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A RARE BRONZE PERFUME FLASK AND COVERSui/Tang DynastyOf ovoid shape rising from a short tapered foot to a long waisted neck and flaring mouth rim, the domed cover surmounted by a lotus-bud finial, with mottled green and brown patina. 15cm (5 3/4in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價隋/唐 銅長頸瓶Provenance: James Marshall Plumer (1899-1960), Michigan. 來源：James Marshal Plumer (1899-1960) 舊藏, 密歇根Exhibited: The Detroit Institute of Arts, 6 March- 8 April, 1962 (by repute)James Marshall Plumer (1899-1960) was a noted professor and expert on Asian art. Plumer undertook extensive studies abroad, visiting ancient temples and monuments in China, becoming fluent in Chinese, and working as an administrative officer with the Chinese government's Maritime Customs. He was a member of the American Oriental Society, the Royal Asiatic Society, the Chinese Art Society of America, the Japan Society, the Association for Asian Studies, and the Archaeological Society of America. After Plumer passed away, the Detroit Institute of Arts presented a memorial exhibition that featured his collection.For a related bottle vase, Tang dynasty, see also Bronze Articles for Daily Use: The Complete Collection of Treasures of the Palace Museum, Beijing, 2006, no.156. Another related bronze, Sui/Tang dynasty, is illustrated in Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no.330.Compare also with a similar bronze bottle vase, Tang dynasty, which was sold at Bonhams London, 11 May 2021, lot 64.For further information on this lot please visit Bonhams.com

TAI XIANGZHOU (b.1968)Cosmos Worlds 1 and 2, 2014Two paintings, ink on paper, each framed. 45cm high x 75cm wide (17 3/4in high x 29 1/2in wide). (2).Footnotes:泰祥洲(1968年生) 天象世界1和2 水墨紙本 鏡框 2014年作Born in 1968 to a scholarly family in the provincial capital of Yinchuan, Ningxia, in north-central China, Tai began his training in Chinese calligraphy at the young age of four. After studying interactive design in Auckland, New Zealand, he led successful careers in digital media and conservation, founding the cultural magazine 'Chinese Heritage'. In 2003, his encounter with the painter Liu Dan pushed him to further explore the techniques of traditional Song and Yuan dynasty paintings. By 2006, Tai had devoted himself to ink painting and had begun to investigate Chinese landscape paintings from the perspective of astrology. Under the mentorship of philosopher Bao Lin, he completed his PhD from Tsinghua University in 2012 with a dissertation entitled 'Phenomena of the Universe-The Concepts and Structure of Chinese Landscape Paintings.' This work was highly admired by renowned art historian Fang Wen, who recommended the book in the preface and recommended for publishing by the Zhonghua Book Company. Attending to the nature of the materials of painting, Tai has researched traditional papermaking techniques and now paints exclusively on paper and silk produced by tenth-century methods. He also only uses ink from the Qianlong era (1736-1795), which is considered to be one of the highest-quality inks. In addition to painting, Tai in 2010 created an interactive and multimedia installation based on classical Chinese cosmology, 'The Gateway of Expedient Means', modelled on medieval revolving repositories of Buddhist sutras and constructed in wood using traditional mortise-and-tenon joinery. He currently lives and works in Beijing. Tai Xiangzhou's works are in the Art Institute of Chicago; the Arthur M.Sackler Museum, Harvard University; the Asian Art Museum of San Francisco; the Brooklyn Museum; Princeton University Art Museum; and Yale University Art Gallery.For related paintings by Tai Xiangzhou, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.44-45.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

CHUN-YI LEE (b.1965)Unyielding Mountains, 2009Ink on paper, framed. 66.3cm high x 78.5cm wide (26 1/8in high x 30 7/8in wide).Footnotes:李君毅（1965年生）不屈的山 水墨紙本 鏡框 2009年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. The present lot is stamped with both the Communist hammer and sickle, as well as the Republican sun used in the Taiwanese flag. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past. Lee has participated in over 30 group and solo exhibitions internationally. His works have been collected by the Ashmolean Museum, Oxford; the Arthur M. Sackler Museum, Harvard University; the Asian Art Museum, San Francisco; the Phoenix Art Museum, USA; the Jiangsu Art Museum; the Qingdao Art Museum, China; the National Arts Education Institute, Taipei; the Hong Kong Museum of Art, and other public and private collections.Compare with a related painting by Chun-Yi Lee, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2835.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A VERY RARE BRONZE 'ZHANG QIAN AND BOAT' HANGING INCENSE VESSELMing DynastyThe vessel expertly cast as a boat in the form of a large lotus petal, with a mythical-beast head at the front, a Daoist Immortal with jovial expression seated at the stern, wearing a lotus-leaf hat and holding an open book, his right hand holding the rudder, the deck with leafy-tendril openwork, the exterior of the boat decorated with a band of openwork C-scrolls, with three raised suspension lugs attached to three chains hung from a loop ring. 25.5cm (10in) long.Footnotes:明 仙人乘槎掛式銅吊爐Published, Illustrated and Exhibited: Michael Goedhuis, Chinese and Japanese Bronzes A.D.1100-1900, London, 1989, no.24. 展覽著錄：Michael Goedhuis著，《Chinese and Japanese Bronzes A.D.1100-1900》，倫敦，1989年，編號24The present lot is very rare. Although it is an incense burner or perfumer, the shape may possibly have been inspired by Central Asian and Persian kashkul, or so called 'beggar's bowls'. The kashkul was a sign of religious poverty assumed by Sufis and Islamic mystics, and was worn around the neck with a chain. The bowl's boat-like shape became symbolic of the dervish's journey on the ocean of mystic knowledge. See for example, a kashkul, ca.1500, Iran or Afghanistan, of similar boat-shape and with chain, in the Victoria and Albert Museum, London (acc.no.755-1889).The present lot, although not Islamic, shares the Sufi's concern with mysticism and the journey for knowledge, except now there is a Daoist Immortal with a book riding the boat. Immortals riding a raft (Xianren chengcha 仙人乘槎) are frequently depicted in other materials such as bamboo or rhinoceros horn carvings. See for example, a rhinoceros horn cup with Immortal on a raft, late Ming/early Qing, illustrated in Bamboo, Wood, Ivory and Rhinoceros Horn Carvings in the Collection of the Palace Museum, Beijing, 2010, p.302. The earliest record of the tale of an 'Immortal Riding a Raft' was in the Record of Diverse Matters (博物志) written by Zhang Hua (c.290 CE). According to this book, every Eighth Month, boats commute between the sea and the Milky Way leading one to Immortality. Later, this myth became conflated with the historical figure of Zhang Qian (張騫) the Han dynasty explorer and envoy to Central Asia. See a silver cup depicting an Immortal on raft, Yuan dynasty, illustrated in Zhongguo meishu quanji, vol.10, Beijing, 1996, no.154. S.Lee, in Chinese Art under the Mongols: The Yuan Dynasty, Cleveland, 1968, entry 37, mentions that this could be a depiction of the Daoist deity Taiyi zhenren (太乙真人), travelling to the fairy islands of Penglai.For further information on this lot please visit Bonhams.com

QIU DESHU (b.1948)Self Portrait (Spirit), 1997Ink and acrylic on xuan paper and mounted on canvas, signed and dated 1997 in Chinese. 180cm high x 360cm wide (70 3/4in high x 141 1/2in wide) Footnotes:仇德樹(1948年生) 自畫像（靈魂） 水墨丙烯宣紙 裱於畫布 1997年作 Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.232-233. Chinese Ink Painting Now, New York, 2010, p.82.Michael Goedhuis, Qiu Deshu, London, 2012, pp.40-41.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.168-169. 展覽著錄：路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第232-233頁。《當代中國水墨畫》，紐約，2010年，第82頁。Michael Goedhuis編, 《仇德樹》，倫敦，2012年，第40-41頁。Michael Goedhuis編, 《Ink: The Art of China》, 薩奇美術館, 倫敦, 2012年, 第168-169頁. Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then sticking selected pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper on top of colours, produces additional effects: the final work is a sophisticated combination of painting and collage.The present lot, his self-portrait, is merged with a rocky landscape, not only reflecting the fissures and dramatic disruptions fragmenting his life, but also his unity with the ever-changing universe. As an expression of his place within this ongoing cosmos in flux, Qiu created his unique Self-Portrait (Spirit), a landscape in which facial features emerge from the mountain formations to suggest the presence of the artist's human spirit.Qiu Deshu's works are in numerous museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WEI LIGANG (b.1964)Chinese Poem-Bronze Script, 2010Ink and acrylic on paper, signed at the lower left corner, framed. 180cm long x 96cm wide (70 3/4 long x 37 3/4in wide).Footnotes:魏立剛（1964年生） 中國詩-金文 水墨丙烯紙本 鏡框 2010年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2018, pp.4-5.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2018年，第4-5頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC- 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the University Calligraphy Society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. From 1995, he increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. Indeed, the present lot has a bird visible in one of the characters. Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

YANG YANPING (b.1934)Autumn Song, 1996Ink and colour on xuan paper, framed. 66.7cm long x 133.4cm wide (26 1/4in long x 52 1/2in wide).Footnotes:楊燕屏（1934年生） 秋歌 紙本設色 鏡框 1996作 Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.199.Michael Goedhuis, The Ink Art of China, London, 2019, pp.20-21. 展覽著錄：《當代中國水墨畫》，紐約，2010年，第199頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第20-21頁Yang Yanping is famous for her paintings of Autumn and lotus; with impressive compositions of saturated reds, golds and ink on paper, her works strays close to pure abstraction. She studied architecture at Tsinghua University, where she married one of her painting teachers, Zeng Shanqing. After she graduated in 1958, and a brief spell of teaching factory design, Yang decided to study art at the Oil Painting Department of the Beijing Art Academy. At the same time she studied traditional Chinese painting on her own. In 1986, both Yang and her husband were awarded fellowships from the State University of New York at Stony Brook, and they have remained in America ever since.Yang is well versed in many traditional styles but has excelled in depicting the lotus flower, a symbol of purity, transience, the fragility of nature, and the potential for regeneration. Yang's ideals of high visual quality and an artistic autonomy allows her to embrace modernism without jettisoning the lessons from the classical Chinese world of high culture. Her recent exhibitions include a major retrospective at The Art Museum of Beijing Fine Art Academy in 2013. Yang Yanping's work can be found in many prestigious institutions globally, including the Art Institute of Chicago which has recently held a major exhibition of her work, see Expressive Ink: Paintings by Yang Yanping and Zeng Shanqing, Chicago, 2019; The Art Museum of Beijing Fine Art Academy, Beijing; The Ashmolean Museum, Oxford; The Albertina, Vienna; the Asian Art Museum, San Francisco; The British Museum, London; and the Museum of Fine Arts, Boston.For a related painting by Yang Yanping, 'Deep Autumn', 2004, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.360-361.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WEI LIGANG (b.1964)Zhu Ma Ting (Stop the Horse and Listen), 2010Ink and acrylic on paper, signed at the lower rightcorner, framed. 180cm high x 96cm wide (70 3/4in high x 37 3/4in wide)Footnotes:魏立剛(1964年生) 駐馬聽 水墨丙烯紙本 鏡框 2010年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2014, pp.26-27.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2014，第26-27頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC- 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the University Calligraphy Society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. From 1995, he increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. He employs the bright colours of gold, red, and blue, and uses acrylic paints to increase substance and texture. In these respects his art differs from traditional Chinese calligraphy, which typically is monochrome. Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

QIU DESHU (b.1948)Mountainscape (Red), 2005Ink, acrylic and xuan paper on canvas. 200cm high x 360cm wide (78 3/4 high x 141 3/4in wide).Footnotes:仇德樹 山景（紅） 水墨丙烯宣紙 裱於畫布 2005年作Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then adhering select pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper atop colours, produces additional effects: the final work is a sophisticated combination of painting and collage. The present lot, combines the traditional notions of Chinese landscape painting, but combined with innovative 'fissuring' technique, reflecting a world in flux.Qiu Deshu's works are in many museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.Compare with a similar mountainscape in red, but mounted as a set of five panels, 2005, by Qiu Deshu, which was sold at Sotheby's Hong Kong, 3 April 2016, lot 515.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WEI LIGANG (b.1964)Thatched Cottage Beside the Water Lined with Phoenix-Tail Fern Moistened in the Mist, 2016Ink and acrylic on paper, signed WEI LIGANG in pencil and dated 2016, two panels, framed. Each panel 180cm long x 96cm wide (70 3/4in long x 37 3/4in wide). (2).Footnotes:魏立剛(1964年生) 臨水草堂與霧靄鳳尾蕨 水墨丙烯紙本 鏡框 2006年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2018, pp.16-17.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2018年，第16-17頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC - 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the university calligraphy society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. In 1995, he thereafter increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. In the present lot, elegant black lines peregrinate fluidly on a brilliant gold foreground, displaying the impulsive gestures of abstract expression and at the same time preserving the archaic grid system of Chinese writing in a pictorial form. The bold application of colour, rarely used in traditional Chinese calligraphy, provides a stark contrast against the ink, representing the artist's unconventional style and take on the incorporation of new media.Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.Compare with a similar single panel by Wei Ligang, 2007, illustrated in Chinese Ink Painting Now, New York, 2010, p.125, which was later sold at Sotheby's Hong Kong, 3 April 2016, lot 563.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Chinese 'longquan' guan-type celadon washer, xi, Southern Song Dynasty, 13th century, with pale translucent celadon glaze suffused with a network of fine crackles, burnt red foot, exhibition labels for Cape Town 1953, Radcliffe collection and BADA, 12.3cm diameterCompare with a dish of related type in the Museum of East Asian Art, Bath, p. 154, pl.108Provenance: Walter Burchard Collection purchased from him by Bluetts, March 8th, 1944Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive, 'A13', as purchased from Bluett & Sons, in 1943, for £12-0s-0d, but listed in the Bluett archive as sold to Major Radcliffe September 20th, 1944, for £25.00Exhibited: National Gallery of South Africa, Chinese Exhibition, Cape Town, 1953, no. 77南宋 龙泉窑冰裂纹青釉折沿洗拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族编号A13），其在家族档案中记载为"1943年购自英国著名古董商Bluett & Sons"，然而在Bluett的档案中记载为"1944年3月8日购自Walter Burchard 收藏，并于同年9月20日以25英镑售于Radcliffe少校" 展览信息：南非国家画廊，中国艺术展览，开普敦，1953年，编号77号Condition Report: chip to unglazed foot and cracksguan type glaze not evenly spread over the entire surface Condition Report Disclaimer

An attractive bronze or copper gilt Tibetan Figure of Vajrapani, 14th or 15th century, stepping to his right on a prostrate figure, on lotus base, holding a vajra in his raised right hand and a ghanta in his left hand, wearing skull necklace and crown, with fierce expression and bared teeth, 12.5cm high, 369 grams  Provenance: By repute the owner purchased from Kenny & Higgins Asian Art. 14至15世纪 西藏铜金刚手菩萨像(克重：369g)拍品来源：藏家购自英国古董商Kenny & Higgins Condition Report: top section of arch broken off and overall with dents and wear see additional images for visual reference to condition Condition Report Disclaimer

Iqbal (Muhammad, 1877-1938). South Asian Muslim writer, philosopher, scholar and politician. Six Lectures on the Reconstruction of Religious Thought in Islam, 1st edition, Lahore: Kapur Art Printing Works, 1930, errata slip tipped in after title, author's signed presentation inscription in brown ink to front free endpaper, 'Presented Mr Edward Thompson with the author's compliments, Muhammad Iqbal, Lahore, 6th March 1933', indistinct ink name stamp of Lahore bookseller at foot of page, original cloth gilt, slightly rubbed and soiled with some damp wrinkling, 8voQTY: (1)NOTE:An uncommon autograph by Iqbal who is widely regarded in Pakistan as the ideological founder of the state. The dedicatee was Edward John Thompson (1886-1946), British scholar, novelist, historian and translator. Remembered for his translations of Rabindranath Tagore he was also friends with leaders across the Indian political leadership, including Gandhi, Nehru and Iqbal. See also Nehru below.

A group reference books and catalogues on Chinese art and ChinaComprising: M. Sullivan, Chinese Art: Recent Discoveries, Thames and Hudson, London, 1973M/. Traegar, Chinese Art, Thames and Hudson, London, 1980M. Ridley, Treasures of China, The Dolpin Press, 1973W. Speiser, The Art of China, Holle & Co, Baden-Baden, 1980M. Loehr, The Great Painters of China, Phaidon, Oxford, 1980F. MacKenzie, Chinese Art, Paul Hamlyn, London, 1961Catalogue of an Exhibition on The Great Ceramic Art of China, Organised by the Arts Council of Great Britain and the Oriental Ceramics Society, The Victoria and Albert Museum, London, 9 June - 25 July 1971The Mount Trust Collection of Chinese Art, The Victoria and Albert Museum, London, 1970South-East Asian and Early Chinese Export Ceramics, William Sorsby Ltd., London, 1974H. l. Li, Chinese Flower Arrangement, HEdera House, Philadelphia, 1956S. Towler, Tales from the Tao, The Wisdom of the Taoist Masters, Duncan Baird Publishers, London, 2007A. C. Moule, and W. Perceval; Yetts, The rulers of China 221 B.C. - A.D. 1949, Routledge & Kegan Paul, London, 1957B. Page, Beijing Then and Now, Salamander Books, London, 2007Japanese Art & Textiles Including The Linda Wrigglesworth Collection, Christies, South Kensington, 6 November 2008Fine Chinese Ceramics and Works of Art, Sotheby's, London, 15 December 1987T. Chi & C. Jackson, The Story of China, Puffin Picture Books, Penguin Books, Middlesex and New York, 1945中國藝術品圖錄及書十六本

Twenty-two reference books and catalogues on Chinese jade and Buddhist artComprising: Masterworks of Chinese Jade in the National Palace Museum, National Palace Museum, Taipei, 1970J. Rawson, Chinese Jade from the Neolithic to the Qing, The British Museum Press, London, 1995A. Forsyth, B. McElney, Jades from China, The Museum of East Asian Art, Bath, 1994Neolithic Jades in the Collection of the National Palace Museum, The National Palace Museum, Taipei, 1992Dr. Newton's Zoo, A Study of Post-Archaic Jade Carvings, Bluett & Sons Ltd. London, 1981.Historical Relics Unearthed in New China, Foreign Language Press, Peking, 1972文化大革命期间出土文物, 第一辑, 编辑 工作组 展览 出土文物 出版 社 版 出 文物 中 发行 书 店 国际 国, 中国·北京 1972年2月 (Cultural Relics Unearthed During the Cultural Revolution, First Series, Edited by the Unearthed Cultural Relics Exhibition Working Group, Published by Cultural Relics and China International Bookstore, Beijing, 1972)J. P. Palmer, Jade, Spring Books, London, 1967O. Luzzatto-Bilitz, Antique Jade, Fratelli Fabbri Editori, Milan, 1966/ The Hamlyn Publishing Group Ltd, Feltham, 1969R. Lefebvre D'Argence, Avery Brundage Collection of Chinese Jades, The de Young Museum Society, and Patrons of Art and Music, and the Centre of Asian Art and Culture, Japan, 1972Exhibition of Post-Archaic Chinese Jades, 70th Anniversary, S. Marchant and Son, London, 1995The Gerald Godfrey Private Collection of Fine Chinese Jades, Christie's Hong Kong, 30 October 1995Light of Compassion, Buddhist Art from Nepal and Tibet, Spink & Son, London, 1997The Mirror of Mind, Art of Vajrayana Buddhism, Spink & Son, London, 1995Body, Speech and Mind, Buddhist Art from Tibet, Nepal, Mongolia and China, Spink & Son, London, 1998Important Chinese Ceramics and Works of Art, The collection of Mr. and Mrs. Eugene Bernat, Sotheby's New York, 7 November 1980J. Hay, Masterpieces of Chinese Art, Phaidon Press Ltd, London, 1974One Hundred of the Best, J.A.N. Fine Art, London, 2004The Kunstkammer, A Collectors Cabinet, Roger Keverne, Michal Gillingham, London, 1997Chinese Imperial Patronage, Treasures from Temples and Palaces, Christopher Bruckner Asian Art Gallery, LondonTibetan Art, Spink & Son, London, 1994 (brochure)Asian Art, Spink & Son, London 1993 (brochure) (22).玉器及佛教圖書二十二本

A collection of forty-five Asian art catalogues1970s- 1990sComprising: seventeen Sotheby's catalogues from 1970 to 1981, thirteen Philips catalogues from 1970 to 1990, one Bonhams catalogue from 1978, and fourteen postcard sets published by Chinese museums between 1970 to 1980.一九七零 - 一九九零 拍賣行及博物館亞洲藝術圖錄四十五冊

A collection of Asian art. Possibly antique.

This grand 120 x 75.5cm portrait depicts the powerful and regal figure of Maharaja Sher Singh, who ruled the Sikh Empire in the mid-19th century. The neat details in this painting, from the delicate embroidery on the Maharaja's attire to the detailed patterns on the ornate throne, exposes the skilled hand of the artist who created this piece. The Maharaja himself is captured with a confident gaze, conveying his position of authority and strength. As a testament to its importance, this portrait has been exhibited in galleries and museums around the globe. Given its rarity and uniqueness, this would make for an astute investment for collectors of South Asian art, particularly those drawn to the history and culture of the Sikh Empire. The quality of the painting and the historical significance of the subject make it a worthwhile inclusion to any art portfolio of South Asian art.

LANCELOT RIBEIRO (INDIAN, 1933-2010)The City 1 signed and dated ‘Ribeiro ‘63’ (upper left) and titled (on the frame) oil on board 61 x 91.5cm Provenance Acquired directly from the artist at the Rawinsky Gallery, London, 1963 Exhibited London, Grosvenor Gallery, Asian Art WeekCondition ReportThe board is sound and the paint surface in good condition overall.  No sign of retouching under ultraviolet.

JIZHOU RUSSET-SPLASHED BLACK-GLAZED TEABOWL SOUTHERN SONG DYNASTY 南宋 吉州窰黑釉灑褐斑盞 of conical form with gently inverted mouth, covered overall with a thick black glaze suffused with russet streaks in the interior, the exterior with finer russet streaks on the outer mouth, glaze thinning down and ends irregularly near the foot to expose a beige buff bodyDimensions:11.3cm diameterProvenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Jin Jin Lou Chinese Art Gallery, Hong Kong, on 19 September 2001. With an original receipt 'No.6' issued by the gallery, dated the piece to the Southern Song dynasty, 1127-1279.

SPINACH GREEN JADE WITH AGATE INSET OPIUM PIPE QING DYNASTY, 19TH CENTURY 清 碧玉鴉片煙管嵌瑪瑙煙嘴及銅鎏金飾 the cylindrical shaft in plain form with metal mount, inset both ends with agate mouthpiece, the stone of luscious rich green tone with variegated dark streaks Dimensions:49.5cm wideProvenance:Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996.The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain.Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an in expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax.The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at this saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022, and subsequently Fine Asian & Islamic Works of Art on 13 May 2022, lot 150-159Note: Note: To create a jade baton of this length requires a substantial jade boulder. The simplicity of the pipe showcases the attractive natural colour of the stone. Compare to a Chinese jade silver-mounted opium pipe, dated to the 20th century, sold at Christie's Amsterdam, 3-4 April 2012, lot 365.

LARGE BLUE AND WHITE 'MYTHICAL BEASTS' JAR MING DYNASTY, 16TH CENTURY 明 青花瑞獸紋大罐 sturdily potted on a gently concave base, rising to broad shoulders and inverted mouth, painted around the body with a continuous scene of four mythical beasts with slender billowing flames in flight amongst auspicious clouds above a band of undulating waves crashing onto three-pointed rocky hills, a ruyi lappet border decorated the shouldersDimensions:30.5cm diameter Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, on 8 August 1996. With an original receipt no. 561, dated this piece to Ming dynasty, mid-16th century.Note: Note: Compare to a similar but more liberated decoration of mythical beasts in flight amongst flames, clouds, and splashes of water, above crashing waves and rocky hills, painted on a blue and white bottle vase, dated to the Ming dynasty, possibly Wanli period, ca. 1573-1620, in the collection of the British Museum, museum no. Franks.747

FINE FAMILLE ROSE ‘MAGU’ CHARGER QING DYNASTY, YONGZHENG PERIOD 清雍正 粉彩麻姑獻壽圖大盤 the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gildedDimensions:34.4cm diameterProvenance:Provenance: Formerly in a private American estate (by repute)Note: Note: Some plates of similar 'magu' theme were commissioned by Augustus II (1670-1733), King of Poland and Elector of Saxony and also known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections. Some existing examples with old Dresden inventory are respectively in the Dresden collection [1], the Museum Boijmans Van Beuningen in Rotterdam [2], and in the former Collection Ignazio Vok [3]. Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021. A larger (43.5cm diameter) plate was sold at this saleroom, 5th November 2021, lot 229. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153

NORTHERN BLACK-GLAZED YUHUCHUN VASE JIN DYNASTY 金 北方窯系黑釉玉壺春瓶 the elegant pear-shaped body resting on a short straight foot raising to a slender neck gently everting to a trumpet mouth, covered all over with a lustrous black glaze suffused with minute brown spots and russet features on the mouth rim and above footDimensions:28.3cm highProvenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Sotheby's London, The Muwen Tang Collection of Chinese Song Ceramics sale, 12 November 2003, lot 20. With an original receipt.Exhibited: Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994. Catalogue no. 159.Note: Note: Compare to a similar black-glazed bottle vase, from the collection of Hirota Matsushige, published in the Illustrated Catalogue of Tokyo National Museum: Chinese Ceramics, vol. 2, Tokyo, 1990, no. 70. Another comparable example is from the collection of Mrs Alfred Clark, exhibited in Song Dynasty Wares: Chun and Brown Glazes, Oriental Ceramic Society, 1952, catalogue no. 89, subsequently sold at Sotheby's, 25 March 1975, lot 19.

RARE SMALL BLUE AND WHITE 'FOUR IMMORTALS' JAR MING DYNASTY, JIAJING MARK AND OF THE PERIOD 明嘉靖 青花雙圈「大明嘉靖年製」六字楷書款 青花蓬頭四仙圖瓜棱小罐 the quatrefoil lobed body sensitively moulded rising from a recessed base to a short straight rim, painted in vibrant underglaze-blue with a continuous scene of four Daoist immortals, including Li Tieguai leaning on his staff holding a double-gourd, Liu Haichan in joyous dance with his three-legged toad, together with Hanshan and Shide, amongst pine trees and rockwork, all beneath a ruyi lappet border, the base inscribed with a six-character Jiajing mark within a double-circle Dimensions:12.2cm highProvenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, 9 December 1998. With an original receipt no. 988 and a declaration of antiquity 'Invoice G988', both dated.Three circular paper labels from Solveig and Anita Gray attached on the jar, of which two on the base, the other in the interior of the mouth, all bearing the gallery's inventory number 'Z51', corresponding to the receipt. Another smaller circular label on the base inscribed '38', is the current owner's inventory number.Note: Note: The Jiajing Emperor (reign 1521-1567) started to pay excessive attention to his Daoist pursuits while ignoring imperial duties from the twenty-first year of his reign. According to the historical record Jiangxi Sheng Da zhi (Annals of Jiangxi), 'Volume of Ceramics', Jiajing Emperor commissioned many ceramic wares infused with the Daoist subject matter. This jar is a testimony of his Daoist obsession. The Daoist immortals depicted on this jar are Li Tieguai, one of the Eight Immortals; Liu Haichan, the God of Wealth; Hanshan and Shide, who are also known together as the Hehe Erxian Twins. It is rare to have them four depicted together. An ink and colour on silk scroll painting, painted by an imperial painter in the Ming Court Shang Xi (ca. 15th century), depicting these four immortals on crashing waves focusing on the God of Longevity in flight in the centre, now in the collection of the National Palace Museum, Taipei, museum number Gu Hua 故畫3689. This scroll painting is painted in meticulous brush craftsmanship, whereas the depiction on the present jar takes on a freer style, aptly applied to the subject matter of Pengtou Sixian (Four Unkempt Immortals), and cleverly captures the liveliness, freedom from the secular judgement, and the nonchalant manner of the immortals.A highly comparable example of a blue and white 'four immortals' quatre-lobed jar, dated to the Ming dynasty, Jiajing mark and period, was sold at Sotheby's New York, 16 September 2009, lot 189. The same jar was subsequently offered at Poly Beijing, 6 December 2011, lot 4938, then sold at the same saleroom, 28 July 2022, lot 5623.

A small Vietnamese 'lotus petal' dishLy dynasty, 13th/14th centuryThe interior left unglazed and incised with meandering lotus, the exterior formed with a double row of protruding lotus petals, covered in a transparent, greenish glaze, the recessed base also left unglazed, 9cm diameter.越南李朝 蓮瓣式碟Cf. similar lotus petal dishes, from the collection of the Museum of East Asian Art, Bath, and from private collections, illustrated by Stevenson, J and Guy, J, Vietnamese Ceramics, A Separate Tradition, Chicago: Art Media Resources and Avery Press, 1997, pp. 192 and 193.Condition Report: 品相報告Nibbling to edges and three shallow surface flake to the interior of the rim, largest approx. 10mm wide.

A FINE PAINTED LACQUER AND BASKETWORK BOX AND COVERMing Dynasty, 17th centuryOf rectangular form with canted corners, the cover painted and gilt with a gentleman and attendant in a tree-strewn riverside setting before a pavilion set against distant mountains, the interior similarly decorated with figures in a riverside landscape, within a gilt decorated floral border, the shaped basketwork panels to the exterior set within red lacquered borders.41.5cm (16 3/8in) long (2).Footnotes:Exhibited: Oriental Works of Art, Gerard Hawthorn Ltd., Summer 2005, no. 88.Compare with a similar rectangular painted lacquer basket work box, published East Asian Lacquer: The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, 1991, pp.142-143, no. 66.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

TWO GILT-DECORATED FOOCHOW LACQUER GUANYIN FIGURESEarly 20th CenturyEach standing in flowing robes holding a vase, the larger marked Made in China for G.T. Marsh & Co.The largest: 27cm (10 5/8in) high (2).Footnotes:G.T. Marsh was founded in San Francisco in 1876 by George Turner Marsh and was one of the first dealers in East Asian Art working in the USA.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

NO RESERVE Asian Art.- Strange (Edward F.) Chinese Lacquer, one of 600 copies, signed presentation copy from the author inscribed "To G.Koizumi with the author's acknowledgements for valuable help Edward F.Strange" on front free endpaper, 1926 § Herberts (K.) Oriental Lacquer: Art and Technique, 1962 § Gettens (R.J.) The Freer Chinese Bronzes, vol.2 only (of 2: Technical Studies), Washington DC, 1969 § Donnelly (P.J.) Blanc de Chine: The Porcelain of Têhua in Fukien, 1969 § Laufer (Berthold) Chinese Pottery of the Han Dynasty, reprint, Rutland, Vt. & Tokyo, 1962, plates and illustrations, some colour, original cloth, all but the first with dust-jackets, a little rubbed, one or two tears to edges, the last also with slip-case; and c.15 others on Asian art, 4to & 8vo (c.20)⁂ Gunji Koizumi (1885-1965), pioneer of martial arts who introduced judo to the United Kingdom and expert and collector of lacquerware, the author of Lacquer work: A practical exposition of the art of lacquering together with valuable notes for the collector, 1923.

NO RESERVE Asian Art.- Martin (F. R.) The Miniature Painting and Painters of Persia, India and Turkey from the 8th to the 18th Century, facsimile reprint, handsomely bound in green morocco with inlaid panels of light brown morocco tooled in gilt and blind, by Book Ends, spine gilt and a little faded, Holland Press, 1968 § Parfionovitch (Yuri) & others, editors. Tibetan Medical Paintings: Illustrations to the Blue Beryl treatise of Sangye Gyamtso (1653-1705), 2 vol., original cloth, slip-case, 1992 § Khandalavala (Karl) Indian Sculpture and Painting, presentation copy with long ink inscription from Faly Wadia who financed the book on front free endpaper, original cloth, a little rubbed at edges, Bombay, [1938], plates and illustrations, some colour, some tipped in with captioned tissue guards, folio (4)⁂ F.D.Wadia (c.1976), member of the wealthy Farsi family of Surat and later Mumbai, pioneer of thoroughbred horse-breeding in India and collector of Indian art. Several of the works depicted in the book belonged to Wadia including the bronze figure of Shri Devi used as the frontispiece.

A Chinese porcelain bowl, late Ming DynastyProbably Wanli period, of rounded form with deep foot ring, decorated on overglaze enamel colours with a lotus pond scene beneath a panel border.24.5cm dia. (chips and hairline to rim)Footnote:A very similar bowl can be found in the collection of the Asian Art Museum, San Francisco, accession no. B69P9Condition:Two significant chips to the rim, one with associated hairline running down into body. Smaller chips to rim edge. Enamel wear in places, more pronounced on the inside.

Three Asian Art reference worksHE LI, Chinese Ceramics, Thames & Hudson 1996; TOMMY EKLOF, Dating Chinese Porcelain, Dragonsface 2013; GERALD DAVIDSON, Marks on Chinese Ceramics, Davidson 2010. (3)

Silver teapot and sugar bowl by P. Ovchinnikov. Laconic objects of Russian Art Nouveau with elements of functionalism, stylize oriental motifs. The teapot is especially close to the shapes and proportions of Central Asian jugs. Both objects bear the full mark of P. Ovchinnikov under a double-headed eagle. Moscow 84 sample of silver 1891. Total weight: 646 gr. Width: 17.5cm, Height: 18cm, Depth: 11cm, Weight: 0.646kg, Condition: Good, Material: Silver 84, Gilding

An assorted collection of Asian works of art, comprising two small blue and white ginger jars, the tallest 11cm high, redware figures and a covered dish, two small double gourd Imari pattern vases, a north Indian brass rattle, etc (qty)

A GROUP OF SOTHEBY'S AND CHRISTIE'S ASIAN ART CATALOGUES The majority Chinese Ceramics and Works of Art, to include The Falk Collection I, New York 2001; Important Chinese Works of Art from the Arthur M Sackler Collections, New York December 1994; The Collection of Evelyn Annenberg Hall, New York, March 2006 etc (35) Condition: Condition Report Some fading to spines; and general signs of use 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.

THE ART OF THE CHINESE SNUFF BOTTLE & OTHER ASIAN ART BOOK The Art of the Chinese Snuff Bottle, Hugh Moss; Victor Graham; Ka Bo Tsang, First Edition, Weatherhill, New York, 1993, 2 Vol with slip case; The Imperial Connection, Court Related Chinese Snuff Bottles, The Humphrey K.F.Hui Collection, 1998; Rivers and Mountains Far From the World, The Rachelle R Holden Collection, 1994; Inside Painted Snuff Bottles, Liu Jiang Hua Chopsons, 2008; Straits Chinese Furniture, A Collector's Guide, Ho Wing Meng, 1994; and three other paperback works on Asian art Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. 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.

Italian Arcade Murano art glass amber vase of sculptural form (with original sticker, signed, boxed, 44.5cm tall); together with a 20th Century Continental porcelain elephant planter, with applied floral decoration and gilt detailing, the elephant decorated in the Asian style (37.5cm high)

TOMOSHIGE: A RARE WOOD NETSUKE OF A SNAIL ON A WELL BUCKET COVERBy Gyokuryusai Tomoshige, signed Tomoshige 友重Japan, Nagoya, c. 1820-1850, Edo period (1615-1868)Carved from a single block of wood and masterfully stained in various subtle tones, depicting a snail slithering across a well bucket cover, its arched body forming the cord attachment, the spiraling shell smoothly polished and fleshy body neatly stippled, a little hole carved in the interior of the shell to represent the breathing hole of the mollusk. Signed underneath TOMOSHIGE. A rustic, yet remarkably refined netsuke with a distinct Zen-Buddhist aesthetic.LENGTH 4 cmCondition: Very good condition. Some minor nicks here and there and few natural age cracks, some of the wear is simulated.Provenance: Ex-collection Teddy Hahn, Darmstadt, purchased from his dear friend Klaus Riess, Munich. 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.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled.The artist Gyokuryusai Tomoshige was a pupil of Arima Tomonobu of Nagoya. Furthermore, due to the use of the same kanji Shige 重 it is likely that Tomoshige was the predecessor to Shigemasa, who arguably perfected this type of snail netsuke in the latter half of the 19th century through the brilliant use of various stains to a single block of wood.Museum comparison:Compare to a closely related wood netsuke of a frog on a well bucket cover by Shigemasa is in the collection of the Los Angeles County Museum of Art (LACMA), accession number M.84.34.Literature comparison:A related wood netsuke of a snail on an old bucket by Tomoshige, dated to the early 19th century, is illustrated in Eskenazi Ltd. (1993) Japanese Netsuke from the Carré Collection, no. 193.

YASUTADA: A RARE WOOD NETSUKE OF A SNAIL EMERGING FROM ITS SHELLBy Yasutada, signed Yasutada 安忠Japan, late 18th to early 19th century, Edo period (1615-1868)Finely carved as a snail sliding over its coiled shell, its optic feelers fully extended and touching the shell, the skin neatly incised with a scale pattern, the shell with dense, gently curved lines, the varying incision work creating an appealing contrast in textures, the recesses finely stained. The underside with a 'natural' himotoshi between the snail's shell and body, which nonetheless has been rounded by the carver, the shell incised with the signature within a rectangular reserve YASUTADA – the artist is very rare with only few examples recorded. It is supposed he was a pupil of Tomotada of Kyoto.LENGTH 3.7 cmCondition: Excellent condition, appealingly worn. Provenance: Ex-collection 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.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled.Museum comparison: Compare a wood netsuke of an ox by Yasutada in the British Museum, registration number F.221.Auction comparison: Compare a wood netsuke of a rat by Yasutada at Lempertz, 11 June 2022, lot 403 (sold for 2,268 EUR).

RYOJI: A FINE IVORY NETSUKE OF A SAMBASO DANCERBy Ono Ryoji, signed Ryoji 凌次Japan, Tokyo, late 19th centuryWell carved as a sambaso dancer standing on his right foot, wearing a characteristic striped eboshi with roundels, his voluminous robe neatly incised with pine saplings, leafy chrysanthemum sprays, and a foliate design. He holds a bell tree with cords attached in his right hand. The ivory bearing a subtle stain and fine polish. The back of his robe with two himotoshi. Signed to the underside above his right foot RYOJI.HEIGHT 4.9 cmCondition: Excellent condition with minor wear.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Auction comparison:Compare to a related ivory netsuke of a sambaso dancer, with movable tongue, by Rakumin, at Zacke, Asian Art Discoveries, 20 January 2023, Vienna, lot 1408 (sold for 2,340 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207506036-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.

SHOUNSAI: AN EXCELLENT AND RARE WOOD AND IVORY NETSUKE OF DARUMABy Shounsai Joryu, signed Shounsai 升雲齋Japan, Edo (Tokyo), early 19th century, Edo period (1868-1912)Published: Illustrated in F. Meinertzhagen, MCI Part A, New York, 1986, page 263.Depicting the Zen patriarch Daruma with a pensive expression. Daruma is almost entirely covered in a priestly robe flowing in the wind, carved from wood with a stunning patina and grain. His face and bare torso are inlaid in ivory, with incised beard and chest hair, and his facial features are crafted very well. Daruma was of either Persian, central Asian or south Indian descent, which is reflected in this netsuke – making it a rare portrait of this important and historical Buddhist monk, who is often caricaturized in netsuke art. His sandaled feet and the thin reed which he floats on are also carved from a single piece of ivory. The backside with good himotoshi above the signature SHOUNSAI.HEIGHT 6.3 cmCondition: Very good condition.Provenance: Anonymous sale, Glendining, 31st May 1935, then Jay Hopkins and hence British collection.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL305882/20). 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 SUPERB WOOD NETSUKE OF A MULE AND GROOMUnsignedJapan, 18th century, Edo period (1615-1868)Published: Rutherston & Bandini (2011) The Sheila M. Baker Collection of Japanese Netsuke and Inro, no. 17.Exhibited: Frankfurt Museum fuer Kunstgewerbe in 1991. The netsuke is illustrated in an article on the exhibition by I. Schaarschmidt-Richter titled Von der Großen Kunst der Kleinen Dinge.A remarkably large, boldly carved, and humorous wood netsuke depicting a man crouching below his mule and lifting the animal's hindleg to remove a stone from one hoof. The man's expression is amusingly crafted, aware of his precarious situation, as the mule tenses up, its ears pricked and mouth opened with agitation, presumably about to start kicking about. The eyes of the mule are inlaid in bone with black wood pupils. The well-toned wood is pleasingly worn with a beautiful patina. Natural himotoshi.HEIGHT 5 cm, LENGTH 5.4 cmCondition: Very good condition with typical surface wear and traces of use. Beautiful patina.Provenance: Sotheby's, Fine Japanese Works of Art, 23 June 1982, London, lot 520. Ex-collection Sheila M. Baker. Sold through Rutherston & Bandini. Ex-collection 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.”

TETSURO: A LACQUERED WOOD GIGAKU MASK NETSUKE OF SUIKO-JUBy Ichikawa Tetsuro, signed Tetsuro 鉄琅 and kakihanJapan, Nara, late 19th to early 20th centuryWell carved, the smiling face with pierced narrowed eyes and mouth, centered by a long hook nose, his wrinkles neatly incised and elegant brows finely painted, the wood lacquered in brown, black, and red with skillfully executed simulated wear to depict an ancient mask, the himotoshi bar to the reverse signed TETSURO and kakihan.HEIGHT 5 cmCondition: Very good condition with minor and simulated wear.Provenance: Sachi Wagner, Midori Gallery, Miami, Florida, USA, 2 May 1990. Copy of the original invoice available. Canadian private collection, acquired from the above.Suiko-ju is the aide-de-camp to Suiko-o, according to Raymond Bushell; “both are drunken revelers. They are either Central Asian or Iranian, but the identification is uncertain.” See Bushell, Raymond (1985), Netsuke Masks, p. 68. Suiko translates to 'drunken barbarian'.Ichikawa Tetsuro was a student of Kano Tessai in Nara. Like his teacher, he engaged in the reproductions of old objects of art, such as the present lot.Literature comparison: Compare a closely related Gigaku mask netsuke by Tessai, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 866.Museum comparison:A carved wood mask of Suiko-ju, dated to the 7th century (Asuka period) is in the Tokyo National Museum, no. N-223, and described as follows: “This mask can really be considered to be a laughing drunk. As the back of the head is made of the same wood, the mask covers the back of the head rather shallowly. This mask is not only more excellent than the other four Suiko-ju (N-220, N-221, N-222 and N-223 [sic]),but is also one of the most excellent masks among all the Gigaku masks.”13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A RARE LACQUER NETSUKE OF A GOSHO NINGYO DOLL PERFORMERUnsignedJapan, late 19th centuryThe gosho ningyo performer lacquered in gold, silver, and red, the face typically enlarged and chubby with red lips, placing one hand on its head and the other holding a bell tree. The doll's robe is embellished with various ornate patterns such as geometric designs, leaves and plovers. Large, asymmetrical himotoshi to the back.HEIGHT 4.5 cmCondition: Chip to one foot, one loss to the knee and a repair to the bell tree. Otherwise fine condition with minor wear to lacquer.Gosho ningyo are characterized by their chubby figures, fair skin, small hands and legs, their large heads, and simple eyes and noses. Their history goes back some 400 years, when they were treasured in the Imperial court. Over time they became expressions of hope for happiness and prosperity in life.Literature comparison:A closely related lacquer netsuke depicting a Gosho ningyo is illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 109, no. 111.Auction comparison:Compare to a lacquer netsuke of a boy from the same workshop, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 317 (sold for 4,000 EUR). Another lacquer netsuke from the same workshop was sold at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 17 (sold for 10,200 USD).

A FINE METAL-INLAID GOLD LACQUER FOUR-CASE INRO DEPICTING RATS AND HORSESUnsigned Japan, 19th centuryThe kinji ground finely decorated in gold and silver takamaki-e and hiramaki-e with kirikane, nashiji, and beautifully inlaid in gold, shibuichi, and shakudo to depict on one side a flowerpot with blossoming prunus branches, two rats eating beans from the ground, and a third rat gnawing on a branch bearing fruit, and to the other a pair of horses in a field with chrysanthemums and grasses. The interior of nashiji with gold fundame edges. HEIGHT 9.3 cmCondition: Good condition with minor wear to lacquer and some occasional light scratches throughout. Some dents to the top and bottom caseThe rat and the horse represent opposite signs in the Asian zodiac and as such are considered incompatible. However, if the 'younger' of the two signs (the horse) submits to the 'older' (the rat), then the pairing can be successful. They two are occasionally depicted together in inro and netsuke art.

MASAHIRO: AN OSAKA SCHOOL IVORY NETSUKE OF THE LUNAR HARE By Masahiro, signed Masahiro 正廣Japan, Osaka, mid-19th century, Edo period (1615-1868)The lunar hare armed with a large mochi pestle leaning against a large, moon-shaped sphere, standing on a cloud-base issuing from the moon, with further swirling clouds carved in relief against the surface of the smoothly polished sphere. The rabbit's eyes are inlaid in amber. Large, asymmetrical himotoshi through the moon and signed underneath MASAHIRO – widely regarded as the most talented pupil of the famous Osaka netsukeshi Ohara Mitsuhiro (1810-1875).Condition: Very good condition. Several natural age cracks.Provenance: French private collection, purchased from Galerie Yamato, Paris, 2001.LENGTH 4.4 cmThis popular motif originates in China, where the rabbit is often portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her. In the Japanese variation, the lunar hare is often seen pounding mochi.Museum comparison:A closely related ivory netsuke, by Masahiro, formerly in the Trumpf collection, is in the collection of the Linden Museum, Stuttgart, accession no. OA 18784.Auction comparison:Compare to a closely related ivory netsuke, by Shigemasa, sold at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 132 (sold for 2,250 GBP). Also compare to another closely related ivory netsuke, by Masahiro, at Van Ham, Asian Art, 9 June 2016, Cologne, lot 2400 (sold for 3,354 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207508211-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.

MASAMINE: A FINE OSAKA SCHOOL IVORY NETSUKE OF A FISHERMAN STRUGGLING WITH A HUGE CARPBy Masamine, signed Masamine 正峯Japan, Osaka, mid-19th century, Edo period (1615-1868)Finely carved to depict a fisherman sitting on top of his catch, a giant carp with horn-inlaid eyes flapping its tail fin as it struggles to free itself. The fisherman is dressed in a straw skirt and a patterned robe, his face well-detailed with a cheerful expression. The fish with neatly incised scales and stippled head, enhances with sumi (ink), which is typical for the Osaka school. The fish's body with asymmetrical himotoshi centered by the incised signature MASAMINE.LENGTH 4.1 cmCondition: Excellent condition with minor wear. Provenance: Silvia Soler, Barcelona, 2008. Dutch private collection, acquired from the above. Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, acquired from the above. A copy of the original invoice from Silvia Soler, stating a purchase price of 4,000 EUR, accompanies this lot.Masamine's netsuke are often attractively carved in good detail, the designs original, suggesting an independent craftsman. See Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 432.Auction comparison:Compare a closely related unsigned ivory netsuke of a fisher with carp, Osaka school, at Van Ham, Asian Art, 9 June 2016, lot 2376 (sold for 9,675 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL311466/20).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.

MASAYASU: A FINE WOOD NETSUKE OF A RECUMBENT GOATBy Masayasu, signed Masayasu 正保 to 刀Japan, Nagoya, 19th century, Edo period (1615-1868)Very finely carved, the goat's head nobly raised, with elegantly curved horns, long sweeping tail, and ridged spine. The feet are kept close to the body or tucked underneath, forming a compact composition. The shaggy fur is sublimely carved, with subtle elevations between the individual hair strands. The dark-red cherry wood bears a fine patina. Natural himotoshi and signed within a polished area on the haunch MASAYASU to [carved by Masayasu].LENGTH 4.3 cmCondition: Very good condition, only very minor wear. Small repair to one ear. Fine patina.Provenance: A noted private collection, USA.Literature comparison:Compare a near-identical wood netsuke of a goat by Masatoshi in Sydney L. Moss Ltd. (1993) Zodiac Beasts and Distant Cousins, no. 57.Auction comparison:Compare to a near-identical wood netsuke of a goat by Masatoshi at Lempertz, Asian Art, 11 June 2022, Cologne, lot 407 (sold for 7,560 EUR). This is the same netsuke mentioned in the literature comparison.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

YOSHIHISA: A FINE WOOD NETSUKE OF A COILED RATBy Yoshihisa, signed Yoshihisa 義久Japan, Nagoya, early 19th century, Edo period (1615-1868)Of compact form, well carved as a rat curled up into a half ball, cleaning itself, scratching itself behind the ear with one foot, the other leg forming the himotoshi with the curved tail, the eyes inlaid with yellowish, translucent horn, the fur and tail neatly incised, one hind leg signed YOSHIHISA within an oblong reserve. LENGTH 3.5 cmCondition: Good condition, minor wear and traces of use. A repaired crack through the body with associated traces of adhesive.Yoshihisa is an excellent but little-known carver, whose style is reminiscent of the Minko school. See Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 308, and Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 219. As evidenced by his carvings of rats, however, he was more likely a member of the Nagoya school.Museum comparison: Compare a related wood netsuke of a rat on a peapod by Yoshihisa, 4.4 cm long, dated approx. 1800-1868, in the Asian Art Museum of San Francisco, object number B70Y1.Auction comparison:Compare a closely related wood netsuke of a coiled rat by Yoshihisa at Christie's, The Raymond and Frances Bushell Collection of Netsuke Part I, 27 October 1987, London, lot 146. Compare a closely related wood netsuke of a coiled rat by Yoshihisa at Sotheby's, The Betty Jahss Collection of Netsuke Part I, 13 June 1991, London, lot 70 (estimate 8,000-10,000 GBP).

A collection of 45 reference books List of Islamic Art Books and Reference Works comprisingLings, M., The Quranic Art of Calligraphy and Illumination (World of Islam Festival Trust, 1976)James, D., Qurans of the Mamluks (Thames and Hudson, 1988)James, D., Qurans and Bindings from the Chester Beatty Library, A Facsimile Exhibition (World of Islam Festival Trust, 1980)Haldane D., Islamic Bookbindings (World of Islam Festival Trust, 1983)Gray B., The World History of Rashid al-Din, a Study of the Royal Asiatic Society Manuscript (London, 1978)Talbot Rice, D. & Gray, B., The Illustrations to the World History of Rashid al-Din (Edinburgh, 1976)Erdmann K., The Oriental Carpet (English translation of Der Orientalische Knüpfteppich), (The Crosby Press, 1976)Ford, P.R.J., Oriental Carpet Design (Thames and Hudson, 1993)Lane, A., Early Islamic Pottery (London, 1947)Lane, A., Later Islamic Pottery (London, 1971)Ettinghausen, R., Arab Painting (Geneva, 1977)Atil, E., Art of the Arab World (Washington D.C, 1975)Ed. Komaroff, L. & Carboni, S., The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, 1256 1535 (The Metropolitan Museum of Art, New York, 2003)À lombre dAvincenne, La médecine au temps des califes (Institut du Monde Arabe, Paris, 1996Islamic Art & Patronage, Treasures from Kuwait (The al-Sabah Collection, 1990)Nasr, S.H., Islamic Science, an illustrated study, (World of Islam Festival Trust, 1976)Safwat, N.F., A Collectors Eye, Islamic Calligraphy in Qurans and other Manuscripts (London, 2010)Ed. Drake Boehm, B. & Holcomb, M., Jerusalem 1000-1400, Every People Under Heaven (The Metropolitan Museum of Art, New York, 2016)Art of Islam, Heavenly Art, Earthly Beauty (Amsterdam, 2000)Lart du livre arabe du manuscrit au livre dartiste, (Bibliothèque nationale de France, 2001)Ed. Harley, J.B. & Woodward, D., Cartography in the Traditional Islamic and South Asian Societies (The University of Chicago Press, 1992)Schmitz, B., Islamic Manuscripts in the New York Public Library (Oxford and New York, 1992)Nerssesian, V., Treasures form the Ark (British Library, 2001)Jones, P. M., Medieval Medicine in Illuminated Manuscripts (British Library, 1998)Massoudy, H., Calligraphie Arabe Vivante (Paris, 1981)Kumar, A., Illuminations, The Writing Traditions of Indonesia (Jakarta, 1996)Blair, S., Islamic Calligraphy (Edinburgh, 2006)Splendeur et Majesté, Corans de la Bibliothèque nationale (Paris, 1987)Livres de Parole, Torah, Bible, Coran (Bibliothèque nationale de France, 2005)Arts de LIslam des Origines à 1700 dans les collections publiques françaises (Paris, 1971)Lings, M. & Safadi, Y., The Quran (British Library, World of Islam Festival, 1976)Von Karabacek, J., Arab Paper (London, 2001)Prachtkorane aus tausend Jahren, Bayerische Staatsbibliothek München (1998)The Message & The Monsoon, Islamic Art of Southeast Asia (Islamic Arts Museum Malaysia, 2005)Mightier than the Sword, Arabic Script: beauty and meaning (Islamic Arts Museum Malaysia, 2004)Six Centuries of Islamic Art in China (Islamic Arts Museum Malaysia, 2001)Al-Kalima, (Islamic Arts Museum Malaysia, 2003)Ed. Porter, V., Hajj, Journey to the heart of Islam (British Museum, 2012)Losty, J.P., The Art of the Book in India (British Library, 1982)Raby, J., Qajar Portraits (London, 1999)Avrin,L., Scribes, Scripts & Books (Chicago, London, 1991)Afghanistan Observed 1830-1920 (British Library 2010)Rogers, J.M., Mughal Miniatures (British Museum, 1993)Farès, B., Le Livre de la Thériaque (Cairo, 1953)Déroche, F., Manuel de codicologie des manuscrits en écriture arabe (Bibliothèque nationale de France, 2000)

Lorenzo Quinn (Rome, 1966-)'Trust'2002Bronze sculpture on marble baseLimited edition Resin Bronze SculptureSigned to base of sculpture24 x 30 x 19 cm (9.5" x 12" x 7.5")Son of the actor Anthony Quinn, this sculptor grew up between the United States and Italy, being in this last country where he learned to appreciate art. At the age of twenty-one, he earned the respect of New York's artistic society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Quinn has held exhibitions on five continents, and his work is present at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were inaugurated in the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar)This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shirō TsujimuraMonumental jar, 1990s Stoneware, wood fired 'Shigaraki' clay with running ash glazes.43.5 cm high, 42 cm diameter Incised with artist's mark. Footnotes:ProvenanceGalerie Friedrich Müller, FrankfurtPrivate collection, Germany Koller, Zurich, 'Asian Art: Japan, India, South-East Asia', 3 December 2020, lot 405Acquired from the above by the present ownerFor further information on this lot please visit Bonhams.com

Northern Italy, Villanovan culture, ca. 800-700 BC. A black kyathos, a single-handled dipper with an interestingly-shaped conical foot of openwork design. This is a very early example of a vessel shape that would later become highly refined by the Etruscans and then the Greeks, and the handle here, which in later versions towered high above the body of the vessel, is small and looped. The body is made of impasto, a coarse earthenware that is a precursor to Etruscan Bucchero. The Villanovans inhabited Italy during the early Iron Age, and much of what we know of them comes from excavations of cemeteries (the first at Villanova near Bologna in northern Italy) where they cremated the dead and buried them in pottery urns in a very distinctive, double-cone shape. In the 8th century, Greek colonists arrived in the region, and began to influence Villanovan ceramics and their forms, as with this kyathos.Size: L:120mm / W:210mm ; 625gProvenance: United States (Colorado) - Artemis Fallery, Fine Antiquities, Asian, Ethnographic Art Sale, 18 May 2017, lot 20; formerly in private Carlton collection, Los Angeles.

SO HING KEUNG (B.1959, HONG KONG) "CENTRAL HONG KONG, 1998" Black and white photograph with toning, on archival paper, with ink Signed, titled and numbered 2/5 in pencil to the margin 89 x 109cm; 124 x 144cm (including frame) Provenance: Sothebys Hong Kong, Contemporary Asian Art, 6 Oct 2009, Lot 605 Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Additional Information: Exhibited: Hong Kong, Hong Kong Museum of Art, Hong Kong Art Biennial 1998 Canada, Halifax, St Mary's University Gallery, Hong Kong Art, 2000 Hong Kong, Hong Kong Film Archive, Artists in the Neighbourhood Scheme Reconstructing a City, 2002 China, Guangzhou, Guangzhou International Photo Biennale, 2007

Ca. 202 BC-220 AD. A large grey earthenware figure of a female dancer wearing flowing, long-sleeved robe decorated with red inserts on the neckline. The lady has a finely detailed face showing red painted lips, a small nose, bright eyes and delicately arched eyebrows. The figure's long black hair is tucked behind her ears. The Han dynasty is the second great imperial dynasty of China (202 BC-220 AD), after the Zhou dynasty (1046-256 BC). It succeeded the Qin dynasty (221-207 BC). To find out more about the Han dynasty and its material culture, see Miller, A. R. (2021). Kingly Splendor: Court Art and Materiality in Han China. New York: Columbia University Press. For more information on dancing in Han dynasty China, see Zhi Dao. History of Dance in China, Ch. 4. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate C123a63 will accompany this lot.Size: L:580mm / W:235mm ; 5.63kgProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-907 AD. A lovely musician lady depicted kneeling with a pan flute in her hands. She wears a long flowing gown with a red skirt and cream bodice. The lady is delicately made up with red lip paint, delicate arching brows, and an elaborate hairdo. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:225mm / W:140mm ; 965gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-907 AD. A beautifully decorated bronze mirror with a small fluted loop framed by a plain roundel around which four animals (dragon, bird, tiger, and turtle) representing the four cardinal directions radiate. The Four Symbols are four mythological creatures in the Chinese constellations. They are the Turquoise Dragon of the East, the Vermilion Bird of the South, the White Tiger of the West, and the Black Tortoise of the North. Each one of them represents a direction and a season, and each one has its own characteristics and origins. They have been depicted in many myths and tall tales, and also appear in many modern manga and anime. For a similar example, see The Yale University Art Gallery, 1969.55.6.Size: L:110mm / W:110mm ; 300gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Bronze with gilding Tibet 16th century Dimensions: Height 50 cm Wide 5 cm Depth 5 cmWeight: 531 grams The khatvanga is made of bronze, gold and copper, inlaid with coral and turquoise. It comprises a long wooden staff, decorated with repoussé and inlaid gilt bronze bands, and topped by a four pronged vajra (a Buddhist symbol sometimes referred to as a sceptre). Above the vajra is a vase of plenty, an auspicious symbol frequently seen in Asian art. Above this symbol are three heads in progressive states of decay that illustrate three stages of religious attainment in Tibetan Buddhism. The staff is topped with a lotus-bud finial. This configuration is standard for a khatvanga. All the elements are beautifully worked, and the effect is one of an ornate, but balanced, whole.Please have a look at the video and the new pictures we made for you

A Quantity of reference books on British and Asian Art. 20th century.