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Beautiful oil on canvas painting by New York City artist Anna S. Fisher. A bunch of white and blue chrysanthemums is set in a white porcelain vase on which two Asian females are strolling leisurely. Fisher's still-life is displayed in an interior where a blue-green background highlights the subtle quietness of her composition. Housed in the original carved wooden frame. Includes a plaque on the frame: Anna S. Fisher N.A. Artwork dimensions: 13.50"L x 18"H. Frame size: 21"L x 25"H x 2"W. Artist: Anna S. Fisher (American, 1873-1942)Issued: c. 1920Country of Origin: United StatesCondition: Age related wear.

Keith Proctor (British, b. 1961) Don't Get Me Started, 2011 Oil on Canvas Signed by artist on lower right Framed Measures approx. 49cm x 49cm (19" x 19") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Sandra Blow (British, 1925-2006) Cambridge, 1999 Silkscreen print in colours  Signed and numbered 45/8547/100 Framed and glazed  Measures approx. 72cm x 72cm (28.5" x 28.5") Sandra Betty Blow (14 September 1925 – 22 August 2006) was an English abstract painter and one of the pioneers of the British abstract movement of the 1950s. Blow's works are characteristically large scale, colourful abstract collages made from discarded materials. Born in London, she suffered scarlet fever as a child, spending weekends and holidays at her grandparents' fruit farm in Kent. There she spent time painting, before enrolling at Saint Martin's School of Art between 1941-1946, and then the Royal Academy Schools, 1946-1947. She later enrolled at the Accademia di Belle Arti in Rome, where she met Alberto Burri, her partner of a few years. Blow and Burri travelled in Italy together before moving to and working in Paris, and Burri became a life long influence in her work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Keith Proctor (British, b. 1961) Small Change! Oil on Canvas Signed by artist on lower right Framed Measures approx. 49cm x 60cm (19" x 24") Some damage (moulding) to paint & canvas. Keith Proctor (British, b. 1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Keith Proctor (British, b. 1961) Down By The River, 2012 Oil on Canvas Signed by artist on lower right Framed Measures approx. 60cm x 44cm (24" x 17") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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

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

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

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

Mary Shaw (British, 20th century) Red Poppies  Acrylic and mix media on board  Framed and Unglazed Measures approx. 58cm x 58cm (23" x 23") Mary Shaw was born in Bristol, where she still resides today. An entirely self- taught artist, she demonstrated an aptitude for painting from childhood, and completed her first commission at the age of just thirteen. As an adult, she spent four years living in Zimbabwe and Cape Town, where she began to establish herself as a professional artist. On returning to the UK, Mary rediscovered her affection for the English countryside, having been struck by the vastly differing landscapes of her two homes. She was particularly interested in the rare and endangered species found amongst England's hedgerows, and began to depict them in her paintings. Created using a variety of media, Mary's beautiful pieces have a delicate touch which seem to enchant all fortunate enough to encounter them. Loosely- painted organic foregrounds contrast with areas of exquisite detail; often a butterfly, kingfisher or field mouse is found nestled within the flowers. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

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

A Carioware silver inlaid tray, early 20th century, Diameter 35cm; a small tray 9.5 x 12cm: a similar jug, height 15cm: a large Indian niello candlestick, height 51.5cm; a rose water sprinkler, height 27cm; a carved wood box, height 6.5cm, diameter 12.5cm and Persain Painting, Twelve Colour Plates with an Introduction by Basil Gray. (7) Maurice Jenkins (1933-2022). North Cornwall collector. Maurice was a lifetime collector and started in the 1950s. He opened a shop in Liskeard in the 1970s called Canon Hill Antiques. He visited a number of Middle Eastern countries in his lifetime including Egypt in the late 1970's when his interest in Islamic and Asian antiques began. He was a man with an eye for quality and a love of antiques, history and travel who purchased privately and at auction over the decades. Over a lifetime of purchasing privately and at auction, he created an eclectic ensemble of collections reflecting his interests. He died a few weeks before his 90th birthday and was still buying until that time.

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

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

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

AN ARCHAIC CEREMONIAL JADE BLADE, YUE, NEOLITHIC PERIOD TO SHANG DYNASTY 新石器時代至商代玉鉞 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published:Henry Trubner and Tsugio Mikami, Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 108.Roger Keverne Ltd., Winter Exhibition, London, 2004, no. 86.China, c. 3500-1500 BC. The slender slab tapers toward the back where there is a small hole drilled from one side. One long edge and the cutting edge are beveled, and now slightly worn. A longitudinal rib made by the saw runs along one face. The translucent stone is a deep olive-green tone.Provenance: Idemitsu Museum, Tokyo, Japan, prior to 1989. Roger Keverne, London, United Kingdom, 2004. Private English collection, acquired from the above. The Idemitsu Museum of Arts was opened in 1966 as an exhibition hall for the private collection of Idemitsu Sazo. Idemitsu Sazo (1885-1981) was a Japanese businessman, founder of Idemitsu Kosan, a petroleum company, and an important art collector. He acquired his first work of art at the age of 20, which was a painting of the Chinese monk Putai by Sengai Gibon. In later years, his collection grew, culminating in a large number of Chinese ceramics, paintings, jades, and other works of art. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020.Condition: Excellent condition, commensurate with age. Ancient wear, minor signs of weathering and erosion, tiny nibbles. Minute chips to edges, one at the top has been smoothened probably millennia ago. The jade with natural fissures, some of which may have developed into small hairline cracks.Weight: 68.1 g Dimensions: Length 16.7 cm Literature comparison:Compare a related jade blade in The Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site: Report of Archaeological Excavation from 1963-1994, pl. CXVII, fig. 6. Compare a related jade blade illustrated in Liu and Capon’s book Masks of Mystery: Ancient Chinese Bronzes from Sanxingdui, no. 36, p. 104. Compare a related jade blade excavated by the Institute of Archaeology, CASS, illustrated in Tomb of Lady Hao at Yinxu in Anyang, pl. 20, fig, 1. Compare a closely related jade blade, 19.5 cm long, dated to the Neolithic period, in the collection of the Harvard Art Museums, accession number 1943.50.113, illustrated in Ancient Chinese Jades from the Greenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, no. 1, pp. 4-5. Compare a related jade blade illustrated ibid., no. 202, pp. 159.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 27 November 2019, lot 2717 Price: HKD 81,250 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A dark green jade axe, Neolithic period, circa 3500 BC Expert remark: Compare the closely related form and color as well as the similar wear. Note the larger size (28.8 cm).Auction result comparison: Type: Related Auction: Christie’s New York, 19 March 2015, lot 545 Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A mottled, blackish-green opaque jade axe, late Neolithic period, 3rd-early 2nd millennium BC Expert remark: Compare the related form. Note the darker color and the larger size (23.8 cm).

AN IRON-RED DECORATED SQUARE ‘LANDSCAPE’ BRUSHPOT, BITONG, QIANLONG MARK AND PERIOD 乾隆款及年代礬紅釉山水方筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Well potted, the exterior decorated with four rectangular panels, each enclosed by a gilt border, depicting incredibly fine mountainous river landscapes with towering trees, bridges, and thatched-roof huts. The rim is gilt, while the base and interior are glazed in bright turquoise. The base with an iron-red four-character mark Qianlong nianzhi and of the period.Provenance: Collection of Milton Drexel Rutherford (1894-1976), and thence by descent within the family. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city’s subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers.Condition: Very good condition with expected old wear and minor manufacturing irregularities. Rubbing and minor losses to iron-red and gilt.Weight: 186 g Dimensions: Height 8.2 cm Auction result comparison: Type: Closely related Auction: Christie’s New York, 18 September 2003, lot 375 Price: USD 19,120 or approx. EUR 29,000 converted and adjusted for inflation at the time of writing Description: An unusual small iron-red-decorated café-au-lait-ground brushpot, bitong, Qianlong iron-red seal mark and of the period Expert remark: Compare the closely related iron-red decoration, landscape painting, style, and reign mark, as well as the almost identical size (8.1 cm). Note the cylindrical form and café-au-lait ground. 乾隆款及年代礬紅釉山水方筆筒中國, 1736-1795年。瓷胎緊致，外壁四面鎏金邊框，描繪了精美山水景觀，其中亦有山林高聳、河邊小屋。 邊緣描金，底座和內部塗有明亮的綠松石色釉。底座有鐵紅色“乾隆年製”四字款。 來源：Milton Drexel Rutherford (1894-1976) 收藏，在中國購於1930至1940年間，在同一家族保存至今。盒子填充了當時俄羅斯和中國的剪報。Milton Drexel (Rex) Rutherford是一位美國退伍軍人和工程師。 他在芝加哥生活和工作，為該市的地鐵挖掘隧道。一位客戶送給他一件來自東亞的文物，激發了他對亞洲藝術品收藏的熱情，他的收藏中包括康熙陶瓷以及日本金屬製品和漆器。 品相：狀況極好，有磨損和輕微的製造缺陷，礬紅釉和鎏金處輕微缺損。 重量：186 克 尺寸：高 8.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2003年9月18日，lot 375 價格：USD 19,120（相當於今日EUR 29,000） 描述：乾隆款及年代咖啡色地礬紅釉筆筒 專家評論：比較非常相近的礬紅釉、山水圖、風格和年代款，幾乎相同的尺寸 (8.1 釐米)。請注意橢圓外形和咖啡色地。

Set of three oil paintings on canvas, measurements with frame: 90 x 37 cm. Rein de Lege began his studies at the Rijks-academie Amsterdam, School of Art (1971-1975). He followed the classical education of drawing and painting with special attention to drawing from models. In 1977, he moved to the Minerva Academy in Groningen (1977-1980) where he continued his studies. In addition to drawing and painting, he focuses on graphic arts: engraving and lithography. After visiting Barcelona on vacation in 1978, Rein de Lege is so fascinated by life on the streets and bars of "Chinatown" (in reality, this area is not inhabited by an Asian population...). visits throughout the years when he decided to settle permanently in the capital of Catalonia (1988) where he continues to live there to this day. The drawings of the bustling old town have always been very inspiring and are still echoed in his current works.

A CHINESE OR SOUTH EAST ASIAN CARVED WOOD, COLD-PAINTED AND GILT FIGURE OF A SEATED BODHISATTVA OR GUANYIN, seated with her hands clasped before her in prayer, her legs crossed, atop a draped lotus flower base, 48cm highTraces of cold painting and gilding but very little visible, with dirt deposits, wear and some surface deterioration overall.

2 Schalen mit Wappenmotiv. Imitierte asiatische Marke, Samson?, 2. H. 19. Jh. Frankreich. Polychrom bemalt, goldstaffiert. Ø 12,5 cm. Mit Wappendarstellung (1x frühes amerikanisches Wappen, 1x Wappen von Portugal) und Blumenmalerei im asiatischen Stil. Aufrufzeit 23. | Feb 2024 | voraussichtlich 12:13 Uhr (CET)2 bowls with coat of arms motif. Imitated Asian mark, Samson?, 2nd half 19th century France. Polychrome painted, gilt. Ø 12.5 cm. With depiction of coat of arms (1x early American coat of arms, 1x coat of arms of Portugal) and flower painting in Asian style. Call time 23 Feb 2024 | probably 12:13 pm (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

3 Fayence-Teller mit floraler Blaumalerei im asiatisierenden Stil. 1x gemarkt. 18. Jh. Weiß glasiert, Bemalung in Kobaltblau. 2 große Teller (Ø 34 cm und 34,5 cm), 1 kleiner Teller mit Wandhalterung (Ø 23,5 cm). Ränder bestoßen, Glasur leicht berieben, 1 Teller mit restauriertem Rand. Aufrufzeit 23. | Feb 2024 | voraussichtlich 10:17 Uhr (CET)3 faience plates with floral blue painting in Asian style. 1x marked. 18th century Glazed white, painted in cobalt blue. 2 large plates (Ø 34 cm and 34.5 cm), 1 small plate with wall mount (Ø 23.5 cm). Rims chipped, glaze slightly rubbed, 1 plate with restored rim. Call time 23 | Feb 2024 | probably 10:17 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

2 Vasen und 1 Durchbruchteller. Polychrom bemalt, goldstaffiert. 1x Kürbisvase, Porzellan oder Keramik, wohl asiatisch für den europäischen Markt, Ende 18. Jh.: schauseitig Kakiemonmalerei mit Phönix (H 19 cm). / 2x Meissen, 2. H. 20. Jh., 1. Wahl und 2 Schleifstriche: Vase "Roter Drache" (H 10,5 cm) und Durchbruchteller "Gelber Löwe" (Ø 15,5 cm). Minimaler Chip am Rand der Kürbisvase. Provenienz : Sammlungsnachlass aus Hannover. Aufrufzeit 23. | Feb 2024 | voraussichtlich 14:47 Uhr (CET)2 vases and 1 break-through plate. Polychrome painted, decorated in gold. 1x gourd vase, porcelain or ceramic, probably Asian for the European market, late 18th century: cacique painting with phoenix on the front (h 19 cm). / 2x Meissen, 2nd half 20th century, 1st choice and 2 grinding marks: "Red Dragon" vase (H 10.5 cm) and "Yellow Lion" pierced plate (Ø 15.5 cm). Minimal chip to rim of gourd vase. Provenance : Collection estate from Hanover. Call time 23 | Feb 2024 | presumably 14:47 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Barock-Blaudekor-Dose. Meissen. 1740-1750. Breite: 12,5 cm. Kobaltblaue Unterglasurmalerei, "Fels- und Blumendekor", Ornamentbordüre. Ovaler gebauchter Korpus, auf dem Deckel ein Kaninchen nach ostasiatischem Vorbild als Knauf. Malermarke, Schwertermarke. Deckelrand, Standring partiell restauriert, Mündungsrand minimal bestoßen. Johann Gottlieb Eder 1740: "1 Knöpfgen auf die Butterbüchsen welches ein Häschen vorstellet" * Partnerauktion Bergmann. Literatur : Rückert (1966) Seite 95 Nr. 318. Aufrufzeit 23. | Feb 2024 | voraussichtlich 11:46 Uhr (CET)Baroque blue decor box. Meissen. 1740-1750. Width: 12.5 cm. Cobalt blue underglaze painting, "rock and flower decoration", ornamental border. Oval, bulging body, the lid with a rabbit in the East Asian style as a knob. Painter's mark, sword mark. Lid rim, stand ring partially restored, mouth rim minimally bumped. Johann Gottlieb Eder 1740: "1 Knöpfgen auf die Butterbüchsen welches ein Häschen vorstellet" * Partner auction Bergmann. Literature : Rückert (1966) page 95 no. 318. Aufrufzeit 23. | Feb 2024 | probably 11:46 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Pacita Abad (1946–2004) was a pioneering Filipino artist known for her vibrant and colorful mixed-media works. Here are key points about Pacita Abad:1. **Early Life:** Pacita Abad was born on October 5, 1946, in Basco, Batanes, Philippines. She initially studied law at the University of the Philippines but later decided to pursue art.2. **Art Education:** Abad received her Bachelor of Fine Arts from the University of the Philippines College of Fine Arts. She continued her studies in the United States, earning a master's degree in Asian Studies from the University of the Philippines and a Master of Fine Arts from The Catholic University of America in Washington, D.C.3. **Migration Series:** Abad moved to the United States in the 1970s and began her career as an artist. One of her notable early works is the "Migration Series," inspired by her experiences as an immigrant in the U.S.4. **Trapunto Paintings:** Abad developed a unique technique called "trapunto" painting, involving the layering of fabrics and materials on the canvas to create a textured and three-dimensional effect. This technique became a signature element of her work.5. **Global Artistic Practice:** Abad's art was deeply influenced by her extensive travels. She lived and worked in various countries, including the Philippines, India, Bangladesh, Sudan, Mexico, and the United States. Her art reflects a global perspective and a commitment to social issues.6. **Social and Political Themes:** Abad's work often addressed social and political themes, including human rights, cultural identity, and environmental concerns. She used her art as a platform for advocacy and raising awareness.7. **Painted Bridge Project:** One of Abad's notable projects was the "Painted Bridge," where she collaborated with over a thousand children to paint colorful and imaginative designs on a bridge in Singapore. This project aimed to promote community engagement and creativity.8. **Sari Series:** Abad's "Sari Series" is a collection of paintings featuring the traditional saris of Indian women. These works celebrate the diversity and beauty of Indian textiles.9. **Awards and Recognition:** Pacita Abad received various awards for her contributions to the arts, including the Ten Outstanding Young Men (TOYM) award in the Philippines.10. **Death:** Pacita Abad passed away on December 7, 2004, at the age of 58, due to complications from lung cancer. Her legacy continues through her innovative artistic practice and the impact of her socially engaged artworks.11. **Legacy:** Pacita Abad's legacy is marked by her pioneering spirit as a female artist from Southeast Asia, her experimentation with materials and techniques, and her commitment to using art as a means of cultural exchange and social commentary. Her works are part of major collections and exhibitions worldwide.Measures 29.75 x 40.

AN OIL AND WATERCOLOUR ASIAN STYLE PAINTING OF BUDDAHS, ETC, 51CM X 55CM

A LARGE SOUTH EAST ASIAN PAINTING ON FABRIC, depicting various figures in a procession, framed and glazed, 60cm x 133cm overall.

Asian collectables to include a painting, indistinctly signed, dated 1966, wooden stands and printsLocation:

Art reference books Painters & Paintings: Asian & Oriental Robinson, Andrew: The Art of Rabindranath Tagore Venniyoor, E.M.J.: Raja Ravi Varma Chanda, R: Medieval Indian Sculpture in the British Museum Berk, Nouroullah: La peinture Turque,  Avec une Preface de Tahsin Oz Archer, W. G.: Kalighat Paintings Baghli, Sid Ahmed: Un Maitre de la Peinture Algerienne, Nasreddine Dinet, 3e edition Dadha, M. Maher: Views of India, Connoissiers Compendium Art of the British Raj Renda, Gunsel/Erol, Turan/Turani, Adnan/Ozsezgin, Kaya/Aslier, Mustafa:  A History of Turkish Painting Binzagr, Safeya: Saudi Arabia, An Artist's View of the Past Mode, Heinz: Rabindranath Tagore. Aquarelle, Gouchen, Zeichnungen. (10)

A GILT-BRONZE FIGURE OF MANJUSHRI, LATE QING TO REPUBLICTibetan-Chinese, first half of the 20th century. Finely cast seated in dhyanasana atop a lotus base, holding aloft a flaming sword and a lotus stem in his left hand coming to full bloom at his shoulder and supporting a sutra. He is clad in a voluminous dhoti and adorned with sashes and jewelry inlaid with gemstones. The face is serene in expression and surmounted by a foliate tiara in front of the braided chignon. The base is sealed.Condition: Good condition with wear, casting flaws, minor rubbing to gilding, small dents, light nicks and scratches, and few losses to inlays.Provenance: Galerie Zacke, Vienna, 1990s. Collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, acquired from the above and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades, one of their first works of Asian art being a painting of Guan Yu, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus.Weight: 1,553 gDimensions: Height 20.6 cm

A LARGE BUTSUDAN (BUDDHIST ALTAR) FOR AMIDAJapan, 19th centuryOrnately crafted, the black-lacquered exterior with gilt metal fittings, with three drawers and two sets of doors, the inner doors with thin lining of silk to enable a respectful view of the Buddha, opening to reveal a beautiful shrine with rich gold lacquer and a standing figure of Amida in front of three miniature hanging scroll paintings depicting Amida in the center and two praying figures. The interior of the shrine is further decorated with carved relief panels with ho-o (phoenixes) and with two open-worked metal lanterns suspended from either side of the Buddha figure.HEIGHT 137 cmCondition: Very good condition. Some scattered losses here and there. Presents beautifully.Provenance: From a French private collection.A Butsudan (仏壇, lit. "Buddhist altar"), sometimes spelled Butudan, is a shrine commonly found in temples and homes in Japanese Buddhist cultures. A butsudan is either a defined, often ornate platform or simply a wooden cabinet sometimes crafted with doors that enclose and protect a Gohonzon or religious icon, typically a statue or painting of a Buddha or Bodhisattva, or a calligraphic mandala scroll.The Butsudan's primary use is for paying respects to the Buddha, as well as to family members who have died.Auction comparison:Compare a very large Butsudan, lacking the interior figures and paintings, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 42 (sold for 4,750 EUR).

A SMALL QUANTITY OF PRINTS ETC, to include a Alan Kennedy limited edition etching 'Isle of Islay', approximate size including margiuns52cm x 55cm, four vintage Enrique Serra prints, six reproductions of etchings depicting scenes in London including architectural details of Westminster and St Paul's, a watercolour painting depicting an Asian coastal scene, three prints depicting scenes of Malaysia dated 1989, two vintage Asian straw pictures, etc

Lin Fengmian 林风眠 (1900 - 1991) Birds and Wisteria 紫藤小鸟 Oil on canvas Signed and mounted. 80 x 60cm (31.5” x 23.5”） Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

AN IMPORTANT SATSUMA PORCELAIN PLATE, 'THE SEVEN GODS OF HAPPINESS AND FORTUNE'Japan, Meiji period, (1868-1912)The shallow red-ground dish painted with a jovial group of seven deities, inspired by the original painting by Hokusai. Each god engaged in merriment, with food, drink board games and musical instruments,  set against a background with scattered 'cash' symbols, scrolls, bats and a canopy.D: 62cmProvenance：Private Irish collection of Marion Newman and Blanche HandelmanIn the vibrant era of the 1960s, Marion Newman and Blanche Handelman embarked on a remarkable venture by opening antique shops in Dublin. At No. 4 Molesworth Street and Ormond Quay, the duo established their esteemed antique stores, with the latter named Ormond Antiques.Mrs. Handelman, distinguished by her passion for Belleek porcelain, emerged as a prominent dealer in this exquisite art form. Beyond her expertise in Belleek, she was an avid collector of artworks, with a particular affinity for pieces of Asian origin.For three decades, Ormond Antiques graced Dublin's antique scene, becoming a hub for enthusiasts and collectors alike. However, as the sands of time continued to flow, the chapter of Ormond Antiques concluded in 1990. Despite the conclusion of its trading days, the legacy of Marion Newman and Blanche Handelman's contributions to the world of antiques and art endures, leaving an indelible mark on Dublin's cultural tapestry.

Asiatische Malerei, Schauseiten mit purpurfarbener Blumenmalerei und Goldornamenten, Porzellan, polychrome Malerei, blaue Schwertermarke und "R" im Standring des Koppchens |Asian painting, front sides with purple flower painting and gold ornaments, porcelain, polychrome painting, blue sword mark and "R" in the stand ring of the bowl

A GILT BRONZE FIGURE OF TONPA SHENRAPTibet. According to the accompanying invoice, '16th -17th century'. Crowned and bejeweled in regal dignity, Tonpa Shenrap, the founder of the Bon religion, seated in padmasana on a beaded double lotus base detailed with crisp individualized petals, his hands held together in dhyana mudra. The Bon left-turning yundrungs (swastikas) in bloom by his right shoulder.Provenance: From the private collection of Aldo Maria Andrea Emilie Eggers-Lura (1924-1997), acquired during the 1950s to 1960s, during his stationing in the east for the East Asian Company, and thence by descent to Eric Eggers-Lura. Song Gallery: Chinese Art, Maja Stage & Eric Eggers-Lura, 26 June 1998. A Danish private collection, acquired from the above. A copy of the original signed invoice from Song Gallery, dated 22 June 1998 and dating the present lot to the 16th-17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities. Tiny nicks and light scratches, rubbing to gilt, minor losses to inlays, some inlays replaced. The base resealed.Weight: 1,600.9 gDimensions: Height 21.5 cmWith a silk storage box. (2)Dressed in a dhoti with incised hems pooling elegantly at the base, the figure adorned with beaded jewelry and the face cast with a benevolent expression, the eyes downcast under arched brows, all flanked by pendulous earlobes with foliate medallion earrings, the head crowned with a foliate tiara enclosing the hair coiled into an elaborate chignon surmounted by a lotus finial.Tonpa Shenrap, also known as Shenrap Miwo ("Supreme Priest, Great Man"), is considered by Bonpos to be enlightened teacher of Bon in the present world, whose role is comparable to that of Shakyamuni in Buddhism. His life story is recorded in Bon literature and painting. Born a prince, Tonpa Shenrap became king of Tazik, the holy land of Bon situated to Tibet's west. Tonpa Shenrap travelled widely to propagate the Bon doctrine through preaching and rituals. In Bon art, he can be represented in two appearances - a crowned and bejeweled form like the present lot, or a Buddha-like figure wearing monastic robes.

Lee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Untitled. 2016. Gouache. Rechts unten signiert und datiert. Auf strukturiertem Karton. 27,2 x 31,8 cm (10,7 x 12,5 in), Blattgröße. [CH]. • In seiner minimalistischen Ästhetik verbindet Lee asiatische und europäische Bezüge. • Zu den wichtigsten Elementen seines Kunstschaffens gehört es, während des Malens nicht zu atmen, das Werk im Raum und in der Zeit wirken zu lassen und nicht die gesamte Oberfläche zu 'kolonisieren'. • Lee zählt zu den wichtigsten Vertretern der Mono-ha-Schule in Japan, einer der wichtigsten Strömungen innerhalb der japanischen Nachkriegskunst. • Ab den 1970er Jahren steht sein Schaffen in enger Beziehung zur Dansaekhwa-Bewegung in Korea, in der sich die Künstler:innen insbesondere in monochromer Malerei mit Abstraktion und Materialität auseinandersetzen. • 1977 stellt Lee Ufan auf der documenta 6 in Kassel aus, 2011 und 2015 auf der Biennale von Venedig. • Bis zum 28. April 2024 zeigt der Hamburger Bahnhof, Nationalgalerie der Gegenwart, die erste Retrospektive des Malers und Bildhauers in Deutschland. PROVENIENZ: SmithDavidson Gallery, Amsterdam. Privatsammlung Süddeutschland (2017 vom Vorgenannten erworben). Aufrufzeit: 08.12.2023 - ca. 16.05 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Untitled. 2016. Gouache. Lower right signed and dated. On structured cardboard. 27.2 x 31.8 cm (10.7 x 12.5 in), size of sheet. [CH]. • Lee combines Asian and European references in his minimalist aesthetics. • One of the most important elements of his artistic work is not to breathe while painting, to allow the work to take effect in space and time and not to 'colonize' the entire surface. • Lee is one of the most important representatives of the Mono-ha school in Japan, a key movement in Japanese post-war art. • From the 1970s onward, his work was closely related to the Dansaekhwa movement in Korea, in which artists explored abstraction and materiality, particularly in monochrome painting. • Lee Ufan exhibited at documenta 6 in Kassel in 1977 and at the Venice Biennale in 2011 and 2015. • Until April 28, 2024, the Hamburger Bahnhof, Nationalgalerie der Gegenwart, shows the first retrospective of the painter and sculptor in Germany. PROVENANCE: SmithDavidson Gallery, Amsterdam. Private collection Southern Germany (acquired from the above in 2017). Called up: December 8, 2023 - ca. 16.05 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Hans Thoma 1839 Bernau - 1924 Karlsruhe Wundervögel. 1917. Öl auf Leinwand. Rechts unten monogrammiert und datiert. Verso auf dem Keilrahmen handschriftlich und typografisch nummeriert. 80,5 x 95,5 cm (31,6 x 37,5 in). PROVENIENZ: Paul und Beth von Bleichert, Leipzig (wohl 1917 erworben). Paul und Beth von Bleichert, Zürich (1920er Jahre, bis 2014 in Familienbesitz). Jack Kilgore & Co. Gallery, New York. Daxer & Marschall, München. Privatsammlung Baden-Württemberg. LITERATUR: Vgl. Henry Thode, Hans Thoma, Stuttgart/Leipzig 1909, S. 355, 421. Joseph August Beringer, Der Malerpoet, München 1917, o.S., Abb. Taf. 17. Die menschliche Sehnsucht, die erdhafte Gebundenheit im schwerelosen Flug zu überwinden, hat Hans Thoma vor allem in den Gemälden seiner sogenannten „Wundervögel“ zum Ausdruck gebracht. Bereits 1876 taucht im Gemälde „Paradies“ (Thode S. 89) ein solcher fantastischer Vogel auf. Ein weiteres Gemälde mit dem Titel „Sehnsucht“ (Thode S. 427) von 1900 zeigt einen Jüngling in einer weiten Flusslandschaft, der den am Himmel ziehenden Vögeln nachblickt. Besonders faszinieren allerdings die Gemälde, in denen die Betrachtenden gewissermaßen mit den Vögeln fliegen, weit über der sanften Landschaft in einem von irrealem, hellen Licht durchdrungenen Raum. Thoma vereint in ihnen die aus der ostasiatischen Kunst zu der Zeit bekannten Kraniche mit den weiten Schwingen mit den langen Feder des Paradiesvogels, teilweise auch der Pfauen. Das Motiv der Vögel führt er auch in der grafischen Technik der Radierung aus und gestaltet sich selbst damit ein Exlibris, in denen die Ornamentalität der Vogelgestalten besonders zur Geltung kommt. Den Vogelbildern scheint er auch einigen persönlichen Charakter beizumessen und als Freundschaftsbilder zu fungieren, widmet er doch seinem Freund Philipp Röth zum 60. Geburtstag solch eine Zeichnung und auch Henry Thode ist im Besitz eines der Gemälde. Der Wundervogel steht aber auch für das Reich der Fantasie und der Kunst, die sich nicht der Realität verpflichtet fühlt. In unterschiedlichen Flughaltungen schweben die großen Tiere mit den geschwungenen Hälsen und Federn über den Himmel, riesig über Landschaft, und erlauben den Betrachtenden eine neue Perspektive. Das traumhafte Gefühl des Schwebens hat für Thoma essentielle Bedeutung: „In meinen Bildern und ihrem Raum soll man Fliegen können“ (J.A. Beringer, Vollständiges Verzeichnis der radierten Platten und ihrer Zustände, München 1923, S. XIV). Der Kunsthistoriker Joseph August Beringer wies auch darauf hin, dass das Phänomen des Fliegens gerade in der Zeit der beginnenden Luftfahrttechnik einen besonderen Reiz auf Thoma ausgeübt haben könnte. Greifbar wird das Gefühl der Irrealität, das in so vielen von Thomas Bildern spürbar ist. Das Schweben im Raum, das Gefühl der Freiheit und die Sehnsucht nach ihr werden von Thoma in Gestalt der Wundervögel immer wieder thematisiert. In den geschwungenen Linien der Tiere lassen sich zudem Anklänge an die Kunst des Jugendstils sowie japanische Holzschnitte erkennen, wie sie um die Jahrhundertwende Konjunktur hatten. [KT] Aufrufzeit: 09.12.2023 - ca. 13.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHans Thoma 1839 Bernau - 1924 Karlsruhe Wundervögel. 1917. Oil on canvas. Lower right monogrammed and dated. With written and typogr. numbers on the reverse of the stretcher. 80.5 x 95.5 cm (31.6 x 37.5 in). PROVENANCE: Paul und Beth von Bleichert, Leipzig (presumably acquired in 1917). Paul und Beth von Bleichert, Zürich (1920s, family-owned until 2014). Jack Kilgore & Co. Gallery, New York. Daxer & Marschall, Munich. Private collection Baden-Württemberg. LITERATURE: Cf. Henry Thode, Hans Thoma, Stuttgart/Leipzig 1909, pp. 355, 421. Joseph August Beringer, Der Malerpoet, Munich 1917, no p., fig. plate 17. Hans Thoma expressed the human longing to overcome gravity in weightless flight in paintings of his so-called 'miracle birds'. Such a fantastic bird appeared for the first time in the painting 'Paradise' from 1876 (Thode p. 89). Another painting entitled 'Sehnsucht' (Thode p. 427) from 1900 shows a young man in a wide river landscape gazing at migrating birds in the sky. Particularly fascinating, however, are the paintings in which the viewer flies with the birds, as it were, far above the gentle landscape in a space permeated by unreal, bright light. In them, Thoma combines the wide-winged cranes familiar from East Asian art with the long feathers of the bird of paradise, and in some cases peacocks. He also made etchings of the motif he then used as his own bookplate, in which he particularly emphasized the ornamentality of the birds. He also seems to have attached a personal character to the bird pictures, as he dedicated such a drawing to his friend Philipp Röth for his 60th birthday and Henry Thode also owned one of the paintings. However, the miracle bird also stands for the realm of fantasy and art that does not feel bound to reality. In various flying postures, the large animals with their curved necks and feathers float above the landscape, allowing the viewer a new perspective. The dreamlike feeling of floating is of essential importance to Thoma: 'In my pictures and their space, one should be able to fly' (J.A. Beringer, Vollständiges Verzeichnis der radierten Platten und ihrer Zustände, Munich 1923, p. XIV). The art historian Joseph August Beringer also pointed out that the phenomenon of flying could have exerted a particular attraction on Thoma, especially at the time when aviation technology was just beginning. The unreal feeling is palpable in so many of Thoma's paintings. Floating in space, the feeling of freedom and the longing for it were repeatedly addressed by Thoma in the form of the miracle birds. The curved lines of the animals are also reminiscent of Art Nouveau and Japanese woodcuts, which were popular at the turn of the century. [KT] Called up: December 9, 2023 - ca. 13.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A rare Nantgarw porcelain cabinet plate decorated by Thomas Pardoe, the porcelain c.1818-22, the decoration c.1821-23, painted with a landscape vignette of two exotic birds perched on tree branches to the centre, contained within a six lobed cartouche of gilt bands with iron red stylised flower surmounting each lobe and trios of gilt-highlighted leaves to the creases, on a turquoise and duck-egg blue caillouté ground with six ornamental reserves bordered in blue and gilt and containing further painted exotic birds in landscapes, the gilded rim with six large and six small lobes, old collector's label to underside, 21cm diameter  The present lot is being offered on behalf of a charity. Footnotes: Note: Thomas Pardoe (1770-1823) was one of the most versatile painters of pottery and porcelain in the late 18th and early 19th century in England and Wales.  Born in the parish of St. Alkmund in Derby, Pardoe was apprenticed to the Derby porcelain works at the age of 15, and by age 20 had moved to Swansea as a skilled artisan by request of George Haynes, owner of Cambrian Pottery.  Between 1802 and 1804 Pardoe was acting manager and chief painter.  Around 1809 Pardoe moved to Bristol, where he is recorded as having a decorating business.  While in Bristol, Pardoe acted as go-between in the development of a new venture of porcelain manufacture at Nantgarw, aiming to manufacture the finest porcelain available for the English market.  In 1821 Pardoe was invited by William Weston Young to work with him and decorate the large stock of porcelain that remained.  Pardoe’s Nantgarw painting was based on his standard repertoire, including Japanese-influenced ‘Imari’ styles, Chinese-influenced ‘famille rose’ styles, botanical decoration, naturalistic flower groups, and caillouté or ‘pebbled’ gilding.  Pardoe’s painting at Nantgarw was among his very finest, a reflection of his great admiration for the factory and the culmination of some thirty years of painting experience. The present lot is most likely a single-item commission rather than from a named service or registered pattern, and therefore bears a possibly unique decorative scheme in Pardoe's oeuvre. It bears no impressed mark, but this is not universal for Nantgarw porcelain, see below in the related literature for other examples. The turquoise caillouté ground is strongly reminiscent of Sèvres porcelain and illustrates the prevailing taste and demand for Sèvres porcelain among wealthy families and connoisseurs in London in the first decades of the nineteenth century.  Related Literature: Andrew Renton et. al., Thomas Pardoe 1770-1823, Nantgarw, 2023: Nantgarw China Works. Cf. N18 for a plate decorated by Thomas Pardoe in the National Museum of Wales in Cardiff, item number NMW A 31449, and N20 for a plate decorated by Thomas Pardoe in the Andrews Collection, Oriel Plas Glyn-y-Weddw. The examples mentioned above share the six lobed cartouche with iron red stylised flowers, ornamental reserves painted with exotic birds, and caillouté ground found on the present lot. These unusually elaborate plates showcase the range of Pardoe's skills from figurative and landscape painting to East Asian motifs. The NMW example equally bears no impressed mark and yet is undoubtedly from Nantgarw and decorated by Thomas Pardoe. W. D. John, Nantgarw Porcelain, Newport, 1948: R. H. Johns Ltd. Cf. 53 D. for a small plate decorated in the Kildare S. Meager Collection decorated with similar ornamental reserves to the present lot, albeit containing single pink roses. See also 54. A for a small plate in the E. M. Bythway Collection with a similar treatment of a distant background of conventional mountains in pale bluish-grey colouring to the centre of the plate. We are grateful to Andrew Renton of Amgueddfa Cymru – Museum Wales for confirming the attribution of the present lot based on inspection of photographs.Condition Report: Overall in good decorative order.  Some light scratches to the porcelain visible on the centre, some pitting present to the centre and border, some bubbling and tarnishing to the gilt lobed cartouche on the right side, some loss of gilding to the rim, some areas of surface dirt.  UV examination reveals a now-defunct postcode inscribed in UV-susceptible ink to the underside. 

A group of Chinese and Asian collectables, comprising a scroll painting, 62 by 23cm, a Chinese carved wooden figure of a man, 17cm high, a pair of turquoise and purple glazed dogs of fo, 5cm high, six white metal figures, 11.5cm high, an Indian carved wooden box, and three Italian glass miniature penguin figures. (14)

A RARE IMARI 'BLACK SHIP' VASEJapan, late 17th-18th century, Edo period (1615-1868)Well potted, the globular body supported on a short foot and rising to a slender neck with a rolled lip. Finely decorated in iron-red, gilt, turquoise, yellow, blue, and black enamels to one side with two large ships, one with four masts and the other with three, over crashing waves, and to the other with two Dutchmen with characteristic curled hair and wide hats, one holding a cane in one hand, the other with conjoined rings, the neck decorated with brocade patterns. HEIGHT 31.5 cmCondition: Very good condition with minor wear to enamel painting and with few typical firing irregularities.Provenance: The Robert G. Vater Collection. Robert G. Vater was a German collector of European and Asian ceramics. He was the owner and director of a chain of leather clothing stores, who later began to deal in ceramics as well. The collection was put together in the 20th century and part of it (focusing on European ceramics, silver, and gold boxes) was dispersed at Christie's London in December 2021.Auction comparison:Compare a related Imari bottle vase decorated with Dutchmen and a four-masted ship, 45 cm high, dated to the 19th century, at Christie's, 12 October 2005, Amsterdam, lot 45 (sold for 28,200 EUR).

HIROSHI YOSHIDA: SAILING BOATS, FORENOON By Hiroshi Yoshida (1876-1950), signed Yoshida with seal HiroshiJapan, dated 1926Color woodblock print on paper. Vertical oban. Signed Yoshida with seal Hiroshi in the image, printed signature Hiroshi Yoshida at the margin. Printed title Hansen, gozen (Sailing Boats – Forenoon), from the series Seto Naikai shu (Inland Sea).This work is part of Yoshida's 1926 Inland Sea series of nine prints. Six of the prints, including the present lot, show sailboats floating in Japan's Inland Sea, a body of water bounded by three of Japan's four main islands. Yoshida used the exact same woodblocks for each of these six prints but adjusted the colors to suggest different weather conditions and times of day. They are a testament to the expressive potential of color.These prints represent Hiroshi's second series of woodblocks depicting sailboats on the Inland Sea. The ones for the original series, published in 1921, were destroyed during an earthquake that devastated eastern Japan in 1923. Yoshida designed a new set of woodblocks based on sketches he had made during a 1910 trip to the Inland Sea.SIZE of the sheet 55 x 40 cmCondition: Excellent condition with only minor wear.Hiroshi Yoshida (1876-1950) began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes, and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. While highly successful as an oil painter and watercolor artist, Hiroshi Yoshida turned to woodblock printmaking upon learning of the Western world's infatuation with ukiyo-e. While widely traveled and knowledgeable of Western aesthetics, he maintained an allegiance to traditional Japanese techniques and traditions.Museum comparison:A closely related woodblock print is in the collection of the National Museum of Asian Art, Smithsonian Institution, accession number S2019.3.2026.Auction comparison:Compare a closely related woodblock print, sold at Sotheby's, Fine Japanese Prints, 16 December 2022, London, lot 153 (sold for GBP 11,970).

HUANG JUNBI (1898-1991): 'AUTUMN MOUNTAIN LANDSCAPE', DATED 1951China, 20th century. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Inscriptions: Upper left, signed ‘Huang Junbi’, titled ‘Landscape’, and dated ‘In the Summer of the Year of Xinmao’ (corresponding to 1951). Two seals of the artist, ‘Huang Junbi yin’ and ‘Jun Weng’.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby’s Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one’s personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus became known as the ‘The Three Masters Crossing The Sea’. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)

KAIHO YUSHO (1533-1615): 'KAKU SHIGI'Japan, 16th century. Ink on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame, with ivory handles. Displaying the classical aesthetics of the Kano School, depicting Kaku Shigi dressed in voluminous robes with billowing sleeves holding a banana leaf.Inscriptions: Two seals, ‘Kaihō’ 海北 and ‘Yushō’ 友松. The tomobako storage box further inscribed in English and Japanese.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his first own gallery in Berlin. The entire family survived the Holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.Condition: Shows few tears, material loss, and associated touch-ups, but still presenting well. The brocade frame with usual traces of wear and creasing.Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer.Dimensions: Image size 104 x 50 cm, Size incl. mounting 188 x 52.5 cmWith an inscribed tomobako storage box. (2)Kaihō Yushō (1533-1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province to Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji in Kyoto and later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. He then worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Song painter Liang Kai, producing only monochrome ink paintings, using a ‘reduced brush stroke,’ relying more on ink washes than sharp hard strokes. Later, he worked with fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.Kaku Shigi or Guo Ziyi (697-781) was a Tang dynasty general, known for his military conquests and progeny. He rose to fame when he led the Chinese army on several central Asian campaigns and then crushed the An Lushan rebellion of 755-63. Guo's eight sons and seven daughters produced so many grandchildren that, reportedly, he could not remember all their names. He became a symbol of longevity, wealth, and fatherhood in China and was popular with Japanese merchants of the Edo period. Auction result comparison: Type: RelatedAuction: Christie’s, New York, Japanese & Korean Art, 15 September 2010, lot 526Price: USD 30,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: Kaiho Yusho (1533-1615), Kaiho Yusho (1533-1615) Gibbon grasping at the reflected moon and Sofu (Ch'cao-fu) leading his oxAuction result comparison: Type: Closely relatedAuction: Bonhams, The Ethereal Brush, 10 November 2016, London, lot 13Estimate: GBP 20,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: Attributed to Kaihō Yushō (1533-1615) and Karasuma Mitsuhiro (1579-1638) Kinkō Riding a CarpExpert remark: Note the very similar expression of Kinko sennin.

NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIESJapan, 18th century. Ink and watercolor on silk. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. The free brushwork and playful composition depicting two recumbent puppies sitting under a tree.Inscriptions: To the bottom-left, signed ‘Rosetsu.’ One seal, ‘Gyo’ 魚. The tomobako (storage box) with inscriptions, to the cover, inscribed ‘Rosetsu, Two Puppies,’ a collector’s label to one side ‘Rosetsu komainu-ko (hakushi)’ 蘆雪狛子 (‘Puppies by Rosetsu’), the other side 第三一七號、蘆雪、柿紅葉狛 (‘Number 317, Rosetsu, Persimmon with red autumn leaves and puppies’).Provenance: Collection of Baron Masuda Takashi, Tokyo, Japan, by repute. Louis Pappas Works of Art, San Francisco, 8 August 1969. The James and Marilynn Alsdorf Collection, Chicago, acquired from the above and thence by descent. Baron Masuda Takashi (1848-1938) was a Japanese industrialist, investor, and art collector. He was a prominent entrepreneur in Meiji, Taishō and early Shōwa period Japan, responsible for transforming Mitsui into a zaibatsu through the creation of a general trading company, Mitsui Bussan. Masuda's collection was a legend during his lifetime but was sold by his son after Masuda's death in 1938. Most of the collection is said to have been purchased at that time by Tokyo art dealer Setsu Inosuke. Louis Pappas (1926 - 2018) was an important art dealer in San Francisco, United States. James and Marilynn Alsdorf got married in 1952 and built a life that was centered on art, philanthropy and family. Studying and collecting art was their all-consuming passion, and it took them all over the world. Their spirit of adventure was unique; they went places that few collectors at the time were curious and confident enough to explore. As their interests diversified, so did their collection. ‘They were not strategic in their collecting,’ recalls Bridget Alsdorf, the couple’s granddaughter. ‘They were guided by what fascinated them and gave them pleasure, by knowledge and instinct. They were an incredible team.’ As well as being great collectors, the Alsdorfs were loyal supporters of museums and cultural institutions across Chicago and the wider United States, including the National Gallery of Art in Washington, D.C., the Leigh Block Museum of Art at Northwestern University and the Art Institute of Chicago. James Alsdorf served as Chairman of the AIC from 1975 to 1978, and Marilynn sat on various committees. In 1967, the Alsdorfs joined other prominent Chicago collectors, including, Edwin and Lindy Bergman and Robert and Beatrice Mayer, in founding the Museum of Contemporary Art Chicago, an institution to which they would provide extensive financial and personal leadership. After James’s passing in 1990, Marilynn, who was known as ‘the queen of the Chicago arts community’, continued to build upon her husband’s legacy in art and philanthropy, making a transformative bequest to the AIC in 1997, and funding a curatorial position in Indian and Southeast Asian Art at the AIC in 2006. Condition: Excellent condition with only minor wear. The silk brocade mounting in excellent condition with expected wear.Dimensions: Image size 118.8 x 46 cm, Size incl. mounting 211 x 58.5 cmWith an inscribed tomobako storage box. (2)Following the style of his early teacher Maruyama Ōkyo, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an unrestrained and imaginative painter.Nagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Ōkyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Ōkyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.Museum comparison:Compare a closely related painting by Nagasaw Rosetsu in The Walters Art Museum, Baltimore, USA, accession no. 35.74.

Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Virgin and Child"Oil on copper. Signed: "Fco. Clapera".42 x 32 cmFrancisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5

Oil on canvas painting depicting a still life with an Asian porcelain vase with white calla lilies and pink lilies. Inscribed along the verso "Wm Hubacek."Sight; height: 21 1/2 in x width: 13 1/4 in. Framed; height: 25 1/2 in x width: 17 1/2 in. />Condition: The colors are bold and bright. The surface is stable. There are several areas of inpainting throughout the artwork, visible under UV light. Most notable in the following areas: both of the white calla lilies and the right margin. There are numerous other areas of inpainting throughout. There are stretcher bar marks throughout all four side. Along the verso, there are six noticeable patches corresponding to areas of inpainting on the recto. There is wear to the extreme edges of the canvas along the verso. All but one stretcher key is missing. Wear to the frame.

Group of three artworks including two Indian Jain manuscript pages and one painting. The manuscript paintings filled with text along the left side and with illuminations along the right. Possibly belonging to the Kalpa-sutra "Book of Ritual" meant to be read daily. The painting depicting three figures working in a field, possibly weaving.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East.(Painting) Sight; height: 5 1/4 in x width: 7 1/2 in. Framed; height: 10 in x width: 12 in. (Manuscript pages) Each, sight; height: 4 1/4 in x width: 10 in. Framed; height: 13 3/4 in x width: 15 1/4 in. />Condition: 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.

Maqbool Fida Husain (1915-2011)Untitled (Horse) signed and dated 'Husain 008' lower rightpen and ink on paper21.3 x 20.3cm (8 3/8 x 8in).Footnotes:ProvenanceProperty from a private collection, India. Acquired from the artist. Husain's watercolour horses are not confined to a single style or aesthetic; they reflect his evolving artistic journey. His horses range from meticulously detailed renderings to more abstract and expressive interpretations, each offering a unique perspective on this timeless subject. This diversity of approach showcases his ability to adapt and innovate within the realm of watercolour painting. In Untitled(Horse) Husain invites us to experience the beauty, energy, and spirit of the magnificent creature. Depicted singularly, he is drawn as though charging towards us from the top right corner. Characteristically, the hooves are not depicted and yet the intensity of the horses movement can be felt coming off the composition. The muted colours of blues and blacks aids this burst of energy. Typically, a blue moon is considered to be a powerful time to set intentions, release negative energy and manifest abundance. Husain's horses are positive creatures, and his extensive knowledge would likely have played a part in deciding the colour palette employed to disseminate his message.To see a similar work sold in these rooms, see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 29.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

Francis Newton Souza (1924-2002)Untitled (Head of Nixon) executed in 1970chemical alteration and mixed media on printed magazine paper28 x 21.1cm (11 x 8 5/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in New York.'For a long time Tolstoy and others have asked the big question: What is Art? I now know my answer quite simply: Art is what I do.' - F.N Souza'Souza began experimenting with the altered image in the 1950s, drawing over newspaper and magazine images. By the late 1960s Souza discovered a special chemical solvent that would dissolve away part of the photographic image. He would then re-work it and draw over it to produce a juxtaposition of painting and the commercially produced print, called chemicals.' (Saffron Art & Grosvenor Gallery, Francis Newton Souza, Planet Saffron Inc. and Grosvenor Gallery (Fine Arts) Ltd, 2005, p.78) To see a another work from the Time portrait series see, Christies, South Asian Modern & Contemporary Art, 9th June 2011, Lot 31.Francis Newton Souza, a trailblazing artist of the 20th century, left an indelible mark on the world of modern Indian art. His distinctive style, marked by bold colours, striking compositions, and a fearless exploration of the human form, made him one of India's most celebrated and controversial artists. Born on April 12, 1924, in Saligao, Goa, Souza's life journey was a tumultuous one, marked by artistic triumphs and personal tribulations.Early Life and EducationSouza was born into a Roman Catholic family in Portuguese-occupied Goa. His early years were fraught with challenges, including poverty and the loss of his father at a young age. Despite these hardships, Souza displayed a remarkable talent for drawing, catching the attention of his teachers and local artists. Encouraged by their support, he pursued formal art education at the Sir J.J. School of Art in Mumbai, where he honed his skills and developed a strong foundation in classical European art techniques.The Progressive Artists' GroupAfter completing his formal education, Souza moved to London in 1949, where he was exposed to the avant-garde art scene. He soon became a prominent member of the 'Progressive Artists' Group,' a collective of artists who aimed to break free from the confines of traditional Indian art and embrace contemporary, international influences. Souza's work from this period is characterized by a blend of Western modernism and a distinct Indian sensibility.Artistic Style and ThemesSouza's style was bold and unapologetic. He painted with a sense of urgency, often using thick impasto layers and vibrant colours to depict his subjects. His subjects ranged from portraits and landscapes to religious and erotic themes. Souza's fascination with the human form was a recurring motif in his work, which he often rendered in an abstract and distorted manner, exploring themes of desire, sexuality, and spirituality.Controversy and CritiqueSouza's provocative art often courted controversy, and his provocative themes led to both admiration and condemnation. His bold depictions of sexuality and religion sometimes raised eyebrows, even leading to legal troubles. Despite these challenges, Souza remained uncompromising in his artistic vision, and his work continued to garner attention on the international stage.International SuccessIn the 1950s and 1960s, Souza's reputation as a groundbreaking artist grew beyond India's borders. He exhibited extensively in London, New York, and other major art capitals, earning critical acclaim and commercial success. His paintings were acquired by major museums and private collectors worldwide, solidifying his status as a leading figure in contemporary art.Later Life and LegacySouza's later years were marked by personal struggles, including health issues and financial difficulties. He spent the last years of his life in New York, where he continued to paint prolifically until his passing on March 28, 2002. Souza's legacy endures through his pioneering contributions to modern Indian art, inspiring subsequent generations of artists to push boundaries and challenge conventions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A.R. Nagori (1938-2011)Untitled (Five Figures) circa 1980soil on board, framed28.1 x 22.2cm (11 1/16 x 8 3/4in).Footnotes:ProvenanceProperty from a private collection, Pakistan. 'Nagori came from a social background and was angry enough at inequities, to be able to produce politically committed painting of a far authentic order than any other painter in Pakistan... Nagori showed profiles of protest publicly in Karachi in the hope of causing scandal. He built his public personality as a provocateur who, if he did not upset the officials of Pakistan National Council of Arts through his paintings, read papers in seminars in which he attacked real or imagined pressure groups and individuals who had harmed him in his mind.' (Akbar Naqvi, Image and Identity: Fifty years of Painting and Sculpture in Pakistan, Karachi, 1998, p.520-522)Nagori is known for his statement making works about injustice and the present lot comes from this series. Cut vertically into two equal parts, this is a painting of two halves. On the left side, we have what appears to be a holy man, holding tasbih beads, and a woman with a child bent in prayer, whilst on the right side we have a man, someone in authority as denoted by his headgear, and a woman and a child. The child bears a perplexed look, as the mother gazes straight ahead. The right side of the canvas is bathed in red, and the only respite is the blazing yellow sun, whilst the colours have been reversed on the left side of the canvas. The women and children appear to be unaware of the dual holy man/men, and this appears to have been deliberate on Nagori's part, as he likely attempted to show that a force greater than man was watching the events unfold. It is an engaging work and raises copious questions. It is not meant to be pleasant, and that is precisely where its triumph lies. For a similar work by the artist sold on these premises see Bonhams, Modern and Contemporary South Asian Art, 6th June 2023, lot 27.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A PAIR OF FINE CHINESE PALE CELADON JADE INCENSE HOLDERS QIANLONG 1736-95 Each with a square-section body, worked in relief and openwork with figures in continuous mountain landscapes, the depicted scenes including two young boys walking along a path, three scholars looking at a painting, an old man and his young attendant beneath a pine tree, and Shoulao accompanied by his deer, with dark speckles dispersed through the pale stone, the waisted spinach-green tops and bases carved with bands of lappets, the ends pierced with flowers surrounded by scrolling foliage, 28.2cm. (2) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The incense holder is also known as a perfumier. The incense is placed inside the perfumier and the smoke emerges through the holes while the lighted incense fragrances the room. Perfumiers were popular in the Ming and Qing dynasties, when they were usually made of carved bamboo. They were sought after by the literati class who liked to place them on their desks. Incense holders made of more expensive materials such as jade were usually created for the Imperial Palace. Such pictorial representations are clearly based on traditional landscape paintings in ink. The subjects express belief in longevity and immortality. In Chinese religion, Immortals are always associated with mountains and hills. The carving is of exceptional quality. One can imagine the incense smoke wafting through the pierced holes, like clouds moving through high mountains, bringing these scenes to life. In the early Qing period, such landscape art was practised by literati artists and was much favoured at the Imperial Court, in particular by the Yongzheng and Qianlong Emperors. Here, the jade carver successfully crafted scenes from two-dimensional landscape paintings into this three-dimensional incense burner, creating a masterpiece that can equal any other great works of art. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.239, no.198, p.242, no.201 and p.243, no.202 for comparable pairs of incense holders in pale celadon jade; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.46-49, nos.36-38 for single cylindrical perfumiers with similar decoration; see also R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p.118, no.98 for a related example; see also Asian Art I, 17th November 2010, lot 335 for a comparable incense holder with spinach-green jade fittings previously sold in these rooms. 清乾隆 青灰玉鏤雕香薰 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

Collection of books and auction catalogues on Asian Art to include Chinese, Japanese, Korean, Indian, Nepalese, Himalayan and Southeast Asian Artto include Sotheby's and Bonhamsincluding National Palace Museum, Ch,in Hsiao Director 'Great National Treasures of China', October 10th 1983; James Cahill, Parting the Shore, Chinese Painting of the Early and Middle Ming Dynasty 1368-1580; Jessica Rawson, Chinese Ornament: The Lotus and the Dragon monochrome and coloured illustrations 1984, The University of Michigan Ann Arbor by Richard Edwards and contributions by Ling-Yun, Shuh Liu, Steven D. Owyoung and James Robinson, 'The Art of Wen Cheng-ming (1470-1559) United States 1974-1975 and Sam Fogg Rare Books catalogue on an East Asian Books Sale covering China, Japan, Tibet, Burma, Thailand and Java,including Sherman E. Lee, director, of The Cleaveland Museum of Art, 'FAR EASTERN ART' (Revised Edition), with illustrations in colour and monochrome,including a Chinese folio-sized hardback book of paintings by Chi-Pi-Shi commencing with a portrait and introduction in black ink style by the artist followed by details of all the black and coloured paintings illustrated one to a pagea Japanese 362-page book entitled in gold lacquer upon a rounded spine on the subject of early iron and soft metal decorated Tsuba, illustrated two to a page in monochrome with details of artists, schools, and designs, with cardboard case with title on flat spine in blackan all-Japanese standard-sized book on Japanese iron Tsuba with details of artists and history,a Japanese folio-sized issue of Japanese paintings found on furniture, such as screens and rooms by various schools including Kano, Hasegawa, Kaiho, Unkoku, Soga and Tosa 'Monochrome and coloured illustrations and with a list of the individual illustrations in English, printed in Japan 1967a Japanese-printed folio-sized issue of Japanese Works of Art by famous artists including Tawaraya Sotatsu, Ho,ami Koetsu, Ogata Kenzan, Ogata Korin and others, covering subjects on calligraphy, paintings, screens, lacquer work, ceramics, including Raku ware and tea wares and scrolls,a well-illustrated 262-page folio-size book, Decorative Arts of Japan, well illustrated, one item to a page in colour, General Editor Chisaburoh F. Yamada, Associate Editor Eric Sackheim and subject editors Ceramics - Fujio Koyama, Metalwork - Osamu Kurata, Lacquerware - Yuzurus Okada, Textiles - Tomoyuki Yamanobe, Captions translated by Toshizo Imai and Yuko Kobayashi, first edition 1964, published by Kodansha International, with cardboard storage case (11) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

A Collection of Asian Art, including a pair of papier mache opera dolls, hardstone and jade carvings, Chinese watercoloures, silk neeldework, Japanese lacquer table cabinet and a pair of Japanese hardwood trays inlaid with mixed metals (qty)Book form photo frame with losses to the corners, desk seals and hardstone carvings with flea bite chips, fish carvings, one with a repaired tail the other with losses to the tail, painting with foxing, dolls with losses and chips to the faces, damage to the fingers on both and losses to the paintwork on the feet of both dolls, the clothes with noticable wear fraying and staining

COLLECTION OF ART REFERENCE BOOKS ON ASIAN WORKS OF ART 中國藝術參考書籍（共四十六本）含玉器、雜項、考古等研究、重要館藏及展覽圖錄等著作 including art reference books for jade, works or art, archaeology, musuem and exhibition catalogues, in total 46 publications.12th Annual New York Arts of Pacific Asia Show, New York, 2004Asian Art Museum: Selected articles from Orientations, Hong Kong: Orientations Magazine Ltd., 1999Bonhams: Fine Asian Art, London: Bonhams, 2005Chinese Buddhist Sculpture: from the collection of C.R. Moss O.B.E. and other properties (catalogue), Oriental Arts, 2000Chinese Jade Animals, Hong Kong: Urban Council of Hong Kong, 1997Chinese Jade: Selected articles from Orientations 1983-1996, Hong Kong: Orientations Magazine Ltd., 1997Christie's: Fine Chinese Ceramics and Works of Art Including Export Art, 2008Denwood, Philip (ed.), The Arts of the Eurasian Steppelands: a Colloquy held 27-29 June 1977 (Colloquies on Art & Archaeology in Asia No.7), London: School of Oriental and African Studies, 1977Fong, Wen and Watt, James C.Y., Possessing the Past: Treasures from the National Palace Museum, Taipei, New York: The Metropolitan Museum of Art, 1996Forsyth, Angus and McElney, Brian, Jades from China, Bath: The Museum of East Asian Art, 1994Hansford, S. Howard, Chinese Carved Jades, London: Faber and Faber Limited, 1968Howard, David S., A Tale of Three Cities: Canton, Shanghai & Hong Kong, London: Sotheby's, 1997Juliano, Annette L., Lerner, Judith A., Alram, Michael, Monks and Merchants: Silk Road Treasures from Northwest China, New York: Harry N. Abrams, 2001Kerr, Rose, Chinese Art and Design: The T.T. Tsui Gallery of Chinese Art, London: Victoria and Albert Museum, 1991Knapston Rasti catalogue Nov 05Knapston Rasti catalogue Nov 07Leiper, Susan, Precious Cargo: Scots and the China Trade, Edinburgh: National Museums of Scotland, 1997Lin, James C.S. (ed.), The Search for Immortality: Tomb Treasures of Han China, New Haven: Yale University Press, 2012Lu, Wenbao, Jades of the Liangzhu Culture, Hong Kong: The Chinese University of Hong Kong Art, 1998Michaelson, Carol, Gilded Dragons: Buried Treasures from China's Golden Ages, London: The British Museum, 1999Ming, Yu, Chinese Jade, Cambridge: Cambridge University Press, 2011Morgan, Michell (ed.), The Museum of East Asian Art Journal Volume V, Bath: The Museum of East Asian Art, 1999Morgan, Michelle, 100 Treasures: The Museum of East Asian Art, Bath: The Museum of East Asian Art, 2000National Museums of Scotland, Ming: The Golden Empire, Edinburgh: National Museums of Scotland, 2014Oriental Art Vol 44 No. 2 (1998)Oriental Art Vol 45 No. 1 (1999)Peterson, Harold (ed.), Chinese Jades: Archaic and Modern from the Minneapolis Institute of Arts, Rutland: Charles E. Tuttle Company, 1977Pirazzoli-t'Serstevens, Michele, The Han Dynasty, New York: Rizzoli International Publications, 1982Portal, Jane and Duan, Qingbo (ed.) The First Emperor: China's Terracotta Army, London: The British Museum, 2007Rawson, Jessica (ed.), Treasures from Shanghai: Ancient Chinese Bronzes and Jades, London: The British Museum, 2009Rawson, Jessica, Chinese Jade from the Neolithic to the Qing, London: The British Museum, 2002Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, London: The British Museum, 1984Schafer, Edward H., The Golden Peaches of Samarkand: A Study of Tang Exotics, Berkeley: The University of California Press, 1985Scott, Rosemary E., Chinese Jades (Colloquies on Art & Archaeology in Asia No.18), London: School of Oriental and African Studies, 1997Shanghai Museum Chinese Painting Gallery, Shanghai: Shanghai MuseumSickman, Laurence and Soper, Alexander, The Art and Architecture of China, New Haven: Yale University Press, 1992So, Jenny F. and Bunker, Emma C., Traders and Raiders on China's Northern Frontier, Washington: Smithsonian Institution, 1995The International Asian Art Fair, 2004Watson, William, The Arts of China to AD 900, New Haven: Yale University Press, 1995Watson, William, The Genius of China: An exhibition of archaeological finds of the People's Republic of China, London: Times Newspapers Ltd., 1973Watt, James C.Y. (et al.), China: Dawn of a Golden Age, 200-750 AD, New York: The Metropolitan Museum of Art, 2004Whitfield, Roderick (ed.), The Problem of Meaning in Early Chinese Ritual Bronzes (Colloquies on Art & Archaeology in Asia No.15), London: School of Oriental and African Studies, 1993Wilson, Ming, Chinese Jades (Victoria & Albert Museum Far Eastern Series), London: V&A Publications, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Cultures and Civilizations Reconsidered (Vol 1), New Haven: Yale University Press, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Major Archaeological Discoveries in Twentieth Century China (Vol 2), New Haven: Yale University Press, 2004Zhang, Hongxing, The Qianlong Emperor: Treasures from the Forbidden City, Edinburgh: National Museums of Scotland, 2002 Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

WORKS OF ART REFERENCE BOOK COLLECTION 中國藝術參考書籍（共三十六本）含雜項、漆器、掐絲琺瑯、青銅器、家具、文房珍玩、佛教藝術等著作 Including: Chinese works of art, cloisonne enamel, archaic bronze, furniture, Buddhist art, Scholar's pieces etc, in total 36 publications.Including but not limited to:Berliner, Nancy Zeng. Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries. Boston: Museum of Fine Arts, 1996.Brinker, Helmut, and Lutz, Albert. Chinese Cloisonné: The Pierre Uldry Collection. London: Bamboo Publishing, 1989.Chou, Ju-His. Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors. Cleveland: Cleveland Museum of Art Bookstore, 2000.Clifford, Derek. Chinese Carved Lacquer. London: Bamboo Publishing, 1992.Deydier, Christian. Ancient Chinese Bronze Vessels, Gilt Bronzes and Early Ceramics. 1986.Dye, Daniel Sheets. Chinese Lattice Designs. New York: Dover Publications, 1974.Eskenazi. Chinese Lacquer From The Jean-Pierre Dubosc Collection And Others. London: Eskenazi, 1992.Fang, Jing Pei. Treasures Of The Chinese Scholar. New York: Weatherhill Inc., 1997.FitzGerald, C. P. Barbarian Beds: the origin of the chair in China. London: The Cresset Press, 1965.Gyllensvärd, Bo. Chinese Gold, Silver and Porcelain: The Kempe Collection. New York: The Asia Society, 1971.Hu, Shih-Chang. Chinese Lacquer. Edinburgh: National Museums of Scotland Publishing, 2001.Jenyns, Soame, and Watson, William. Chinese Art: Gold, Silver, Later Bronzes, Cloisonne, Cantonese Enamel, Lacquer, Furniture, Wood (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Jenyns, Soame. Chinese Art: Textiles, Glass and Painting on Glass, Carvings in Ivory and Rhinoceros Horn, Carving in Hardstones, Snuff Bottles, Inkcakes and Ink Stones (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Kates, George N. Chinese Household Furniture. New York: Dover Publications, 1962.Kerr, Rose. Later Chinese Bronzes. London: Bamboo Publishing, 1990.Krahl, Regina and Morgan, Brian. From Innovation to Conformity: Chinese Lacquer from the 13th to 16th Centuries. London: Bluett & Sons, 1989.Moss, Paul. Educated Palates: an exhibition at 63 East 82nd Street New York. London: Sydney L. Moss Ltd., 1987.Moss, Paul. The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects. Hong Kong: Andamans East International Ltd., 1986.Moss, Paul. The Second Bronze Age: Later Chinese Metalwork. London: Sydney L. Moss Ltd., 1991.Mowry, Robert D., and Brown, Claudia. Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks. Cambridge: Harvard University Art Museums, 1997.Page, J. and Page, S. The Woven Mystery: Old Tibetan Rugs. Bangkok: Craftsman Press, 1990.Pratapaditya, Pal et al. Art of the Himalayas: Treasures from Nepal and Tibet. New York: Hudson Hills, 1992.Rawson, Jessica (Ed.). Treasures from Shanghai: ancient Chinese bronzes and jades. London: British Museum Press, 2009.Rawson, Jessica. Chinese Bronzes: Art and Ritual. London: British Museum Press, 1987.Rawson, Jessica. The Ornament on Chinese Silver of the T'ang Dynasty, A.D.618-906. London: British Museum Press, 1982.Sir Garner, Harry. Chinese and Japanese Cloisonné Enamels. London: Faber & Faber, 1970.Spink. Lacquer From The Collection of Derek Clifford. London: Spink, 1999.The British Museum. Chinese and Associated Lacquer from the Garner Collection. London: British Museum, 1973.The furniture of the Ch'ing dynasty: the art pieces with utility purposes. Taipei: Chun Kuei-miao, 1989.Thurman, Robert A. F., and Weldon, David. Sacred Symbols: The Ritual Art of Tibet. New York: Sotheby's, 1999.Vainker, Shelagh. Chinese Silk: A Cultural History. London: British Museum Press, 2004.Watt, James C. Y. and Barbara Brennan Ford. East Asian Lacquer: The Florence and Herbert Irving Collection. New York: Metropolitan Museum of Art, 1991.Watt, James C. Y. and Knight, Michael. Chinese Jades from the Collection of the Seattle Art Museum. Seattle: Seattle Art Museum, 1989.Watt, James C. Y.. The Sumptuous Basket: Chinese Lacquer with Basketry Panels. New York: China House Gallery, 1985.河北省文物硏究所，《歷代銅鏡紋飾》，河北：河北美術出版社，1996.Li, Jiufang. Metal-bodied Enamel Ware (金屬胎琺瑯器). Hong Kong: The Commercial Press, 2001. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

BRONZE VASE BY SEKIGUCHI SHINYA (1877- ca.1932), TAISHO-EARLY SHOWA PERIOD 関口真也（1899-約1932） 「真也刻」款 銅龍蝦紋罐 共箱 of compressed ovoid form with high shoulders, decorated with two confronting lobsters with clams and vegetation, the decoration highlighted with coloured patination and with gold inlay, chiselled on one side ' Shinya koku' (carved by Shinya), with original inscribed and sealed tomobako Dimensions:30cm diameter; 3764g Provenance:Provenance: Simon Pilling East Asian Art & Interiors, 2 November 2022, with a printed receipt.Dr. Kenneth P. Lawley's inventory number: M.73. Note: Note: Sekiguchi Shinya was born in Tokyo as the son of the celebrated metalworker Sekiguchi Ichiya (1850-1933), who himself was under the tutelage of Goto Ichijo (1791-1876). Shinya studied painting with Hashimoto Gaho (1835-1908) and exhibited at the fourth Naikoku Kangyo Hakurankai (National Industrial Exposition) in 1895.Please note this lot will be offered with no reserve. 本拍品不設底價

A RARE BLACK LACQUER AND MOTHER-OF-PEARL-INLAID DOCUMENTARY PIPA17th centuryThe musical instrument of elongated tear-drop shape, the finely-grained wooden belly decorated in gilt with a pair of birds and gnarled branches of prunus and bamboo, rising to a long shaft with four strings leading to four tuning pegs on the sides of the bent-back pegbox inlaid in mother-of-pearl with a rooster on a rock with crashing waves, the reverse of the body lacquered black and decorated in mother-of-pearl with two figures gazing at three tall rocks across the sea, a large cartouche with long calligraphic inscription below, Japanese wood box and cover. 91cm (36in) long. (3).Footnotes:十七世紀 黑漆嵌螺鈿花鳥人物紋詩文琵琶Provenance: R.H.van Gulik (1910-1967), and thence by descent來源：高羅佩（1910-1967）舊藏，並由後人保存迄今Robert Hans van Gulik (1910-1967), also known as Gao Luopei (高罗佩) was a famous Dutch diplomat, musician, writer and sinologist. He was a great admirer of traditional Chinese literati culture and apart from practicing Chinese calligraphy everyday, he also learnt to play the guqin. The guqin was often played by van Gulik at diplomatic events, helping him to forge close ties with China's elite; and his book The Lore of the Lute was the first academic study of the instrument and its role in Chinese culture, introducing it to a Western audience for the first time. Van Gulik was one of the rare and great sinologists at the time who embodied the literati ideal and through his rigorous study and translations of classical Chinese texts allowed Chinese culture to speak for itself, acting as a bridge of understanding between East and West.Van Gulik was born in Zutphen in the Netherlands, but from the age of three he lived in Jakarta, with his father who was a medical officer in the Dutch East Indies. While there, he learned Indonesian and Chinese as well as other languages. In 1935, van Gulik earned his PhD from Utrecht University with a dissertation on Hayagriva, the Mantrayanic aspect of Horse-cult in China and Japan. His linguistic skills allowed him to have a position in the Dutch Foreign Service from 1935 where he was largely based in Japan and China. During the Second World War he was with the Dutch mission in Chongqing. While in Chongqing, he married Shui Shifang (1912-2005), the daughter of a Qing dynasty official.Van Gulik was a polymath with broad interests and expertise. Aside from his interests in the guqin and traditional Chinese culture, van Gulik was a writer of Detective fiction. His 'Celebrated Cases of Judge Dee' (first published in Tokyo in 1949, with illustrations by himself) was based on the 7th century statesman and detective Di Renjie. Based on this, his earned a reputation as an expert on Imperial Chinese jurisprudence. His other pioneering scholarly works were in sexuality and his Sexual Life in Ancient China and Erotic Colour Prints of the Ming Period are still major reference works in the field. Van Gulik was also an enthusiast of gibbons and kept them as pets as well as writing a study of them: The Gibbon in China.Although van Gulik is most well known as a musician of the guqin, he was interested in Chinese music and musical instruments in general. The pipa, or Chinese lute, was introduced from Central Asia during the Han dynasty, and gradually evolved within different areas of China since the Tang dynasty. The term 'pipa' describes two original playing motions of the plectrum held in the performer's right hand: pi is 'to play forwards' (towards the left), and pa, 'to play backwards' (towards the right). The pipa was originally held horizontally, and its twisted silk strings were plucked with a large triangular plectrum until the end of the Tang dynasty when musicians began using their fingernails to perform the more exuberant music; see for example, the painting The Night Revels of Minister Han Xizai, attributed to Gu Hongzhong (10th century), in the Palace Museum, Beijing, which shows a lady holding the instrument horizontally with a plectrum. To make it easier to use fingers, the instrument began to be held in an upright position which slowly became the beipa (northern pipa).However, the concept of early horizontally-held pipa was preserved in Nanyin music. Nanyin, also Nanguan, literally 'southern pipe' music, is popular in the Minnan area (southern Fujian Province) from whence it spread to Taiwan and other Southeast Asian countries. Minnan musicians are tempted to assign the origins of Nanyin music to the Tang and Song dynasties, which to a certain degree can be supported by the the survival of many archaic features, such as the tradition of horizontally held pipa. The music today is seen by academics as primarily part of an amateur tradition with ancient historical roots, that is played both for the musicians' own entertainment and occasionally for ritual practice and storytelling. the present lot's relatively small size may indicate that it is a Nanyin pipa. Pipa is the leading instrument in Nanyin music, accompanied by pai (wood clapper), erxian (two-stringed fiddle), sanxian (three-stringed lute), and xiao (vertical flute, also called dongxiao). Although a Nanyin pipa preserves some features of types of pipa from the Tang dynasty, its modern form appears to have been finalised no later than the Ming dynasty. Compare with a pipa in the Metropolitan Museum of Art, New York, late 16th/early 17th century, illustrated by J.K.Moore, J.K.Dobney and B.Strauchen-Scherer, Musical Instruments: Highlights of the Metropolitan Museum of Art, New York, 2015, pp.48-49, fig.II. The backs of pipa are usually plain since it is unseen by an audience, but the extraordinary pipa in this lot is decorated and has an inscription, which reads as:予家小築小溪灣，漁父村西指顧間。竹槿編篱依綠水，柴荊成戶對青山。有時□釣歸明月，盡□看雲坐翠鬟。倘肯杖藜過曲徑，新茶堪煮荀堪刪。吳趨陳衷並書Which may be translated as:My little hut is built on the bay of the creek, the fishermen live only a stone-throw away to the west. The bamboo and hibiscus woven into the fence is by the green waters, the gate formed by firewood trees faces the green hills. Occasionally, I come back from fishing accompanied by the moon, and watch the clouds curling up on the verdant hills like ladies' hair buns. If you could walk through the winding road on a crutch (to my home), the fresh tea could be boiled, and bamboo sprouts could be chopped for you.Written by Chen Zhong of the land of WuThe seal reads: 字能坦, 'Courtesy name Nengtan.'Chen Zhong (陳衷), courtesy name Nengtan (能坦), was a scholar active in the late Ming and early Qing dynasties. Very little is known about him. However, the inscription alludes to many of the eremitic ideals of the literati including a life away from the perils of the Court and dedicated to fishing, tea, and meeting with friends.Compare with a related black lacquer and mother-of-pearl-inlaid pipa, late Ming/early Qing dynasty, which was sold at China Guardian, Beijing, 7 June 2021, lot 5184.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Chinese Scroll Calligraphy By Zhu Yunming. Song Dynasty. Dimensions (Painting View): 53 1/2 x 20 inches (136cm x 51cm). Sakamoto Goro (1923 - August 15, 2016) was a globally renowned Japanese antique art dealer and the founder of the antique art store Buyantang. He became famous for selling a Chinese Yuan Dynasty Blue and White Porcelain Jar for approximately 176 million Japanese yen at a Sotheby's auction held in London in 1972. He was actively involved in auctions at houses like Sotheby's and Christie's and set several records for the sale of Asian artworks, bringing numerous exquisite art pieces back to Buyantang. In April 1999, Sakamoto Goro acquired a Ming Chenghua Doucai Chicken Cup at a Sotheby's auction in Hong Kong for 29.17 million Hong Kong dollars, setting a record as one of the highest-priced items in the auction market for ancient Chinese porcelain. Sakamoto Goro made several significant donations of Chinese ceramics, bronzes, and other artifacts to institutions such as the Tokyo National Museum, Nara National Museum, National Museum of China, and the National Palace Museum in Taipei. He often collaborated with institutions like the Tokyo National Museum and Nara National Museum for exhibitions, sharing his extensive collection of fine art with the public through museums. An example of this is the Cizhou Kiln White Glaze Basin he donated to the National Palace Museum, which was exhibited at the Tokyo National Museum in 1961 and the Osaka City Museum of Fine Arts in 1978. After these artworks were returned to Buyantang, Sakamoto Goro retained the temporary labels they used during their museum displays. The items being auctioned in this event are from Sakamoto Goro's personal collection, which our auction house diligently collected from a close friend of Sakamoto Goro in Tokyo, Japan. Some of the items in this auction are extensively documented in a beautiful illustrated book titled Illustrated Guide to Chinese Ceramics from Buyantang, which includes detailed descriptions of patterns, dimensions, and bears the Buyantang seal. Some of the ceramics mentioned in this book were previously exhibited at the National Museums, and the labels from these exhibitions are still preserved within the book. He graciously provided us with a beautiful Illustrated Guide to Chinese Ceramics from Buyantang book to share with everyone.

An Important Nanban two-panel folding screen Depicting a procession of Portuguese Tempera and gold leaf on paperEdo Period, first half of the 17th centuryLiterature:Francesco Morena, “Japan The Land of Enchantment – Line and Colour”. Catálogo da exposição no Palácio Pitti, pp. 268-271. Exhibitions: “Japan The Land of Enchantment – Line and Colour”, Palácio Pitti, 2012171,5x186,4 cm The Portuguese ProcessionThe scene on this two-panel folding screen (byobu) depicts five standing figures, four adults and one boy holding a dog on a lead and walking ahead of the procession. The first figure on the left is carrying a chair; the second is holding a large parasol shading the one in front of him who is preceded by another who is looking at him intently.With the exception of the man holding the parasol whose features and complexion are typical of South East Asia, all the other figures are clearly Portuguese and wear loose breeches (bombachas), fitted shirts, and cone-shaped hats. They also have some common facial features: big noses, large bulging eyes, unruly beards, and thick mustaches.This is the most common iconography of the Portuguese in Japanese art. The theme of the European (Nanban, literally "Southern Barbarians") entered the Japanese artistic repertoire at the beginning of the Momoyama period (1573- 1615), and from then on was widely used to decorate different types of objects, from paintings to lacquers, from mirrors to netsuke. Although there were no Portuguese living in Japan after 1639, Japanese artists continued to depict them throughout the Edo period (1615-1868) as they represented distant, mysterious peoples and satisfied Japanese curiosities and desires for the exotic. Taken together, this art with subjects with Western influences is known as Nanban and the term is also used to identify Japanese goods made specifically for export to Europe.Painted screens (Nanban byobu) comprise a very interesting area of Nanban art from both the historical and artistic standpoints. Considering the large number of known examples, they are an important phenomenon in thehistory of Japanese art. Currently, we know of at least ninety including many pairs, single screens, and fragments (A Catalogue Raisonné of the Nanban Screens, Tokyo 2008). Generally these screens with portrayals of Europeansare attributed to the Kano school, since signatures of members of this familyof painters appear on Nanban paintings, while others are stylistically similar to the manner of these artists. However, Nanban screens are so diverse that it would be reckless to say that they all belong to the Kano school.From the iconographic standpoint, there are some recurrent details we seein several screens. It is as if the painters did not only get their inspiration maybe from observing the Portuguese while they were still allowed to live freely in Japan, and not only knew of some sources such as the engravings by Jan Huygen van Linschoten (1563-1611) in his Itineraria (Amsterdam 1596; A. Curvelo in Encomendas: Os Portugueses no Japao da Idade Moderna - Namban Commissions: The Portuguese in Modern Age Japan, Lisbon 2010, nos. 47-48), but were evidently influenced by earlier paintings of the same subjects. The Portuguese ship, for example, can be seen in many of these paintings as it departs from a distant port, or as it is about to land on the Japanese coast. The Japanese painters were highly skilled in narrative renderings and they succeeded in depicting events that followed the arrival of the Portuguese within the available surface space. One of these is the scene showing the procession's entry into the Japanese city, almost always welcomed by the missionaries who already lived there. This type of procession was usually headed by the most important member of the group followed by the others, each of whom carried something. The "Western style" chair was almost a constant: the dignitary would use it to restor to participate in a meeting. Often the group was preceded by a boy holding a dog on a lead, and the porters included dark-complexioned Asian servants.The scene on the screen here fits entirely with the above description. It differs only in that it is focused on the head of the procession; that lacks a setting (originally, it could have a setting coated now); that the figures are big, much bigger than those usually depicted on Nanban screens in which there are more figures and much more complex scenes.Even though these scenes are quite common on Nanban screens, some - with the procession - are much more similar to the one shown here, specifically, the scene on the right screen on the pair in the Atami MOA (no. 41 in the 2008 catalogue), the scene on the two surviving panels in a private collection (no. 42) and the one in the Osaka Municipal Museum (no. 43, also a fragment). On the basis of the grouping done by the curators of the 2008 catalogue these three screens along with other fifteen (nos. 36-53), comprise a homogeneous core in terms of iconography. The prototype has been identified as the pairin the Imperial Collection (no. 7). On the right screen of this pair there is a similar scene but without the dignitary's interlocutor; the man carrying the parasol is also Portuguese and not a Moor; the man behind is carrying a box rather than a chair. Furthermore, the figures are shown in three-quarter views. Notwithstanding these differences, there are stylistic similarities between thepair of screens in the Imperial Collection and the painting discussed here, in the rendering of the figures which are bigger than those in other known examples, and in the painted details, especially the decorations on the clothing (Light and Shadows in Nanban Art. The Mystery of the Western Kings on Horseback, Tokyo 2011, no. 7). Therefore, it is plausible that the anonymous author of the screen displayed here looked to a detail on one of these for his own piece. The proposed dating for all the screens in this group, including the prototype is similar, i.e. the first half of the seventeenth century.Most of the Nanban screens have six panels which offered the artist a very large surface and hence a full composition. However, there are other two-panels screens with scenes of foreigners (cat. I1.3). Generally, Nanban paintings present complex scenes in detailed settings with many figures and descriptive elements. Our screen with its special characteristics, therefore, is an exception. In this regard, we can mention the screen in the Museu do Oriente in Lisbon (cat. II.1), in which the gold ground is clearly prevalent, creating the impression that the figures are floating in space. [...] read more here: https://veritas.art/en/lot/an-important-nanban-two-panel-folding-screen-344191846/In “Japan The Land of Enchantment – Line and Colour”Catálogo da exposição no Palácio Pitti, 2012. Reproduzido com autorização do autor Catalogue of the exhibition at the Pitti Palace, 2012. Reproduction authorized by the author.FRANCESCO MORENAAsian Art Expert

Seltener Dessertteller mit Zackenrand. Meissen. Schwertermarke, um 1740.Polychrom bemalt, goldstaffiert. Ø 24 cm. Flacher Teller mit gezacktem, hochgebogenem Rand. Auf dem unteren Drittel ein schachbrettartiges Brokatmuster mit goldenen Lotosblüten und blattartig gezackter Begrenzungslinie zur weißen Fläche. Darüber Eichhörnchendekor. Braune Randlinie. Minimale Glasurfehlstellen im Spiegel.Dieser außergewöhnliche und fantasievoll durchgestaltete Teller lebt von zwei fast gegensätzlichen und dennoch zusammenhängenden Darstellungen : Der grafischen geometrischen Anordnung von fein gemalten Quadraten (Schachbrett) und einer Kakiemon-Malerei in der Weißfläche, auch bekannt unter der Bezeichnung "Eichhörnchen, Reben und Reisighecke". In der Fahne des Tellers findet sich ein weiteres anscheinend fliegendes Tier. Die Begrenzungslinie beider Flächen erinnert an den gezackten Rand eines Blattes. Über die dargestellten Tiere auf dem Teller gehen die Meinungen auseinander. Zu sehen sind zwei Nager. Sie gingen in die Porzellanliteratur auch als "Trauben naschende Eichhörnchen" ein. Eines (gelb) sitzt naschend auf einem Bambuszweig und könnte auch eine große Maus sein. Das andere schwebt auf der Fahne und erinnert an ein Flughörnchen, vielleicht auch an einen Fuchs. Ursprünglich findet sich dieses Motiv auf Nanking-Porzellan des 16. Jahrhunderts, wurde von japanischen Porzellanmalern aufgegriffen und weiterbearbeitet und gelangte schließlich auch nach Meissen, wo es in die Hoym-Lemaire-Affäre verwickelt war (s.o., Weber, Meißener Porzellane mit Dekoren nach ostasiatischen Vorbildern). In Meissen wurde es ab ca. 1730 auf Schüsseln, Blattschüsseln und Zackentellern verewigt. Ein Teller dieser Art befindet sich u.a. in der Sammlung Ernst Schneider (Schloss Lustheim, München). Im Bestandskatalog zu den Porzellanen mit Dekoren nach ostasiatischen Vorbildern in Schloss Lustheim hat Frau Julia Weber den Dekor und auch Formen sehr gut aufgearbeitet. Eine Schüssel dieser Art verwahrt auch das Victoria and Albert Museum, London.Literatur : Vgl. auch Gielke (2003), S. 116/Kat.-Nr. 99.| Nachtrag 21.10.23: kleine Farbrestaurierung im SpiegelAufrufzeit 27. | Okt 2023 | voraussichtlich 10:35 Uhr (CET)Rare dessert plate with serrated edge. Meissen. Sword mark, circa 1740.Polychrome painted, gold decorated. Ø 24 cm.Flat plate with serrated, upturned rim. On the lower third a checkerboard brocade pattern with golden lotus flowers and leaf-like serrated border line to the white surface. Over it oak horn decor. Brown border line. Minimal glaze flaws in the mirror.This unusual and imaginatively designed plate thrives on two almost contradictory yet related representations : the graphic geometric arrangement of finely painted squares (checkerboard) and a Kakiemon painting in the white area, also known as "squirrels, vines and brushwood hedge". In the flag of the plate there is another apparently flying animal. The boundary line of both areas resembles the serrated edge of a leaf. Opinions differ about the animals depicted on the plate. Two rodents can be seen. They also entered the porcelain literature as "squirrels snacking on grapes". One (yellow) sits snacking on a bamboo branch and could also be a large mouse. The other hovers on the flag and is reminiscent of a flying squirrel, or perhaps a fox. Originally found on 16th-century Nanking porcelain, this motif was picked up and worked on by Japanese porcelain painters and eventually made its way to Meissen, where it was involved in the Hoym-Lemaire affair (see above, Weber, Meissen Porcelains with Decorations Based on East Asian Models). In Meissen it was perpetuated on bowls, leaf bowls and serrated plates from about 1730. A plate of this type can be found, among others, in the Ernst Schneider collection (Lustheim Palace, Munich). In the inventory catalog of porcelains with decorations after East Asian models in Lustheim Castle, Mrs. Julia Weber has very well elaborated the decor and also forms. A bowl of this type is also kept by the Victoria and Albert Museum, London.Literature : See also Gielke (2003), p. 116/cat.-no. 99.Call time 27 | Oct 2023 | probably 10:35 am (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.