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FRANCOIS JACOBS (BELGIAN 1832-1906)La Lecture interrompue,oil on panel81 x 60 cm (31 7/8 x 23 5/8 in.)signed, dedicated and titled on versoPROVENANCECommissioned by the Order of A. Diheyvetter of AntwerpLOT NOTESWith a signed statement of authentication by Francois Jacobs in English on the verso, along with a wax sealCONDITIONObserved in frame, the painting appears in age-appropriate condition. Craquelure and scattered losses visible along the left and right edges. Not inspected under UV light.framed dimensions: 116 x 96 cm (45 5/8 x 37 3/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

FRITHJOF SMITH-HALD (NORWEGIAN 1849-1903)Sunset Over a Mountain Lake,1899oil on canvas68.5 x 110.5 cm (27 x 43 1/2 in.)signed and dated lower rightPROVENANCESotheby's London, 13 June 2006, lot 186Acquired at the above by the present ownerCONDITIONObserved in frame, the painting appears in age-appropriate condition. Two vertical lines to the center of canvas from the stretcher bar. Light surface scratch to the upper left corner. Thirteen patches visible to the verso. Inspection under UV light shows scattered retouching, most notably to the left edge and center of canvas to the sun.framed dimensions: 77 x 118.5 cm (30 1/4 x 46 5/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

PAIR OF TIFFANY & CO. CLIP EARRINGSthe pair designed as florets, one with a round cut emerald centered and the other with a round cut ruby centered, the floret sprays formed from fourteen round cut diamonds, each stamped with maker's mark and 750 on clasp of each;length: 4 cm (1 5/8 in.), gross weight: 21.71 g (.766 oz)CONDITIONThe pair appears in very good condition. Observed with a loupe very light surface scratches to the hinge clip and pad of each. Besides general wear and use, no significant issues to report.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A FAMILLE VERT ORMOLU-MOUNTED BOWL ON STANDcauldron form, the porcelain famille vert body decorated with two primary colored dragons against a white ground, held atop three figural legs with handles formed from dragons, circular mark in blue underglaze; height: 33 cm (13 in.) CONDITIONThe porcelain bowl appears in good condition. Very minor surface discoloration along with light surface scratches and scuffs. Otherwise no significant issues to report. Inspection under UV light shows no apparent sign of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Gerhard Altenbourg (1926 Rödichen-Schnepfenthal - 1989 Meißen) (F)'In den Glanz hineingeglitten das Tier, beladen mit Wildwahn', Mischtechnik auf Papier, 21 cm x 30,5 cm Blattmaß, signiert, 1978 datiert, verso 'A 473' nummeriert, an der oberen Kante montiert, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverGerhard Altenbourg wurde am 22. November 1926 als Gerhard Ströch in Rödichen-Schnepfenthal geboren und zählt zu den bedeutendsten ostdeutschen Künstlern der zweiten Hälfte des 20. Jahrhunderts. Sein umfassendes und vielseitiges Oeuvre folgt der Tradition von Paul Klee und Alfred Kubin. Nach dem Altenbourg als 17-jähriger Soldat im Krieg traumatische Erfahrungen erlitt, arbeitete er als Schriftsteller und Journalist. Darauffolgend studierte er von 1948 bis 1950 an der Hochschule für Baukunst und Bildende Kunst in Weimar. Mitte der 1950er Jahre nahm er den Künstlernamen Altenbourg, nach seiner Wahlheimat, an. Neben seiner künstlerischen Tätigkeit als Maler, Grafiker und Bildhauer verfasste er auch über 1000 Gedichte. So bilden seine oft lyrischen Bildtitel nicht immer Erläuterungen zum Dargestellten, sondern begleiten das Werk wie ein asiatisches Haiku. Resistent gegen künstlerische Moden aber auch ideologische Zwänge schuf sich der Thüringer sein ganz privates Universum, in einer Art expandierender "Innenschalen-Schau" (Altenbourg). Seine Bilder sind wenig gefällig, eher sperrig, und erschließen sich kaum auf den ersten Blick. Aber mit der längeren Betrachtung entwickeln sie eine enorme Suggestionskraft und werden zu liebgewonnen Freunden. Gerhard Altenbourg (1926 Rödichen-Schnepfenthal - 1989 Meißen) (F)'In den Glanz hineingeglitten das Tier, beladen mit Wildwahn', mixed media on paper, sheet size 21 cm x 30.5 cm (the lower corners rounded), signed, dated 1978, numbered 'A 473' on the reverse, mounted to backing paper along the upper edge, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverGerhard Altenbourg was born Gerhard Ströch in Rödichen-Schnepfenthal on 22nd November 1926. He was one of the most important East German artists of the second half of the 20th century. His extensive and versatile oeuvre follows the tradition of Paul Klee and Alfred Kubin. After Altenbourg suffered traumatic experiences as a 17-year-old soldier in the war, he worked as a writer and journalist. He then studied at the Academy of Architecture and Fine Arts in Weimar from 1948 to 1950. In the mid-1950s he adopted the artist's name Altenbourg, after his adopted home. In addition to his artistic activities as a painter, graphic artist and sculptor, he also wrote over 1000 poems. Thus, the often lyrical titles of his works do not always provide an explanation of their contents, but simply accompany the paintings like an Asian Haiku. Resistant to both artistic fashions and ideological constraints, the Thuringian artist created his own private universe, in a kind of expanding ''show of the inner shell'' (Altenbourg). His pictures are not at once aesthetically pleasing, difficult to access, they hardly reveal themselves at first glance. But following longer contemplation they develop an immense suggestive power and become dear friends.

ART NOUVEAU ENAMEL AND DIAMOND PLAQUE DE COU, CIRCA 1890, MOUNTED AS A BRACELET, BY G T MARSH & CO, CIRCA 1930The convex plaque, circa 1890, of rectangular outline, decorated with chrysanthemum blooms in iridescent yellow and orange enamel, amongst meandering old brilliant and single-cut diamond stems, on a green plique-á-jour enamel ground, mounted in yellow gold, on a silver gilt bracelet mount, circa 1930, with engraved chrysanthemum motif decoration, plaque with French assay mark, bracelet stamped GT Marsh & Co, dimensions of plaque 6.6 x 4.5cmFootnotes:George Turner Marsh, founded his pioneering Asian art business, the Japanese Art Repository, in 1876 in the San Francisco Bay Area and went one to become on of the City's most famous sons. Marsh was fascinated by Eastern culture and in the 1930s created original oriental-inspired jewels, often combining pearls, coral and jade with highly unusual black patinated steel. This bracelet diverges from the norm - the centrepiece is a French Art Nouveau plaque, most probably from the centrepiece of a late 19th century collier de chien (dog collar) necklace. The chrysanthemum motif, a favourite device of Art Nouveau jewellers and emblematic of Japan, would no doubt have appealed to Marsh who updated the jewel in the 1930s by creating a silver gilt bracelet mount with engraved sides mirroring the enamel design.For further information on this lot please visit Bonhams.com

ASIAN ART REFERENCE. - Gordon H. LUCE. Old Burma-Early Pagan. New York: J.J. Augustin, 1969. 3 vols., 4to (308 x 224mm.) 3 frontispieces, 5 colour maps, 2 folding at rear of volume 2. (Some spotting to preliminaries and to margins of folding maps.) Original red cloth, gilt lettering. - And a further fourteen volumes relating to Asian and Indian art (including volume XVIII of 'Ars Asiatica': Ananda K. Coomaraswamy's 'La Sculpture de Bodhgaya', 1935, 4to) (17).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

COOMARASWAMY, Ananda K. Catalogue of the Indian Collections in the Museum of Fine Arts, Boston. Boston: Museum of Fine Arts, 1923. 4to (294 x 208mm.) Numerous photographic illustrations. (Mild toning.) Original brown cloth-backed boards, paper label to spine (rubbing to extremities). - And six volumes relating to Asian art (Ars Asiatica, numbers 4,5,8,12,16 and 18 for the years 1922,1923,1926,1928,1931 and 1935, 4to) (7).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure after the Gandharan style, or that of the neighbouring Uddiyana region, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB006, p.160; accompanied by copies of the relevant exhibition catalogue pages. 95 grams, 70mm (2 3/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10907-168639. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition.

Han Dynasty, 206 BC-220 AD. A polychrome terracotta figure modelled in the round as a kneeling servant, wearing a long robe, hands held within voluminous sleeves in front of the body, head bowed slightly, painted detailing to the dressed hair, face and garments. See The South East Asian Society., Spirit of Han Ceramics for the Afterlife, 1991, item 34. 277 grams, 18cm (7"). From a Sussex gallery; previously from the late C. Roger Moss OBE collection; accompanied by an Ancient Times certificate of authenticity and a previous cataloguing page. The late Roger Moss OBE was born in Yorkshire and read Social Anthropology at the University of Cambridge before embarking upon a successful career in global finance. Financial Director at British Airways, then Finance Director of the Mass Transit Railway Corporation in Hong Kong in 1984. In Hong Kong he sat on the board of The Hong Kong Ballet and president of the Oriental Ceramic Society, and although a lifelong collector, it was at this point in his life that his love for Asian Art began to grow. On his return to the UK in 2003, Moss bought an historic farmhouse in Yorkshire where he displayed his extensive library and the art that he had acquired over a lifetime. [No Reserve] Fine condition, an unusual amount of painted decoration surviving.

c.10th-12th century AD. A gold chain composed of openwork links of X-shaped cross-section, tapering round-section sleeve terminals with medial collars, flanked by geometric motifs formed with pellets, hook-and-eye clasp. Cf. Content, D. et al., Asian Jewels, New York, 2018, item 46, for similar dated 12th century AD; cf. Bunker, E.C. et al., Gold Gifts for the Gods, Chicago, 2008, p.96, fig.5.18a, for type. 19.05 grams, 44cm (17 1/4"). From an important North West London collection; acquired in the late 1980s-early 1990s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10934-179795. Very fine condition.

A mother-of pearl letter opener with silver handle, maker's mark rubbed, London 1916; a small white metal shell spoon with Asian figure finial; a white metal cocktail spoon, Italian hallmarks; and a silver Art Nouveau brooch.

HIMMLISCHE DAME.China, ca. 13. Jh. H 21 cm.Bronze mit Vergoldung über Rotlack. Die elegant zur Seite geneigte schmale Figur trägt ein Gewand mit überlangen Ärmeln und wird von einem Schal umweht. In der linken Hand hält sie eine stilisierte Blume. Holzsockel.Provenienz: Prof. Dr. Ferdinand Wagenseil (1887–1967), 1931 in Shanghai erworben (kein Beleg vorhanden). Sammlung Adalbert und Elke Offermann, Köln.Eine ähnliche Figur befindet sich im Museum of East Asian Art in Bath, England.

Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings.  Viceroyalty work.  Peru.  18th century. Red cedar wood interior, the exterior is covered in tortoiseshell and mother of pearl as well as iron fittings.  Its structure consists of flat sides, an upper lid and lower drawer.  There is a filing drawer for storing small objects inside. 40 x 65 x 35 cm.There is an almost identical example to this one at the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, and in the Prado Heudebert family collection in Lima.With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas :“With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia.  Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru.  This very singular style of production of alt-luxury furniture continued until the 19th century.  On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted.  There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.”The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty.  These same floral motifs are present on inlaid boxes and are, one can affirm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.”  Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.As María Campos Carlés indicates, also in “Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII” (An enduring legacy of Hispano-America.  The furniture of the Viceroyalty of Peru of the 17th and 185h centuries): “Oriental influence on the furniture of the Peruvian and Mexican coasts began in the mid-17th century when Japanese craftspeople arrived in the Americas, whether Christian or not, they were specialised in Namban lacquer.  They brought with them knowledge of how to use lacquer combined with mother of pearl and other materials.  They trained European artisans in these skills, as well as converted Muslims and indigenous people, all of these with artistic experience and who learned the technique quickly, being then able to plan, design and build luxurious furniture which became known as “enconchados” and which came to replace the Namban style furniture …It is important to highlight the natural inclination that the artisans of Arab origin that lived in the Viceroyalty of Peru had for covering flat surfaces with abstract motifs.  They can be discovered in the way that ornaments and lattices became geometrical and repeated, reflecting a Spanish influence seen in Hispanic-Mudejar furniture. 

Asian & Middle Eastern Art / Chinese Art Chinese embroidery This is a celebratory tableaux depicting an imperial court scene. It could be a New Year celebration, the birth of an heir or a wedding. It is beautifully made and in wonderful condition.. The embroider appears to have been applied over a padded design producing the wonderful three-dimensional appearance. In a Cell Height 94 cm; Length 132 cm; Depth 10 cm

Asian & Middle Eastern Art / Chinese Art Chinese embroidered artwork In excellent condition. Framed in simple unadorned frame. Depicting a a festival or celebratory image. This time it depicts a traditional Chinese opera being played out before the emperor. Height 94 cm; Length 132 cm; Depth 10 cm

A MAJAPAHIT TERRACOTTA COLUMN SECTION, JAVA, CIRCA 14TH CENTURY of domed cylindrical form, a modelled figure of Garuda in relief on the side with wings outstretched 46cm high Provenance: Collection of a late diplomat, acquired in the 1980s, thence by descent Terracotta sculptures of this type were made hollow, so that a wooden pole could be passed through, forming a column. There is a similar piece figure in the Metropolitan Museum of Art, New York (1992.151) depicting a woman on the side. In addition see Pratapaditya Pal, Icons of Piety, Images of Whimsy: Asian Terracottas from the Walter-Grounds Collection, Los Angeles 1987, no. 82.

A JAVANESE BRONZE FIGURE OF A KINNARA, INDONESIA, 8TH/9TH CENTURY with winged legs, a further wing emerging from his back, with outstretched arms, wearing earrings, necklace and tall headdress, mounted 14cm high Provenance: Collection of a late diplomat, thence by descent Kinnaras are celestial deities, part human, part bird, particularly popular in Buddhist South-East Asian art. Along with their female equivalents, kinnaris, they are particularly associated with music. This figure was probably part of a hanging lamp. For a bronze lamp with kinnari figure, see A. J. Bernet-Kempers, "Ancient Indonesian Art", Harvard 1959, pl.115. For a similarly contorted flying Garuda figure from Blora, Central Java, also probably from a lamp, see Jan Fontein, "The Sculpture of Indonesia", Washington 1990, p.249, no.81.

A CHINESE YIXING 'THREE FRIENDS OF WINTER' TEAPOT AND COVER 2ND HALF 18TH CENTURY The square-section body tapering from the shoulder to the foot, the short neck encircled by a band of foliage, with sprays of prunus and bamboo emerging from the bamboo-shaped spout and handle, with a panel of pine surrounded by pendant leaves to the cover, the knop formed as a branch, 20cm. (2) Cf. Asian Art I, 18th May 2011, lot 86 for a similar teapot and cover sold in these rooms.

ANONYMOUS (QING DYNASTY) YOUNG LADIES AND BOYS BESIDE A LOTUS POND A Chinese painting, ink and colour on silk, together with three landscape fan paintings, all signed and with artists' seals, all framed and glazed, 32.5cm x 31cm. (4) Provenance: from the Milne Henderson collection of Asian art.佚名（清） 蓮池庭院圖 等三件來源：Milne Henderson亚洲艺术收藏。

UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSHIROYUKI TAJIMA 田嶋宏行 (Japan, 1911-1984) “Line up country B” Woodblock print 1968 Hand signed and dated Note: Print artist. Born in Tokyo, Tajima graduated from Nippon University (1932) and in 1934 from the Tokyo School of Fine Arts (Western Painting Faculty). He took a wide interest in many aspects of art, including textile dyeing (under Hirakawa Matsugoro) and printmaking under Nagase Yoshiro (1891-1978), one of the earliest 'Sosaku Hanga' artists. He began his career as a print artist in 1946 but gave it up temporarily in the 1950s to write. In the 1960s and19 70s he developed his typical densely pigmented abstract style, which, however, was based on the ideals of East Asian calligraphy, traditional Japanese painting structure, and a sense of space derived partly from his Zen Buddhist beliefs. In 1969 he began making prints on canvas using much the same techniques, but soon abandoned this. His prints were particularly promoted by the Red Lantern Shop in Kyoto and most of them can be found illustrated in their periodic English-language catalogues.Provenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Condition report:- toned paper;- originally backed.

A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN BALUSTER TWO-HANLDED VASEChina, Qing Dynasty, Qianlong incised mark and possibly of the periodOf urn form and raised on a spreading foot, with a bow-string border below the shoulder and a pair of trailing scroll handles flanking the neck, the exterior covered with a glaze of crushed red color streaked in purple and milky blue and thinning to mushroom on the handles.H: 23 cmNotes:1. Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.2. Compare a closely related flambé-glazed vase, also with an incised six character Qianlong mark and of the period, at Sotheby’s New York, The United States of America, in Important Chinese Art on 2018/03/21, lot 538, sold for USD162.500 BP incl., and another, also described as Imperial, at Christie’s New York in The Marie Theresa L. Virata Collection of Asian Art: A Family Legacy on 2017/03/16, lot 614, sold for USD223.500 BP incl.双柄瓷花瓶中国，清朝，乾隆款识Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- chips to the footrim and to the glaze near the footrim.

A GROUP OF TWO ‘THEPANOM AND NORASINGH’ BENCHARONG WARE LIDDED POTSChina for Thailand / Siam, Bencharong ware, Ayutthaya Period, 18th-19th centuryBoth with a lotus bud shaped finial and reserved-decorated with red and yellow thepanom and norasingh on a black ground.Dimensions (the biggest): H: 10,8 cmAlso included in that lot:- a small ‘flower’ lidded pot, also a Bencharong ware, that one dating to the King Rama V (1868-1910) period - H: 7,5 cm- a small lidded silver pot dating to the King Rama V (1868-1910) period - H: 4,2 cmNotes:1. Sets of porcelain such as this example were commissioned from China, usually from the southern Jiangxi province, and exported to Thailand.2. The thepanom is a celestial being from Buddhist cosmology. The norasingh is a mythical forest-dwelling semi-deity with a human head, torso, and arms but with the hind-quarters of a lion and the tail and hoofs of a deer.3. Thai Minor Arts, The Fine Arts Department, 1993; Treasures from the National Museum, Bangkok, The National Museum Volunteers, 1987; McGill, F. (ed.), Emerald Cities: Arts of Siam and Burma, 1775-1950, Asian Art Museum, 2009; and Bromberg, P., ‘A passion for Bencharong’, in Arts of Asia, May-June, 2010.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:ALL PIECES UV / BLACK LIGHT CHECKEDThe biggest lidded jar:- chip? or at least loss of enamels on the finial of the lid;- a few chips to the inner rim;- losses of enamels around the rim due to frictions;- also few chips minor to the foot.The middle size lidded jar:- not its original lid;- two chips to the rim of the jar with a crack;- minor chips to inner rim;- loss of enamels around the rim of the jar due to frictions;- a chip to the foot;- also losses of enamels to the rim of the lid with one minor chip.The smallest jar:- both lid and jar restored with chips etc.Silver piece:- OK.

VU CAO DAM 武高谈 (VIETNAM AND FRANCE, 1908-2000)  ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 7TH PROMOTION (1931)  Portrait of a young lady with a blue scarf  Circa 1950  Mixed media on silk laid on cardboard  Signed to the lower right  33 x 23,8 cm  Provenance: From a French Riviera Estate, France, where Vu Cao Dam has been working and living.Notes:  1. Biography: Vu Cao Dam was born in Hanoi in 1908 to a Catholic family of the local bourgeoisie. In 1926, he joined the Fine Arts School of Hanoi (Ecole des Beaux-Arts de l’Indochine), where he studied the art of painting and drawing and from which he graduated in 1931. With the support of his professor, Victor Tardieu (1870-1937), Vu Cao Dam participated in the 1931 edition of Paris International Exhibition following which he settled in France. He was, above all, known for his sculptures, which brought him numerous commissions upon his arrival in Paris. Marked by the Western avant-garde (Fauvism and the Paris School), Vu Cao Dam’s creations lie on the edges of Asian traditions in general, and Vietnamese and Chinese in particular. He was one of the four famous Vietnamese painters who emigrated in Paris, the others being Le Thi Luu (1911-1988), Mai Trung Thu (1906-1981) and Le Pho (1907-2001).  2. Comparison: This painting seems to belong to a series of portraits of young women of similar size painted in the early 1950s. For a portrait of this series at public auction, see Christie’s Hong Kong July 11, 2020, lot 251, painted in 1952 and sold for HKD525.000 BP incl. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- silk laid on a wooden panel;- stains;- traces of the frame;- scratches;- veneer stains;- UV / black light checked;- maybe a few old re-paints by the artist (one lower left hair, one front neck, one upper right shoulder = left + right as seen from the person looking at the painting);- a small chock above the forehead in the hairs;- dust;- PROVENANCE: ACQUIRED FROM A FRENCH RIVIERA ESTATE NEAR SAINT PAUL DE VENCE WHERE THE ARTIST USED TO LIVE.

A KOREAN SILVER-INLAID IRON TOBACCO BOX AND COVER JOSEON DYNASTY, 19TH CENTURY The rectangular body decorated to each side with auspicious Chinese ideographs including the character fu (luck), the hinged cover with the circular symbol for shou (longevity), all reserved on a complex background of key fret, spirals and other geometric patterns, the inside of the box lined in wood, 9.2cm x 10.6cm x 14.5cm. See Asian Art II, 15th November 2016, lot 515 for a comparable box from the collection of John Newall Esq. sold in these rooms.

A RARE AND MASSIVE JAPANESE SILVER BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY Depicting an impressive cockerel, the bird naturalistically modelled with gilt bronze legs and pupils, the claws and long tail feathers rendered in shakudo, the comb and wattle in red patinated bronze, the details of the plumage rendered in kebori, signed in a rectangular cartouche beneath the long tail Dai Nihon Genryusai Seiya zo (Great Japan, made by Genryusai Seiya), raised on a wood base carved as a rocky outcrop, the bronze 75cm, 89cm overall. (2) Provenance: an English private collection, the property of a gentleman; purchased in the 1990s from PAN Amsterdam art fair. See Zacke, Vienna, Asian Art Discoveries Days 1 - Japanese Art, 21st January 2021, lot 13, for another model of a chicken by Seiya measuring 23cm. Also, see Bonhams, London, Meiji Modern Design, 11th June 2003, lot 476 for another tall cockerel signed Masatsune. Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part II nos.104-5 for two other cockerels by Masatsune. Also, see L Bordignon, The Golden Age of Japanese Okimono, pp.252-3, for another example signed Hanehiroya sei.

A RARE MYOCHIN INLAID IRON KORO EDO OR MEIJI PERIOD, 19TH CENTURY The incense burner of rectangular form and decorated with Fudo Myoo and his two attendants Kongara and Seitaka, the powerful King of Immutable Wisdom and Vanquisher of Evil holding the kurikara (devil-subduing) sword and a lasso to catch and bind up the wicked; the God and his acolytes surrounded by the halo of flames that destroys ignorance; the opposite side with a large shishi clambering upon a rock; the other sides each with a long-tailed bird in flight holding a knotted cord in its beak, and a large chrysanthemum flower underneath; the cover decorated with geometric patterns and shaped apertures for the smoke to escape, the underside of the lid with a cut-out design of a similar bird; all raised on four legs shaped as archaistic monsters, the handles to the side with further stylised creatures suspending loose rings; the decoration rendered in low relief and with details inlaid in silver and gold, inscribed Myochin ki Munenori beside Fudo Myoo to the front, 40cm. (3) Provenance: sold in these rooms, Asian Art II, 18th May 2016, lot 810. Myochin Munenori is recorded as a retainer of the Lords of Tsuchiya, in the province of Hitachi. He also used the name Yukiye. Munenori is particularly known for his kabuto (samurai helmets) which makes this incense burner particularly unusual. It is possible that the koro was a unique and special commission for a wealthy client.

Ca. 1368–1644 AD. Ming dynasty. An extremely fine moulded terracotta figure of a male rider shown on horseback. The cream-coloured horse is depicted in a standing pose with its neck stretching forward and its tail loose. The mane and tail are glazed in blue. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are moulded in the round and coloured in a dark glaze. The rider wears a high conical hat and a dark coloured coat, his left arm is bent towards the body. Horses were an important status symbol in ancient China. They were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, there were laws that restricted the ownership of them to people of elevated rank. The soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China; the earliest known example of a stirrup, today a mainstay of equestrianism, was found on a statue of a horse from Hunan province dated to 302 AD (see Cartier, M. 1993. 'Considérations sur l'histoire du harnachement et de l'équitation en Chine.' Anthropozoologica, 18, 29-44). Excellent condition. For an overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets. Size: L:370mm / W:265mm ; 2.5kg

Ca. 1368–1644 AD. Ming dynasty. An elaborate terracotta zodiac figure in a court dress or shenyi consisting of a long waistcoat tied at the waist over a purple dress with long flaring sleeves. The robe is dark purple with blue accents on the sleeves. The hands are folded in front of the chest. The figure is extremely detailed and beautifully glazed in turquoise and cobalt blue colours. The cloaked human body is standing frontal with the head of an animal from the Chinese zodiac, in this case, the horse. The Chinese zodiac is a method of counting years based on the Chinese lunar calendar which assigns every year with a representative animal in a repeating 12-year cycle. Each animal is also associated with a natural element in the Earthly Branch. The twelve Zodiacs are the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig or boar. These correspond to the twelve Earthly Branches and are infrequently found in wealthy tombs of the elite and wealthy ancient Ming Chinese. The tradition of sculpting terracotta figurines into zodiac representations might have originated during the Han Dynasty. Normally zodiac figures from the Ming dynasty have human heads and they hold the zodiac emblem animal in their hands. The zodiac figures were often placed in a north-south direction in coffin chambers to represent the progress of time. People hoped that such an arrangement would encourage the god to time to guard the tomb. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets. Size: L:200mm / W:85mm ; 430g

Ca. 1368–1644 AD. Ming Dynasty. An elaborate male figure with beautifully glazed pigment. The man is standing with his feet apart on a large lotus throne on top of a high hexagonal plinth. He is dressed in a long green coat lined with yellow and tied at the waist by a light pink belt. He is wearing dark shoes and a high conical hat with elaborate decoration. His face shows a calm expression with closed eyes, a broad nose, and small lips. The hair preserves traces of a dark colour. He is carrying what appears to be a scroll on his left shoulder and the left hand grasps the string across his chest, while the other arm lies at his side. These types of figurines were tomb attendants, a class of artefacts called 'mingqi' – sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:550mm / W:130mm ; 3kg

Ca. 1368–1644 AD. Ming Dynasty. An elaborate terracotta zodiac figure in a court dress or shenyi consisting of a long waistcoat tied at the waist over a purple dress with long flaring sleeves. The robe is dark coloured with green accents on the sleeves. The hands are folded in front of the chest. The figure is extremely detailed and beautifully glazed. The cloaked human body is standing frontal with the head of an animal from the Chinese zodiac in this case, the monkey. The Chinese zodiac is a method of counting years based on the Chinese lunar calendar which assigns every year with a representative animal in a repeating 12-year cycle. Each animal is also associated with a natural element in the Earthly Branch. The twelve Zodiacs are the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig or boar. These correspond to the twelve Earthly Branches and are infrequently found in wealthy tombs of the elite and wealthy ancient Ming Chinese. The tradition of sculpting terracotta figurines into zodiac representations might have originated during the Han Dynasty. Normally zodiac figures from the Ming dynasty have human heads and they hold the zodiac emblem animal in their hands. The zodiac figures were often placed in a north-south direction in coffin chambers to represent the progress of time. People hoped that such an arrangement would encourage the god to time to guard the tomb. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:210mm / W:85mm ; 415g

Ca. 1368–1644 AD. Ming Dynasty. An elaborate male figure with beautifully glazed pigment. The man is standing with his feet apart and dressed in a green coloured tunic, and a long green coat lined with yellow tied at the waist by a green belt. He is wearing heavy boots and a conical hat with a thick brim. His face shows a calm expression with wide-open eyes, a broad nose, and small lips painted in red. He holds a fascinating implement which may indicate that he is a merchant or trader. These types of figurines were tomb attendants, a class of artefacts called 'mingqi' – sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:235mm / W:80mm ; 510g

Ca. 200–400 AD. Gandharan. A schist stone statue of a bodhisattva. He is seated cross-legged on a decorated plinth, richly dressed in the fine garments of a North Indian prince, with various necklaces, bracelets, and a loosely draped sanghati robe. His hair is tied up in an elegant floral headdress. This clarifies he is a bodhisattva, with jewellery and finery representing spiritual riches before attaining the simpler attire of a Buddha. A bodhisattva was originally conceived as Gautama on his path to enlightenment before he became the Buddha, but by this point, it was conceived as anyone who was in the process of reaching enlightenment, or who had reached it but, forsaking nirvana, chose to remain in this world to teach others how to reach it too. His finely modelled face is decorated an urna on his forehead that symbolises the third eye and spiritual clarity. His hands are held together resting in his lap, and they hold a lotus flower. The lotus was a symbol of absolute purity, and as the beautiful flower emerged from muddy waters in nature it was seen as a symbol of attaining purity out of impurity. The front of the plinth depicts two towers framing a fire altar scene in which two worshippers flank the altar. The rear is unworked, and this piece probably decorated a stupa. The almond-shaped eyes and the statue’s iconography are typically South Asian Buddhist, but elements like the smoothness of the face and the musculature of the body draw on Classical tradition. Gandhara sat at the crossroad of civilisations on the Silk Road, drawing on influences from across the world, and its earlier conquest by Alexander the Great had left a legacy of Greek artisans and enduring Hellenistic style. This makes Gandharan art distinct for its use of Buddhist themes and iconography with some of the delicate naturalism of Greek sculpture. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection. Size: L:375mm / W:210mm ; 5.9kg

The horn of dark toffee tone with amber highlights, naturalistically carved as a gnarled trunk of an ancient pine tree, a pierced branch forming the handle, applied Sotheby’s New York paper label, inscribed 138Height: 7cm Diameter: 12cmWeight: 174gThe subject matter of the pine tree was favoured by the Chinese scholar-literati who saw it as the symbol of longevity and unyielding character.此件蒼松紋犀角杯最得文人雅士之喜愛，蒼松象徵文人雅士的風骨與品格，是不可多得的文房雅器。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍  DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。 For further cups in this group see one in the British Museum, London, included in Derek Gilman, ‘A source of Rhinoceros Horn cups in the late Ming Dynasty’, Orientations, December 1984, p.12. fig.4; another from the collection Dr Ip Yee, published by Dr Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian Antiques Fair, Hong Kong, 1982, p.40, pl.38; and another from the collection of Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl.160.類似蒼松紋犀角杯見大英博物館館藏，著錄於Derek Gilman 《晚明時期的犀角杯收藏》 1984，圖4 ，頁12；葉義醫生收藏，著錄於《中國犀角雕刻》香港，1982，圖38，頁40；霍滿堂著《中國犀角雕刻珍賞》，香港，1999，頁160。For a comparable cup from the Collection of Edward T. Chow and Franklin Chow, see Sotheby’s Hong Kong, 8th April 2011, lot 2712. Sold again at Sotheby’s Hong Kong, see Important Chinese Art, 3rd April 2018, lot 3652.另一相似犀角杯見仇炎之，仇大雄父子珍藏犀角雕刻，分別售於2011年4月8日香港蘇富比拍品 2712號，2018年4月3日香港蘇富比拍品3652號。TO BE SOLD WITHOUT RESERVE無底價起拍Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory, rhinoceros horn and tortoiseshell. Accordingly, prospective purchasers should familiarise themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.Please note that an export licence will only be granted for rhinoceros horn objects providing the hammer price meets or exceeds the value of $100 per gram of the items weight.有意購買者請注意，由於若干國家禁止進口包含瀕危物種材料的物品，包括但不限於珊瑚、象牙、犀牛角和玳瑁的物品。因此，準買家如果打算將這批商品進口到另一個國家，則應在投標前熟悉相關的海關規定。請注意，犀牛角拍品的出口許可證只有當落槌價格達到或超過每克100美元的價值時，才會頒發。Condition ReportThe cup with a dark tone, a small chip to the handle with element of pine tree foliage missing, 8mm. approx. The naturalistic quality of this carving hides the loss well. Another small loss to branch of handle and one to the interior of the cup too. Other minor blemishes due to the natural material.

The recumbent tiger with a shaped oval panel to its back, decorated with broad brush strokes in ochre, black and russet on a cream ground, the base unglazed, stencilled collection number 52200 to the baseLength: 33cmHeight: 9cmA similar tiger-form pillow, is illustrated by Jiena Huo in Fire and Earth: Chinese Ceramics (3500 B.C. - 1400 A.D.) in the Museum of East Asian Art, Cologne, 2008, p 187, no. 147, where it is dated Jin Dynasty, 12th century. The author notes that this type of pillow is probably from Changzhi, in Shanxi, where other pillows of this type have been found. This type of pillows were believed to protect against evil and to have helped women give birth to sons相似磁州窯虎枕見霍潔娜《火與土：中國早期陶瓷》科隆東亞藝術博物館 2008年，圖147 ，頁187。其作者認為此類型虎枕產於山西長治，用於保佑孕婦生得男孩不受邪惡侵擾。Another similar Cizhou tiger pillow was sold at Christie’s New York, 13th September, 2014 lot 835, Masterpieces of Cizhou Ware: The Linyushanren Collection另一相似虎枕見紐約佳士得2014年9月13日拍品835號。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall the tiger pillow is in good condition for its age. The base with a cleaned area and a number ‘52800' written in black ink. The cream pillow section well crazed, with a y-shaped hairline confined within this area, approx 10cm long. The left eye of the tiger with some glaze loss, revealing the buff body. Now patinated, overall the glaze finely crazed, with some discolouration. An area of glaze loss by the tigers front left paw, approx. 2.5cm, where it meets the base. 

A Chinese late 15th Century / Ming Dynasty blue and white porcelain bowl. Decorated with a central animal motif and floral border leading into a gently everted rim with various floral sprays to the exterior. The base with a dimple to the centre. With a 'Certificate of Authentication' from Abacus Asian Art & Ceramics, Indonesia, dated 16th May 2006. Diam. 15.5cm

A Chinese Qingbai glaze pottery ewer and cover. Song dynasty (960-1279). The ewer with melon shaped body on splayed foot with long spout and handle. Height approx. 15.5cmProvenance: Purchased in Sworders Asian Art sale - 16th May 2018 (Lot 1038) 

LORENZO QUINN (Rome, 1966)."Trust".Bronze sculpture on marble base. Exemplary 753/999.Signed and justified.Measurements: 24 x 30 x 19 cm.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. Shortly thereafter, he received an important commission from the Vatican, which commissioned him to create a sculpture of the saint on the occasion of the 8th Centenary of the Death of St. Anthony. 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).

ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gram Vélin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after postwar artist in the world and is the sixth most expensive artist of all time. In the first half of 2018, his sales ranked only behind those of stars such as Picasso, Monet, Modigliani or Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colorist, very influenced by the work of Paul Klee, for his expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting color, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of color, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some gray tones.

{ Option of lots: 489, 490 } Flying Apsaras An Apsara Is A Supernatural Female In Asian Mythology Gifted In The Art Of Dancing And Able To Change Shape At Will. According To Legend They Are Said To Inhabit The Skies And Are Often Depicted As Taking Flight. Crafted From Smooth Aluminium And Polished By Hand.37 X 12 X 25cm (Area F)

{ Option of lots: 489, 490 } Flying Apsaras An Apsara Is A Supernatural Female In Asian Mythology Gifted In The Art Of Dancing And Able To Change Shape At Will. According To Legend They Are Said To Inhabit The Skies And Are Often Depicted As Taking Flight. Crafted From Smooth Aluminium And Polished By Hand.37 X 12 X 25cm (Area F)

Illustrated Bonham catalogues 'Fine Asian Art'.

Metal Sculpture Assortment (4) items including a Chinese bronze seated Buddha sculpture; an Indian bronze sculpture depicting the Hindu deity Shiva in the 'Sukhasana Murthi' yogic pose including his consort seated upon his lap; a Nepalese bronze sculpture depicting the Hindu deity Brahma being embraced by his consort Saraswati both shown seated atop a double lotus pedestal; and a painted bronze Art Deco sculpture after Marie Louise Simard depicting a Chinese man in highly stylized, traditional garb atop a hollow, stepped cast metal plinth painted to resemble marble Property from: a Dixon, Illinois estate Height: 13 3/4 inches, Width: 8 1/2 inches, Depth: 6 1/2 inches (largest) Condition: Very Good, overall light wear consistent with normal use; light accretions on Brahma sculpture; Art Deco sculpture having areas of paint and patina loss to face, body and plinth Category: Decorative Arts > Asian Estimated Sale Time: 11:47 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4

Chinese Print Assortment (4) polychrome prints depicting male and female figures, all matted and framed under glass Property from: an Evanston, Illinois estate Height: 14 1/4 inches, Width: 9 3/4 inches (sight)Frame Size: 20 1/2 inches by 16 1/4 inches Condition: Good, areas of light staining and discoloration to prints overall; light dirt accumulation Disclaimers: not examined out of the frames Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:47 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Chinese Print Assortment (3) polychrome prints depicting male figures, all matted and framed under glass Property from: an Evanston, Illinois estate Height: 14 1/2 inches, Width: 9 3/4 inches (sight)Frame Size: 20 3/4 inches by 16 inches Condition: Good, discoloration to print paper overall, particularly towards edges; (1) having pilling to paper; light dirt accumulation overall Disclaimers: not examined out of the frames Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:48 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4

Japanese Kenji Kusaka and William Paden Woodblock Prints (2) items including 1936, signed 'Ken Kusaka' lower right, #28/40 lower left, titled in Japanese 'Message from the Sky' lower center, depicting geometric shapes amidst blue sky and clouds; and 1930, signed 'William Paden' lower right, #19/50 lower left, titled 'Kaimon Dake' lower center, depicting a mountain-scape; both having storage folders with cellophane windows Property from: a Sycamore, IL Estate Height: 13 5/8 inches, Width: 16 1/4 inches (William Paden)Frame Size: 20 1/2 inches by 22 inches Condition: Very Good to Good, top edge of both prints adhered to inside of folder; Paden having slight area of wear at upper left border, wrinkling to upper right edge; both storage folders having toning, creasing, waviness, dirt accumulation Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:49 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7

Japanese Kuniyoshi and Hiroshige 'Ogura One Hundred Poems' Woodblock Prints c.1845, printed signatures, (21) oban size prints from the series 'Ogura Nazorae Hyakunin Isshu' including (15) by Utagawa Kuniyoshi (Japanese, 1798-1861) and (6) by Utagawa Hiroshige (Japanese, 1797-1858); together with (3) additional oban actor prints from a separate series by Kuniyoshi and an unidentified geisha print; unframed Property from: an Evanston, Illinois estate Height: 14 3/8 inches, Width: 10 3/8 inches (average sheet) Condition: Good to Fair, moderate to heavy edge wear, especially at corners; light to moderate soil; occasional surface wear; a small spot of insect predation noted to a print; occasional short tears and wrinkles to untrimmed margins, which retain stab-stitch holes from binding; wrinkles occasionally affect image; (1) having 6-inch tear along margin, not affecting image; the (3) additional Kuniyoshi mounted to Japanese paper backing; unidentified print closely trimmed and having creases Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:50 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10

A large collection of Asian Art auction catalogues and exhibition catalogues, the majority Christie's, Sotheby's and Bonhams, including Christie's 'Elegance and Artistry The Imperial Sale' Vols I and II, Hong Kong 27 May 2008, Christie's 'Luminous Colour: Treasures from The Shorenstein Collection', Hong Kong 1st December 2010, and Christie's 'The Gerald Godfrey Private Collection of Fine Chinese Jades', Hong Kong 30th October 1995 (approx 125 in total).This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

JOSÉ BLANCO CORIS (Málaga, 1862 - 1946).Untitled.Oil on canvas glued to board.Signed in the lower right corner.Measurements: 79 x 58 cm; 92 x 72 cm (frame).Painter, writer and professor at the School of Arts and Crafts of Madrid, José Blanco Coris always showed a deep interest in Japanese and East Asian art, and in fact wrote an important "Manual of Decorative Art" (Madrid, 1916-21) in which he dedicated chapters to the arts of China and Japan. Blanco Coris was trained in his native Malaga, in the School of Fine Arts of the city, where he had Bernando Ferrándiz as his main teacher. He began his career making great history paintings in the nineteenth-century style, such as the "Presentation of Cardinal Cisneros to Isabella the Catholic" of 1881. Also around this time he delved into the themes of gentle realism, reaping a special success with "Children in a Boat" (1883), which won him the gold medal at the International Exhibition in Boston. Already at the beginning of the new century, Blanco Coris will evolve towards a less sweetened costumbrismo, at the same time that he begins to cultivate the still life. In the twenties he presented works of these genres at the National Exhibitions of Fine Arts and the Salones de Otoño. Although he was permeable to the advances of impressionism, in the twentieth century he was especially critical of the avant-garde, always remaining outside them. At the same time he developed a notable teaching career, which he began after failing to obtain a post as a pensioner in Rome in 1888. He entered the School of Fine Arts in Malaga as an assistant in 1891, to later become a temporary professor (1893). He finally obtained the position of full professor at the School of Arts and Crafts in Madrid in 1902, developing since then his career in the Spanish capital. Today José Blanco Coris is represented in the Museum of Malaga and in various private collections.

TOSHI YOSHIDA1911 - 1995 4 japanische Farbholzschnitte mit Singvögeln in den vier Jahreszeiten. Jeweils in japanischer Schrift signiert. 52x32cm, mit Rahmen 69x47cm TOSHI YOSHIDA 1911 - 1995 4 Japanese coloured woodcuts with songbirds in the four seasons.Each signed in Japanese. 52 x 32 cm, with frame 69 x 47 cm. Keywords: woodcuts, xylography, illustration, graphics, art, Japanese, Asian

LOT VON DREI NETSUKESJapan / China Bein, geschnitzt mit beweglichen Köpfen. H.5cm A MIXED LOT OF THREE NETSUKES Japan / China Bone, carved with movable heads. 5 cm high.Keywords: miscellany, assorted, sculptures, plastic art, artworks, figures, figurines, Japanese, Asian, Chinese

UNUSUAL CHINESE FAMILLE VERTE 'FEMALE WARRIORS' PORCELAIN DISH, Kangxi, centre decorated with three mounted semi-clad female warrior rebels with swords pursued by soldiers with lances and observed by a general and official under banner reading 'san jun si', all within border of six landscape vignettes reserved on a diaper ground, underglaze blue artemesia leaf mark, 37cms diam. Provenance: deceased estate (north Wales). Collector bought Chinese porcelain and jades from leading London dealers like Bluett and Sidney Moss. Larger part of the collection sold in these rooms 7 December 2018.Auctioneers note: Cf. Victoria and Albert Museum, no. C.1221-1910 for a matching dish bequeathed by George Salting, with the same inscribed banner translating as third military superintendant, being the leading warrior general (shuai). Another near identical dish with Marchant Asian Art, London, no. M3952. Comments: some wear to enamels, dish broken and reglued, rim fritting, restorations, cracks, chips, rim infills, old rivets removed and infilled.

明治 京山之造款 薩摩燒觀音羅漢龍紋瓶 the body decorated in two panels with a gathering of Kannon and rakans flanked with sinuous dragons, the neck adorned with two three-clawed dragons, the base signed with a four-character mark in gold in a double-square below a Shimazu family crest, with a wooden stand32cm highProvenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 years

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 gilded, the base with a wheel engraved Johanneum Inventory mark 'N=183 I'43.5cm diameterProvenance:August II, 'August the Strong', Prince-Elector of Saxony (1670-1733), Dresden;Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's.Footnote: Note: The scene on this dish depicts the Daoist Immortal, Magu, on her way to celebrate the famous peach banquet of the Queen Mother of the West, Xi Wang Mu, who rules over the garden of the peaches of longevity. The fine drawing of Magu's feminine face is in the traditional Chinese style without shading. The scene contains many symbols of long-life and immortality, especially the lingzhi fungus, the deer, and the peaches, while the blossoming prunus tree represents youth and new life.Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections, had a particular fondness for East Asian porcelain from the 17th and early 18th centuries. Obsessed with porcelain, he had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733.This plate can be dated with some accuracy since no new pieces were added to the collection of Augustus the Strong (1670-1733) after his death in 1733, and the inventory books at Dresden reveal that dishes of this kind were acquired in 1727. After his death in 1733, the porcelain was packed away in the cellars of the unfinished "Japanische Palace". The term "Johanneum" was taken from the building in Dresden to which the royal collection was moved in 1875-76.One plate with the same number of the old Dresden inventory (N=183 I, inventory 1779) and almost identical decoration and size is in the Dresden collection.[1] Some other examples with the same inventory number entered the art trade presumably as a result of earlier sales, with examples found in 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. [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

鄭木奎 無題 紙本設色 鏡框 mixed media on paper, framed, signed 'Bak Koi' lower-middle right59.5cm x 59.5cmProvenance: Private Scottish collection, by repute acquired from Singapore in the early 1980s Footnote: Note: A second-generation Singaporean artist, Tay Bak Koi is well known for paintings with Southeast Asian themes, this includes the portrayals of fishing villages, kampong scenes and buffalo. Over and beyond the quintessential realistic depiction of Southeast Asian lives, his distinctive style combined a mixture of realism and fantasy to create truly unique works of art. Predominantly using oil paint, watercolour was another favoured medium for Tay. In the example presented here, Tay employs watercolour as the base, oil, gouache or other mediums to detail the landscape, achieving a sense of tranquillity and modernity.

清康熙 青花四季花卉圖菱花式鳳首壺（一對） each of quatrefoil baluster form, painted on the bulbous body in panels with various flowers issuing amongst rockwork above a frieze of lotus petals, the undulating spout terminating in a phoenix head joined to the tall neck flaring to a garlic-form head, with a floral form lidheights: 25cm and 26cmProvenance: Property of the late Hon. Elizabeth FairbairnFootnote: Note: Ewers of this form were originally inspired by Middle Eastern metal wares and were made for the export market. They were meant to exist in pairs. It is very rare to have their original lids still kept with the ewers. Compare a closely related ewer from the Avery Brundage collection now at the Asian Art Museum, San Francisco, acc. no. B60P249. A pair from the Grandidier collection, now at the Louvre museum, was paired with three blue and white bottle vases to form an ad hoc garniture set and is illustrated in La Ceramique Chinoise: De l’epoque de K’ang-Hi a nos jours, Paris, 1922, pl. 244. Two further comparable pairs were respectively sold at Christie's New York on 28 January 2013, lot 404 and Sotheby's New York on 20 March 2018, lot 452.

oil on canvas, framed, signed lower right; verso: 'by Ba Nyan', 'PAGODA RANGOON' '19.3.31' 'OIL PANTING'22cm x 30cmProvenance:Deceased estate of a Glasgow gentleman and collector of Asian Art, acquired in 1995.Tom Bell Fine Art, Troon, Scotland, purchased from John Green Fine Art, 182 Bath Street Glasgow in October 2017.Footnote: Note: John Green Fine Art Glasgow did not show the work in his gallery at any time and the current owner spotted it in his safe; the painting was then purchased upon Green's retirement in October 2017.U Ba Nyan was one of the most important artists in Myanmar during the twentieth century, most well-known for his western Academic style. Born in Pantanaw in 1897, Ba Nyan showed a proficiency in the arts at an early age and studied under Po Maung for four years before being noticed by local officials who supported him in studying at the Normal School.At the age of 24, Ba Nyan became the first Burmese artist to study at the Royal College of Art in London, with the support of the Burma Art Group, a prestigious institution that supported young Burmese artists with great promise. During his time in London, he developed his signature Academic style, which when he returned to Myanmar in 1925 awarded him great prestige and renown. Working in oil painting, Ba Nyan received many important commissions from notable clients such as Sir Paw Htun, Sir Ba Oo and Shan saophas. Though U Ba Nyan had drawn many paintings depicting the landscapes and lifestyles of Myanmar, most of them were bought by the British and lost during World War II. Few of his paintings can be found today.In 1939, he became principal of the Art School for Myanmar students; then in 1944 he led a group of artists that opened the Institute of Art, becoming the principal of the academy. His role was such that many younger Burmese artists were influenced by him: Thein Han and Ba Kyi were both prolific and important artists who studied under Ba Nyan. During this period, the war-time prime minister of Burma, U Ba Maw, presented two of Ba Nyan's paintings to the Japanese Prime Minister, and a third painting to Emperor Hirohito, illustrating the great international acclaim the artist had achieved.Paintings by Ba Nyan remain rare and highly collectable, with a watercolour of an elephant monument sold for £9,500 and one of the Shwedagon Pagoda sold for £5,500 in 2019 at Grand Auctions in Folkestone, England. His works remain in important international public and private collections such as A Buddhist Monastery in the National Museum of Myanmar, and At the Jetty in the Singapore Art Museum.

清康熙 青花褐彩加歐洲雕飾紋碟 the exterior has a rich brown ground (Batavia ware) which has wheel engraved decoration of stylised flowering foliage11.5cm diameterProvenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 yearsFootnote: Note: The current owner met Dr Barbara Harrisson (1922-2015), Director and Chief of Ceramicist at the Princessehof Museum in Leeuwarden, in the early 1980s in person and acquired the following information:It was a Dutch custom during the 17th-18th centuries for husbands to mark birthdays etc. and anniversaries by presenting their wives with a piece of blue-and-white porcelain or glassware. The porcelain was imported via Batavia, the Dutch name for what became Jakarta and was often partially glazed with favoured tea-coloured slip and known as ‘Batavian Ware’.It was known historically that a travelling Bohemian glasscutter had been in Holland around 1790 and had been embellishing glassware and also Batavian ware with incised artwork. The purpose was to enhance the traditional family gifts. The Princessehof had five examples of his work on porcelain.

A collection of twelve Sotheby's, New Bond Street, London, auction catalogues to include 1979 to 1984, non-consecutive relating to auctions of antiquities, 'The Property of the Descendants Herrn Richard Von Kaufmann of Berlin' and, 'The Property of a Swiss Private Collector, The property of Dr H. A. Fawcett and other owners', 'Antiquities and Primitive Works of Art', 'Islamic, Tibetan, Nepalese, Indian and South East Asian Art', 'Antiquities from the Collection of the Reigning Prince of Liechtenstein', 'The Property of the Viscount Bridgeman', and 'The Property of the Heirs of Late Dr. A. Phillips and other owners', 'Antiquities from the properties of Mr & Mrs Andrew Constable-Maxwell, The Property of Michael Cane Esq, The Property of Mrs Stella Pitt-Rivers and others' etc, each with Sotheby's Beresford Adams library stamp to the font cover (12).Provenance: Part of the Paul Lightfoot Collection.

A collection of twenty-two Sotheby's, New Bond Street London auction catalogues relating to Oriental sales to include 'Important Oriental Miniatures, Manuscripts and Qujar Lacquer', 'Oriental Miniatures, Manuscripts and Painted Books', 'Chinese Hardstone Carvings and Quing Ceramics', 'Oriental Ceramics and Works of Art', 'Fine Oriental Miniatures and Manuscripts Including Drawings from the Pan-Asian Collection', 'Indian Central and South East Asian Works of Art', 'Fine Oriental Manuscripts', and other Oriental related catalogues mainly dating from 1979 to 1984, each with Sotheby, Beresford Adams library stamp to the front cover (22).Provenance: Part of the Paul Lightfoot Collection.