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C. 206 BC-220 AD. Han Dynasty. A beautiful ceramic vessel with a glossy brown slip and a cover. The vessel comprises an elongated neck and an ovoid body supported by a cylindrical ring foot. Several bands of incised direction run around the vessel. Two rings on the shoulder are indicated as handles. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:480mm / W:320mm ; 5.6kg

C. 1100 AD. Seljuk. An elegant bronze tripod stand with elegant human-shaped feet supporting a stand with six interconnecting bowls arranged around a raised projection, perhaps intended to support a candle. The surface of the piece was covered in extensive calligraphic decoration. This exceptional piece was probably used for dining or for the burning of incense.The Seljuks were a Turkic dynasty who swept out of Central Asia in the early 10th century and conquered an enormous expanse, covering most or all of present-day Turkmenistan, Iran, Iraq, Turkey and beyond. After inflicting crushing military defeats on a host of rivals, the most famous of which was perhaps that against the Byzantines at the Battle of Manzikert in 1071, the Seljuk sultans became major patrons of art and architecture. Excellent condition; beautiful patina. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:140mm / W:125mm ; 805g

C. AD 618-907. Tang Dynasty. A pair of finely rendered Tang Dynasty terracotta moulded figurines depicting a male and female horse rider. The horses are modelled in a standing pose on a square base. The animals necks are slightly turned, with the ears pricked forward attentively. The muscles are rendered in great detail on the neck and hind quarters. The tail is depicted docked and bound in the traditional fashion. The male rider is depicted wearing a cap and tunic that reaches to the end of the boots and trousers. His left arm is covered, while his right one holds a bird. The female rider is wearing an light coloured robe and black boots. A small dog sits behind her saddle, depicted in a curious pose. 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 Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:Set of 2: 420mm / W:410mm ; 7.1kg

600-330 BC. Western Asiatic, Achaemenid period. This bronze phiale or shallow bowl comprises a flaring rim, incurved walls and flattened base. Extensive repousse decoration comprises a domed central rondel surrounded by alternating petal-shaped bosses. Phiales were used for pouring libations to the gods as well as during feasting. The Achaemenid Empire (the first Persian empire) was an ancient empire founded by Cyrus the Great and stretching from the Balkans and Eastern Europe to the Indus Valley and covering 5.5 million square kilometres at its height. This empire is also famous for being the antagonist of the Greek city states during the Greco-Persian wars. As well as fierce warriors, the Achaemenid empire produced fabulous works of art and craftsmanship, such as this bowl. Excellent condition, beautiful patina. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:30mm / W:175mm ; 245g

C. 206 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 back, on its haunches, with its forelegs on the belly, as if observing its surroundings. Its drooping ears indicate its relaxed attitude. In the Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty and mercy. The Han Dynasty, which ruled between 202BC-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. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:280mm / W:200mm ; 2.6kg

C. 618 - 907 AD. Chinese Tang Dynasty. A large and beautiful hollow-moulded terracotta horse, modelled in . a standing pose on a square base. The animal's neck is slightly turned to the left, with its ears pricked forward attentively. The muscles are rendered in great detail on the neck and hindquarters. The tail is depicted docked and bound in the traditional fashion. Decorated in a black pigment the terracotta-coloured saddle and blue saddle cloth are still vibrant. The horse's trappings include an elaborate harness with dangling tassels and a bridle with matching tassels. Horses were an important status symbol during the Tang golden age. They were the rewards of victorious military campaigns which lead to imperial stability and wealth. Indeed, the Tang emperors often described their favourite horses in detail commenting on their colouration, conformation and temperament. The Tang emperors often described their favourite horses in detail commenting on their colouration, conformation and temperament. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:700mm / W:600mm ; 22kg

C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for parade. The head is well modelled with notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mud guard. Traces of gold foil are still visible. Horses were an important status symbol in ancient China. These animals 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, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, 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, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:450mm / W:330mm ; 3.8kg

C. 206 BC-220 AD. Han Dynasty. Beautiful figure of a Han Dynasty court lady.The lady stands upright in a graceful manner with both of her hands held below her chest. she wears long and tightly wrapped robe that underlines her slender body. The bottom part of her flared robe ends just above her feet. Her face is modeled with strong features, while the lips are painted in bright red. Her hair is combed back. In Ancient China, terracotta unglazed and low-fired glazed statuettes of animals and human figures, known in Chinese as mingqi, would have been placed in the deceased's tomb to ensure companionship and service in the afterlife. Mingqi were usually modeled as an intimation of either common objects that once played a vital role in Han Dynasty domestic life, or as zoomorphic and anthropomorphic figures that were closely related to the deceased when they were alive. Terracotta figures of court attendants, such as this fine example, were made for the service and entertainment of the owner, ensuring that their journey in the underworld was a happy one. 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. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:560mm / W:160mm ; 5.8kg

c. 2000- 7th century BC. Western Asiatic. Western Asiatic Master of Animals Sceptre . A central tube terminating into a human head. Flanked by animals on either side, with curving haunches and tails below. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East. The figure is normally male, but not always, the animals may be realistic or fantastical, and the figure may have animal elements such as horns, or an animal upper body. Unless he is shown with specific divine attributes, he is typically described as a hero. In Western Asiatic Art the motif is extremely common, and often highly stylized. In terms of its composition the Master of Animals motif compares with another very common motif in the art of the ancient Near East and Mediterranean, that of two confronted animals flanking and grazing on a Tree of Life. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:450mm / W:85mm ; 420g

c.10th-12th century AD. Seljuk. A beautiful cast bronze figure depicting a feline standing in profile, its captivating visage comprised of a large nose, rounded perky ears. Its dramatic countenance is enhanced by incised diagonal lines to represent fur surrounding the mouth. Its body stands with strong posture connoting pride, and its tail wraps over his back. An outstanding example of Seljuk metalwork. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Good condition; beautiful patina. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market. Size: L:75mm / W:70mm ; 151g

c. 2900-2350 BC. Early Dynastic period. Mesopotamia. This carved stone mace head with diagonal flutes is among the most graceful weapons to survive from ancient Mesopotamia. The elegant, finely carved swirling ridges below the lip give a fluid character to this weapon. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:82mm / W:57mm ; 490g

C. 618 - 907 AD. Chinese Tang Dynasty. An exquisite set of two ceramic female polo players. These two ceramics show two women in the midst of a polo match. Both with in arm bent over their horse's neck as though holding the reins. The woman dressed in green has her mallet arm extended as though to strike the ball, whilst the woman dressed in orange has her mallet arm at a 90 degree angle, a pose often adopted during play to allow the rider to rest the mallet against the shoulder keeping their animal's legs clear. Both women ride with their black hair in an updo, full makeup with pale faces and cheeks heavily rouged though the differing colour tunics indicate that they are from opposing teams. Both horses, one cream and one chestnut have their legs extended in a pose indicating that they are moving at a gallop. Their equipment is carefully modelled and painted. Their nostrils and ears are also accented in red. The saddle blankets stand out with their colourful motifs. Polo was extremely popular during the Tang Dynasty, and many of the emperors of the period were avid fans who not only played themselves, but also encouraged officials, soldiers, civilians, and even ladies of status, such as the court ladies, to play. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:Without stands, set of 2: 360 mm / W:540mm ; 11.6kg

C. 618 - 907 AD. Chinese Tang Dynasty. A large and rare ceramic figurine of a Bactrian camel, also known as a Mongolian camel. The beast features a sandy pelt, while its characteristic mane, beard and the air of its upper legs are picked out in dark brown. The forelegs are bent on the ground as if the animal is waiting for its rider to arrive. The head is slightly turned and the mouth open as if bellowing. Atop its back is a saddle-pad with carefully delineated details. The Bactrian camel is an exceptionally hardy beast of burden, easily able to cope in the harsh deserts of Central Asia which border China. The domestication of these creatures allowed the development of the ancient Silk Road, which transported people, ideas and luxury goods between China and the West, by crossing the massive and inhospitable terrain which divided them. This beautiful figurine probably reflects medieval Chinese respect for a beast without which such trade would not have been possible. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:320mm / W:340mm ; 4.9kg

C. 386-534 AD. Northern Wei Dynasty. A painted stone panel/stela featuring a painted Buddha flanked by two figures. The Buddha stands facing towards, smiling, with his right hand raised. This gesture, known as the Abhaya Mudra symbolises fearlessness. It shows the stage of the Buddha's life immediately after he achieved enlightenment. The Buddha's robes are carefully picked out in red, he is backed by a circular red halo, his hair is painted jet black. The same goes for the two flanking figures. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:500mm / W:340mm ; 32kg

C. AD 618-907. Tang Dynasty. Large stone head of Buddha with carefully modeled hair that allows us to distinguish individual curls. His heavily-lidded eyes are closed as well as his lips. A rounded, double chin and prominent, pendulous ears are characteristic of Buddha in Chinese art. Buddhism entered China as early as the Han Dynasty (late 3rd century BC-early 3rd century AD), and has played an important part in shaping the country's art, politics, literature and philosophy. This exceptional piece embodies the importance of Buddha to Chinese culture and reflects the enormous amount of work invested by Tang craftsmen. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:with stand: 780mm / W:380mm ; 50k+g

C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for the parade. The head is well modelled with mouth open and notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mudguard. Traces of green and red pigment and gold foil are still visible. Horses were an important status symbol in ancient China. These animals 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, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, 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, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. 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 a full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:440mm / W:300mm ; 3.9kg

Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated bronze mirror. The small fluted loop is framed by a concave square border from which four heart-shaped leaves radiate, each supporting short straight stems terminating in further leaves, divided by four large grooved 'T' motifs converging from the raised rim, all on a fine ground of hooks, wings and feathers. 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. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:190mm / W:190mm ; 810g

C. AD 618-907. Tang Dynasty. Astonishing flower shaped bronze mirror. The center showcases an interesting scene with mythical creatures running around on either side of the perforated central lug. The rim is also finely decorated. The octofoil shape of this mirror is typical of the Tang Dynasty. Centre suspension lugs, a chord would have been wound through this hole to serve as a handle. The Chinese magic mirror is an ancient art that can be traced back to the Chinese Han dynasty (206 BC-24 AD). The mirrors were made out of solid bronze. The front is a shiny polished surface and could be used as a mirror, while the back has a design cast in the bronze. When bright sunlight or other bright light reflects onto the mirror, the mirror seems to become transparent. If that light is reflected from the mirror towards a wall, the pattern on the back of the mirror is then projected onto the wall. They were used not only as functional artifacts, but also as sacred objects. The Chinese believed mirrors not only reflected light, but also had the ability to radiate it and thus illuminate the tomb for eternity. Often multiple mirrors were entombed close to the body of the deceased. They were also considered powerful talismans that would let you see into the spirit world. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:185mm / W:184mm ; 820g

Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated square bronze mirror. Square shape with decorated rim enclosing the main field, which is decorated with geometric patterns. 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. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:170mm / W:170mm ; 780g

Ca. 206 BC - 220 AD. Han dynasty. Bronze Mirror decorated with facing dragon and other animals. The central hemispherical boss framed by a concave square frame set with seven small bosses alternating with animal figures, the broad rim is decorated with a linear relief. 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. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay moulds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:180mm / W:180mm ; 800g

An elongated shape agate bead pendant with applied gold fittings on both terminals, decorated with filigree depicting floral scroll motifs. The bead design suggests the origin of the “Dzi bead”. Although the geographic origin is uncertain, it is accepted that they are now generally known as “Tibetan beads”. The Dzi are stone beads worn as part of a necklace or bracelet. Many Asian cultures around Tibet prize Dzi as protective amulets and for positive spiritual benefits. Artisans used agate as the base stone and then embellished the bead's lines and shapes using ancient methods that remain unknown. Treatments may have included darkening with plant sugars and heat, bleaching and white line etching with natron, and protecting certain areas with grease, clay, wax or a similar substance. The number of "eyes" (circular designs on the stone), is considered to be significant. This bead displays the attractive repetitive symmetrical “nine-eyed” pattern. The item will be accompanied by a Gemmological report issued by an independent professional Gemmologist. Very Good Condition; Size: Size: L:55mm / W:16mm ; 19.5g; Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed before 2000 on the UK / International art markets.

C. 206 BC - 220 AD. Han dynasty, A hollow-formed terracotta rabbit figurine with a black pelt and coral-pink pigmentation on the nose and in the inner ears. The rabbit is depicted sitting on all fours as if at rest. In the Chinese tradition, the rabbit is the luckiest of animals and symbolizes 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. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:170mm / W:270mm ; 2.6kg

C. 618 - 907 AD. Chinese Tang Dynasty. An unusual and beautiful moulded figure of a horse and its rider. The horse is modelled in a standing pose on a square base. The animal's neck is slightly turned to the left, with its ears pricked forward attentively. The muscles are rendered in great detail on the neck and hindquarters. The tail is depicted docked and bound in the traditional fashion. The rider wears a traditional gown. Particularly noteworthy is his headdress in the shape of a peacock. In his left hand he is holding a small bird. In China peacocks were symbols of culture and enlightenment and can be found in literature dating back to the Han dynasty. In the Tang dynasty, peacock feathers were apparently bestowed on both civil and military officials as marks of imperial favour, rewarding faithful service. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:620mm / W:460mm ; 8.2kg

C. 3000-2000 BC. Bactrian. A large and impressive stone jar with a lid. The vessel has a round flat body and the lid shows traces of incisions, probably intended as a decorative element by the maker. Bactrian vessels were commonly made from this grey stone, made of a type of stone widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. Archaeologists believe that these objects were traded not just as vessels, but for what they held.This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kingsProvenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:80mm / W:145mm ; 800g

c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle, decorated with a low relief of flowers on the shoulder. The neck and bottom are decorated with geometric patterns. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:290mm / W:230mm ; 1.2kg

c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle, decorated with a low relief of geometric patterns. The neck is shaped in asymmetrical waves. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:195mm / W:135mm ; 400g

c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle and spout. The body is decorated with a low relief of geometric patterns. The neck is topped with a lid. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:125mm / W:100mm ; 300g

c.10th-12th century AD. Seljuk. Bronze lamp from the Seljuk Empire with a hinged lid and a joined loop handle. The body is incised with various Islamic motifs and symbols. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:120mm / W:125mm ; 300g

c.10th-12th century AD. Seljuk. Heavy cast bronze mortar with broad flange base, tubular body, and flared rim, elaborate decoration to the body. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market. Size: L:105mm / W:122mm ; 2.9kg

C. AD 618-907. Tang Dynasty. A large ceramic figurine of a Bactrian camel, also known as a Mongolian camel, with a rider. The beast features a sandy pelt, while its characteristic mane, beard and the air of its upper leg are picked out in a coral-red. It stands in a contrapposto pose, with its left leg foreleg forward, as if walking and its head is thrown back as if bellowing. Atop its back is a saddle-pad with carefully delineated details, including a lantern on the left-hand side. The rider is depicted with non-Asiatic features, wearing knee-high boots and a long sleeved green tunic. The foreigner is seated in a relaxed posture with his left arm raised to goad the camel, the other hand originally holding the reins. The Bactrian camel depicted with a foreign rider represents the link between Europe and Asia. It is an exceptionally hardy beast of burden, easily able to cope in the harsh deserts of Central Asia which border China. The domestication of these creatures allowed the development of the ancient Silk Road, which transported people, ideas and luxury goods between China and the West, by crossing the massive and inhospitable terrain which divided them. This beautiful figurine probably reflects medieval Chinese respect for a beast without which such trade would not have been possible. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:700mm / W:560mm ; 16kg

c. 224-651 AD. Early Persian, possibly Sassanian. Beautiful shallow bronze plate with an extended rim. The outside is decorated with ribbed bands. The Sassanian empire which ruled from Afghanistan to Iraq during the third to seventh centuries AD is famed for the high quality of its ceremonial metalware, which was used both during banqueting and during religious rituals. Under the Sasanians Iranian art experienced a general renaissance. Artistically, this period witnessed some of the highest achievements of Iranian civilization. Metalwork and gem engraving became highly sophisticated. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:20mm / W:265mm ; 1kg

c. 2000- 7th century BC. Western Asiatic. Beautiful bronze vase featuring a flat foot with the sides of the body slightly flaring outwards terminating at a flared rim. The shoulder is decorated with a wavy band all around. Good condition; beautiful patina. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:125mm / W:140mm ; 600g

C. 3000-2000 BC. Bactrian. A stunning stone vessel shaped like a six-pointed star. Each spike has an opening. The rim of the round centre is decorated with notches. Bactrian vessels were commonly made from this grey stone, widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:35mm / W:115mm ; 250g

C. 3000-2000 BC. Bactrian. Beautiful square stone palette. Decorated with geometric patterns on the outside and the rim. The four compartments inside suggest that it was used to hold cosmetics. Bactrian vessels were commonly made from this grey stone, widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:50mm / W:98mm ; 450g

C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for the parade. The head is well modelled with notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mudguard. Traces of gold foil are still visible. Horses were an important status symbol in ancient China. These animals 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, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, 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, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. 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. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:620mm / W:430mm ; 11.2kg

A collection of Asian works of art, including a reproduction bone and hardwood Chinese table compass, a green soapstone puzzle ball, agate oval carving, three Japanese commemorative daggers, Chinese soapstone landscape group and a pair of cloisonne bell balls in box

Chinese Art A sandstone stele with MaitreyaChina, Qi dynasty, 5th - 6th century . . Cm 39,00 x 51,50 x 17,50. Sandstone sculpture, presumably portraying the future Buddha sitting in meditation on an altar depicting two lions facing each other, next to a fire, and two offerings bearing figures on the sides. The serene face of the character is enriched by a crown and encircled by a circular halo, and the whole scene is framed by two dragon flower trees characterized by dragons coiled around the trunks.Maitreya, in the bodhisattva form, is one of the most represented themes of the period, since it was deemed that the influence of Buddha Sankyamuni, the Gautama Buddha, would have soon been over. Maitreya is portrayed here as a young prince, sitting between two dragon flowers trees, symbolizing paradise. For a similar item refer to the stele depicting a similar subject, at the Asian Art Museum of San Francisco (object number B60S279).

South-Est Asian Art A large cast bronze figure of standing Buddha in the Sukhothai styleThailandia, erly 20th century . . Cm 100,00.

South-Est Asian Art A large dry lacquered seated Buddha Burma, 19th century . . Cm 37,00 x 58,00.

South-Est Asian Art A wood painted head of Buddha Burma, 19th century . . Cm 12,00 x 19,00 x 12,00.

South-Est Asian Art A woodern figurew of standing deity.Thayland, XX century. . Cm 35,00 x 102,00 x 38,00.

South-Est Asian Art A bronze figure of Buddha Burma, 17th century . . Cm 18,50.

South-Est Asian Art A devotional bronze figure of Vishnu Cambodia, Khmer period, 12th century . . Cm 14,50.

South-Est Asian Art A bronze figure of Buddha Burma, 15th-16th century . . Cm 23,50.

South-Est Asian Art A bronze standing figure Cambodia, Khmer dynasty, 12th-13th century . . Cm 18,00.

South-Est Asian Art A bronze figure of female deity Indonesia, 10th century . . Cm 5,30 x 9,00. Provenance: Private Collection Milan.

South-Est Asian Art A bronze figure of Buddha ShakyamuniCambodia, Khmer, 12th century . . Cm 6,50 x 17,50. Provenance: Private collection Milan, Italy.

South-Est Asian Art A bronze figure of a monk Indonesia, 10th century . . Cm 6,00 x 11,00. Provenance: private collection Milan.

South-Est Asian Art A bronze figure of Buddha Thailandia, 12th-13th century . . Cm 17,50 x 23,00. Provenance: private collection Milan.

South-Est Asian Art A silver Balakrishna figure Indonesia, 10th century . . Cm 13,50. Provenance: Private collection Milan, Italy.

South-Est Asian Art A group of six pottery vessels from the Hoi An hoard Vietnam, 15th century . . Cm 13,00 x 8,00. These vessels come from a shipwreck occurred in first half of the 15th century in Hanoi, Vietnam. The discovery of this hoard dates back to 1993 and it was lead by the diver section of the University of Oxford. The équipe rediscovered ca. 250.000 vessels! The 10% of the hoard ended up in national and paramount international Museums and the rest was auctioned at Butterfields (Chicago), thus bought by important collectors admits the Venetian owner of these lots. Carbon dating tests were conducted on the pottery of the hoard, dating the vast majority of the cargo to 1449. Stylistically this attribution is confirmed by the quality of the design which is inspired, as usual for Viet pottery of the time, to the Chinese Yuan and Ming manufacture. Further consistent with the date is the fact that this specific production had been primarily conceived to challenge Jingdezhen kilns on the export market. Indeed vessels of this sort used to travel, mostly to the South East Asian islands.

South-Est Asian Art A group of six pottery vessels from the Hoi An hoard Vietnam, 15th century . . Cm 11,50 x 13,00. These vessels come from a shipwreck occurred in first half of the 15th century in Hanoi, Vietnam. The discovery of this hoard dates back to 1993 and it was lead by the diver section of the University of Oxford. The équipe rediscovered ca. 250.000 vessels! The 10% of the hoard ended up in national and paramount international Museums and the rest was auctioned at Butterfields (Chicago), thus bought by important collectors admits the Venetian owner of these lots. Carbon dating tests were conducted on the pottery of the hoard, dating the vast majority of the cargo to 1449. Stylistically this attribution is confirmed by the quality of the design which is inspired, as usual for Viet pottery of the time, to the Chinese Yuan and Ming manufacture. Further consistent with the date is the fact that this specific production had been primarily conceived to challenge Jingdezhen kilns on the export market. Indeed vessels of this sort used to travel, mostly to the South East Asian islands.

A group of Japanese bronze coin charms or amulets, 19th/20th century, most in bronze, largest 97mmCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Please also view our 30th March sale, lots 105-200, for part two of this collection of Chinese and S. E. Asian coins and charms.Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

A RARE AND IMPORTANT ARCHAIC BRONZE SNAKE LAMP, WARRING STATES/EARLY WESTERN HAN DYNASTY, the sinuous snake gliding effortlessly up, his body bending six times as his wide jaws engulf one side of the three-lobed channelled oil tray with three prickets, all counterbalanced perfectly by his lower body loosely and naturalistically coiled along the ground forming the base, his lightly cast 'D' shaped scales expanding at the apex of the bend and shrinking on the opposite side, the overall surface covered in a green patina with light patches of malachite and cuprite encrustation. 52cm highProvenance:Sotheby's New York, March 31 - April 1, 2005, Lot 162 Gallery J J Lally, New York Note:Cast in the form of a snake, the simple design of this lamp suggests that it may have been influenced by the art of the Chu State. Snake form lamps are exceptionally rare; one other known example is a Zhou dynasty bronze ornament in the shape of a coiled snake in the Musee Guimet, Paris and illustrated in Alain Thote's 'Aspects of the Serpent on Eastern Zhou Bronzes and Lacquerware', Colloquies on Art and Archaeolgoy in Asian, no 15: The Problem and Meaning in Early Chinese Ritual Bronzes, London 1990, p152, pl 3. Far more common for the Han Dynasty were goose foot lamps; examples of which can be seen in the Metropolitan Museum of Art, New York and Shanghai Museum, China. Here, the body of the snake bends six times as it winds upwards, its jaws engulfing one side of the three-lobed channelled oil tray, whilst its tail coils at the base in perfect counterbalance. The body has lightly cast 'D' shaped scales; the surface covered in a green patina with patches of malachite and cuprite encrustation. The Bronze Age of China began in 1700 BC and declined after the Han Dynasty (206BC - 220AD). During the Han Dynasty lamps became the main source of lighting and an important household item. Lamps also provided light for the soul's path to the afterlife and most lamps in existence today have been excavated from tombs. The dating of this lot is consistent with the results of the thermoluminescence test, Oxford Authentication, Ltd, no. C204c75.

A Regency ormolu and patinated bronze figural mantel timepiece Bearing a signature for Webster, London but probably by Baetens, circa 1825 The circular four columnar pillar eight-day single chain fusee movement with anchor escapement regulated by a lenticular bob pendulum, the 3.5 inch circular white enamel Roman numeral dial now inscribed WEBSTER LONDON to centre and with steel moon hands within a gilt lappet leaf milled bezel, the case with gilt surmount cast as the bust of a Classical warrior over drum housing the movement cradled on honeysuckle decorated scroll supports, on plinth base applied to a relief floral garland to front over shallow cavetto skirt and gilt ball feet, 29cm (11.5ins) high. Several models of this timepiece sharing the same castings, form and specification are known signed either by Joseph van Baetens, F. Baetens or just Beatens who were a family firm of bronziers who also produced timepieces. Indeed a near identical example, complete with the same Classical bust surmount, was sold at Halls Fine Art, Shrewsbury in the their Country House & Asian Art sale held on 15th May 2019 (lot 431) realising £1350 hammer. Baetens worked in a similar vain to the Vulliamy family they were based at 23 Gerard Street, Soho, and according to Baillie, G.H. (in Watchmakers & Clockmakers of the World) were active around 1832. Condition Report: Movement is in clean working condition with no visible signs of alteration or significant replacements. The enamel dial has been restored to a good standard but the signature is most likely added. The bust surmount to the case and the festoon mount to the front have been regilded; the latter also has one securing nut missing at the rear so is a little loose otherwise case is in good original condition retaining original patination and gilding to bezel, scrolls and feet.Timepiece has pendulum and winding key.  Condition Report Disclaimer

A Chinese huanghuali tray, 17th/18th century, 36 x 50cmCONDITION: It was purchased by the client from a London Asian Art specialist as Huanghuali

A group of Ancient Greek pottery vessels, Attic and Apulia, 4th-5th century BC, most with old collection labels, the Apulian dish with central flower motif, 18cm diameter, a similar small krater, 9cm wide, five other vessels and a Cypriot bronze age ewer, 13cm Provenance - A. T. Arber-CookeCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He initially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

George Waller Parker (NY, MA, 1888 - 1957) Painting of figures in a Southeast Asian village. Possibly Bali. Signed lower center. Oil on canvas. Parker studied art at Brown University, at the Art Student League in New York City, and at the Grande Chaumiere and Academie Colarossi in Paris, France. He traveled extensively throughout Indonesia, including Bali, to Japan, Canada, and Mexico. Parker was a member of the Salmagundi Club, Portland Society of Artists, Allied Artists of America, Artists Fellowship, Audubon Artists, Societe Coloniale des Artistes Francaises, Fine Arts Federation of New York, American Artists Professional League, and Grand Central Art Galleries. Sight Size: 25 x 30 in. Overall Framed Size: 29 x 34 in.

Approximately 70 contemporary auction catalogues to include Bonhams, Christies, Sworders, Tennants, Dominic Winter, Bellmans and Wooley & Wallis - Furniture, Works of Art, Clocks, 20th Century Design, various Collections, Modern & Contemporary Prints, Country House Sales, Asian Art and Modern British Art (2 boxes)

NO RESERVE Asian Art.- Jackson (Anna) & Amin Ahlawat. Maharajah: The Splendour of India's Royal Courts, 2009 § Diamond (D.) & others. Gardens & Cosmos: The Royal Paintings of Jodhpur, 2009 § Komaroff (L.) & Stefano Carboni, editors. The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256-1353, New York, 2002 § Canby (Sheila R.) Shah 'Abbas: The Remaking of Iran, 2009, illustrations, many colour, the first original boards with dust-jacket, the rest original wrappers; and c.10 others on Indian and Islamic Art, 4to (c.15)