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A George V silver four piece tea set by Walker & Hall, comprising teapot, hot water, sugar basin and milk jug, Sheffield 1934, 64ozt, overall good condition, not engraved (4)

A Granite Wash Basin, Together With Four Tap Fittings

A blue and white dish, decorated with fan-shaped panels depicting Natural History designs and Manchu/Chinese Ladies, the base with Kangxi four-character mark, but not of the period, 28 cm diameter; together with a prunus decorated blue and white dish, 30 cm diameter [2]Provenance: The Property of a Lady and Gentleman. From a Private UK Collection. By Direct Family Descent from Sir Ernest Colville Collins Wilton, KCMG [1870-1952].Sir Ernest Wilton was born in Singapore, and was educated at the Bedford Modern School. At the age of 20, he entered the British Foreign Service, acting in a variety of posts across China. Like Marco Polo before him, Wilton also travelled to Yunnan Province, a remote area of south western China, now known as the unique habitat of the remarkable Blind Golden Barbel. At the time, Wilton was thereby one of the few western scientists and travellers to have visited this region, joining a group that includes the Botanist, Augustine Henry [1857-1930] and the palaeontologist, Roy Chapman Andrews [1884-1960]. Whilst Marco Polo recorded his travels there in Chapter XXXIX of his narrative, Wilton similarly gave his experience of the region to The Royal Geographical Society [Source: The Geographical Journal/Vol.49/No.6/June 1917]. Roy Chapman Andrews gave his paper to The Geographical Review for July 1918. Wilton was Consul-General of Yung-chou in 1889, and in 1903 he accompanied Colonel Younghusband on the expedition to Tibet, presumably to assist the discussions with Chinese officials there. Younghusband's mission was not well received by the Dalai Lama, and disappointingly,  diplomacy was lost. This resulted in Younghusband's forces storming the Gyantse Jong on July 6th, 1904 [Source: 'The People'/Sunday July 30th 1905]. In 1912, the year in which Sun Yat-sen established a provisional government for The Republic of China at Nanjing, Wilton was at Tientsin. This momentous year also saw the abdication of Puyi, the Last Qing Emperor, an event that ended China's long Imperial tradition; Wilton was a witness, therefore, to these changes. His service with the British Legation in Peking, and his travels in Yunnan doubtless inspired him to study and to collect a variety of art form at this time of huge transition in China's history.Wilton served as President of The Commission for The Government of The Saar Basin 1927-1932, in a region that had been established by the Treaty of Versailles. Towards the conclusion of this sensitive appointment, Wilton witnessed the departure of British Troops from the Uhlan Barracks at Saarbrucken, an event that was captured on film [Imperial War Museum/MGH 4152]. Please note that there is some rim damage to both dishes.

Barry Mason (British, born 1947)Around the Lock, the Thames at Blackwall, c.1870signed 'Barry Mason' (lower left) oil on board 25.4 x 34cm (10 x 13 3/8in).Footnotes:A piece of paper affixed to the reverse states the title and reads:A winter's morning on the Thames at Blackwall in the early 1870s, looking south. It is slack high water and the lock gates of the West India Docks have been opened. A fine lined composite clipper waits to enter, whilst another passes into the basin. This eastern entrance to the docks was used by vessels to and from the sea, the Limehouse basin to the west was used mostly by loaded lighters taking cargos further up river.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 Derby jug and basin together with a Royal Doulton teapot, decanter, pottery figures etc

A GOOD CHINESE PAKTONG METAL ALLOY BASIN, carved with prunus decoration and a view of a landscape, 36cm.

A Chinese blue and white 'Dragon' basin, 18th century, the interior painted with three dragons amongst scrolling foliage with central lotus, the base unglazed, 28.5cm Provenance: The Property of a Gentleman removed from Bedfield Hall, Suffolk. 清18世纪 青花龙纹盆拍品来源：英国Suffolk郡Bedfield大宅私人收藏Condition Report: area of old restoration Condition Report Disclaimer

Harvie-Brown (John Alexander, editor). [A Vertebrate Fauna of Scotland, extra-illustrated part set], 8 works in 9 volumes, 1st editions, Edinburgh: David Douglas, 1887-1904, comprising: A Vertebrate Fauna of Sutherland, Caithness and West Cromarty; The Outer Hebrides; Iona and Mull; The Orkney Islands; Argyll and the Outer Hebrides; The Moray Basin [in 2 volumes]; The Shetland Islands; The North-West Highlands and Skye, pictorial title-pages (some photographic), all plates and maps as called for, all volumes except Iona and Mull profusely extra-illustrated with contemporary original photographs (including albumen prints of which many signed in the negative by John Valentine or George Washington Wilson, gelatin silver prints, and platinum prints), together with other bound-in material including manuscript indices of extra illustrations, a few autograph letters (including Alfred Newton to 'My dear Buckley', probably T. E. Buckley, dated 15 December 1899, at rear of Shetland Islands), publisher's specimen pages, and mounted press cuttings, bookplates of M. Serjeantson, inner dentelles gilt, top edges gilt, contemporary red full morocco gilt by R. H. Porter, 8vo (22.1 x 14.8 cm)Qty: (9)NOTESTHE DAVID WILSON LIBRARY PART III: SCOTLAND, HIGHLANDS & ISLANDS Mullens & Swann p. 282 (all works); Wood pp. 379 (Sutherland, Outer Hebrides, Argyll, Moray Basin and North-West Highlands and Skye), 366 (Iona and Mull), 267 (Orkney), 335 (Shetland). '[Harvie-Brown's] contributions to ornithological science are literally legion ... His greatest work, however, and the one that will form an imperishable monument to his name, is the series of volumes on the vertebrate fauna of Scotland, most of which were written either by himself, or in collaboration with other ornithologists' (Mullens & Swann). The other works in the series were The Tay Basin and Strathmore (1906), The Tweed Area (1911) and Forth (1935); the projected accounts of the Clyde and Solway areas do not seem to have materialised.

Harvie-Brown (John Alexander, editor). [A Vertebrate Fauna of Scotland, complete set], 1st editions, Edinburgh: David Douglas [-Oliver and Boyd], 1887-1935, comprising: A Vertebrate Fauna of Sutherland, Caithness and West Cromarty; The Outer Hebrides; The Orkney Islands [2 copies]; Iona and Mull [2 copies]; Argyll and the Inner Hebrides; The Moray Basin [in 2 volumes]; The Shetland Islands; The North West Highlands and Skye; The Tay Basin and Strathmore; The Tweed Area; Forth, all plates as called for, closed tear to list of illustrations in Shetland, a few ownership inscriptions, bookplates (Sutherland: George Watson Neish; Moray: Martin W. Woodcock and Michael P. Harris; Argyll: Sir Alexander Kay Muir and Michael P. Harris; Moray: Michael P. Harris; Shetland: Cyril F. Parker; North West Highlands: Michael P. Harris), all in original cloth except Argyll and the Inner Hebrides (in contemporary green half morocco by Bickers & Son), a few spines nicked or faded, 8vo, together with 2 copies of 'Sim', Vertebrate Fauna of "Dee", 1st edition, Aberdeen, 1903Qty: (16)NOTESTHE DAVID WILSON LIBRARY PART III: SCOTLAND, HIGHLANDS & ISLANDS Mullens & Swann p. 282 (all works except Shetland, p. 199, and Tweed and Forth, not listed); Wood pp. 379 (Sutherland, Argyll, Moray Basin and North-West Highlands and Skye), 366 (Iona and Mull), 267 (Orkney), 335 (Shetland). '[Harvie-Brown's] contributions to ornithological science are literally legion ... His greatest work, however, and the one that will form an imperishable monument to his name, is the series of volumes on the vertebrate fauna of Scotland, most of which were written either by himself, or in collaboration with other ornithologists' (Mullens & Swann). The projected accounts of the Clyde and Solway areas do not seem to have materialised.

HARLEQUIN FIVE PIECE SILVER TEA SERVICE, late Victorian hallmarks, 47 troy ozs gross to include a Walker & Hall three piece teaset, date letters for 1898/99, presentation inscription to the teapot, the milk jug and sugar basin monogrammed, all three items inscribed 'December 9 1899', 23.5cms L x 12cms H the teapot, a similarly ribbed coffee pot, 18.5cms H to top of handle, Sheffield 1898, Maker Henry Atkin, monogrammed and inscribed 'December 9 1899' and a globular hot water jug, again similarly reeded, London 1894, Maker Reid & Sons, Newcastle on Tyne, monogram to this not matching, no inscribed dates, 18cms H to top of handle

FAMILLE ROSE BASIN, XIANFENG RED SEAL MARK AND OF THE PERIOD the sides painted in coloured enamels with a continuous scene of figures in a rocky fenced garden 

NINE GEORGIAN FIDDLE PATTERN SILVER SPOONS with marks for London Weight: 519.2g Condition: Spoons in poor condition - a crack in the basin of one, marks clear on back - wear due to age and use

A CIRCULAR WROUGHT IRON PLANT STAND BASE, with a later ceramic wash basin, height 80cm together with a mahogany torchere stand and a vintage golf bag with clubs (3)

TWO BOXES OF CHROME AND GOLD PLATED BATHROOM FITTINGS, including 8'' and 6'' showerheads, bathtaps, basin taps, tap inserts, etc (2)

100-300 AD. Gandharan. Schist figure of a bodhisattva, backed by a halo, who stands, gazing serenely into the distance. He is dressed in an elegant sanghati or mantle and wears elaborate jewellery, including a beaded necklace, armbands and bracelets, reflecting his spiritual wealth. His identity as a bodhisattva is established by the presence of an incised urna on his forehead, perhaps originally ornamented with a jewel. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure example belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. A comparable item was recently sold at Sotheby’s, see http://www.sothebys.com/en/auctions/ecatalogue/2013/footsteps-of-the-buddha-n09007/lot.2.html Size: L:660mm / W:230mm ; 23.2kg. Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

100 – 300 AD. Gandharan. This majestic schist temple panel depicts a seated Buddha within a temple setting. Buddha, who wears a carefully-modelled robe draped over one shoulder, can be identified by his characteristic pendular ears and topknot (Ushnisha). His hands are arranged in the Dharmachakra Mudra or gesture of teaching, in which the tip of the middle finger on one hand touches the tips of the thumb and index finger of the other hand, forming the mystic circle over the heart. This gesture represents the setting of the Wheel of the Dharma into motion and by extension it represents Buddhist teaching. Buddha is framed within an elaborate temple arrangement, comprising an arch supported by columns. Further scenes from the life of Buddha are depicted on the arch and base of this architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this panel example belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Size: L:690mm / W:385mm ; 32.3kg. Provenance: From an old British collection, acquired on the UK art market in the 1970s.

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

100-300 AD. Gandharan. Superb life-size schist head of Buddha, with characteristic topknot (Ushnisha) and elongated, pendular ears. His forehead is ornamented with a well-defined urna and his heavy-lidded eyes are half closed and combined with his noble nose, small, fine lips and prominent chin, create a noble, otherworldly impression. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. A comparable item was recently sold at Christie’s for £42,000, see https://www.christies.com/lotfinder/Lot/a-large-gray-schist-head-of-buddha-4681966-details.aspx. Size: L:480mm / W:220mm ; 16.7kg. Provenance: Property of a London gallery, previously in old British collection formed in the 1970s.

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

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

100-300 AD. Gandharan. Schist figure of Buddha atop an eagle. Buddha, backed by an intricately-incised halo, sits cross-legged with his hands arranged in the Varada Mudra. This gesture comprises a raised right hand with the palm facing outwards and the fingers upwards, while the left arm is held next to the body and it stands for the stage of the Buddha’s life immediately after achieving enlightenment. Buddha is regally decked out in an elaborate robe and jewellery, adding to the impression of majesty created by riding on an eagle. The eagle stands with wings spread, as if it about to take flight. In Buddhist mythology, eagles are identified with the Garuda, a race of benevolent birds noted for their wisdom. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Size: L:325mm / W:165mm ; 3.7kg. Provenance: Private Kent collection, formed in the 1980-90s on the UK art market.

300-500 AD. Gandharan. Over life-size stucco head of starving buddha, identified by his topknot (Ushnisha) and pendular ears. His carefully-modelled hair and sunken eye sockets and cheeks are juxtaposed with his straight, noble nose and small, well-defined lips. In the Buddhist tradition, Buddha meditated and fasted for 49 days after reaching enlightenment. The depiction of an emaciated buddha, as in this beautiful example, therefore alludes to Buddha’s enlightenment. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this stucco head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition.Size: L:295mm / W:160mm ; 6kg. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.

100 – 300 AD. Gandharan. A stunning schist figure of a standing buddha figure. This excellent figure is backed by a halo and dressed in a flowing Kasaya (monastic robe). The head features thick, rich lips, an aquiline nose, half-closed eyes with well-defined eyelids, arched brows, an urna on the forehead, prominent ears and carefully modelled, wavy hair, culminating in an ushnisha. The figure stands atop a rectangular base featuring another scene from the life of Buddha. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition; on a custom-made stand.Size: L:520mm / W:150mm ; 10kg. Provenance: Private London collection, formed in the 1980s on the UK and European art market.

100 – 300 AD. Gandharan. Schist figure of a seated Buddha atop a throne backed by a halo. Buddha wears an elaborate headpiece, heavy necklace, bracelets and a carefully draped robe. He sits cross legged while his left hand faces upwards. His right hand, now missing, would originally have faced towards the viewer. This gesture is usually associated with compassion and charity. The high-backed throne is carefully detailed, alluding to Buddha’s spiritual wealth. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition.Size: L:380mm / W:260mm ; 8.9kg. Provenance: Property of an established London gallery; acquired from a private estate collection formed in the 1980s.

100-300 AD. Gandharan. Schist figure of a bodhisattva, backed by a halo, who sits, gazing serenely into the distance. He is dressed in an elegant sanghati or mantle and wears elaborate jewellery, including a beaded necklace, armbands and bracelets, reflecting his spiritual wealth. His identity as a bodhisattva is established by the presence of an incised urna on his forehead, perhaps originally ornamented with a jewel. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. In his hands he holds fruit, perhaps to be identified as pomegranates, which symbolise fertility in Buddhist tradition. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Excellent condition.Size: L:370mm / W:190mm ; 6.3kg. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

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

100-300 AD. Gandharan. Schist figure of a kneeling, hunched worshipper on a square base. He holds a square vessel in both hands; a detailed robe is carefully draped over his left shoulder. His clothing, his close-cropped hair and simple features perhaps suggest that he is a Buddhist monk. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Excellent condition.Size: L:255mm / W:110mm ; 4.7kg. Provenance: From an old London collection formed in the 1990s.

300-500 AD. Gandharan. Painted stucco figure of a Buddha backed by a circular halo. He wears an elaborately draped robe, picked out in red, and his hair, originally painted black, is arranged in a characteristic ushnisha (topknot). The Buddha sits cross-legged with both hands in front of him, facing upwards. This gesture, known as the Dhyana Mudra, is considered to symbolise wisdom in the Buddhist tradition. The Buddha used the Dhyana Mudra during his final meditation, during which he attained enlightenment. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this stucco figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition; on a custom stand.Size: L:310mm / W:180mm (w/o stand); 2.2kg. Provenance: Private London collection, formed since the 1970s on the UK and European art market.

100-300 AD. Gandharan. Schist head of Buddha, with characteristic topknot (Ushnisha) and elongated, pendular ears. His forehead is ornamented with a well-defined urna and his heavy-lidded eyes are half closed and combined with his noble nose, small, fine lips and prominent chin, create a noble, otherworldly impression. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Size: L:250mm / W:110mm ; 3.7kg. Provenance: Private London collection, formed in the 1990s on the UK and European art market.

100-300 AD. Gandharan. Schist figure of a standing worshipper in high relief. He holds his hands in front of him, with his palms facing, a gesture known as the Namaskara Mudra, which symbolises greeting, prayer and adoration. He wears a domed cap over his flowing locks and is shown with a beard full of ringlets. Much of his body is covered by a heavy, draped robe, which is pulled aside to expose his muscular thighs; around his neck is a heavy beaded necklace. This rich dress symbolises his spiritual wealth. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Excellent condition.Size: L:315mm / W:115mm ; 2.1kg. Provenance: Property of a London gallery, previously in old British collection formed in the 1980s.

HAVILAND LIMOGES DINNER SERVICE, dammouse pattern, comprising; soup tureen with cover, 3 vegetable dishes with covers, salad bowl, 5 oval dishes 40cm (30) and 35cm (2), sauceboat with stand, 10 soup cups with 16 stands, 10 soup plates, 14 plates 26cm, 20 plates 22cm, 6 small side plates, 10 bowls in two sizes, coffee pot and teapot with lids, milk jug, cream jug and sugar basin (no lid), 12 cups and 14 saucers. (slight fault, one plate has a hairline fracture) (Qty) (Packaging not provided)

A Victorian Copeland toilet set comprising jug and basin, chamber pot, small jug and a circular tray.Each decorated with holly and mistletoe. Printed and impressed marks, numbered 8286.

A Victorian cut glass water jug and basin, cut with diamonds, notches and lenses, within notch cut rims, the ewer 32.5cm high, the basin 41.5cm diameter

Chinese export silver three piece coffee service, engraved monogram. Coffee pot, sugar and cream by Wang Hing, Hong Kong. Total weight 1000g Coffee pot is in excellent condition, light tarnish to surfaces sugar basin, indentation RHS of monogram on ribbed area, light tarnish. Cream jug is in excellent condition. Light tarnish to surfaces

Three piece silver tea service, consisting of teapot, sugar basin and cream jug. Assay marked London 1924 maker Sebastian Henry Garrard. Total weight 1187g

Three piece silver tea service, comprising of teapot, sugar basin & cream jug. Assay marked Birmingham 1943. Total weight 1267g

Archibald Knox pewter tea service with tray, designed for Liberty & Co pattern 0231 comprising of tea and hot water pot with rattan bound handles. Milk jug and sugar basin all on skate feet with a twin handled tray. All items stamped solkets, Tudric Pewter RD 420290 The five piece Archibald Knox tea service is in excellent condition. Coffee pot tarnished, but excellent condition. Tea pot very good, stained interior, tarnished exterior, minor tiny indentation to upper side. Sugar and cream both excellent, tarnished surfaces. Tray good condition, surface tarnish, surface staining and light abraisions. Base of tray has right scratches and surface abrasions

A Chinese export famille rose dish, Qianlong (1736-1795), of octagonal form, painted with peony, chrysanthemum and other flowers by a rock, the sides with further flowers, 35.4cm across, and a famille rose basin, 19th century, the centre with a lady, the sides with boys in a garden, enclosed within a ruyi border, 37.5cm diameter (2)Condition report: Dish - chipped and cracked. Restored. Basin - riveted, cracked and fully restored.

A Grimwade's wash basin and water jug; a Devon ware five piece wash set; a Malin lustre bowl; a gentleman's travel set with plated fittings; and a brown leather travel case with plated fittings

CLOISONNÉ ENAMEL 'DRAGON AND PHOENIX' BASIN QING DYNASTY, 19TH CENTURY cast with flattened base opened up to an everted rim, the centre medallion decorated with a ferocious yellow five-clawed dragon and the base with a pair of phoenixes (Dimensions: 55cm diameter) (Qty: 1)(55cm diameter)Qty: (1)Provenance: Private Belgium collection

BLUE AND WHITE 'BOGU' BASIN QIANLONG PERIOD the deep bulbous body painted with four sets of antiquities arrangement surrounded by eight auspicious emblems (Dimensions: 23.3cm diameter) (Qty: 1)(23.3cm diameter)Qty: (1)

BLUE AND WHITE BASIN QING DYNASTY, 17TH CENTURY potted in bulbous body and lipped rim, the body decorated with a male figure holding a babe in arms accompanying by his attendants walking towards a large building, followed by two cranes in flight, the scene set amongst a dramatic landscape (Dimensions: 23.2cm wide) (Qty: 1)(23.2cm wide)Qty: (1)

A rare bronze basinQianlong seal mark and of the periodThe deep dish heavily cast with gently curving sides rising from an inward-tapering foot to an everted rim, the recessed base with the seal mark. 39cm (15 1/4in) diam. Footnotes:清乾隆 銅制大盆「大清乾隆年製」篆書鑄款For further information on this lot please visit Bonhams.com

A famille verte 'Lotus Plucking' basinKangxiFinely enamelled with elegant palace ladies in boats plucking lotus flowers from the lake while the Emperor looks on with pleasure beside his favourite concubine beneath a covered pavilion, the flat everted lipped rim finely decorated with six cartouches containing the 'Hundred Antiques' on a diaper-pattern ground, metal rim. 42.5cm (16 3/4in) diam. Footnotes:清康熙 五彩採蓮圖大盆The theme of beautiful women picking lotus flowers from a lake was popular with poets, playwrights and artists in Imperial China as an activity representing hedonistic pleasure at court. This stems from the story of King Fuchai of Wu (r. 495-473 BC) and his infatuation with the legendary beauty and femme fatale Xi Shi who plucked lotus on the lake. The King was so bewitched by her beauty that he neglected affairs of state, and his kingdom collapsed. This motif would be employed again for the Tang emperor Xuanzong (685-762) who was also in love with another femme fatale, the Imperial Consort Yang Guifei, who bathed at the Huaqing pool reserved for emperors and where lotus were placed to recreate the scene. The emperor claimed that even the lotus was not as beautiful as his concubine Yang Guifei. Yang Guifei's influence in court eventually stirred the An Lushan rebellion, from which the Tang Imperial family would never completely recover. A basin painted with a similar subject, late Kangxi, is illustrated by C.J.A.Jorg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, no.174, p.159. A famille verte rouleau vase with a similar design described as 'The Emperor Xuanzong standing beside Yang Guifei, the most beautiful woman in China looking on at ladies picking lotus flowers' is illustrated by Wang Qingzheng in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, no.127, pp.196-7.For further information on this lot please visit Bonhams.com

Circular cream jug and sugar basin - panelled sides - Sheffield 1931 by EV - 258gms

A CONTINENTAL COFFEE POT AND COVER matching lidded milk jug and sugar basin with cover, each with painted floral roundels on a Royal blue ground with gilt highlights, 14cm high

AN EXTENSIVE EDWARDIAN WASHBASIN SET comprising jug, basin, two chamberpots, soap dish, candlestick etc., with floral decoration on a blue ground

A very large carved tribal gourd vessel or basin, Africa, burnished and incised with geometric patterns, 55cm across.

Wedgwood transferware charger, Ferrara pattern, diameter 42cm; Pearlware type basin, Willow pattern; and other blue and white ware.

A James Kent earthenware blue printed jug and basin, jug height 20cm

Spode blue and white toilet set comprising a basin, two jugs, rectangular jar and cover, bowl and drainer, all with impressed backstamps, tallest 23cm

A large oval polychrome French faience armorial basin, Rouen or Paris, 18th C.Dim.: 68,5 x 47 x 26 cm

A rare KPM porcelain basin with Cantonese famille verte painting, China and Germany, 19th C.Dia.: 23,5 cm - H.: 7,5 cmÊThe basin, of German origin, was probably transported to Canton to be used as a trial blank. It is dateable between 1847 and 1849.

Spode Italian dinner and tea service comprising nine dinner plates, eleven large teacups & ten saucers, two oval serving dishes, six bowls, five soup bowls & saucers, six side plates, six tea plates, two butter dishes, salt & pepper pots, milk jug, six coffee cans & saucers, preserve jar and cover, sugar basin, teapot etc - Condition Report

ROYAL DOULTON FIGURE OF 'ELIZABETH', M202, 6cm high, along with other miniature ceramics, including a Royal Doulton ewer and basin

Large old clear glass fruit bowl or wash basin

George V silver milk jug and two handled pedestal sugar basin, Birmingham 1932, 5.8toz approx (2)

A GEORGE V FOUR PIECE TEA SERIVCE WITH TRAY, by Albert Edward Jones, Birmingham 1927/30/32/35, comprising twin handled oval tray, twin handled sugar basin, cream jug, coffee and teapot, each with planished bodies and embossed rose triangle decoration, majority numbered 1047. Tray: 54cm by 36cm, coffee: 20cm, teapot: 14cm, sugar: 8cm, cream: 9cm, 93 troy ounce

MUIRHEAD BONE Fitting Out Basin, signed, lithograph, 48 x 36cm Condition Report: Available upon request

Natural History - Geology, Palaeontology, an African theropod dinosaur tooth (Carnosaur), 4.5cm long, Tegana Formation, Aptian, Kem Kem Basin, Morocco, Cretaceous period, 100 million years old, [1]