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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.

We are delighted to be offering in this sale the Paul Lightfoot Collection of Asian Art. Mr Lightfoot amassed a large collection of Oriental works of art including Chinese & Korean porcelain, Japanese satsuma, furniture, and a library of auction catalogues and books relating to many subjects. A pair of 20th century blanc de chine Dogs of Fo, each seated on a square decorative plinth, height 30cm (2).Provenance: Part of the Paul Lightfoot Collection. CONDITION REPORT Both appear good

An assembled group of East Asian works of art, including: a small Chinese soft past blue and white 'hundred boys' vase; a Chinese crackle-glazed ovoid vase; two small Japanese vases; two Chinese carved hardwood vase stands, a Chinese painted egg in display case; and a family group of four coromandel elephant figures (a lot).Condition report: Elephants: One tusk missing on smallest. General signs of age to all.Boys vase: Crazing overall.Egg: Appears good.Crackle glaze vase: Appears good.Japanese vases: Minor signs of age.Vase stands: one missing inner rim.  The other has some fine splits to a foot.

An exceptionally rare chestnut-ground 'dragon' chubha, KangxiKangxiThe elegant garment constructed in Tibet from Chinese Kangxi period Imperial chestnut silk brocades, finely worked in gold and multi-coloured threads, the design on the front and back dominated by a large and powerful side-facing four-clawed mang dragon clutching the flaming pearl amidst a dense ground of ruyi clouds and Shou medallions, all above the terrestrial diagram rising from rolling waves and ruyi lishui, with four further partial dragons on the sleeves, superimposed against a ground of interconnected clouds and small dragons, woven in gold and multi-coloured threads, all above a partial terrestrial diagram at the hem, the collar and inner flap decorated with panels depicting a continuous patterns of dragon roundels alternating with wispy clouds, the raised collar and border edged with dark and light fur pelts, blue brocade and gold thread creating an elegant design, the interior lined with patterned cotton. 184cm (72 1/2in) wide x 136cm (53 1/2in) long.Footnotes:清康熙 御製褐地織彩雲金龍紋袍料製藏袍Provenance: Linda Wrigglesworth, LondonA distinguished Belgian private collection來源：倫敦Linda Wrigglesworth比利時顯赫私人收藏Finely tailored from sumptuous Imperial chestnut-ground brocaded silks, the present garment is a brilliant and elegant adaptation of 17th century Chinese Imperial Court costume to formal Tibetan ceremonial attire.The front and back of the garments would have made up the main body of an extremely rare Imperial woman's formal state robe, chaopao dating to the Kangxi period. This is visible by the L-shaped seam between the collar and the underarm, noted on the present lot. The same L-shaped seam between the collar and the underarm is one of the main features of chaopao garments, long dragon robes made of a single section from shoulder to hem, with separate sleeves which were inserted into the main body at the shoulders; the resultant seams were then covered with metallic brocade ribbon, which was used as neck, side and hem trim. A separate piling collar was an additional garment that rested on the shoulders. Epaluettes were once applied and then removed to obtain a simpler Tibetan-style closure. This tailoring combined the styles of the two layered garments worn by the Imperial female members of the Ming dynasty, namely a a long sleeved, full-length coat, chaopao, which would have been worn under a full-length sleeveless coat, gualan. Surviving material evidence suggests that probably by the time of the Qing conquests, the two garments had merged into a single coat though the full length court vests still appeared; see J.Vollmer, Ruling from the Dragon Throne. Costumes of the Qing Dynasty (1644-1911), Berkeley, CA, 2002, p.69. Chaopao robes dating to the Kangxi period and preserved in public collections are exceptionally rare, however, a velvet textile for a dragon robe, 17th century, from the Metropolitan Museum of Art, New York, depicts a very similar large four-clawed dragon clutching the flaming pearl, to the dragons brilliantly woven on the present robe, acc.no.1987.147, illustrated in The Metropolitan Museum of Art. Friends of Asian Art Gifts, 1985–2007. New York, 2008, p.36. See also a yellow-ground robe, Shunzi, embroidered with a single large side dragon clutching the flaming pearl, illustrated in The Complete Collection of Treasures from the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.181, no.202. A Qing dynasty winter chaopao lined with brown fur and incorporating the styles of a long garment and a sleeveless coat, as the present example, from the 'Regulations of Imperial Paraphernalia of the Qing Dynasty' Huangchao Liqi Tushi, edited in 1759, is illustrated by J.Vollmer and J.Simcox, Emblems of the Empire. selections from the Mactaggart Art Collection, Edmonton, CA, 2009, p.13.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao Liqi Tushi 皇朝禮器圖式, edited in 1759, brown jinhuang, was considered one of the five shades of yellow that could only be worn by the closest family members to the Emperor, and Third and Fourth Degree Princes and their wives could wear brown robes decorated with four-clawed dragons, mang; see L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.174.During the Qing dynasty, it became an established practice for the Court to send gifts of silks and garments to Tibet because of the strong attachment of the Manchu rulers to Tibetan Buddhism and the political relations. At this time, the Court produced richly-decorated silk costumes specifically for use in Buddhist rituals and bestowed large quantities of Imperial 'dragon' robes that became the customary formal dress for aristocratic Tibetans. The Tibetans traditionally wore robes featuring very long sleeves characterised by wider cuts and a simpler style of front overlap and fastening. The front part of the garment slanted from the neck to a fastening under the right arm.The Tibetans created the chubha style robe by substituting the front underlap of the garment with another material, or by cutting off some of the deep wave border to extend the arms or widen the sleeves. The overall result conveyed a rather harmonious and eccentric effect obtained by combining different materials; see J.Simcox and J.Vollmer, Emblems of Empire: Selection from the Mactaggart Art Collection, Edmonton CA, 2009, pp.200-217.Compare with a related 'dragon' robe, Kangxi, which was sold at Christie's London, 9 November 2010, lot 276.For further information on this lot please visit Bonhams.com

An exceptionally rare Imperial embroidered chestnut-ground silk 'dragon' robeYongzhengMeticulously worked on the front and back in couched gold thread, satin stitch tiny detail of seed stitch with nine powerful, five-clawed dragons clutching or pursuing flaming pearls amidst a profusion of hovering cranes vividly depicted in different poses, some holding a tally in their beaks, all on a densely deep blue-patterned ground of stylised wan emblems and above a lishu hem beneath a sea of tumultuous waves interspersed with elaborate pavilions, with original sleeve extension and midnight-blue cuffs and collar decorated with further dragons and clouds.205.3cm (80 6/8in) wide x 138.5cm (54 1/2in) long.Footnotes:清雍正 御製香色地繡彩雲金龍「海屋添籌」紋袍Provenance: Linda Wrigglesworth Ltd., London, 1994An Australian private collection來源：倫敦古董商Linda Wrigglesworth Ltd.，1994年澳洲私人收藏This remarkable robe, notable for its exquisite and complex embroidery, vivid depictions of cranes and most unusual terrestrial diagram, made of elegant pavilions floating above rolling waves, was probably made for a First Rank Prince, one of the sons of the Emperor. A closely-related embroidered chestnut-ground robe, dated to 1738, excavated from the tomb of Prince Guo (1797-1738), seventeenth son of the Kangxi Emperor, is similarly embroidered with vivid designs of five-clawed dragons, cranes carrying tallies in their beaks and pavilions on lattice ground, illustrated by J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles in the Minneapolis Institute of Arts, Chicago, 2000, p.143, no.42.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court 'Huangchao liqi tushi 皇朝禮器圖式, edited in 1759, the brown colour for garments, qiuxiangse, was one of the five Imperial shades of yellow which could only be used by the innermost family circle of the Emperor; see J.Vollmer, Ruling from the Dragon Throne: Costumes of the Qing Dynasty (1644-1911), Berlekey, CA, 2002, pp.85.This exceptional robe may have been worn by the Imperial family member during birthday celebrations. The auspicious combination of the sea hai, the pavilions wu and the tallies chou carried by the cranes underscore the auspicious wish for long life, forming the rebus Haiwu Tianchou 海屋添籌, which can be translated as 'Adding tallies to the Immortal's abode above the sea'. The literary origin of the scene originated in 'Conversations of Three Old Men', from the 'Collected Writings by Su Dongpo' Dongpo zhilin 海屋添籌, by the Northern Song scholar Su Shi (1037-1101 AD). During one chance meeting of three Immortals, the topic of age was broached. Each one of the sages tried their best to exaggerate their own great age. The second sage famously boasted, 'After every cycle of the sea drying up and becoming mulberry fields, I put a strip of bamboo in my house as a counter and now the tallies have already filled ten houses'. By the Qing dynasty, when pun rebus design became increasingly popular and the character chou 筹 for bamboo strip counter acquired a pun on shou 寿 meaning longevity, the Haiwu Tianchou 海屋添籌 phrase became a popular allusion conveying the birthday wish 'May the length of your life be eternally prolonged 'Hai wu tian shou 海屋添寿'.The term 'sea house', haiwu, probably referred to Kunlun, the fabled fairyland of the Immortals, rising from the Oceans of Eternity which is often represented by a pavilion or mansion built atop an isle, with refined caves and lavish gardens full of propitious flowers and plants, ponds made of gold and trees made of gemstones. Imperishable and magnificent in its loftiness, this land was the perfect goal of the adept's quest for Immortality; see Wu Hung, 'Mapping Early Daoist Art: The Visual Culture of Wudoumi Dao', in S.Little, Taoism and the Arts of China, Berkeley, 2000, p.85. Cranes were also considered important constituents of Kunlun. As birds with a long life span, they were deemed celestial beings, symbolising longevity, wisdom and divine grace; see M.Wan, 'Emperor Jiajing and His Auspicious Words', in Archives of Asian Art, vol.57, pp.95-120 and P.Sturman, Cranes above Kaifeng: The Auspicious Image at the Court of Huizong, in Ars Orientalis, 1990, p.33-68. Reinforcing the wish for extended happiness to last for eternity, the blue fret ground, so finely embroidered on the present robe, is an endless pattern incorporating the leiwen designs, meaning ten-thousand, thus forming the pun for 'May ten-thousand generations be granted happiness'.The combination of cranes carrying tallies, pavilions and Immortal figures became a popular subject decorating objects destined for use by the Qing Court during the Yongzheng reign. See a doucai bowl, Yongzheng mark and period, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Chinese Art and Design, London, 1997, p.57; see also a blue and white dish, Chenghua mark but Yongzheng period, from the Cleveland Museum of Art, acc.no.1989.315. See also an 18th century kesi silk panel, Ming dynasty, embroidered with cranes carrying tallies, hovering above pavilions floating in waters, in the National Palace Museum, Taipei, acc.no.GU-SI-000068-00000.'Dragon robes' were supreme significant social markers representing access to power. The right to wear such garments depended on rank and status. The Manchu rulers of the Qing dynasty were keen on projecting an evocative and powerful image of themselves, and their Court costumes conveyed legitimacy and heritage. Despite their initial reluctance to wear the same type of robes as their Ming predecessors, by the reign of the Kangxi Emperor, the Manchu elites were keen wearers of richly-ornamented 'dragon' robes on semi-formal Court occasions and official duties.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 wellbeing of his subjects. Capable of flying high in the sky and diving back into the sea, dragons were regarded as intermediaries between Heaven and Earth and credited with extraordinary powers that compared to those of the Emperor. Even the number nine, for the dragons depicted on the present robe, is highly evocative and likened to the power of Heaven. The multiple of three threes, nine has a long association with the Emperor. In addition, the 'Records of the Grand Historian' Shiji, completed during the first century BC, recounts that, having tamed the floods that once engulfed the land, the mythical Emperor Yu divided the territory into the Nine Provinces and collected bronze in tribute from each one. Thereafter he cast the metal into nine large tripod cauldrons. These vessels thus were at the heart of ruler's possessions and symbolic conveyers of power.Stylistically, the five-clawed front-facing dragons and trailing wispy clouds of the present robe closely compare with their counterpart woven on an Imperial yellow-ground kesi robe, Yongzheng, in the collection of the Minneapolis Institute of Art, Minneapolis, acc.no.42.8.11.For further information on this lot please visit Bonhams.com

A rare midnight-blue-ground silk embroidered 'butterfly and double-gourd' informal surcoat, changpaoEarly 19th centuryThe front-opening surcoat finely embroidered on the front and back panels with eight symmetrically-placed round floral roundels each meticulously embroidered with a profusion of double gourds individually decorated with various diaper patterns, all issuing from leafy and curling stems amidst multicoloured butterflies, all above the intricate finely-drawn turbulent wave border incorporating lingzhi-form vapor and the Auspicious Emblems in the wind-tossed waves rising from a deep lishui stripe, the details embroidered in bright, shaded tones of red, green, pale orange, yellow, blue and white with very fine gold thread highlighting diaper designs, the wave borders repeated at the cuffs beneath three smaller gourd and butterflies roundels on each sleeve, all reserved on a midnight-blue ground, the entire garment in lined blue, with gilded buttons. 175.5cm (68 7/8in) wide x 141cm (55 1/2in) long.Footnotes:十九世紀早期 石青緞繡瓜瓞綿綿紋袍Provenance: an English private collection來源：英國私人收藏Notable for its highly-refined embroidery depicting elegant roundels with multi-coloured designs of butterflies and double gourds, the present lot is a rare example of formal surcoats worn by the highest-ranking women of the Qing Court.The surcoats made for the highest-ranking female members of the Qing society were decorated by eight roundels over elaborate lishui borders at the hem, such as displayed on the present lot; see V.Garrett, Dragon Robes, Oxford, 1998, p.35 and J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles from the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p. 54. Garments decorated with roundels always signalled formality. This decorative scheme can be traced to the Tang dynasty and may have been influenced by Western Asian traditions; see Huang Nengfu and Chen Juanjuan, Origins of the Art of the Chinese National Costume, Beijing, 1994, p.209; see also J.Watt and A.Wardwell, When Silk Was Gold: Central Asian and Chinese Textiles, New York, 1998, pp.21-29.While the dragon-patterned roundels signified official attire, medallions decorated with seasonal flowers, butterflies, cranes and other auspicious imagery underscoring the wishes for good fortunes, wealth, happiness, typically indicated the informal nature of the occasions for which the surcoats were worn. Roundel schemes were particularly popular during the Ming dynasty for both Court and unofficial wear and the Manchu rulers of the Qing dynasty appear to have continued this tradition. By the eighteenth century, the formal design of a distinct wave border at the hem appears to have become the favoured style.Although changpao surcoats were worn by noble Manchu women, the rich symbolic intent of the decoration embroidered on them was deeply rooted in Chinese culture. Double gourds are popular symbols of longevity and are associated with Li Tiegui, one of the Eight Daoist Immortals, who is often depicted holding a double gourd containing the elixir of Immortality. Butterflies are also homophone with the character die 耋 meaning over seventy or eighty years of age, and thus express a wish for longevity. They symbolise happiness in marriage and everlasting romantic love, the latter conveyed by a number of traditional Chinese stories in which butterflies play a significant part. A story by Feng Menglong (1574-1646), for example, features the so-called 'butterfly lovers', Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. Butterflies are also associated with the Daoist connotation of dreamlike reflection and the freedom of the soul; see Sookja Cho, Transforming Gender and Emotions. The Butterfly Lovers Story in China and Korea, Ann Harbor, MI, 2018, pp.1-13 and V.H.Mair, 'Chuang-tzu', in W.Nienhauser, Traditional Chinese Literature, vol.2, Bloomington, IN, 1998, pp.20–26.Compare with three related blue-round silk kesi informal surcoats, mid-19th century, illustrated by J.Vollmer, Imperial Silks.Ch'ing Textiles from the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p.269, n.104, p.271, no.105, p.273, no.106. A related silk kesi surcoat, Yongzheng/Qianlong, was sold at Christie's New York, 19 March 2008, lot 83.For further information on this lot please visit Bonhams.com

A SMALL CREAM AND BLACK JADE 'PHOENIX' VASE AND COVER18th centuryThe baluster vase form carved with a phoenix perched on rockwork to one side, the stepped cover surmounted by a mythical beast, the stone of mottled grey, cream and black hues, with hongmu stand. 8cm (3 1/8in) high. (3).Footnotes:十八世紀 墨白玉雕鳳紋蓋瓶Provenance: K.C. WongBluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 4 June 1930, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Wong Collection of Ancient Chinese Jades, London, 1930, no.483來源：K.C. Wong舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1930年6月4日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《The Wong Collection of Ancient Chinese Jades》，倫敦，1930年，編號483The representation of a phoenix perched on rockwork next to a vase can often be seen in jade, sometimes as with the present lot with a mythical beast or lion on the cover. See for example a larger pale green jade 'phoenix' vase and cover, 18th century, which was sold at Bonhams London, 6 November 2014, lot 335. For a similar representation on a larger jade vase and cover, with phoenix and lion, 18th century, see H.R.Bishop, Heber R. Bishop Collection of Jade and other Hard Stones. Handbook no. 10, New York, The Metropolitan Museum of Art, 1909, p.56. The carver chose a mottled black and cream stone to complement the archaistic form of the vase successfully conveying the sense of antiquity. For a related grey-green and black jade vase and phoenix, 17th century, in the Asian Art Museum, San Francisco, see R-Y.L. d'Argencé, Avery Brundage Collection of Chinese Jades, Tokyo, 1972, p.112, pl.XLIX.墨白玉質，瓶身一側雕有鳳凰棲於石上，蓋頂盤踞一隻瑞獸。此類紋飾在玉雕中頗為常見，如一例十八世紀青白玉雕雙鳳蓋瓶，售於倫敦邦瀚斯，2014年11月6日，拍品編號335。紐約大都會藝術博物館亦藏一例十八世紀玉瓶，以鳳凰及瑞獅為飾，較本例稍大，收錄於H.R.Bishop著，《Heber R. Bishop Collection of Jade and other Hard Stones》，手冊10，紐約，1909年，頁56。本例造型古雅，工匠更選取青白玉底上沁入墨色之石材，間有條帶狀黑紋，傳達出複古之氣韻。舊金山亞洲藝術博物館館藏一例十七世紀青灰玉鳳紋瓶，同以墨色為沁，收錄於R-Y.L. d'Argencé著，《Avery Brundage Collection of Chinese Jades》，東京，1972年，頁112，圖版XLIX，可資參考。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A CINNABAR LACQUER CARVED BOWL16th/17th centuryExpertly carved with deep rounded sides rising from a ribbed foot ring to a gently everted rim, the exterior decorated with exotic birds amongst flowering peony sprays borne on undulating leafy stems, on a diaper-pattern ground, gilt foil lining to the interior, wood stand. 10.8cm (4 1/4in) diam. (2).Footnotes:十六/十七世紀 剔紅花鳥紋盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Although there are several similar published examples of carved cinnabar lacquer bowls with similar motifs, the present lot is rare for its gilt lining. Compare with a similar carved cinnabar lacquer bowl, Ming dynasty, illustrated in China Lacquerwork & Enamelware Selection, Beijing, 2006, p.55; see also another carved red lacquer bowl, Ming dynasty, illustrated by S.Kwan, Chinese Lacquer: The Muwen Tang Collection Series, Hong Kong, 2010, pp.222-223, pl.69; see also a related carved cinnabar lacquer bowl, Wanli mark and period, illustrated by K.J.Brandt, Chinesische Lackarbeiten, Linden Museum, Stuttgart, 1988, pl.44; and B.McElney, Chinese Metalwares and Decorative Arts, Museum of East Asian Art, Bath, 1993, pl.321.See a similar carved cinnabar lacquer bowl, 16th/17th century, with metal lining, which was sold at Bonhams London, 7 November 2013, lot 300.與本例紋飾類似的剔紅漆盌於現有出版物中時可見到，但如本例內壁包金者卻十分罕見。可與之比對的一件明代剔紅花鳥紋盌，見於《珠聯璧合之美：中國漆器琺瑯器收藏精品選》，北京，2006年，頁55。亦可參見另一件明代剔紅漆盌，圖見關善明著，《中國漆藝》，香港，2010年，頁222-223，圖版69。另有明代萬曆款剔紅漆盌則見於K.J.Brandt著，《Chinesische Lackarbeiten》，林登博物館，斯圖加特，1988年，圖版44，及B.McElney著，《Chinese Metalwares and Decorative Arts》，巴斯東亞藝術博物館，1993年，圖版321。倫敦邦瀚斯曾於2013年11月7日售出一件十六/十七世紀剔紅花鳥紋盌，拍品編號300，內壁同樣包金，可為參考。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A FINE AND RARE MUGHAL WHITE JADE QUATRELOBED SPICE BOX AND COVERIndia, 18th centuryThe box expertly carved and hollowed with four cylindrical compartments with straight walls, supporting a gently-curved lid carved with stylised leaves surmounted by a flower-bud finial, the cover's underside carved with a central flowerhead issuing four stylised leaves, the smooth translucent stone of even white tone. 9cm (3 1/2in) long. (2).Footnotes:十八世紀 痕都斯坦式白玉雕花瓣形分格蓋盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present box and cover is an exquisite example of Mughal jade carving at its very finest. The master carver accomplished a perfectly balanced quatrelobed form in the box, to properly match the four-domed cover. The superb white jade stone was greatly admired by the carver focusing on form with minimal decoration allowing the viewer to enjoy the natural quality of the translucent white jade stone. Indian Mughal jades found their way to central Asia and thus to the Imperial Court in Beijing, where they were sent as tribute from inner-Asian regions. The Qianlong Emperor was a great admirer of these so-called 'Hindustan' jades and praised them for their exquisite lightness, thin walls and florid decoration. The Emperor's passion for Mughal jades led him in 1768, to write Tianzhu wuyindu kao'e, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified is today northern India, with the city of Agra at its centre. Subsequently, Mughal jades came to have a large influence on jade production in China.See a gem-set jade quatrelobed box and cover in the Metropolitan Museum of Art, New York (acc.no.02.18.777a–c). See also a gold-embellished Mughal jade quatrelobed box and cover, in the National Palace Museum, Taipei, illustrated by Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, National Palace Museum, Taipei, 2007, p.111, no.129; and a further related semi-precious-stone-inlaid jade quatrelobed box and cover illustrated in ibid., p.112, no.131. Compartmented jade spice boxes, such as the present lot, were produced for the Mughal elite, to hold cardamom pods or stuffed betel-leaves (pan) which were used to colour the lips red as a cosmetic, or to be chewed as then was believed to freshen the mouth and help digestion; see S.Aziz Natnoo, 'Betel-Leaf (Pan) Culture: A Study of Mughal India in International Journal of Humanities and Social Sciences, vol 5, issue 1, January-February 2018, p.39. Compare with a related quatrefoil carved jade box, north India, circa 1740-1800, which was sold at Christie's New York, 19 June 2019, lot 198.白玉質，琢作四瓣花式盒，略帶方形，蓋面中央浮雕葉紋，立雕花蕾為蓋鈕，內部隔作四格。本品玉質色澤勻淨，器壁通透，線型流暢，打磨精到，且通體除立雕花鈕外無附加紋飾，充分凸顯玉材自然之美，是痕都斯坦玉雕精品。痕都斯坦即指蒙兀兒帝國（1526-1857）；1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，令乾隆皇帝大為激賞。相類玉盒可見紐約大都會藝術博物館館藏一例鑲金嵌寶帶托盤四格玉盒，藏品編號02.18.777a–c，形似本例。另見一例青白玉分格盒，收錄於鄧淑蘋著，《國色天香——伊斯蘭玉器》，國立故宮博物院，台北，2007年，頁112，編號131。形如本例的分隔蓋盒多為蒙兀兒精英階層盛裝香料之用，參S.Aziz Natnoo著，〈Betel-Leaf (Pan) Culture: A Study of Mughal India〉，收錄於《國際人文與社會科學期刊》，卷五，第一輯，2018年1-2月，頁39。紐約佳士得曾售一件約1740–1800年玉分格盒，2019年6月19日，拍品編號198，可為比對。For further information on this lot please visit Bonhams.com

A MUGHAL-STYLE PALE GREEN JADE 'CHRYSANTHEMUM' DISH18th/19th centuryThe thin semi-translucent vessel delicately carved with radiating bands of petals encircling a central cross-hatched roundel, the stone of even pale green tone. 8.6cm (3 3/8in) diam.Footnotes:十八/十九世紀 痕都斯坦式青白玉菊瓣盤Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Symbolic of longevity in China, chrysanthemums were also associated with a joyful retirement. They were the favourite flowers of Tao Qian, or Tao Yuanming (365-427), a poet living during a turbulent period in China who retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460.A related larger jade chrysanthemum-shaped dish, is in the Avery Brundage collection, Asian Art Museum, San Francisco, acc.no.B60J307. See also a related Mughal-style white jade chrysanthemum-shaped dish, 18th century, in the National Palace Museum, Taipei, illustrated in Exquisite Beauty: Islamic Jades, Taipei, 2007, p.207. A related pale green jade chrysanthemum dish, 18th century, was sold at Bonhams Knightsbridge, 8 May 2017, lot 162; another related celadon jade chrysanthemum-shaped dish, Qing dynasty, was sold at Bonhams New York, 21 July 2020, lot 89.菊花紋飾意指長壽有徵、多子多福；又因其耐霜雪之特性而被賦予人格化的精神。晉陶淵明不為五斗米而折腰，辭官歸田，淡泊明志；其「採菊東籬下，悠然見南山」的逍遙適意，從此賦予了菊花堅韌而不流俗的文人氣節。參考舊金山亞洲美術博物院布倫德基氏收藏之一例玉雕菊瓣式盤，館藏編號B60J307，形制相仿惟尺寸稍大。台北國立故宮博物院亦藏有一例清葉紋花式盤，收錄於鄧淑萍編著，《國色天香——伊斯蘭玉器》，台北，2007年，頁207，可為比對。倫敦邦瀚斯騎士橋於2017年5月8日售出一例十八世紀青白玉菊瓣盤，拍品編號162；以及紐約邦瀚斯於2020年7月21日售出一例清青白玉痕都斯坦式菊紋盤，拍品編號89，可資參考。For further information on this lot please visit Bonhams.com

A VERY RARE GILT AND BROWN LACQUER 'PHOENIX AND CHILONG' STEM BOWL15th/16th centuryThe broad vessel rising to a slightly everted rim and supported on a splayed, flat stem foot, the upper register carved in relief with four phoenix amongst trailing leafy peony stems beneath a floral diaper-pattern border on the mouth rim, the stem with two sinuous chilong clambering amongst scrolling leafy lingzhi, all on a gilt ground, the interior and base lacquered brown. 15.3cm (6in) diam.Footnotes:十五/十六世紀 剔黑金彩龍鳳呈祥高足盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族舊藏，並由後人保存迄今The remarkable style of carving on the present stem bowl is in continuation of Northern Song dynasty lacquerware. Compare a carved black lacquer rectangular tray reserved on yellow ground, illustrated by TaKagi KeitaKu, Chinese Lacquerware: An Odyssey of Connoisseurship, Tokyo, 2015, pp.4-5. The workmanship on the stem bowl is exquisite in the refined design and detailing of the lappets on the peony blossoms, the leaves, and the feathers of the phoenix, to the sinuous design of the chilong. Also exceptional is the clever use of the 'negative' space, contrasting the brown lacquer design with the rich gilt ground. Such lacquerwares are exceedingly rare. See, however, a closely related black lacquer and gilt-ground bowl and cover, with similar design of phoenix and peony reserved against a gilt-ground, early 15th century, illustrated by Knapton Rasti Asian Art Ltd., Works of Art, London, November 2006, p.12, no.6.For a similar design on a stem bowl, see Carved Lacquer, The Tokugawa Art Museum, Nezu Institute of Fine Arts, 1984, p.47, pl.56; and see a related brown, red and gilt lacquer dish, Ming dynasty, early 16th century, with related chilong and lingzhi band around the cavetto and a gilt-ground central medallion, in the Linden-Museum, Stuttgart, illustrated in Im Zeichen des Drachen, Munich, 2006, no.52. Phoenix and peony, combining the 'King of birds' with the 'King of flowers' augur great blessings and prosperity and represent the saying of 'May there be wealth, rank and good fortune'. The chi-dragon and lingzhi, symbolise the wish for peace and benevolence during a long reign.敞口撇足，鎏金為地，剔黑漆為飾，盌身雕有四鳳遊梭於纏枝牡丹之中，口沿治錦地紋。盌足兩條螭龍穿行於卷草靈芝間。所飾漆雕延續北宋時期風格，如一例黃地剔黑漆方盤，收錄於TaKagi KeitaKu著，《Chinese Lacquerware: An Odyssey of Connoisseurship》，東京，2015年，頁4-5。本例設計精巧，雕工豐富細膩，花、葉、鳳羽以至螭龍的盤曲身軀，處處均顯匠心細節。對盌內壁的處理同樣不俗，所髹棕漆與外壁富麗的鎏金地形成了鮮明的對比，能與制在工藝與造型上相比之漆器相當罕見。參考一件十五世紀早期鳳穿牡丹紋帶蓋漆盌，同以剔黑金彩為飾，詳見Knapton Rasti Asian Art Ltd.，《Works of Art》，倫敦，2006年11月，頁12，編號6。與該例紋樣相似之設計亦可見於《Carved Lacquer》，德川美術館，根津美術館，1984年，頁47，圖版56。另可參考德國斯圖加特林登博物館館藏一例十六世紀初明代鎏金漆盤，其折沿之下飾有與本例相近的螭龍及靈芝紋，其盤心開光亦雕於鎏金地之上，收錄於《Im Zeichen des Drachen》, 慕尼黑，2006年，編號52。作為傳統吉祥圖案的鳳凰牡丹紋樣結合了鳥中之王與花中之王，寓意祥瑞富貴；螭龍與靈芝則象徵長治久安。For further information on this lot please visit Bonhams.com

A HENAN RUSSET-SPLASHED BLACK-GLAZED BOWL Asian Ceramics & Works of Art from the Collection of Quek Kiok Lee Jin dynasty, according to collector's inventory With lustrous black glaze, and patches of iron colour in the inside, unglazed centre to the interior 20.5cm diameter Condition: Minor signs of wear, no visible damage, repair, crack, chip or restoration. Some manufacturing faults pinholes and imperfections in places Provenance: Purchased from Moongate, Singapore, the 16 April 1992 Inventory: P852

§ § Hock-Aun Teh (Malaysian-Scottish 1950-) A letter from homesigned with monogram (centre right); artist's label to the reverseacrylic on board81 x 113cmFootnote: A self-described “kampung boy” at heart, Malaysian born artist, Hock-Aun Teh, has gained international acclaim for his vigorous and dynamic abstract compositions, which have been exhibited throughout Asia and Europe and are held in public collections including The National Visual Arts Gallery in Kuala Lumpur, National Art Museum of China, Beijing and Glasgow’s Gallery of Modern Art, Glasgow. Born to Chinese parents in, Sungei Gedong, a remote Malaysian village, in 1950, Teh spent his early childhood training in traditional Chinese ink painting and calligraphy, before being accepted to study at The Glasgow School of Art in 1970. The first person of Asian descent to graduate from Glasgow’s Drawing and Painting Department, Teh’s work has been praised for its anomalous fusion of the delicacy and lyricism of traditional calligraphic lines with the gestural hyper-masculinity associated with abstract expressionism.Condition report: The frame is quite loose. The surface with a light layer of dust. A few fibre inclusions beneath the paint layer. Thr right hand side with a small abrasion and subsequent paint loss and the lower edge with a larger abrasion (approx 10cm) with paint loss.Overall there is a scattering of very minor surface accretions, but overall in good condition. See additional images.

Large Art Nouveau copper wall hanging and an ornate decorative copper bowl of Asian origin, D: 28 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

A FANTASY SCENE, DEPICTING ELEVEN COUPLES IN EROTIC EMBRACES IN A GARDEN DELHI, MID-19TH CENTURYgouache and gold on glass, with a paper border, the painting hinged at the lower edge and fitted with an easel stand, mounted in a fitted red morocco case lined with silk and with double doors painting 295 x 205 mm.; with border 350 x 247 mm.; case 415 x 315 mm.Footnotes:ProvenanceFormerly in the Julian Sterling Estate Collection of Asian Art, Sydney, Australia (sold at Mossgreen Auctions, February 2007).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Shanti Dave (Indian, B. 1931)Untitled oil and encaustic on canvas175.2 x 261.6cm (69 x 103in).label on stretcher: Not to be taken from the Library.Footnotes:ProvenanceHaverford College, Haverford, Pennsylvania, USA (deaccessioned): acquired in the late 1990s-early 2000s.Born in Badpura, Gujarat in 1931, Dave completed his graduate and post-graduate studies at the Faculty of Fine Arts at the Maharajah Sayajirao University of Baroda under the tutelage of N.S Bendre. It was here that he co-founded the Baroda Group in 1957, alongside Bendre and other artists that included Bhupen Khakhar and Gulam Mohammed Sheikh. The group emphasised the importance of promoting contemporary art and incorporated elements from Rabindranath Tagore's school, Shantiniketan, the Barnes Foundation and Bauhaus. Upon graduation, Dave was initially employed as a commercial artist, making banners and signboards for films before moving on to making commissioned murals, for the offices of Air India in Delhi, London and New York. The present unusually large lot with its use of unconventional materials, such as encaustic is an example of the sort of murals that Dave is renowned for. The work illustrates a blend of western expressionism and Indian metaphysics and incorporates tantric elements and earthy obscurity. For a similar albeit smaller work sold in these rooms, see Bonhams, New York, Indian, Himalayan & Southeast Asian Art, 18th March 2013, lot 127.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

K.H. Ara (Indian, 1917-2001)Untitled (Still Life with Sunflower) signed 'ARA' lower centreOil and pastel on paper74.4 x 54.8cm (29 5/16 x 21 9/16in).Footnotes:ProvenancePrivate Indian Collection: acquired by the owner from Sotheby's New York, Modern and Contemporary South Asian Art, 10th September 2012, Lot 69.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A set of six miniature Chinese vase possibly for salesman or display in various forms and glazes including Sang De Boeuf and flambe one vase bearing character seal mark possibly for Qianlong period All pots are in good condition with no restoration, very good condition, nominal flea bit to rim of one, some slight crazing to a couple and a firing inclusion to one. All matching pot stands also in good condition. Having come from a private Asian art collection.

A large modern Chinese blue and white bottle vase and assorted other asian art including two abacus, wood printing blocks, vase stands, sandles and gaming counters etc

A MIXED LOT OF ISLAMIC / ASIAN ART OLD AUCTION CATALOGUES - 17 catalogues relating to indian islamic arts

A MIXED LOT OF ISLAMIC / ASIAN ART OLD AUCTION CATALOGUES - 8 catalogues

A MIXED LOT OF ISLAMIC / ASIAN ART OLD AUCTION CATALOGUES - 9 catalogues relating to indian islamic arts

* BLAIR THOMSON, HORIZON oil on canvas, signed, further signed and titled verso overall size 119cm x 99cm Unframed, as intended. Note: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism #4". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 9 7/8 in. (349 x 251 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Comment(s): Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29862-2-4000]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Boat Towers of the Kia Ling Kiang". Medium: Original vintage photogravure. Date: Composed c1939. Printed 1939. Dimensions: Image size: 7 1/4 x 9 1/8 in. (184 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25473-2-300]

Group of 17 books on Asian art, particularly focusing on Buddhist art, published by art dealers and galleries including Eskenazi, Sydney L. Moss Ltd., A & J Speelman, Spink, and Ben Janssens Oriental Art.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Chinese porcelain bowl with crackled celadon glaze and a flaring rim. On a carved wooden stand. With sticker from Wells Fine Asian Arts along underside.Provenance: Wells Asian Art, Minneapolis, Minnesota; Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.(Bowl) Height: 3 in x diameter: 7 1/4 in. (Stand) height: 1 1/4 in x diameter: 4 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(Bowl) Height: 3 in x diameter: 7 1/4 in. (Stand) height: 1 1/4 in x diameter: 4 1/4 in.

Group of 13 museum publications on Asian art, primarily Chinese art. Includes two books from the National Palace Museum.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Group of eight books about Asian decorative arts, particularly focusing on Imperial Chinese art.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Large group of modern Sotheby's auction catalogs for sales of Asian art.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Small group of Asian Art to include; 'Jade' dish, coins, staghorn scent bottle, etc

A bloodstone seal ring with Mughal Emperor inscription, the rectangular bloodstone panel inscribed in Arabic, collet set to plain shank, bloodstone dimensions 24.5 x 18.5mm, ring size P. £500-700 --- The bloodstone seal was seen and interpreted by James Allen in 2002 when Keeper of Asian Art at the Ashmolean Museum in Oxford. The inscription reads “Iqbàl al-Dowla, Dilàwar al-Mullé, Major Bagshaw(e), Ràsileh Jang Bahàdur 1221 (A.H.)”. Mr Allen’s notes confirm “the seal follows the formal order of Mughal titles, the British being a kind of honorary Muslims! [...]. Such titles, granted by the font of honours, the Mughal emperor and had been current at least since the time of Clive”. The Mughal calendar year 1221 translates to March 1806 - March 1807 in the Gregorian calendar. Shah Alam II ruled the Mughal empire from December 1759 until November 1806. From November 1806 until September 1837 Akbar Shah II was Mughal emperor, although he is considered a titular figurehead under British rule. Captain Major Robert Morris Bagshaw (1769-1807) of the 2nd battalion, 17th Bengal Native Infantry, died on 26th February 1807. He is interred in the largest of four tombs in plot 28 of the European cemetery in Karnal, near Delhi. He was promoted from Captain to Major on 14th November 1805.

* BLAIR THOMSON, HORIZON oil on canvas, signed, further signed and titled verso overall size 119cm x 99cm Unframed, as intended. Note: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.

A quantity of 20th century Asian art, including: two pieces of cloisonne, a Japanese bronze hand mirror, a Chinese Republic period egg shell beaker, etc

ZIERVASE MIT EMAILDEKORwohl China Kugelform mit trichterförmiger Mündung. Bronze. Gemalte Teichlandschaft mit Enten und Seerosen in farbiger Emailmalerei. H.15cm A DECORATIVE VASE WITH ENAMEL DECORATION probably China Spherical shape with funnel-shapedspout. Bronze. Painted pond landscape with ducks and water lilies in coloured enamel painting. 15 cm high. Keywords: decorative art, miscellaneous pieces, furnishing, home accessories, Chinese, Asian

KLEINE BALUSTERVASEChina Unterglasurblau gemalte Drachen. 6-Zeichenmarke. H.14cm. Am Lippenrand min. best. A SMALL BALUSTER VASE China Underglaze blue painted dragons. Six character mark. 14 cmhigh. Minor damage to lip rim. Keywords: decorative art, miscellaneous pieces, furnishing, home accessories, Chinese, Asian

PORZELLANVASEChina, wohl Qing, 18./19.Jh. Amphorenform mit seitlichen Tierköpfen als Handhaben. Polychrome Bemalung mit umlaufenden Familienszenen. Rote Bodenmarke. H.22,5cm. Korpus rest. A PORCELAIN VASE China, probably Qing, 18th / 19th century Amphora shape with lateralanimal heads handles. Polychrome painting with surrounding family scenes. Red mark to bottom. 22.5 cm high. Body restored. Keywords: decorative art, miscellaneous pieces, furnishing, home accessories, Chinese, Asian

LOT VON VIER STEINFIGURENChina Geschnitten. H. max. 8,5cm A MIXED LOT OF FOUR STONE FIGURES China Cut. Maximum height 8.5 cm. Keywords: miscellany,assorted, sculptures, plastic art, artworks, figures, figurines, Chinese, Asian

5th-6th century AD. An expertly carved marble head of a ram, originally part of a bigger sculpture, natural facial detailing with large almond-shaped eyes, the pupils with a recess for an inlay for the iris; the fleece with drilled locks; long curving horns with incised detailing; mounted on a custom-made display stand. See Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.21 (125), vol.I, p.102, for the sculpture of a ram’s head in similar style under the paws of a sphinx; vol.I, p.102; Grabar, A., L’Arte Paleocristiana, Milano, 1967. 1.4 kg total, 21cm including stand (8 1/4"). Property of a London gentleman; before that in the private collection of a Kensington collector; acquired from the private collection of Dr. Heinz Johanik, Austria, since 1970; accompanied by an academic expertise by Dr. Raffaele D’Amato and a geological scholarly report no.TL05387 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10400-178135. The ram was the symbol of male strength and virility and was a commonly sacrificial animal from prehistory onwards. A ram's head appears next to the head of an ox or bull in a Graeco-Persian stele from the 5th century BC (Mendel, 1966, III, p.374, no.1357"). Symbol of Hermes, god of thieves, the ram's head frequently occurs in representations of sarcophagi and dedicatory steles from the Roman period, especially from the 2nd century AD. In the famous sarcophagus of Phaedra and Hippolytus, at the Istanbul Archaeological Museum, a sphinx holds the head of such a ram in its clutches, as well as in the Dionysian sarcophagus of the same museum. Four ram heads decorate the four corners of an altar dedicated to Nemesis, from Miletus (Mendel, 1966, III, p.78, no.864), a ram, with a similar pronounced head, accompanies the god Hermes in a statue of the 2nd century (Mendel, 1966, II, p.79, no.316) and the sacrificial animal becomes the primary subject of Asian steles to the deities (Mendel, 1966, III, nos.849-850-852-856"). Ram heads decorate the cymatia of the Roman imperial armour of the middle period (Mendel, 1966, III, p.346, no.1108; no.1373 p.585), but appears also in capitals (Mendel, 1966, II, p. 341, no.744; III, nos. 1210-1213), early Christian reliefs, sarcophagi and sculptures, as a tribute to the scene of the sacrifice of Isaac (Mendel, 1966, II, p.474, no.674), prow of ships (Mendel, 1966, II, p.431, no.655), or related to the new vision of the leader of the flock hold by the Good Shepherd (Mendel, 1966, II, nos.648-650, pp. 412ff.; Grabar, 1967, figs. 127,134,266,287,301,303"). In turn, this iconography certainly derives from that of Hermes carrying a ram on his shoulders (Kriophoros), being the famous Kriophoros of Salamis the original prototype, from which numerous copies were made in Roman times. [A video of this lot can be viewed on the Timeline Auctions website] Fine condition.

4th-3rd millennium BC. A ceramic stemmed cup or chalice with carinated upper body, gently everted rim and splayed stem and foot; the upper body painted with a circumferential frieze of stylised antelopes separated by panels of vertical lines with bulbous bases, a coloured band to the rim, a series of concentric bands below, populated with hatched panels, a painted band to the junction between bowl and stem, clusters of vertical lines running to the foot below. See Asian Art Museum, San Francisco, Iran; Tepe Sialk; large footed cup with decoration of wild goats, The Avery Brundage Collection, B60P469, for similar; see The Metropolitan Museum, accession number 48.98.3, for very similar painted motifs. 915 grams, 22cm (8 3/4"). From a central London gallery; previously on the London, UK, art market, 1983; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by IADAA certificate number no.14042020/1140. Fine condition, restored.

Tang Dynasty, 618-907 AD. A large cast iron head of Buddha with segmented head of curled hair, scooped ears with extended lobes, recess to the brow to accept a glass or gemstone urna cabochon; mounted on a custom-made stand. 35.6 kg total, 60cm including stand (23 1/2"). 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; much of the collection was 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 entitled ‘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 and Buddhist Art News; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 168436-10382. Fine condition.

A miscellaneous collection of books ranging from Asian art to Grandfather clocks, including a Phaidon published book titled 'Raphael', London, 2007 (29)

A quantity of Asian art including a carved fluorite figure of Buddha, Japanese Satsuma box and cover, three Chinese porcelain vases including a blue and white prunus blossom example, a pair of Japanese blue and white baluster vases, and a lacquered box set with abalone shell (one tray). Fourite figure with some edge chips, natural inclusions, the plinth broken and re glued. Satsuma box crazed but free from damage and repair. Small blue and white vases, one with a rim crack. Prunus blossom vase with pieces re glued to the rim. Lacquered box in good condition. Polychrome vase in good condition.

COLLECTION OF AUCTION CATALOGUES mostly Asian art (qty)

A COLLECTION OF CHINESE AND OTHER ASIAN ART AUCTION CATALOGUES

Collection of Asian art, to include a Chinese embroidery on silk, pencil signed etching by Malou Qi Yee Hung, prints of street scenes etc.,(9)

A group of 36 painted plaster figures depicting the Indian social classes or castes, India, late 19th / early 20th century, 12cm high and smaller  Provenance: Jonathan Tucker Asian Art, from whom purchased in 2012. Condition Report: some with small chips knocks and paint loss but generally in very presentable condition One figure (bottom far right of image) with head detached and off at base and other damage and paint lossCondition Report Disclaimer

Four French medieval terracotta tiles, 16th century, each moulded in quatrefoil panels and with designs in relief, depicting a mooning grotesque figure; a knight-at-arms; a bearded elder with crown of fleur-de-lys headpiece(?); and a coat of arms with dolphin, possibly the Arms of Dauphiné in southeastern France, previously attributed to the Order of Cluny, the largest approximately 17.5cm x 14cm  Provenance: Bonhams Knowle, European Ceramics, Glass & Asian Art, 19th January 2010, lot 377 Related literature: see Maureen Mellor, Pots and Tiles of the Middle Ages, exhibition catalogue, Sam Fogg, London, 3 April - 16 May 2014, pp. 100-01. The province of Dauphiné was previously ruled by Count Guigues IV of Albon, who had a dolphin on his coat of arms and was knicknamed 'Le Dauphin' by his contemporaries. His descendants took the title of Dauphin Viennois and the state was formally recognised as Dauphiné. The state was purchased by the Royal House of France in 1349 to defend the royal title of Dauphin of France, given to the eldest son of King John II France (1350-1364). Condition Report: Chips, losses and wearSigns of removal from original setting. Timing or removal is unknownThere are no labels present with the tiles There is no further provenance available at this timePlease see additional images for reference Condition Report Disclaimer

[ASIAN ART] 5 colour prints, birds and flowers, 33 x 24 cms, unframed (5)

Books, A quantity mostly relating to Asian art and antiques.

A Panofsky (Erwin)Tomb Sculpture, and various reference books on Asian and Eastern art (4 boxes)

THREE ASIAN ITEMS 18TH CENTURY AND EARLIER Comprising: a Chinese Han dynasty pottery model of a horse's head, a Tibetan bronze model of a hand, together with a modern stand, and an Indian bronze head of Lakshmi, 19.5cm max, the hand 608g, the head 640g. (4) Provenance: from the collection of Mr Richard Nathanson (d.2018). The pottery horse purchased from Nicholas Pitcher on 11th July 2013. The bronze hand purchased from Brandt Asian Art on 24th October 2006. The bronze head purchased from Peter Sloane c.2010.

A CHINESE BEIJING CARVED WHITE GLASS TWO-HANDLED CUP 18TH/19TH CENTURY Decorated in relief to each side with a shou medallion, the bowl flanked by two loop handles formed as dragons, the beasts' bifurcated tails swirling across the exterior, with a narrow geometric band encircling the rim, the base with a four character Qianlong mark, together with a reticulated wood stand, 12.4cm. (2) Provenance: from a private collection, Kent. Cf. The Asian Art Museum of San Francisco, A Chorus of Colors: Chinese Glass from Three American Collections, p.43, no.17 for a comparable white glass twin-handled cup; see also Treasures of Chinese Glass Work Shops, p.21, no.6 for another related example.

FOUR UNUSUAL JAPANESE HIRADO PORCELAIN MODELS OF MONKEYS MEIJI PERIOD, 19TH CENTURY Two groups depicted in front of a leafy tree, with adults surrounded by smaller primates, all raised on rocky bases with details highlighted in blue glaze, 9.5cm max. (4) Provenance: formerly from the collection of Ernest Ohly (1920-2008), Berkeley Galleries, London. Purchased in these rooms, Asian Art Day One, 8th May 2009, lot 81.

AN IMPRESSIVE JAPANESE SHAKUDO TAKASE YOSHITOSHI TSUBA EDO PERIOD, 17TH OR 18TH CENTURY The heavy circular body decorated with an all-over design of waves in relief, the foam cleverly rendered with gold inlays, signed Takase Yoshitoshi with kao, with Tokubetsu Hozon Tosogu (Sword fitting Extraordinary Worthy of Preservation) certificate no.2003469 issued by the Nihon Bijutsu Token Hozon Kyokai (The Society for the Preservation of the Japan Art Sword), dated 28th June 2016, in a kiri box, 7.3cm. (3) Provenance: from a private European collection.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVETakase Yoshitoshi was a talented tsuba maker from the Hitachi Province working as part of the Mito School circa 1800. His pieces can be found in museum collections around the world. See the Rijksmuseum, Amsterdam, access. no. AK-MAK-1140 for another tsuba signed Takase Yoshitoshi of similar design on loan from the Royal Asian Art Society of the Netherlands. Also, see the Boston Museum of Fine Arts, access. no. 13.2696 for another tsuba by Takase Yoshitoshi featuring crashing waves purchased from Chikami Kiyoomi (1856-1916), former governor of Kagoshima. Cf. R E Haynes, The Index of Japanese Sword Fittings and Associated Artists, no.H12191; also see B W Robinson, The Art of the Japanese Sword, p.81, pl.88.

λ A CHINESE ARCHAISTIC RHINOCEROS HORN 'CHILONG' LIBATION CUP 17TH/18TH CENTURY The flared body decorated with stylised taotie masks reserved on a leiwen ground, carved in relief to one side with a curved handle, with two cat-like chilong clinging to the rim, their bifurcated tails trailing over the exterior, with key fret encircling the rim, all reserved on a short oval base, 17cm, 219g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item's weight. 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, and they continued to build their collection over the next 40 years. 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 expanded the V & A's textile collection considerably during his time there 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 his wife Cornelia played a large part in assisting him write. In addition to their extensive Asian art collection, they also acquired a significant number of pieces of studio pottery which were lent to Tate, St Ives in 1993. George and Cornelia lived in Palace Gardens Terrace, London, and they regularly bought from art dealers on Kensington Church Street as well as those outside London. After retiring, they settled in Dorset and part of their Chinese and Japanese art collection was exhibited at Sherborne Castle for 25 years. Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.49, no.2 for a related example.十七/十八世紀 犀角雕螭龍紋杯來源：George and Cornelia Wingfield Digby收藏。他們從1950年代初就開始收藏中國及日本藝術品，對瓷器尤為熱愛，之後的40年裏他們陸續購入他們的藏品。George Wingfield Digby （1911-1989）在1934年加入了維多利亞及艾爾伯特博物館（簡稱V&A博物館）的織品部門之後又分別在1947年至1972年擔任管理員。在職期間，George使得V&A博物館織品收藏體系得到質的飛躍，並以此為基礎出了三本書。之後在1952年又和他妻子共同出版了一本關於英國現代製瓷的書。他們的英國瓷器收藏曾在1993年出借給St Ives的Tate博物館。他們曾住在倫敦Palace Gardens Terrace，所以大部分亞洲藝術藏品購於肯辛頓教堂街的古董店。退休之後搬去了多塞特郡，一部分的亞洲藏品曾出借給Sherborne城堡展覽了25年。 注：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

A CHINESE ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI SHANG DYNASTY The flattened pear-shaped body gently flaring at the rim, decorated with a band of fine scrolls, with a pictograph for fu to the interior, the spread foot cast with four bosses and geometric designs, the interior of the foot with a paper label for the Prof and Mrs P H Plesch Collections, no.Bv12, 11.3cm, 482g. Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection no.Bv12. The bronze was purchased in summer 1961 from A Lemp, Zurich, and had previously been presented by the Chinese Government to a German individual for his services rendered.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.商 青銅觯來源:Peter Hariolf Plesch教授(1918年2月14 日-2013年3月5日)和Gerta Regina ‘Traudi’ Plesch OBE (1921年12月4日-2013年8月10日)收 藏·編號Bv12。據他們的收藏筆記記載，此件 青銅觯於1961年購於蘇黎世。在此之前是中國政府送給一個為中國做出貢獻的德國人。附收藏標籤。

A LARGE CHINESE CELADON JADE SQUARE-SECTION VASE, FANGGU SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The raised central section supported on a slender spread foot, surmounted by a tall neck flaring at the rim, with the reign mark incised and picked out in gilt to the rim, the greyish stone with white striations and black flecks, the base with a paper label for the Dr and Mrs P H Plesch Collections, no.Hv27, 27.5cm. Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection no.Hv27, acquired from Spink & Son's December 1981 exhibition of jade, no.62. Illustrated: Spink & Son Ltd, An Exhibition of Fine Jade, December 1981, p.19, no.62.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.清乾隆 青白玉雕方觚《大清乾隆年製》款。來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏·編號Hv27。附收藏標籤。購於1981年12月Spink & Son 的玉器展，編號62。 著錄：Spink & Son Ltd，玉器精品展，1981年12月，頁19，編號62。

A CHINESE 'SHI SOU' SILVER INLAID BRONZE 'DRAGON' VASE 17TH/18TH CENTURY The tall ovoid body decorated with two dragons writhing amongst swirling clouds as they chase flaming pearls, with crashing waves below the mythical beasts, the body flanked by two lion mask handles, with continuous bands to the shoulder and waisted neck, the base with a mark reading Shi Sou and a paper label for the Prof and Mrs P H Plesch Collections, no.Bv31, 30.3cm, 2.6kg. Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection no.Bv31, purchased from Sotheby's London on 21st July 1969, lot 83.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.十七/十八世紀 錯銀銅趕珠龍紋瓶《石叟》款。來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏·編號Bv31。倫敦蘇富比1969年7月21日·編號83。附收藏標籤。