265-274. The 'Gelber Löwe' pattern was first produced at Meissen after a Japanese porcelain original as part of the large order placed by the Paris merchant, Rudolph Lemaire, for copies of Asian porcelain. A large quantity of plates and dishes painted in this style were among the porcelain confiscated in April 1731 in the house of Lemaire's accomplice at the Dresden court, Count von Hoym, and subsequently sent to the Japanese Palace and entered in the inventory under no. 8. This present lot belongs to this group and is therefore one of the earliest examples of this decoration.Some of this porcelain was used for diplomatic gifts - to the English diplomat, Sir Thomas Robinson and the Bishop of Cracow, Jan Alexander Lipski - or was used for table services (for which large orders were subsequently placed) and moved to the court pantries (Hofkonditoreri) in Dresden and Warsaw. The 18th century inventories of the court pantries show that ten twelve-sided 'tiefe Confect Schaalen 10 Zoll in Diam' [deep confectionary dishes 10 Zoll in diam.] with the inventory number 8 were removed from the Japanese Palace for use: five in Dresden and five in Warsaw (published by C. Boltz, Hoym, Lemaire und Meissen - Ein Beitrag zur Geschichte der Dresdener Porzellansammlung, in Keramos 88 (1980), p. 71, and by J. Weber, op. cit., I, p. 159 and p. 163). By 1770, it appears that only sixty dishes of various shapes and sizes remained in the Japanese Palace: the 1770 inventory records: '(Siebenzig) Nur 60. Stück Stück runde tiefe Schaalen, von differenter Größe, mit braunen Rändern, Löwen, blauen Rohr und andren Blumen nach alt Indianischer Art gemahlt, No. 8' [(Seventy) only 60 round deep bowls, of different sizes, painted with brown rims, lions, blue pipe and other flowers in old Indian style, No. 8] (quoted by Claus Boltz, Japanisches Palais-Inventar 1770 und Turmzimmer-Inventar 1769, in Keramos 153 (1996), p. 72).This appears to be the only twelve-sided dish of this type recorded in the literature (Weber, op. cit., II, p. 265 and n. 8).For further information on this lot please visit Bonhams.com

LITERATURECompendium of Collections in the Palace Museum, Volumes 1-5, together with further publications mostly relating to Asian art. (132)

KLEINE RELIEFPLATTE MIT ZWEI SZENEN DES BETENDEN BUDDHAS. Herkunft: Nepal. Dynastie: Licchavi Periode. Datierung: 8. - 9. Jh. Technik: Schwarzer Stein. Beschreibung: Rechteckige Form mit zwei Szenen des betenden Buddhas auf zwei Registern. Maße: 29,5x22x3,5cm. Provenienz:Privatsammlung Nordrhein-Westfalen, erworben Kunsthandel Jonathan Tucker, Antonia Tozer, Asian Art, London. Zuvor englische Privatsammlung, erworben in den 1970ern. Erläuterungen zum Katalog

Chinese jade carving of a "Buddha's Hand" finger citron. Qianlong period (1735-1796). The pale white jade stone carved in the form of curling citrus fingers with a pierced verdant stock.Provenance: Private English Estate; Private Collection; Hindman, "Chinese & Southeast Asian Works of Art," Sale 831, March 25, 2021, Lot 212; Private California Collection.Height: 1/2 in x width: 2 3/4 in x depth: 1 1/4 in. Weight: 47.7 grams. />Condition: No chips, cracks, or losses. Very light wear. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

17th century Chinese carved russet jade belt slide with a delicate curling design. A very fine level of carving, excellent subtle relief carving.Provenance: Acquired in New York City auction in the 1970s; Private Minnesota Collection; Revere Auctions "Fine Asian Art," April 26, 2019, Lot 195; Private California Collection.Height: 1/2 in x width: 3 3/4 in x depth: 1 in. Weight: 48.8 grams. />Condition: There is one small chip along the edge on one end which shows evidence of having been smoothed. No other chips, cracks, or losses. Light wear throughout. Some calcifications in the recessed areas. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

An excellent example of Chinese jade carving of the late Qing, this brush washer exhibits the fine craftsmanship and materials found in the most sought after jades. It retains its original hardwood stand carved to look like a thicket of flowers.Provenance: The Asian Gallery, Toronto, Ontario, purchased 1974; Private Minnesota Collection; Revere Auctions "Fine Asian Art," April 26, 2019, Lot 183; Private California Collection.Height: 2 3/4 in x diameter: 6 in. Weight: 474.9 grams. />Condition: Several small chips throughout the vines and floral carvings. Natural fissures throughout. Very light wear. One sticker affixed to the underside. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

A very fine Chinese 19th century white jade tripod censer carved from white and green jade. The green of the jade is well integrated into the tail of the dog. An excellent carving.Provenance: Collection of Augustus Leach Searle; Private Minnesota Collection; Revere Auctions "Fine Asian Art," April 26, 2019, Lot 178; Private California Collection.Height: 3 3/4 in x width: 2 3/4 in x depth: 2 in. Weight: 88.6 grams. />Condition: No chips, cracks, or losses. Light wear throughout. Yellow accretion to the underside. Some light wear where the lid and vessel meet. Some light wear and minute losses to the gilt decoration of the wooden stand. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

One Chinese early 19th century Mughal-style jade bowl. A stunning example of Mughal-style jade carving, this is a rare and highly sought after form. This bowl is larger than most. The entire form profusely carved with flower petals. This carving has rendered the entire form extremely thin.Provenance: B. Manheim Galleries, New Orleans, Louisiana, purchased 1970; Private Minnesota Collection; Revere Auctions "Fine Asian Art," April 26, 2019, Lot 183; Private California Collection.Height: 1 3/4 in x diameter: 5 1/2 in. Weight: 166.7 grams. />Condition: There are a few small chips along the edges. There is one small hole, possibly original to the carving, along the lower edge. Very light wear including some accretions. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

Chinese Henan ware ceramic bowl, Yuan dynasty. Mottled brown glazed stoneware with iridescent 'oil spots' throughout.Provenance: Estate of Francis J. Caro, owner of Frank Caro Gallery, New York; Tenmoku Auctions, "Summer Asian Art, Francis Caro's Estate Sale," July 15, 2021, Lot 73; Private Minnesota Collection.Height: 2 1/2 in x diameter: 6 in. />Condition: There are no cracks, chips, or restorations. Very light wear throughout. A few small glazing flaws original to production.

Indian Punjabi Sainchi Phulkari embroidered with figures and animals surrounded by geometric borders, ca. late 19th to early 20th century. Handspun cotton plan weave (khaddar) textile with silk and cotton embroidery. Depicting protective snake symbols, wedding jewelry, and other symbols of a joyful marriage. With a central lotus medallion. Likely pre-partition, eastern Punjab.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.Length: 86 in x width: 48 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Large Indian Kutch patchwork textile wall hanging comprised of Rabari embroidered fabrics. Likely from blouses, skirts, and shawls. With typical Rabari motifs of flowers, temples, peacocks, and more. With mirror work throughout.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.Length: 77 in x width: 94 in. />Condition: There are no major tears or losses. It appears that all rings are present. There are stains throughout the backing cloth, visible in the lot listing. The colors of the patchwork are somewhat faded. All pieces show wear consistent with age and use. Small holes, losses, fraying, and other wear throughout the patchwork pieces. Staining and wear to the verso.

Group of two books signed by Jawaharlal Nehru from the collection of Frederick and Catherine Asher. Including:Jawaharlal Nehru. "The Discovery of India." London: Meridian Books Limited, 1960. Signed by the author. New impression 1960 (5th edition).Jawaharlal Nehru. "India Today and Tomorrow." New Delhi: New Age Printing Press, 1960. Signed by the author. Third impression.Jawaharlal Nehru was an Indian anti-colonialist activist who would become the first Prime Minister of India. His daughter, Indira Ghandi, would later become India's first female Prime Minister.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Large group of 46 etchings and engravings depicting India, 19th century to early 20th century. Ten framed.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.Sight; height ranges from 4 1/2 in to 7 1/2 in; width ranges from 6 in to 9 3/4 in. Framed; height ranges from 8 1/2 in to 11 1/2 in; width ranges from 10 in to 13 3/4 in. Unframed; height ranges from 5 1/4 in to 12 in; width ranges from 7 in to 14 in. />Condition: Wear throughout including toning, discoloration, foxing, small tears and holes. Some more worn than others; see listing images. Works that are framed have not been inspected out of frame.

Group of three artworks including two Indian Jain manuscript pages and one painting. The manuscript paintings filled with text along the left side and with illuminations along the right. Possibly belonging to the Kalpa-sutra "Book of Ritual" meant to be read daily. The painting depicting three figures working in a field, possibly weaving.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.(Painting) Sight; height: 5 1/4 in x width: 7 1/2 in. Framed; height: 10 in x width: 12 in. (Manuscript pages) Each, sight; height: 4 1/4 in x width: 10 in. Framed; height: 13 3/4 in x width: 15 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Group of six Indian Pankha fans from the region of Saurashtra, Gujarat. Each profusely beaded throughout. Depicting Krishna with the Gopis, a figure riding a camel, a flowering tree, and geometric designs. With metal or woven bases; one with gold foil backing; and with mashru silk fabric additions.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.Each, height: 9 1/2 in x width: 11 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Vintage Indian silver belt or long necklace. With oblong beads throughout.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.Length: 40 in. Weight: 195.5 grams. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Chinese famille rose porcelain bowl painted with enamel peaches and bats. The carefully potted bowl painted with two bats and four ripe peaches along the exterior and the interior with two more peaches with three flying bats. Marked along the underside with a six-character Yongzheng mark in underglaze blue.Provenance: Bonham's San Francisco, "Asian Decorative Works of Art," December 19, 2017, Lot 6312; Private California Collection.Height: 2 3/4 in x diameter: 5 3/4 in. />Condition: There are no chips, cracks, losses, or repairs. Extremely light wear throughout. There are two stickers affixed along the interior of the bowl.

18th century Chinese Kangxi famille verte porcelain plate. Decorated in the center with a scene of a figure riding a horse outside of a palace, possibly derived from "The Romance of the Western Chamber (Xixiangji)." The rim painted with four floral cartouches alternating with precious objects tied with ribbons. The underside of the rim painted with floral sprigs. Marked along the underside with an underglaze blue double circle and an apocryphal pictorial mark of a "fangding" ritual censer.Provenance: The Oriental Impression, Ltd., St. Louis, Missouri, 1984; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection.Diameter: 9 in. />Condition: No visible losses. There is a hairline crack along the lower right rim, extending from the center that measures approximately 2 inches. There is a minute chip underneath the lower left rim. The underside has wear consistent with age and use.

A striking Ming Dynasty Chinese jade belt plaque mounted on a custom wooden stand. Excellent pierced work.Provenance: Private Minnesota Collection; Revere Auctions "Fine Asian Art," April 26, 2019, Lot 191; Private California Collection.(Jade) diameter: 2 3/4 in. Weight: 62.0 grams. (With stand) Height: 4 1/4 in x width: 2 1/2 in x depth: 1 1/4 in. />Condition: No major chips, cracks, or losses. Several extremely minute fleabite chips along the edges. Very light wear throughout. Light wear to the stand including a few small chips. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

Maqbool Fida Husain (1915-2011)Untitled (Horse) signed and dated 'Husain 008' lower rightpen and ink on paper21.3 x 20.3cm (8 3/8 x 8in).Footnotes:ProvenanceProperty from a private collection, India. Acquired from the artist. Husain's watercolour horses are not confined to a single style or aesthetic; they reflect his evolving artistic journey. His horses range from meticulously detailed renderings to more abstract and expressive interpretations, each offering a unique perspective on this timeless subject. This diversity of approach showcases his ability to adapt and innovate within the realm of watercolour painting. In Untitled(Horse) Husain invites us to experience the beauty, energy, and spirit of the magnificent creature. Depicted singularly, he is drawn as though charging towards us from the top right corner. Characteristically, the hooves are not depicted and yet the intensity of the horses movement can be felt coming off the composition. The muted colours of blues and blacks aids this burst of energy. Typically, a blue moon is considered to be a powerful time to set intentions, release negative energy and manifest abundance. Husain's horses are positive creatures, and his extensive knowledge would likely have played a part in deciding the colour palette employed to disseminate his message.To see a similar work sold in these rooms, see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 29.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

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.