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Banksy (British, b. 1974) Group of four Banksy's books and ephemera comprising one Banksy's Bristol HOME SWEET HOME art book, one Banksy Wall and Piece art book, one Dismaland Bemusement Park brochure and one Dismaland Bemusement park map  Printed on paper Brochure measure approx. 34cm x 29cm Banksy (British, b.1974 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Elisabeth Collins (British, 1904–2000) Untitled  Ink and watercolour on paper Signed lower right in pencil Framed & glazed Measures approx. 27cm x 21cm (10.5" x 8.5") Elisabeth Collins (British, 1904-2000) was a painter, sculptor. Trained at Leeds School of Art and Royal College of Art, London. Elisabeth Ramsden; on 3 April 1931 married Cecil Collins. Both artists worked in similar styles and often featured elements of folklore or fantasy in their paintings, which led to Elisabeth Collins' work being somewhat overshadowed by that of her husband. Elisabeth also frequently modelled for her husband and worked to support and encourage his work. For a time she exhibited under the name Belmoat to distinguish her work from his. From 1937 to 1945 the couple lived near the artistic community at Dartington Hall, the then home of Leonard Elmhirst and Dorothy Elmhirst, and this was perhaps Elisabeth Collins' most productive period as an artist.[5] Working in gouache, ink and watercolour, Collins produced dream-like images of mystical figures that recalled the work of the surrealists she had previously met in Paris in the early 1930s. From 1948 the Collinses lived in Cambridge where they were among the founders of the Cambridge Society of Painters and Sculptors.  At other times the couple lived in London, Yorkshire and Oxford. In 1973 Collins and her husband were jointly commissioned to decorate a chapel in Chichester Cathedral.[5] After his death in 1989, Elisabeth Collins used her husband's studio to produce a body of work. Retrospective exhibitions of Elisabeth Collins' art were held at both the Albemarle Gallery in London during 1989 and at England & Co. in 1996. Following the England & Co. exhibition, the Tate in London acquired four works by her. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.  

Cecil Collins (British, 1908-1989) The Joy Of The Fool, 1944  Roneo print on paper Signed and numbered 13/30 in pencil by the artist  Personal message written ' With love and friendship from Elisabeth and Cecil September 19th London 1973 ' Framed & glazed Measures approx. 30cm x 20cm (12" x 8") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cecil Collins (British, 1908-1989) Kneeling Fool, 1977 Lithograph on paper Signed and tilted by artist Artist's proof and dated 1977 in pencil by the artist Personal message written "For Eric and Anne, with warm best wishes from Cecil and Elisabeth Collins". Framed & glazed Measures approx. 20cm x 13cm (8" x 5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cecil Collins (British, 1908-1989) The Voice of The Fool, 1944 This edition limited to 30 copies was drawn and printed by Cecil Collins for this friends. Screenprint on paper Signed and numbered 22 in pencil by the artist Framed and glazed Measures approx. 40cm x 32cm (16" x 12.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

After Banksy (British, b.1973) Walled Off Hotel "Palestine" poster and a "The Walled Off Hotel - The Worst View in The World" porcelain mug Poster measures approx. 57cm x 40cm, mug measures 12cm in diameter including the handle. If postage is required, any print within this sale will be posted rolled unless informed otherwise. Banksy (British, b.1973 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Mike Bernard (British, b. 1957) Orange Rooftops, Cornwall,  Fishing village  Mixed media on paper Signed lower right Framed & glazed Measure approx. 47cm x 76cm (18.5" x 30") Mike Bernard was born in Kent in 1957. He trained at the West Surrey College of Art & Design, Farnham, followed by postgraduate studies at the Royal Academy Schools. Since then he has exhibited widely in London and the provinces. The artist was elected a member of the Royal Institute of Painters in Watercolour in 1997. He moved to Devon in 2008 where he has been inspired by the amazing light. Mike Bernard enjoys experimenting with media and techniques, often using mixed media incorporating collage and acrylics. Mike has used paper collage for several years and has developed a highly original and appealing style of his own. As a base to his paintings it has allowed him to create abstract structures that in turn develop into those “happy accidents” which come about from time to time. Random textures, colours and shapes suddenly fall into place. This method allows picture to evolve their own personality as they progress, which avoids them becoming over-representational. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Kate Nicholson (British, 1929-2019) Untitled (Coastal Light), 1967 Watercolour and gouache on paper Signed indistinctly  Measures approx. 73cm x 52cm (29" x 20.5") Kate Nicholson, painter, especially of still lifes and flower pieces; teacher. Nicholson was born at Bankshead, Brampton, Cumberland, the only daughter of the artists Ben and Winifred Nicholson. She attended Bath Academy of Art, 1949–54, after which she taught for two years at Totnes High School. She had visited Cornwall and in 1956 settled in St Ives. She worked there, at Bankshead and regularly visited Greece. As well as showing with Penwith Society from 1956, Kate Nicholson was included in the Arts Council tour Six Young Painters in 1961 and The Nicholsons, Crane Kalman, 1983. Solo shows included Waddington Galleries, Marjorie Parr Gallery and LYC Museum and Art Gallery, Brampton, 1981. Arts Council holds her work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Keith Proctor (British, b. 1961) Just Us Two  Oil on Canvas Signed by artist on lower right Framed Measures approx. 90cm x 68cm (35.5" x 27") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Michael Lawes (British, b. 1948) Tower Bridge, 2007 Oil on Board Signed by artist on lower right Framed Measures approx. 75cm x 75cm (29.5" x 29.5") Michael Lawes (British,b 1948)  studied at Birmingham College of Art & Design 1964-68. He became a member of the Royal Birmingham Society of Artists in 1994. His geometric abstract reliefs are concerned with the interaction between complimentary colours, 2D & 3D shapes, actual and optical space and the play of light on projected surfaces. The interaction between all these elements of the my work changes in relation to the spectators angle of vision. Lawes's work has appeared in numerous exhibitions in the Midlands, London and south west of England. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cecil Collins (British, 1908-1989) Head In A Tree (Tree And Hills), 1944 Roneo print on paper Signed and numbered 11/30 in pencil by the artist Framed & glazed Measures approx. 21cm x 27cm (8.5" x 10.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cecil Collins (British, 1908-1989) Kneeling Fool, 1977 Lithograph on paper Signed, tilted and numbered 15/50 in pencil by the artist Personal message written ' For Anne, for her birthday, many Happy Returns of the Day with Love from Elisabeth and Cecil June 15th 1980 ' Framed & glazed Measures approx. 20cm x 13cm (8" x 5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cecil Collins (British, 1908-1989) Head, 1939 Drypoint on paper Signed, tilted, dated and numbered 12/40 in pencil by the artist Framed & glazed Measures approx. 8.5cm x 7.5cm (3.5" x 3") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Beryl Cook (British, 1926-2008) Street Market Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped FDA  Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Beryl Cook (British, 1926-2008) Two On A Stool Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped ECA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Lin Fengmian 林风眠 (1900 - 1991) Pair of Herons 双鹭 Oil on canvas Signed and mounted Measures approx. 60cm x 80cm  Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Darren Baker (b. 1976) Black Seduce, 2014 Oil on canvas Signed by artist on lower left Comes with Certificate from White Rose Fine Art Framed Measures approx. 30cm x 38cm (12" x 15") Darren Baker (British, b1976) graduated from Bradford Art College in 1998. After College, Baker quickly became an acclaimed artist. By age 23, Baker exhibited his artwork in London and New York and became the official artist of The Professional Footballer & 39;s  Association (PFA). Baker’s artistic success continued to develop as he was commissioned to capture a portrait of HM Queen Elizabeth II and later became the official artist for the London Olympics 2012. Baker’s artworks are at the forefront of classical realism, with The Sunday Times describing his work as “thrilling” and “virtuosic”! This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Raymond Leech RSMA (British, b.1949) Another One Of Those Crazy Feelings Oil on Board  Signed by artist on lower left Comes with Certificate from Jamie Leigh Fine Art Together with limited edition signed print of same painting. Framed Measures approx. 60cm x 58cm (24" x 23") Raymond Leech (British, b 1949) studied fine art and graphics at Great Yarmouth College of Art from 1965 to 1970. Leech works across various mediums and incorporates a sense of motion, romance, and rhythm through his figurative works and coastal scenes. Leech is part of the Royal Society of Marine Artists, the Guild of Norwich Painters, and the East Anglian Group of Marine Artists and he has won various awards for his works, such as the Not The Turner Prize. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Cecil Collins (British, 1908-1989) Head, 1974 Lithograph on paper Signed and numbered 10/75 in pencil by the artist Framed & glazed Measures approx. 40cm x 32cm (16" x 12.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A Khmer greystone head of Buddha, likely 13th to 14th century. The face is carved with a subtle smile and the figure wears an elaborate headdress. With a wooden display stand.Provenance: Hindman's Chicago, sale 785, "Chinese and Southeast Asian Works of Art," September 24, 2020, Lot 370; Private Minnesota Collection.Height: 14 in x width: 6 in x depth: 6 in.Condition:The work is in overall stable condition with no major damages, cracks, or restorations. Wear and erosion throughout consistent with age and display. The top of the headdress is chipped. Light wear to the wooden plinth. There is a Hindman's auction sticker affixed to the wooden plinth.

Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Zulu Girl signed and dated 'TRETCHIKOFF/ 51' (lower right)oil on canvas 66.5 x 49.5cm (26 3/16 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist by Mark & Aleen Dawson;Bequeathed to Aleen Dawson's niece, Donna Regan Lefeve;By direct descent to the current owners.Never exhibited in the lifetime of the artist, this work was painted during Tretchikoff's golden decade. It was in the 1950s that he produced such mass-market masterpieces as the Chinese Girl (a high-profile sale was handled by Bonhams in 2013), Miss Wong and Balinese Girl. The Broadway actor Mark Dawson purchased Zulu Girl in 1953, when Tretchikoff brought his show to Chicago. The second painting that Dawson acquired from the artist was the iconic Lost Orchid (seen also in this catalogue).It is probably an early version of the Zulu Girl, a work that first became available in reproduction in 1952, during Tretchikoff's tour of South Africa. The following year, he brought both versions to the USA for his tour of North America. After the phenomenal success of the tour, he took one of the Zulu Girls to London, where Frost & Reed, an old Bond Street art dealership, had lithographs made of the painting. Tretchikoff may be credited with introducing the African theme in popular prints of the post-war Britain. If we examine the issues of the Art Bulletin, a journal of the Fine Art Trade Guild, the leading association of British makers, distributors and framers of art reproductions, we will notice an absence of African portraits until Tretchikoff's Zulu Girl appeared on the market in 1955. The Zulu Girl is Tretchikoff's typical 'exotic' portrait. In his oeuvre, it is this kind of portraits that is most sought after. Unlike his pictures of Asian women, it is purely South African in its subject matter. With such studies, Tretchikoff created images of serenity for the industrialised world. In his exhibition catalogues, Zulu Girl was described as follows, 'A portrait in repose, suggesting the essential spirit of Africa, still so little known and so greatly misunderstood by the European.'The early version, like the often-reproduced picture, is dated 1951. The most obvious difference is the presence of a dappled red-and-blue background in the work in the Dawson collection. However, a more significant difference is the unembellished look of the model in this version. Tretchikoff tended to produce pastiches, where visual elements of different cultures were put together for effect. In the better-known Zulu Girl, as well as in many other 'ethnic' portraits by Tretchikoff, the model wears European jewellery that contrasts with her traditional African dress. Her large gold earrings, bracelet and necklace were unaffordable to a Zulu woman in apartheid South Africa.Depicting the same model without the inappropriate accessories, the Zulu Girl from the Dawson collection is a more authentic representation of African reality.We are grateful to Boris Gorelik for his completion of this footnote.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Two Japanese jade set kogai, length 16.5cm and 13cm. Two Japanese crystal kogai, length 13.5 and 12.5cm; an Art Deco yellow glass kogai, length 13.5cm; and a Japanese gold and black lacquer hairpin, signed, length 11cm and another unsigned, length 12.5cm; and a Japanese lacquer comb with three matching hairpins, all 19th and 20th century. (11)From the collection of Pat Johnstone, a Cornish artist and sculptor, who also had a passion for collecting Asian antiques and especially Japanese combs, kogai and kanzashi. Her collection has been curated for over 40 years and includes items from the Miriam Slater collection.

Edward F. Strange. The Colour-Prints of Hiroshige. Frank A. Turk. The Prints of Japan; Victorian and Albert Museum. Japanese Colour Prints, 1952; George Allen and Unwin. The Birth of Japanese Art; and The Collection of Keisuke Serizawa. (5)From the collection of Pat Johnstone, a Cornish artist and sculptor, who also had a passion for collecting Asian antiques and especially Japanese combs, kogai and kanzashi. Her collection has been curated for over 40 years and includes items from the Miriam Slater collection.

Four Asian sale catalogues and seven reference books & magazines. (11) To include Bonhams 'The Inder Rieden Collection of Fine Chinese Porcelain, November 2011; Hardback 'Exceptional Chinese Art From a European Private Collection', December 2015; Imperial Splendour, December 2015; Asian Art, May 2016; China The Three Emperors 1662-1795; Chinese Art Auction Records, 2000; Dr. Fischer auction catalogue, October 2012; two Orientations magazines and two Jacqueline Simcox textiles brochures. (11)These are generally in a vg condition, with a couple suffering from some light finger soiling.n MMore photos have been uploaded.

A Chinese grey-green jade vase, Qing Dynasty, 18th/19th century. With attached circular paper label inscribed 'L. WANNIECK, PARIS, Kien Song 1736/1795', of baluster form, with ring handles above leaf carved shoulders, the body carved in low relief, with central acanthus leaf decoration above the foot-rim, on original carved wood stand, vase height 12.5cm, width 5.5cm, depth 1.5cm, stand height 2.7cm.Leon Wannieck was a Parisian Asian art dealer in the early 1900's. The Maison L. Wannieck possessed the historical particularity, rare in that period for an antique dealer specialised in Chinese arts in the period, to have founded in Beijing on the Tiananmen Square in 1902. This parent company, where Francis Perault seems to have served as relay, every two weeks or so supplied the Paris gallery, located first at 5 rue d'Enghien (10th arrondissement), then at 1 rue Saint-Georges (9th arrondissement) from 1914 on (Wannieck L. 1911). Some pieces were acquired from Beijing antique dealers, whereas others were purchased from locals undertaking digs (Rostovtzeff M. 1929, p. 111). He or his nephews appear to have archaeologically dug items up themselves! Private collection of a Parisian lady (1876-1964), whence by family descent to the present South West Cornwall vendor. This is in excellent unrestored condition

TWO VINTAGE ASIAN ART SILKS TOGETHER WITH A DRUMMER'S SWORD WITH SCABBARD

Masterpieces of Indian Textiles, Rustam J. Mehta. Textiles and Ornaments of India, The Museum of Modern Art, New York; The Cotton Weavers of Bengal, Debendra Bijoy Mitra; The Master Weavers, The Festival of India in Britain, Royal college of Art Autumn 1982; The Arts & Crafts of Kerala, Dr Stella Kramrisch; Francesca Galloway, Asian Textiles, Indian Miniatures & Works of Art 2000; Museums of India, National Handicrafts and Handlooms Museum, New Delhi, Jyotindra Jain and Aarti Aggarwala; and Monks and Merchants, Silk Road Treasures from Northwest China, Annette L. Juliano and Judith A. Lerner. (8)

Asian Art Books, comprising: Four Volumes of 'A Journey into China's Antiquity' Compiled by the National Museum of Chinese History [Editor-in-Chief, Yu Weichao; Managing Editor Xiao Shiling]. All four published by Morning Glory Publishers [1997], covering the periods from the Palaeolithic age to the end of Qing. Together with 'Seeing the Sacred in Samsara/An illustrated Guide to the Eighty Four Mahasiddhas' by Donald S.Lopez Jr. [5]

Indian and other Asian Works of Art. including, a brass tray depicting a boar hunt, an embroidery of an elephant, cow bell, carved wooden seated Buddha, fly-whisk, together with a pair of tribal daggers, possibly African

A portable oratory for suspention, Namban Art, fully black lacquered wood with mother-of-pearl inlay and gold decoration "Birds and flowers" and "Landscapes", Cornice with medallion "Insignia of the Society of Jesus", original copper clasp, nippo-portuguese - Momoyama period (1573-1615), faults, mounts and later consolidation plaques, painting missing. Notes: Portable oratory Japan; ca. 1580-1620 Lacquered and gilded wood with mother-of-pearl inlays; copper fittings 69.0 x 51.0 x 7.0 cm (closed); 69.0 x 102.0 x 7.0 (open) A large, rare, and significant Namban portable oratory, or two-door retable, made in Japan for export to the European market. It features a low curved pediment and simple narrow socle, and is fitted with two doors that once covered a devotional painting, now lost. Designed to be hung on a wall, this oratory was created for private devotion within the context of the Jesuit missionary work in Asia, specifically in Japan. Made from a lightweight wood, likely the Japanese cypress (Chamaecyparis obtusa), locally known as hinoki, it is lacquered (urushi) in black and decorated in gold with mother-of- pearl (raden) inlays. The back panel is lightly coated with lacquer on both sides, and the copper fittings (kazarikanagu) include four hinges (chotsugai), a two-part clasp for securing the doors when closed, and a suspension ring on top. The sides and top are decorated with East Asian arrowroot vines (Pueraria lobata), known as kuzu. Both the exterior and interior sides of the doors are exquisitely decorated in horror vacui, featuring large panels divided into two registers. These panels, as those on the interior, are bordered by a typical frieze of the ‘endless pearl’ pattern (shippotsunagi). This distinctive frieze, inherent to this production, is also used on the border of the arched pediment, the socle, and the interior frame that once secured the now lost painting inside, possibly on copper. The interior frame also boasts a frieze of meandering vines and tendrils (karakusa), characteristic of this production. The exterior side of the left door is decorated with two long-tailed birds: one below perched on the branches of fully bloomed tree peonies (Paeonia x suffructicosa), known in Japan as botan, and the other above, hovering over flowering plants of the Chinese bellflower (Platycodon grandiflorus), or kikyo. On the interior side, a large branch of the Chinese persimmon (Diospyros kaki), or kaki, is depicted on the lower register, while the upper register features, on a rocky landscape, flowering plants of the chrysanthemum (Chrysanthemum sp.), or kiku. Similarly, the exterior side of the right door depicts two long-tailed birds: one below, perched on the flowering branches of the Japanese cherry tree (Prunus serrulata), known as sakura, and the other above gliding over chrysanthemums. The interior side showcases a branch of the Mandarin orange tree, or tachibana (Citrus tachibana), in the lower register, and Chinese bellflowers in the upper register. The decoration of the arched pediment inside features a central round medallion bearing the emblem of the Jesuits: the Christogram inside a flaming sun, surmounted by a cross, and with the nails of the Crucifixion below, set against a ground decorated with Chinese bellflowers. The pediment is bordered by a frieze of alternating triangles. Unlike other examples, the pediment of our oratory, featuring the Jesuit emblem, only becomes visible when opened. This is likely a testament to the growing difficulties faced by missionaries in Japan in the early decades of the seventeenth century and the subsequent persecution of the newly converted and missionaries, some of whom were martyred. The Jesuits were finally banned in 1587 and officially expelled in the 1620s, marking the end of Jesuit missionary work in Japan, which began in 1549, when Francis Xavier (1506- 1552) landed in Kagoshima on August 15. The refined gold decoration applied to this rare portable oratory, known as maki-e, literally ‘sprinkled picture’, was common in the Momoyama and early Edo periods in Japan. Lacquerware made especially for export at the imperial city of Kyoto, which combined mother-of-pearl inlays with hiramaki- e, is referred to as nanban makie or nanban shitsugei - see Pinto (1990), Impey (2000), Impey and Jörg (2005), Curvelo (2010), Kawamura (2013), and Canepa (2016). Namban or nanban-jin (literally, ‘Southern Barbarian’) is a Japanese term of Chinese origin that denotes Portuguese and Spanish merchants, missionaries, and sailors who arrived in Japan in the sixteenth and seventeenth centuries. Over time, Namban has become associated with lacquerware and other goods commissioned in Japan for domestic or export, reflecting Western tastes and often modelled after European prototypes, or included European iconography, such as depictions of Portuguese merchants, officials, and missionaries. Namban- style products thus combine Japanese techniques, materials, and motifs with European styles and shapes, illustrating a cultural fusion that emerged during this period of cultural exchange. Namban portable oratories, usually fitted with doors and featuring a pediment, survive in limited numbers, varying in size and shape, scattered across public and private collections in Japan, Europe, and the United States of America - see Impey and Jörg (2005), pp. 186-189, and Canepa et al (2008), pp. 246- 253, cat. 28. Our example is one of the largest known portable oratories from this production, surpassing the large (68.2 x 30.4 x 5.6 cm) oratory in the Wolverhampton Art Gallery (inv. O.J. 232) - see Impey and Jörg (2005), pp. 186-189, cat. 444. The Wolverhampton oratory, distinguished by its tall triangular pediment, also bears the Jesuit emblem. In contrast to many examples of this production, which often exhibit signs of wear, restoration, or loss of their delicate lacquered and gilded decoration, our large oratory remains remarkably well-preserved, having never undergone restoration., Dim. - (fechado) 69 x 51 x 7 cm; (aberto) 69 x 102 x 7 cm

A silver and enamel box and cover, 5.5cms diameter; together with a silver money clip; a set of four Indian white metal napkin rings; an Asian white metal rice spoon; and two silver rimmed art glass vases.

A Small Collection of Asian Art, including a Tibetan gilt and polychrome wood Buddha, Japanese bronze koro, another small resctangular example, a reclining Buddha, a model of a horse and a framed set of medallions (qty)

A PAIR OF GEORGE II SILVER SHAPED CIRCULAR SALVERS GEORGE WICKES, LONDON 1747 With grape vine, mask and shell borders, later engraved with a crest, on four vine leaf feet 21cm (8 1/4in) diameter 812g (26.1 oz) Provenance:From the Collection of Pablo Bronstein Provenance: Matthew Barton Ltd., European & Asian Works of Art, 18th November 2020, Lot 404 Condition Report: Salver 1 - Marks clear, slightly wobbles, engraving crisp, a couple of minor splits to the borderSalver 2 - Marks clear, engraving crisp, wobbles badlyBoth with light scratches and wear commensurate with age and useCondition Report Disclaimer

A Chinese biscuit porcelain brush washer of Li Po / the Drunken Poet Kangxi 1662-1722, modelled leaning against a pot, beetle to inner, decorated in green, aubergine and yellow, 7½in. (19cm.) long. * Provenance: Woolley & Wallis Auctions, Asian Art - 07 Nov 2007, lot 334, as stated in original description 'formerly in the collected of Jakob Goldschmidt, Berlin and New York'. * The pot with crack to inner, the underside of pot with chip to rim, the left foot with small chip and another to base below, overall good, very pleasing to the eye.

14th-16th century A.D.. With celadon glaze, nursing mother shown kneeling and naked with suckling child held to the left breast, the hair drawn back into a topknot, with lentoid eyes and applied facial detailing. Cf. an example on the Connell Collection, Asian Art Museum, San Francisco reference 1989.34.23. 245 grams, 10.5 cm high (4 1/8 in.). From the H.N. collection, Milton Keynes, Berkshire, UK, 1990s. [No Reserve]

A NEPHRITE JADE BLADE WITH CICADA Chinese, carved jade blade in narrow arched form, upper with two cicadas carved in relief and evenly spaced between two drilled apertures, tapering curved end, squared to handle 21cm length, 2.5cm width Provenance: Asian Ceramics & Works of Art from the Collection of Quek Kiok Lee, 29 Aug 2020 Lot 49 (part) Condition: Condition Report Has partial internal crack near to lower aperture. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

TWO MINIATURE PEKING GLASS BOTTLE VASES Late 18th/Early 19th century, white and turquoise glass bottle shaped vases, long slightly flared neck, globular squat shaped body. Provenance: Spink & Son, Ltd., London, The Goldschmidt Collection, purchased from the above in June and October 1983 Bonhams, Los Angeles, Asian Works of Art Online, 18-28 June 2023, Part lot 303, Property from The Estate of the Late Ellen C. Goldschmidt 7.5cm height Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A RARE BLUE AND WHITE ‘FOUR IMMORTALS’ JAR, JIAJING MARK AND PERIOD, CHINA, 1522-1566 嘉靖款及年代青花四仙罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of quadrilobed form with swelling shoulders and a petite upright neck, painted in deep cobalt blue with four Daoist immortals: Li Tieguai with his iron crutch and gourd vessel, Liu Hai with his three-legged toad, and the Hehe twins Hanshan and Shide, one of whom is holding up a scroll with a smile on his face, all amid pine trees and rockwork, below a scrolling cloud border at the shoulder and ruyi clouds on the neck. The base with an underglaze-blue six-character mark da Ming Jiajing nianzhi and of the period.Provenance: Solveig & Anita Gray, London, United Kingdom, 1998. The Elaine Whewell collection of Asian ceramics, North Berwick, Scotland, assembled since the 1990s, acquired from the above. Three old labels along the base and interior of the mouth, ‘Solveig & Anita Gray, 58 Davies Street London, W1Y 2L P’ ‘Solveig & Anita Gray, Jiajing 1522-66,’ and ‘Solveig & Anita Gray, 4800.’ Copies of the original invoice, receipt, and declaration of antiquity from Solveig & Anita Gray, all dated 9 December 1998, confirming the dating above and describing the present lot as an “Extremely Rare Jiajing Jar”, accompany this lot.Condition: Very good condition, commensurate with age, with expected old wear and firing irregularities. Two very short hairlines to the rim. A small star-shaped glaze line to the interior, which is not visible on the outside. The rim and foot may have been minimally smoothened.Weight: 416.1 gDimensions: Height 11.9 cm Li Tieguai aka ‘Iron Crutch Li’ appears as a lame beggar supported by an iron crutch. He carries a gourd which holds medicine that cures the sick and ailing. Traditionally, he has been seen as the protector of physicians. Although he may appear ugly and is generally considered irascible and ill-tempered, according to Chinese mythology, he was benevolent to the poor, sick, and needy. Li had magical powers and spent much time outside his body, traveling in the celestial regions. Once, when he was absent for some time, his disciple buried his body. On returning to Earth, the immortal’s soul entered the body of a beggar – the first good person he saw.Liu Hai is usually depicted as a young man with bangs, and his eponym means ‘bangs’ or ‘fringe’ in Modern Standard Chinese. Traditional Chinese and Japanese art frequently represents Liu with a string of square-holed cash coins and a mythical three-legged toad (chanchu), which is said to exist only on the moon, which it swallows during the eclipse. In the present day, this toad is known as the Jin Chan, literally meaning ‘Money Toad’, and Liu Hai is considered an embodiment of Caishen, the God of Wealth.Literature comparison:Compare a related jar decorated with the Four Immortals, dated Jiajing period, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain and Underglazed Red (i), Shanghai, 2000, pl. 99. Compare a closely related jar depicting the Four Immortals honoring the god of longevity, in the Riesco collection, illustrated in Chinese Blue and White Porcelain, London, 1954, cat. no. 163. Auction result comparison: Type: Near-identical Auction: Sotheby’s New York, 16 September 2009, lot 189 Price: USD 80,500 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A rare small blue and white quadrilobed ‘four immortals’ jar, Ming dynasty, Jiajing mark and period Expert remark: Compare the closely related form, subject, and decoration.

A CLOISONNÉ ENAMEL PHOENIX TAIL VASE, YENYEN, WANLI PERIOD 萬曆掐絲琺瑯鳳尾尊Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1573-1620. The baluster body rising from a splayed foot to a long slender neck with a trumpet mouth, finely decorated in bright enamels on a turquoise ground to the exterior and the interior of the mouth with stylized lotus blooms borne on scrolling leafy vines, with a band of ruyi heads bellow the rim and a lappet band above the base.Provenance: Raymond and Victoria Tregaskis, Sydney, Australia. A noted Austrian private collection, acquired from the above. Dorotheum, Vienna, 12 October 1993, lot 219, the catalog entry confirming the dating above. A Viennese private collection, acquired from the above. Raymond ‘Ray’ and Victoria ‘Vicki’ Tregaskis are noted collectors, scholars, and dealers in Asian art from Sydney, Australia, who have been active since 1978.Condition: Old wear and expected manufacturing irregularities, including pitting. Some losses to enamels with associated old fills and touchups, small dents, minor nicks. The neck slightly leaning.Weight: 1,603 gDimensions: Height 36.7 cm Auction result comparison: Type: Closely related Auction: Christie’s London, 8 November 2011, lot 62 Price: GBP 10,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A cloisonné enamel ‘phoenix tail’ vase, 17th century Expert remark: Compare the closely related phoenix-tail form and lotus decoration. Note that the notched flanges were clearly applied later, as they cover some of the lotus blossoms which would have been unacceptable at the time of the original manufacture of the vase. Note the closely related size (36.5 cm).Auction result comparison: Type: Related Auction: Bonhams London, 13 May 2021, lot 13Price: GBP 20,250 or approx. EUR 29,500 adjusted for inflation at the time of writing Description: A large cloisonne enamel ‘lotus’ vase. Yuhuchunping, 17th centuryExpert remark: Compare the closely related lotus decoration. Note the different form and the size (42.5 cm).Auction result comparison: Type: Related Auction: Christie’s New York, 22 August 2019, lot 149 Price: USD 9,375 or approx. EUR 10,000 adjusted for inflation at the time of writing Description: A Chinese cloisonne enamel vase, Meiping, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related lotus decoration. Note the different form and the size (32.3 cm). 萬曆掐絲琺瑯鳳尾尊中國，1573-1620年。喇叭形大撇口，豐肩，鼓腹下斂，至底外撇。掐絲琺瑯工藝裝飾，天藍色琺瑯釉作底，整器飾纏枝蓮紋，足部以芭蕉葉紋與如意紋為飾，佈局舒朗有致。 來源：Raymond and Victoria Tregaskis，Sydney，Australia. 澳大利亞悉尼Raymond 與Victoria Tregaskis收藏；奧地利知名私人收藏，購自上述收藏；維也納Dorotheum拍賣行，1993 年 10 月 12 日，拍品 219，目錄條目確認了上述日期； 維也納私人收藏，購自上述拍賣。Raymond ‘Ray’ 和 Victoria ‘Vicki’ Tregaskis 是來自澳大利亞悉尼的著名亞洲藝術收藏家、學者和經銷商，自 1978 年以來一直活躍在亞洲藝術領域。 品相：磨損和製造缺陷，包括點蝕。一些琺瑯釉質損失與小修，釉面小凹痕、小刻痕，頸部微微傾斜。 重量：1,603 克 尺寸：高36.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年11月8日，lot 62 價格：GBP 10,000（相當於今日EUR 18,500） 描述：掐絲琺瑯纏枝蓮紋鳳尾瓶 專家評論：比較非常相近的鳳尾外形、蓮紋。請注意缺口凸緣顯然是後來修補的，因為它們覆蓋了一些蓮花紋，這在花瓶最初製造時是不可接受的。請注意非常相近 尺寸(36.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2021年5月13日，lot 13 價格：GBP 20,250（相當於今日EUR 29,500） 描述：十七世紀銅胎掐絲琺瑯纏枝蓮紋玉壺春瓶 專家評論：比較非常相近的蓮紋。請注意不同的的外形和尺寸(42.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年8月22日，lot 149 價格：USD 9,375（相當於今日EUR 10,000） 描述：十六至十七世紀明代銅胎掐絲琺瑯梅瓶 專家評論：比較非常相近的蓮紋。請注意不同的的外形和尺寸(32.3 厘米)。

AN INSCRIBED RED-OVERLAY WHITE GLASS SNUFF BOTTLE, ATTRIBUTED TO LI JUNTING, YANGZHOU SCHOOL, CHINA, DATED 1822 1822年涅白地套紅料鼻煙壺，揚州李均亭（傳）Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: Although unsigned, this bottle can be confidently attributed to the master glass carver Li Junting, one of the most important and innovative of all Qing glass artists, also one of the very few we can identify by name. Li's bottles are among the finest of the low-relief works of the school he headed, believed to have been at Yangzhou, and this superb example is no exception. Dated Yangzhou bottles are rather rare, but have been recorded with dates between 1819 and 1822.Inscriptions: To one side on the shoulder, dated to the Year of Renwu (corresponding to 1822), and to the other side with the seal ‘Zhengye’ (good luck).Of flattened spherical form, finely carved through the ruby-red outer layer to the milky-white ground to one side with two boys stirring a pot, above scattered sprigs, a tea kettle, and a cup, below an inscription on the shoulder giving the cyclical date, the reverse with a boy holding up a branch and kneeling beside a recumbent water-buffalo pulling a tethered melon, with butterflies hovering above and a seal Zhengye, the shoulders carved with fruiting double-gourd sprays.Provenance: Collection of Margaret Polak, California, USA. Robert Kleiner & Co. Ltd., London, United Kingdom, 2007. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 2 July 2007, confirming the attribution to Li Junting above, and stating a purchase price for the present lot of GBP 5,500 or approx. EUR 13,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Margaret Polak was a passionate collector of Chinese snuff bottles. She wrote articles for the Journal of the ICSBS, and part of her collection was exhibited at the Art Gallery of New South Wales in 1991. In 2006, she gifted parts of her extensive snuff bottle collection to the Asian Art Museum of San Francisco. Robert Kleiner (1948-2014) was an important expert of Chinese snuff bottles, beginning his long career at Sotheby’s in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.Condition: Pristine condition with only minor wear and minuscule manufacturing irregularities.Stopper: JasperWeight: 23.7 gDimensions: Height incl. stopper 62 mm, Diameter neck 13 mm and mouth 7 mmLiterature comparison: Compare a closely related snuff bottle attributed to Li Junting, illustrated in Hugh Moss, Victor Graham, and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Glass, no. 1035. Compare two snuff bottles attributed to Li Junting from the J & J Collection, nos. 402 and 403, illustrated by Moss, Graham, and Tsang in The Art of the Chinese Snuff Bottle. The J & J Collection, Vol. 2.Auction result comparison: Type: Closely related Auction: Christie’s New York, 21 March 2002, lot 35 Price: USD 17,625 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A rare and finely carved red overlay white glass bottle, Li Junting, attributed to Yangzhou, 1805-1825 Expert remark: Compare the closely related form as well as the near-identical colors, with ruby-red overlay on milky-white ground and similar manner of carving. Note the identical size (56 mm, measured without stopper).Auction result comparison: Type: Related Auction: Christie’s New York, 17 September 2008, lot 12 Price: USD 11,875 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A finely carved red overlay white glass snuff bottle, Li Junting, attributed to Yangzhou, 1800-1840 Expert remark: Compare the related form, similar boy motif, and manner of carving. Note the size (59 mm) and the slightly different colors, not allowing as much sunlight passing through the bottle as the present lot.Update 25.9.2023: A noted expert and colleague has informed us that Li Junting in fact is a patron, one of two brothers, and not a carver as once thought. The dating of this bottle may also be 1882.

‘WATER AND RIVER LANDSCAPE’, BY WANG WEIBAO (B. 1942), DATED 1981 王維寳（1942- ）《江邊》Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Finely painted in shades of brown and gray, depicting a river landscape with houses along a shore and a fishing boat on the waterway, with the reflection of mountains in the upper register.Inscriptions: Center left, signed Weibao’ and dated ‘In the Year of Xinyou’ (corresponding to 1981). One seal of the artist, ‘Weibao’. The scroll with an old merchant label, inscribed ‘Wang Weibao (b. 1942), from Jiangjiang’, and another inscribed ‘Hanging scroll with a landscape by Wang Weibao’. Provenance: Christie’s South Kensington, 23 November 1995, lot 423. The Oliver Impey Collection of Modern Paintings, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby’s, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby’s colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum’s holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures, and he also befriended several generous benefactors who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s. Condition: Very good condition with minor wear and little foxing. Dimensions: Image size 68 x 66.6 cm Wang Weibao (born in 1942) is a Chinese painter from Jinjiang, Fujian Province. He graduated from the high school attached to the Guangzhou Academy of Fine Arts in 1963. His first work, ‘Catch the Sparrow’, was published in the newspaper Fujian Daily in 1958, followed by many other examples of his work.王維寳（1942- ）《江邊》中國，紙本水墨設色，掛軸。江邊房屋和江上漁船，山巒的倒影，風格清新秀麗，富有筆墨韻味和生活情趣。 款識：辛酉，維寳；鈴印：維寳 來源：南肯辛頓佳士得，1995年11月23日，lot 423；Oliver Impey 現代繪畫收藏購於上述拍賣。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況極好，輕微磨損，輕微褐變。 尺寸：畫面68 x 66.6 釐米 王維寶, 生於1942年，晉江縣人。1963年畢業於廣州美術學院，現中國美術家協會會員，廣東美協理事，廣東畫院一級美術師。 王維寶是活躍在中國畫壇的一位享有高知名度的畫家。他的一幅作品《抓麻雀》1958年被刊登於《福建日報》

AN EMBROIDERED ‘CRANES WORSHIPPING THE PHOENIX’ SILK PANEL, 19TH CENTURY 十九世紀《水雲鄉》刺綉掛屏Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Finely embroidered in elegant monochrome colors, depicting two majestic phoenixes with long trailing tails standing on a rock, two cranes looking upwards to them, at the lower right several mandarin ducks frolicking in a pond, and two birds perched on a tree.Inscriptions: To the upper left an inscription by the Song dynasty civil servant Huang Yuandao, writing about cranes and how they dance and fly. With two seal marks.Provenance: From a British private collection, according to the owner acquired in the early 20th century in China by their grandparents, and thence by descent within the same family. Condition: Superb condition with only minor wear, faint soiling and few loose threads to edges. The frame with nicks, scratches and other traces of wear and age. Must be considered exceedingly rare in this pristine state of preservation, especially given the frailty of the fabric.Dimensions: Size 41.9 x 87 cm (excl. frame), 48.2 x 94.4 cm (incl. frame)Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace.Literature comparison:Compare a silk painting with a closely related subject, depicting two phoenixes surrounded by various species of birds and titled ‘A hundred birds worship the phoenixes’, 18th century, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1909.218.Auction result comparison:Type: RelatedAuction: Christie’s London, 6 November 2018, lot 317Price: GBP 17,500 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: An embroidered silk 'phoenix and qilin' panel, 19th centuryExpert remark: Compare related motif and choice of colors. Note the size (70.5 x 102.8 cm).十九世紀《水雲鄉》刺綉掛屏中國。緞面素色綉，描繪了成雙成對的鳥類。樹下鳳凰立於假山上，兩隻白鶴仰頭朝拜鳳凰。一側兩隻鴛鴦戲水，樹上一對小鳥。 款識：水雲鄉天高海闊任翱翔，翮健汝思勞鞠養。凜冰霜，披鶴氅，去朝凰，樂未央，夫妻逑好長絕倡。兄弟融融笑他鬥鬩牆。眾友？詩歌時和唱。天籟響，自然？？。只羽族，重倫常。順化黃元道題 來源：英國私人收藏，藏家的祖父於二十世紀初購於中國，自此保存在同一家族至今。 品相：品相極好，只有輕微的磨損、污漬，邊緣有少量鬆線。鏡框有劃痕等磨損和年代痕跡。刺綉類拍品保存如此之好，極其罕見的。 尺寸：41.9 x 87 厘米 (不含框), 總48.2 x 94.4 厘米 文獻比較： 比較一件相似主題、一對鳳凰被眾鳥崇拜的十八世紀刺綉掛屏，名為〈百鳥朝鳳圖〉，收藏於佛利爾美術館，史密森尼學會的國立亞洲藝術博物館，編號F1909.218。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年11月6日，lot 317 價格：GBP 17,500（相當於今日EUR 22,500） 描述：十九世紀鳳凰和麒麟刺綉掛屏 專家評論：比較相近的圖紋和顏色。請注意尺寸(70.5 x 102.8 厘米)。

A JADE RING, HUAN, EASTERN ZHOU DYNASTY 東周玉環Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 7th-4th century BC. The slightly convex ring is neatly incised to both sides with two line borders enclosing six evenly spaced interlocking-scroll designs. The translucent stone is of a grayish-white tone.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition with minor wear, tiny nibbles, minuscule nicks, remnants of soil. The stone with natural fissures, some of which may have developed into small hairline cracks.Weight: 11.4 gDimensions: Diameter 5.2 cm Literature comparison: Compare a related jade ring, dated to the Warring States period, 3.65 cm diameter, in the Asian Art Museum of San Francisco, object number B60J569. Compare a related jade ring, dated to the Warring States period, 3.9 cm diameter, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.1313. Compare a related jade bi carved with similar scroll designs, 12.2 cm diameter, dated to the Spring and Autumn period, ca. 600-476 BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.933.

A BLUE AND WHITE ‘OFFICIAL SCENE’ JAR AND COVER, CHINA, 19th CENTURY 十九世紀青花人物場景將軍罐 Please note this Lot is to be sold at No Reserve. 本拍品不設底價The baluster body supported on a short foot and rising to a gently tapered neck, surmounted by a domed cover with a broad rim and topped by a bud finial. Finely painted in shades of cobalt blue with a continuous scene of figures in a formal setting surrounded by a walled garden, an official seated at a table flanked by two attendants before an audience of kneeling and standing civil servants, framed by swirling clouds and surrounded by rocks and trees. The base with an underglaze-blue double-circle. Provenance: The Maurice Fry Collection, Illinois, USA. Maurice Fry (1931-2019) was an American entrepreneur and businessman. He discovered Asian art during his time in the US Army, when he served in the Korean War. In 1956, Maurice found his life partner in Elizabeth C. Fry (1934-2022), and together they embarked on a decades-long and captivating journey of collecting. Condition: Good condition with minor wear and firing irregularities. The top of the finial with a tiny loss, probably inherent to the manufacture. The rim with a minor hairline. The foot with minor chips, nicks, and hairlines.Weight: 4,798 gDimensions: Height 43 cm The neck is encircled by ribboned auspicious objects and a flaming pearl. The cover is similarly painted with a monk seated on a rock by a cliff, watching smoke rise from a flaming vessel, encircled by a band of sawtooth to the rim. During the Qing dynasty, the depiction of official scenes on Chinese porcelain, as seen in the current lot, served multiple purposes. Primarily, it conveyed the imperial authority of the ruling dynasty. These scenes were to present an image of benevolent governance and reinforcing the perception of a harmonious empire under Qing rule, governed by just and impartial laws. Particularly during the Kangxi period, the portrayal of official scenes legitimized the Manchu-led dynasty and its connection to China's rich cultural heritage. Porcelain wares adorned with such depictions were utilized in diplomatic exchanges to assert the Qing court's power and communicate political messages. Moreover, these scenes served as educational tools and historical records, ensuring the preservation of important events and notable figures from Qing history for the benefit of future generations. Eventually, there was a major revival of these wares in the 19th century, owned in parts to the dwindling power of the Qing empire. The present lot is a fine example from this period.Expert’s note: Judging by the imagery of the formal dress shown on the figures, the present scene depicts a hearing administered over by a third-rank civil servant. These officials would have presided over issues involving nobility, as well as institution-sanctioned events. It is possible also that they would have presided over military affairs, as there appears to be a general standing to the right of the primary scene.Auction result comparison: Type: Closely related Auction: Sotheby’s London, 22 February 2022, lot 24 Price: GBP 25.200 or approx. EUR 29,000 converted at the time of writing Description: A blue & white 'landscape' baluster jar and domed cover Qing dynasty, 19th centuryExpert remark: Compare the closely related form and style painting, typical for the 19th century. Note the similar size (42 cm).

A YELLOW JADE ‘TIGER’ PENDANT, LATE SHANG TO WESTERN ZHOU DYNASTY 商末至西周虎形玉飾Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 1200-1100 BC. Finely carved as a crouching tiger in profile, its body decorated with finely incised double-line grooves, the ferocious beast baring its teeth, its ears laid back and its tail outstretched in an alert pose. Partly translucent stone of a pale-yellow hue with white veins and icy inclusions.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired several objects from Irene Beasley, including the present lot.Condition: Excellent condition, commensurate with age. Old wear, signs of weathering and erosion, remnants of soil and pigment, encrustations, minor chips, minuscule nibbling to edges. The stone with natural fissures, some of which may have developed into hairline cracks.Weight: 26.8 g (excl. stand)Dimensions: Length 11.1 cmWith an associated metal stand. (2)Literature comparison:Compare a related tiger silhouette of translucent pale green jade dated c. 12th century, 5.4 cm long, in the British Museum, registration number 2022,3034.120. Compare a related ornament in the form of a crouching tiger, 10.8 cm long, in the Saint Louis Art Museum, object number 485:1956. Compare a related pendant in the form of a tiger, 5.7 cm long, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.553.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Paris, 15 December 2016, lot 9Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Jade pendant, Shang dynasty, c. 1200-1100Expert remark: Compare the closely related form and decoration with similar double-line grooves.Auction result comparison: Type: RelatedAuction: Christie’s Hong Kong, 30 November 2020, lot 2769Price: HKD 87,500 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A pale greenish jade tiger-form pendant, late Shang-early Western Zhou dynastyExpert remark: Note the much smaller size (7.6 cm).

A LARGE AND MASSIVE PURPLE DUAN ‘TORTOISE AND CRANES’ INKSTONE, LATE MING DYNASTY 明末龜鶴齊齡青紫端硯Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 16th-17th century. Of rectangular form, the ink palette elegantly sloping into the well, decorated with an undercut relief of gnarled pine branches hosting two cranes and offering shade to a turtle peeking out from under the foliage and rockwork below a partly obscured pearl and flowing ribbon. The stone is of a deep reddish-purple color with dark red and pale inclusions.Provenance: From a notable private collection in Bavaria, Germany. Condition: Excellent condition with expected old wear, traces of use including ink residue, minor nicks and light scratches overall. Beautiful, naturally grown patina overall.Weight: 5,704 g Dimensions: Length 30.5 cm Cranes, tortoises, and pine trees are all auspicious symbols. As birds with a long life span, cranes were associated with longevity, immortality, and wisdom, especially following the rise of Daoism from the Han dynasty. On the other hand, tortoises were one of the four auspicious beasts and symbolized longevity. Similarly, the pine tree symbolized endurance and longevity. The appearance of these three auspicious symbols implies a blessing of luck and longevity upon the owner.Literature comparison: Compare a related inkstone depicting a similarly carved pine tree and bird, 17.8 cm long, dated to the 16th century, in the Metropolitan Museum of Art, accession number 1993.378. Compare a rubbing of an inkstone with a tortoise amidst waves in the National Museum of Asian Art, Smithsonian Institution, accession number FSC-R-445. 明末龜鶴齊齡青紫端硯中國，十六至十七世紀。 成矩形，硯額浮雕成蒼松，上面有兩隻飛鶴，一隻烏龜松樹和岩石下探出頭。端石呈深紫色，內含深紅色和淺色内沁。 來源：德國巴伐利亞私人收藏。 品相：狀況良好，有一些磨損、使用痕跡、刻痕、表面淺劃痕、墨水殘留。自然細膩的包漿。 重量：5,704 克 尺寸：長30.5 厘米 文獻比較： 比較一件相近的十六世紀松樹鳥紋硯台，長17.8 厘米，收藏於大都會藝術博物館館藏編號1993.378。比較一件浪中龜硯，收藏於史密森國立亞洲藝術博物館，館藏編號FSC-R-445。

A LARGE BRONZE RITUAL WINE VESSEL, HU, HAN DYNASTY 漢代弦紋銅壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 206 BC-220 AD. Finely cast. The broad pear-shaped body raised on a pedestal foot with gently spreading sides below an indented waist, the sides encircled by three slightly raised bands and with a prominent pair of taotie masks suspending massive loose rings on the shoulder, the waisted neck rising to a slightly raised band below the rim. The interior with a distinct casting mark.Provenance: Michael Goedhuis, May 1993. A private collection in in France, acquired from the above. A copy of the original invoice, dated 10 May 1993, confirming the dating above, and stating a “special price” for the present lot of GBP 8,900 or approx. EUR 28,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Goedhuis trained as an economist, graduating with an MBA from the Courtauld Institute in Art History. He started a successful career in investment banking in New York and London, only to leave it in 1975 to pursue his passion for art. He joined Jacob Rothschild’s Colnaghi Oriental Gallery specializing in Persian, Mughal, and Islamic art. It was here that he published a catalog focused entirely on the subject of post-archaic East Asian bronzes, a first in the field, authored by Ulrich Hausmann in 1989. Major collections were curated and sold by Mr. Goedhuis to numerous institutions including The Rothschild Collection to the Shahbanu of Iran, and the Vever Collection to the Smithsonian Institution. He subsequently expanded his activities to India, Japan, and China, concentrating on important antiquities. Today, Mr. Goedhuis continues to exhibit around the world, including in New York and Maastricht.Condition: Very good condition, commensurate with age. Expected old wear, minor casting flaws, scratches, dents, soil encrustations, signs of weathering and corrosion. The bronze with a superb, naturally grown, rich patina with extensive malachite and cuprite encrustation.Weight: 8,945 gDimensions: Height 44 cm Literature comparison:Compare a closely related hu, of similar shape and also with bands encircling the body, excavated in 1968 from the tomb of Prince Liu Sheng who was the king of Zhongshan from 154 BC and died in 113 BC in Mancheng, Hebei province, illustrated in Zhongguo Wenwu Jinghua Daguan, Qingtongjuan, Hong Kong, 1994, no. 1100, p. 306. Compare a related hu vessel, dated to the Han dynasty, illustrated by Jessica Rawson in The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, 1998, pl. 38.Auction comparison: Type: Closely relatedAuction: Christie’s New York, 18 March 2009, lot 217Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A large bronze ritual wine vessel, hu, Western Han dynastyExpert remark: Compare closely related form, manner of casting, and decoration with similar bands and mask handles. Note the size (47 cm).

A PAIR OF LOTUS-SHAPED WATER POTS, CHINA, EARLY 19TH CENTURY 十九世紀初一對蓮花形水丞 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of globular form with three rows of petals issuing from a coiled stem at the base, the upper rim with small green petal tips, the exterior finely enameled in delicately graduated shades of pink, the interior covered in a turquoise glaze, one waterpot with a turquoise base, the other with a bright green base. (2)Provenance: Alistair Sampson Antiques Ltd., London, 1997. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Alistair Sampson Antiques Ltd., London, dated 24 February 1997, describing the lot as a pair of lotus-shaped waterpots, dated to the early 19th century, accompanies this lot. Alistair Sampson (1929-2006) was a lawyer, noted antiques dealer, and humorist. After completing military service in the Royal Navy, he practiced law, specialized in criminal and family law, and was appointed a judge’s marshal. By his own account, Sampson was a collector almost all his life, specializing in Leeds creamware. In 1969, he made the long-pondered change to become a dealer, focusing on seventeenth and eighteenth-century English pottery and opened a shop on Brompton Road where he sold antiques from all over the world, ranging from paintings to metalwork to Western and Chinese ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with minor wear to the enamels, and manufacturing flaws including few glaze recesses, and little pitting.Weight: 69.3 g and 73.8 g Dimensions: Height 4.7 cm and 4.6 cmAuction result comparison:Type: RelatedAuction: Christie’s New York, 23 January 2012, lot 373Price: USD 3,500 or approx. EUR 4,400 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export lotus-form waterpots, 19th centuryExpert remark: Compare the related form and color. Note the sizes (11 cm).十九世紀初一對蓮花形水丞成球形花苞狀，三層蓮瓣，邊緣有綠色花瓣尖，精美細膩的漸變的粉色釉，內部覆蓋著綠色釉，一個圈足内淺綠色，另一個為亮綠色。 來源：倫敦Alistair Sampson Antiques Ltd.藝廊，1997年；Richard 與Maxine Markell購於上述藝廊。隨附一份1997年2月24日Alistair Sampson Antiques Ltd.藝廊出具的原始發票複印本，認爲這對水丞為十九世紀初。Alistair Sampson (1929-2006年) 是一名律師、著名的古董商和幽默家。在皇家海軍服完兵役後，他從事法律工作，專攻刑法和家庭法，並被任命為法官元帥。根據他自己的說法，他幾乎一生都是一名收藏家，專攻利茲白釉器皿。1969 年，他做出了深思熟慮的轉變，成為一名專注於十七和 十八 世紀英國瓷器的經銷商，並在 Brompton Road 開了一家商店，出售來自世界各地的古董，從繪畫到金屬製品，再到西方和中國的陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。 多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。 他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況極好，琺瑯有輕微磨損，製造缺陷如少量釉面凹陷和點蝕。 重量：分別69.3 克與73.8 克 尺寸：高 4.7 厘米與4.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年1月23日，lot 373 價格：USD 3,500（相當於今日EUR 4,400） 描述：十九世紀一對中國出口蓮花形水丞 專家評論：比較相近的外形和顏色。請注意尺寸 (11 厘米)。

A CARVED DUAN ‘DRAGON WITH SACRED PEARLS’ INKSTONE, QING DYNASTY 清代飛龍戲珠端硯Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1644-1912. The carver skillfully utilized a characteristic circular inclusion in the stone to depict a sacred pearl just below the ink pool. The top is finely carved in relief with undercutting to depict a fierce dragon clutching a second pearl and exhaling a gust of wind terminating in a lingzhi-shaped cloud, its sinuous body partly obscured by further swirling clouds.Provenance: From a notable private collection in Bavaria, Germany. Condition: Excellent condition with expected old wear, traces of use, the reverse with minuscule nicks, shallow surface scratches.Weight: 1,577 g Dimensions: Length 19.1 cm Literature comparison:Compare a related inkstone with a similar motif and use of the characteristic circular inclusions in the stone to depict a pearl, 38.5 cm long, in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.4867. Erroneously described as ‘inset jade’.Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 11 September 2012, lot 337 Estimate: USD 7,000 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A carved duan inkstone, Qing dynasty Expert remark: Compare the closely related subject and manner of carving, also utilizing the characteristic circular inclusions in the stone to depict pearls. Note the rounded form.Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 27 September 2021, lot 609 Price: USD 16,380 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A duan stone ‘dragon’ ink palette, Qing dynasty, 18th/19th century Expert remark: Compare the closely related subject and manner of carving, also utilizing the characteristic circular inclusions in the stone to depict pearls. Note the different form and smaller size (9.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 9 November 2010, lot 8161 Price: USD 5,490 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A duan stone ink stone with dragon decoration, 17th/18th century Expert remark: Compare the closely related subject and manner of carving, also utilizing the characteristic circular inclusions in the stone to depict pearls. Note the rounded form and the size (24.5 cm). 清代飛龍戲珠端硯中國，1644 年至 1912 年。 巧妙地利用石頭中特有的圓形內沁，在硯崗下方描繪出一顆寳珠。硯額処浮雕雲中飛龍，一爪中抓著一顆珍珠，吞雲吐霧，形成如意狀的雲朵。線條流暢。 來源：德國巴伐利亞私人收藏。 品相：狀況極佳，有一些磨損、使用痕跡、背面有刻痕、表面淺劃痕。 重量：1,577 克 尺寸：長19.1 厘米 文獻比較： 比較一件相近雲龍戲珠硯台，長38.5 厘米，收藏於史密森國立亞洲藝術博物館，館藏編號S2012.9.4867。被錯誤地描述為“鑲玉”。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2012年9月11日，lot 337 估價：USD 7,000（相當於今日EUR 8,500） 描述：清端石雲龍戲珠硯 專家評論：比較非常相近的主題和雕刻風格，還利用石頭中特有的圓形內含物來描繪珍珠。請注意圓滑的外形。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2021年9月27日，lot 609 價格：USD 16,380（相當於今日EUR 16,500） 描述：清十八 / 十九世紀端石雕雲龍戲珠紋筆掭 專家評論：比較非常相近的主題和雕刻風格，還利用石頭中特有的圓形內含物來描繪珍珠。請注意不同的的外形和尺寸較小(9.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦翰斯，9 11月 2010年，lot 8161 價格：USD 5,490 EUR 7,000 （相當於今日） 描述：A duan stone ink stone with dragon decoration，17th/18th century 專家評論：比較非常相近的主題和雕刻風格，還利用石頭中特有的圓形內含物來描繪珍珠。請注意圓滑的外形和尺寸(24.5 厘米)。

A BROWN-GLAZED FOLIATE-RIMMED DISH, LIAO TO EARLY SONG DYNASTY 遼至宋初蓮瓣口褐釉盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 11th-12th century. Finely potted with flaring sides neatly divided into ten lobes supported on a short tapered circular foot, covered overall with a thin black-brown glaze, pooling at the edges and recesses, and stopping unevenly at the base to reveal the grayish-buff body.Provenance: R&G McPherson Antiques, London, United Kingdom, 2014. The private collection of Grahame Clarke, acquired from the above and thence by descent. Copies of the original description and invoice from R&G McPherson Antiques, each confirming the dating above, accompany this lot. Robert McPherson is an English dealer and highly regarded expert in Chinese ceramics, a committee member of the Oriental Ceramic Society, and on the board of ‘Asian Art in London’. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age. Wear and firing flaws, including small firing cracks, spur marks, and glaze recesses. Few smoothened chips to the rim, one small chip to the foot. The rim with minor glaze touchups.Weight: 148.2 gDimensions: Diameter 12 cm Literature comparison:Compare a closely related lobed dish in the Fitzwilliam Museum, Cambridge, accession no. C29-2007. Also compare another closely related lobed dish in the Art Institute of Chicago, reference number 1964.1221. And another related dish illustrated in R. Krahl, Yuegutang, A Collection of Chinese Ceramics in Berlin, G+H Verlag, Berlin, 2000, p. 227, pl. 181. 遼至宋初蓮瓣口褐釉盤中國，十一至十二世紀。十瓣蓮瓣口，淺圈足，薄黑褐色釉，邊緣和凹陷處有積釉，底部不平，露出灰黃色的胎。 來源：英國倫敦R&G McPherson Antiques藝廊，2014年；Grahame Clarke私人收藏, 購於上述藝廊，保存至今。該拍品附有 R&G McPherson Antiques 的原始描述和發票副本，每份都確認了上述日期。 Robert McPherson 是一位英國經銷商、備受推崇的中國陶瓷專家、東方陶瓷學會的毫米級成員以及“倫敦亞洲藝術”的董事會成員。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：品相良好，磨損和燒製缺陷，包括小的燒製裂紋、毛刺痕跡和釉面凹陷。邊緣局部有已經平滑的缺口，腳部有一小塊缺口。邊緣有輕微的釉面修飾。重量：148.2 克 尺寸：直徑12 厘米文獻比較： 比較一件非常相近的葵口盤，收藏於Fitzwilliam博物館，劍橋，館藏編號C29-2007。另一件非常相近的葵口盤， 收藏於芝加哥藝術館，館藏編號1964.1221。另一件相近的葵口盤， 見R. Krahl，Yuegutang，《A Collection of Chinese Ceramics in Berlin》，G+H Verlag，柏林，2000年，頁227，圖181。

A CAMEO AGATE ‘NOBLE PROFESSIONS’ SNUFF BOTTLE, ZHITING SCHOOL, SUZHOU, CHINA, 1760-1850 1760-1850年蘇作芝亭派瑪瑙人物鼻煙壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價Well hollowed, the ovoid body supported on a flat foot rising to a tall neck with a flat lip. Superbly carved, cleverly utilizing the darker brown markings in the stone, to one side with a farmer sitting with his goat under a pine tree and to the other with a scholar and his boy attendant by a pond with two ducks, all amid neatly detailed serrated rockwork, a hallmark of the Suzhou school. The shoulders carved with beast mask handles suspending mock rings.Provenance: The VWS Collection, acquired by the previous owner’s father (1890-1977) in China during the 1930s and thence by descent within the family. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the northernmost city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Very good condition with only minor wear and few tiny nicks.Stopper: Apple and emerald-green jadeite stopper Weight: 64.7 g Dimensions: Height including stopper 74 mm. Diameter neck 11 mm and mouth 7 mm Expert’s note: The present lot belongs to a group of masterfully carved and rare Suzhou snuff bottles depicting the popular subject of the ‘Four Noble Professions’: scholar, farmer, woodcutter, and fisherman. The present bottle depicts two of these professions, namely the scholar and the farmer.Auction comparison: Type: Closely relatedAuction: Christie’s New York, 21 March 2013, lot 1092Price: USD 37,500 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: A finely carved cameo agate snuff bottle, Zhiting School, Suzhou, 1760-1850Expert remark: Compare the closely related subject, also depicting the Four Noble Professions, color with similar dark inclusions, and manner of carving with similar serrated rockwork. Note the size (4.8 cm).Auction comparison: Type: RelatedAuction: Christie’s New York, 20 Sep 2005, lot 442Price: USD 33,600 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: A fine and unusual cameo agate snuff bottle, school of Zhiting, Suzhou, 1750-1850Expert remark: Compare the related form, manner of carving, and color with similar dark inclusions. Note the size (5.4 cm).

A BAMBOO ‘CRAB’ BRUSHPOT, BITONG, BY LIU SONGSEN, DATED 1756 劉松森款竹雕詩文筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Galerie Asboth, Tusche und Weihrauch, page 22, no. 37.China. Of cylindrical form, carved in low relief, a crab sits among reeds and stones next to an eight-column inscription which includes a poem, the artist Liu Songsen’s signature, and a date, the year of Bingzi.Inscriptions: A unique folk poem by the 13th century poet Ma Zhiyuan, depicting the sequestered life of a poet. It says, ‘Wine and fish I have freshly bought, now I watch the clouds above the mountains and write poetry in the moonlight. I am an idle man and have no ability to serve the state and govern. Liu Songsen carved in […] the Year of Bingzi (corresponding to 1756).’Provenance: Ute Asboth, Galerie Asboth, Vienna, May 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. The base with an old label, ‘1P’. A copy of an expertise written and signed by Ute Asboth, with a stamp from Galerie Asboth, confirming the dating above, accompanies this lot. Ute Asboth (c. 1927-2018), owner of Galerie Asboth, began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Some pieces from Ute Asboth’s private collection reside now in the Museum of Ethnology, Vienna (today the Weltmuseum). Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna’s tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel (‘Roll of Honor’) of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today. Condition: Very good condition with minor old wear and expected age cracks, traces of use, few tiny nicks to edges.Weight: 190.7 gDimensions: Height 12.9 cm The present brushpot is carved with a poem by Ma Zhiyuan (c. 1250-1321), a poet and playwright who lived during the Yuan dynasty. Famous for popularizing a lyrical style known as sanqu, his poems were collected in the book Dongli Yuefu which includes 104 of his sanqu. His most famous poem is Autumn Thoughts.Auction result comparison: Type: RelatedAuction: Sotheby’s New York, 18 March 2008, lot 39Price: USD 49,000 or approx. EUR 65,000 converted and adjusted for inflation at the time of writingDescription: A large bamboo brushpot (bitong), Qing dynasty, 19th centuryExpert remark: Compare the related motif. 劉松森款竹雕詩文筆筒中國。圓柱體筆筒，淺浮雕蟹圖詩文。出版: Galerie Asboth，Tusche und Weihrauch，第 22頁，圖 37。 銘文: 酒旋沽，魚新買，滿眼雲山畫圖開。清風明月還詩債。本是個懶散人，又無甚經濟才，歸去來。丙子春劉松森製於?師來源：Ute Asboth，維也納Asboth藝廊，約2000年；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。底部有一舊標籤 ‘1P’。隨附一份由Ute Asboth出具的鑒定書複印件，上還可見 Asboth藝廊印章，確認斷代。Ute Asboth (約1927-2018年) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Ute Asboth 的一些私人收藏品現在收藏在維也納民族學博物館（現為世界博物館）。 品相：狀況極好，有輕微磨損和老化裂縫，使用痕跡，邊緣有一些微小的劃痕。 重量：190.7 克 尺寸：高12.9 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2008年3月18日，lot 39 價格：USD 49,000（相當於今日EUR 65,000） 描述：十九世紀清代竹雕筆筒 專家評論：比較相近的主題。

A RARE GREEN GLASS ‘BIRD’ PENDANT, HAN DYNASTY 漢代綠玻璃鳥形佩Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 202 BC-220 AD. The flattened plaque carved as a bird with a long neck, the head turned back, the beak gently curved, the tail fanning out, the body carved to one side with C-scroll designs to denote wings and feathers. Pierced with two small apertures for suspension.Provenance: From a private collection in France, acquired in Hong Kong between the 1960s and 1980s. Condition: Fair condition, commensurate with age. Wear, signs of weathering and erosion, repairs, encrustations, nibbling to the edges, all as expected for a glass object with an age of two millennia.Weight: 8.1 g Dimensions: Length 4.4 cm Literature comparison:Compare a related glass bi disk made using a similar bluish-green glass, 12.1 cm diameter, dated Warring States period to Western Han dynasty, in the National Museum of Asian Art, Smithsonian Institution, accession number LTS1985.1.257.2a-b. 漢代綠玻璃鳥形佩中國，公元前 202 年至公元 220 年。扁平佩飾，鳥形，頭向後轉，喙輕輕彎曲，尾巴呈扇形展開，身體一側刻有卷云紋表示翅膀和羽毛。穿有兩個小孔用於懸掛。 來源：法國私人收藏，二十世紀六十年代至八十年代購於香港。 品相：狀況尚可，磨損、風化和侵蝕的跡象、修復、結殼、邊緣磕損。 重量：8.1 克 尺寸：長 4.4 厘米文獻比較： 比較一件相近的戰國時期至西漢青玉壁，直徑12.1厘米，收藏於史密森學會國立藝術博物館，館藏編號LTS1985.1.257.2a-b。

A SUPERB BRONZE FIGURE OF A DRAGON, EASTERN ZHOU DYNASTY, CHINA, 770-256 BC 西元前770-256年青銅龍Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing – Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Finely cast as a dragon standing foursquare with the head turned back. The elegantly curved tail with a curled tip, the body with raised and finely incised S-scroll, clouds, and spiral designs. The bronze with a solid and naturally grown, rich patina with malachite and cuprite encrustation.Provenance: Sotheby’s London, 1995. Friedrich Georg Zeileis, acquired from the above, according to his publication, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing – Three and a Half Millenia of Chinese Bronze), 1999, page 318, no. 118. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Remarkably well preserved, commensurate with age. Extensive wear, minor losses, some nicks, scratches, signs of weathering and erosion, soil encrustations. Fine naturally grown patina overall, with small areas of faint cuprite and various shades of malachite green.Weight: 288.2 g Dimensions: Length 16 cmLiterature comparison: Compare a near identical bronze in the form of a dragon, 16.2 cm long, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.2118.Auction result comparison: Type: Closely related Auction: Sotheby’s Hong Kong, 28 July 2022, lot 3031 Price: HKD 352,800 or approx. EUR 41,500 converted at the time of writing Description: A rare bronze figure of a winged tiger, Eastern Zhou dynastyExpert remark: Note the much smaller size (11 cm)Auction result comparison: Type: Closely related Auction: Christies New York, 22 March 2013, lot 1233 Price: USD 62,500 or approx. EUR 72,500 converted at the time of writing Description: A Very Rare Bronze Tiger-Form Applique, Late Eastern Zhou Dynasty, 5th-4th Century BCExpert remark: Note the much smaller size (11.1 cm)

‘PINE TREES’, BY SUN SONG (1882-1962), DATED 1924 孫松(1882-1962)《鐵虯》，1924年Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Ink on paper. With a silk brocade frame and mounted as a hanging scroll. Boldly painted with vivid brushstrokes, depicting two pines with gnarled branches issuing needles.Inscriptions: Upper right, signed ‘Sun Song’, dated ‘In the Spring of the Year of Jiazi’ (corresponding to 1924), and inscribed ‘iron dragon’. One seal of the artist. Provenance: The Oliver Impey Collection of Modern Paintings. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s. Condition: Condition commensurate with age, showing some old wear, creasing, foxing, water stains, and minimal losses.Dimensions: 148.5 x 39.5 cm image size, and 203 x 51.3 cm total sizeSun Song (1882-1962), style name Youzhi, was a Chinese painter from Yinxian in Zhejiang. He was a student of Wu Changshuo (1844-1927) and a noted collector.孫松(1882-1962)《鐵虯》，1924年 中國，紙本水墨，掛軸。筆法大膽生動，松樹遒健如龍。 款識：鐵虯，甲子年春孫松；鈴印：孫松之印 來源：Oliver Impey 現代繪畫收藏。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況良好，一些磨損、摺痕、起皺、水漬。 尺寸：畫面148.5 x 39.5釐米, 總203 x 51.3釐米 孫松 (1882-1962), 字友之，浙江鄞縣人，擅花卉。是吳昌碩(1844-1927)弟子中成就較大的，同時也是一位知名收藏家。

A XINGYAO WHITE-GLAZED BOTTLE VASE, FIVE DYNASTIES TO NORTHERN SONG DYNASTY 五代至北宋邢窰白釉穿帶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 10th-11th century. The rare and early Xing ware ceramic vessel is of globular form, following a leather canteen shape, the tall, gently rounded sides gathered into pairs of shallow rounded lobes and applied with twin squared lug handles with riveted ends at the shoulder and base, straddling the lobes, lightly engraved with a double-line border around the outer edge of the broad rounded shoulders, surmounted by a waisted cylindrical neck, applied overall with a smooth cream-white glaze, save for the foot, rim, and base which were left partly unglazed revealing a smooth white ware.Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1990s. A private collection in North America, acquired from the above. One side of the vase with an old collector’s label, ‘Northern Song [...] 10-11C, Early Ding [sic!] Stoneware [...] Flask Two Vertical Indentations + 4 Stray Handles 00-409 SL50029.’ A copy of a Certificate of Appraisal written and signed by Hang Tang Cheng, dating the present lot to the Northern Song to Liao dynasty, 10th-11th century, accompanies this lot. Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie’s.Condition: Very good condition with only minor old wear and few tiny nicks to the foot rim.Weight: 280 gDimensions: Height 12 cm With a padded silk box and cover. (2)Literature comparison:Compare the white porcelain vase of this form in the collection of the National Palace Museum, Taipei, published in Illustrated Catalogue of Sung Dynasty Porcelain in the National Palace Museum: Ting Ware and Ting-Type ware, Taipei, 1973, no. 1. Compare a closely related white-glazed handled vase, dated late Tang to Five Dynasties, 9th-10th century, from the collection of Carl Kempe (1884-1967), Sweden, illustrated and exhibited by J. J. Lally & Co. in Chinese Ceramics in Black and White, New York, 20 March-10 April 2010, no. 14. Another white porcelain vase of this distinctive form from the Avery Brundage Collection, in the Asian Art Museum of San Francisco, is illustrated by He Li in Chinese Ceramics: The New Standard Guide, London, 1996, p. 90, no. 136, with description on p. 120; and the same vase was previously published by Watson in Tang and Liao Ceramics, London, 1984, p. 145, no. 124. A Xingyao white porcelain vase of this same form in the collection of the Shanghai Museum is illustrated in Qiannian Xingyao (Xing Kiln in its Millennium), Beijing, 2007, p. 168, together with another example, ibid, on p. 169; and the same vase from the Shanghai Museum is also illustrated in Zhongguo taoci quanji (6) Tang-Wudai (The Complete Works of Chinese Ceramics, Vol. 6, Tang–Five Dynasties), Shanghai, 2000, p. 200, no. 225 and several other publications, including A Dictionary of Chinese Ceramics, Singapore, 2002, p. 171, where the scholar Wang Qingzhen points out that this type of white porcelain bottle in the Tang dynasty was famously called ‘the Neiqiu bottle,’ referring to the place where it was made, at the Xing kilns located in Neiqiu, Hebei province, which was under the administration of Xingzhou prefecture.Auction result comparison: Type: Near identical Auction: Sotheby’s Hong Kong, 02 June 2016, lot 674 Price: HKD 750,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A white-glazed ‘Xing’ bottle vase Five Dynasties-Northern Song DynastyExpert remark: Compare the closely related form and glaze. Note that this vase has a restored chip to the rim.

A WHITE AND YELLOW JADE AX, FU, NEOLITHIC PERIOD 新石器時代玉斧Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 3rd millennium. The quite thick yet translucent blade is elegantly shaped and of rectangular form, flaring slightly toward the sharp beveled edge, pierced from the front side with a hafting hole. The jade is of a fine white tone with yellow and russet shadings as well as cloudy inclusions, that look like lambent flames when held against the sunlight (see detail image).Provenance: Galerie Beer, Brussels, 20 June 1951 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France’s post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Condition: Good condition with wear, minor signs of weathering and erosions, minor chips and losses to the edges. The stone with natural fissures, some of which may have developed into small hairline cracks. Good ancient polish with an unctuous feel overall.Weight: 108.1 gDimensions: Length 9.2 cm Literature comparison: Compare a related brown jade ax, 16.3 cm long, dated c. 3300-2250 BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1916.498. Compare a related green jade ax, 15.5 cm long, dated to the Neolithic period, in the British Museum, registration number 1937,0416.16. Compare a related gray jade ax, 13.3 cm long, dated between 3000-2500 BC, in the British Museum, registration number 1991,0223.2.Auction result comparison: Type: RelatedAuction: Christie’s Hong Kong, 27 November 2019, lot 2740Price: HKD 437,500 or approx. EUR 55,500 converted and adjusted for inflation at the time of writingDescription: A jade axe, Longshan culture, circa 2500-2000 BCExpert remark: Note the larger size (13.9 cm). 新石器時代玉斧中國，西元前三千年。此斧白玉質，局部帶沁，為略呈扁平的梯形器，頂部截平，鑽有一孔，可縛紮執柄，下端為刃，兩面斜削呈弧凸形，周身光素無紋。整件玉質滋潤柔和，光澤細膩，手藝精良。來源：布魯塞爾Beer藝廊，1951年6月20日 (根據法國巴黎Portier內閣在評估整個de Strycker莊園時的一份家族老帳本； 該帳本仍由 de Strycker 家族所有，不得複製)。Robert與Isabelle de Strycker收藏，購於上述藝廊，在同一家族保存至今。Robert de Strycker (1903-1968) 是一位法國冶金工程師。他畢業於史丹佛大學，曾是魯汶大學教授，同時也是魯汶天主教大學冶金研究所所長，是應用科學學院最有影響力的成員之一。二戰後，他為法國的戰後復興做出了巨大貢獻。Robert與他的妻子Isabelle （1915-2010）於 上世紀三十年代在大英博物館首次接觸到中國藝術。因爲其風格和美感所吸引，他們決定研究和收藏中國藝術品。1938 年，他們開始建立自己的收藏，從比利時、巴黎和英國經銷商處購買。他們與英國著名收藏家Harry Garner爵士（1891-1977）和捷克著名收藏家兼專家Fritz Low-Beer (1906-1976）保持著密切聯繫。 品相：狀況良好，有磨損、輕微風化和侵蝕跡象、邊緣有輕微磕損和缺口。玉料上有天然裂縫，有的可能發展成細小裂縫。整體細膩盈潤。 重量：108.1 克 尺寸：長 9.2 釐米 文獻比較： 比較一件相近的約西元前3300-2250年玉斧，長16.3 釐米，收藏於史密森學會國立亞洲藝術博物館，館藏編號F1916.498。比較一件相近的新石器時代青玉斧，長15.5 厘米，收藏於大英博物館，館藏編號1937,0416.16。比較一件相近的西元前3000-2500年灰玉斧，長13.3 厘米，收藏於大英博物館，館藏編號1991,0223.2。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2019年11月27日，lot 2740 價格：HKD 437,500（相當於今日EUR 55,500） 描述：龍山文化玉鉞 專家評論：請注意尺寸較大 (13.9 厘米)。

A JADE ‘DEER’ PENDANT, WESTERN ZHOU DYNASTY 西周玉鹿佩飾Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 11th-8th century BC. Thick flat pendant finely carved as a reclining stag with its head turned back, the animal well detailed with round eyes, pointed ears and tall antlers, the body subtly incised, the pendant pierced through the deer’s long neck and the front hooves. The opaque stone of a greenish-beige tone with dark and russet veins and black specks.Provenance: Collection of Harry Geoffrey Beasley (1881-1939) and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite (1890-1964), acquired from the above c. 1939 and thence by descent in the same family. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate, as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley’s death, he acquired a number of objects from Irene Beasley, including the present lot. Condition: Very good condition with expected old wear, minuscule nibbling, a tiny loss to the front hooves, minor signs of weathering and erosion. The stone with natural fissures, some of which have developed into small hairline cracks.Weight: 9.3 g Dimensions: Length 3.6 cm Literature comparison: Compare a related jade pendant in the form of a stag, also dated to the Western Zhou dynasty, dated ca. 1050-950 BC, 5.4 cm high, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.873. Compare a pair of related jade deer, also dated to the Western Zhou dynasty, 11th-8th century BC, 4.2 cm high, in the British Museum, registration number 2022,3034.125. Compare a related jade deer, also dated to the Western Zhou dynasty, 11th-9th century BC, 4.1 cm high, in the Metropolitan Museum of Art, accession number 24.51.14.Auction result comparison: Type: Related Auction: Christie’s Hong Kong, 29 November 2017, lot 2737 Price: HKD 525,000 or approx. EUR 69,500 converted and adjusted for inflation at the time of writing Description: A jade deer-form pendant, mid-Western Zhou dynasty, circa mid-10th to mid-9th century BC Expert remark: Compare the reclining pose and similar dark veins. Note the size (4.6 cm). to mid

AN AGATE BOWL, SONG DYNASTY, CHINA, 960-1279 宋代瑪瑙碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價Finely carved, the shallow rounded sides raised on a thick foot and rising to an everted rim, the luminous translucent stone is superbly polished and shows natural swirls and ripples of pale grey to deep honey tones with scattered dark inclusions. With a magnificent surface polish, rendering an unctuous feel to the surface overall.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number ‘4154’. James J. Lally is a renowned antique dealer and expert, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby’s where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby’s in New York and Hong Kong, and by 1983 was named president of Sotheby’s in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York – just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong—a bronze vessel shaped like a gravy boat—decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands.” The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats,” Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques,” and one of the world’s most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie’s and Bonhams conducted single owner sales of Lally’s collection which broke several auction records.Condition: Superb condition with expected old wear, few small areas with inclusions along the foot and rim which have been slightly smoothened.Weight: 127.3 gDimensions: Diameter 9.8 cm With a padded silk box and cover. (2)Literature comparison:Compare a closely related bowl of similar color, dated to the Southern Song period, 9.5 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J6. Compare a related bowl of similar form, dated to the Song dynasty (960-1279), 17.8 cm diameter, in the collection of the Asian Art Museum of San Francisco, object number B60J159.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 19 March 2015, lot 597Price: GBP 13,750 or approx. EUR 15,500 adjusted for inflation at the time of writing Description: A Pale Grey Agate Flower-Form Bowl, China, Possibly Southern Song DynastyExpert remark: Note the size (12 cm diameter).Auction result comparison:Type: Closely relatedAuction: Christie’s Hong Kong, 31 May 2017, lot 3141Price: HKD 150,000 or approx. EUR 21,000 adjusted for inflation at the time of writing Description: An Agate Oval Stem Dish, Song Dynasty (960-1279) Expert remark: Note the size (15.7 cm).

A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURY 十八世紀青白玉騎馬上任童子珮Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby’s Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade ‘boy and hobby horse’ carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件