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A CAMBODIAN LACQUERED AND PARCEL-GILT WOOD FIGURE OF BUDDHA 19TH/20TH CENTURY Depicted standing in samabhanga on a lacquered square-section pedestal, with his right hand in abhaya mudra, wearing a long robe which extends down to his ankles, his face bearing a serene expression, 185cm overall. Exhibited: Jonathan Tucker Antonia Tozer Asian Art.

A BURMESE MANDALAY-STYLE LACQUERED AND GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI 19TH CENTURY Depicted seated in dhyanasana wearing pleated samghati, his right hand touches the ground in bhumisparsha mudra whilst his left hand rests on his lap in dhyana mudra, with his downcast eyes picked out in black and white, all raised on a simple shaped pedestal, 43cm, 10kg. Exhibited: Jonathan Tucker Antonia Tozer Asian Art. Cf. Christie's Amsterdam, 2nd May 2007, lot 273 for a related figure.

A CHINESE SONG DYNASTY-STYLE QINGBAI MEIPING QING DYNASTY OR LATER The ovoid body incised with stylised flowerheads and foliage and with simple bands around the shoulder and neck, 34cm. Provenance: a Spanish private collection, Madrid, together with a copy of an authentication certificate from Dr Thomas Pilscheur, Pilscheur Fine Art, Asian and Western, London, November 1991. To be offered without reserve.

LITERATURE A COLLECTION OF AUCTION CATALOGUES Mostly from Sotheby's, Christie's and Bonhams, the majority relating to Asian, modern and contemporary art. (60) To be offered without reserve.

A JAPANESE WOODBLOCK PRINT BY KAWASE HASUI (1883-1957) TAISHO PERIOD, DATED 1924 Entitled 'Hinomisaki, Izumo' from the series 'Souvenirs of Travels, Third Series', depicting pines by a turbulent sea at night in various shades of green and blue, with a dark navy blue and red seal mark for Hasui in the lower left corner, titled and dated in the left margin and with a publisher's seal to the right, oban yoko-e, 39cm x 26.5cm. Provenance: gifted to the current owner by Brian McElney Esq., founder of the Museum of East Asian Art, Bath. Izumo is the old name for the Shimane Prefecture in the Western part of Honshu Island facing the Sea of Japan.

A JAPANESE WOODBLOCK PRINT TRIPTYCH, UKIYO-E EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY The original by Toyokuni III / Kunisada (1786-1864), on three detached leaves and depicting beauties and children celebrating New Year at the Echigoya clothing store, with Mount Fuji visible in the distance; together with two other woodblock prints, one of a beauty gazing at her reflection in a small mirror by Ryuryukyo Shinsai (1764-1820) and the other of two women standing at a gate with children by their side, unsigned, 36cm x 24.8cm max. (5) Provenance: gifted to the current owner by Brian McElney Esq., founder of the Museum of East Asian Art, Bath.

FOUR JAPANESE WOODBLOCK PRINTS EDO PERIOD, 18TH AND 19TH CENTURY One depicting a man wearing long robes in a winter setting, signed Shunei (1762-1819); another of an attendant carrying a large circular dish by Shunsho (1725-1792); a third with several figures taking part in a procession by Shunzan (c.1780-1800); the last a mother holding a toddler with an older child by her side playing with a battledore, hanetsuki, all framed and glazed, 34.5cm x 22.5cm max. (4) Provenance: gifted to the current owner by Brian McElney Esq., founder of the Museum of East Asian Art, Bath.

A JAPANESE SIX-FOLD PAPER SCREEN, BYOBU MEIJI PERIOD, 19TH CENTURY Painted in ink and colour on a gold silk ground, with eight Immortals in a mountainous landscape, one holding a shallow bowl from which two small dragons emerge, another with a large gourd slung across his back, one riding a flying crane while reading scriptures, a five character signature to the left and with a red seal mark, a paper label for 'Gregg Baker, London, n.520' to the back, 118cm x 327cm approx. Provenance: purchased from Gregg Baker Asian Art, London.

A JAPANESE BRONZE CROSS WITH AMIDA NYORAI (AMIDA BUDDHA) EDO PERIOD OR LATER, 18TH CENTURY OR LATER The central figure seated on a lotus throne, his hands clasped together in a gesture of prayer, a circular mandorla behind him with fleur de lys-shaped ornaments, the cross with four quatrelobed apertures to the ends, 25.3cm. See The Asian Civilisations Museum, Singapore, access. n. 2011-02283 for another example of Edo period cross with a central figure of Amida Nyorai. Also J Welsh, After the Barbarians II, Namban Works of Art for the Japanese, Portuguese and Dutch Markets, pp.278-281 n.34, where a comparable bronze cross is illustrated and discussed. Christianity first appeared in Japan in the 16th century with the arrival of Navarrese missionary Francis Xavier (1506-1552). It quickly reached the higher strata of society, with Daimyo families such as the Satsuma clan joining the faith, partly to have access to imported goods (such as guns) Portuguese Jesuits were trading in. Christianity was fully banned from Japan by Tokugawa after the Shimabara rebellion of 1637-38 during which Christian peasants rebelled against the Shogunate. Other factors led to the ban, including the possible involvement of Portuguese Jesuits and suspicions that converts were spies for foreign powers. The edict outlawed the promulgation of and adherence to the religion. It also marked the beginning of a long period of anti-Christian persecutions that lasted for two and a half centuries. Sign boards such as lot 266 where set up all over the country, encouraging people to report Christians to the authorities for various financial rewards (500 pieces of silver for a priest, or 100 for an ordinary convert). Symbols and objects used for Christian worship were destroyed or desecrated. Lot 268 is an example of this iconoclasm, with the inscriptions to the sides of the incense burner erased to hide its original use. Christian practitioners who refused to renege their faith had to go into hiding and worship in secret. Figures of Kannon, the Buddhist Goddess of Mercy, and of Amida Buddha (lot 267) were adapted to resemble Christian iconography and become the central point of focus of hidden altars. Crosses and figures of Christ (lot 269) were hidden in ordinary objects such as this fake smoking pipe. After the Meiji restoration and the re-establishment of religious freedom, more than 30,000 secret Christians came out of hiding in the 1870s.

TWO JAPANESE CAST-IRON KETTLES AND COVERS, TETSUBIN MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY One with a rough ishime (stone texture) surface decorated with a dragon emerging from clouds, its curling tail visible on the reverse, the other with a pattern of raised dots, arare, and a seal mark underneath the spout, both lids with finials shaped as flower buds, together with an iron dish shaped as a large lotus leaf, signed Nobumitsu saku, in a fitted tomobako wooden box, 30cm max. (6) Provenance: from the collection of Mr Richard Nathanson (d.2018), London. The tetsubin with dragon purchased from Peter Sloane, London, on 3rd February 2016; the iron dish from Grace Tsumugi, London, on 8th February 2011. Copies of the original invoices are available. Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.

A MASSIVE CHINESE BLACK AND CELADON JADE 'YINGXIONG' GROUP QING DYNASTY The stone skilfully worked with a single-horned mythical beast carved from the black section of the stone whilst an eagle is predominantly picked out in celadon, both creatures stand side by side gazing backwards with well-defined bulging eyes, the eagle with its left leg raised and talons tightly clasped, with an old paper label to the shoulder of the lion-like beast, all raised on a rocky platform, the black and celadon areas of the stone both with white and russet markings, 34cm, 10kg. The imagery depicted is an interpretation of the motif of an eagle, ying, and a bear, xiong, which together form the word yingxiong, homophone for 'hero'. The theme of an eagle and bear first appeared on Western Han dynasty bronze 'champion' vases. This developed throughout later periods into more stylised representations where the bear is often rendered as a mythical beast resembling a lion and the eagle is sometimes portrayed as a phoenix. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. Whilst Farmer sold several Chinese ceramics at Sotheby's in 1961, he was primarily a collector of Chinese hardstones and other works of art. Much of his collection was also sold at Phillips on 15th February 1978. Cf. A Forsyth and B McElney, Jades from China, p.292, no.292 for a Ming dynasty jade carving of an eagle perched on a lion-like mythical animal in the collection of The Museum of East Asian Art, Bath; see also Sotheby's Hong Kong, 1st December 2016, lot 172 for another Ming piece with a comparable subject matter and lot 203 for a related small 17th/18th century yellow jade 'yingxiong' carving depicting a bird of prey with a similarly rendered mythical beast.清 糖色玉雕英雄擺件來源：Reverend Victor Farmer （1898-1977）收藏，1961年Farmer曾經在蘇富比出售過他的瓷器收藏，1078年2月15日在Phillips上拍過他的玉石收藏。

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. 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年在香港由巴斯東亞藝術博物館創始人Brian McElney贈予現藏家。

λ A CHINESE RHINOCEROS HORN 'MAGNOLIA' LIBATION CUP 17TH/EARLY 18TH CENTURY The flaring body shaped as a magnolia flowerhead, the exterior carved in relief with blossoming magnolia and flowerbuds, the twisting branches forming a short foot, together with an openwork wood stand carved with flowers and branches, 9.5cm, 68g. (2) Provenance: from the collection of Malcolm Moncrieff Stuart, OBE, CIE, and thence by descent. Stuart was in India between 1928 and 1949 and he was a State Magistrate in the Indian Civil Service. After retiring he returned to Edinburgh. Cf. Asian Art I, 12th November 2014, lot 155 for a similar example sold in these rooms. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item's weight.十七/十八世紀 犀角雕玉蘭花杯來源：Malcolm Moncrieff Stuart收藏，1928年至1949年Stuart曾任印度地方法官。

A RARE CHINESE IMPERIAL INSCRIBED TWO-COLOUR LACQUER TEA BOWL SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The deep bowl flaring at the rim, carved to the exterior in cinnabar lacquer with the poem Sanqing Cha ('Three Purity Tea') composed by the Qianlong Emperor, the verse dated to the bingyin year corresponding to 1746 and followed by the seal marks Qian and Long, with bands of ruyi-heads encircling the rim and foot, all reserved on a black lacquer leiwen ground, the interior in black lacquer, 11.1cm. The Qianlong Emperor is believed to have written the poem Sanqing Cha in the bingyin year on his birthday whilst drinking tea on a cold day. During a visit to the sacred mountain Wutai Shan, the Qianlong Emperor drank tea brewed in snow water, which is believed to give the tea a unique flavour and purity. The poem describes this tea, which was made with prunus blossoms, finger citron and pine nut kernels. A translation of this poem by C F Shangraw is published in Chinese Lacquers in the Asian Art Museum of San Francisco, Orientations, April 1986, p.41. Provenance: purchased from Gerard Levy, Paris, c.2007, and by repute formerly the collection of Ernest Grandidier (1833-1912). Cf. The Victoria and Albert Museum, London, museum no.FE.63-1974 for another bowl of this type; see also Zhongguo qiqi quanji ('Complete series on Chinese lacquer'), vol.6, pl.211 for a pair of related bowls in the Tianjin Municipal Art Museum. See also Christie's Hong Kong, 2nd December 2015, lot 3163, Sotheby's Hong Kong, 9th October 2007, lot 1644, Sotheby's Hong Kong, 3rd April 2018, lot 3441, and Bonhams San Francisco, 21st June 2011, lot 8237 for further examples. This design is also found on blue and white and iron-red porcelain. See S Marchant & Son, Exhibition of Qing Mark and Period Blue and White, 1984, no.26 for a bowl inscribed with Sanqing Cha in underglaze blue.清乾隆 剔紅御題詩碗款識：梅花色不妖，佛手香且潔。松實味芳腴，三品殊清絕。煮以折腳鐺，沃之承筐雪。火候辨魚蟹，鼎煙叠聲滅。越甌潑仙乳，氈盧適禪悅。五蘊凈大半，可悟不可說。馥馥兜羅遞，活活雲漿澈。據佺遺可餐，林逋賞時別。懶舉趙州案，頗笑玉川譎。寒宵聽行漏，古月看懸玦。飲飽趁幾余，敲吟與無竭。乾隆丙寅小春禦題。此诗为乾隆皇帝于乾隆十一年（1746）秋巡五台山，回程至定兴遇雪，于毡帐中以雪水烹煮三清茶时所作。來源：2007年購於巴黎Gerard Levy，Earnest Grandidier（1833-1912傳）。

SOUTHEAST ASIAN SCHOOL (20TH CENTURY) - FLOATING MARKET Lots 1 to 26 - From a Private Singaporean Art Collection Probably Thai artist Indistinctly signed lower right 58cm high x 83m wide, with frame Condition: Beautiful composition, colours and impasto. Painting would benefit from being reframed, as current frame is chipped. Detailed condition report and additional images available on request Provenance: From a local art collector, has been kept in the same collection in Singapore for over 20 years

IRSAM (INDONESIAN, 1942-2007) - IBU DAN ANAK Oil on canvas, framed Signed 1978 99cm wide x 119cm high, with frame Condition: In a distressed look frame. Detailed condition report available on request Provenance: Christie's sale (label to the back of the frame); Purchased by architect Kerry Hill in the 1980s, remained in his collection until his death Biography of the artist: Born in Klaten, Central Java, 1942, he graduated from the Indonesian Fine Art Academy (ASRI) Yogyakarta. He had held his first exhibition in 1967 in Jakarta. He received an award from the Philippines, Singapore, and Thailand. In 1980 he also joined in the Contemporary Asian Art Exhibition in Fukuoka Art Museum Japan

ASIAN SCHOOL (20TH CENTURY) - RIVER SCENE Lots 1 to 26 - From a Private Singaporean Art Collection Watercolour on paper Signed lower right Probably representing Clark Quay 48cm tall x 48cm wide, with the frame >> Condition report and additional images available on request Provenance: From a local art collector, has been kept in the same collection in Singapore for over 20 years

SOUTHEAST ASIAN SCHOOL (20TH CENTURY) - WOMEN WORKING IN A PADDY FIELD Lots 1 to 26 - From a Private Singaporean Art Collection Possibly Thai artist Oil on canvas Indistinctly signed, and dated (19)'85 lower right 62cm high x 86.5cm wide, with the frame Condition: Detailed condition report and additional images available on request Provenance: From a local art collector, has been kept in the same collection for over 20 years

ASIAN SCHOOL (20TH CENTURY) - HOUSES ON A MOUNTAINSIDE Lots 1 to 26 - From a Private Singaporean Art Collection Unidentified artist, thought to be Indonesian or Malay Oil on canvas, laid on board 67cm tall x 75cm wide, with frame >> Condition report available on request Provenance: From a local art collector, has been kept in the same collection in Singapore for over 20 years

A rare Chinese yellow glazed dish with stylised floral designs, mid 17th century, the low tapering foot ring, covered inside and out with a rich 'egg-yolk' yellow glaze, the interior incised with floral foliage, 19.8cm diameter, Japanese wood box Provenance: Bought by Colonel W. R. Hodgson in Tokyo in the early 1950s on the advice of Professor Fujio Koyama (小山冨士夫) of Tokyo National Museum and by direct descent to the current owner. Compare with a similar dish at the Museum of East Asian Art, Bath, reference number BATEA 773 and another dated 1645-60, see Michael Butler et al, Shunzhi porcelain, Treasures from an Unknown Reign, no. 38, p.153. 17世纪 黄釉划花缠枝莲纹盘 拍品来源：W. R. Hodgson 上校于上世纪五十年代在日本知名的宋瓷学者、东洋陶瓷学会委员长小山富士夫教授指导下于东京所购

BRONZE CIRCULAR MIRROR, TANG DYNASTY, one side with a central suspension hole formed by a mythical creature, surrounded by six felines and other creatures among fruiting vines, 13cm diam Provenance: Douglas J.K. Wright Oriental Art, London. Note: for a comparable mirror se the Avery Brundage Collection at the Asian Art Museum San Francisco (B60B600); see Also Hoyt, C., The Charles B. Hoyt Collection Memorial Exhibition, 1952 nos. 493 & 494.

EXCEPTIONAL CARVED HUANGHUALI, HARDWOOD, MOTHER OF PEARL, IVORY AND JADE INLAID CABINET, QING DYNASTY in the Japanese taste, with an arrangement of sliding panel doors, open tiers, drawers and doors, inlaid and mounted in ivory, mother of pearl and fine carved jade, the case finely carved with dragons, lions and simulated bamboo, the whole raised on a peony carved base with scroll feet. Provenance: From a private Scottish collection, acquired at Lyon & Turnbull, Edinburgh, Fine Asian Works of Art, 4th June, 2014, lot 487, part of the Symington Grieve Collection. Note: There is a gilt-decorated box in the Japanese taste, dating from the Yongzheng period in the Palace Collection, Beijing.PLEASE NOTE: LIVE BIDDING IS NOT AVAILABLE FOR THIS LOT 很抱歉，该拍品不支持网上竟拍。谢谢合作。

BLUE AND WHITE PEAR-SHAPED EWER, WANLI SIX CHARACTER MARK AND OF THE PERIOD in early 15th century style, the body decorated with lotus flowers and leafy tendrils above a ruyi-scroll band, the flame-decorated S-shaped spout issuing from an ogee panel on the body, 12.5cm high Provenance: Christie's, New York, 2nd December 1989, lot 284. Sotheby's New York, 19th March 1997, lot 232. Exhibited: Porcelain for Emperors, The London Asian Art Fair, June 2003, no.20.

SWATOW TURQUOISE-ENAMELLED SAUCER DISH, LATE MING DYNASTY the interior well showing a foliate scroll roundel, the exterior with a conforming foliate-scroll band, 14.5cm diam Provenance: R & G McPherson, London, 15th June 2007. Note: an almost identical dish is extant in the Museum of East Asian Art, Bath (BATEA 1327).

GREEN-GLAZED POTTERY LEATHER-FORM 'PILGRIM' FLASK, LIAO DYNASTY, the top with a cylindrical neck and two pierced suspension holes, the spreading saddle-shaped body incised on each side with a foliate-scroll motif, the foot unglazed, 20cm high Provenance: The Oriental Art Fund, London, 26th February 1999. Note: for similar examples see - Ceramics from the Kwan Collection, Hong Kong Museum of Art, 1994, no.176. Another flask from the Asian Art Museum of San Francisco is illustrated in Chinese Ceramics by He Li, 2011, no.216. See also Christies King Street, 17th June 2003, lot 10.

carved from a thick block of white jade, one side carved in relief with two literati appreciating a scroll painting beside a pavilion, the reverse side inscribed with a five-line poetic inscription, the stone of an even pale celadon colour with one side remaining with original brownish skin (Dimensions: 6.5cm high) (Qty: 1)(6.5cm high)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

carved as an elephant standing four-square with its head turned sideward with its trunk curled alongside its foreleg, wearing a saddle cloth carved in low relief, the stone of an even white tone (Dimensions: 5.3cm wide) (Qty: 1)(5.3cm wide)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

ink and colour on paper, depicting various figures along the Lake Tai, surrounded by a mountainous setting, with various seals of the artist, in gilded wooden frame done by the collector, translation of the Chinese calligraphies: "Drafted on the 7th and 8th day in the Year of Bing Zi (25 and 26 February 1996). On the 9th (27 February) the figures and pine trees were added. Fang Zhaoling" (Dimensions: 80 x 113cm) (Qty: 1)(80 x 113cm)Footnote: Provenance: private collection of Professor Philip N Love, CBE, Aberdeen. He received this painting as a gift from the artist on 14 September 1996. Together with the painting, he was also gifted "The Passionate Realm” exhibition catalogue including paintings by Fang Zhaoling, where Fang wrote “Philip and Isobel, With Season’s Compliments, from Fang Zhaoling, 1996 Sep 14th" followed by her signature Photos: Prof. Love and Fang Zhaoling in her apartment in Repulse Bay Road, Hong Kong Note: Fang Zhaoling was born in Wuxi, Jiangsu province. From 1937 onwards she travelled and lived in many places, including Oxford from 1956 to 1958, and exhibited her paintings widely in the United States, Europe and East Asia. Exhibitions including: " Fang Zhaoling: A Life in Painting " at Asian Art Museum of San Francisco in 2005; " Fang Zhaoling: A Centenary Exhibition " at the Ashmolean Museum of Art in the University of Oxford in 2015 Lake Tai is situated in Wuxi where Fang Zhaoling was born in Jiangsu Province in 1914. She clearly had very fond memories of the lake which is known for its productive fishing industry, and of the fishermen and their fleets of small private fishing boats (as appeared in her painting). Photo: Handwritten note by Sir Harry Fang , the late brother-in-law of Fang Zhaoling, on a photograph of the painting indicating that the painting is titled as 'The Lake Tai Scenery'Condition report: In good condition

one side carved in relief with three literati appreciating a scroll painting with a t aiji ( Yin and Yang ) in a garden setting with bamboos, the reverse side depicting a bat hovering above a pine tree, all below a pair of dragons, the stone of an even white colour with some brownish skin on the top (Dimensions: 11cm high) (Qty: 1)(11cm high)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

carved as a large goose holding a branch of lingzhi fungus in its beak, finely incised with feathered wings and two feet tucked underneath the body, the semi-translucent stone of an even white tone with minor russet inclusions (Dimensions: 6.5cm wide) (Qty: 1)(6.5cm wide)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, exporting leather from Egypt and Spain and also importing Asian manufactures to Europe and United States

the mythical beast crouching with its limbs tucked beneath its body, its head facing towards its right and its mouth stretched into a wide grin, carrying a ruyi scepter on its back, the stone of an attractive smooth white colour with yellowish tone (Dimensions: 7.5cm wide) (Qty: 1)(7.5cm wide)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

A large collection of Christie's, Sotherby's and other catalogues, mainly on Islamic and Asian art

A pair of late Victorian lamp bases, one a silver plated Corinthian example upon a square base, height 50cm, the other an Art Nouveau-style white and blue opalescent glass table lamp, decorated with scrolls, with a brass capital and square base, height 45cm (2)Amendment: This lot now includes an Asian vase converted into a lamp base, height 29cm

MAI TRUNG THU (VIETNAMESE-FRENCH 1906-1980) Young Girl with Fan, 1960 gouache and ink on silk 20 x 13 cm (7 7/8 x 5 1/8 in.) signed and dated in Chinese lower rightbears seal of the artist PROVENANCEPrivate Collection, United KingdomChristie's, Hong Kong, Asian 20th Century Art, November 23, 2014, lot 304

AFTER MILO; a French Art Deco bronze figure modelled as a female gymnast with impressed signature, seal mark and no. A7600 to stepped circular base, height to top of pole 35cm, and an East Asian patinated brass four faced Buddha (2).Additional InformationThe pole that she is holding is rather crude, light surface scratches and toning, otherwise ok.

Exhibition catalogues Asian art to include Eskenazi, Marchant & Son, Barry Davies and others (approx 45)

Oil holder Indian, 19th Century goddess standing above an elephant on a circular base 25cm high Provenance - from a Gloucestershire vendor. Inherited from his grandparents who collected Chinese and Asian art and lived in Berlin in the 1930's.

Bronze incense burner Chinese, 19th Century in the form of a creature, with bulbous body decorated with a band of coloured cloisonne, on three paw feet 19cm high Provenance- from a Gloucestershire vendor. Inherited from his grandparents who collected Chinese and Asian art and lived in Berlin in the 1930's.

Exhibition catalogues mostly Asian art to include S. Marchant & Son, Roger Keverne, Speelman and others (approx 45)

Books Mainly reference all on Asian art to include 'The Art of Rhinoceros Horn Carving in China' by Jan Chapman, 'Chinese Jade from the Neolithic to the Qing' and others (approx 22)

Books all on Asian art to include 'Tsui Museum of Art', 'Blue and White Porcelain from the Collection of Mrs Alfred Clark' by Spink, 'China without Dragons, Rare Pieces from Oriental Ceramics Society Members', 'Chinese Porcelains from Ardebil Shrine' by John Alexandra Pope and others (approx 17)

Bronze figure of a standing shaven headed priest Chinese, late Ming in prayer pose, dressed in long robes with traces of gilt lacquer on lotus base 30cm high Provenance - from a Gloucestershire vendor. Inherited from his grandparents who collected Chinese and Asian art and lived in Berlin in the 1930's.

Asian art catalogues to include Bonhams and Woolley & Wallis amongst others (29)

Catalogues to include Christie's and others, all Asian art (16)

A CHINESE EXPORT PORCELAIN BULLET TEAPOT, 8.5CM H, C1770, A CELADON DISH AND OTHER SOUTH EAST ASIAN WORKS OF ART

Ca. 1200 AD. Rare Medieval heavy cast mortar with broad flange base, tubular body, and flared rim, elaborate decoration to the body. Size: 140x120mm 5.51x4.72in; 4200gr;Provenance: From an old British collection of Asian Art formed in 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with a professional Certificate of Authenticity.

VARIOUS PICTURES TO INCLUDE LANDSCAPE PAINTINGS AND ASIAN ART STYLE HORSES

Asian wares, comprising; a pair of small bottle shaped vases, with floral, scrolling and fluted decoration, height 9cm, a blue enamelled vase, with foliate decoration, on a wirework stem, silver comprising; a two piece waistbelt buckle, Birmingham 1930, a bottom marked tablespoon, a Victorian mustard spoon, Sheffield 1866 and a silver and green enamel topped faceted glass smelling salts bottle and a set of six buttons, decorated with Art Nouveau portraits of ladies, import mark London 1902, also three coins, comprising; a 1951 crown, with the original box, a Prussia 5 marks 1900 and a U.S.A Peace dollar 1922, two keyless wind, openfaced gentlemen's pocket watches and seven various wristwatches (qty).

This incredibly moving piece was inspired by the artist’s late wife, Zheng Fu, who enjoyed the beauty of transience in nature. Featuring cherry and plum blossom as a visual metaphor for the transience of life; blossoming with great beauty then falling from the tree but living on in our memory. Also depicted are lotus flowers symbolising purity. This is an Asian elephant embracing cultural diversity.The ArtistColin Pethick is a fine art painter and freelance art tutor based in the Tamar valley. He was born in Gulworthy, Devon and studied Fine Art at BA degree level and PGCE Masters at the University of Plymouth building upon his self-taught roots.He experiments in many mediums and image making techniques investigating the notion of merging abstract themes with figurative painting methods whilst embracing cross cultural dialogue.  www.colinpethick.com

This stylish Asian-inspired design represents intricate Japanese cloisonné and enamelware. With carp representing good luck and good fortune this is a common motif in Japanese art. This Zen piece also includes bonsai style trees, heavily petalled flowers and a glowing golden sun.The ArtistJess is an illustrator and designer living and working in Birmingham. Recently completing her Master’s degree in Visual Communication, she likes to create both digital and traditional work that has a strong narrative content.Her love for character design and patterns can be seen throughout her work. This is the 8th sculpture she has painted this year.

Mark Tobey (American, 1890 - 1976). "Raindrop Prism #3". Oil and tempera on paper. 1965. Signed lower right. Fine condition with no issues noted. Provenance: Estate of a private collector, Basel, Switzerland. Overall size: 11 5/8 x 8 3/16 in. (295 x 208 mm). 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. [29808-2-3000]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Chinese Painting I". Original vintage photogravure. c1963. Printed 1969. 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. Image size: 7 1/8 x 5 9/16 in. (181 x 141 mm). 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]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Chinese Painting II". Original vintage photogravure. c1962. Printed 1969. 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. Image size: 13 x 10 1/16 in. (330 x 256 mm). 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. [25440-3-300]

Ca. 400 AD. Superb Roman Gold Ring; round hoop, intricate decoration on the bezel, with Garnet Stone, filigree and coiled terminals. Very good Condition; Wearable; Inner diameter: 16mm; outer diameter: 18mm ring size UK J; US 5; 8gr; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Brouillard du matin". Original vintage photogravure. c1936. Printed 1936. 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. Image size: 12 1/8 x 7 5/8 in. (308 x 194 mm). 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. [25083-2-400]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Foret au printemps". Original vintage photogravure. c1936. Printed 1936. 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. Image size: 11 1/2 x 9 1/16 in. (292 x 230 mm). 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. [25082-2-800]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Feuilles de bambou". Original vintage photogravure. c1935. Printed 1935. 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. Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm). 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]

Islamic Art Two Central Asian textiles Late 19th-20th century . . .

South-Est Asian Art A Sukhotai style gilt bronze Buddha figure Burma, 19th century . . Cm 26,00 x 36,50 x 12,00.

South-Est Asian Art Two kriss daggers Malesia, 19th-20th century . . Cm 20,00 x 50,00.