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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.

A Thai bronze figure of an ascetic Buddha and a rare Rattanakosin period gilt lacquered bronze ascetic Buddha19th centuryThe first atop a base with later fitted stand, the gilt lacquered Buddha seated under a Bodhi tree, atop a stepped rockwork base. (2),.H: 5 in. (tallest)PROVENANCE:Property from a Private Philadelphia Collection, acquired from Jonathan Tucker and Antonia Tozer, Asian Art, London, the first February 28, 2014, formerly private English collection; the second May 5, 2016, formerly private German collection.

A Thai bronze seated Buddha Late Ayutthaya period, 17th/18th century Seated in dhyana mudra, with a lobed usnisa, atop a pedestal base, soft brown patina, traces of gilding.H: 10 in.PROVENANCE:Property from a Private Philadelphia Collection, acquired from Jonathan Tucker and Antonia Tozer, Asian Art, London, December 24, 2012; formerly private German collection.

Good quality auction catalogues, mostly Sotheby's, Christie's and Bonhams pertaining to Carpets, rugs, textiles, Fine Art; Asian Art, 1980s to the present day, approximately 300 catalogues including some provincial auction house catalogues. (Approx. 300 catalogues in 8 boxes)

ASIAN AND ISLAMIC ART.  CHAPMAN (J) THE ART OF RHINOCEROS HORN CARVING IN CHINA  illustrated, dust jacket, 1999, G Fehervari, Islamic Pottery A Comprehensive Study based on the Barlow Collection, G Oney, Ceramic Tiles in Islamic Architecture, J. Allen Metalwork of the Islamic Word [from] The Aron Collection, A Lane, Later Islamic Pottery, M & B Jahss, Inro and Other Miniature forms of Japanese Lacquer Art, N K Davey, Netsuke, M Medley, Yuan Porcelain and Stoneware, W Watson, Ancient Chinese Bronzes, Sir H Garner, Chinese Lacquer, J G Phillips, China-Trade Porcelain and about thirty others including catalogues of the sale of the R & F Bushel Collection of Netsuke and the C Monzino Collection of Netsuke, Inro and Lacquer and other sale catalogues of important collections (40 approx)

An extensive collection of Asian and European art auction catalogues and magazines -- Description: Various formats.

Hardbacks and softcover monographs on Oriental rugs and Asian art, in a box.

A miscellaneous collection of Chinese and Asian works of art, including two hardstone carved panels on silk decorated with fish, 9cm wide x 6.5cm, a hardstone carving panel of a gentleman dancing, 5cm x 4cm, also in the lot a Peking glass jar and cover with reverse decorated butterflies and roses against a blue ground, 7.5cm x 5cm, a resin monkey group (af) porcelain pot and cover, two Chinese hardstone carvings, one of a pig, two resin figures of Chinese baby boy and girl and a scarab hardstone, all in a Chinese yew wood sectional tray, tray 36cm square Monkeys are damaged otherwise in general good condition

11th-12th century AD. A Byzantine or possibly Fatimid gold armlet with ribbed hollow-form D-section shank tapering towards the discoid bezel, triangular collars with filigree granulation to the finials; the bezel a sheet gold disc with granulated chevron border, above a hollow medallion with ribbed outer edge, each rib interspersed with a single granule to the upper face; two crescentic mother of pearl inserts flanking the central band set with two teardrop-shaped garnets and a central iridescent glass insert, each with a granulated border. See National Museum of Asian Art, accession no.F1948.25, for a similar type; see also The Metropolitan Museum of Art, accession no.58.37, for type; see also Price, J., Masterpieces of Ancient Jewelry. Exquisite Objects from the Cradle of Civilization, Philadelphia, 2008, p.107, for type. 27.28 grams, 91mm (3 1/2"). Property of a London lady, part of her family's Swiss collection; formerly acquired in the 1980s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.160611/01/09/2020. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Northern Qi Dynasty, 5th-6th century AD. An imposing carved fossiliferous limestone stele surmounted by four entwined grimacing dragons, their bodies curled around a canopy with standing Buddha in the act of blessing; a central large figure of Buddha in shallow canopied niche below, seated on a lotus throne, his right hand raised to his chin and left hand resting on his knee with palm facing down; surrounded by ten bodhisattvas or disciples, each seated in a niche, four at the front of the stele and three to each narrow side, each with individual facial features, dressed in long robes with hands tucked inside the sleeves; two further bodhisattvas flanking the Buddha's head with their hands in vajrapradama mudra and in a greeting pose; below the Buddha two guardian lions flanking a censer; the reverse with a shallow niche with two monks; the lower section dived in two parts: the top with engraved image of two entwined dragons, each with a mythical bird on its back, the lower half with devotional inscription 'Emperor Wenxuan of Northern Qi, 559 years...This stone is made in the hope that all from emperor to commoner will be one with Buddha'; the stele resting on a rectangular base with a seated bodhisattva to each short edge, the front with low relief scene of two monks before a large censer, a regardant guardian lion to each side. See Musée Cernuschi, Paris, France, for a votive stele with six dragons; see also Sotheby's New York, 18 March 2014, Lot 169, for a less elaborate example. 190.6 kg, 1.1m (43 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection was displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a scholarly note TL 5284 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163522-10079. Very fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Eastern Wei, 6th century AD. A carved sandstone architectural panel comprising an aureole with flying deva figures to the upper edge, central standing robed Buddha with hands raised in the gesture of reassurance; flanked by two smaller bodhisattva figures in similar pose; mounted on an orb attached to a rectangular base with (later?) inscription to the reverse reading "Made by Xing Changzhen in memory of his two sisters deceased, Eastern Wei Dynasty, (April 22nd 536)". 67 kg total, 87cm including stand (34 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection was displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a scholarly note TL 5284 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163523-10080. Fine condition.

Tang Dynasty, 618-906 AD. A carved marble head of Buddha with hair composed of tight coils, finely carved facial details, serene expression; mounted on a custom-made stand. 28.2 kg total, 56cm including stand (22"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection was displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News. and a scholarly note TL 5296 by Dr Ronald Bonewitz. Fine condition.

Eastern Wei, early 5th century AD. A bronze figure, likely in the style of the Gandharan or Uddiyana regions, of Shakyamuni Buddha in loose robes seated on a throne flanked by elephants.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. 101 grams, 80mm (3"). Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB003, p.58 & 159; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fair condition; ritually rubbed by generations of devotees.

Northern Wei Dynasty, 386-534 AD. A gilt bronze figure, after the statuary of Gandhara or neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB005, p.58 & 160; accompanied by copies of the relevant exhibition catalogue pages.86 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure after the Gandharan style, or that of the neighbouring Uddiyana region, of Shakyamuni Buddha modelled with his hands clasped together in dhyana mudra and seated in the dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB006, p.160; accompanied by copies of the relevant exhibition catalogue pages.95 grams, 70mm (2 3/4").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB007, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.211 grams, 14cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right.235 grams, 13.4cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered base with flaming aureole behind, engraved image of Buddha to the rear.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB009, p.57 & 161; accompanied by copies of the relevant exhibition catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163202-10081.474 grams,17.5cm (7").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Western Qin Dynasty, 385-431 AD. A gilt-bronze statuette, influenced by the Gandharan style or that of the neighbouring Uddiyana region, of Shakyamuni Buddha kneeling on a tiered podium, aureole to the rear; inscribed legend to the reverse of the aureole, the inscription mentions the 'Tripitaka Master', the 'Buddha Disciple' and to 'arouse the vow' and asks 'to improve human welfare, and to save all beings from the sea of suffering and erase calamity', and dates to the Western Qin (385-431 AD), donors to the legs of the podium.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB008, p.59 & 160; accompanied by copies of the relevant exhibition catalogue pages.355 grams, 14.1cm (5 1/2").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 385-431 AD, Western Qin era.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Eastern Wei, early 5th century AD. A gilt-bronze figure, composition originating in the Gandharan style and displaying Central Asian features, of Buddha kneeling on a throne, flanked by lions, flames radiating from the upper arms, pleated robe, hands clasped in the samadhi mudra.406 grams, 13cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; much of the collection displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Tang Dynasty, 829 AD. A gilt-bronze figure, influenced by the Gandharan style, of Buddha sitting on raised rectangular podium resting on a four-legged base, with separate flaming aureole to attach to a peg on the reverse; legs with engraved images of the donors; reverse of aureole with incised inscription, translating approximately as: a 'dedication by Zhang Hai requesting that his family remain safe' and 'offering Buddha forever', dated to '829 AD during the reign of Emperor Wenzong of Tang'.293 grams, 13.5cm (5 1/4").Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB010, p.161; accompanied by copies of the relevant exhibition catalogue pages.Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages, which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a later date of 829 AD, a discrepancy which likely arose due to stylistic similarities between those dates.Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

Eastern Wei, early 5th century AD. A hollow-formed bronze statuette, likely after the Gandharan or Uddiyana style, of Shakyamuni Buddha sitting in meditation on throne with guardian lions, prominent ushnisha and loose robe, mounting peg to the reverse for an aureole.See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford.Exhibited: Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit TB004, p.56 & 159; accompanied by copies of the relevant exhibition catalogue pages.535 grams, 12.5cm (5").Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition titled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant London and Tibet House exhibition catalogue pages.Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.Fair condition.

Tang Dynasty, 618-907 AD. A bronze octofoil mirror with lotus flowers, tendrils, phoenixes and other details to the scooped upper face. 1.2 kg, 21cm (8 1/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s. Fine condition.

2nd-4th century AD. A schist statue fragment with bust of Buddha with large aureole behind the head, emaciated face with hollow cheeks and sunken eye sockets, ushishna covered by wavy hair, urna flanked by raised veins; mounted on a custom-made stand. 8.4 kg total, 37cm including stand (14 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG010, p.94; accompanied by copies of the relevant exhibition catalogue pages. Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a copy of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'The portrayal is intense; the Buddha has a small beard, the eyes are just sockets, the cheeks sunken, veins mark the forehead above the urna. The hair is pulled back from the brow, forming rivulet-like waves, piled onto the top of the head and forming a bun which covers the ushnisha (cranial sign of spirituality). A large circular aureole behind the Buddha's head... NOTE: Very few heads of Fasting Buddhas have survived to such a fine and complete degree. Several, in museum collections, are without an attached aureole. This is a particularly fine and important example of the moving subject.' Fine condition.

Kashmir, 6th century AD. A powerful schist figure of a bodhisattva, possibly bodhisattva Maitreya, standing on a rectangular base with lotus-flower aureole behind, wearing a dhoti, and artfully draped scarves, sumptuous necklaces and other jewellery decorating his nude upper body, carefully dressed and bejewelled hair with curls above the temples, curls to the ushnisha, raised right hand absent, originally most likely in the abhaya gesture; the base with seated Buddha in meditation with a devotee at either side in obeisance. 32.9 kg, 62cm (24 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG015, p.103; accompanied by copies of the relevant exhibition catalogue pages. Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'This unusual and powerful stone sculpture most likely depicts Bodhisattva Maitreya - the Future Buddha. He stands frontally, in sandals, upon a wide podium the front of which is decorated by columns and a central seated Buddha in meditation with a devotee at either side in obeisance. The Bodhisattva is portrayed as an extremely handsome idealized divine being, the head large, hair piled high and bejeweled, the body largely bare to the waist which is wrapped with an Indian-style dhoti cloth. He wears sumptuous necklaces, arm-bands, ear-rings and scarves which are draped artfully. The raised right arm is missing the hand, which most likely was in the abhaya 'fear not' gesture. The left hand, also missing must have been by the lower left side. Gandhara-culture in Kashmir, circa 6th century AD.' Fine condition.

Books: Seven reference books and literature on Chinese history and Asian Art. Titles1. Selected Masterpieces of Asian Art. Published by the Museum of Fine Arts Boston. 2. Journeys into the past, Life behind the Great Wall.3. Chinese Domestic Furniture in photographs and measured drawings, by Gustav Ecke.4. The decorative arts of The China Trade, Paintings, furnishings and exotic curiosities, by Carl L Crossman.5. Chinese Export Art and Design, Victoria and Albert Museum 6. Chinese Export Porcelain, Standard Patterns and Forms, 1780-1880, by Herbert, Peter and Nancy Schiffer7. The Chinese Potter, A practical History of Chinese Ceramics, by Margaret Medley. 

Books: Eleven books on Japanese Art, Netsuke, Prints etc. Titles1. The Great Japan Exhibition, Art of the Edo Period 1600-1868, Royal Academy of Arts. 2. (Two Copies) Japanese Prints, 300 Years of Albums and books, by Jack Hillier and Lawrence Smith. 3. Ukiyo-e Paintings in the Tokyo National Museum Collection.4. Catalogue - Japanese Prints, Paintings and Metalwork, by Sebastian Izzard LLC Asian Art, New York. 5. Japanese Cloisonné Enamels, The Seven Treasures, by Gregory Irvine.6. Ivories, A History and Guide, by Charles Platten Woodhouse.7. The Enamels of China and Japan, Champlevé and Cloisonné, by Maynard G. Cosgrove8. The Netuske Handbook of Ueda Reikichi - With 226 New photographs in colour and gravure adapted from the Japanese by Raymond Bushell. 9. The Wonderful World of Netsuke, by Raymond Bushell 10. The Mingei

A Chinese Kangxi / Yongzheng Blanc de Chine Porcelain Box Lid Mould (Ex. Museum).This is a mould used for impressing a pattern onto the lid of a porcelain box. It is stoutly potted, the glaze having a hint of pale blue. Diameter 10.5cm. Qing Dynasty c.1675 – 1725.Reference: A very similar box lid mould is illustrated in page 46 of the 1969 book "Blanc de Chine" by P. J. Donnelly.Provenance: It was part of The Brooke Robinson Collection of Asian Art formerly housed at Dudley Museum. Brooke Robinson (1836–1911) was a British Conservative Party politician, who was MP for Dudley.Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Chinese 17th Century Dehua / Blanc de Chine Porcelain Flat Dish (Ex. Museum). Coated in a finely-crackled ivory coloured glaze apart from the wide foot ring that remains unglazed. Diameter 19.25 cm. Dehua kilns, Fujian province. 17th century (c. 1650 - 1700). Fine condition, no restoration or repair.Provenance: this dish bears a museum inventory number “B.R. 42-1944” and an old paper label stating “Chinese Ting Type - Ming AD 1368 – 1644”. It was part of The Brooke Robinson Collection of Asian Art formerly housed at Dudley Museum. Brooke Robinson (1836–1911) was a British Conservative Party politician, who was MP for Dudley and held a number of public posts including that of County Coroner for Dudley. He also was an art collector and benefactor whose legacy was the Town Hall and a museum in the town of Dudley. Brooke Robinson left a sum of money as well as his collection of art, furniture, ceramics, and other items for the benefit of the town of Dudley. The money was eventually used to construct the Town Hall, a Coroner's Court and a museum. The museum, known as the Brooke Robinson Museum, opened on 18 May 1931 with, as far as we can tell, the Trustees continuing to acquire pieces to add to the collection.Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.Note: This lot was bid on by a fraudulent buyer in our previous sale, the sale was cancelled.

A Chinese 17th Century Dehua / Blanc de Chine Porcelain Lion-Mask Censer (Ex. Museum). On opposing sides of the body are two moulded lion-masks. It is coated in a finely-crackled ivory coloured glaze apart from the inner surface and flat base that remain unglazed. Diameter 13.5 cm. Dehua kilns, Fujian province. 17th century (c. 1650 - 1700).Provenance: this censer bears a museum inventory number “B.R. 8-1944” and an old paper label stating “Chinese Chun Tea Bowl - Sung AD 960 – 1279”. This censer was part of The Brooke Robinson Collection of Asian Art formerly housed at Dudley Museum. Brooke Robinson (1836–1911) was a British Conservative Party politician, who was MP for Dudley and held a number of public posts including that of County Coroner for Dudley. He also was an art collector and benefactor whose legacy was the Town Hall and a museum in the town of Dudley. Brooke Robinson left a sum of money as well as his collection of art, furniture, ceramics, and other items for the benefit of the town of Dudley. The money was eventually used to construct the Town Hall, a Coroner's Court and a museum. The museum, known as the Brooke Robinson Museum, opened on 18 May 1931 with, as far as we can tell, the Trustees continuing to acquire pieces to add to the collection. It would appear that when added to the collection, there was little knowledge of such wares and so this censer was misattributed as a Chinese Song Dynasty Jun tea bowl!Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.Note: This lot was bid on by a fraudulent buyer in our previous sale, the sale was cancelled.

A Chinese 17th Century Dehua / Blanc de Chine Porcelain Lion-Mask Censer (Ex. Museum). Heavily-potted with two moulded lion-masks on opposing sides of the body. Coated in a finely-crackled ivory coloured glaze. Diameter 14.5 cm. Dehua kilns, Fujian province. 17th century (c. 1650 - 1700). Some of the glaze around the rim edge has flaked away and there is a small surface chip to the upper mouth edge, but there is no repair or restoration and it is good overall condition.Provenance: this censer bears a museum inventory number “53-1944” and old paper labels stating “Chinese Chun Tea Bowl Sung AD 960 – 1279”. Its full number is actually “BR-53-1944”. This censer was part of The Brooke Robinson Collection of Asian Art formerly housed at Dudley Museum. Brooke Robinson (1836–1911) was a British Conservative Party politician, who was MP for Dudley and held a number of public posts including that of County Coroner for Dudley. He also was an art collector and benefactor whose legacy was the Town Hall and a museum in the town of Dudley. Brooke Robinson left a sum of money as well as his collection of art, furniture, ceramics, and other items for the benefit of the town of Dudley. The money was eventually used to construct the Town Hall, a Coroner's Court and a museum. The museum, known as the Brooke Robinson Museum, opened on 18 May 1931 with, as far as we can tell, the Trustees continuing to acquire pieces to add to the collection. It would appear that when added to the collection, there was little knowledge of such wares and so this censer was misattributed as a Chinese Song Dynasty Jun tea bowl!Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.Note: This lot was bid on by a fraudulent buyer in our previous sale, the sale was cancelled.

A Large Chinese Han Dynasty Glazed Stoneware Jar with Incised Patterns. This type of ware is often referred to as “proto-porcelain”. The upper part of the wide globular body is decorated with three raised bands and incised scrolling patterns. On opposing sides of the shoulder are handles decorated with stylized animal motifs, above which are scrolling appliqués and below which are rings. The lower body remains unglazed and is burnt to a dark reddish-brown in places. Diameter 34cm, height 30cm. Western Han Dynasty (206 BC – AD 8).Reference: an almost identical example, although lacking the incised decoration of this jar and with less elaborate handles, is described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Rare Chinese Western Han Dynasty Miniature Pottery Cocoon Jar. The body burnished smooth and decorated with eight bands of vertically triple-incised bands and pronounced ridges surrounding the neck and base. Length of body 14cm (5.5 inches), height 13cm (5.25 inches). Qin (221 – 206BC) or Early Western Han Dynasty (206 BC – AD 8).Reference: similarly decorated, albeit larger, cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Fine Chinese Ming Dynasty Blue & White Porcelain Bowl – Jiajing reign. The outer wall is decorated with a scrolling peony pattern whilst the inner pattern features lotus flowers in "white on blue". Diameter 14.5 cm (5.75 inches). There is the usual "fritting" to the glaze at the rim edge seen on most porcelain of this period. Fine condition with a good ring when tapped and no repair or restoration. Ming Dynasty, Jiajing reign (1522 - 1566).For reference: an almost identical bowl is shown on page 155 of the 1978 Southeast Asian Ceramics Society book "Chinese Blue & White Ceramics" by S. T. Yeo & Jean Martin.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Fine Chinese Western Han Dynasty Painted Pottery Cocoon Jar. Made from a relatively highly-fired grey pottery and decorated with coloured pigments in a design featuring cloud patterns within vertical bands. Length of body 26cm, height 25cm. A fine and untouched example. Western Han Dynasty (206 BC - AD 8).Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

An Unusual Chinese or South-East Asian Neolithic Pottery Jar. The jar with a wide body and wide flat rim. The painted decoration comprising horizontal bands and four human faces. Height 17cm, diameter 21.5cm. Purchased by Mr. Page from Christie’s, London in the 1990s as part of a mixed lot, all of which were described as “Chinese Neolithic” although this does not seem to conform to any known Chinese Neolithic culture.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

SOUTH AFRICAN PRESTIGE STAFFS OR CANES & TWO CLUBS (7)The Late Neville Kingston Collection of Tribal ArtRogers Jones are delighted to offer the selected objects from the collection of the late Neville Kingston, formerly of London.Philip Keith who is a regional valuer with the Welsh auction house is one of the UK’s foremost authorities on ethnographic antiques and the co-author of ‘Tribal Art – The Essential World Guide’. This is the first tribal collection that has been entered for auction at Rogers Jones & Co since Philip joined the firm at the beginning of the year. The collection has been split into two auctions with the more important items featuring in the September Selections & Collections auction.The collection is huge in its variety of ethnographic objects from Africa, South Asia, South America and the Pacific attesting to Neville’s interest in the material culture from all regions of the non-western world.Items of note include two rare and beautiful bows from the Andaman Islands in the Indian Ocean together with two bundles of carved and coloured arrows from the Highlands of Papua New Guinea, as well as intricately bound, delicate Amazonian reed arrows contained in two lightweight quivers.The standout Polynesian lot is an intricately carved ritual paddle from the Austral Islands. These paddles were carved using steel tools traded with European sailors up until the 1840s and are classic expressions of early cross-cultural exchange.For the decorators market, there are two large New Guinea war shields carved with stylised curvilinear designs in bold colours, an enigmatic and beautifully weathered temple roof element from Cambodia and an amazing purple feathered headdress from the Bamileke people of Cameroon, traditionally worn with a beaded cloth elephant effigy costume.The standout African sculpture is a wonderfully stylised iagalagana figure from the Mumuye people of the Benue river region of Nigeria. These etiolated figures with their wrap around arms and of rounded form are the height of fashion amongst collectors and sure to raise international interest.The collection has been entered by his daughter who said:"Neville Kingston was a noted collector of Central Asian textiles and carpets. He combined this with his full time job as a veterinary surgeon, specialising in pigs, a skill which took him around the world from his East Yorkshire base. However, in 2008, his attention was caught by some central and west African ethnographica while he was waiting on the phone to bid for a textile in an auction in Salisbury.The auctioneer persuaded him to bid on the lots “just to start the bidding” and he ended up with his first group of African tribal art. From there began a fascination with this art, with Neville building up a library of books and subscriptions to journals and auction catalogues, in order to learn more about this art form which is under appreciated in the UK. He became a frequent visitor at Parcours in Paris where the enthusiasm was infectious. Although Neville’s first love was always carpets and textiles, he was fascinated by this other form of tribal art and started buying whatever he could, mainly at local auctions. As a newcomer to this world, he bought whatever he could as a means to studying and extending his knowledge."

A collection of Asian works of art, including a cloisonné box and cover decorated with dragon and flaming pearl, diameter 10cm, two 19th Century soapstone chop seal weights, both decorated with Temple Dogs, a Japanned decorated circular tray, another oval example and various ceramics (9)

* Cup. A fine 19th century Tibetan silver cup and cover, the cover with hardstone finial, engraved and chiseled decoration with dragons and other mythical beasts richly gilded, the stemmed base with flared rim, collection-number '126' to base, 14cm high x 13cm diameterQty: (1)NOTESProvenance: Jonathan Tucker Antonia Tozer Asian Art and Private Collection, Cotswolds.

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A large example of an Indus Valley civilisation bowl, with lightly flaring walls and a flat foot. The uppermost interior surface of this ochre coloured vessel is decorated with a series of black, stylised gazelles. Below the ring of gazelles are a series of geometric designs arranged in bands. The exterior of this vessel is sparsely decorated with four black vertical geometric stripes, and three black bands encircling the foot. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Gazelles are a recurring motif in the Indus Valley and may reflect the importance of such animals to survival in this region. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: H:120mm / W:300.3mm ; 1297g

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A large example of an Indus Valley civilisation bowl, with a lightly flaring body and a ring base. The interior of the vessel is decorated with polychrome motifs featuring a pair of beautifully striped humped bull, with long, curving horns, shown in profile. The bulls are framed by polychrome geometric designs and stand over a geometric rondel which marks the bottom of the bowl. The exterior is undecorated. Excellent condition, The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. The bull, with its hump and powerful horns, is a recurring motif in the Indus Valley, appearing on painted pottery like this example but also on figurines and stamps. The animal may represent the leader of a herd, who is able to protect his followers, or it could be a reflection of the bull’s importance in religious sacrifice. Excellent condition. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: H:110mm / W:280mm ; 1446g;

C. 3rd millennium BC. Ancient Central Asia, Indus Valley. A very large example of an Indus Valley civilisation vessel with flaring body and recurved rim. The ochre coloured vessel is decorated with black motifs of humped bulls, with long, curving horns and large bodied birds. The bulls and birds are separated by vegetal and solar motifs. The outermost limits of the vessel’s decorative scheme are delineated by black stripes. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which this ceramic vessel belongs, was in the 3rd millennium BC. Gazelles are a recurring motif in the Indus Valley and may reflect the importance of such animals to survival in this region. Cf. N. Satyawadi, 1994. Proto-Historic Pottery of the Indus Valley Civilisation: Study of Painted Motifs, New Delhi. Excellent condition. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: H:280mm / W:310mm ; 5200g

2000-1000 millennium BC or later. Western Asiatic. Dark brown carved stone figure of a tiger or other large feline. The tiger is depicted sitting on its haunches, but remains clearly alert, as is denoted by its raised head. The details of the beast are carefully incised, and it is intricately ornamented with buta-shaped light brown inlays. The tiger is a symbol of terrible power, strength and exoticism in ancient societies and this beautiful item may have once belonged to an ancient noble or royal. Good condition. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: H:100.5mm / W:70mm ; 289g

Ca. 800-600 BC. Western Asiatic. Terracotta vessel in a mid reddish-brown fabric with globular body, short straight neck and long, slightly upwards-pointed spout. The exterior of the vessel is decorated with applied blobs. This beautiful piece attests to the highly skilled craftsmanship of ancient Western Asia, where artisans worked to create intricate tablewares for use in elaborate banquets. Banqueting was a major part of aristocratic culture in antiquity and required a range of specialised utensils and vessels such as this one. Good condition. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: H:140.5mm / W:390mm ; 1395g

Ca. 900-1200 AD. Medieval Islamic. Rock crystal chalice with flaring step supporting a flat-bottom bowl with inward tapering body and everted rim. The exterior retains traces of painted geometric or pseudo-calligraphic decoration. Rock crystal vessels are typical of Fatimid Egypt (10-12th centuries) but are exceptional example of the lapidary art, ground from a blank over many hours of laborious work on a material which is susceptible to sudden breakage. Rock crystal worked in Islamic lands were highly sought-after luxury commodities across the Mediterranean and beyond. These objects were particularly desired by European customers as many pieces are known from church treasuries in Western Europe. Good condition. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: H:70.5mm / W:60mm ; 184g

19TH CENTURY EUROPEAN ARTISTStill Life With Asian Vase, Roses, Ferns, and Daisies oil on canvas 95 x 47 cm (37 3/8 x 18 1/2 in.) signed lower right CONDITIONObserved in frame, the work is in good condition. Visible holes from hanging on three sides of the canvas. Some paint loss around the perimeter. Craquelure throughout appropriate with age. No other visible issues to report.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.

A Japanese kakiemon water dropper, circa 1680, modelled as a boy sitting on a drum and with gourd slung over his shoulder, 14.5cm high/Provenance: Miss K M Eeles and thence by descent/Note: A similar example was exhibited in Porcelain for Palaces, 6th July-4th November 1990, No. 162 (lent by The Burghley House Collection) another is in the Avery Brundage Collection at the Asian Art Museum of San Francisco, no. B69P30 and another at the Ashmolean Museum. A similar example sold at Woolley & Wallis 23rd May 2018, lot 975/see illustration CONDITION REPORT: 259:Extensive firing and hairline cracking to the base and up the side. Hairline crack to gourd. Flat enamel chip to hair.

Asian Brunei engraved white metal tankard, with presentation inscription to the underside base, 3.5" high, 5.7 oz t; pair of French cut steel shoe buckles, silver plated belt with pierced figural panels, 36" long; two letter openers, two matching Art Deco silver handle dressing table brushes, silver hand mirror, Maxm boxed lighter and a magnifying glass

A Well-matched pair of Sancai Petal-Rimmed Lobed Dishes, Liao Dynasty; Each dish with lobed sides moulded on the interior with a in amber glaze on an incised deep green ground, surrounding a large white and russet flower head at the centre, the exterior covered in a pale green glaze. 13.8cm wide. [A dish of similar form and moulded decoration in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelain of the Song Dynasty I, Hong Kong, 1996, p.280, no.254. Another related example is in the Asian Art Museum of San Francisco, illustrated by Margaret Medley, Tang Pottery and Porcelain, London, 1981, p.138, no.136.]

Three (3) Chinese or Japanese art works, including Asian court scenes. 1st-2nd items: Two (2) finely detailed watercolor and gold leaf on silk paintings depicting Asian court scenes. In one, the figures' attention is focused on a bird in the center of a round pen; in the other, a woman climbs out a window while other figures wait outside. Images - 7" H x 6 1/4" W. Framed - 13" H x 10 1/2" W. Chinese or Japanese, 19th century or earlier. 3rd item: Watercolor on silk painting of swans and other birds in a lily pond, mounted to damask backing. Signed upper right. Image - 20" H x 40" W. Overall - 27 1/2" H x 47" W. Probably Japanese, 20th century. Provenance: Private West Tennessee collection. CONDITION: 1st and 2nd items: In the image with the bird, there is a 1/2" area of flaking to gold leaf and a smaller area of flaking just to the right, in the corner. The other piece has frame separating from backing at one corner. 3rd item: Small smudge (1/2") lower left, otherwise very good condition.

Michele da Verona (Italian, born circa 1470-died before 1536), and StudioThe Triumph of Chastity; and the Triumph of Love a pair, oil on panel28.2 x 45.7cm (11 1/8 x 18in). (2)Footnotes:ProvenanceWith Ludwig von Glenk (1886-1908), BerlinThe Collection of Edgar Worch, Berlin, by 1927 (according to literature) and thence by descent to the present ownerExhibitedOn loan to Seattle Art Museum, 1970-2018LiteratureP. Schubring, 'Zwei Bilder der Atalanta- Sage', in Der Cicerone. Halbmonatsschrift für Künstler, Kunstfreunde und Sammler, vol. XIX, 1927, pp. 559-561 (as Michele da Verona)M. Vinco, 'Gli inizi di Michele da Verona', in Proporzione, Annali dalla Fondazione di Roberto Longhi, vol. IX-X, 2008-2009, pp. 43-4, ill. fig. 55-56 (as Michele da Verona)M. Vinco, Cassoni Pittura profana del Rinascimento a Verona, Milan, 2018, cat. no. 78, pp. 250-1, ill (as Michele da Verona and studio)Pairs of cassoni were among the most popular wedding gifts in renaissance Italy from the late 14th century until well into the 16th century, serving both as storage chests for clothes and as seating. The most impressive examples included painted panels on the front and sides, the subjects of which were intended to provoke discussion. The theme of chastity (represented by the unicorn) and love (represented both by Cupid and by the boar, symbol of carnal love) illustrated in the present panels strongly suggests that they would have adorned just such a wedding chest. A cassone displaying two panels of similar subjects is in the collection of the Museo di Castelvecchio, Verona, inv. 48-1B838 and illustrated in P. Marini et al, Museo di Castelvecchio. Catalogo generale dei dipinti e delle miniature delle collezioni civiche veronesi. Dalla fine del X all'inizio del XVI secolo, 2010, pp. 227-229 (according to the Fondazione Zeri website). Henry (Heinz) Trubner (b.1920) was Curator of Asian Art at the Seattle Art Museum 1968-1987, and these panels were on loan to the Museum from 1970-2018, reference number T.L. 71.1-.4. He was the nephew of Edgar Worch (1880 - 1972), the renowned antiques dealer who specialised in oriental art.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

LITERATURE A COLLECTION OF REFERENCE BOOKS Relating to Chinese, Korean, Japanese and Southeast Asian art. (19)

A BURMESE MANDALAY-STYLE LACQUERED AND GILT-WOOD FIGURE OF BUDDHA 19TH CENTURY Standing in samabhanga on a lotus pedestal with his hands outstretched, his youthful face carved with a tranquil expression, with coloured jewels set in his tiara, the borders of his robe and the pedestal, all mounted on a later wooden base, 108cm. Exhibited: Jonathan Tucker Antonia Tozer Asian Art.

A THAI BRONZE HEAD OF BUDDHA 17TH CENTURY Cast with a serene expression, the face framed by his pointed ears with elongated earlobes, his hair cast as many conical spikes, with traces of black lacquer to the face, together with a modern stand, 32cm, 11kg. (2) Provenance: no.29, ST400 in Jonathan Tucker Antonia Tozer Asian Art's 2007 exhibition Brightness from the East: an Important Exhibition of Indian, Southeast Asian and Chinese Art; and then the collection of Mr Richard Nathanson (d.2018), London, purchased from Jonathan Tucker Antonia Tozer Asian Art on 21st September 2007. A copy of the invoice is available. Cf. The Walters Art Museum, Baltimore, accession no.25.188 for a similar 17th century head in stucco from the Alexander B Griswold Collection.

LITERATURE A LARGE COLLECTION OF BOOKS AND OTHER PUBLICATIONS Relating to Chinese, Japanese and South-East Asian art. (a lot)

A JAPANESE LACQUER COSMETIC BOX AND COVER, TEBAKO EDO PERIOD OR LATER, 18TH CENTURY OR LATER The rectangular body decorated in red, silver and gold hiramaki-e, takamaki-e and nashiji lacquer with an elegant pattern of a kaleidoscope of butterflies fluttering on a striped background, the sides with ring handles with Kuyo mon-shaped mounts, the crest made up of eight circles surrounding a ninth one, 13cm x 13.6cm x 19.7cm. (2) Provenance: formerly in the collection of Edward C. Moore (1827-1891) and later gifted to the family of the current owner. See the Metropolitan Museum of Art, New York, access. no.91.1.629, for another lacquer box from the collection of Edward C. Moore decorated with butterflies. Also access. no.2015.500.2.31a-f for another box with a comparable striped ground. The striped patterns may be a reference to Indian and South-East Asian textiles. Kuyo mon, the "Nine Stars Crest", was used by several high-ranking families including the Katakura, Ishida and Soma clans.

A RARE CHINESE FAMILLE VERTE 'SCHOLARS' BOWL KANGXI/YONGZHENG The deep U-shaped body supported on a short tapering foot and rising to a flared everted rim, finely painted with two seated scholars relaxing and drinking tea by a cluster of rocks and shrubs, with an attendant standing to the side ready to assist, the reverse inscribed with a poem, with a six character Hongzhi mark to the base, 11.5cm. Provenance: given to the current owner in Hong Kong in 1980 by Brian McElney, founder of the Museum of East Asian Art, Bath. Cf. W Qian, Tianwuguan Cang Ci, vol.1, pp.144-145 for a related Kangxi bowl also with scholars and a Hongzhi mark.清康熙/雍正 粉彩高士詩文碗《大明弘治年製》青花楷書款來源：1980年代在香港由巴斯東亞藝術博物館創始人Brian McElney贈予現藏家。

A Rare Chinese Song Dynasty Stoneware Jar / Amphora - Yixing Kiln. This rare and unusual stoneware cone-shaped storage jar, or amphora, was most likely from the Yixing kilns in Jiangsu province in the east of China. It is coated both inside and out in a brown glaze. Height 25.5cm (10 inches). Southern Song Dynasty (AD 1127 - 1279).Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton. Reference: similar vessels are described in the 1985 Southeast Asian Ceramic Society book “A Ceramic Legacy of Asia’s Maritime Trade”.

Various reference and auction catalogues to include Christie's and others on Asian and Decorative Arts, Chinese Art, Asian Art. Approx. 40

Various Auction Catalogues on mainly Asian and Chinese Works of Art from Christie's, Poly Auction, Bonhams, Woolley & Wallis etc. Approx. 43 Catalogues