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SIX RUSSIAN SOCIALIST REALIST LANDSCAPE PAINTINGScomprising:a) IGOR IVANOVICH YERSHOV (RUSSIAN 1916-1985), Qayraqqum, 1956, oil on canvas, 32 x 42 cm (12 5/8 x 16 1/2 in.), inscribed, titled and dated on verso b) ALEKSANDRA IVANOVNA YAKUSHEVA (RUSSIAN 1900-1986), Harvesting, 1943, oil on paperboard, 25.8 x 38 cm (10 1/8 x 15 in.), initialed lower right; inscribed Kolkhoz Novyi Put. Kirgiziya, titled and dated on versoc) YEVGENIY VASILYEVICH YEGOROV (RUSSIAN 1901-1942), A Farm Under the Mountain [Double-sided], 1924-1925, watercolor on paper, 36 x 42 cm (14 1/8 x 16 1/2 in.), signed, titled and dated lower center in pencild) NIKOLAI NIKOLAEVICH GRIGORIEV (RUSSIAN 1901-1979), On the Riverbank, c. 1950s, watercolor on paper, 28.1 x 53.9 (11 x 21 14 in.), signed on verso in pencile) NIKOLAI ANTONOVICH MATSEDONSKY (RUSSIAN 1911-1980), Stage Design Featuring the Red Army Marines during World War II, 1954, oil on board, 33.5 x 49.5 cm ( 13 1/4 x 19 1/2 in.), dated on verso in penf) PYOTR SERGEYEVICH RODIONOV (RUSSIAN 1914-1981), Lenin's House in Gorki, 1960, oil on board, 49.5 x 70 cm (19 1/2 x 27 5/8 in.), signed lower right; inscribed, dated and titled on verso in penCONDITIONUnframed, the group appears in age-appropriate condition.a) Unstretched, very fine and stable craquelure visible to the perimeter of the unstretched canvas. Not inspected under UV light.b) Unframed, the painting with four small pin holes visible to the upper center edge. A visible hard crease to the lower left corner resulting in two very fine lines of craquelure, longest measuring, 7 cm (2 3/4 in.) in length. Not inspected under UV light.c) Unframed, the double-sided watercolor with scattered hardcreasing to the corners. A visible stain to the upper left corner and minor lifting to the lower left corner as apparent in photographs.Not inspected under UV light.d) Unframed, three visible areas of loss to the lower left and right corners and upper left corner, as apparent in photographs. Wear and surface soiling to the upper right corner. Light creasing visible to each corner. Not inspected under UV light.e) Unframed, the painting with a visible hard crease to the lower right corner, resulting in two fine lines of craquelure resulting in minor loss. Scattered losses to the perimeter. Not inspected under UV light.f) Unframed, the painting with overall age-appropriate craquelure. Losses visible to the perimeter. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

JOSEPH MITTEY (SWISS 1853-1936)Still Life with Chrysanthemums,oil on canvas70 x 90 cm (28 x 36 in.)signed lower rightPROVENANCEChristie’s, London, April 13, 2011, lot 519Acquired at the above by the present ownerCONDITIONObserved in frame, the painting appears in age-appropriate condition. Overall very fine and stable craquelure. Very minor losses to the left edge. The canvas has warped slightly. All consistent with age. Inspection under UV light shows two small areas of retouching less than 3% to the upper center right and left.framed dimensions: 84 x 106 cm (33 1/8 x 41 3/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

VLADIMIR YANKILEVSKY (RUSSIAN 1938-2018)Composition from The Space of Experience series,1988pastel on paper50 x 65 cm (19 3/4 x 25 5/8 in.)signed and dated lower rightPROVENANCESotheby's New York, April 15, 2008, lot 216EXHIBITEDGraphics by Vladimir Yankilevsky, House of Architects, Moscow, 1988Retrospective: Vladimir Yankilevsky, Eduard Nakhamkin Fine Arts, New York; San Francisco, 1988LITERATUREVladimir Yankilevsky. Moment of Eternity,(St. Petersburg: Palace Editions, 2007) exhibition catalogue, p. 31 CONDITIONObserved in frame, the work appears in good condition. The sheet is laid down, with a slight waviness to the sheet visible to the naked the eye. With no significant issues to report otherwise.framed dimensions: 76.2 x 92 cm (30 x 36 1/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

RUSSIAN EARLY 20TH CENTURY ARTISTPeasant Women,oil on canvas laid on board29.5 x 70 cm (11 5/8 x 27 1/2 in.)indistinctly signed lower leftCONDITIONObserved out of frame, the painting appears in age-appropriate condition. The canvas has been trimmed down and laid on composite board. Overall very fine and stable craquelure. Rubbing, resulting in minor losses to the perimeter. Inspection under UV light shows scattered retouching to the right edge and lower right corner.framed dimensions: 39 x 80 cm (15 3/8 x 31 1/2 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

EDNA TACON (AMERICAN-CANADIAN 1905-1980)Tonal Poem,1945oil on canvas102 x 77 cm (40 1/8 x 30 1/4 in.)signed and dated lower leftEXHIBITON Canadian Group Painters, The Art Gallery of Toronto and the Art Association of Montreal, 1945-1946 (label on verso)Canadian National Exhibition, 1947 (label on verso)ESSAYTrained as a violinist traveling to Canada, Europe and New York to perform, it was not until 1929 after marrying her first husband Paul Henry Tacon that Edna started to experiment with painting. Tacon is heavily influenced by Kandinsky studying his theories on abstraction, color and the relationship between the two. Tacon started to intertwine her understanding of music with her abstraction studies, quoting: “many people will say that painting cannot reach the sublime summit that music has attained as an abstract art. But there is an analogy between music and painting when both are nonrepresentational ... It is the ambitious aim of our modern artist to exploit...all the ramifications of such an analogy” (Zemans, Joyce; Burrell, Elizabeth; Hunter, Elizabeth (1988). Kathleen Munn and Edna Taçon: New Perspectives on Modernism in Canada/Nouveau regard sur le modernisme au Canada. The Art Gallery of York University/Éditions du GREF). In Tacon’s early years as an artist she worked with collages, describing her collages as “paper plastics”, which was derived from the writing of Hilla Rebay curator of the Museum of Non-Objective Painting in New York. Tacon in 1941 was awarded a scholarship by a foundation through the Museum of Non-Objective Painting. With this several of her works were exhibited Ten American Non-Objective Painters, in March of 1941. In 1941 was her solo exhibition at New York's Studio 83 and in Toronto at the Eaton’s Fine Arts Galleries. From 1942-1947 she had seven exhibitions primarily between Toronto and New York; of the shows, she was part of a series of group shows which was hosted by the Guggenheim Foundation. This lot is a prime example of Edna Tacon expression and execution of Kandinsky’s theory of the spiritual nature of art. CONDITIONSold in as-is condition. Observed in frame, the painting is in fragile condition with overall craquelure. Inspection under UV light shows scattered retouching to around 10%, primarily to the perimeter.framed dimensions: 116 x 91 cm (45 5/8 x 35 7/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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 VINTAGE MUST DE CARTIER GOLD-PLATED SILVER WATCH, REF. 590005quartz movement, with cream dial with Roman numerals, steeled blue minute tracker, with gold-plated sterling silver case, case back secured by four screws, crown set with sapphire crystal cabochon, the case marked with Cartier Paris maker's mark, 925 standards, Tank Quartz, PLAQUE ORG 20M, SWISS MADE, numbered 32597, 590005, the dial signed must de Cartier, SWISS, with 17 mm brown crocodile strap; dimensions of case: 31 x 24 mmCONDITIONThe battery needs replacement. The case appears in fair condition, consistent with age and use. Patination to the case on either side of the dial due to handling. One miniscule scuff near the eight-hour mark. Fine scratches to the case back. Strap worn.Shapiro Auctions does not guarantee the working of this nor any other timepiece in the sale. It should be assumed that all timepieces will require professional attention.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

ALEXANDER NEY (RUSSIAN B. 1939)Elongated Head ,1996white claylength: 38 cm (15 in.)signed, dated and marked with copyright symbol under baseCONDITIONThe sculpture appears in good condition. Very light surface scuffs and rubbing visible to the head and base. A very fine fisser visible to the right nostril. With no significant issues to report otherwise.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

VICTOR CHARRETON (FRENCH 1864-1936)Autumn Gardens,oil on board46 x 55 cm (18 1/8 x 21 5/5 in.)signed lower leftPROVENANCEDudensing Galleries, NYCEXHIBITIONthe below stamped on verso with ink and pencilDudensing Gallery, New York, 1925Cotton Palace, Waco Texas, 1925Dayton Art Institute, Dayton Ohio, 1927Columbus Gallery of Fine Arts, Columbus Ohio, 1927Boston Pancoast Gallery, Boston Massachusetts, 1929Toledo Museum of Art, Toledo Ohio, 1976 Wendy International Art Show, Paris 2007 (label on verso)CONDITIONObserved in frame, the painting appears in age-appropriate condition. The board has concave slightly, resulting in an uneven surface. Inspection under UV light shows no apparent sign of restoration.framed dimensions: 70 x 79 cm (27 1/2 x 31 1/8 in.) Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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 CHINESE FLAMBE-GLAZED SANG DE BOEUF VASEglobular, applied overall with a maroon glaze speckled with violet, the rim and underside a blueish-grey, with vibrant purple and blue glaze to the interior of the neck; height: 31 cm (12 1/4 in.)CONDITIONChips to the foot. Very fine craquelure to the glaze, particularly lighter areas. Inspection under UV light shows no apparent signs of restoration; adhesive residue to the underside.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

DMITRY NALBANDIAN (RUSSIAN 1906-1993)Daisies in a Wicker Basket,1977oil on canvas110 x 69 cm (43 1/4 x 27 1/8 in.)signed and dated lower rightPROVENANCECollection of Jasmine Zakharyan, daughter of artist Gevorg (Glakho) ZakharyanAcquired from the above by the father of the present owner, 1998Thence by descent in the familyCONDITIONUnframed, the painting appears in good condition. Overall very fine and stable craquelure. A minor impression visible along the top edge due to the stretcher bar. Inspection under UV light shows no apparent sign of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

17TH CENTURY SHUNZHI PERIOD PORCELAIN GUAN VASE bulbous, with a tapered neck, the scene featuring four concubines with three warriors against a garden scene, each dressed traditionally, the vase is converted and mounted on a mahogany carved vase with a conforming cover; height: 59 cm (23 1/4 in.CONDITIONThe converted vase appears in age-appropriate condition. Fading visible to the painted scene, most notably to the features of the figures. Scattered firing imperfections visible to the body. Visible overpainting to a small area of the neck. A very fine crack to visible to the from the foot rim to the neck of the vase. The lamp is wired and in working condition. Inspection under UV light shows scattered retouching [ most notably to the hairline crack and small area of the neck] and variant fluorescence.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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 1878 RUSSIAN GILT SILVER TROMPE L'OEIL CIGAR BOXchased to simulate a wooden cigar box, marked with 84 standard and Moscow and assayer's mark PE in Cyrillic, marked twice on the interior of the box; height: 8 cm (3 1/8 in.), dimensions of box: 12.5 (l) x 10 (w) cm (4 7/8 x 4 in.)CONDITIONThe box is in overall good condition. Save for fine and shallow surface scratches, consistent with age and use. Very minor tarnishing to the edges and interior. Would benefit from a polish.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

BORIS KHARCHENKO (RUSSIAN 1927-1988)Bespalov, shepherd of the kolkhoz [collective farm] Stroitel' ,circa 1980s oil on canvas 56 x 43 cm (22 x 16 7/8 in.) signed lower right, signed and titled on verso PROVENANCENB Gallery Russian Fine Art, MoscowAcquired at the above by the present owner in 1999.(Copy of invoice available upon request)Accompanied by a letter of authenticity from the wife of the artist Raisa PletnevaCONDITIONObserved in frame, the painting appears in good condition. No apparent issues visible to the naked eye, with no significant issues to report. Inspection under UV light shows no apparent sign of restoration.framed dimensions: 69 x 57 cm (27 1/8 x 22 1/2 in.) Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

AFTER CASPAR NETSCHER (DUTCH 1639-1684)The Doctor's Visit,oil on metal32 x 26.7 cm (12 1/4 x 10 in.)LOT NOTESThe present work is a copy of the Caspar Netscher painting, held in the collection of the leamington Spa Art Gallery & Museum. The painting depicts the visit of "water doctor" to a lovesick woman, a popular humorous Dutch genre scene of the mid-to-late 17th century. Similar compositions by Leiden School of Artists Frans van Mieris the Elder and Jan Steen are held in the collections of the Metropolitan Museum, The J. Paul Getty Museum, The Hague and others.CONDITIONObserved in frame, the painting is in good condition. Very fine and stable craquelure visible to the naked eye, most notably to the women's fur coat. A visible scuff to the center. Inspection under UV light shows small retouching to the upper right corner.framed dimensions: 35.56 x 30 cm (14 x 11 3/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

WELLER POTTERY BALDIN ‘APPLE TREE’ JARDINIEREthe jardiniere featuring a robust apple motif, atop a conforming pedestal, impressed with factory mark under base of jardiniere; pedestal height: 59 cm (23 1/4 in.), height of jardiniere: 17 cm (6 3/4 in.), overall height: 76 cm (29 7/8 in.)CONDITIONThe jardiniere and pedestal appear in age-appropriate condition. Overall crazing and surface dust along with fading and loss of paint visible to both. Very fine cracks visible along the base and bodies of each. Visible wear consistent with age and use. Inspection under UV light shows no apparent sign of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.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.

Gerhard Altenbourg (1926 Rödichen-Schnepfenthal - 1989 Meißen) (F)'In den Glanz hineingeglitten das Tier, beladen mit Wildwahn', Mischtechnik auf Papier, 21 cm x 30,5 cm Blattmaß, signiert, 1978 datiert, verso 'A 473' nummeriert, an der oberen Kante montiert, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverGerhard Altenbourg wurde am 22. November 1926 als Gerhard Ströch in Rödichen-Schnepfenthal geboren und zählt zu den bedeutendsten ostdeutschen Künstlern der zweiten Hälfte des 20. Jahrhunderts. Sein umfassendes und vielseitiges Oeuvre folgt der Tradition von Paul Klee und Alfred Kubin. Nach dem Altenbourg als 17-jähriger Soldat im Krieg traumatische Erfahrungen erlitt, arbeitete er als Schriftsteller und Journalist. Darauffolgend studierte er von 1948 bis 1950 an der Hochschule für Baukunst und Bildende Kunst in Weimar. Mitte der 1950er Jahre nahm er den Künstlernamen Altenbourg, nach seiner Wahlheimat, an. Neben seiner künstlerischen Tätigkeit als Maler, Grafiker und Bildhauer verfasste er auch über 1000 Gedichte. So bilden seine oft lyrischen Bildtitel nicht immer Erläuterungen zum Dargestellten, sondern begleiten das Werk wie ein asiatisches Haiku. Resistent gegen künstlerische Moden aber auch ideologische Zwänge schuf sich der Thüringer sein ganz privates Universum, in einer Art expandierender "Innenschalen-Schau" (Altenbourg). Seine Bilder sind wenig gefällig, eher sperrig, und erschließen sich kaum auf den ersten Blick. Aber mit der längeren Betrachtung entwickeln sie eine enorme Suggestionskraft und werden zu liebgewonnen Freunden. Gerhard Altenbourg (1926 Rödichen-Schnepfenthal - 1989 Meißen) (F)'In den Glanz hineingeglitten das Tier, beladen mit Wildwahn', mixed media on paper, sheet size 21 cm x 30.5 cm (the lower corners rounded), signed, dated 1978, numbered 'A 473' on the reverse, mounted to backing paper along the upper edge, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverGerhard Altenbourg was born Gerhard Ströch in Rödichen-Schnepfenthal on 22nd November 1926. He was one of the most important East German artists of the second half of the 20th century. His extensive and versatile oeuvre follows the tradition of Paul Klee and Alfred Kubin. After Altenbourg suffered traumatic experiences as a 17-year-old soldier in the war, he worked as a writer and journalist. He then studied at the Academy of Architecture and Fine Arts in Weimar from 1948 to 1950. In the mid-1950s he adopted the artist's name Altenbourg, after his adopted home. In addition to his artistic activities as a painter, graphic artist and sculptor, he also wrote over 1000 poems. Thus, the often lyrical titles of his works do not always provide an explanation of their contents, but simply accompany the paintings like an Asian Haiku. Resistant to both artistic fashions and ideological constraints, the Thuringian artist created his own private universe, in a kind of expanding ''show of the inner shell'' (Altenbourg). His pictures are not at once aesthetically pleasing, difficult to access, they hardly reveal themselves at first glance. But following longer contemplation they develop an immense suggestive power and become dear friends.

COOMARASWAMY, Ananda K. Catalogue of the Indian Collections in the Museum of Fine Arts, Boston. Boston: Museum of Fine Arts, 1923. 4to (294 x 208mm.) Numerous photographic illustrations. (Mild toning.) Original brown cloth-backed boards, paper label to spine (rubbing to extremities). - And six volumes relating to Asian art (Ars Asiatica, numbers 4,5,8,12,16 and 18 for the years 1922,1923,1926,1928,1931 and 1935, 4to) (7).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

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; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10907-168639. 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.

Han Dynasty, 206 BC-220 AD. A polychrome terracotta figure modelled in the round as a kneeling servant, wearing a long robe, hands held within voluminous sleeves in front of the body, head bowed slightly, painted detailing to the dressed hair, face and garments. See The South East Asian Society., Spirit of Han Ceramics for the Afterlife, 1991, item 34. 277 grams, 18cm (7"). From a Sussex gallery; previously from the late C. Roger Moss OBE collection; accompanied by an Ancient Times certificate of authenticity and a previous cataloguing page. The late Roger Moss OBE was born in Yorkshire and read Social Anthropology at the University of Cambridge before embarking upon a successful career in global finance. Financial Director at British Airways, then Finance Director of the Mass Transit Railway Corporation in Hong Kong in 1984. In Hong Kong he sat on the board of The Hong Kong Ballet and president of the Oriental Ceramic Society, and although a lifelong collector, it was at this point in his life that his love for Asian Art began to grow. On his return to the UK in 2003, Moss bought an historic farmhouse in Yorkshire where he displayed his extensive library and the art that he had acquired over a lifetime. [No Reserve] Fine condition, an unusual amount of painted decoration surviving.

c.10th-12th century AD. A gold chain composed of openwork links of X-shaped cross-section, tapering round-section sleeve terminals with medial collars, flanked by geometric motifs formed with pellets, hook-and-eye clasp. Cf. Content, D. et al., Asian Jewels, New York, 2018, item 46, for similar dated 12th century AD; cf. Bunker, E.C. et al., Gold Gifts for the Gods, Chicago, 2008, p.96, fig.5.18a, for type. 19.05 grams, 44cm (17 1/4"). From an important North West London collection; acquired in the late 1980s-early 1990s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10934-179795. Very fine condition.

UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSHIROYUKI TAJIMA 田嶋宏行 (Japan, 1911-1984) “Line up country B” Woodblock print 1968 Hand signed and dated Note: Print artist. Born in Tokyo, Tajima graduated from Nippon University (1932) and in 1934 from the Tokyo School of Fine Arts (Western Painting Faculty). He took a wide interest in many aspects of art, including textile dyeing (under Hirakawa Matsugoro) and printmaking under Nagase Yoshiro (1891-1978), one of the earliest 'Sosaku Hanga' artists. He began his career as a print artist in 1946 but gave it up temporarily in the 1950s to write. In the 1960s and19 70s he developed his typical densely pigmented abstract style, which, however, was based on the ideals of East Asian calligraphy, traditional Japanese painting structure, and a sense of space derived partly from his Zen Buddhist beliefs. In 1969 he began making prints on canvas using much the same techniques, but soon abandoned this. His prints were particularly promoted by the Red Lantern Shop in Kyoto and most of them can be found illustrated in their periodic English-language catalogues.Provenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Condition report:- toned paper;- originally backed.

A GROUP OF TWO ‘THEPANOM AND NORASINGH’ BENCHARONG WARE LIDDED POTSChina for Thailand / Siam, Bencharong ware, Ayutthaya Period, 18th-19th centuryBoth with a lotus bud shaped finial and reserved-decorated with red and yellow thepanom and norasingh on a black ground.Dimensions (the biggest): H: 10,8 cmAlso included in that lot:- a small ‘flower’ lidded pot, also a Bencharong ware, that one dating to the King Rama V (1868-1910) period - H: 7,5 cm- a small lidded silver pot dating to the King Rama V (1868-1910) period - H: 4,2 cmNotes:1. Sets of porcelain such as this example were commissioned from China, usually from the southern Jiangxi province, and exported to Thailand.2. The thepanom is a celestial being from Buddhist cosmology. The norasingh is a mythical forest-dwelling semi-deity with a human head, torso, and arms but with the hind-quarters of a lion and the tail and hoofs of a deer.3. Thai Minor Arts, The Fine Arts Department, 1993; Treasures from the National Museum, Bangkok, The National Museum Volunteers, 1987; McGill, F. (ed.), Emerald Cities: Arts of Siam and Burma, 1775-1950, Asian Art Museum, 2009; and Bromberg, P., ‘A passion for Bencharong’, in Arts of Asia, May-June, 2010.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:ALL PIECES UV / BLACK LIGHT CHECKEDThe biggest lidded jar:- chip? or at least loss of enamels on the finial of the lid;- a few chips to the inner rim;- losses of enamels around the rim due to frictions;- also few chips minor to the foot.The middle size lidded jar:- not its original lid;- two chips to the rim of the jar with a crack;- minor chips to inner rim;- loss of enamels around the rim of the jar due to frictions;- a chip to the foot;- also losses of enamels to the rim of the lid with one minor chip.The smallest jar:- both lid and jar restored with chips etc.Silver piece:- OK.

VU CAO DAM 武高谈 (VIETNAM AND FRANCE, 1908-2000)  ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 7TH PROMOTION (1931)  Portrait of a young lady with a blue scarf  Circa 1950  Mixed media on silk laid on cardboard  Signed to the lower right  33 x 23,8 cm  Provenance: From a French Riviera Estate, France, where Vu Cao Dam has been working and living.Notes:  1. Biography: Vu Cao Dam was born in Hanoi in 1908 to a Catholic family of the local bourgeoisie. In 1926, he joined the Fine Arts School of Hanoi (Ecole des Beaux-Arts de l’Indochine), where he studied the art of painting and drawing and from which he graduated in 1931. With the support of his professor, Victor Tardieu (1870-1937), Vu Cao Dam participated in the 1931 edition of Paris International Exhibition following which he settled in France. He was, above all, known for his sculptures, which brought him numerous commissions upon his arrival in Paris. Marked by the Western avant-garde (Fauvism and the Paris School), Vu Cao Dam’s creations lie on the edges of Asian traditions in general, and Vietnamese and Chinese in particular. He was one of the four famous Vietnamese painters who emigrated in Paris, the others being Le Thi Luu (1911-1988), Mai Trung Thu (1906-1981) and Le Pho (1907-2001).  2. Comparison: This painting seems to belong to a series of portraits of young women of similar size painted in the early 1950s. For a portrait of this series at public auction, see Christie’s Hong Kong July 11, 2020, lot 251, painted in 1952 and sold for HKD525.000 BP incl. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- silk laid on a wooden panel;- stains;- traces of the frame;- scratches;- veneer stains;- UV / black light checked;- maybe a few old re-paints by the artist (one lower left hair, one front neck, one upper right shoulder = left + right as seen from the person looking at the painting);- a small chock above the forehead in the hairs;- dust;- PROVENANCE: ACQUIRED FROM A FRENCH RIVIERA ESTATE NEAR SAINT PAUL DE VENCE WHERE THE ARTIST USED TO LIVE.

Ca. 1368–1644 AD. Ming dynasty. An extremely fine moulded terracotta figure of a male rider shown on horseback. The cream-coloured horse is depicted in a standing pose with its neck stretching forward and its tail loose. The mane and tail are glazed in blue. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are moulded in the round and coloured in a dark glaze. The rider wears a high conical hat and a dark coloured coat, his left arm is bent towards the body. Horses were an important status symbol in ancient China. They were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, there were laws that restricted the ownership of them to people of elevated rank. The soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China; the earliest known example of a stirrup, today a mainstay of equestrianism, was found on a statue of a horse from Hunan province dated to 302 AD (see Cartier, M. 1993. 'Considérations sur l'histoire du harnachement et de l'équitation en Chine.' Anthropozoologica, 18, 29-44). Excellent condition. For an overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets. Size: L:370mm / W:265mm ; 2.5kg

Ca. 200–400 AD. Gandharan. A schist stone statue of a bodhisattva. He is seated cross-legged on a decorated plinth, richly dressed in the fine garments of a North Indian prince, with various necklaces, bracelets, and a loosely draped sanghati robe. His hair is tied up in an elegant floral headdress. This clarifies he is a bodhisattva, with jewellery and finery representing spiritual riches before attaining the simpler attire of a Buddha. A bodhisattva was originally conceived as Gautama on his path to enlightenment before he became the Buddha, but by this point, it was conceived as anyone who was in the process of reaching enlightenment, or who had reached it but, forsaking nirvana, chose to remain in this world to teach others how to reach it too. His finely modelled face is decorated an urna on his forehead that symbolises the third eye and spiritual clarity. His hands are held together resting in his lap, and they hold a lotus flower. The lotus was a symbol of absolute purity, and as the beautiful flower emerged from muddy waters in nature it was seen as a symbol of attaining purity out of impurity. The front of the plinth depicts two towers framing a fire altar scene in which two worshippers flank the altar. The rear is unworked, and this piece probably decorated a stupa. The almond-shaped eyes and the statue’s iconography are typically South Asian Buddhist, but elements like the smoothness of the face and the musculature of the body draw on Classical tradition. Gandhara sat at the crossroad of civilisations on the Silk Road, drawing on influences from across the world, and its earlier conquest by Alexander the Great had left a legacy of Greek artisans and enduring Hellenistic style. This makes Gandharan art distinct for its use of Buddhist themes and iconography with some of the delicate naturalism of Greek sculpture. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection. Size: L:375mm / W:210mm ; 5.9kg

The horn of dark toffee tone with amber highlights, naturalistically carved as a gnarled trunk of an ancient pine tree, a pierced branch forming the handle, applied Sotheby’s New York paper label, inscribed 138Height: 7cm Diameter: 12cmWeight: 174gThe subject matter of the pine tree was favoured by the Chinese scholar-literati who saw it as the symbol of longevity and unyielding character.此件蒼松紋犀角杯最得文人雅士之喜愛，蒼松象徵文人雅士的風骨與品格，是不可多得的文房雅器。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍  DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。 For further cups in this group see one in the British Museum, London, included in Derek Gilman, ‘A source of Rhinoceros Horn cups in the late Ming Dynasty’, Orientations, December 1984, p.12. fig.4; another from the collection Dr Ip Yee, published by Dr Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian Antiques Fair, Hong Kong, 1982, p.40, pl.38; and another from the collection of Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl.160.類似蒼松紋犀角杯見大英博物館館藏，著錄於Derek Gilman 《晚明時期的犀角杯收藏》 1984，圖4 ，頁12；葉義醫生收藏，著錄於《中國犀角雕刻》香港，1982，圖38，頁40；霍滿堂著《中國犀角雕刻珍賞》，香港，1999，頁160。For a comparable cup from the Collection of Edward T. Chow and Franklin Chow, see Sotheby’s Hong Kong, 8th April 2011, lot 2712. Sold again at Sotheby’s Hong Kong, see Important Chinese Art, 3rd April 2018, lot 3652.另一相似犀角杯見仇炎之，仇大雄父子珍藏犀角雕刻，分別售於2011年4月8日香港蘇富比拍品 2712號，2018年4月3日香港蘇富比拍品3652號。TO BE SOLD WITHOUT RESERVE無底價起拍Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory, rhinoceros horn and tortoiseshell. Accordingly, prospective purchasers should familiarise themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.Please note that an export licence will only be granted for rhinoceros horn objects providing the hammer price meets or exceeds the value of $100 per gram of the items weight.有意購買者請注意，由於若干國家禁止進口包含瀕危物種材料的物品，包括但不限於珊瑚、象牙、犀牛角和玳瑁的物品。因此，準買家如果打算將這批商品進口到另一個國家，則應在投標前熟悉相關的海關規定。請注意，犀牛角拍品的出口許可證只有當落槌價格達到或超過每克100美元的價值時，才會頒發。Condition ReportThe cup with a dark tone, a small chip to the handle with element of pine tree foliage missing, 8mm. approx. The naturalistic quality of this carving hides the loss well. Another small loss to branch of handle and one to the interior of the cup too. Other minor blemishes due to the natural material.

The recumbent tiger with a shaped oval panel to its back, decorated with broad brush strokes in ochre, black and russet on a cream ground, the base unglazed, stencilled collection number 52200 to the baseLength: 33cmHeight: 9cmA similar tiger-form pillow, is illustrated by Jiena Huo in Fire and Earth: Chinese Ceramics (3500 B.C. - 1400 A.D.) in the Museum of East Asian Art, Cologne, 2008, p 187, no. 147, where it is dated Jin Dynasty, 12th century. The author notes that this type of pillow is probably from Changzhi, in Shanxi, where other pillows of this type have been found. This type of pillows were believed to protect against evil and to have helped women give birth to sons相似磁州窯虎枕見霍潔娜《火與土：中國早期陶瓷》科隆東亞藝術博物館 2008年，圖147 ，頁187。其作者認為此類型虎枕產於山西長治，用於保佑孕婦生得男孩不受邪惡侵擾。Another similar Cizhou tiger pillow was sold at Christie’s New York, 13th September, 2014 lot 835, Masterpieces of Cizhou Ware: The Linyushanren Collection另一相似虎枕見紐約佳士得2014年9月13日拍品835號。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportOverall the tiger pillow is in good condition for its age. The base with a cleaned area and a number ‘52800' written in black ink. The cream pillow section well crazed, with a y-shaped hairline confined within this area, approx 10cm long. The left eye of the tiger with some glaze loss, revealing the buff body. Now patinated, overall the glaze finely crazed, with some discolouration. An area of glaze loss by the tigers front left paw, approx. 2.5cm, where it meets the base. 

ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gram Vélin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after postwar artist in the world and is the sixth most expensive artist of all time. In the first half of 2018, his sales ranked only behind those of stars such as Picasso, Monet, Modigliani or Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colorist, very influenced by the work of Paul Klee, for his expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting color, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of color, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some gray tones.

Illustrated Bonham catalogues 'Fine Asian Art'.

Chinese Print Assortment (4) polychrome prints depicting male and female figures, all matted and framed under glass Property from: an Evanston, Illinois estate Height: 14 1/4 inches, Width: 9 3/4 inches (sight)Frame Size: 20 1/2 inches by 16 1/4 inches Condition: Good, areas of light staining and discoloration to prints overall; light dirt accumulation Disclaimers: not examined out of the frames Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:47 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Chinese Print Assortment (3) polychrome prints depicting male figures, all matted and framed under glass Property from: an Evanston, Illinois estate Height: 14 1/2 inches, Width: 9 3/4 inches (sight)Frame Size: 20 3/4 inches by 16 inches Condition: Good, discoloration to print paper overall, particularly towards edges; (1) having pilling to paper; light dirt accumulation overall Disclaimers: not examined out of the frames Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:48 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4

Japanese Kenji Kusaka and William Paden Woodblock Prints (2) items including 1936, signed 'Ken Kusaka' lower right, #28/40 lower left, titled in Japanese 'Message from the Sky' lower center, depicting geometric shapes amidst blue sky and clouds; and 1930, signed 'William Paden' lower right, #19/50 lower left, titled 'Kaimon Dake' lower center, depicting a mountain-scape; both having storage folders with cellophane windows Property from: a Sycamore, IL Estate Height: 13 5/8 inches, Width: 16 1/4 inches (William Paden)Frame Size: 20 1/2 inches by 22 inches Condition: Very Good to Good, top edge of both prints adhered to inside of folder; Paden having slight area of wear at upper left border, wrinkling to upper right edge; both storage folders having toning, creasing, waviness, dirt accumulation Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:49 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7

Japanese Kuniyoshi and Hiroshige 'Ogura One Hundred Poems' Woodblock Prints c.1845, printed signatures, (21) oban size prints from the series 'Ogura Nazorae Hyakunin Isshu' including (15) by Utagawa Kuniyoshi (Japanese, 1798-1861) and (6) by Utagawa Hiroshige (Japanese, 1797-1858); together with (3) additional oban actor prints from a separate series by Kuniyoshi and an unidentified geisha print; unframed Property from: an Evanston, Illinois estate Height: 14 3/8 inches, Width: 10 3/8 inches (average sheet) Condition: Good to Fair, moderate to heavy edge wear, especially at corners; light to moderate soil; occasional surface wear; a small spot of insect predation noted to a print; occasional short tears and wrinkles to untrimmed margins, which retain stab-stitch holes from binding; wrinkles occasionally affect image; (1) having 6-inch tear along margin, not affecting image; the (3) additional Kuniyoshi mounted to Japanese paper backing; unidentified print closely trimmed and having creases Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 12:50 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10

A large collection of Asian Art auction catalogues and exhibition catalogues, the majority Christie's, Sotheby's and Bonhams, including Christie's 'Elegance and Artistry The Imperial Sale' Vols I and II, Hong Kong 27 May 2008, Christie's 'Luminous Colour: Treasures from The Shorenstein Collection', Hong Kong 1st December 2010, and Christie's 'The Gerald Godfrey Private Collection of Fine Chinese Jades', Hong Kong 30th October 1995 (approx 125 in total).This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

JOSÉ BLANCO CORIS (Málaga, 1862 - 1946).Untitled.Oil on canvas glued to board.Signed in the lower right corner.Measurements: 79 x 58 cm; 92 x 72 cm (frame).Painter, writer and professor at the School of Arts and Crafts of Madrid, José Blanco Coris always showed a deep interest in Japanese and East Asian art, and in fact wrote an important "Manual of Decorative Art" (Madrid, 1916-21) in which he dedicated chapters to the arts of China and Japan. Blanco Coris was trained in his native Malaga, in the School of Fine Arts of the city, where he had Bernando Ferrándiz as his main teacher. He began his career making great history paintings in the nineteenth-century style, such as the "Presentation of Cardinal Cisneros to Isabella the Catholic" of 1881. Also around this time he delved into the themes of gentle realism, reaping a special success with "Children in a Boat" (1883), which won him the gold medal at the International Exhibition in Boston. Already at the beginning of the new century, Blanco Coris will evolve towards a less sweetened costumbrismo, at the same time that he begins to cultivate the still life. In the twenties he presented works of these genres at the National Exhibitions of Fine Arts and the Salones de Otoño. Although he was permeable to the advances of impressionism, in the twentieth century he was especially critical of the avant-garde, always remaining outside them. At the same time he developed a notable teaching career, which he began after failing to obtain a post as a pensioner in Rome in 1888. He entered the School of Fine Arts in Malaga as an assistant in 1891, to later become a temporary professor (1893). He finally obtained the position of full professor at the School of Arts and Crafts in Madrid in 1902, developing since then his career in the Spanish capital. Today José Blanco Coris is represented in the Museum of Malaga and in various private collections.

清雍正 粉彩麻姑獻壽圖大盤 the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gilded, the base with a wheel engraved Johanneum Inventory mark 'N=183 I'43.5cm diameterProvenance:August II, 'August the Strong', Prince-Elector of Saxony (1670-1733), Dresden;Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's.Footnote: Note: The scene on this dish depicts the Daoist Immortal, Magu, on her way to celebrate the famous peach banquet of the Queen Mother of the West, Xi Wang Mu, who rules over the garden of the peaches of longevity. The fine drawing of Magu's feminine face is in the traditional Chinese style without shading. The scene contains many symbols of long-life and immortality, especially the lingzhi fungus, the deer, and the peaches, while the blossoming prunus tree represents youth and new life.Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections, had a particular fondness for East Asian porcelain from the 17th and early 18th centuries. Obsessed with porcelain, he had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733.This plate can be dated with some accuracy since no new pieces were added to the collection of Augustus the Strong (1670-1733) after his death in 1733, and the inventory books at Dresden reveal that dishes of this kind were acquired in 1727. After his death in 1733, the porcelain was packed away in the cellars of the unfinished "Japanische Palace". The term "Johanneum" was taken from the building in Dresden to which the royal collection was moved in 1875-76.One plate with the same number of the old Dresden inventory (N=183 I, inventory 1779) and almost identical decoration and size is in the Dresden collection.[1] Some other examples with the same inventory number entered the art trade presumably as a result of earlier sales, with examples found in the museum Boijmans Van Beuningen in Rotterdam[2] and in the former Collection Ignazio Vok.[3] Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153

oil on canvas, framed, signed lower right; verso: 'by Ba Nyan', 'PAGODA RANGOON' '19.3.31' 'OIL PANTING'22cm x 30cmProvenance:Deceased estate of a Glasgow gentleman and collector of Asian Art, acquired in 1995.Tom Bell Fine Art, Troon, Scotland, purchased from John Green Fine Art, 182 Bath Street Glasgow in October 2017.Footnote: Note: John Green Fine Art Glasgow did not show the work in his gallery at any time and the current owner spotted it in his safe; the painting was then purchased upon Green's retirement in October 2017.U Ba Nyan was one of the most important artists in Myanmar during the twentieth century, most well-known for his western Academic style. Born in Pantanaw in 1897, Ba Nyan showed a proficiency in the arts at an early age and studied under Po Maung for four years before being noticed by local officials who supported him in studying at the Normal School.At the age of 24, Ba Nyan became the first Burmese artist to study at the Royal College of Art in London, with the support of the Burma Art Group, a prestigious institution that supported young Burmese artists with great promise. During his time in London, he developed his signature Academic style, which when he returned to Myanmar in 1925 awarded him great prestige and renown. Working in oil painting, Ba Nyan received many important commissions from notable clients such as Sir Paw Htun, Sir Ba Oo and Shan saophas. Though U Ba Nyan had drawn many paintings depicting the landscapes and lifestyles of Myanmar, most of them were bought by the British and lost during World War II. Few of his paintings can be found today.In 1939, he became principal of the Art School for Myanmar students; then in 1944 he led a group of artists that opened the Institute of Art, becoming the principal of the academy. His role was such that many younger Burmese artists were influenced by him: Thein Han and Ba Kyi were both prolific and important artists who studied under Ba Nyan. During this period, the war-time prime minister of Burma, U Ba Maw, presented two of Ba Nyan's paintings to the Japanese Prime Minister, and a third painting to Emperor Hirohito, illustrating the great international acclaim the artist had achieved.Paintings by Ba Nyan remain rare and highly collectable, with a watercolour of an elephant monument sold for £9,500 and one of the Shwedagon Pagoda sold for £5,500 in 2019 at Grand Auctions in Folkestone, England. His works remain in important international public and private collections such as A Buddhist Monastery in the National Museum of Myanmar, and At the Jetty in the Singapore Art Museum.

A collection of twenty-two Sotheby's, New Bond Street London auction catalogues relating to Oriental sales to include 'Important Oriental Miniatures, Manuscripts and Qujar Lacquer', 'Oriental Miniatures, Manuscripts and Painted Books', 'Chinese Hardstone Carvings and Quing Ceramics', 'Oriental Ceramics and Works of Art', 'Fine Oriental Miniatures and Manuscripts Including Drawings from the Pan-Asian Collection', 'Indian Central and South East Asian Works of Art', 'Fine Oriental Manuscripts', and other Oriental related catalogues mainly dating from 1979 to 1984, each with Sotheby, Beresford Adams library stamp to the front cover (22).Provenance: Part of the Paul Lightfoot Collection.

An assembled group of East Asian works of art, including: a small Chinese soft past blue and white 'hundred boys' vase; a Chinese crackle-glazed ovoid vase; two small Japanese vases; two Chinese carved hardwood vase stands, a Chinese painted egg in display case; and a family group of four coromandel elephant figures (a lot).Condition report: Elephants: One tusk missing on smallest. General signs of age to all.Boys vase: Crazing overall.Egg: Appears good.Crackle glaze vase: Appears good.Japanese vases: Minor signs of age.Vase stands: one missing inner rim.  The other has some fine splits to a foot.

A rare midnight-blue-ground silk embroidered 'butterfly and double-gourd' informal surcoat, changpaoEarly 19th centuryThe front-opening surcoat finely embroidered on the front and back panels with eight symmetrically-placed round floral roundels each meticulously embroidered with a profusion of double gourds individually decorated with various diaper patterns, all issuing from leafy and curling stems amidst multicoloured butterflies, all above the intricate finely-drawn turbulent wave border incorporating lingzhi-form vapor and the Auspicious Emblems in the wind-tossed waves rising from a deep lishui stripe, the details embroidered in bright, shaded tones of red, green, pale orange, yellow, blue and white with very fine gold thread highlighting diaper designs, the wave borders repeated at the cuffs beneath three smaller gourd and butterflies roundels on each sleeve, all reserved on a midnight-blue ground, the entire garment in lined blue, with gilded buttons. 175.5cm (68 7/8in) wide x 141cm (55 1/2in) long.Footnotes:十九世紀早期 石青緞繡瓜瓞綿綿紋袍Provenance: an English private collection來源：英國私人收藏Notable for its highly-refined embroidery depicting elegant roundels with multi-coloured designs of butterflies and double gourds, the present lot is a rare example of formal surcoats worn by the highest-ranking women of the Qing Court.The surcoats made for the highest-ranking female members of the Qing society were decorated by eight roundels over elaborate lishui borders at the hem, such as displayed on the present lot; see V.Garrett, Dragon Robes, Oxford, 1998, p.35 and J.Vollmer, Imperial Silks. Ch'ing Dynasty Textiles from the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p. 54. Garments decorated with roundels always signalled formality. This decorative scheme can be traced to the Tang dynasty and may have been influenced by Western Asian traditions; see Huang Nengfu and Chen Juanjuan, Origins of the Art of the Chinese National Costume, Beijing, 1994, p.209; see also J.Watt and A.Wardwell, When Silk Was Gold: Central Asian and Chinese Textiles, New York, 1998, pp.21-29.While the dragon-patterned roundels signified official attire, medallions decorated with seasonal flowers, butterflies, cranes and other auspicious imagery underscoring the wishes for good fortunes, wealth, happiness, typically indicated the informal nature of the occasions for which the surcoats were worn. Roundel schemes were particularly popular during the Ming dynasty for both Court and unofficial wear and the Manchu rulers of the Qing dynasty appear to have continued this tradition. By the eighteenth century, the formal design of a distinct wave border at the hem appears to have become the favoured style.Although changpao surcoats were worn by noble Manchu women, the rich symbolic intent of the decoration embroidered on them was deeply rooted in Chinese culture. Double gourds are popular symbols of longevity and are associated with Li Tiegui, one of the Eight Daoist Immortals, who is often depicted holding a double gourd containing the elixir of Immortality. Butterflies are also homophone with the character die 耋 meaning over seventy or eighty years of age, and thus express a wish for longevity. They symbolise happiness in marriage and everlasting romantic love, the latter conveyed by a number of traditional Chinese stories in which butterflies play a significant part. A story by Feng Menglong (1574-1646), for example, features the so-called 'butterfly lovers', Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. Butterflies are also associated with the Daoist connotation of dreamlike reflection and the freedom of the soul; see Sookja Cho, Transforming Gender and Emotions. The Butterfly Lovers Story in China and Korea, Ann Harbor, MI, 2018, pp.1-13 and V.H.Mair, 'Chuang-tzu', in W.Nienhauser, Traditional Chinese Literature, vol.2, Bloomington, IN, 1998, pp.20–26.Compare with three related blue-round silk kesi informal surcoats, mid-19th century, illustrated by J.Vollmer, Imperial Silks.Ch'ing Textiles from the Minneapolis Institute of Arts, Minneapolis, MA, 2000, p.269, n.104, p.271, no.105, p.273, no.106. A related silk kesi surcoat, Yongzheng/Qianlong, was sold at Christie's New York, 19 March 2008, lot 83.For further information on this lot please visit Bonhams.com

A FINE AND RARE MUGHAL WHITE JADE QUATRELOBED SPICE BOX AND COVERIndia, 18th centuryThe box expertly carved and hollowed with four cylindrical compartments with straight walls, supporting a gently-curved lid carved with stylised leaves surmounted by a flower-bud finial, the cover's underside carved with a central flowerhead issuing four stylised leaves, the smooth translucent stone of even white tone. 9cm (3 1/2in) long. (2).Footnotes:十八世紀 痕都斯坦式白玉雕花瓣形分格蓋盒Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present box and cover is an exquisite example of Mughal jade carving at its very finest. The master carver accomplished a perfectly balanced quatrelobed form in the box, to properly match the four-domed cover. The superb white jade stone was greatly admired by the carver focusing on form with minimal decoration allowing the viewer to enjoy the natural quality of the translucent white jade stone. Indian Mughal jades found their way to central Asia and thus to the Imperial Court in Beijing, where they were sent as tribute from inner-Asian regions. The Qianlong Emperor was a great admirer of these so-called 'Hindustan' jades and praised them for their exquisite lightness, thin walls and florid decoration. The Emperor's passion for Mughal jades led him in 1768, to write Tianzhu wuyindu kao'e, a scholarly text on the geography of Hindustan and the derivation of its name. The area he identified is today northern India, with the city of Agra at its centre. Subsequently, Mughal jades came to have a large influence on jade production in China.See a gem-set jade quatrelobed box and cover in the Metropolitan Museum of Art, New York (acc.no.02.18.777a–c). See also a gold-embellished Mughal jade quatrelobed box and cover, in the National Palace Museum, Taipei, illustrated by Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, National Palace Museum, Taipei, 2007, p.111, no.129; and a further related semi-precious-stone-inlaid jade quatrelobed box and cover illustrated in ibid., p.112, no.131. Compartmented jade spice boxes, such as the present lot, were produced for the Mughal elite, to hold cardamom pods or stuffed betel-leaves (pan) which were used to colour the lips red as a cosmetic, or to be chewed as then was believed to freshen the mouth and help digestion; see S.Aziz Natnoo, 'Betel-Leaf (Pan) Culture: A Study of Mughal India in International Journal of Humanities and Social Sciences, vol 5, issue 1, January-February 2018, p.39. Compare with a related quatrefoil carved jade box, north India, circa 1740-1800, which was sold at Christie's New York, 19 June 2019, lot 198.白玉質，琢作四瓣花式盒，略帶方形，蓋面中央浮雕葉紋，立雕花蕾為蓋鈕，內部隔作四格。本品玉質色澤勻淨，器壁通透，線型流暢，打磨精到，且通體除立雕花鈕外無附加紋飾，充分凸顯玉材自然之美，是痕都斯坦玉雕精品。痕都斯坦即指蒙兀兒帝國（1526-1857）；1768年，乾隆皇帝親自撰《天竺五印度考訛》一文，考證發音，定名「痕都斯坦」。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，並於十八世紀後期經新疆源源不斷貢入清廷，令乾隆皇帝大為激賞。相類玉盒可見紐約大都會藝術博物館館藏一例鑲金嵌寶帶托盤四格玉盒，藏品編號02.18.777a–c，形似本例。另見一例青白玉分格盒，收錄於鄧淑蘋著，《國色天香——伊斯蘭玉器》，國立故宮博物院，台北，2007年，頁112，編號131。形如本例的分隔蓋盒多為蒙兀兒精英階層盛裝香料之用，參S.Aziz Natnoo著，〈Betel-Leaf (Pan) Culture: A Study of Mughal India〉，收錄於《國際人文與社會科學期刊》，卷五，第一輯，2018年1-2月，頁39。紐約佳士得曾售一件約1740–1800年玉分格盒，2019年6月19日，拍品編號198，可為比對。For further information on this lot please visit Bonhams.com

A VERY RARE GILT AND BROWN LACQUER 'PHOENIX AND CHILONG' STEM BOWL15th/16th centuryThe broad vessel rising to a slightly everted rim and supported on a splayed, flat stem foot, the upper register carved in relief with four phoenix amongst trailing leafy peony stems beneath a floral diaper-pattern border on the mouth rim, the stem with two sinuous chilong clambering amongst scrolling leafy lingzhi, all on a gilt ground, the interior and base lacquered brown. 15.3cm (6in) diam.Footnotes:十五/十六世紀 剔黑金彩龍鳳呈祥高足盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族舊藏，並由後人保存迄今The remarkable style of carving on the present stem bowl is in continuation of Northern Song dynasty lacquerware. Compare a carved black lacquer rectangular tray reserved on yellow ground, illustrated by TaKagi KeitaKu, Chinese Lacquerware: An Odyssey of Connoisseurship, Tokyo, 2015, pp.4-5. The workmanship on the stem bowl is exquisite in the refined design and detailing of the lappets on the peony blossoms, the leaves, and the feathers of the phoenix, to the sinuous design of the chilong. Also exceptional is the clever use of the 'negative' space, contrasting the brown lacquer design with the rich gilt ground. Such lacquerwares are exceedingly rare. See, however, a closely related black lacquer and gilt-ground bowl and cover, with similar design of phoenix and peony reserved against a gilt-ground, early 15th century, illustrated by Knapton Rasti Asian Art Ltd., Works of Art, London, November 2006, p.12, no.6.For a similar design on a stem bowl, see Carved Lacquer, The Tokugawa Art Museum, Nezu Institute of Fine Arts, 1984, p.47, pl.56; and see a related brown, red and gilt lacquer dish, Ming dynasty, early 16th century, with related chilong and lingzhi band around the cavetto and a gilt-ground central medallion, in the Linden-Museum, Stuttgart, illustrated in Im Zeichen des Drachen, Munich, 2006, no.52. Phoenix and peony, combining the 'King of birds' with the 'King of flowers' augur great blessings and prosperity and represent the saying of 'May there be wealth, rank and good fortune'. The chi-dragon and lingzhi, symbolise the wish for peace and benevolence during a long reign.敞口撇足，鎏金為地，剔黑漆為飾，盌身雕有四鳳遊梭於纏枝牡丹之中，口沿治錦地紋。盌足兩條螭龍穿行於卷草靈芝間。所飾漆雕延續北宋時期風格，如一例黃地剔黑漆方盤，收錄於TaKagi KeitaKu著，《Chinese Lacquerware: An Odyssey of Connoisseurship》，東京，2015年，頁4-5。本例設計精巧，雕工豐富細膩，花、葉、鳳羽以至螭龍的盤曲身軀，處處均顯匠心細節。對盌內壁的處理同樣不俗，所髹棕漆與外壁富麗的鎏金地形成了鮮明的對比，能與制在工藝與造型上相比之漆器相當罕見。參考一件十五世紀早期鳳穿牡丹紋帶蓋漆盌，同以剔黑金彩為飾，詳見Knapton Rasti Asian Art Ltd.，《Works of Art》，倫敦，2006年11月，頁12，編號6。與該例紋樣相似之設計亦可見於《Carved Lacquer》，德川美術館，根津美術館，1984年，頁47，圖版56。另可參考德國斯圖加特林登博物館館藏一例十六世紀初明代鎏金漆盤，其折沿之下飾有與本例相近的螭龍及靈芝紋，其盤心開光亦雕於鎏金地之上，收錄於《Im Zeichen des Drachen》, 慕尼黑，2006年，編號52。作為傳統吉祥圖案的鳳凰牡丹紋樣結合了鳥中之王與花中之王，寓意祥瑞富貴；螭龍與靈芝則象徵長治久安。For further information on this lot please visit Bonhams.com

Shanti Dave (Indian, B. 1931)Untitled oil and encaustic on canvas175.2 x 261.6cm (69 x 103in).label on stretcher: Not to be taken from the Library.Footnotes:ProvenanceHaverford College, Haverford, Pennsylvania, USA (deaccessioned): acquired in the late 1990s-early 2000s.Born in Badpura, Gujarat in 1931, Dave completed his graduate and post-graduate studies at the Faculty of Fine Arts at the Maharajah Sayajirao University of Baroda under the tutelage of N.S Bendre. It was here that he co-founded the Baroda Group in 1957, alongside Bendre and other artists that included Bhupen Khakhar and Gulam Mohammed Sheikh. The group emphasised the importance of promoting contemporary art and incorporated elements from Rabindranath Tagore's school, Shantiniketan, the Barnes Foundation and Bauhaus. Upon graduation, Dave was initially employed as a commercial artist, making banners and signboards for films before moving on to making commissioned murals, for the offices of Air India in Delhi, London and New York. The present unusually large lot with its use of unconventional materials, such as encaustic is an example of the sort of murals that Dave is renowned for. The work illustrates a blend of western expressionism and Indian metaphysics and incorporates tantric elements and earthy obscurity. For a similar albeit smaller work sold in these rooms, see Bonhams, New York, Indian, Himalayan & Southeast Asian Art, 18th March 2013, lot 127.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

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism #4". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 9 7/8 in. (349 x 251 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Comment(s): 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. [29862-2-4000]

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

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Boat Towers of the Kia Ling Kiang". Medium: Original vintage photogravure. Date: Composed c1939. Printed 1939. Dimensions: Image size: 7 1/4 x 9 1/8 in. (184 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [25473-2-300]

Chinese porcelain bowl with crackled celadon glaze and a flaring rim. On a carved wooden stand. With sticker from Wells Fine Asian Arts along underside.Provenance: Wells Asian Art, Minneapolis, Minnesota; Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.(Bowl) Height: 3 in x diameter: 7 1/4 in. (Stand) height: 1 1/4 in x diameter: 4 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(Bowl) Height: 3 in x diameter: 7 1/4 in. (Stand) height: 1 1/4 in x diameter: 4 1/4 in.

5th-6th century AD. An expertly carved marble head of a ram, originally part of a bigger sculpture, natural facial detailing with large almond-shaped eyes, the pupils with a recess for an inlay for the iris; the fleece with drilled locks; long curving horns with incised detailing; mounted on a custom-made display stand. See Mendel, G., Catalogue des sculptures grecques, romaines et byzantines, Constantinople, 1914, nos.21 (125), vol.I, p.102, for the sculpture of a ram’s head in similar style under the paws of a sphinx; vol.I, p.102; Grabar, A., L’Arte Paleocristiana, Milano, 1967. 1.4 kg total, 21cm including stand (8 1/4"). Property of a London gentleman; before that in the private collection of a Kensington collector; acquired from the private collection of Dr. Heinz Johanik, Austria, since 1970; accompanied by an academic expertise by Dr. Raffaele D’Amato and a geological scholarly report no.TL05387 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.10400-178135. The ram was the symbol of male strength and virility and was a commonly sacrificial animal from prehistory onwards. A ram's head appears next to the head of an ox or bull in a Graeco-Persian stele from the 5th century BC (Mendel, 1966, III, p.374, no.1357"). Symbol of Hermes, god of thieves, the ram's head frequently occurs in representations of sarcophagi and dedicatory steles from the Roman period, especially from the 2nd century AD. In the famous sarcophagus of Phaedra and Hippolytus, at the Istanbul Archaeological Museum, a sphinx holds the head of such a ram in its clutches, as well as in the Dionysian sarcophagus of the same museum. Four ram heads decorate the four corners of an altar dedicated to Nemesis, from Miletus (Mendel, 1966, III, p.78, no.864), a ram, with a similar pronounced head, accompanies the god Hermes in a statue of the 2nd century (Mendel, 1966, II, p.79, no.316) and the sacrificial animal becomes the primary subject of Asian steles to the deities (Mendel, 1966, III, nos.849-850-852-856"). Ram heads decorate the cymatia of the Roman imperial armour of the middle period (Mendel, 1966, III, p.346, no.1108; no.1373 p.585), but appears also in capitals (Mendel, 1966, II, p. 341, no.744; III, nos. 1210-1213), early Christian reliefs, sarcophagi and sculptures, as a tribute to the scene of the sacrifice of Isaac (Mendel, 1966, II, p.474, no.674), prow of ships (Mendel, 1966, II, p.431, no.655), or related to the new vision of the leader of the flock hold by the Good Shepherd (Mendel, 1966, II, nos.648-650, pp. 412ff.; Grabar, 1967, figs. 127,134,266,287,301,303"). In turn, this iconography certainly derives from that of Hermes carrying a ram on his shoulders (Kriophoros), being the famous Kriophoros of Salamis the original prototype, from which numerous copies were made in Roman times. [A video of this lot can be viewed on the Timeline Auctions website] Fine condition.

4th-3rd millennium BC. A ceramic stemmed cup or chalice with carinated upper body, gently everted rim and splayed stem and foot; the upper body painted with a circumferential frieze of stylised antelopes separated by panels of vertical lines with bulbous bases, a coloured band to the rim, a series of concentric bands below, populated with hatched panels, a painted band to the junction between bowl and stem, clusters of vertical lines running to the foot below. See Asian Art Museum, San Francisco, Iran; Tepe Sialk; large footed cup with decoration of wild goats, The Avery Brundage Collection, B60P469, for similar; see The Metropolitan Museum, accession number 48.98.3, for very similar painted motifs. 915 grams, 22cm (8 3/4"). From a central London gallery; previously on the London, UK, art market, 1983; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by IADAA certificate number no.14042020/1140. Fine condition, restored.

Tang Dynasty, 618-907 AD. A large cast iron head of Buddha with segmented head of curled hair, scooped ears with extended lobes, recess to the brow to accept a glass or gemstone urna cabochon; mounted on a custom-made stand. 35.6 kg total, 60cm including stand (23 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; 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 and Buddhist Art News; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 168436-10382. Fine condition.

AN IMPRESSIVE JAPANESE SHAKUDO TAKASE YOSHITOSHI TSUBA EDO PERIOD, 17TH OR 18TH CENTURY The heavy circular body decorated with an all-over design of waves in relief, the foam cleverly rendered with gold inlays, signed Takase Yoshitoshi with kao, with Tokubetsu Hozon Tosogu (Sword fitting Extraordinary Worthy of Preservation) certificate no.2003469 issued by the Nihon Bijutsu Token Hozon Kyokai (The Society for the Preservation of the Japan Art Sword), dated 28th June 2016, in a kiri box, 7.3cm. (3) Provenance: from a private European collection.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVETakase Yoshitoshi was a talented tsuba maker from the Hitachi Province working as part of the Mito School circa 1800. His pieces can be found in museum collections around the world. See the Rijksmuseum, Amsterdam, access. no. AK-MAK-1140 for another tsuba signed Takase Yoshitoshi of similar design on loan from the Royal Asian Art Society of the Netherlands. Also, see the Boston Museum of Fine Arts, access. no. 13.2696 for another tsuba by Takase Yoshitoshi featuring crashing waves purchased from Chikami Kiyoomi (1856-1916), former governor of Kagoshima. Cf. R E Haynes, The Index of Japanese Sword Fittings and Associated Artists, no.H12191; also see B W Robinson, The Art of the Japanese Sword, p.81, pl.88.

A CHINESE ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI SHANG DYNASTY The flattened pear-shaped body gently flaring at the rim, decorated with a band of fine scrolls, with a pictograph for fu to the interior, the spread foot cast with four bosses and geometric designs, the interior of the foot with a paper label for the Prof and Mrs P H Plesch Collections, no.Bv12, 11.3cm, 482g. Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection no.Bv12. The bronze was purchased in summer 1961 from A Lemp, Zurich, and had previously been presented by the Chinese Government to a German individual for his services rendered.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.商 青銅觯來源:Peter Hariolf Plesch教授(1918年2月14 日-2013年3月5日)和Gerta Regina ‘Traudi’ Plesch OBE (1921年12月4日-2013年8月10日)收 藏·編號Bv12。據他們的收藏筆記記載，此件 青銅觯於1961年購於蘇黎世。在此之前是中國政府送給一個為中國做出貢獻的德國人。附收藏標籤。

A LARGE CHINESE CELADON JADE SQUARE-SECTION VASE, FANGGU SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The raised central section supported on a slender spread foot, surmounted by a tall neck flaring at the rim, with the reign mark incised and picked out in gilt to the rim, the greyish stone with white striations and black flecks, the base with a paper label for the Dr and Mrs P H Plesch Collections, no.Hv27, 27.5cm. Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918-5th March 2013) and Gerta Regina "Traudi" Plesch OBE (4th December 1921-10th August 2013), collection no.Hv27, acquired from Spink & Son's December 1981 exhibition of jade, no.62. Illustrated: Spink & Son Ltd, An Exhibition of Fine Jade, December 1981, p.19, no.62.Peter and Traudi were important collectors of Chinese, Japanese and Korean Art. Their vast collection grew exponentially after their wedding in 1963 and also included many examples of Chinese, Roman and English glass, thus reflecting their eclectic taste. Peter and Traudi both came to the UK after fleeing the rise of Nazism in the 1930s. Peter left Berlin in 1933 with his father Janos Plesch, Albert Einstein’s personal doctor and friend. Traudi emigrated from Vienna with her family in 1938. Peter became Professor of Chemistry at Keele University and gained international recognition for his lifelong studies of cationic polymerisation, publishing several books and more than 150 research papers, the last just after his 90th birthday. Traudi received her OBE in 2000 for charitable services to the community in Staffordshire. In March 1959 at Sotheby’s London, Peter purchased a Ruyao narcissus bowl for £2,200 against the dealer J T Tai. It was reoffered at the same saleroom in February 1970 where it sold for £46,000 and subsequently made the front page of a UK national newspaper. On both occasions the hammer price entered the Guinness Book of Records as the highest price ever paid for any ceramic. Several pieces from the collection were lent to Oriental Ceramic Society exhibitions, including this bowl in 1960. Peter published many articles relating to Asian arts, bringing his own scientific approach to collecting, including formulating a new cataloguing system. Peter and Traudi’s collection was admired by many fellow collectors and academics. Their passion for the collection was matched by the enthusiasm of their guests, and they were known to be very welcoming to all visitors.清乾隆 青白玉雕方觚《大清乾隆年製》款。來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏·編號Hv27。附收藏標籤。購於1981年12月Spink & Son 的玉器展，編號62。 著錄：Spink & Son Ltd，玉器精品展，1981年12月，頁19，編號62。

Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A necklace made of restrung glazed beads with a faience amulet of the goddess Taweret. The beads are a range of colours, and a mix of short round beads and long cylindrical ones. Necklace strings do not survive from antiquity as they degrade over the millennia, but the beads can be found (typically in tombs as funerary goods) and restrung. The placement of fine jewellery in tombs allowed the deceased to continue their lavish lifestyle in the next life. The figure depicted in the amulet, Taweret (whose name means 'the great one'), was a pregnant part-hippo, part-lion, part-crocodile, whose ferocious appearance scared away demons and sickness. She was particularly associated with using her apotropaic skills in service of mothers and new-borns. This amulet may have been purpose-built for the grave, to help the tomb-owner combat the demons encountered on the journey to the afterlife, but it was probably a treasured item owned in life that was buried with the deceased. Size: L:255mm / W:mm ; 5.6g. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca. 1368-1644 AD. Ming Dynasty. An extremely fine moulded terracotta figure of a male rider shown on horseback. The cream-coloured horse is depicted in a standing pose with its neck stretching forward and its tail loose. The mane and tail are glazed in blue. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are moulded in the round and coloured in a dark glaze. The rider wears a helmet, a dark blue coat or suit of armour and carries a decorated shield in front of him. Horses were an important status symbol in ancient China. They were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, there were laws that restricted the ownership of them to people of elevated rank. The soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China; the earliest known example of a stirrup, today a mainstay of equestrianism, was found on a statue of a horse from Hunan province dated to 302 AD (see Cartier, M. 1993. 'Considérations sur l'histoire du harnachement et de l'équitation en Chine.' Anthropozoologica, 18, 29-44). Excellent condition. For an overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Size: L:310mm / W:240mm ; 1.8kg. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.

Italian School, 16th centuryThe Nativity with a choir of angels, oil on canvas laid down on panel, 52 x 76cmProvenance: John Malcolm;Alfred Gathorne-Hardy, John Malcolm’s son-in-law;to his son Geoffrey Gathorne-Hardy;thence to his nephew, Bob Gathorne-Hardy, and by descent.The Hon. Robert Gathorne-Hardy (1902-1973), known to all as ‘Bob’, was an English writer, botanist and horticulturalist. His uncle, Geoffrey Gathorne-Hardy, inherited a well-known art collection from his aunt’s family, through the great Victorian art collector John Malcolm, much of which is now in the National Collection.Bob kept some of the Old Master drawings from the Malcolm Collection, which were sold soon after his death at Sotheby’s and is referred to as the Gathorne-Hardy Collection.Bob was also a collector of Asian items, which included jade and temple figures, paintings and some Asian items, which have come by family descent and are now offered for sale.Condition report: In the thinner paint passages, such as the faces, a very fine weave canvas support is evident in the surface texture. It seems likely that this is the original painting support. In other areas the texture appears more coarse and this can also be seen in some areas of loss. It would appear that the original fine canvas has been lined onto a coarser weave support before being attached to a wooden panel. The panel has suffered from beetle infestation. Some beetle exit holes are evident on the surface of the painting with the insects now trapped behind the glass. Some of the exit holes appear recent. The original paint layers are worn in many areas. The haloes have been gilded with simple punch work around the edges, techniques usually associated with panel paintings rather than canvas.

A Chinese 20Th C. Ink And Mineral Colour Painting On Rice Paper In Scroll By Lu Guang Titled 'Old House' With Inscriptions. 33Cm X 69CmProvenance: Purchased In 2004, Singapore - Yisulang Art GalleryLu Guang - Born In 1937, Zhejiang China. Member Of The Chinese Fine Artists Association, Chief Consultant Of Huang Bin Hong Art Museum, President Of The Art Academy Of The National Mayor Calligraphy And Painting Institute, Vice-Chairman Of The Hong Kong Association Of Asian Artists Visiting Professor Of The Art College Of Suzhou University. Provenance: Yisulang Art Gallery, China, Purchased By The Current Owner In 2004. Together With Copy Of Receipt Of Purchase And Artist's Exhibition Catalogue.

Kongshan (Menschen) leere Berge. Tusche und Farben auf Papier. Aufschrift, datiert: 1976, sign.: Wang Wuxie.Wong zählt zu den führenden Persönlichkeiten der New Ink-Bewegung in Hong Kong. In den 1960er-Jahren studierte Wong an der Columbus College of Art and Design in Ohio und am Maryland Institute College of Art, Baltimore. In seinen Werken vereint er Elemente der klassischen chinesischen Malerei mit westlichen Maltraditionen. Seine Landschaften malt er gerne aus der Vogelperspektive. Mit seiner akribischen Pinselführung und der subtilen Behandlung des Lichts schafft Wong moderne und beeindruckende Naturlandschaften.Seine Tuschemalereien wurden in Hongkong und auf der ganzen Welt ausgestellt und sind in bedeutenden Sammlungen vertreten, u. a. im Arthur M. Sackler Museum, Harvard University, USA, Ashmolean Museum, Oxford, U.K., Asian Art Museum, San Francisco, USA, Boston Museum of Fine Arts, USA, im British Museum, London, U.K. und im Hong Kong Museum of Art.91,5 x 92 cmProvenienzPrivatsammlung, SüdfrankreichPrivatsammlung, BerlinAusstellungenEine ähnliche Malerei aus der Serie mit dem Titel „Uninhabited Mountains No. 4“ von 1977, war ausgestellt in Hong-Kong-Museum of Art, in: Exhibition of Paintings, Drawings and Prints by Wucius Wong, 24.8.-7.10.1979, Kat. Nr. 42

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism #2". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Comment(s): An oil on paper work with a similar composition but much smaller size sold for $3,750 at Christie's New York, July 16, 2012, lot #120. Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29807-2-4000]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Chine". Medium: Original vintage photogravure. Date: Composed c1934. Printed 1934. Dimensions: Image size: 7 3/16 x 9 1/8 in. (183 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [24146-2-225]