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Two Chinese scroll paintings on paper of deities, early 20th century, image 148 x 75cm and two late Qing ancestor scroll paintings, image 123 x 72cm, poor condition.CONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. 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.

THREE WEST AFRICAN TRIBAL ART CARVED FIGURES AND TWO ASIAN FISHERMAN CARVINGS (5)

A large Chinese famille rose figure of Budai and children, mid 20th century, height 28cmCONDITION: Structurally good, although uppermost muse (red jacket) with tiny chip to top of gilded flower, age probably post-war.Provenance - Alfred Theodore Arber-Cooke (c.1910-1993); thence by family descent. Arber-Cooke lived in Carmarthenshire, Wales and was an avid collector of European & Asian works of art and an author of the History of Llandovery. He was collecting from the 1940s to the 1980s.

A Chinese wood figure, early 20th century, of Guan Yu, seated wearing a full armour, 56cm highProvenance: The collection of The Hon. Robert Gaythorne-Hardy (1902-1973).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: Splits and cracks throughout. Chips to edges. Losses in various places. Right arm missing.

A Chinese Imperial porcelain sancai saucer dish,Guangxu (1875-1908), painted and incised with a green and aubergine five-clawed dragon encircling a flaming pearl amongst stylised clouds and flames against a yellow ground, the underside with fruiting vine, six-character Guangxu mark to base,13.2cm diameterProvenance: Formerly in a private European collection.Literature: A similar example, in the Asian Art Museum of San Francisco, is illustrated by He Li in 'Chinese Ceramics, A New Comprehensive Survey', No. 622, p.297; a similar pair of Daoguang saucer dishes were included by Marchant in their exhibition of 'Qing Mark and Period Monochrome and Two-coloured Wares', 1992, No. 55, p.67;another is illustrated by Peter Lam in 'Imperial Porcelain of Late Qing from the Kwan Collection', Art Gallery, The Chinese University of Hong Kong, 1983, No. 61, p. 78, where the author identifies the design as No. 48 on the 1864 imperial kiln production list and No. 47 on the 1900 imperial kiln production list.清光绪 素三彩黄地褐绿双龙抢珠纹碟 《大清光绪年制》楷书款Condition report: No obvious faults.

A Chinese jade belt hook,Qing dynasty (1644-1911), carved with a monkey seated on the back of a recumbent horse, the underside with a dragon-head hook and a raised circular panel, 6.8cm longProvenance: The collection of The Hon. Robert Gaythorne-Hardy (1902-1973).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.清 玉雕马上封侯带钩Condition report: The stone with natural cracks and russet inclusions and streaks. Chipped to rear right hoof.

WHITE JADE 'BAMBOO' VASE QING DYNASTY, 18TH CENTURY naturalistically carved in round as a section of bamboo, one side carved in openwork with two slender bamboo shoots with expanding leaves in low relief, each with a magpie perching atop, the stone of even white tone with very light greenish tinge (Dimensions: 8.8cm high) (Qty: 1)(8.8cm high)Qty: (1)Footnote: Provenance: property of a gentleman; formerly in the collection of an European diplomat Sven Hedin (1865-1952) who acquired it from Hong Kong in 1930s Note: A comparable jade paperweight of similar bamboo form and dated to the Qianlong period in the Heber R. Bishop Collection is in the collection of Metropolitan Museum of Art, accession number 02.18.575; a Qing dynasty jade double vase joined with bamboo, fungus, and phoenix is in the Avery Brundage Collection at the Asian Art Museum, San Francisco

VERY RARE BRONZE RITUAL TRIPOD VESSEL NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU TRIBE the shallow hemisphere body sturdily cast on three splayed tall feet with pointed ends, the slightly ribbed rim flanked with two looped ring handles on either side, the vessel covered overall with green and blue patination (Dimensions: 18.5cm wide) (Qty: 1)(18.5cm wide)Qty: (1)Footnote: Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.

PAIR OF VERY RARE BRONZE RITUAL TRIPOD VESSELS NEOLITHIC-TO-BRONZE-AGE-STYLE, MONGOLIA, DONGHU each vessel composed of a shallow dish body with inward turning rim, sturdily supported on a tall, hollowed foot terminating to a splayed base, the vessel covered overall with green and blue patination (Dimensions: 20.2cm high each) (Qty: 2)(20.2cm high each)Qty: (2)Footnote: Provenance: formerly in the Robert Hatfield Ellsworth (1929-2014) Collection, acquired from Sotheby's New York on 19th March 2002, lot 30 Note: Robert Hatfield Ellsworth (July 13, 1929 – August 3, 2014) was a Manhattan-based American art dealer of Asian paints and works of art. His art collection is mainly found in museums in the United States. He was a supporter of architectural restoration in Huangshan, China and is an honorary Chinese citizen.

After Lu Ji (1477-?)Phoenix and PaulowniaInk and pigment on silk depicting phoenix and other birds beside a large paulownias tree, Japanese mounting, ivory rollers. 194cm (76 3/8in) high x 101.5cm (40in) wide.Footnotes:呂紀（款） 山禽圖 絹本設色 立軸裝裱Provenance: Henri Vever (1854-1942)Sotheby's London, 17 June 1994, lot 24A French private collection來源：Henri Vever（1854-1942）舊藏倫敦蘇富比，1994年6月17日，拍品編號24法國私人收藏Henri Vever was one of the preeminent European jewellers of the early 20th century, operating the family business, Maison Vever, started by his grandfather. Vever was also a collector of a broad range of fine art, including prints, paintings, and books of both European and Asian origin.Lu Ji was a court painter under the reign of the Hongzhi emperor (1488-1505). He was well known for his naturalistic paintings of flowers and birds. See a painting of various auspicious birds and flowers by Lu Ji, 15th century, in the Palace Museum, Beijing, illustrated in Masterpieces of Chinese Painting: 700-1900, London, 2017, no.56.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

A bolt of silk yellow-ground brocadeLate Qing DynastyThe long bolt woven from gilt and polychrome silk threads in shades of green with intricate octagonal diaper designs enhanced with interlocking, zigzag and wave patterns on a rich yellow ground, one end with a seven-character inscription. 1420cm (559in) long x 71.5cm (28 1/8in) wide.Footnotes:清晚期 明黃錦地團壽紋緞匹料「蘇州織造臣奉曾」楷書繡款Provenance: Lieutenant-Colonel T.S. Cox, and thence by descentBonhams London, 12 May 2016, lot 256An important European private collection來源：T.S. Cox中校舊藏，並由後人保存倫敦邦瀚斯，2016年5月12日，拍品編號256歐洲重要私人收藏The inscription reads: '蘇州織造臣奉曾', which may be translated as 'Made by the Ministers of the Suzhou weavers'.Lieutenant-Colonel T.S. Cox graduated from Sandhurst Military Academy in 1892 and was commissioned in 1894 into the 16th Indian Cavalry, The Bengal Lancers. His noteworthy military service included in 1897, Tochi Field Force, N.W. Frontier; and in 1900, the China Expeditionary Force during the Boxer Rebellion, when he was awarded the US Military Order of the Dragon. In 1901 he was seconded as Advisor to the Chinese Government and awarded an Imperial decoration by Shanqi, Prince Su (1866-1922). In 1903 he was elected to the Royal Geographical Society. In 1903 he served as Captain in the Indian Army; between 1904–1907, he was posted in the D.M.O. War Office, London, the Balkans, Asia Minor, Somaliland, Abyssinia, Russian Central Asia, and Ottoman Middle East; in 1911 he was awarded the King George V Delhi Coronation Durbar medal. Between 1912-1913 he was posted in the Middle East and Central Asia. In 1915, he took part in the Gallipoli Campaign and in 1916 transferred to command the 37th Dogras. In 1917 he served in the Mesopotamian campaign and was wounded whilst serving in the Aden Field Force. In 1920 he served with the Waziristan Field Force, NW Frontier; in 1921 he transferred to command the 3rd Madras Regiment and in 1925 he retired from the Indian Army as Lieutenant-Colonel.Suzhou was an important weaving centre, especially during the Ming and Qing dynasties, when Imperial workshops were established there to produce silk fabrics for the highest-ranking members of society. Silks from the Imperial and official workshops were mainly used for Imperial attire, palace and temple furnishings, presentations and dress for the officials. It is recorded that, by the 18th century, Suzhou employed over four thousand workers and operated thousands of looms; see J.Mailey, Embroidery of Imperial China, New York, 1978, p.12.For a detailed discussion about silk weaving in Suzhou, see M.Dusenbury, Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art, New York, 2004.Compare with a related silk brocade panel, late 19th century, in the Minneapolis Institute of Art, Minneapolis, illustrated by R.Jacobsen, Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art, Minneapolis MS, vo.2, p.1140, no.572.蘇州織造是明清宮廷所設專為「上用」、「官用」製作綾羅綢緞的織造機構，直屬清宮總管內務府管轄，管理機戶織匠織造皇家服飾、宮廟陳設、及官員補服所用之緞匹。據記載，十八世紀，蘇州織造所轄工匠四千餘名，織機千計；見J.Mailey著，《Embroidery of Imperial China》，紐約，1978年，頁12。有關蘇州織造之詳述，參考M.Dusenbury著，《Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art》，紐約，2004年。比較明尼阿波利斯美術館藏一例十九世紀晚期匹料，收錄於R.Jacobsen著，《Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art》，卷二，2000年，明尼阿波利斯，頁1140，編號572。For further information on this lot please visit Bonhams.com

A BOLT OF SILK FUCHSIA-GROUND BROCADELate Qing DynastyThe long bolt woven from polychrome and gilt silk threads with intricate octagonal diaper designs enriched with interlocking, zigzag and wave patterns all on a fuchsia ground; together with two related sections woven with a seven-character inscription. 976cm (384 3/8in) wide x 72cm (28 3/8in) long. (3).Footnotes:清晚期 紅錦地團壽紋緞匹料「蘇州織造臣奉曾」楷書繡款Provenance: Lieutenant-Colonel T.S. Cox, and thence by descentBonhams London, 12 May 2016, lot 255An important European private collection來源：T.S. Cox中校舊藏，並由後人保存倫敦邦瀚斯，2016年5月12日，拍品編號255歐洲重要私人收藏The inscription reads: '蘇州織造臣奉曾', which may be translated as 'Made by the Ministers of the Suzhou weavers'.Lieutenant-Colonel T.S. Cox graduated from Sandhurst Military Academy in 1892 and was commissioned in 1894 into the 16th Indian Cavalry, The Bengal Lancers. His noteworthy military service included in 1897, Tochi Field Force, N.W. Frontier; and in 1900, the China Expeditionary Force during the Boxer Rebellion, when he was awarded the US Military Order of the Dragon. In 1901 he was seconded as Advisor to the Chinese Government and awarded an Imperial decoration by Shanqi, Prince Su (1866-1922). In 1903 he was elected to the Royal Geographical Society. In 1903 he served as Captain in the Indian Army; between 1904–1907, he was posted in the D.M.O. War Office, London, the Balkans, Asia Minor, Somaliland, Abyssinia, Russian Central Asia, and Ottoman Middle East; in 1911 he was awarded the King George V Delhi Coronation Durbar medal. Between 1912-1913 he was posted in the Middle East and Central Asia. In 1915, he took part in the Gallipoli Campaign and in 1916 transferred to command the 37th Dogras. In 1917 he served in the Mesopotamian campaign and was wounded whilst serving in the Aden Field Force. In 1920 he served with the Waziristan Field Force, NW Frontier; in 1921 he transferred to command the 3rd Madras Regiment and in 1925 he retired from the Indian Army as Lieutenant-Colonel.The Imperial court established a weaving and dyeing administration in Suzhou during the Ming and Qing dynasties, which was in charge of weaving silk fabrics for the highest-ranking members of society. The products included fabrics, Imperial robes, official costumes, and garments for daily use as well as for Imperial weddings and birthdays. For a detailed discussion about silk weaving in Suzhou, see M.Dusenbury, Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art, New York, 2004.Compare with a related silk brocade panel, late 19th century, in the Minneapolis Institute of Art, Minneapolis, illustrated by R.Jacobsen, Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art, Minneapolis MS, vo.2, p.1140, no.572.中國歷代都有為皇室營造服飾用品的專門機構，明清沿襲元代，於江寧營建皇家織造，後又陸續營建蘇州織造和杭州織造，合稱「江南三織造」，專為「上用」、「官用」製作綾羅綢緞。有關蘇州織造之詳述，參考M.Dusenbury著，《Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art》，紐約，2004年。比較明尼阿波利斯美術館館藏一例十九世紀晚期匹料，收錄於R.Jacobsen著，《Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art》，卷二，2000年，明尼阿波利斯，頁1140，編號572。For further information on this lot please visit Bonhams.com

Y Asian works of art including a variegated green hardstone "Buddha's Hand" pendant, together with some beads, pendant 4.3cms high; Japanese ivory puzzle box, 5cms square; bone and ivory rickshaw, 9cms high; carved hardwood stand and an oak seal box (quantity) Provenance: Berwick House, Shropshire Condition Report: All will benefit from a clean- generally fair condition- some rubbing to each from use Condition Report Disclaimer

BINYON, Laurence (1869-1943). A small archive of letters and pamphlets.Approximately 28 autograph letters signed, most with original envelopes, written to Louis V. Ledoux between 1926-1938. Laurence Binyon, English poet and dramatist, was a noted scholar of Japanese art. He developed a friendship with American poet and Japanese print collection Louis V. Ledoux (see lots 190 & 191). The archive of letters from Binyon to Louis Ledoux (nearly all addressed "Dear Ledoux") are written in a friendly tone. Binyon discusses his work in the Asian arts and his lectures, Japanese prints, and his travels and plans. [With:] 5 pamphlets by Binyon, including: Three Short Plays. 1930. Two PRESENTATION COPIES. -- Three Poems. 1934. PRESENTATION COPY. -- Art and Freedom. 1939. -- The Burning of the Leaves. 1944. -- Sophro the Wise. N.d. -- Dedication pamphlet to Binyon on the occasion of his retirement.Property from Historic Sengen House, Cornwall-on-Hudson, New YorkFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

HOOPER, S., ed. Robert and Lisa Sainsbury Collection. New Haven/Lond., (1997). 3 vols. Prof. ill. Ocl. w. dust-j. NOTE:I: European 19th and 20th c. paintings, drawings and sculpture. II: Pacific, African and native North American art. III: Precolumbian, Asian, Egyptian and European antiquities.

TREDER (M), HIROSHIGE, ONE HUNDRED FAMOUS VIEWS OF EDO, string bound soft cover with cardboard cover, Taschen; THE MUSEUM OF EAST ASIAN ART INAUGURAL EXHIBITION, Vols I & II, both with d.j., 3rd April 1993; FORSYTH (A), JADES FROM CHINA, The Museum of Modern Art, with d.j., 11th June 1994; KENNA (M), FORMS FROM JAPAN, with white d.j., Prestel, 2015; FAHR-BECKER (G), RYOKAN, A JAPANESE TRADITION, d.j., Konemann, 2000; and three other books (9)

A RARE PARCEL-GILT BRONZE CIRCULAR INCENSE BOX AND COVERHu Wenming seal mark, 17th centuryThe circular box with an incurving inner rim supporting the domed cover cast and gilt with a flowering magnolia tree and blossoming plants, the box with lingzhi, bamboo and blossoming prunus, all on geometric-pattern grounds.8.2cm (3 1/4in) diam. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十七世紀 胡文明製局部鎏金銅花卉紋蓋盒「胡文明製」篆書刻款Provenance: an English private collectionBonhams London, 4 November 2013, lot 513 (part lot)來源：英國私人舊藏倫敦邦瀚斯，2013年11月4日，拍品編號513（部分）See a related bronze incense box and cover, Hu Wenming mark, late Ming dynasty, illustrated by M.Maucuer, Bronzes de la Chine impériale des Song aux Qing, Paris, 2013, no.80. See also another example, illustrated by B.S.McElney, The Museum of East Asian Art Inaugural Exhibition: Volume 2, Chinese Metalwares and Decorative Arts, Bath, 1993, no.289.For further information on this lot please visit Bonhams.com

AN APPLE-GREEN-GLAZED JARKangxiOf oviform, the exterior covered in a soft apple-green glaze with a light matrix of crackle, the interior and recessed base with similar crackle-suffused white glaze.13.5cm (5 3/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清康熙 綠釉罐Provenance: an Asian private collectionSotheby's London, 8 November 2006, lot 168來源：亞洲私人舊藏倫敦蘇富比，2006年11月8日，拍品編號168See a related jar illustrated in the International Exhibition of Chinese Art, London, 1935, no.2357; see also another example in the Exhibition of Chinese Arts, C. T. Loo, New York, 1941, no.757; and The Prince Kung Collection, New York, auction catalogue, 1913, lot 434. See also a related green-glazed vase, 18th century, illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, no.883.For further information on this lot please visit Bonhams.com

FIVE ARCHAIC JADE AND HARDSTONE CARVINGSNeolithic Period to Shang DynastyComprising a green and black jade axe blade, Neolithic period, 16.5cm (6 1/2in) long; two hardstone axe blades, Neolithic period, the largest 16cm (6 1/4in) long; a green and russet jade circular cong, Neolithic period, 9cm (3 1/2in) diam; and a serrated amber-toned jade bi disc, Neolithic period to Shang dynasty, 5cm (2in) wide.(5).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價新石器時代至商 玉斧、石斧、玉琮及玉璧 一組五件Provenance (the top right blade): Professor Max Loehr (1903-1988)J. J. Lally & Co., New York, 1993Sothebys' Paris, Early Chinese Jade and Hardstone Carvings Including The Collection Of Max Loehr, 15 December 2016, lot 22 (part lot)Published, Illustrated and Exhibited: J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, no.11來源（右上石斧）：羅樾教授（1903-1988）舊藏紐約古董商J. J. Lally & Co.，1993年巴黎蘇富比，「中國古代玉及石器 - 包括羅樾珍藏」拍賣，2016年12月15日，拍品編號22（部分）展覽著錄：J. J. Lally & Co.，《Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others》，紐約，1993年，編號11Professor Max Loehr (1903-1988) was one of the most pre-eminent Western scholars of early Chinese art. His research embraced archaic jades, bronzes and classical Chinese paintings. Loehr was appointed curator of the Asian collections at the Museum für Völkerkunde in Munich in 1936, after obtaining his PhD in Far Eastern art at the University of Munich. In 1940, Loehr moved to Beijing and soon after was appointed director of the Sino-German Institute, where he remained until 1947 when he joined the faculty of Qinghua University until his return to Germany in 1949. During his time in China, Loehr put together a formidable collection of archaic jade and hardstone carvings, a slightly academic collecting area but one that linked to his interests and research in Chinese archaeology. In 1951, Loehr subsequently moved to the US, first accepting a professorship at the University of Michigan, and in 1960 becoming the first Abby Aldrich Rockefeller Professor and Curator of Oriental Art at the Fogg Museum at Harvard University until his retirement in 1974.Top left blade: Compare with a serpentine axe excavated from Sipo village in Lantian County, Xi'an, in 1986, illustrated in Fuxi Sun, Xi'an Wenwu Jinghua Yuqi, Xi'an, 2004, p.20. See also a further Liangzhu culture example illustrated in Shanghai Museum: Ancient Chinese Jade Gallery, Shanghai, 1998, p.7.Bottom left blade: Compare with a similar blade illustrated by Na Chih-Liang, Zhongguo Gu Yu Tushi, Taipei, 1990, pl.135B. Note also a blade illustrated in The Panlongcheng Site: Report of Archaeological Excavation from 1963–1994, vol.2, Beijing, 2001, pl.142, fig.2. See also a final example illustrated by A.Salmony, Archaic Chinese Jades from the Edward and Louise B. Sonnenschein Collection, Chicago, 1952, pl.XL11.1.For further information on this lot please visit Bonhams.com

AN UNUSUAL BRONZE 'KNEELING ENTERTAINER' INCENSE BURNER AND COVER, BOSHANLUHan DynastyThe vessel comprising a pierced cover cast as a pierced mountain-peaks range shallowly decorated with wild animals and human figures and surmounted by a seated monkey, on a bowl raised aloft on the right arm of a crouching 'strong man' wearing a pointed hat, his face fully defined with bulging eyes, large nose and open mouth with his tongue stuck out.20.6 cm (8 1/8in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價漢 青銅人物博山爐Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2009, no.3展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2009年，編號3It is possible that the mountain range depicted on the cover of the present lot represents Mount Kunlun, residence of the 'Queen Mother of the West', or Penglai, the abode of Daoist Immortals. For a detailed discussion about boshanlu incense burners, see J.Rawson, 'Boshanlu: Mountain Censers of the Western Han Period: A Typological and Iconological Analysis', in Archives of Asian Art, vol.45, 1992, pp.6-28. Mountain-shaped incense burners dating to the Han dynasty and supported by human figures are much rarer then their simpler counterpart where the mountain-shaped cover is supported on a stem foot. A bronze example related to the present lot was excavated in 1968 from the tomb of Dou Wan, consort of Liu Sheng (d.113 BC), at Mancheng, Hebei Province, illustrated by J.Rawson, Mysteries of Ancient China: New Discoveries from the Early Dynasties, pp.172-173, no.82. A closely-related example in the Nelson-Atkins Museum of Art, Kansas City, is illustrated by K.Munakata, Sacred Mountains in Chinese Art, Chicago, 1991, p.72, no.17.For further information on this lot please visit Bonhams.com

A GREEN-GLAZED POTTERY MODEL OF A STOVEEastern Han DynastyThe well-potted model decorated along the top edge and flat side with a cross-hatch brick pattern, the top with two circular aperture for cooking, the surface covered with a green lead glaze transforming in places to a silvery iridescence, Japanese wood box.32cm (12 1/2in) long. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價東漢 綠釉陶灶Provenance: The Toguri Museum of Art, no.230 (label)Sotheby's Olympia, London, 10 June 2004, lot 551 (part lot)來源：東京戶栗美術館，編號230（標籤）倫敦蘇富比奧林匹亞，2004年6月10日，拍品編號551（部分）The Toguri Museum of Art, Tokyo, was founded in 1987 by Mr Tohru Toguri, a Japanese businessman and eminent collector of Asian art. It is acclaimed for Japanese, Chinese and Korean ceramics, and has one of the finest collections of ceramics in Japan. Mr Toguri began collecting Chinese ceramics as early as the 1960s, but it was during the 1970s and 80s that the bulk of the Chinese collection was formed.This miniature stove would have been interred in burials dating to the Han dynasty, and together with a large variety of furnishing, including models of wells, carriage sheds, pens, stables, animals and agricultural and farm workers, aimed at sustaining the tomb occupants in their afterlife.See related examples illustrated by C.J.Lewis, Into the Afterlife: Han and Six Dynasties Chinese Tomb Sculpture from the Schloss Collection, New York, 1990, no.10; one in the Royal Ontario Museum, illustrated by A.Paludan, Chinese Sculpture: A Great Tradition, Chicago, 2006, fig. 56; and another in the Ashmolean Museum, illustrated by W.Watson, Pre-Tang Ceramics of China: Chinese Pottery from 4000 BC to 600 AD, London, 1991, pl.143.For further information on this lot please visit Bonhams.com

A RARE PAIR OF CHAMPLEVÉ ENAMEL AND GILT-BRONZE QUATREFOIL JARDINIÈRESQianlong Each four-lobed oval vessel raised on four ruyi feet, the flaring sides rising to a flat rim chased with lotus reserves, both ends set with a high-relief lotus and acanthus-leaf loose-ring handle, the body brightly enamelled in tones of lapis-blue and turquoise with lotus-blossom cartouches beneath a chased key-fret border, each vessel containing a fitted bronze lobed oval liner, possibly original. 25cm (9 7/8in) long. (4).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清乾隆 銅胎鏨胎琺瑯纏枝蓮紋海棠式花盆一對Compare with a related flowerpot, Qianlong, in the collection of the Museum of Asian Art, Moscow, illustrated by M.A.Neglinskaya, Chinese Cloisonne' Enamels Fifteenth to Twentieth Century, Moscow, 2006, no.108, pp.52 and 149; and see the similar design and workmanship on a gilt-bronze and champlevé enamel flowerpot, mid Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol.4, Beijing, 2011, pl.26.For further information on this lot please visit Bonhams.com

A RARE GREEN-GLAZED 'YAKSHA' LAMPNorthern Qi DynastyModelled as a muscular male figure kneeling on a domed base applied with lotus lappets, the figure with long hair, elongated earlobes and hunched shoulders, supporting on his head a bowl also applied with petals to the exterior, covered overall in a glassy olive-green glaze, the base unglazed revealing the red biscuit, box.15cm (5 7/8in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價北齊 綠釉胡人力士燭台Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2007, no.21展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2007年，編號21The result of Oxford Authentication Ltd. thermoluminescence test no.C206f40, dated 12 December 2006, is consistent with the dating of this lot.Oxford Authentication Ltd.公司熱釋光檢測結果（2006年12月12日，編號C206f40）顯示年代與本拍品年代一致。Of Central Asian or Indian inspiration, vessels of this type are typical of Chinese sculpture of the second half of the 6th century. Examples of these vessels in various mediums can be found in Museum collections worldwide. See for example, an ivory pedestal base in the collection of the Cleveland Museum of Art, illustrated by W.Watson, Chinese Ivories from the Shang to the Qing, London, 1984, p.12, no.11. A pedestal with similar base and top is in the collection of the Metropolitan Museum of Art, New York, illustrated by W.Cox, The Book of Pottery and Porcelain, vol.1, New York, 1994, pl.27; and a related lamp with a human-figure supporter is illustrated by M.A.Rogers in 'Chinese Ceramics in the Matsuoka Museum of Art', Part 1, Chinese Ceramics: Selected Articles from Orientations 1982-1998, Hong Kong, 1999, p.78, fig.18.Related applied decoration can be seen on pottery excavated from the tomb of Lou Rui (d.570 AD), examples of which are illustrated by J.C.Y.Watt et al., China: Dawn of a Golden Age, 200-750, New York, 2004, pp.244-245, nos.139-141.For further information on this lot please visit Bonhams.com

A LARGE PAINTED POTTERY MODEL OF A CAMEL WITH A 'FOREIGNER' RIDERTang DynastyThe tall powerfully-modelled camel standing four-square, its tall hair-lined neck reared back, the two-humped body surmounted by a foreign rider seated between the humps, his legs bent to secure his position, painted in orange and terracotta pigments. 56.6cm (22 1/4in) high. Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 彩繪胡人騎駱駝陶俑Published, Illustrated, and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2005, no.22.展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2005年，編號22The result of Oxford Authentication Ltd. thermoluminescence test no.C100y11 dated 25 October 2000, is consistent with the dating of this lot Oxford Authentication Ltd公司熱釋光檢測結果（2000年10月25日，編號C100y11）顯示年代與本拍品年代一致。Figures of camels and riders are known, but this Central Asian rider with his distinctive hairstyle is particularly unusual. Compare with a similar figure on a camel illustrated by P.L.Scheurleer, Asiatic Art in the Rijksmuseum, Amsterdam, 1985, pp.48-49, no.24.For further information on this lot please visit Bonhams.com

SU LIUPENG (1791-1862)Scholars gathering in gardensInk and pigment on paper, a set of four leaves, each inscribed with a colophon, signed and with a seal of the artist. each 30cm (11 3/4in) x 52.5cm (20 5/8in) (4).Footnotes:Two paintings by the same artist were sold in our Hong Kong saleroom, Fine Chinese Paintings and Contemporary Asian Art, 23 Nov 2014, lot 1300.For further information on this lot please visit Bonhams.comAll mounted, two attached to a cardboard back through the corner edges. General surface deterioration, foxing and large areas of water damage. General old smoothed out creases and scattered small infilled holes. The painting with three scholars with an arrow vase particularly foxed and water damaged, with the inscription almost illegible. The painting of the scholars looking at paintings with also damage to the inscription, and a large area of damage and a large infilled hole around the ceiling and pine tree.

An English painted paper and 'lacquer' fan, late 18th century and a 19th century Chinese embroidered silk purse the fan with lacquered and abalone inlaid 'dragon' sticks and objects to the guards, 25.5cm the purse woven with aquatic creatures, 9cmCONDITION: Some of the fan sticks are damaged, splits to the paper leaf and losses to lacquer, Purse silk is faded and splitProvenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, 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 box of Asian Art books and catalogues and krug glass volumes

BronzeIndia , Vijayanagar 16th centuryDimensions: Height 63 cm by 32 cmWeight: 20460 gramsThe Goddess of Mother Earth standing on a round lotus base attached to a square base with geometrical pattern. She has four arms, two are holding the discus wheel and the conch shell, while the other two are showing the abhaya and varada mudra. Dressed in a long striped dhoti with festooned waistbelt and armlets, bracelets and necklaces adorn her body. Her ears are adorned with circular earrings, a high conical headdress. Vaishnavi is one of the matrikas, or mother goddesses central to Hinduism and is often depicted alongside Varahi, Indrani and Chamunda. She is considered the shakti, or female manifestation of the god Vishnu.Provenance:1961 | Purchased from Carlebach Gallery , New York 1961 - 2014 | Zanesville Museum of Art, OH USADeaccessioned in 2013 and sold at auction on 3/24/2014 through Cowan’s Auctions, Cincinnati, Ohio, U.S.A.2015 | Gatsby and Brunson Gallery Auction , NY , USA2015 - 2021 present | International Fine Asian Art collection

A selection of reference books on the subject of Asian art, to include a mid 20th Century Japanese 'The Masters View of Ikebana', Owen Jones 'The Grammar of Chinese Ornament' and 'The Grammar of Japanese Ornament', Anthony Du Boulay 'Chinese Ceramics' and others on samurai swords and netsuke (group)

A Chinese Peking knot pillow case with a design of ornaments and flower heads, 43cm x 38cm, together with four miniature Indian and Asian art work executed on paper (5)

C. 618 - 907 AD. Chinese Tang Dynasty. A beautiful hollow-moulded terracotta horse, modelled in a standing pose on a square base. The animal's neck is stretching forward, with its 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. Decorated in a cream pigment the terracotta coloured saddle and saddle cloth are still vibrant. The horse's trappings include an elaborate harness with dangling tassels and a bridle with matching tassels. The saddle blanket is also modelled with dangling 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. 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:710mm / W:740mm ; 16kg

C. 206 BC - 220 AD. Han dynasty. Amazing Terracotta Figure of a Qilin . The figure is depicted crawling with his head raised and mouth open as if in a roar. Looped tail, nicely detailed claws on each leg. The animal has white pelt and coral-pink pigmentation to the face and in the inner ears. The eyes are of striking blue colour. The qilin is a mythical animal that is associated with good luck, and peace (worldly and inner peace). When a qilin was seen, it was thought that a great ruler or scholar were born at that given moment. It is normally represented with the body of a dragon, the body of a tiger or a deer, and an ox's tail in many cases. The qilin is on certain representations covered with scales like a fish; and sometimes, it has flames over its body. In tales, it can also spout flames from its mouth to incinerate evil people.It is generally a peaceful creature, however. In fact, when it walks it steps so lightly that it doesn't even bend down the grass. It can also walk across the water, walking on or hovering on the surface of the water. It is said that a qilin was seen before the birth of Confusius. The qilin is one of the four noble animals, along with the dragon, the phoenix, and the tortoise according people living in South East Asia. A qilin is said to live for 2000 years and can bring babies to deserving parents; just alike the storks in Europe do. 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:660mm ; 8.9kg

c.10th-12th century AD. Seljuk. Beautiful bronze lamp from the Seljuk Empire. The lamp has a globular body, projecting spout, and a curving handle with a thumb rest. The rim is incised with various Islamic motifs and symbols. This lamp is a beautiful example of Seljuk art and reminds the viewer of Medieval Islamic folklore surrounding genies entrapped in lamps. 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 of Asian Art formed in the 1990 on the UK and European art market. Size: L:450mm / W:163mm ; 400g

c. 1200 to 800 BC. Western Asiatic, Luristan culture. Extraordinarily elaborately worked out pin with a stylized ibex with cylindrical mouth, rolled goatee and high raised antlers with applied studs. The ibex originate from a bronze openwork sphere. A masterpiece of Luristan bronze art! The use of pins like this is uncertain; they were probably both used as votive offerings, but also worn as decoration or for fastening clothes. 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:257mm / W:40mm ; 300g

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