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c.6th century A.D. A Bodhisattva figure modelled in the round crowned and standing, right hand raised with palm facing outwards, left hand extended by side, holding one end of sash, stylised anatomical and facial detailing with urna between eyes, detailing to crown, sash and dhoti, held in place by a jewel, wearing matching floral pendant and bangles; pierced lug to reverse; mounted on a wooden display base. 664 grams total, 22.2 cm including stand (8 3/4 in). Ex Sherrier or Lindahl by repute. Acquired 1968. Spinks, London, UK. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases (p.176): Exhibition catalogue cat.no.GMB057, p.142. Accompanied by a copy of Nik Douglas's collection cataloguing document, four pages of collectors illustrations and notes with price (US$32,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11215-188546. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

c.2nd century A.D. A bronze Uddiyana Buddha modelled in the round seated on a lotus flower, hands held in a teaching mudra, with detailing to the hair, face, garments and floral base. 520 grams, 13.5 cm high (5 1/4 in). Acquired 1996. Dr. Paul Singer, New Jersey, USA. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of Nik Douglas's collection cataloguing document, two pages of collectors illustrations and notes with price (US$43,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11220-188547. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

5th-10th century A.D. A statuette modelled in the round as Buddha seated in padmasana, hair covering ushnisha, stylised facial features, silver inlaid eyes, elongated earlobes, garment with folds and voluminous sleeves; hollow-formed. 310 grams, 10 cm high (4 in). Acquired 1960s to early 1970s. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11223-188550. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

c.5th century A.D. A bronze stele with trefoil body, mounted on a four-legged base, Uddiyana-style Buddha standing at the centre, Bodhisattvas to each side; after the Gandharan style. 1.04 kg, 23.8 cm high (9 3/8 in). Acquired 1960s to early 1970s. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases (p.176): Exhibition catalogue cat.no.UD-28, p.30 & TB012, p.162. Accompanied by a copy of Nik Douglas's collection cataloguing document, three pages of collectors illustrations and notes with price (US$30,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11219-188544. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fair condition.

Han Dynasty, 206 B.C.-220 A.D. A copper-alloy pilgrim's flask with 'heart-shaped' moulding to both faces, splayed base, narrow cylindrical neck, domed lid with floral motif and suspension ring, animal masks and rings to shoulders. 1.6 kg, 23 cm high (9 in). Bonham's, Fine Asian Art, sale 14758, 14 May 2007, lot 111. Property of a London gentleman. Fine condition.

19th century A.D. or earlier. A carved rock crystal tiered model stupa with sheet gold fittings; the crystal segments with circumferential recesses to accept gold wire inserts, the applied floral motifs with filigree and granulation detailing, repoussé geometric ornament; base with rectangular plaques depicting a repoussé facing Buddha. 3.1 kg total, 21.5 cm high (8 1/2 in). Acquired 1979. Private Asian collection, Japan. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of Nik Douglas's collection cataloguing document, thee pages of collectors illustrations and notes with price (US$160,000). Accompanied by Scholarly Note TL 05430 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11210-188548. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition; finial absent.

4th-2nd century B.C. A bronze statuette of a priestess modelled in the half-round, wearing a loosely draped sleeveless tunic, fastened at the shoulders to form a V-shaped neckline, girdled high under the breasts; her head adorned by a tall three-point diadem, with a large patera in left hand and pyxis in right hand; accompanied by a custom-made display stand. See Brendel, Etruscan Art, p.422, for parallels in the mid second century terracotta sarcophagus of Seianti Thanunia Tlesnasa from Chiusi, now in the British Museum; the diadem in her hair shares similar three-point attributes to the exaggerated diadem on our statuette; the dress is Greek with the tunic (chiton) characteristic of Etruscan and Latin votive bronzes at the same time; see parallel from the Museo archeologico di Verona, Inv. A4,376, published as no.37 in Franzoni, Bronzetti etruschi e italici del museo archeologico di Verona, p.56; this complete example at 7.5cm is of interest as it has a distinct fold across the dress that corresponds to the break on this example; Franzoni notes a bronze from Chiusi of similar type (referenced in St. Etr. XXV, 1957, p.503, fig. 25). 46 grams, 67 mm (121 grams total, 11.3 cm including stand) (2 1/2 in. (4 1/2 in). Estate of American sculptor, Eleanor Mary Mellon (1894–1979), New York, USA. Myers Fine Art & Antiques, Florida, European & Asian Antiques & Fine Art Auction, on 10 February 2013. Ancient Resource, California, USA, July 2014, item 2147. Private Australian collection. Accompanied by an illustrated two page collector's cataloguing document. Accompanied by a copy of a certificate of authenticity from Gabriel Vandervort of Ancient Resources and a copy of the Myers listing. The patera is a sacrificial saucer-shaped vessel for pouring a libation to the gods or for receiving a libation; the pyxis a cylindrical box for incense with separate lid and somewhat concave walls. For a larger (25.4 cm), highly detailed statuette of this type, including the attributes in her hands, see the second century B.C. statuette in the British Museum that was acquired in 1913 said to be from the Sanctuary of Diana at Nemi (BM No. 1913,0529.1). This type takes many forms; for example, see complete example with a radiant stephane (10.16 cm high) in the British Museum donated by Canon Luc Angelo Bracci in 1856 and said to be from Orvieto (museum number 1856,0815.3; Walters, Catalogue of the Bronzes in the British Museum. Greek, Roman & Etruscan, no.693). Variants include the himation draped towards the other direction: refer Turfa, J. M. and Muskett, G., Catalogue of Etruscan Objects in World Museum, Liverpool (No. B 104, Inv.M8833, p.103). For this specific lot, 5% import VAT is applicable on the hammer price Fine condition.

Various Toys and Models by Dinky Corgi Britains Metal Cannons and Asian metal Tram, Dinky Toys Police white and orange Ford Transit Van with two Bollards, Corgi blue Model T, Holmes Wrecker Truck (lacks Jibs and chains), BOAC Concorde on base (lacks rear wheels), Asian Art Lisbon Tram, Britains London three figure Souvenir Set, in original card plinth, Brass Cannon 30cm long, Brass and Wood Cannon 21cm Long, unbranded metal and plastic miniature cap rifle 18cm long, F-VG (9)

LITERATURE A COLLECTION OF AUCTION CATALOGUES Relating to Asian art, mostly from Christie's and Sotheby's. (199) PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE

LITERATURE A COLLECTION OF AUCTION CATALOGUES Relating to Asian art, mostly from Bonhams and Christie's. (69) PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE

LITERATURE A SMALL COLLECTION OF REFERENCE BOOKS AND CATALOGUES RELATING TO ASIAN ART. (23) Provenance: from an English private collection, London. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

THREE SOUTHEAST ASIAN BRONZE FIGURES 18TH CENTURY AND LATER Two of Buddha, seated in dhyanasana on stepped bases, holding their left hands in dhyana mudra whilst extending their right hands towards the ground in bhumisparsha mudra, with tightly curled hair with ushnisha, the third, a standing monk dressed in a flowing cape, with his hands holding an alms bowl, attached to a wood base, 1kg, 833g, 391g and 22cm max. (3) Provenance: from the collection of the late Michael Sherrard QC CBE (1928-2012); the figure of the monk acquired on 18th April 1977, from Peng Seng Works of Art, Thailand, a copy of the invoice is available.

A Rare Tiffany & Co. Mokume and Partial Gilt Silver Demitasse Cup and Saucer from the Collection of Mary Jane Morgan, New York, circa 1878Marks to both: TIFFANY & CO., 5041 M 3124, STERLING SILVER, AND, OTHER METALS2 inches (5.1cm) (cup height)3-3/4 inches (9.5 cm) (saucer diameter)158 grams (gross)PROVENANCE:Mary Jane Morgan;Her sale, Thomas E. Kirby via the American Art Galleries at New York's Chickering Hall, 1886; Lot 749 (in part)Private Swiss collection;Acquired from the above. LITERATURE:American Art Association, Priced Catalog of the Art Collection Formed by the Late Mrs. Mary J. Morgan, 1886, pp. 143.The demitasse cup and saucer with mokume technique to rim of saucer and exterior of lobed cup having gilt interior, each bearing the distinct monogram of Mary Jane Morgan to underside. This example was sold in 1886 as part of a lot of twelve cups and saucers in the sale of Mary Jane Morgan's estate. Tiffany mokume is rare, and it is even rarer to have a piece with traceable provenance from a great American art collection. Mary Jane Sexton Morgan (1823-1885) was the daughter of Francis Sexton, a New York City Merchant involved East Indian trade. She married shipping, railroad and iron magnate Charles Morgan (1795–1878) in 1851 and inherited $9 million upon his death in 1878. Mary Jane Morgan used this sizable inheritance to fund an ambitious and seemingly unending quest to assemble a world-class art collection. Her voracity for collecting was perhaps only matched by her cousin-in-law, J. Pierpont Morgan (1837-1913).When Mary Jane Morgan died in 1885, the press reported that "the house of the late Mrs. Morgan is literally honeycombed with secret closets and drawers filled with works of art of the most varied kind. Since the first inventory was made there have been several supplements. Now the total value is put down at something like four million dollars." (Town Topics, November 1885)Her estate was sold over three days at no reserve and was attended by notable collectors and society members like Charles L. Tiffany, William Walters, Henry G. Marquand, Henry O. Havemeyer, Mrs. Collis P. Huntington, and Mrs. Ogden Goelet. The multi-category sale was comprised of but not limited to Asian ceramics and bronzes, silver, fine European porcelains, glassware, paintings, sculpture, etchings, and books. According to the auction catalog, most of the 154 lots of silver, "with few exceptions made to order by Messrs Tiffany & Co." Mary Jane Morgan was one of Tiffany's most loyal clients during the late 19th century and she favored the firm's creative Japonesque pieces. She was particularly fond of mixed-metal and mokume, which represented some of Tiffany's most labor intensive, rare, and beautiful objects the firm ever produced. The present lot is described on page 143 of her auction catalog as part of lot 749:"AFTER-DINNER COFFEE CUPS AND SAUCERS, "Moku-me" or "Veins of the wood" design, 18 pieces"Though the company cataloged its mokume works as "mixed metal" in company inventories, our understanding of the craft extends beyond the simple inclusion of differing metals. To craft mokume, meaning "wood grain" or, literally, "wood eye" in Japanese, artisans laminated thin sheets of differently colored metals and alloys, folded them to increase the number of layers, cut through or bent, and, finally, hammered to produce marbleized patterns.The present lot exhibits a shimmering kaleidoscope of silver, gold, copper, and alloy laminations. The labor-intensive nature of the process meant that few pieces were created by Tiffany with this technique covering the entire body of the piece. Most commonly, Tiffany included mokume as a decorative accent, found on some applied insects or small handheld works. The extensive mokume decoration to the present lot emphasizes its special commission to a wealthy client.While the form of the saucer is of traditional shape, the cup derives its lobed "squat" design from ancient Persian and Turkish vessels. These design elements allude that the present lot was likely designed directly by Edward C. Moore, Tiffany's chief designer from 1873-1891. At the time of the present lot's creation, Tiffany & Co. drafted the shapes of hollowware separately from ornamentation. Moore was innovative and wildly creative, drawing design inspiration from Tiffany's Oriental archive collected by Dresser and from his own extensive personal collection of objects. His exploration outside of Western design can be seen in his adoption of Islamic and far-Eastern forms in hollowware as early as 1867. A pear-shaped "Moresque" tea and coffee service was exhibited at the 1867 Paris Exposition Universelle where he won a gold medal for silverware. Moore almost certainly would have been personally involved in this important commission from one of Tiffany's most loyal and high-profile customers in the late 19th century. Moore's vast and pioneering collection of more than 2,000 objects and 500 volumes was donated to the Metropolitan Museum of Art upon his death in 1891 and remains one of the institution's most important bequests.Artwork from Mary Jane Morgan's collection can be found in notable museums and private collections across the country including the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington DC), The Walters Art Museum (Baltimore), Museum of Fine Arts (Boston), and Art Institute of Chicago. HID12701242017

PLEASE NOTE HIS LOT IS NOW TO BE OFFERED WITHOUT RESERVE. A CHINESE GANZHOU 'RICE MEASURE' JAR SONG/YUAN DYNASTY With a slightly tapering globular body surmounted by a rolled rim, the unglazed exterior decorated with concentric arcs, the neck with a band of cream glazed studs, the interior covered with a dark brown glaze, 11.8cm wide. Provenance: an English private collection, Surrey, UK; sold on behalf of Parkinson's UK. Cf. The Museum of East Asian Art, Bath England, Volume I, Chinese Ceramics, no.127 for a closely related jar.

A JAPANESE ARITA MODEL OF A LEAPING CARP EDO PERIOD, C.1710 The large fish with its body contorted and its mouth open, the moulded scales with washes of cobalt blue and further details accentuated in red paint, raised on a square base, 29.8cm. Provenance: from the collection of George and Cornelia Wingfield Digby and thence by descent. George and Cornelia Wingfield Digby started buying Chinese and Japanese art, notably porcelain, in the early 1950s. George Wingfield Digby (1911-1989) joined the Victoria & Albert Museum's Textile Department in 1934 and later served as Keeper between 1947 and 1972. He considerably expanded the V&A's textile collection and wrote three books on the subject. He also released three further publications on different fields of art, including The Work of the Modern Potter in England (1952), which he wrote with his wife Cornelia. In addition to their extensive Asian Art collection, they also acquired a significant number of studio pottery pieces which were lent to the Tate, St Ives in 1993. After retiring, they settled in Dorset and part of their Chinese and Japanese art collection was exhibited at Sherborne Castle for 25 years. Cf. M Cohen and W Motley, Mandarin and Menagerie, Chinese and Japanese export ceramics figures, pp.134-5 no.8.1, for two comparable leaping carp.

Qingbai-glasierte Schüssel mit graviertem Entenrelief, südliche Song-Dynastie Im Spiegel fein eingraviert ein Paar Enten in einem Lotusblütenteich. Die innere Wandung mit graviertem Punktband, darüber geometrisches Ornamentband. Der Rand typischerweise unglasiert. Die glasierte Außenseite undekoriert. Sehr flacher Fußring. Exzellenter Zustand! Keine Risse oder Chips! Intakt. Durchmesser 15,5 cm. Höhe 3,3 cm. Provenienz: Privatsammlung München.Zustand: II +A superb Qingbai glazed bowl with incised ducks, southern Song Dynasty The mirror finely engraved with a pair of ducks in a lotus blossom pond. The inner wall with engraved dot band, above it geometric ornamental band. The rim typically unglazed. The glazed exterior undecorated. Very flat foot ring. No cracks or chips! Intact. Diameter 15.5 cm. Height 3.3 cm. A bowl with rare motive in excellent condition from an old German private collection! Provenance: Private collection of Professor R., Munich. Previously in the Chinese ceramics collection of Dr. Friedrich Hesse in Dresden, auctioned 1940-10-18 at W. Lange Auction House (Berlin). On display in the exhibition "Chinesische Kunst" (Chinese Art), Society for Eastern Asian Art and Prussian Academy of Art, Berlin 1929.Condition: II +

Ca. 200-300 AD A remarkable example of Kushan artistry, richly carved in grey schist, combining naturalism of the classical Greek style with the Asian serenity of Buddhist art. The head is finely shaped, the nose in aquiline, an elaborate coiffure that radiates from the top of the head and is fashioned in a loosely parted topknot. The hair is stylised in such a way as to accentuate his princely status. The gemstone adornment that crowns the centre of the diadem, symbolize the Bodhisattva’s earthly return in the service of the enlightenment of all sentient beings. The heavy-lidded eyes similarly convey the contemplative serenity one associates with Buddhist imagery, while a narrow moustache grows outward from above the subtly curved upper lip just above a handsomely shaped chin. The forehead is centred by a raised urna. Size: L:300mm / W:190mm ; 10.3kg. Provenance: Property of a London Ancient Art gallery; formerly with H.G. private UK collection; acquired in Japan before 2003; previously in a Japanese collection since the 1960s.

Ca. 618-906 AD A very attractive and dynamic figure of terracotta Chinese Polo Rider. The lady is depicted on a galloping horse with detailed facial features and a nicely arranged mane. She leans forward in loose, red clothing with full sleeves; hair carefully dressed, hands raised, cheeks and lips highlighted. Pair with Lot 475. This piece has been precisely dated having undergone Thermo Luminescence analysis 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. Its TL certificate with the full report will also accompany this lot. Size: L:80mm / W:145mm ; 415g Provenance: Private London collection of Asian Art; formerly with Robert Ungar, Parthnon Gallery. Acquired in 2015. Formerly in 1990s UK collection.

Ca. 618-906 AD A breathtakingly beautiful terracotta polo rider depicted sitting on a galloping horse. The figure's face is sensitively painted with elaborate details, elongated eyes, pointed nose, and crisply carved mouths painted in red. The figure is depicted wearing an elaborate coiffure which is drawn into a loose loop that hangs slightly forwards. The hands raised to grasp the polo stick that it would have held. The hollow-molded horse features well-defined ears, eyes, nose, and nostrils. The eyes, saddles, and trappings have been added in black pigment. The horse extends his legs in a dynamic pose in mid-air to give the illusion of the action of a polo game. The original pigmentation survives largely intact. Decorated in a red pigment, the terracotta-coloured saddle and cloth are still prominent. Pair with Lot 474. 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:84mm / W:110mm ; 415g Provenance: Private London collection of Asian Art; formerly with Robert Ungar, Parthnon Gallery. Acquired in 2015. Formerly in 1990s UK collection.

Dinh Thi Tham Poong (Vietnamese, b.1970)Poong’s painting, 2010signed 'Poong 2010' l.l., watercolour and gold on handmade paper78 x 107cm Born in 1970 in Lai Chau, Vietnam, Dinh Thi Tham Poong's paintings are heavily influenced by her Muong heritage. Her detailed watercolours use surreal elements to depict the relationship between humans and the natural world - 'To my mind everything has two distinct halves. Everything contains, holds each other, is intertwined with each other'. She has received a number of awards throughout her career and her works are held in many international collections, including the Singapore Art Museum, the Fukuoka Asian Art Museum in Japan, and the Museum of Fine Arts in Boston, USA. The artist currently lives and works in Hanoi, Vietnam.Frame overall 97 x 125cm. Framed, not viewed out of glazed frame, loosely stuck down to the backboard, generally appears to be in good condition. Paper a bit cockled with creases possibly from being rolled up previously, uneven edges.

INK PAINTING OF PEONIES ATTRIBUTED TO EMPRESS DOWAGER CIXI (1835-1908) 慈禧款 牡丹圖 設色絹本 木框 款識: 乙未春正月 慈禧御筆 鈐印: 慈禧皇太后御筆之寶 ink and colour on silk, signed empress Dowager Cixi, inscribed with the year of Yi Wei, corresponding to 1895 AD, further mounted on textile and to a wooden board, in gilt frames(90cm x 40.5cm)Provenance: Private London collection; formerly in a property from a West Cornwall Connecticut and Former New Orleans Louisiana Asian Art Collection.

LARGE COLLECTION OF ASIAN ART AUCTION CATALOGUES, CHRISTIE'S & SOTHEBY'S 1980-1990 一九八零年代至九零年 蘇富比及佳士得亞洲藝術拍賣圖錄（一百零五刊） comprising 105 issues in total; 73 from Sotheby's ranging from years 1980-1990; remaining 32 Christie's from 1984-1989, both for sales in London, New York and Hong KongProvenance: from an important Scottish collection

FIVE REFERENCE BOOKS ON ASIAN AND CHINESE ART TO INCLUDE: The Art of East Asia, Edited by Gabriele Fahr-Becker, Könemann, 1999; The Golden Age of Chinese Archaeology: Celebrated Discoveries From The People's Republic of China, Edited by Xiaoneng Yang, Yale University Press, 1999; Chinese Ceramics: The New Standard Guide by He Li, Thames & Hudson, 1996; Historical Relics Unearthed In New China, Foreign Languages Press, Peking, 1972; The Chinese Bronzes of Yunnan, Published by Sidgwick & Jackson Limited, London, in association with Cultural Relics Publishing House, Beijing, 1983 (5)From the private Essex collection (Lots 201-250)

QUANTITY OF BOOKS ON MAINLY CHINESE ART. Fifteen total to include Volumes I and II Inaugural Exhibition The Museum of East Asian Art, Bath England. The Treasures of The World, The Emperors of China by Christopher Hibbert. Ancient Chinese Art, The Ernest Erickson Collection etc. (15)From the private Essex collection (Lots 201-250)

ZHAOLING, FANG (1914 - 2006). PORTFOLIO. HONG KONG: Hong Kong University Press, 1983. First Edition. ISBN: 9622090575. In the publisher's original shipping box. (47 x 29cm). Card wraps.Features 75 reproductions of works by Zhaoling, dating from 1960 through to 1982, in a variety of mediums, many of them with her calligraphy. Born in Wuxi, Jiangsu Province, she had an early interest in calligraphy. Her works are held by major museums and galleries, including the British Museum, V&A Museum, London, the Asian Art Museum of San Francisco, National Galleries Scotland and Hong Kong Museum of Art, as well as museums across China.Some light wear, minor marks to covers. 

A RARE PALE GREEN JADE 'TWIN-FISH' WASHERQianlongExquisitely carved around the exterior with archaistic motifs, with tall flaring sides rising to a lipped rim incised with a geometric-pattern band, after Western Zhou dynasty bronze prototypes, supported on four ruyi feet, the interior carved in high relief with a pair of fish in mirror image, the stone of pale green tone with dark-brown patches. 17cm (6 3/4in) diam.Footnotes:清乾隆 玉雕雙魚洗Provenance: Christie's London, 8 April 1981, lot 237James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦佳士得，1981年4月8日，拍品編號237James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The twin-fish symbol is considered as one of the most auspicious motifs of the Eight Buddhist Emblems, bajixiang, representing freedom from restraint as well as the wish for marital bliss, prosperity and an abundance of good luck. As fish are reputed to swim in pairs and are known for their reproductive powers, the double-fish also signifies the joys of union and numerous offspring.The Qianlong emperor favoured forms and designs inspired by antiquity. The archaistic designs on the present bowl were inspired by archaic Zhou dynasty bronze ritual food vessels, and the design of fish can be seen on Eastern Zhou dynasty bronze pan vessels, with twin-fish appearing more frequently from the Song dynasty onwards. Compare with a larger pale green jade twin-fish basin, dated 1786, with similar fish design, illustrated by M.Knight, He Li, and T.Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco, San Francisco, 2007, p.180, pl.181; see also two larger jade twin-fish basins carved with double fish in mirror image, Qianlong, in the National Palace Museum, Taipei, illustrated by Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pls.7 and 9.See an Imperially-inscribled pale green jade 'twin-fish' washer, Qianlong mark and period, which was sold at Christie's New York, 20 March 2019, lot 806.For further information on this lot please visit Bonhams.com

A SMALL WHITE AND RUSSET JADE BIRDTang DynastySkilfully carved as a small bird with claws tucked under the body and wings furled towards the outspread fan-tail, the slightly flattened head held up to reveal teardrop ears, vertically pierced for suspension, the white stone graduating to a deep russet splash edge with vivid red. 3.5cm (1 3/8in) long.Footnotes:唐 玉鳥Provenance: James W. and Marilynn Alsdorf collection, ChicagoSotheby's London, 7 June 2000, lot 53A distinguished English private collection來源：美國芝加哥，阿爾斯多夫伉儷舊藏倫敦蘇富比，2000年6月7日，拍品編號53英國顯赫私人收藏James (1914-1990) and Marilynn Alsdorf (1925-2019) were important philanthropists and collectors of Asian art. The couple married in 1952 and travelled around the world buying art. James Alsdorf was an investor and business executive who served on US advisory committees under presidents Ronald Reagan and George Bush. The couple were patrons of the Museum of Contemporary Art, Chicago, and the University of Chicago's Smart Museum of Art. Their generosity funded the Art Institute's Alsdorf Galleries for Indian, Himalayan, and Southeast Asian Art, which opened in 2009.Compare with a jade bird-head ornament, Tang dynasty, illustrated by J.Rawson and J.Ayers, Chinese Jade Throughout the Ages, London, 1975, p.79, no.235.For further information on this lot please visit Bonhams.com

A BLUE AND WHITE SOFT-PASTE VASEKangxi The compressed body rising from a tall spreading foot and surmounted by a tall cylindrical neck with one rib, the exterior painted with a scene of two fishermen in a boat pouring wine, another lady in a boat approached by two oarsmen on the shore, the neck with a band of pendent ruyi-heads beneath the rib, above the rib with bamboo and bird. 33cm (13in) high.Footnotes:康熙 漿胎青花人物紋長頸瓶Provenance: Soame Jenyns (1904-1976), by repute來源：傳為索姆·詹寧斯（1904-1976）舊藏Soame Jenyns was an important scholar and curator in the field of Asian ceramics and art history. From 1927 to 1931 he was in the Hong Kong civil service, after which he joined the British Museum where, except for secondment to the Admiralty during the war, he remained until 1968. He was on the Committee of the Royal Academy Exhibition, 1935-1936. Furthermore, he was Deputy Keeper of the Department of Oriental Antiquities 1950 to 1968. Between 1954 and 1972 he made gifts of Chinese porcelain to the British Museum. A selection of Chinese and Japanese ceramics are in the Marlay Gallery at the Fitzwilliam Museum, Cambridge on loan from the Jenyns family.For further information on this lot please visit Bonhams.com

A PALE GREEN AND RUSSET JADE BIRD PENDANTMing DynastyThe pebble smoothly carved as a bird with finely incised feathers, clasping an auspicious branch of lingzhi in its beak, the underside with its feet neatly tucked beneath its body, the stone of pale green tone with russet-brown striations. 6.6cm (2 1/2in) long.Footnotes:明 玉鳥銜芝擺件Provenance: James and Marilynn Alsdorf collection, ChicagoRoger Keverne Ltd., LondonA distinguished English private collection來源：美國芝加哥，阿爾斯多夫舊藏倫敦古董商Roger Keverne Ltd.英國顯赫私人收藏James (1914-1990) and Marilynn Alsdorf (1925-2019) were important philanthropists and collectors of Asian art. The couple married in 1952 and travelled around the world buying art. James Alsdorf was an investor and business executive who served on US advisory committees under presidents Ronald Reagan and George Bush. The couple were patrons of the Museum of Contemporary Art, Chicago, and the University of Chicago's Smart Museum of Art. They are the namesake of the Art Institute's Alsdorf Galleries for Indian, Himalayan, and Southeast Asian Art, which opened in 2009.Compare with a related pale green and russet jade carving of a phoenix and young, probably Ming dynasty, which was sold at Bonhams London, 9 November 2017, lot 247.For further information on this lot please visit Bonhams.com

A RARE SET OF FOUR PAINTED POTTERY FIGURES OF GAMBLERSHan DynastyEach well modelled playing with dice in animated poses, kneeling and gesticulating with their hands, playing with dice, painted in mauve, red, and white pigments. The tallest, 20cm (7 7/8in) high. (4).Footnotes:漢 彩繪灰陶博戲俑 一組四件Provenance: T.T.Tsui Collection, Hong KongSpink & Son Ltd., London, 1999Jonathan Tucker Antonia Tozer, Asian Art, London, 2001An English private collectionPublished and Illustrated: Splendour of Ancient Chinese Art: Selections from the Collection of T.T.Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, no.6. The Tsui Museum of Art: Chinese Ceramics I, Neolithic to Liao, Hong Kong, 1993, no.25來源：香港徐展堂舊藏倫敦古董商Spink & Son Ltd.，1999年倫敦古董商Jonathan Tucker Antonia Tozer，2001年英國私人收藏出版著錄：《海內外徐展堂中國藝術館藏品選粹》，香港，1996年，編號6《徐氏藝術館：陶瓷I·新石器時代至遼代》，香港，1993年，編號25Gambling has a long history in China and even Confucius purportedly said that 'people who gamble are better than those who have nothing to do' (Book XVII, 22). Since then, Confucianism was seen as having a relatively lax attitude towards the playing of games. Liubo (六博), involving two players, was particular popular during the Han dynasty. See for example, a pair of seated earthenware figures playing on a liubo board game, Eastern Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.1992.165.23a, b). By the end of the Eastern Han period, the skill-dependent Liubo faded out and was replaced in popularity by a new, chance-dependent game called 'chupu' (樗蒲). The origin of chupu is unknown but may have begun as early as the Spring and Autumn period. The game did not require much cognitive skill and relied more on chance factors with dice tossing. It attracted lots of spectators who yelled and cheered during the game, with bets being put on the dice. Although we cannot say for certain what game the gamblers in this present lot are playing, their animated gesticulations imply that it is exciting and quick with much chance involved. Compare with four bronze weights in the form of game players, Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.2003.522.4). See also a related group of four painted pottery Liubo games figures, Han dynasty, in the Virginia Museum of Fine Arts, Richmond.For further information on this lot please visit Bonhams.com

TWO UNGLAZED POTTERY MUSICIANS AND A DANCERTang DynastyOne lady modelled as a dancer standing with head tilted to one side and looking in the direction of her raised arm, wearing a long flowing dress with long sleeves that fall to the ground, the other two ladies kneeling with their legs tucked under their dresses, one playing the xiao, the other a qin. The tallest 26cm (10 1/8in) high. (3).Footnotes:唐 陶樂舞俑 一組三件 Provenance: Spink & Son Ltd., London, 1998Jonathan Tucker and Antonia Tozer, Asian Art, London, 2002An English private collection來源：倫敦古董商Spink & Son Ltd.，1998年倫敦古董商Jonathan Tucker Antonia Tozer，2002年英國私人收藏See related figures of dancers and musicians, Tang dynasty, excavated in 1972 from the tomb of Zheng Rentai, Liquan County, Shaanxi Province, and now in the collection of the Shaanxi History Museum, illustrated by C.Michaelson, Gilded Dragons: Buried Treasures from China's Golden Ages, London, 1999, no.39.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE YELLOW-GROUND SILK 'DRAGON' NOBLEWOMAN'S COURT ROBE, CHAOPAOQianlongThe remarkable robe made of fine brocade exquisitely worked in vibrant couched gold and multi-coloured threads with nine five-clawed dragons pursuing flaming pearls amidst wispy ruyi-form clouds, all on a yellow xiangse ground and above the lishui stripe interspersed with the terrestrial diagram, the collar flanked by raised shoulder seams similarly decorated with writhing dragons and ruyi clouds, lined in a rich coral-red silk brocade decorated with gold thread Shou medallions. 129.5cm (51in) long x 178cm (70in) wide.Footnotes:清乾隆 香色緞織彩雲金龍紋女朝袍Provenance: Sir William Edward Preston (1887-1932), and thence by descentFeatured on the BBC's 'Antiques Roadshow', 12 September 2021來源：William Edward Preston爵士（1887-1932）舊藏，並由後人保存迄今曾收錄於2021年9月12日，英國BBC《鑑寶路秀》節目Superbly woven with nine resplendent five-clawed dragons riding the heavens, finely worked in metallic gold thread amidst a profusion of five-coloured trailing clouds, the present robe is tailored from rare yellow-ground Imperial silk reserved for making chaopao, the most formal amongst all ceremonial Court robes worn by Imperial consorts.No other chaopao garments appears to be known outside public collections. Compare with a similar yellow-ground chaopao, mid-Qing dynasty, from the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Costumes and Accessories of the Qing Court, Shanghai, 2005, no.63. The fact that chaopao robes for women appear to have survived in a small number compared to men's robes may be attributed to the fact that historically, women had fewer ceremonial duties than men and they were often excluded from important Court ceremonies. Yellow Court robes were typically worn during the performance of the most important state rituals, such as those performed at the Altar of Earth, and were also worn on the occasion of other ceremonies, such as the appointment of a new empress, the accession to the throne and the celebration of an Imperial birthday. A Court painting by Zhou Ben (active 1760s-1770s) depicts the eightieth birthday celebrations for the empress Dowager Chongqing, seated behind an altar table at the centre, wearing a yellow-ground chaopao, surrounded by other Imperial consorts and high-ranking officials in the Palace of Longevity and Health, which her son, the Qianlong emperor, had erected in her honour; see D.Yiyou and J.Stuart, Empresses of China's Forbidden City 1644-1912, Salem, MS, 2018, p.85, fig.7. For an extensive discussion about Qing state rituals, see J.Ryan, Dragon Emperor. Treasures from the Forbidden City, Beijing, 1988, pp.67-91. Chinese Court dress had long been regulated by sumptuary laws since the Zhou dynasty (1050-221 BC). Each succeeding Imperial dynasty issued its own set of regulations and rules regarding colours and designs of official costume. The Court attire employed by the Qing dynasty was highly complex and detailed. The right to wear a 'dragon' robe and its accessories was conferred by rank and entitlement. In 1748, the Qianlong emperor ordered a review of Court dress regulations to examine all previous Qing dress codes and developed a comprehensive strategy for the garments and ceremonial trappings of the Court. The 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court', Huangchao liqi tushi 皇朝禮器圖式 completed in 1759, illustrated the strict codes of official dress which were categorised according to colour, symbolism and social status.The 'Regulations' brought the cosmic purpose of Imperial rule into sharp focus. The careful arrangement of sinuous dragons, writhing amid clouds and above the universal ocean washing against the earth mountain, quickly transcended the political and ethnic priorities of Imperial government to become universal symbols of the empire. In Han Chinese thought, the five-clawed dragon was the quintessential symbol of Imperial power, embodying royalty, dominion and expressing the visual metaphor of the good ruler who behaved wisely for the well-being of his subjects. Wearing robes decorated with dragons, therefore, facilitated the Qing foreign rulers' transformation of image in the eyes of the Han population from provincial tribal leaders to legitimate rulers of China.By the Qing dynasty, the use of yellow, traditionally associated with the Imperial family, became stricter than ever and a hierarchy of four different shades of yellow was instituted to differentiate rank within the various family members. Yellow silk, characterised by a slightly greenish tone, for example, was referred to in the 'Regulations' as 'incense colour' xiangse. This shade, displayed on the present robe, was reserved for use by the daughters of the emperor and other Imperial consorts ranking below the empress, the empress Dowager and Second and Third Degree Princesses; see M.Medley, The Illustrated Regulations for Ceremonial Paraphernalia of the Ch'ing Dynasty, London, 1982, and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30. See also the colour illustration of a yellow-ground chaopao, in the 'Imperial Regulations', illustrated by J.Vollmer and J.Simcox, Emblems of Empire: Selections from the Mactaggart Art Collection, Winnipeg Canada, 2009, p.12.Many commemorative portraits of empresses and Imperial Consorts, executed by Court painters during the early Qing period, depict Imperial consorts in a formal pose, seated on a throne and clad in a similar ceremonial garment as the present robe. Imbued with realism and ritual reverence, these paintings are precious testaments for studying complete ceremonial outfits worn at the time. See for example, the portrait of empress Xiaoxian (1712-1748), in the Palace Museum, Beijing, illustrated by L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, p.171. Chaopao garments included winter and summer versions, and whilst the former types were normally lined with fur, the latter were lined with thinner materials and had all the exposed edges finished with brocade borders, just like the present robe. No ceremonial outfit was complete unless the chaopao was worn in conjunction with a full-length sleeveless 'dragon' vest, a wide pointed collar, a heavily-jewelled headdress, pearl earrings, at least three ceremonial necklaces and a long silk kerchief suspended from the chest; see J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, pp.69-77.Compare with a related yellow-ground chaopao, mid-18th century, from Museum of Asian Art, Cologne, illustrated by J.Vollmer, Ruling from the Dragon Throne, Berkeley, 2002, p.73, fig.3.13.For further information on this lot please visit Bonhams.com

Asian Art Japanese Late 19th Century - Shibayama Ivory Napkin Ring. Applied and Overworked In Gold, Decorated Images of Birds, Flowers, Leaves and Insects - Pleasing to Eye. Weight 62.2 grams. Excellent Condition.

Full title: An exceptionally large Chinese famille rose 'Emperor Yang' dish, YongzhengDescription:Dia.: 55 cmÊ Provenance: A Belgian private collection.Ê Ref.: Emperor Yang of the Sui dynasty (___, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego.Ê One of the best known of these vignettes was the procession of Lady Wang Zhaojun (___, c. 52 – c. 15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [___, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow.Ê This scene has often been mistaken as "female generals of the Yang family'(____) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (____), and New-Year prints such as Wang Zhaojun's Galloping Horses (______) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (___)'s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Ê - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

Full title: A pair of Chinese famille rose 'Emperor Yang' plates, QianlongDescription:Dia.: 21,5 cmÊ Ref.: Emperor Yang of the Sui dynasty (___, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego.Ê One of the best known of these vignettes was the procession of Lady Wang Zhaojun (___, c.52 – c.15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [___, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow.Ê This scene has often been mistaken as "female generals of the Yang family'(____) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (____), and New-Year prints such as Wang Zhaojun's Galloping Horses (______) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (___)'s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Ê - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

A PYU BRONZE VOTIVE TABLET, BURMA, 9TH / 10TH CENTURY of drop shaped form, depicting an enshrined figure of Buddha in relief, flanked by his devotees, Moggollana and Sariputta, small stupas on either side, a kinnara below 8cm high Provenance: Collection of a deceased diplomat, thence by descent. For a similar tablet made of terracotta in the Sri Ksetra Museum, see Sylvia Fraser-Lu and Donald Stadtner (ed.), 'Buddhist Art of Myanmar', Yale 2015, no.10, pp.108-9. For a slightly later Thai example in bronze, see Pratapaditya Pal, 'Asian Art in the Norton Simon Museum', Pasadena 2004, no.118, p.157. ++Slightly worn and knocked

A WHITE CORAL FIGURE OF A GOLDFISH, PROBABLY CHINESE 19TH CENTURY the fantail fish carved with a branch of seaweed in its mouth, possibly used as a netsuke 5.5cm long Provenance: Private London Collection; given to the vendor by Oscar Charles Raphael (1874-1941) much of whose outstanding collection of Asian Works of Art was donated to the British and Fitzwilliam museums.

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:Please note this Lot is to be sold at No Reserve. 本拍品不設底價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

A COLLECTION OF ASIAN ART BOOKS Including: Lee Man Fong; Walasse Ting; Lexicon of Foreign Artists Who Visualised Indonesia; Ting Shao Kuang etc. Condition: Minor signs of wear commensurate with age and use

A COLLECTION OF SOTHEBY’S ASIAN ART CATALOGUES (2) Including: The Lost Treasures, Hong Kong 2007; Thirty Years in Hong Kong; The Meiyintang Collection; Carvings from the Collection of Kevin Ching etc. Condition: Minor signs of wear commensurate with age and use

An assembled collection of South East Asian art to include a turned dark green serpentine bowl, 10cm dia., a carved red soapstone fertility goddess, 10cm, a miniature Chinese blue and white prunus pattern ginger jar, 9cm high, a Chinese famille rose style ginger jar, 6.5cm high, a famille rose style miniature vase, 8cm high, a parcel gilt metal figure of a kneeling bodhisattva, 18.5cm high and a cast resin figure of a flautist, 9.5cm high.

A collection of assorted works of art, including a large glass charger, 40.5cm in diameter, items of glass, a miniature Asian gong, a boxed set of six coloured shot glasses, and others, all Af (qty)

A collection of ceramics, comprising a reproduction Art Deco bowl, marked Viscaria, an early 20th century Art Pottery vase, H27.4 cm, a Kevin Frances Little Clarice figure, an Asian blue and white bowl and a Sevres-style Limoges box and cover

A FINE STAG ANTLER KAGAMIBUTA NETSUKE OF WITH RAIN DRAGON (AMARYU) AND REISHI UnsignedJapan, Tokyo, Asakusa District, second half of 19th centuryThe beautifully marbled stag antler bowl inset with an openworked disc, very finely carved with a snarling rain dragon holding a large reishi-scepter and grasping its long mane with one clawed limb. Central himotoshi in the back, the cord attachment to the back of the disc.DIAMETER 4.2 cmCondition: Excellent condition, some minor 'imperfections' to the material.Provenance: Ex-collection Richard R. Silverman, purchased from Otsuki, Kyoto, in 1976. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

SHOKASAI: A GOLD LACQUER FOUR-CASE INRO DEPICTING THE ROKKASENBy Shokasai, signed Shokasai 松花齋Japan, 19th centuryOf lenticular form, the kinji ground lacquered in iro-e takamaki-e with the rokkasen (six great poets of the Heian period) with inlaid faces in Shibayama style and details of e-nashiji. The interior with nashiji and gold fundame edges. Signed to the underside SHOKASAI.HEIGHT 9 cm (the inro) and 1.8 cm (the netsuke)Condition: Good condition with minor wear, few minuscule nicks, occasional light scratches.Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.With a marine ivory ojime carved with an okame and oni mask.The Rokkasen ('six poetry immortals') are six Japanese poets of the mid-ninth century who were named by Ki no Tsurayuki in the kana and mana prefaces to the poetry anthology Kokin wakashū (c. 905–14) as notable poets of the generation before its compilers. The members of the Rokkasen are Otomo no Kuronushi, Ono no Komachi, Ariwara no Narihira, Kisen Hoshi, Sojo Henjo, and Fun'ya no Yasuhide.There are a considerable number of lacquer inro and some manju netsuke that bear this signature. The inro are often lenticular, such as the present lot, and many are decorated with Shibayama style inlay. See Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 251.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 this item can only be shipped within the EU or picked up in our gallery in person.

A SUPERB OSAKA SCHOOL IVORY NETSUKE OF A TIGERUnsigned Japan, Osaka, late 18th century, Edo period (1615-1868)Finely and amusingly carved as a tiger facing backwards with a mischievous expression marked by its sideways glance achieved by the clever placement of the dark horn-inlaid eyes, the animal further detailed with thick brows, small ears, incised whiskers, and sharp teeth, the fur neatly incised and heightened with sumi, creating a striking contrast to the smooth stripes, the tail elegantly curved, the underside with two asymmetrical himotoshi.LENGTH 4 cmCondition: Overall good condition with minor wear, one leg restored. Fine honey-yellow patina.Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison: Compare a related ivory netsuke of a tiger by Garaku, dated to the early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 58 (sold for 6,250 GBP). Another closely related ivory netsuke of a tiger, unsigned and with a restored front leg, was sold at Lempertz, Asian Art, 6 December 2019, Cologne, lot 205 (sold for 4,464 EUR). Trade Certificate: In accordance with new EU regulations that went into effect in January 2022, we have applied for a certificate to sell this item within the EU. We expect the Austrian Federal Ministry for Climate Action, Environment, Energy, Mobility, Innovation and Technology to issue the certificate in 4-8 weeks. The item can only be shipped / handed over once the certificate has been issued.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 KYOTO SCHOOL EBONY WOOD NETSUKE OF A RECUMBENT COW WITH CALFUnsignedJapan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)A delicate, remarkably powerful, and superbly carved ebony wood netsuke depicting a recumbent cow baying her head with a sensitively crafted expression, her calf nestling up to her below and affectionately licking her chin. The hairwork is neatly incised, appropriately worn at the high points, and the ridged spine and ribs are subtly expressed. The rope halter which passes through the cow's nose ring, the curved horns, as well as all other details are achieved with exceptional detail. The underside shows the many well-carved hooves, as well as the generously excavated himotoshi, the larger hole oval and the smaller bean-shaped.LENGTH 4.5 cmCondition: Very good condition, only very minor wear.Provenance: European collection. This carving certainly holds up to the greatest of the ivory Tomotada oxen, although attributions to this master, who very infrequently carved in ebony wood, are difficult to make.Auction comparison:A related ivory netsuke of a cow and calf, signed Tomotada, was sold at Lempertz, Asian Art, 16 December 2020, Cologne, lot 866 (sold for 20,000 EUR).

A RARE STAG ANTLER NETSUKE OF A PARROT ON PINE TREEUnsignedJapan, early 19th century, Edo period (1615-1868)Perched on a short section of a leafy pine branch, its head lowered, and the large wings folded for compactness. The large eyes are inlaid in reddish horn. Himotoshi through the branch.HEIGHT 4.3 cmCondition: Excellent condition.Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison:Compare to a very similar stag antler netsuke of a parrot, likely from the same hand/workshop, sold at Lempertz, Asian Art, 6 December 2019, Cologne, lot 222 (sold for 1,736 EUR). Another closely related example carved from ivory was sold at Bonhams, The Julius & Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 148 (sold for 2,250 GBP).

A RARE BAMBOO NETSUKE OF AN INEBRIATED MONKUnsignedJapan, 18th century, Edo period (1615-1868)The monk wearing a half-shouldered monastic robe, his facial features finely carved and visibly inebriated, sitting on two large hyotan-shaped containers, presumably filled with sake, and drinking from the elongated tubular spout of the larger one. Natural himotoshi. The combination of this rare subject and material are most unusual.HEIGHT 3.9 cmCondition: Very good condition, minor surface wear, some tiny dents.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

GYOKUSEN: A FINE INLAID EBONY NETSUKE OF A CORAL FISHERMANBy Gyokusen, signed Gyokusen 玉川Japan, Edo (Tokyo), mid-19th centuryThe South Sea islander standing with a delighted expression on his face as he holds a jar from which a choice piece of coral rises, his features neatly detailed, the mouth agape revealing his coral-inlaid tongue, his loincloth with two himotoshi and the signature GYOKUSEN to the back.HEIGHT 5.5 cmCondition: Good condition with minor surface wear, a tiny chip to the rim of the jar and a minuscule nick to one of the himotoshi.Provenance: Ex-collection Teddy Hahn, Darmstadt.Although Gyokusen Tomochika of Kyoto carved a number of related ebony netsuke depicting similar subjects, the present netsuke is more in line with Edo school works, such as similar carvings by Minkoku and Jugyoku.Literature comparison: Compare a closely related netsuke depicting the same subject by Jugyoku, dated approx. 1850-1900, in the collection of the Asian Art Museum of San Francisco, object number B70Y1615.Auction comparison: Compare a related netsuke of two coral fishermen by Minkoku, also dated mid-19th century, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 156 (sold for 5,688 EUR).

A RED AND BLACK LACQUER THREE-CASE INRO DEPICTING ANCIENT COINSUnsigned Japan, 18th century, Edo period (1615-1868)The black and red-lacquered ground in imitation of negoro-ware, inlaid in boxwood and decorated in brown and black takamaki-e with various ancient cash coins with simulated wear, the interior lacquered dark-brown.HEIGHT 7.6 cmCondition: Very good condition with minor wear (most of the wear is simulated). Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.With a black and red-lacquered ojime of globular form carved with floral and foliate designs.Auction comparison:For a related inro attributed to Ogawa Haritsu, see Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 272 (sold for 2,402 EUR).

JUICHI: A FINE WOOD NETSUKE OF A KAPPA WITH CUCUMBERBy Juichi (Toshikazu), signed Juichi 壽一Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Well carved seated with the knees bent, holding a large cucumber of green-stained stag antler in its lap, the emaciated rib cage and turtle-like carapace neatly detailed, the grimacing face expressing the yokai's ravenous hunger, the eyes double-inlaid with pale and dark horn and the fangs inlaid with bone. Himotoshi through the back and signed to one leg on the underside JUICHI. The artist was a pupil of Ryukosai Jugyoku.HEIGHT 3.3 cmCondition: Excellent condition.Provenance: French private collection, purchased from Galerie Yamato, Paris, in 2003.According to folklore there are two ways to escape a kappa-encounter unharmed. One is to feed it with a cucumber, which is the kappa's favorite food, and the other is to bow, as kappa are exceedingly polite creatures and find it difficult to resist returning the favor. This is a problem for the kappa as the cavity on top of their head retains water, and if this is damaged or its liquid is lost (either through spilling or drying up), the kappa is severely weakened.Auction comparison:Compare a closely related wood netsuke by Jugyoku, dated mid-19th century, at Lempertz, Japanese Art, 5 December 2015, Cologne, lot 746 (sold for 3,968 EUR). Another closely related wood netsuke by Gyokusai was more recently sold at Zacke, Asian Art Discoveries, 27 January 2020, Vienna, lot 592 (sold for 5,688).

A STAG ANTLER NETSUKE OF A MONK, ATTRIBUTED TO MASATOSHIAttributed to Nakamura Tokisada (Masatoshi) (1915-2001), unsignedJapan, Tokyo, second half of 20th centuryFinely carved from a choice piece of antler as an itinerant monk, leaning against a cane, screaming enigmatically with his mouth agape, the eyes inlaid in dark horn. Large himotoshi through the back.HEIGHT 5.7 cmCondition: Excellent condition.Provenance: Ex-collection Richard R. Silverman, purchased from I.M Chait, Los Angeles, in 2000. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Auction comparison:A related stag antler netsuke of a bakemono was sold at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 216 (sold for 37,920 EUR).

JOKASAI: AN UNUSUAL KINCHAKU-FORM LACQUER FOUR-CASE INROBy Yamada Jokasai, signed Jo O 常翁 with kakihanJapan, 19th centuryModeled in the form of a kinchaku (pouch), secured at the top with a removable pin, opening to reveal four bamboo drawers, the exterior lavishly lacquered in iro-e takamaki-e and hiramaki-e with an intricate design of stylized plum blossoms and interlinked geometric designs, the flowerheads partly with gold foil decoration. The interior with the signature JO-O (Yamada Jokasai).HEIGHT 7.6 cmCondition: Good condition with wear, age cracks, small losses to gold foil, traces of use.Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.Auction comparison: Compare a related kinchaku-form inro, unsigned, dated to the 19th century, at Bonhams, Fine Japanese Art, 6 November 2007, London, lot 20 (sold for 1,440 GBP).

A KYOTO SCHOOL IVORY NETSUKE OF A SHISHIUnsigned Japan, Kyoto, 18th century, Edo period (1615-1868)The shishi seated in an unusual position with all four paws on the ground and the head turned sideways, the mouth agape in a snarl with curled lips containing a loose ball, the wild mane and bushy tail finely incised and heightened with sumi, the muscular body well defined, the back with two asymmetrical himotoshi.HEIGHT 4 cmCondition: Good condition, appealingly worn, expected age cracks. Fine, smooth, honey-yellow patina.Provenance: The Gabor Wilhelm Collection, Paris.Auction comparison: Compare to a similar but restored ivory netsuke, recently sold at Lempertz, Asian Art, 27 June 2020, Cologne, lot 319 (sold for 4,250 EUR). Compare a related ivory netsuke of a shishi at Zacke, Japanese & Korean Art, 10 September 2021, Vienna, lot 290 (sold for 4,803 EUR). Trade Certificate: In accordance with new EU regulations that went into effect in January 2022, we have applied for a certificate to sell this item within the EU. We expect the Austrian Federal Ministry for Climate Action, Environment, Energy, Mobility, Innovation and Technology to issue the certificate in 4-8 weeks. The item can only be shipped / handed over once the certificate has been issued.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 LARGE AND UNUSUAL WOOD NETSUKE OF A TOAD ON A LOTUS LEAFUnsigned Japan, 18th century, Edo period (1615-1868)Boldly carved as a toad with warty skin and metal-inlaid eyes standing foursquare on a furled lotus leaf with neatly incised veins, the leaf of an inward-lobed octagonal form, the underside with two himotoshi.LENGTH 5.7 cmCondition: Very good condition with some wear.Provenance: From the important private collection of Jochen and Herbert Kienzle, and thence by descent in the same family. Jochen (1925-2002) and Herbert (1931-1997) Kienzle were sons of Herbert Otto Kienzle (1887-1954), whose father Jakob (1859-1935) was a German watchmaker, who founded Kienzle Apparate, a German manufacturer of data processing equipment. Jochen and Herbert took over management of the company after their father's death in 1954 and pioneered the use of computer systems for commercial office-based applications in Germany. From 1965 until 1986, the brothers assembled a well-known and highly regarded collection of East Asian and Tibetan art.

A GOLD LACQUER FOUR-CASE INRO WITH DAIKOKU AND EBISUAttributed to Shokasai and the Shibayama family, unsignedJapan, 19th centuryOf lenticular form, bearing a kinji ground, lacquered with Daikoku and Ebisu, each with their attributes, beneath a line of shimenawa among clouds, in gold and slight-colored takamaki-e with shibayama-inlaid details, the interior of nashiji with gold fundame edges.HEIGHT 8.6 cmCondition: Good condition with minor wear, little flaking to lacquer, few minuscule nicks.Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.Auction comparison:For a near-identical inro, signed Shibayama and Shokasai, see Lempertz, Asian Art, 7 December 2018, Cologne, lot 559 (sold for 2,750 EUR).

A RARE MINIATURE SILVER AND COPPER YATATE (PORTABLE WRITING SET) UnsignedJapan, 19th centuryPublished: Chappell, Sharen & Welch, Matthew (1999) Netsuke: The Art of Miniature Carving, no. 252.The miniature yatate consisting of a pumpkin-shaped inkwell with a hinged lid and knop fitted with kiku-shaped roundels, the tubular section containing a removable telescope brush.LENGTH 6 cmCondition: Very good condition, minor surface wear.Provenance: Ex-collection Richard R. Silverman, purchased from Asahi, Tokyo, in 1973. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

A collection of Asian art and history reference books, to include The Art Of Netsuke Carving by Masatoshi, Collecting Oriental Antiques by Judith Moorhouse, Handbook Of Chinese Art by Margaret Medley, Art Of China Korea and Japan by Peter Swann, Indian Ivories by Moti Chndra, Netsuke by Joe Earle, Ivory Carving by C.I.A. Ritchie, The Art of Japan by J. Edward Kidder Jr., Ivory - A History and Collector's Guide and Japanese Mythology by Juliet Piggot, together with further books. (43)

Chinese Blue and White Dish with Figures in a Pavilion and Playing Boys, Kangxi period or later, Qing dynasty painted in underglaze blue. On the shelf a lady, a gentleman and boy in a pavilion, two boys are playing outside in a fenced garden with a tree, rocks and plants, on the edge a continuous landscape with trees, rocks and plants with ladies, the back with ten different flower sprays, on the underside a medallion in the shape of a peony branch. 25.3 cm diameter . Compare this dish with the pair from the British Museum (Franks.207 and Franks.208) , Also the National Museum of Asian Art at the Smithsonian ( F1992.48.1)