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A CHINESE 'SHI SOU' SILVER INLAID BRONZE TRIPOD INCENSE BURNER 18TH CENTURY The compressed body decorated with eleven characters reserved on a geometric ground, with two upright loop handles rising from the flat everted rim, all raised on three feet inlaid with floral motifs, the base with a two character mark reading Shi Sou, with a paper label for the Prof and Mrs P H Plesch Collections, no.Bh13hl, the mouth 12.1cm, 12.6cm max, 802g. 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.Bh13hl, purchased from Crichton, London, in February 1970.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.十八世紀 錯銀銅香爐《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Bh13hl。1970年2月購於倫敦Crichton。附收藏標籤。

A CHINESE 'SHI SOU' SILVER INLAID BRONZE BRUSH REST AND A BRUSH WASHER 18TH CENTURY The brush rest formed as a mountain range with five peaks, decorated to one side with a bat amongst swirling clouds, the brush washer with a compressed body, decorated with a geometric band and small circles encircling the rim, each with a mark reading Shi Sou, with paper labels for the Prof and Mrs P H Plesch Collections, nos.BM9A and Bh8A, 8.6cm and 7.7cm, 125g and 193g. (2) 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 nos.BM9A and Bh8A. The brush washer purchased from Ushida Woodblock Printing Co, Kyoto in October 1967. The brush rest bought in Cat Street, Hong Kong. Exhibited: the brush washer exhibited in the Oriental Ceramic Society's exhibition The Chinese Scholar's Desk, 17th to 18th century, the Ashmolean Museum, Oxford, 1st October-31st October 1979, no.32. Cf. R Kerr, Later Chinese Bronzes, pp.64-65, no.50 and P Moss, In Scholar's Taste, p.214, no.150 for comparable brush rests.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.十八世紀 錯銀筆山及筆洗 一組兩件《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Bm9A及Bh8A。筆洗1967年購於京都，筆山購於香港摩羅街。附收藏標籤。展覽：東方瓷器協會，中國文房：十七至十八世紀。牛津阿什莫林博物館，1979年10月1-10月31日·編號32。

Ca. 600 BC. Koban culture. A beautiful bronze sword-shaped pendant with interlaced decoration; circular loop in the sword's hilt; fully wearable condition. The Koban culture was a tribal culture in the Central Caucasus during the transitional period from the Bronze Age to the Iron Age which produced high levels of applied art. Koban findings confirm that the Koban culture was in constant communication and exchange not only with Caucasian neighbours, but also with the tribes of the Crimea, the Northern Black Sea, Asia Minor, and especially with other important centres of bronze metallurgy - Luristan (Western Iran) and the Carpathian-Danube area (Austria, Bohemia, Bavaria). Size: L:100mm / W:23mm ; 28g. Provenance: From an old British collection of Asian Art formed in the 1990s on the UK and European art market.

Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A necklace made of restrung glazed beads with a faience amulet of the goddess Taweret. The beads are a range of colours, and a mix of short round beads and long cylindrical ones. Necklace strings do not survive from antiquity as they degrade over the millennia, but the beads can be found (typically in tombs as funerary goods) and restrung. The placement of fine jewellery in tombs allowed the deceased to continue their lavish lifestyle in the next life. The figure depicted in the amulet, Taweret (whose name means 'the great one'), was a pregnant part-hippo, part-lion, part-crocodile, whose ferocious appearance scared away demons and sickness. She was particularly associated with using her apotropaic skills in service of mothers and new-borns. This amulet may have been purpose-built for the grave, to help the tomb-owner combat the demons encountered on the journey to the afterlife, but it was probably a treasured item owned in life that was buried with the deceased. Size: L:255mm / W:mm ; 5.6g. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca. 1368-1644 AD. Ming Dynasty (or later). A beautiful marble elephant shown standing foursquare on a rectangular base, wearing a halter and a chest strap hung with tassels securing a striated blanket set beneath a smaller cloth carved with foliate decoration which is surmounted by a circle of bosses surrounding a vessel decorated with foliage motifs. White elephants were either seen as vehicles of the bodhisattva Samantabhadra or in their own right as symbols of strength, sagacity and moral purity. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (13681644)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Size: L:345mm / W:290mm ; 15.6kg. Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 202 BC-220 AD. Han dynasty. A hollow-formed terracotta rabbit figurine with a white pelt and coral-pink pigmentation on the nose and in the inner ears. The rabbit is depicted sitting on all fours. In the Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty and mercy. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Good condition. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. For more information on the Han Dynasty, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of ArtSize: L:280mm / W:147mm ; 2.31kg. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

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 helmet, a dark blue coat or suit of armour and carries a decorated shield in front of him. 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) Size: L:310mm / W:240mm ; 1.8kg. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.

Ca. 1368-1644 AD. Ming Dynasty. A beautifully glazed terracotta standing warrior wearing a long draping gown of rich cobalt and turquoise blue colour. The warrior is wearing heavy boots and a conical hat with a thick brim. His face shows a serene expression with open eyes and a gentle smile. He is holding a maze in each hand. This type 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) Size: L:240mm / W:80mm ; 580g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.

Ca. 1368-1644 AD. Ming Dynasty. An elaborate male servant figure in court dress or shenyi consisting of a long waistcoat tied at the waist and long, flaring sleeves. His robe is dark blue with light blue accents on the sleeves and collar, while his elaborate hairstyle is accented in black and tied with a red ribbon. In his right hand, he carries an object. This type 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) Size: L:240mm / W:73mm ; 440g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

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 orange pantaloons, a cream coloured tunic, and a long dark green coat lined with yellow. He is wearing heavy boots and a conical hat with a thick brim. His face shows a calm expression with wide-open eyes. He holds a fascinating implement which may indicate that he is a merchant or trader. This type 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) Size: L:230mm / W:80mm ; 620g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.

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 blue with light 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 snake. 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) Size: L:223mm / W:85mm ; 445g. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 202 BC-220 AD. Han dynasty. A beautiful and rare Chinese Han dynasty pottery goose with bronze legs. The goose is standing on its detailed bronze legs which support a large globular body and elegantly slender neck terminating in a red coloured head with a black beak and open, attentive eyes. The body is decorated with brownish and green glaze, imitating the animal-s plumage. Geese were a major motif in Han dynasty era poetry and were typically distinguished between two types of geese, the domestic goose, and the wild goose. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. To find out more about the Han Dynasty and its art production, see Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:205mm / W:190mm ; 760g. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Group of Asian works of art to include; lacquer panel, fan, cinnabar wares, hardstone tree, and vases

Italian School, 16th centuryThe Nativity with a choir of angels, oil on canvas laid down on panel, 52 x 76cmProvenance: John Malcolm;Alfred Gathorne-Hardy, John Malcolm’s son-in-law;to his son Geoffrey Gathorne-Hardy;thence to his nephew, Bob Gathorne-Hardy, and by descent.The Hon. Robert Gathorne-Hardy (1902-1973), known to all as ‘Bob’, was an English writer, botanist and horticulturalist. His uncle, Geoffrey Gathorne-Hardy, inherited a well-known art collection from his aunt’s family, through the great Victorian art collector John Malcolm, much of which is now in the National Collection.Bob kept some of the Old Master drawings from the Malcolm Collection, which were sold soon after his death at Sotheby’s and is referred to as the Gathorne-Hardy Collection.Bob was also a collector of Asian items, which included jade and temple figures, paintings and some Asian items, which have come by family descent and are now offered for sale.Condition report: In the thinner paint passages, such as the faces, a very fine weave canvas support is evident in the surface texture. It seems likely that this is the original painting support. In other areas the texture appears more coarse and this can also be seen in some areas of loss. It would appear that the original fine canvas has been lined onto a coarser weave support before being attached to a wooden panel. The panel has suffered from beetle infestation. Some beetle exit holes are evident on the surface of the painting with the insects now trapped behind the glass. Some of the exit holes appear recent. The original paint layers are worn in many areas. The haloes have been gilded with simple punch work around the edges, techniques usually associated with panel paintings rather than canvas.

Collection of art and antiques books, relating to subjects such as pottery and porcelain, portrait miniatures, clocks and Asian art, including: In Quest of Clocks by Kenneth Ullyett; The Illustrated Guide to Silver; Old Sporting Prints by Ralph Neville; A Colour Book of Art Deco; Islamic Rugs by Kudret Turkham; What Wood is that? by Herbert Edlin and others.

STEINSCHNITZEREIChina. Bi-Scheibe, beidseitig geschnitzt mit mythologischen Tieren. Schwarzer Stein. H.ca. 25cm, mit geschnitztem Holzständer. STONE CARVING China. Bi (jade) disc, carved on both sides with mythological animals. Blackstone. Height approx. 25 cm, with carved wooden stand. Keywords: sculptures, sculpting, arts, visual art, Chinese, Asian

A Chinese 20Th C. Ink And Mineral Colour Painting On Rice Paper In Scroll By Lu Guang Titled 'Old House' With Inscriptions. 33Cm X 69CmProvenance: Purchased In 2004, Singapore - Yisulang Art GalleryLu Guang - Born In 1937, Zhejiang China. Member Of The Chinese Fine Artists Association, Chief Consultant Of Huang Bin Hong Art Museum, President Of The Art Academy Of The National Mayor Calligraphy And Painting Institute, Vice-Chairman Of The Hong Kong Association Of Asian Artists Visiting Professor Of The Art College Of Suzhou University. Provenance: Yisulang Art Gallery, China, Purchased By The Current Owner In 2004. Together With Copy Of Receipt Of Purchase And Artist's Exhibition Catalogue.

Forty-Six Various Catalogues On Asian Art (46)

Thirty-One Various Catalogues On Asian Art (31)

Twenty-Nine Various Catalogues On Asian Art (29)

Thirty-Seven Various Catalogues On Asian Art (37)

Thirty-Five Various Catalogues On Asian Art (35)

Ruth Waldron Rice Bowl and Peony, 2021 Acrylic and Ink on Paper Collage plus Wax Seal Signed with a wax seal on front and verso 15 x 10cm (5¾ x 3¾ in.) Ruth Waldron is an Irish artist living near Albi, Tarn France. After university she pursued her creative inclinations with a career in Interior Design for 17 years, working in both Ireland and the United Kingdom. In 2009 she moved to Shanghai, China. She spent two years with a Chinese tutor, working in particular on traditional ink and watercolour painting techniques. This disciplined and formal style of painting enriched her art with an exciting new perspective. She has a fascination for the colours and motifs in traditional Chinese and Japanese watercolours. Further to her experience in China she has completed the Creative Visionary Program (2018) with artist Nicholas Wilton. This course enabled Ruth to take her work and practice to a higher level. She now works in a more inquiring and intuitive manner. Ruth has a full time painting practice based at her studio in the south of France. She works on paper, wood board and canvas, using acrylic, watercolour, oil pastels and ink.   Education 1987-1992, Bachelors degree in Classics and Spanish Literature Trinity College Dublin 2009-2011 Private tutor in Chinese painting in Shanghai 2018 Completed The Creative Visionary Program with Nicholas Wilton (California)   Exhibitions   2019 art3f Toulouse, 2019 Art Salon Balma, Toulouse, 2020 Art Exhibition Albi, France.   About the postcard artworks   These postcard paintings are a small, but true representation of my current series which explores my fascination for Asian porcelain and also the use of space and a sense of calm in the traditional painting compositions of Chinese art. I use ink on paper collage elements in my work to add a layered and multi-textured finish to my work, which is as important to me as the subject matter or composition. I am influenced by Asian calligraphy and line which is evident in the collage elements. I try to use complex and multilayered methods to produce work that looks simple, spacious, unfussy and calm.  

Ruth Waldron Chinese Vase, 2021 Acrylic and Ink on Paper Collage plus Wax Seal Signed with a wax seal on front and verso 15 x 10cm (5¾ x 3¾ in.) Ruth Waldron is an Irish artist living near Albi, Tarn France. After university she pursued her creative inclinations with a career in Interior Design for 17 years, working in both Ireland and the United Kingdom. In 2009 she moved to Shanghai, China. She spent two years with a Chinese tutor, working in particular on traditional ink and watercolour painting techniques. This disciplined and formal style of painting enriched her art with an exciting new perspective. She has a fascination for the colours and motifs in traditional Chinese and Japanese watercolours. Further to her experience in China she has completed the Creative Visionary Program (2018) with artist Nicholas Wilton. This course enabled Ruth to take her work and practice to a higher level. She now works in a more inquiring and intuitive manner. Ruth has a full time painting practice based at her studio in the south of France. She works on paper, wood board and canvas, using acrylic, watercolour, oil pastels and ink.   Education 1987-1992, Bachelors degree in Classics and Spanish Literature Trinity College Dublin 2009-2011 Private tutor in Chinese painting in Shanghai 2018 Completed The Creative Visionary Program with Nicholas Wilton (California)   Exhibitions   2019 art3f Toulouse, 2019 Art Salon Balma, Toulouse, 2020 Art Exhibition Albi, France.   About the postcard artworks   These postcard paintings are a small, but true representation of my current series which explores my fascination for Asian porcelain and also the use of space and a sense of calm in the traditional painting compositions of Chinese art. I use ink on paper collage elements in my work to add a layered and multi-textured finish to my work, which is as important to me as the subject matter or composition. I am influenced by Asian calligraphy and line which is evident in the collage elements. I try to use complex and multilayered methods to produce work that looks simple, spacious, unfussy and calm.  

Ruth Waldron Spring Buds, 2021 Acrylic and Ink on Paper Collage plus Wax Seal Signed with a wax seal on front and verso 15 x 10cm (5¾ x 3¾ in.) Ruth Waldron is an Irish artist living near Albi, Tarn France. After university she pursued her creative inclinations with a career in Interior Design for 17 years, working in both Ireland and the United Kingdom. In 2009 she moved to Shanghai, China. She spent two years with a Chinese tutor, working in particular on traditional ink and watercolour painting techniques. This disciplined and formal style of painting enriched her art with an exciting new perspective. She has a fascination for the colours and motifs in traditional Chinese and Japanese watercolours. Further to her experience in China she has completed the Creative Visionary Program (2018) with artist Nicholas Wilton. This course enabled Ruth to take her work and practice to a higher level. She now works in a more inquiring and intuitive manner. Ruth has a full time painting practice based at her studio in the south of France. She works on paper, wood board and canvas, using acrylic, watercolour, oil pastels and ink.   Education 1987-1992, Bachelors degree in Classics and Spanish Literature Trinity College Dublin 2009-2011 Private tutor in Chinese painting in Shanghai 2018 Completed The Creative Visionary Program with Nicholas Wilton (California)   Exhibitions   2019 art3f Toulouse, 2019 Art Salon Balma, Toulouse, 2020 Art Exhibition Albi, France.   About the postcard artworks   These postcard paintings are a small, but true representation of my current series which explores my fascination for Asian porcelain and also the use of space and a sense of calm in the traditional painting compositions of Chinese art. I use ink on paper collage elements in my work to add a layered and multi-textured finish to my work, which is as important to me as the subject matter or composition. I am influenced by Asian calligraphy and line which is evident in the collage elements. I try to use complex and multilayered methods to produce work that looks simple, spacious, unfussy and calm.    

Ruth Waldron Ginger Pot, 2021 Acrylic and Ink on Paper Collage plus Wax Seal Signed with a wax seal on front and verso 15 x 10cm (5¾ x 3¾ in.) Ruth Waldron is an Irish artist living near Albi, Tarn France. After university she pursued her creative inclinations with a career in Interior Design for 17 years, working in both Ireland and the United Kingdom. In 2009 she moved to Shanghai, China. She spent two years with a Chinese tutor, working in particular on traditional ink and watercolour painting techniques. This disciplined and formal style of painting enriched her art with an exciting new perspective. She has a fascination for the colours and motifs in traditional Chinese and Japanese watercolours. Further to her experience in China she has completed the Creative Visionary Program (2018) with artist Nicholas Wilton. This course enabled Ruth to take her work and practice to a higher level. She now works in a more inquiring and intuitive manner. Ruth has a full time painting practice based at her studio in the south of France. She works on paper, wood board and canvas, using acrylic, watercolour, oil pastels and ink.   Education 1987-1992, Bachelors degree in Classics and Spanish Literature Trinity College Dublin 2009-2011 Private tutor in Chinese painting in Shanghai 2018 Completed The Creative Visionary Program with Nicholas Wilton (California)   Exhibitions   2019 art3f Toulouse, 2019 Art Salon Balma, Toulouse, 2020 Art Exhibition Albi, France.   About the postcard artworks   These postcard paintings are a small, but true representation of my current series which explores my fascination for Asian porcelain and also the use of space and a sense of calm in the traditional painting compositions of Chinese art. I use ink on paper collage elements in my work to add a layered and multi-textured finish to my work, which is as important to me as the subject matter or composition. I am influenced by Asian calligraphy and line which is evident in the collage elements. I try to use complex and multilayered methods to produce work that looks simple, spacious, unfussy and calm.  

Mary DeVeincentis Man Resisting A Good Mood, 2021 Flashe on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Painter Mary DeVincentis Herzog employs her deeply personal iconography to investigate the universal dilemmas and mysteries of existence. While influenced by the philosophy of Buddhism and the practice of psychotherapy, her paintings emerge from a foundation in the great tradition of Western modernism and post-modernism and from her decades long study of classical South Asian and Tibetan art. The result is work which is truly singular and defies categorization. Her work has been exhibited at Life on Mars Gallery, the International Print Center, the New York Public Library, White Columns and the Brooklyn Museum. It is represented in numerous public and private collections. She received her BFA from Maryland Institute College of Art and a Postgraduate Diploma in Advanced Printmaking from St. Martins College of Art in London, UK. She lives and works in Brooklyn, NY.  

Hush Collage 1752021, 2021 Mixed media Signed on verso 15 x 10cm (5¾ x 3¾ in.) A British artist born in Newcastle, Hush now resides in London where he prepares his street art and canvases for exhibition all over the world. Hush uses many artistic techniques to highlight feminine sensuality in all its forms. Trained at the Newcastle School of Graphic Design and Illustration for five years, Hush began his discovery of the world with trips that would leave a profound mark on his style, particularly in Asia. First in Hong Kong, then in Japan, it was there that he met Asian culture. He was fascinated by Chinese and Japanese women who adopted Western culture without denying their ancestral culture. It explores the contrasts of representations and constructions of women in Japanese culture. This Japanese iconography is at the heart of his style. From geisha to manga characters, he infuses his works with a pinch of pop art and a hint of comic strip. Hush discovered street art when he was younger, when he was carving walls or making posters for dance or electro parties. "I have always been interested to know how graffiti was introduced, how it influenced artistic styles, typographies and yet never accepted as an art in its own right," says Hush.  

Hush Collage 1752021, 2021 Mixed media Signed on verso 15 x 10cm (5¾ x 3¾ in.) A British artist born in Newcastle, Hush now resides in London where he prepares his street art and canvases for exhibition all over the world. Hush uses many artistic techniques to highlight feminine sensuality in all its forms. Trained at the Newcastle School of Graphic Design and Illustration for five years, Hush began his discovery of the world with trips that would leave a profound mark on his style, particularly in Asia. First in Hong Kong, then in Japan, it was there that he met Asian culture. He was fascinated by Chinese and Japanese women who adopted Western culture without denying their ancestral culture. It explores the contrasts of representations and constructions of women in Japanese culture. This Japanese iconography is at the heart of his style. From geisha to manga characters, he infuses his works with a pinch of pop art and a hint of comic strip. Hush discovered street art when he was younger, when he was carving walls or making posters for dance or electro parties. "I have always been interested to know how graffiti was introduced, how it influenced artistic styles, typographies and yet never accepted as an art in its own right," says Hush.  

Hush Collage 1752021, 2021 Mixed media Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) A British artist born in Newcastle, Hush now resides in London where he prepares his street art and canvases for exhibition all over the world. Hush uses many artistic techniques to highlight feminine sensuality in all its forms. Trained at the Newcastle School of Graphic Design and Illustration for five years, Hush began his discovery of the world with trips that would leave a profound mark on his style, particularly in Asia. First in Hong Kong, then in Japan, it was there that he met Asian culture. He was fascinated by Chinese and Japanese women who adopted Western culture without denying their ancestral culture. It explores the contrasts of representations and constructions of women in Japanese culture. This Japanese iconography is at the heart of his style. From geisha to manga characters, he infuses his works with a pinch of pop art and a hint of comic strip. Hush discovered street art when he was younger, when he was carving walls or making posters for dance or electro parties. "I have always been interested to know how graffiti was introduced, how it influenced artistic styles, typographies and yet never accepted as an art in its own right," says Hush.  

NO RESERVE Byron (Robert).- Zervos (Christian) L'Art de la Mésopotamie..., original boards, spine frayed at head, glacine wrapper torn and defective, Paris, 1935 § Orbeli (J.) & C.Trever. Orfèvrerie Sasanide: Objets en Or, Argent et Bronze, III Congrès International d'Art et d'Archéologie Iraniens Leningrad, text in Russian and partly French, plates, original embossed cloth, spine faded, Moscow & Leningrad, 1935, Robert Byron's copies with his signature to front free endpaper, rubbed; and a small quantity of others relating to the Middle East and India including an offprint of an article 'From Herat to Kabul' by Byron for the Royal Central Asian Society, several issues of magazines (especially 'Bulletin of the American Institute for Iranian Art and Archaeology') with articles by Byron or cuttings of such, some featuring his photographs, and 5 actual photographs of Eastern architecture by Byron including 3 large of New Delhi (c.510 x 400mm), v.s. (a bundle)⁂ In 1933-34 Byron travelled through Persia, Afghanistan and India studying the architecture of the regions, and resulting in his most famous book The Road to Oxiana, published in 1937.

Elizabeth Keith (1887-1956) Marriage Procession Seoul Woodblock print Titled within the plate on the lower left corner Signed, monogrammed and dated within the plate on the lower right corner: 1921 Dimensions (the sole print as visible within the frame): 25 x 37,5 cm Note: Elizabeth Keith was a Scottish artist and writer, a print maker and a watercolorist. Keith's work consists of prints depicting Asian life and culture,[4] a fascination she acquired when she travelled to Tokyo at the age of 28 and remained there for nine years. Uncontestably, one of the best signature of the Shin Hanga art movement.

A GEORGE II MAHOGANY PARTNER'S PEDESTAL DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1750 The tooled leather inset top with ratchet adjustable writing slopes and ink wells to each side79cm high, 190cm wide, 112cm deepProvenance: Rathbeale Hall, County DublinFor a related pedestal desk of the period but of smaller proportions, see Christie's, New York, The Collection of Robert Hatfield Ellsworth Part V - European Decorative Arts, Carpets, Old Master Paintings and Asian Works of Art, 21st March 2015, Lot 1055. Condition Report: Marks, scratches and abrasions, old chips and splits commensurate with age and use. some old repairs and some losses. handles are possibly original, they are in period taste and there are no alternate handle holes or marks from alternate handles. If the current handles are replacements then the originals most have been placed in the same positions. A number of the drawer locks are later replacements, some later 18th century in date, others late 19th/ 20th century. Some later blocks and/ or fillets of timber are present adjacent to locks to compensate for previous placement of locks or for adjacent repairs. Some fading overall. The 'drop in' sections of timber that cover the inset divisions for inkwells etc to the top are present and are likely original, with remnants of a leather/ textile pull to each remaining. Various stains to the drawer linings and to the timber beneath the ratchet adjustable surfaces. The ratchet arms are possibly replacements but hinges to each have been replaced supporting them being of significant age or original. They are very clean in appearance. The hinges of the adjustabel panels themselves are likely replacements and there are alternate 'pin holes' from what were likely the originals. The current hinges are neatly placed. The leather is possibly a replacement and may have been later re-stained black. Various marks and wear to the leather.Please refer to all additional images for visual reference to conditionCondition Report Disclaimer

A PARCEL LACQUERED PEWTER LIDDED BOX SET WITH A JADE PIECE BY YAMANAKA & CO The box made in Japan, the jade Chinese and late Qing Dynasty, the whole piece circa 1900 Set with an open-worked jade medallion with bird and flowers, the below bearing the marks: Yamanaka & Co and Made in Japan. 4.5cm high x 12cm long x 9cm wide Note: Yamanaka & Co was an Asian Art dealership with branches in New York (1895), Boston (1899) and London (1900). 山中商会带有玉器的加盖涂漆锡盒 盒子制于日本，玉器制于中国，清朝末年，整件作品约为1900年作品

A 'MARCO POLO' WARE WHITE GLAZED CUSHION SHAPED BOX AND COVER China, Yuan Dynasty The lid carved with a ruyi pattern. H: 8.5cm - D: 14.5cm Provenance: > Private collection; > Former collection of Henri and Jean Brionval, French Diplomats, Tanger, Morocco. Notes: For a related box, see Form und Farbe. Chinesische Bronzen und Frühkeramik. Sammlung H. W. Siegel, Museum for East Asian Art, Cologne, 1972, entry nr. 169. Also see M. Sullivan. Kendi. ACASA 11, 1957. Henri Brionval (1907-1978), a French Diplomat, was a member of the United Nations Commission on Korea based in Pusan in 1950. The same year, he was appointed a counsel at the French Embassy in Moscow. His brother, Jean Brionval (1904-), had a long-lasting career in the French Diplomacy as an ambassador with numerous positions such as in Ceylon and Indonesia. Both were avid collectors of Asian antiques. Henri is believed to have acquired numerous paintings and ceramics while living in Korea. Jean Brionval was also a French Diploma who was, notably, Ambassador in Ceylon. 白釉垫型“马可波罗”瓷及盖 中国，元朝

SATSUMA VASEJapan, Meiji-Periode Vierpassige Form mit eingezogenem Hals und ausgestellter Mündung. Königsblauer Fond mit reicher Goldstaffage und vier Reserven mit fein gemalten Familienszenen in Landschaften. Bodenmarke. H.25,5cm. Am Stand min. rest. A SATSUMA VASE Japan, Meiji period Quatrefoil shape with retracted neck and flared mouth.Royal blue background with rich gold decoration and four reserves with finely painted family scenes in landscapes. Mark to base. 25.5 cm high. Minor restoration to bottom. Keywords: decorative art, miscellaneous pieces, furnishing, home accessories, Japanese, Asian

ZIERVASE AUS IMARI PORZELLANJapan, wohl Meiji-Periode Balusterform mit umlaufenden farbig gemalten Kampfszenen und brauen Reliefbändern am Ansatz, Schulter und Mündung. Bodenmarke. H.19,5cm AN IMARI PORCELAIN VASE Japan, probably Meiji period Baluster form with coloured battlescenes all round and brown relief bands at the base, shoulder and mouth. Mark to base. 19.5 cm high. Keywords: decorative art, miscellaneous pieces, furnishing, home accessories, Japanese, Asian

ZIERVASE MIT KOI-KARPFENwohl Japan Schwarzes Hyalithglas mit Reliefdekor. H.11,5cm A DECORATIVE VASE WITH KOI CARP probably Japan Black Hyalite glass with relief decoration.11.5 cm high. Keywords: decorative art, miscellaneous pieces, furnishing, home accessories, Japanese, Asian

CHINESISCHER WANDTEPPICHmit Kranichmotiv. 92x45cm A CHINESE TAPESTRY with crane motifs. 92 x 45 cm. Keywords: rug, carpets, furniture,accessories, decorative art, miscellaneous pieces, furnishing, home accessories, China, Asian, wall hanging

KUGELVASEChina Grau glasiertes Porzellan mit farbig gemalten blühenden Kirschzweigen. Bodenmarke. H.20cmA SPHERICAL VASE China Grey glazed porcelain with colorfully painted flowering cherry branches. Mark to bottom. 20 cm high. Keywords: ball vase, decorative art, miscellaneous pieces, furnishing, home accessories, Chinese, Asian

Wild in Art - Asian Elephant, a huge model of an Asian Elephant, white painted glass reinforced plastic, 160cm high x 290cm long x 80cm wide, 40kg. The Elephant can be painted if the hammer price exceeds £4,000.00 If you require more information in regard to this item please contact Joanne Bartholomew at joanne@bornfree.org.uk

China.- Ho (Waik-kam) & Judith G.Smith, editors. The Century of Tung Chi'i-ch'ang 1555-1636, 2 vol., Seattle & London, 1992 § Pirazzoli-t'Serstevens (M.) The Han Civilization of China, Oxford, 1982 § Addis (J.M.) Chinese Ceramics from datable tombs, 1978 § Mote (F.W.) & others. Calligraphy and the East Asian Book, Boston & Shaftesbury, 1989 § Collier (V.W.F.) Dogs of China & Japan in Nature and Art, 1921, plates and illustrations, some colour, original cloth, all but the last with dust-jackets, a little soiled; and c.25 others on Asian art, mostly Chinese, 4to & 8vo (c.30)

Leicht gedrungene Form mit weitem Hals, dekoriert mit weißem slip auf blauen Grund mit drei Kranichen und Lotos auf dunkelblauem Grund.H 9,2 cmProvenienzPrivatsammlung, Ruhrgebiet, seit den 1960er-Jahren zusammengetragen, im Jahr 1967 erworben bei Heinrich Peters, Berlin, seither in FamilienbesitzLiteraturVgl. einen ähnlichen Topf auf braunem Grund in: Hong Kong Museum of Art, South-East Asian and Chinese Trade Pottery, Hong Kong 1979, Nr. 151 und The Oriental Ceramic Society of Hong Kong, Transitional Wares and their Forerunners, Hong Kong 1981, Nr. 216

Niedrige, gewölbte Schale auf drei Füßen und mit eingezogenem Rand, unter der ausladenden Lippe an den Seiten je ein Löwenkopfhenkel, bedeckt mit brauner Glasur, dekoriert in slip mit einem Drachen und einem Phoenix.D 14 cmProvenienzPrivatsammlung, Ruhrgebiet, seit den 1960er-Jahren zusammengetragen, im Jahr 1966 erworben bei China-Bohlken, Westerland, seither in FamilienbesitzLiteraturVgl. einen ähnlichen Typ in: Hong Kong Museum of Art, South-East Asian and Chinese Trade Pottery, Hong Kong 1979, Nr. 150

Tiefe Schalen mit auswärts gebogener Lippe, auf der Außenwand, aus gelbem Fond ausgespart, eingravierte und in Aubergine und Grün glasierte Blumen der Vier Jahreszeiten Orchidee (Frühling), Lotos (Sommer), Chrysantheme (Herbst) und Pflaumenblüte (Winter), im Spiegel je ein lingzhi. Im Boden Tianqi Sechszeichenmarke. Glasurabplatzung an Lippe. (2)D 17,7 cmProvenienzPrivatsammlung, BelgienLiteraturVgl. eine ähnliche Schale in: Asian Art Museum, San Francisco, Inv. Nr. B76P27, abgebildet in: He Li, Chinese Ceramics, London 2006, Nr. 469

Kongshan (Menschen) leere Berge. Tusche und Farben auf Papier. Aufschrift, datiert: 1976, sign.: Wang Wuxie.Wong zählt zu den führenden Persönlichkeiten der New Ink-Bewegung in Hong Kong. In den 1960er-Jahren studierte Wong an der Columbus College of Art and Design in Ohio und am Maryland Institute College of Art, Baltimore. In seinen Werken vereint er Elemente der klassischen chinesischen Malerei mit westlichen Maltraditionen. Seine Landschaften malt er gerne aus der Vogelperspektive. Mit seiner akribischen Pinselführung und der subtilen Behandlung des Lichts schafft Wong moderne und beeindruckende Naturlandschaften.Seine Tuschemalereien wurden in Hongkong und auf der ganzen Welt ausgestellt und sind in bedeutenden Sammlungen vertreten, u. a. im Arthur M. Sackler Museum, Harvard University, USA, Ashmolean Museum, Oxford, U.K., Asian Art Museum, San Francisco, USA, Boston Museum of Fine Arts, USA, im British Museum, London, U.K. und im Hong Kong Museum of Art.91,5 x 92 cmProvenienzPrivatsammlung, SüdfrankreichPrivatsammlung, BerlinAusstellungenEine ähnliche Malerei aus der Serie mit dem Titel „Uninhabited Mountains No. 4“ von 1977, war ausgestellt in Hong-Kong-Museum of Art, in: Exhibition of Paintings, Drawings and Prints by Wucius Wong, 24.8.-7.10.1979, Kat. Nr. 42

Large collection of Asian art magazines and publications including Orientations, Arts of Asia, exhibition catalogues by Roger Keverne and others

Collection of Asian Art catalogues including a large quantity of I.M Chait gallery catalogues and other auction houses

Large quantity of Chinese & Asian art reference books to include Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, edited by Béatrice Quette; The art of contemplation : religious sculpture from private collections by Li, Yumin; Connoisseur's Guide to Chinese Ceramics; A connoisseur's guide to Chinese ceramics by Mitchell Tzu Lao;Chinese Painting: An Expression of a Civilization by Nicole Vandier-Nicolas; Gems of Chinese art from the Asian art museum of San Francisco; Oriental Lacquer Art and Technique by K Herberts; Homage to Heaven Homage to Earth: Chinese Treasures of the Royal Ontario Museum; China: 5,000 Years: Innovation and Transformation in the Arts by Sherman Lee; Masterpieces of the Ho-Am Art Museum, antique art. 2 Volume Set; Mounted Oriental Porcelain in the J. Paul Getty Museum by Sr. Francis Watson, Gillian Wilson, Anthony Derham; The World of Khubilai Khan: Chinese Art in the Yuan Dynasty by James C. Y. Watt; Tang China Vision and Splendour of a Golden Age by Edmund Capon; Korea: Keramiek/Ceramics by Jan Van Alphen; Arts de la Corée; War & Ritual: Treasures from the warring states, 475-221 B.C by Yeo Seng Teck; Treasures from the Han; An album of Chinese art: From the National Gallery of Victoria by Mae Anna Pang; An Exhibition of Tang Sancai Pottery: Selected from the Collection of Alan and Simone Hartman by Margaret Medley; Chinese Ornament The Lotus and the Dragon by Jessica Rawson; Chine connue & inconnue; A botanical excursion in the Kempe collection Unknown Binding by Bo Gyllensvärd; Chinese Bronzes: The Natanael Wessen Collection by Jan Wirgin Karlgren Bernhard; Yixing Stoneware from the Mr & Mrs Gerard Hawthorn collection catalogue and others

Carved relief sandstone panel North or Central India, possibly 9th/10th Century depicting Gana and an attendant, 38cm x 27cm Provenance - inherited by the vendor from Hans Kalmann, a dealer in Asian and other art Condition: traces of old paint, losses, considerable wear, rough hewn and marks

A selection of Asian works of art, 19th century and later, comprising; a Japanese cloisonné and Ginbari vase, Meiji Period (1868-1912), decorated with six reserves of flowers and birds, 18cm high, a 19th century Chinese rice-grain porcelain tea bowl and stand (gaiwan), kangxi six character mark, a Chinese tea bowl decorated with Daoist emblems, kangxi six character mark, 10.5cm diameter, a famille jaune stand, 9.5cm diameter and a Japanese imari bowl, 18cm diameter (6) (at fault)Condition report; Ginbari - one significant area of damage/extensive loss to the surface - see images. Three further more minor losses. Areas of bruising and surface cracks visible. See additional images for clarification. Imari bowl- two rim descending stained hairlines. Remaining pieces with predominantly chipping, nibbles and wear.  

Vier Rahmen mit HaarnadelnChina, 19. Jh.diversBlüten mit Schmetterlingen, Insekten und Vögeln auf teils breiten Barrette-Haarnadeln. Silber, vergoldet und mit Eisvogelfedern, rotem Achat und Glas.B. 4-15 cm. Tiefe Objektrahmen mit Passepartout, Maße: 27, 5 x 20 cm, 30 x 26,5 cm, 34 x 41 cm, 35 x 37 cm.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999Vgl.: Haarschmuck mit Eisvogelfedern: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 126, Fig. 15-18. Barrette-Haarschmuck: S. 88-89, Nrn. 185-190; Haarschmuck mit Eisvogelfedern und Steinbesatz: „Beauty, Wealth, And Power : Jewels and Ornaments of Asia. Asian Art Museum of San Francisco“. 1992, S. 48, Nr. 10; Haarschmuck in Form eines Schmetterlings verkauft bei Spink & Son Ltd., Kat: “Chinese Jewellery - Accessories & Glass“, London. 1991 S. 46-47, Nr. 86.

Haube mit EisvogelfedernChina, Qing-DynastieH. 13,5, 19 x 18 cmPhönixe, Päonien und weitere Blüten. Silber, vergoldet, mit Eisvogelfedern belegt, Steinbesatz mit Glas und Jade, kleine Spiegelchen.Aus einer bedeutenden deutschen Privatsammlung, gesammelt in den 1980er Jahren bis 1999Vgl.: Haube mit Eisvogelfedern: „Four Centuries of Silver : Personal Adornment in the Qing Dynasty and After“, Margaret Duda, Singapur, 2002, S. 128, Fig. 20; Haarschmuck mit Eisvogelfedern und Steinbesatz: „Beauty, Wealth, And Power : Jewels and Ornaments of Asia. Asian Art Museum of San Francisco“. 1992, S. 48, Nr. 10; eine ähnliche Haube wurde verkauft Madison Square Gallery Inc., New York, 3.3.2010, Lot 29.

South-Est Asian Art A Ceylon dagger Sri Lanka, 19th century . . Cm 26,60.

Islamic Art Two Central Asian textiles Late 19th-20th century . . Cm 91,00 x 152,00.

South-Est Asian Art A bronze walking Buddha torso Thailand, 20th century . . Cm 7,50 x 13,50.

South-Est Asian Art A large black lacquer boxBurma, 19th century . . Cm 36,00 x 71,00. Restored.

South-Est Asian Art A large terracotta panel with a mythological scene Indonesia, 18th century . . Cm 52,00 x 46,50. Provenance: Ex private collection, Milan.

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Chinese Painting II". Medium: Original vintage photogravure. Date: Composed c1962. Printed 1969. Dimensions: Image size: 13 x 10 1/16 in. (330 x 256 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Multiple negative process used. 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. [25440-3-225]

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism #2". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Comment(s): An oil on paper work with a similar composition but much smaller size sold for $3,750 at Christie's New York, July 16, 2012, lot #120. 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. [29807-2-4000]