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C. AD 618 and 907. Tang Dynasty. Terracotta full-figured court lady who sways to one side and has her hands clasped at her chest. This female figure is presented wearing court attire, or shenyi, which comprises a long vest, tied to the waist and long, flaring sleeves. Her robe and her cheeks are picked out in a coral red, the sleeves are a beautiful aquamarine colour, while her hair is accented in black. Court ladies, otherwise known as nüguan ?? were present in the imperial palaces of all dynasties. Some served as consorts and concubines, but most filled roles related to management of the imperial palace’s private quarters. During the Tang period there were 19 ranks of court lady. After serving in the palace for five or six years the court ladies were allowed to return to their parents and await marriage Service as a court lady raised conveyed high status to these women and increased their marriage prospects. This item comes fully authenticated with a TL test from Ralf Kotalla laboratory, Germany. Excellent condition. For comparable examples see Mayuyama, Seventy Years, Tokyo, 1976, vol. I, p. 67, no. 178; Exhibition of Eastern Art, Tokyo National Museum, 1968, p. 84, no. 380. A similar item was recently sold at Christie’s $200,500, see https://www.christies.com/lotfinder/lot/a-large-well-modeled-painted-pottery-figure-of-1587630-details.aspx?from=searchresults&intObjectID=1587630. Size: L:390mm / W:160mm ; 2.3kg. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

100 – 300 AD. Gandhara. Seated schist figure of Buddha atop a square platform ornamented with floral motifs. The facial features are carefully modelled, with heavily-lidded eyes, a small nose and closed lips; the face is framed by hair in a characteristic topknot (Ushnisha) and large, pendulous ears. Buddha wears a billowing robe and is backed by a round halo. His hands are arranged in the Abhaya or gesture (mudra) of blessing or protection, in which the right hand, held at shoulder level, is pointed upward with the palm facing out. Attributed to the Buddha immediately following his enlightenment, the Abhaya is usually intended as a gesture of reassurance. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist head example belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Excellent condition. Size: L:550mm / W:360mm ; 29.4kg. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

100-300 AD. Gandharan. Majestic schist figure of Hercules and the Nemean Lion. In this rare type, Hercules is depicted as bearded and musclebound, as well as winged, suggesting he has taken the guise of the titan, Atlas. However, the presence of a lion’s head, it is clear that this scene also depicts Hercules slaying the Nemean lion by opening his jaws. Hercules was one of the most important demigods in Classical Mythology, famed for his heroic labours. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. This excellent piece is therefore a perfect amalgamation of Greek, Roman and Buddhist art. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Excellent condition. Size: L:320mm / W:240mm ; 7.8kg.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

100-300 AD. Gandharan. Life-size schist head of a bodhisattva, with elaborate coiffure featuring a topknot (Ushnisha), elaborate headpiece, heavy, lowered eyelids, elegant nose, long, undulating moustache, closed mouth, strong chin and elongated, pendular ears. His identity as a bodhisattva is established by the presence of a well-defined urna on his forehead. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Size: L:310mm / W:180mm ; 13.8kg. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

300-500 AD. Gandharan. Painted stucco figure of Buddha dressed in a flowing yellow Kasaya (monastic robe). The head features thick, rich lips, an aquiline nose, half-closed eyes with well-defined eyelids, arched brows, an urna on the forehead, prominent ears and carefully modelled, wavy hair, culminating in an ushnisha (topknot). Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this stucco figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Excellent condition; on a custom stand.Size: L:255mm / W:180mm (w/o stand); 1.7kg. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

1045–771 BC. Western Zhou Dynasty. A bronze wine vessel known as a You, comprising a detachable domed lid with cylindrical handle top, piriform body, flaring foot and strap handle. The object features two bands of intricate geometric patterns, one on the neck and one on the lid, as well as horned zoomorphic terminals at either end of the strap handle. A you or yu, is a type of Chinese bronze vessel for wine that is characterised by a handle and knobbed lid, as in this example. Such items would have been used during ceremonial banqueting amongst the aristocracy. Excellent condition; beautiful patina. The artefact is fully authenticated with XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. A comparable example has recently been sold st Christie's for $37,000, see ehttps://www.christies.com/lotfinder/lot/a-bronze-ritual-wine-vessel-you-western-4960515-details.aspx?from=searchresults&intObjectID=4960515 Size: L:305mm / W:160mm ; 2.3kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1990s; formerly in a Hong Kong collection acquired in the early 1990s.

ca. 2000 BC. Western Asian. Black stone vessel with a flat base, cylindrical body and stepped rim. The exterior of the vessel is decorated with two beautiful confronted serpents, which are depicted with open mouths and carefully modelled features; their bodies are ornamented with a repeating oval pattern intended to imitate scales. Serpents were an important and feared part of ancient culture and religion across Western Asia, probably a precursor to the evil figure of Aži Dah?ka, a dragon-king in later Zoroastrian Persian mythology. Such an object may have been used to make ritual offerings to the gods or powerful supernatural spirits in order to placate them. Excellent condition. Size: L:98mm / W:152mm ; 1.8kg. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

Ca. 206 BC - 220 AD. Han Dynasty. Pair of bronze ritual vessels with flat tops, flaring, four-sided bodies, pedestalled feet and loop handles. These gorgeous vessels were probably used on ritual occasions. The Han Dynasty, which ruled between 202 BC–220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Excellent condition; beautiful patinas. Size: L:set of two: both 80mm / W:50mm ; 220g. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

1300-1100 BC, Late Shang Dynasty. A bronze tripod, generally known as a ding. The object comprises a hemispherical body with shelved rim and two rectangular handles. A band of geometric decoration runs horizontally around the upper part of the body, just below the rim. The body is supported by three robust cylindrical legs. This beautiful object may have been used for ritual banqueting among the aristocracy of the Late Shang Dynasty, who ruled over the lower and middle Yellow River Valley in the 2nd millennium BC. For a comparable item recently sold at Christies, see https://www.christies.com/img/LotImages/2007/NYR/2007_NYR_01877_0205_000(023528).jpg Excellent condition; beautiful patina. The artefact is fully authenticated with XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. Size: L:192mm / W:145mm ; 1kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1990s; formerly in a Hong Kong collection acquired in the early 1990s.

Ca.4000 BC. Western Asiatic. Alabaster Tell Brak Eye Idol consisting of a square body, surmounted by a two short ‘necks’ supporting two sets drilled circular eyes. Idols of this kind are common in Sumer, the earliest known civilization in Western Asia. Wide eyes are symbolic of piety to the gods in much of Mesopotamian art. Excellent condition. Size: L:107mm / W:70mm ; 275g. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

A GLAZED STONEWARE FIGURAL GROUP,  SI SATCHANALAI, SUKOTHAI, 16TH CENTURYformed as an elephant carrying a high-ranking official and its keeper, transporting a wine or oil jug, accompanied by four guards standing on each leg; overall dimensions: 44 (h) x 41 (l) x 25 (d) cm (17 3/8 x 16 1/8 x 9 7/8 in.)RELATED LITERATUREAtthasit Sukkham, “Si Satchanalai Figurines: Reconstruction of Ancient Daily Life, Beliefs, and Environment in Siam during the Sixteenth Century,” International Journal of Historical Archaeology 22, (2018): 800–842, especially fig. 25LOT NOTESFor similar groups, see: Art Gallery of South Australia, Adelaide, accession no. 7710C40MSoutheast Asian Ceramics Museum, Bangkok University, Pathum Thani, Thailand, “Late Si Satchanalai figure in the form of an elephant with a rider and keepers, Si  Satchanalai (Pa Yang) Kiln, Sukhothai, 16th century.”Another comparable example was exhibited at the Ayala Museum, Makati, Metro Manila, Philippines, A Millennium of Contact: Chinese and Southeast Asian Trade Ceramics in the Philippines, as “Elephant figurine with riders in brown glaze”. CONDITIONThe sculpture is in overall good condition. Stable craquelure apparent to lighter glazes, rubbing to darker glazes. One foot of the front rider and one of the figures at the front rear leg repaired. Repair to head of the back rider. Inspection under UV light shows fluorescence to areas of the glaze on the elephant, such as the interior of the ears, the base of one tusk, and the underside. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

WHITE JADE 'DRAGON' BELT HOOK QING DYNASTY, 18TH-19TH CENTURY intricately carved with a horned dragon's head forming the hook, confronting a sinuous chi dragon biting a lingzhi fungus on top of the gently arched shaft, reverse of the shaft with a round knob, the stone with a pale celadon tinge with a touch of brownish skin at the end (Dimensions: 9.5cm wide) (Qty: 1)(9.5cm wide)Qty: (1)Footnote: Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

PALE CELADON JADE 'SAMPAN' INCENSE STICK HOLDER carved in openwork, depicting a young attendant poling the boat with a recumbent dog kneeling in his front, a large jar in the middle of the boat as an incense stick holder, an elder seated on the other side of the boat, the stone of an uneven yellowish tone (Dimensions: 12cm wide) (Qty: 1)(12cm wide)Qty: (1)Footnote: Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

PALE CELADON JADE BEAR carved in seated pose with front paws supporting upper body, left front limb charged forward with body and face slightly turned left, alerted bulging eyes, pricked ears, strong jaw incised with details, the stone of even pale celadon colour with russet patches and lines, the underside incised with a two-character mark 'Yu Shu' in Chinese (Dimensions: 6.5cm long) (Qty: 1)(6.5cm long)Qty: (1)Footnote: Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

PALE CELADON JADE PENDANT PLAQUE of rectangular form carved on one side with courting scene of Zhang Sheng and Cui Yingying accompanied by servant Hong Niang from Romance of the Western Chamber underneath a circle with 'Ji Xiang' (auspicious), reverse in a square panel with a corresponded poem, topped by taotie mask, the stone of translucent even pale celadon colour (Dimensions: 6cm high) (Qty: 1)(6cm high)Qty: (1)Footnote: Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

PALE CELADON JADE POMANDER carved in openwork on both sides with overlapping coins pattern, perforated on sides, topped with symmetrical stemming lotus and leaves (Dimensions: 8.5cm high) (Qty: 1)(8.5cm high)Qty: (1)Footnote: Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

CELADON JADE CARVING OF AN ELEPHANT realistically carved marching on four feet, head straight with trunk sinuously curved leftward, ears and tusks tightly tucked against body, tail short, the stone of hues of celadon colour with variegated brownish skin on the back (Dimensions: 7.3cm wide) (Qty: 1)(7.3cm wide)Qty: (1)Footnote: Provenance: Private Spanish collection, acquired between 1998 and 2002; the family has been collecting Asian antiques and art pieces for more than 30 years, with family business in Asia

RARE CINNABAR LACQUER 'RUYI CLOUD' CIRCULAR BOX QING DYNASTY, QIANLONG MARK AND OF THE PERIOD the domed cover crisply carved with gradually larger bands of ruyi-shaped cloud motif, centripetally arranged and faced except the border, carved and gilded to the underside with 'Pan Yun Bao He' (The Treasure Box of Ruyi Cloud), the box decorated further with two bands of counter facing ruyi cloud before the short straight foot, the base carved to the centre with a six-character Qianlong mark filled with gilt, all interior and base covered in black lacquer (Dimensions: 21.2cm diameter) (Qty: 1)(21.2cm diameter)Qty: (1)Footnote: Provenance: Cape Town de Smidt family collection, by direct family descent. The de Smidt family, originally from Middelburg in Zeeland, was one of the first families moved from the Netherlands to Cape Town, South African. With an original letter and envelope from Ambassade der Nederlanden (Embassy of the Kingdom of the Netherlands) to Mr Reg. de Smidt A.R.I.B.A (1899-1968) dated to 10th May 1954, including the translation of two marks on the box (illustrated). The current owner has seen this box in his grandmother Sussan Margaret de Smidt's (1912-2000) house when he was a toddler. Lot essay: Lacquer is an organic material that is made from the excreted sap of the lacquer tree (Rhus verniciflua). It was first produced in the Shang Dynasty (1600–1046 BC) and widely applied on utensils with a wood or metal core in the Eastern Zhou Dynasty (771–256 BC). Carved lacquer of the Southern Song (1127-1279) and Yuan (1271-1368) periods often feature a newly invented abstract geometric design- ruyi cloud motif, or also known as ‘pommel scroll’ for it resembles the shape of the ring-pommel on early Chinese sword.[1] The design of carving with rows of ruyi cloud pattern often involved with intermittent red and black lacquer layers, known as tixi technique (meaning ‘marbled lacquer’), and rarely found in single colour lacquer as seen on the current example. It has generally been used as a synonym for guri lacquer, a Japanese term describing the spiral designs.[2] A rectangular cinnabar lacquer dish with closely comparable deeply carved ruyi-cloud pattern on the whole dish, dated to the Qing dynasty 18th century, was in the Qing Court collection and now is in the National Palace Museum, Taipei (museum number Gu Qi 故漆141). In the same collection, there are six smaller cinnabar lacquer circular boxes, similarly bear two gilded marks with a 'Pan Yun Bao He' mark on the underside of the cover and a six-character Qianlong mark on the base of the box, but differently carved with swirling cloud pattern around the body (museum number Gu Qi 故漆60-63, 277, 278). A square tixi box carved overall with ruyi-cloud pattern with layers of intermittent black the yellow lacquer, inscribed with gilded Qianlong mark and of the period, is in the collection of the Palace Museum, Beijing.[3] [1] Watt, J.C.Y, and Ford, B, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991歐p. 27 [2] Lee King-tsi and Hu Shih-chang, ‘On Chinese Tixi Lacquer’, Orientations, September 1993, vol. 24, no. 9, pp. 65-68. [3] Palace Museum online collection archive: https://www.dpm.org.cn/collection/lacquerware/234528.html

A group of reference books on collections and Japanese art and Bonhams cataloguesComprising the following: Ayers, John, The Baur Collection, Geneva: Japanese Ceramics, Geneva, Collections Baur, 1982; Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, exhibition catalogue, London, 1997; Bonhams, London: The Edward Wrangham Collection of Japanese Art, complete set of 6 volumes (2010-2015), The Misumi Collection, complete set of 3 volumes (2014-2017), The Julius and Arlette Katchen Collection, complete set of 3 volumes (2016-2018), The Robert S. Huthart Collection of Iwami Netsuke, complete set of 2 volumes (2019); Impey, Oliver, Jörg, Christiaan J. A., and Mason, Charles, Dragons, Tigers and Bamboo: Japanese Porcelain and its Impact in Europe, Vancouver, Douglas and McIntyre Publishers, 2009; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Japan Society, The Burghley Porcelains: An Exhibition from The Burghley House Collection and based on the 1688 Inventory and 1690 Devonshire Schedule, exhibition catalogue, 1986; Kyushu Ceramic Museum, Shibata Korekushon ten (Shibata Collection), Tokyo, Seibundo, vols.1-6, 8 (1990-2002); Lang, Gordon, The Wrestling Boys: An Exhibition of Chinese and Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House, exhibition catalogue, Eastbourne, Manor Park Press, 1983; Moes, Robert, Brooklyn Museum Japanese Ceramics, exhibition catalogue, 1979; Morse, Edward S., Catalogue of the Morse Collection of Japanese Pottery, Rutland, VT, and Tokyo, Charles E. Tuttle, 1979; Reichel, Friedrich, Early Japanese Porcelain: Arita Porcelain in the Dresden Collection, London, Orbis Publishing, 1981; Sargent, William R., The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, MA, Peabody Museum of Salem, 1991; Ströber, Eva, 'La maladie de porcelaine': Ostasiatiches Porzellan aus der Sammlung Augusts des Starken = East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, Edition Leipzig, 2001; Tokyo National Museum, Oriental Ceramics: The World's Great Collections, vol.1, Tokyo, Kodansha International, 1982 (first published 1976). (a lot).For further information on this lot please visit Bonhams.com

EZONO KOICHISAI (1881-1951)Taisho (1912-1926) or Showa (1926-1989) era, 1920-1930sSogetsu ('Twinned Moon'): a hanging flower basket of partially peeled bamboo plaited in hexagonal weave and with a large circular opening to each side, the two rims wrapped and knotted with rattan, a wider strip of bamboo running through the sides and connected to a hanging loop at the top, the otoshi (water container) a squat section of unlacquered bamboo, signed underneath with incised characters Koichisai kore o tsukuru (Koichisai made this); with wood tomobako storage box inscribed and signed Sogetsugata hanakago (Flower basket in twinned-moon shape); Koichisai kore o tsukuru (Koichisai made this) and sealed: Koichisai. 29cm x 27cm x 22.2cm (11 3/8in x 10 5/8in x 8 3/4in). (3).Footnotes:Ezono Koichisai was a bamboo artist working in the Kansai region in the Wada Waichisai lineage; see Melissa Rinne, Masters of Bamboo, San Francisco, Asian Art Museum, 2007, pp.26 and 36.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A pair of very rare imperial gilt-lacquer and mother-of-pearl-inlaid display cabinetsYongzheng/Qianlong One cabinet with nine variously proportioned and positioned open compartments, the other with eight compartments, all framed within black and gold lacquer friezes superbly embellished with mother-of-pearl inlays with an elaborate decoration of lotus flowerheads amidst dense foliage, the interior coated with dark green lacquer, meticulously enriched with lotus blossoms borne on meandering foliate scrolls, all raised on four legs linked by a lower frieze. Each 168.1cm (66 1/4in) high x 70.1cm (27 5/8in) wide x 32.2cm (12 3/4in) deep. (2).Footnotes:清雍正/乾隆 御製黑漆描金嵌螺鈿花卉紋多寶格一對Provenance: Livio Borghese (1874-1939), 11th Prince of Sulmona, Prince of Rossano, Prince of Vivaro, Prince of Montecompatri, Duke of Palombara, Duke of Poggio Nativo and Castelchiodato, head of the House of Borghese, Italy, and thence by descent來源：意大利蘇爾莫納第十一任親王，羅薩諾親王，維瓦羅親王，蒙泰孔帕特里親王，帕隆巴拉公爵，波其奧納蒂沃及卡斯特爾基奧達托公爵，意大利博爾蓋塞眾議院議長，利維奧·博爾蓋塞（1874-1939）舊藏，並由後人保存迄今Prince Livio Borghese was an Italian diplomat from the end of the 19th century until his death in 1939, serving in China, the Ottoman Empire and other European countries. It is likely that the present lot was acquired during his service in China. His elder brother Prince Scipione Borghese (1871-1927), 10th Prince of Sulmona, was famous for winning the 'Peking to Paris' car race in 1907.The present pair of cabinets belongs to an exclusive group of lacquer furniture manufactured for Imperial consumption, decorated in the virtuoso technique of mother-of-pearl inlay, with the incorporation of gold and silver foil. While the use of the mother-of-pearl inlay on lacquer, employed throughout the Ming dynasty, became very popular during the Kangxi period, the gilt decoration on lacquer became more prevalent from the Yongzheng period. The spectacular visual effect, resulting from the combination of the brilliant gilding and the endless shades of pink, purple and green iridescences, reveals the exceptional dexterity of the imperial craftsmen. Compare the scrolling floral borders, executed in gilding and mother-of-pearl inlays, decorating an imperial black-lacquer throne and matching screen, both dated to the third quarter of the 17th century, from the Museum of Asian Art, Berlin, illustrated in Im Zeichen Des Drachen, Stuttgart, 2007, pp.202-204.Openwork display cabinets, known as duobaoge or 'curio cabinet of many treasures', developed and reached the height of popularity during the 18th century gracing the Imperial halls. The carefully designed asymmetrical and irregular compartments are characteristic of the duobaoge developed in the early Qing period. Such cabinets would have been used to display precious objects including ceramics, jade carvings, cloisonné enamel and archaic and later bronzes.A related double-pair of mother-of-pearl-inlaid red and green lacquer cabinets, mid Qing dynasty, from the Qing Court Collection, is in the Chuxiugong 'Hall of Gathered Elegance' in the Forbidden City. Each cabinet is placed side by side with another to make a pair, and each pair is placed in a different part of the Imperial hall. The present lot of one such pair of cabinets would almost certainly have formed part of the same suite of display cabinets; see Classics of the Forbidden City: Inlaid Furniture, Beijing, 2013, pl.24 (showing one such pair of cabinets); and Ming Qing Gongting Jia Zhu Da Guan, vol.II, Beijing, 2006, pp.696-697, pls.798-1 and 798-4 (showing the double pairs of cabinets in the Chuxiugong).Compare to a related pair of Imperial mother-of-pearl-inlaid red and gilt-green lacquer cabinets, Mid Qing dynasty, which was sold at Bonhams Hong Kong, 29 May 2018, lot 32.For further information on this lot please visit Bonhams.com

A rare ochre glazed 'Parrot' cupTang DynastyOf shallow oval form, one end formed as a parrot lying on its back, the finely incised tail and wing feathers fanning out to form the cup, the head with large curling beak between sharp piercing eyes, all covered in a warm yellow-ochre glaze, stand. 13cm (5 1/8in) long. (2).Footnotes:唐 褐釉鸚鵡杯Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, purchased on 20 February 2003 from the above.Published: Berwald Oriental Art Facing East, Expressions in Chinese Art, London, no.16.The result of Oxford Authentication Ltd. thermoluminescence test no.C101u72, dated 31 August 2001, is consistent with the dating of this lot.來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2003年2月20日購自前者出版：Berwald Oriental Art，「Facing East, Expressions in Chinese Art」，倫敦，圖錄編號16Oxford Authentication Ltd.公司熱釋光檢測結果（2001年8月31日，編號C101u72）顯示年代與本拍品年代一致。Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved on from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods - from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramic Society and, in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.The term yingwu bei, literally 'parrot cup', is first mentioned as early as the Sui dynasty, in a poem by Xue Daoheng: 'Together pour the fine buttery wine; together tip the parrot cup'共酌瓊酥酒，同傾鸚鵡杯。And it occurs again in a Tang poem by Luo Binwang:'The playing of flutes on the Phoenix Tower has ceased, the urgings to drink wine from the parrot cup has stopped.'鳳凰樓上罷吹簫，鸚鵡杯中休勸酒。The contemporary dictionary interpretation of the term 'parrot cup', which comes from a Tang source, is that it is a cup made from yingwu luo 'parrot snail', meaning perhaps a nautilus shell, named for its supposed resemblance to a parrot. As the exterior form of this cup resembles the shape and size of a nautilus shell, but the piece is fashioned from a representation of a parrot, cups such as this may have been produced as an amusing play on words. Although the parrot was a bird native to southern China, those most admired in the Tang court were the more colourful ones imported from South-East Asia. The later Tang emperor Taizong (r.627-649) commissioned a rhapsody poem to be written about a prized parrot that was a gift from the kingdom of Champa. Furthermore, the Tang emperor Xuanzong (r.712-756) adopted a talking parrot as a pet. Compare with a similar cup, but covered in a white glaze, Tang dynasty, which was exhibited in the Tokyo National Museum, Special Exhibition of Chinese Ceramics', Tokyo, 1994, pl.136. See also a Xingyao white glazed 'parrot cup', Tang dynasty/ Five dynasties, which was sold at Bonhams Hong Kong, 9 October 2014, lot 140.For further information on this lot please visit Bonhams.com

A rare dingyao spittoon, zhadouNorthern Song DynastyThinly potted with a compressed globular body incised around the exterior with stylised lotus petals, the waisted neck surmounted by a wide flared mouth carved with further floral motifs, covered overall in a creamy-white glaze of ivory tone.22cm (8 5/8in) diam.Footnotes:北宋 定窰白釉劃蓮紋渣斗Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, acquired from the above on 30 April 2002來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2002年4月30日購自前者Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods, from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramics Society and in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.Dingyao zhadou vessels of this form are rare with very few published examples. See a related 'Ding' zhadou, in the collection of the Palace Museum, Beijing, similarly carved with lotus flowers borne on an undulating scroll on the wide rim but with a truncated cylindrical body, illustrated in The Complete Works of Chinese Ceramics, Shanghai, 1999, vol.7, Part 11, no.20. It is possible that the present lot is emulating a piece from the 'Yue' kilns in the south. See the 10th-11th century 'Yue' zhadou of similar form, with globular body carved with upright lotus petals and a wide rim incised with lotus scroll, in the collection of the National Museum of Korea, Seoul, illustrated in Sekai Toji Zenshu, Vol.12, Tokyo, 1977, pls.41-42.Zhadou of this form also exist in slightly later Qingbai wares. Compare with a Qingbai spittoon, Northern Song dynasty, in the Kai Yin Lo Collection, illustrated in Bright as Silver, White as Snow, Hong Kong, 1998, pl.29.For further information on this lot please visit Bonhams.com

A fine white and grey jade carving of a boy on hobby-horse17th/18th century Deftly carved as a standing boy with finely incised patch of hair atop his pate, carrying a spray of lotus in his right hand extending over his back, his left hand holding the reins of a hobby-horse between his legs, the stone of pale white tone with a grey patch. 8.5cm (3 3/8in) high. Footnotes:十七/十八世紀 白玉雕騎竹馬童子擺件Provenance: Gerard Arnhold (1918-2010) Born in 1918 in Dresden, Germany, Gerard Arnhold was from a well-known family of Jewish philanthropists. His family left Germany in 1936, after the Nazis came to power and seized their assets. He served in the British Army during the Second World War, before starting a successful technology company in Brazil. He and his family supported rebuilding efforts in Germany and many charitable causes, always working anonymously. Arnhold was also a generous supporter of the Durham Oriental Museum for many years.來源：Gerard Arnhold（1918-2010年)Gerard Arnhold，1918年出生於德國德累斯頓的著名猶太慈善家族。 1936年，在納粹上台並沒收其家族財產後，全家離開德國。他曾於第二次世界大戰期間效力於英軍，之後在巴西成功創立了一家科技公司。二戰後，Gerard及其家人長期匿名支持德國重建工作及其他慈善事業，他也是達勒姆東方博物館的長期捐贈者。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 emphasised by the lotus (lian 蓮) he carries which is a homophone of 'continuous' (lian 連) 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' (mashang 馬上) means 'immediately'.Compare with a similarly finely-carved figure, but holding a rattle instead of a lotus stem, in the Museum of East Asian Art, Bath, (museum no.BATEA 1218); and a related figure of a boy holding a lantern on a pole, from the collection of Florence and Herbert Irving and now in the Metropolitan Museum, New York (acc.no.2015.500.5.14).For further information on this lot please visit Bonhams.com

A superb pale green jade 'immortals' boulderQianlongSuperbly carved in high relief on one side with three bearded sages each carrying a peach, lingzhi fungus and lotus spray respectively, beneath a gnarled pine tree, a pavilion higher above in the distance, the reverse with a crane gazing down on a deer, all within a craggy grotto with further pine trees, the stone of very pale green tone with minor russet and cloudy inclusions, wood stand. 20cm (7 7/8in) high. (2).Footnotes:清乾隆 青白玉雕林中高士圖山子Provenance: Spink & Son, Ltd., London, 1980Florence and Herbert Irving (1920-2018; 1917-2016) collection, no.336Published and Illustrated: R.Keverne, ed., Jade, London, 1991, p.174, fig.117來源：1980年購自倫敦古董商Spink & Son, Ltd.佛羅倫斯·歐雲（1920-2018）與赫伯特·歐雲（1917-2016）伉儷舊藏，編號336出版著錄：R.Keverne，「Jade」，倫敦，1991年，頁174, 圖117Florence and Herbert Irving were avid collectors of Asian art for more than 50 years, and in 2015, they gave an extraordinary collection of more than 1,200 works of art to the Metropolitan Museum of Art in New York. In 1969, Herbert Irving co-founded the company Sysco. Through hard work and dedication, the company was listed in 1970 and by 2009, Sysco was ranked number 204 in the Fortune 500 companies based on sales. Subsequently, Sysco grew to become one of the world's leading food product distribution company with sales of up to US$58 billion. This exceptional success brought with it great wealth to Florence and Herbert Irving. Their collecting interests encompassed all of the major cultures of East and South Asia and virtually every medium explored by Asian artists and craftsmen over five millennia. Their support of the Metropolitan Museum of Art, New York was also recognised through the numerous galleries that bear their names, in addition to funding the Florence and Herbert Irving Asian Wing in its entirety.This finely-carved boulder is a superb example of the sensitivity of the 18th century carvers in their use of the natural form of the stone to portray a literati-style landscape scene. During the Qianlong reign, the emperor requested that jade mountains, as well as plaques and panels with scenes of mountainous landscapes, take their artistic influence from the work of famous painters. The personal interest of the emperor, as well as the increased availability of large pieces of Khotan jade after the pacification of the area in 1759, prompted a proliferation of production of jade boulders of varying sizes exquisitely carved with delicate mountain scenes resembling literati landscape paintings. Compare the present carving to a group of jade mountains carved with landscape motifs in the Qing Court Collection, illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, nos.72-74.See also a similar but slightly smaller pale green jade boulder, Qianlong, which was sold at Christie's London, 10 November 2015, lot 55.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A Chinese Sancai glazed pottery figure of a Western groom, Tang dynasty, modelled standing, his face with a concentrated expression, a splash of yellow glaze to his cap, his left arm raised as if to hold a rein, wearing an ochre and green glazed tunic tied at the waist, on a clear perspex base, 61.5cm high including base, 58.5cm excluding base, see Bonhams London, Fine Asian Art, 8th June 2004, lot 70Condition report: Restored. It would appear that the restoration is just below the figure's waist and has been done to a very high, museum quality standard. There are two thermoluminescence drill holes, one behind the right ear, the other located underneath the base of his jacket, unfortunately, no certificate accompanies this piece. It stands firmly and evenly unsupported.

Approximately 50 plus Asian Art auction catalogues, many for past Sotheby's, Christies and Bonhams sales

A collection of Chinese Art reference books, to include Angus Forsyth/Brian McElney - The Museum of East Asian Art Jades of China, publ:1994, Shelagh Vainker - Chinese Silk, A cultural History, publ: 2004, Sarah Handler - Austere Luminosity of Chinese Furniture, publ: 2001, Ancient Sichuan, Treasures from a Lost Civilisation, edited by Robert Bagley, publ:2001, Thomas Lawton - Chinese Art of the Warring States Period, Change & Continuity, 480 - 222BC, publ:1982, Anthony J Allen - Allen's Authentication of Ancient Chinese Bronzes, publ:2001, The Museum of East Asian Art - Inaugural Exhibition Volume 2 Chinese Metalwares & Decorative Arts, publ:1993, The National Gallery of Art, Washington - The Golden Age of Chinese Archaeology, Celebrated Discoveries from the Peoples Republic of China, publ:2000, and A Walk Through the Ages, Chinese Archaic Art from the Sondra Landy Gross Collection, publ:2004, (9)

A collection of Japanese art and Japanese related auction catalogues, Christie's, Sotheby's and Klefisch (1981-2007)Including important netsuke owner collections, consisting of a broken run of the following: Sotheby's, London (1981-2007); Sotheby's, Honolulu and New York (1985, 1989); Christie's, London (1983-1987); Kunsthandel Klefisch, Cologne (1983-2004); together with Sotheby's, Paris Asian-art-related catalogues (2012, 2014). (a lot).Footnotes:クリスティーズ・サザビーズ・クレフィッシュ日本美術カタログコレクション　多数For further information on this lot please visit Bonhams.com

Four pieces of jewellery Chinese, early 20th Century consisting of a white metal chatelaine with two small tools, two butterflies and a fish connected by a French Indo-China Piastre silver coin dated 1907, as part of a woman's neck ring, Miao tribal group, neck ring 14cm wide, total piece 29cm long, a necklace with carnelian and agate beads connected with rock crystal beads all on gold silk cord, Tibet or China, late 19th/early 20th Century, 44cm, doubled, total length 88cm, a jade necklace with 96 matched light green beads with Chinese white metal clasp, early 20th Century, 28cm doubled, total length 57cm, and a Tibetan gau amulet silver box, gilt back with front inlayed with silver wire, turquoise and coral, Tibet U-Tsang province, Lhasa with white metal chain, late 19th/early 20th Century, 6.5cm wide Reference: Vanishing Beauty, Asian Jewellery and Ritual Objects from the Barbara and David Kipper Collection, The Art Institute of Chicago, Yale University Press, 2016 Provenance: Originally from a family collection in Oxford. Collected by their ancestors who lived in China in the 1920s/1930s as members of the Foreign Service

Large collection of Asian Art catalogues mostly Bonhams, including every year from 2002 to 2019, (approx 75)

A group of Chinese and South East Asian wooden works of art, mainly 20th century, including a pair of boys on buffalos, a pair of carved lions, a figure of a seated deity, two Buddha heads and other items (a lot).

Attributed to Dod Procter RA (1891-1972) a South Asian portrait, oil on canvas, framed unglazed, internal dimensions 74cm x 38cm, otherwise known as Doris Margaret Shaw, it is possible that this painting could have arisen from Procter's period spent working under commission on the murals of a palace in China, when her patronage was lost, she painted the local people, the canvas has no signature but two monograms in opposing top and bottom corners, to the reverse on the mount the words 'Dod Procter 1919/1920', provenance: deceased estate of private Asian art collector *ARR may apply to this lot

A small group of Asian art and interior objects to include a Chinese snuff bottle with decoration of dragons above waves, several pieces of lacquerware, an overpainted jadeite egg with bird and flowers, a reproduction Tang style horse, (quantity)

*Professor Sir Roy Calne (b.1930) 'Sweet Peas' signed, titled and dated 1987 l.r., mixed media on paper 73 x 37cm Provenance: The Estate of Robin and Patricia Pickard. Professor Sir Roy is one of Britain's most eminent surgeons. He pioneered the use of immunosuppressant drugs in transplants. He performed the first liver transplantation operation in Europe in 1968 and the world's first liver, heart, and lung transplant, together with John Wallwork, in 1987. He was elected to the Royal Society in 1974, knighted in 1986 and received many awards during his distinguished career. Also a successful painter, Calne's work often depicts clinical procedures and has been exhibited in many countries to promote awareness of transplantation. He is a member of the art group Group 90 in Singapore and an Asian influence can be seen in this lot. *Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Paper stuck down. Creasing to upper edge.

An extensive collection of good quality art reference books, subjects include Fashion, Sculpture, Photography, Asian Art, etc (33)

A rare Laqabi ware pottery dish Syria, 13th Centuryof shallow form with short slightly inverted sides and flattened everted rim, incised and decorated in cobalt blue on a white ground with a sphinx surrounded by a lion, a hare, a bird and a palmette, the rim with abstract vegetal motifs, remains of collection label to base 35.8 cm. diam.Footnotes:ProvenanceMillea Bros. Ltd., Boonton, U.S., Asian & Islamic Art, December 11 2014, lot 319.Formerly in a private US collection, reputedly acquired in the 1950's.This is a very rare example of a type of pottery which was historically believed to have come from Persia, but it is now clear from the manner of the incising and colours that it was made in Syria. The technique is related to that used in Tell Minis and Raqqa pottery of the same period. Sherds and a waster of a similar ware have been found in Egypt so it is possible that the type originated there before production moved to Syria. For an example of a sherd found at Fustat in Egpyt, now in the Victoria and Albert Museum, London, see Arthur Lane, Early Islamic Pottery, London, 1947, pl. 40b.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Cows gouache on papersigned lower right43 x 28.5cm (16 15/16 x 11 1/4in).Footnotes:ProvenanceChristie's, Islamic Art and Indian Miniatures, 23rd April 1996, lot 3 (lot label on glass).Private collection, New York.Christie's New York, South Asian Modern and Contemporary Art, 20th September 2007, lot 120.For further information on this lot please visit Bonhams.com

A portrait of Queen Victoria on ivory, painted to commemorate the fiftieth year of her reign Delhi, circa 1887gouache and gold on ivory, the portrait oval, surrounded by a gold floral design, also oval, this surmounted by a parasol, the corners with swags in gold and further floral decoration, the upper swags containing inscriptions in black nasta'liq script, mounted in a European frame covered in purple velvet and bearing a gilt metal crown at top, leather back, easel stand the painting 120 x 77 mm.; the frame 190 x 131 mm.Footnotes:ProvenanceChristie's, Important Islamic, Indian and Southeast Asian Manuscripts, Miniatures and Works of Art, 11th October 1988, lot 99.Private UK collection.The inscriptions read (in the top left), 'Blessings, Blessings, Blessings, Blessings' (Mubarak); (in the top right), 'Blessings on the Fifty-Year Reign'. The portrait is apparently after a detail of a photograph of 1882 by Alexander Bassano (an example is in the National Portrait Gallery). Victoria had been proclaimed Empress of India ten years before in Delhi by the Viceroy.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

A royal elephant and mahout Kishangarh, late 18th Centurygouache and gold on paper 210 x 277 mm.Footnotes:ProvenanceSotheby's, Indian and Southeast Asian Art, New York, 19th September 1996, lot 384 (unillustrated).Gunter Heil Collection, Berlin, 1996-2016.A painting which emphasises the high status given to elephants amongst Mughal and other Indian rulers. The Mughals were the first to depict these beasts and their trappings specifically (for a group of several examples, see A. Topsfield, Visions of Mughal India: the Collection of Howard Hogdkin, Oxford 2012, nos. 20-25). Here the tradition is continued at Kishangarh. The markings in red-orange on the elephant's head denote that it is in rut, the colours placed around the glands secreting must. The serpentine marking just above the tusk seems to be associated with royal elephants at Kishangarh. The figure of the mahout is made artificially small, to emphasise the power and grandeur of his mount.For further information on this lot please visit Bonhams.com

Akbar Padamsee (Indian, 1928-2020)Landscape oil on canvas, framedsigned and dated 1962 lower left60.5 x 122.5cm (23 13/16 x 48 1/4in).Footnotes:ProvenancePrivate Indian Collection acquired directly from the artist Thence by descent to Meena Schafer, daughter of the above Acquired by the present owner from Meena SchaferBorn in Maharashtra, India in 1928, Akbar Padamsee embarked on his career as a painter whilst studying at St Xavier's High School, Fort. It was here that he was introduced to the medium of watercolours by his first mentor and teacher, Shirsat. He subsequently learnt how to paint nudes in preparation for his studies at Sir J J School of Art. It was during his time at the school that the Progressive Artists' Group (PAG) was formed in 1947 by fellow alumni S.H. Raza, M.F. Husain and Francis Newton Souza that greatly impacted him and his works. They rejected the style pioneered by the Bengal school of Art, which married folk styles and Hindu imagery and instead focussed on synthesizing the influences from Indian art history along with the various styles that emerged in North America and Europe during the first half of the 20th Century that included Cubism, Expressionism and Post-Impressionism. Upon graduation in 1951, Padamsee travelled to Paris and held an exhibition which received international recognition, and he was awarded a prize by André Brenton on behalf of the Journal d'Art. A year later he held his first solo show at the Galerie Saint Placide, which was followed by other exhibitions throughout the world. Some of these include the Biennales of Venice, Tokyo and São Paulo and exhibitions at the National Gallery of Modern Art in New Delhi, the Royal Academy of Arts in London and the Museum of Modern Art in Oxford. Over a career that spanned six decades, he continued to experiment, innovate and push boundaries by working in a variety of media that included printmaking, photography, sculpture, oil painting and watercolours. Consequently, he was bestowed with numerous awards some of which include the Lalit Kala Akademi Fellowship in 1962, the Rockefeller Foundation scholarship in 1965, the Kalidas Samman for plastic arts from the Madhya Pradesh government in 1997 and the Padma Bhushan in 2010, India's third highest civilian honour. Padamsee best sums up his art philosophy when he says 'Art for me is to express the invisible,' he replied. 'No morality, no values, no hierarchy can enter its field.' *For quotations on previous pages see Asian Art: Studio Visit, Akbar Padamsee: 'Art for me is to express the invisible', 3 March 2020, Christie's FeaturesFor further information on this lot please visit Bonhams.com

Bhai Bala recites the story of Guru Nanak to devotees and onlookers, an illustration from a Janamsakhi manuscript Provincial Mughal, late 18th Centurygouache and gold on paper, dull red and black margin rules, plain border 245 x 210 mm.Footnotes:Comparison with other versions of this scene (see Asian Art Museum, Gift of the Kapany Collection, object no. 1998.58.1) indicates that the scene depicted here is from an episode in connection with creation of one of the textual traditions relating to the life of Guru Nanak (1469-1539). His encounters in distant lands, conducted over several journeys spanning several decades, were memorialised and embellished in several biographical texts known as Janamsakhis. This painting would have been commissioned to illustrate a Janamsakhi from the Bhai Bala textual tradition. The were the most popular of the life stories because of the claim that they come from first-hand accounts of Guru Nanak's life: Bhai Bala was said to have accompanied his master on his travels and later recited them to Guru Angad (1504-1552), Nanak's successor as the spiritual leader of the Sikhs. Here, Bhai Bala faces Guru Angad, who sits on a low chair. A woman observes the scene from a doorway while nearby a man pays his respects to the Guru.For further information on this lot please visit Bonhams.com

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Chinese Painting II". Medium: Original vintage photogravure. Date: Composed c1962. Printed 1969. Dimensions: Image size: 13 x 10 1/16 in. (330 x 256 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Multiple negative process used. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25440-3-225]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Chinese Painting I". Medium: Original vintage photogravure. Date: Composed c1963. Printed 1969. Dimensions: Image size: 7 1/8 x 5 9/16 in. (181 x 141 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Multiple negative process used. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25439-2-300]

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

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Provenance: Estate of a private collector, Basel, Switzerland. Comment(s): An oil on paper work with a similar composition but much smaller size sold for $3,750 at Christie's New York, July 16, 2012, lot #120. Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29806-2-4000]

A small group of catalogues and books relating to Asian art, including; The `Bowes' collection of Japanese Art; `Masterworks of Ukiyo-e: Hiroshige', by M. Narazaki.

An Asian tribal art carved wooden post with carved ornament, a silver coloured opium pipe and a filigree decorated Jambya dagger, Saudi Arabia, Hijaz with double edged blade, early 20th century

Collection of Asian works of art, to include five Chinese porcelain tea bowls, a Japanese bronze stork, a Tibetan striker and a gilt metal bowl, (8)

Musillo (Marco). The Shining Inheritance, Italian Painters at the Qing Court, 1699-1812, 1st edition, The Getty Research Institute, California, 2016, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, 8vo, together with; Ghose (Madhuvanti) , Vanishing Beauty, Asian jewellery and ritual objects from the Barbara and David Kipper collection, 1st edition, Yale University Press, 2016, numerous colour illustrations, original cloth in dust jacket, large 4to, and The Aga Khan Trust For Culture [publisher] , Spirit & Life, masterpieces of Islamic art from the Aga Khan Museum collection, Geneva, 2007, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus Fong (Wen C. & James C. Y. Watt) , Possessing the Past, Treasures from the National Palace Museum, Taipei, 2nd printing, New York, 1996, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 8vo, and other Oriental & Asian art reference & related, many original cloth in dust jackets, some paperbacks, 8vo/4toQty: (66)

South-Est Asian Art A bronze figure of Avalokiteshvara Cambodia, Khmer, 12th century . . Cm 4,50 x 9,50. Provenance: Private collection Milan, Italy.

Himalayan Art A rare large bronze figure of Manjushri NamasangitiNepal, 16th-17th century . . Cm 24,50 x 36,00 x 19,50. Noteworthy large bronze casting depicting the bodhisattva Manjushri in an extremely rare iconography taking the name of Namasangiti, the primordial Master. This representation is considered of great importance for all Nepalese Buddhism, as it is the spiritual progenitor of the five transcendent Buddhas and of the entire world of Buddhism. It is also peculiar to Nepal and there are few known representations of it, emphasising its importance.The character features a rich dark green patina and is seated in the canonical Padmasana cross-legged position. It is exceptional in that it features twelve arms: six at the front, four on the side and two at the rear. The two main front hands display an open variation of the vyakarana mudra. The underlying hands, positioned to pour ambrosia into the bowl below, are in tarpana mudra. The third front pair, in the samadhi mudra position, hold the container for the sacred amrita nectar. The two side pairs were supposed to hold the four symbols of Manjushri (the Khadga sword, the manuscript, the bow and the arrow) but these have been lost.The sixth and last pair of arms, in the background, are extended with the hands joined above the figure's head in vajrachakra mudra position, representing Mount Meru.Worthy of note is the piece's overall refined and well-proportioned workmanship. The circular face displays delicate and serene features, typical of the Newari style of the Kathmandu valley. It also features a conspicuous five-pointed crown and jewels embellishing the bust, ears and arms, containing hollow settings that probably housed precious stones. Given its size and the disc-shaped base which supports the entire figure, the work was probably originally placed on a column inside a temple or outside near sacred buildings, a typical custom in Nepal.Provenance: Private collection Milan, Italy.For close related example please see: Bonhams, “The Maitri Collection of Indian, Himalayan & Southeast Asian Art”, New York 20 Marzo 2018, lotto 3203 Bonhams, “Indian, Himalayan & Southeast Asian Art”, New York, 19 Marzo 2019, lotto 934Himalayan Art Resource, item no. 202977.This lot is provided with a temporary import license.

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

South-Est Asian Art A bronze figure of Vishnu and Garuda Cambodia, Khmer, 10th century . . Cm 7,50 x 17,00. Provenance: Private collection Milan, Italy.

South-Est Asian Art An important bronze figure of Buddha ShakyamuniCambodia or Burma, Khmer empire (?), 12th century . . Cm 13,00 x 25,00. The bronze with a green patina depicting the historical Shakyamuni Buddha is especially noteworthy, represented here in a standing position on a platform base that is decorated with lotus petals and raised on small legs. The forms of the figure's lean and slender body are accentuated by a light, fitted tunic. It also features a high five-pointed crown in a vague leaf shape. The large hands, both with palms outstretched towards the viewer, display the following gestures: the right exhibits the vitarkamudra doctrine, while the left is most likely in the shuni mudra position. The hybrid style of the work makes it difficult to attribute a precise geographical origin. It appears to have been found in Cambodia and likely dates to the Khmer period.It does, however, feature numerous stylistic discrepancies with this era. It could therefore be assumed that the work was inspired by foreign aesthetic styles, such as those of the Bagan empire of neighbouring Burma and the Pala empire which, in turn, borders present-day Myanmar. Some theorise that this bronze was actually created within the Bagan empire, with both Pala and Khmer influences, before being moved to Cambodia for unknown reasons.Provenance: Private collection Milan, Italy.Published in: “Khmer Bronzes: New Interpretations of the Past”, Emma C. Bunker & Douglas Latchford Editore: Art Media Resources Ltd, Chicago (2011), Pag. 270 e 265.

Indian Art A brass altar dedicated to Vishnu India, Himachal Pradesh, 12th century . . Cm 11,50 x 24,00 x 7,30. For a close related example please see: Christie’s, “Indian and South East Asian Art”, New York, 19 marzo 2014, sale 2828, lotto 1086.Provenance: Private collection Milan, Italy.

South-Est Asian Art A dark bronze figure of seated Buddha with flaming headdressBurma, Post Pagan, 15th-16th century . . Cm 14,50 x 24,00. For a close related example cfr. Somkiart Lopetcharat, Myanmar Buddha. The image and its history, plate. 24.

South-Est Asian Art A large Buddhist painting depicting Buddha Tejaprabha enthroned Korea, Choson dynasty, 18th-19th century . . Cm 213,00 x 135,00. Korean Thangka painted in tempera on canvas depicting Buddha Tejaprabha seated on a throne between Suyabrabha, the bodhisattva of the sun and Chandraprabha, bodhisattva of the moon and surrounded by a multitude of the heavenly deities and various anthropomorphic personifications. The iconography shows an interesting syncretism between Buddhism and Taoism, characteristic of the Seven Star composition popular in the 19th century. Exceptional for its quality and dimensions, this painting was probably made for a main temple to be placed behind the large central figure. For a close related example please see: The Cleveland Museum of Art, Acc. No. 1998.120. Provenance: Private collection Tuscany, Italy.

A Burmese bronze figure of a seated Jambhupati Buddha 17th/18th century Depicted seated in bhumisparsha mudra, adorned with an elaborate crown with pierced streamers, seated atop a stepped lotus pedestal, lacking adorants.H: 15 1/2 in.PROVENANCE:Property from a Private Philadelphia Collection, acquired from Jonathan Tucker and Antonia Tozer, Asian Art, London, November 21, 2011; formerly private English collection.

A Khmer bronze ritual bell handleAngkor period, Bayon style, late 12th/13th centuryThe support of two serpentine nagas, two leaf-shaped flanges at the base, one modeled with Ganesh, the other with Vishvarkaman, the sides with apsaras, pale green verdigris patina; modern patinated metal stand.H: 7 1/2 in. (bronze)PROVENANCE:Property from a Private Philadelphia Collection, acquired from Johnathan Tucker, Antonia Tozer, Asian Art, March 25, 2013; formerly private UK collection.