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A quartz brush pot together with a 19th century Canton porcelain libation pourer, a Chinese Republic period planter on stand, and an Imari porcelain vase (4)Canton sauceboat – handle restored.Hexagonal planter – with damage and repair to the feet, small nibbles to the rim.Otherwise OK.

A Japanese Meiji period (1868-1912) Satsuma vase of baluster form having twin handles, typically decorated with various figures within landscape having black and gold seal mark verso, height 15cm together with a satsuma cylindrical vase and small satsuma bowl (3) (a/f)The small finger bowl appears free of damage, chips and restoration. The brush pot has a hairline crack and the vase has a repair to the top.

An Elizabeth II Silver Backed and Silver Mounted Six Piece Dressing Table Set, by W I Broadway & Co., with engraved leaf scroll and engine turned backs, comprising - hand mirror, hair brush, clothes brush, circular box on scroll feet, 1.75ins high, comb mount and glass scent bottle

A jadeite carved lotus form brush washer, 14cm

A Silver Brush and mirror set, London 1931/2.

A Silver and tortoiseshell Dressing table Mirror and brush, London 1924, maker C & A., plus two cut glass pots with tortoiseshell lid, Birmingham 1928, maker F.H.A. & co.

A pair of 19th century Chinese turned and carved hardwood brush Pots in the form of lotus flowers, 5" tall.

TWO CHINESE CARVED ROSE QUARTZ BRUSH WASHERS. The first with monkey holding onto a fruit with leaves carved in relief. The other with gourds and leaves in relief. 11cm and 14.5cm length. (2)Both without any major damages or repairs but with cracks in the quartz to both.

THREE CHINESE JADE ITEMS. To include a white figure of Buddha, a small celadon belt hook in the form of a dragon together with a phoenix brush washer. 7.5cm - 14cmAll good condition.

A mixed lot including plated fish knives and forks, Wade Toby jug, silver brush, Meakin tureen and an oil lamp (no shade)

A silver backed brush and mirror and crystal powder pot with silver and guilloche lid and Oriental example (4)

Victorian copper based oil lamp (Messengers patent) with cranberry glass shade (crack to shade), and a brass crumb tray and brush

An Art Deco silver and pink enamel 2-piece dressing table set, comprising hand mirror and hair brush, by Charles S Green & Co Ltd, hallmarks Birmingham 1935, mirror length 30cmMirror has a chip on handle join otherwise no damage or repairs, hallmarks slightly rubbed and 1 year different

LLADRO / NAO FIGURINES comprising four Lladro figures including a nun, model no. 5551, 26cms high, young girl carrying sheep, model no. 4504, 28cms high, young girl with basket, 26cms high and young angel with sweeping brush, model no. 5726, 18cms high and three Nao figures of young girls (7)

A hallmarked silver cigarette case (53.2g) along with an enamelled silver brush with Art Deco decoration

A ROBIN'S EGG GLAZED MELON-FORM BRUSHWASHER, 18TH CENTURYChina. Well potted in the form of a melon borne on a short stem issuing thin scrolling vines and veined leaves, brightly covered overall with an opaque turquoise-blue glaze type suffused with a finely mottled purplish-blue.Provenance: From an old German private collection, assembled before 2007, and thence by descent.Condition: Good condition with old wear and some firing irregularities, a small chip to the rim with associated old fill, few minor glaze touchups. Note the significantly stronger weathering of the glaze inside the well, confirming the usage as a brush washer over many decades.Weight: 84.0 gDimensions: Length 9.3 cmThe evenly dappled effect of this charming washer, skillfully conceived in the form of a melon completed with scrolling tendrils and leaves, is a mature example of the robin's egg glaze that was pioneered in the Yongzheng period. The Yongzheng Emperor, who initiated many revivals of earlier ceramics techniques, was particularly enamored with the variegated Jun glazes of the Song and Ming dynasties. In order to have the glazes imitated or recreated, he went as far as sending potters from the imperial kilns on study trips to the Jun region in Henan province. Among the many types of glazes derived from these efforts are mottled purple wares such as the flambe type, and mottled turquoise ones such as the 'robins' egg' varieties.Robin's egg is a bicolor glazing technique whereby the turquoise glaze was blown onto the blue-glazed vessel to produce a delicate stippled effect. It is also known as lujun or 'furnace Jun' in China due to the low temperature of the furnace when firing the glaze.Auction result comparison:Type: Remotely relatedAuction: Sotheby's London, 16 May 2018, lot 23Estimate: GBP 15,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon-glazed 'melon' brush washer, Qing dynasty, Qianlong periodExpert remark: Compare the related melon form and size (11.4 cm). Note the different glaze. 十八世紀爐鈞釉瓜形筆洗中國。厚胎瓜形筆洗，一段藤曼牽繞，枝幹上的葉子脈絡清晰，整體覆蓋著明亮的爐鈞釉，細小斑駁的紫藍色。 來源：德國私人舊藏，購於2007年前，保存至今。 品相：品相良好，有磨損和一些燒製瑕疵，邊緣有一個小碎片和相應的填充，輕微的釉面修飾。筆洗內釉料風化明顯，可看出筆洗曾經經常被使用。 重量：84.0 克 尺寸：長9.3 厘米 筆洗成瓜形，施爐鈞釉，構思巧妙，製作精美，是雍正時期爐鈞釉成熟運用的典範。雍正皇帝對早期的陶瓷技術進行了多次復興，特別喜歡宋明時期的雜色鈞釉。爐鈞釉是一種因低溫爐內燒成仿宋鈞釉而得知其名。為了模仿或再現釉色，他甚至從御窯中派出陶工到河南省鈞窯考察。拍賣結果比較： 形制：稍微相近 拍賣：倫敦蘇富比，2018年5月16日，lot 23 估價：GBP 15,000（相當於今日EUR 19,000） 描述：乾隆時期青白釉瓜形筆洗 專家評論：比較相近的瓜形和尺寸 (11.4 厘米)。請注意不同的釉面。

A MALACHITE 'DOUBLE GOURD' WATER DROPPER, LATE QING TO REPUBLICChina, 1860-1940. Carved in the form of a double gourd borne from a gnarled stem issuing smaller gourds and leaves, the stem carved in openwork. The stone of a deep green color with numerous bands of lighter and darker tones.Provenance: British trade. The base with an inventory number. Condition: Overall good condition and presenting remarkably well. Minor nicks and losses to exposed areas, some old wear.Weight: 363.1 g Dimensions: Length 11.3 cmWith a fitted wood stand, probably dating to the same period, carved in openwork with vines around the foot. (2) Auction result comparison:Type: RelatedAuction: Bonhams London, 11 May 2021, lot 352Price: GBP 3,750 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A rare malachite 'lotus-leaf' brush washer, Mid Qing DynastyExpert remark: Compare the naturalistic subject, though in this case a lotus leaf instead of a double gourd. Note the earlier dating.清末民國孔雀石雕葫蘆硯滴中國，1860-1940年。葫蘆形硯滴，藤曼牽繞，藏著小葫蘆，葉子，鏤雕而成。深綠色的石料，色層深淺不一。 來源：英國古玩交易，底部有收藏編號。 品相：整體品相良好，輕微劃痕和缺損，一些磨損。 重量：363.1 克 尺寸：長11.3 厘米 可能是來自同期的鏤雕木底座。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月11日，lot 352 價格：GBP 3,750（相當於今日EUR 4,500） 描述：清中期孔雀石蓮式筆洗 專家評論：比較以自然為主題，雖然此筆洗以蓮葉為主題。請注意年代較早。

A COPPER ALLOY 'DRAGON AND LINGZHI' TRAVEL WRITING SET, 17TH-18TH CENTURYChina. The shaft containing a brush and decorated to each side with a sinuous dragon in high relief, separated by swirling clouds in low relief, one end with a key-fret border and the other with an aperture for suspension. The inkwell neatly incised with a wave pattern and decorated with lingzhi to the backside and on the hinged cover. The underside of the inkwell with a four-character mark within a reserve.Expert's note: The present portable writing set has the form of a yatate, a type of small personal smoking-pipe-shaped writing set from medieval Japan which provided a carrying box for the ink cotton, and a shaft for a brush. However, the Chinese mark and manner of decoration with lingzhi, dragons, and keyfret strongly indicate that this piece was either made by Chinese artisans or possibly manufactured in Japan for the Chinese market.Inscriptions: To the base of the inkwell, 'Yuegui Zhai'.Provenance: The Strong National Museum of Play, accession number 75.53.80 (lacquered to base of inkwell). Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play. Condition: Very good condition with some old wear and minor casting flaws, few tiny nicks, dents and losses, a small crack to the end of the brush holder.Weight: 193.0 g Dimensions: Length 17.5 cmAccompanied by a small brush dating from the Qing dynasty. (2)十七至十八世紀便携靈芝龍紋銅筆墨套中國。銅套內裝有一支毛筆，套外壁每側飾有一條高浮雕龍紋，淺浮雕如意雲紋，一端有雷紋飾帶邊框，另一端有一個懸掛孔。墨井外壁淺浮雕波浪紋，背面和蓋上飾有靈芝。墨井底部有四字款。 專家注釋：這件便攜式筆墨套具有日本風格的小型煙斗形筆墨套，用於放置筆墨。不過，中國的靈芝、龍和雷紋裝飾和方式表明這件拍品是由中國工匠製作的，或是日本為中國市場製造的。 款識：桂月齋作 來源：紐約Strong 國立美術館，收藏編號75.53.80 (見筆墨套底)。Margaret Woodbury Strong (1897-1969) 成長於一個富裕的收藏家家庭。 她的興趣範圍非常廣泛，到 1960 年爲止，她已經積累了 27,000 多件收藏品和藝術品。她的絕大多數收藏都以特定方式與玩耍有關，隨著她的收藏不斷擴大，Margaret計劃建立一個博物館來展示她的收藏。美術館最終於 1982 年向公眾開放，並在接下來的幾十年裡，其收藏、設施和資源急速擴大，現在佔地超過 285,000 平方英尺。 今天，Strong 國立游戲美術館（簡稱為 The Strong 美術館館或簡稱為 The Strong）是世界上唯一一家專注於遊戲研究的以收藏為基礎的博物館。 品相：狀況極好，有一些磨損和輕微的鑄造缺陷，少量微小的刻痕、凹痕和缺損，末端有一個小裂縫。 重量：193.0 克 尺寸：長17.5 厘米 一隻可能是清代的毛筆。

'THREE MANCHURIAN CRANES', BY YU FEIAN (1888-1959)China. Ink and watercolors on handwoven silk. Depicting three cranes in flight framed by swirling clouds, their plumage neatly painted. Inscribed with a poem by Zhao Ji, the personal name of Emperor Huizong of the Song Dynasty (1082-1135).Inscriptions: Center left, with an extract of a poem by Zhao Ji, signed 'Yu Feian'. Three seals, 'Yushanyan zhai' (Studioname of Yu Feian), 'Yu Zhao he yin', and 'Fei An'Provenance: British trade. Condition: Very good condition with minor wear, few stains and creases, minor foxing to the frame.Dimensions: Image size 83.4 x 37.4 cm, Size incl. mounting 192.8 x 50.9 cmZhao Ji was the personal name of Emperor Huizong of Song (1082-1135), the eighth emperor of the Northern Song dynasty. Emperor Huizong was a great painter, poet, and calligrapher. The emperor took huge efforts to search for art masters. He established the Hanlin Huayuan ('Hanlin Imperial painting house') where top painters around China shared their best works. The primary subjects of his paintings are birds and flowers.Yu Feian (1888-1959), also known Yu Zhaoge, was born in Beijing where he was taught by calligraphers and painters since early childhood. He specialized in brush paintings depicting flowers and birds and later served as a researcher at the Institute of Ethnic Art of the Central Academy of Fine Arts. Yu Feian was also the vice president of the Chinese Painting Research Association, and of the Beijing Painting Institute, and wrote several books.The red-crowned crane (Grus Japonensis), also called the Manchurian crane, is a large East Asian crane and among the rarest cranes in the world. In China, it is known as a symbol of luck, longevity, and fidelity.Literature comparison:A scroll painting by Zhao Ji, depicting cranes in flight above a palace roof, possibly the inspiration for the present painting, is in the collection of the Liaoning Museum.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 October 2007, lot 228Price: HKD 211,500 or approx. EUR 39,500 converted and adjusted for inflation at the time of writingDescription: Yu Fei'an 1888-1959, Pine and crane于非闇(1888-1959) 款《瑞鶴圖》中國，絹本設色。描繪了三隻雲中飛鶴，姿勢優美。筆左下角仿宋徽宗瘦金體題《題瑞鶴圖》詩，橫似鶴骨，勾若鷺喙，瘦逸而遒勁。 款識：清曉觚棱拂彩霓，仙禽告瑞忽來儀。飄飄元是三山侶，兩兩還呈千歲姿。非闇。鈴印：玉山硯齋，于照和印，非闇 來源：英國古玩交易。 品相：狀況極好，輕微磨損，輕微污漬和摺痕、褐變。 尺寸：畫面83.4 x 37.4 厘米，總192.8 x 50.9 厘米 于非闇（1889年3月22日—1959年7月3日），原名于魁照，後改名於照，近現代中國畫家。自幼得書畫家傳，歷任中央美術學院民族美術研究所研究員、北京中國畫研究會副會長、北京畫院副院長。 文獻比較： 現拍品可能是受到《宋徽宗瑞鶴圖卷》影響，原圖收藏於遼寧省博物館。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2007年10月5日，lot 228 價格：HKD 211,500（相當於今日EUR 39,500） 描述：于非闇(1888-1959) 《松下瑞鶴圖》

A PALE CELADON AND RUSSET JADE FIGURE OF A MONKEY, QING DYNASTYChina, 1644-1912. Carved in the round as a monkey crouching, holding his coiled tail, the face finely incised with large bulging eyes. A hole pierced through the arm and foot for suspension as a pendant. The translucent stone of a pale celadon stone with russet skin and veining.Provenance: From the personal collection of Susan Chen, Hong Kong, and thence by descent in the family. Susan Chen (d. 2014) was a prominent Hong Kong collector and dealer during the 1980s and 1990s. A long-time member and supporter of the Oriental Ceramics Society, she created the Sze Yuan Tang and Feng Wentang Collections together with her husband Anthony Hardy. Her collections consisted of a wide range of objects, from modern paintings and calligraphies to bronzes, ancient ceramics, and jades, which the couple collected for more than 30 years. In 2016, Bonhams sold parts of the jade collection, which at the time was hailed as the most successful sale of the last decade in this category, reaching a total of HKD 178,000,000. Condition: Very good condition with minor old wear, small nick to the tail. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 63.9 g Dimensions: Height 5.9 cmAuction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 7 October 2014, lot 135Price: HKD 75,000 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon and russet jade monkey and a peach, brush set, Qing dynasty (1644-1911)Expert remark: Compare the closely related carving of the face and curled tail, the color of the jade, as well as the related size (6.9 cm)清代青白玉留皮雕猴中國，1644-1912年。圓雕一隻蹲著的猴子，一手抓著盤繞的尾巴，臉上大眼活靈活現。一個穿過手臂和腳的孔，用於懸掛作為吊墜。半透明的淺青色玉料，具有赤褐色的皮和脈絡。 來源：香港陳淑貞私人收藏，保存在同一家族。陳淑貞，英文名Susan Chen (2014年去世)，曾是香港上世紀八十至九十年代著名的收藏家、古董商，曾是東方陶瓷學會會員，創辦了奉文堂。而其先生Anthony Hardy則是思源堂的主人。她一生的私人珍藏極具特色，收藏領域廣泛，從近現代書畫到青銅器、高古陶瓷、高古玉、明清玉器等，涉及門類多且品味不凡。2016年邦翰思曾對她的部分玉器藏品進行拍賣，創出HKD 178,000,000的總成交額。 品相：狀況極好，有輕微的磨損，尾部有小缺口。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：63.9 克 尺寸：高5.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2014年10月7日，lot 135 價格：HKD 75,000（相當於今日EUR 11,000） 描述：清代青白玉留皮雕猴 專家評論：比較非常相近的面部和盤尾雕刻、玉石顏色，以及相近的尺寸 (6.9 厘米)。

A Nikkra brush cutter (running at time of lotting).

A snow shovel and hard brush.

Early 20th century silver mounted five piece dressing table set, comprising hand held mirror, two hair brushes, and two clothes brushes, each engraved with monogram, hallmarked William Devenport, Birmingham 1919, contained within a fitted case, together with two further early 20th century silver mounted clothes brushes, also bearing engraved monograms, hallmarked Levi & Salaman, Birmingham 1919Condition Report:General wear commensurate with age and use, including surface scratches, nicks, small indentations and knocks, including knocks around edge of one clothes brush and to back of hand held mirror.Some splits and lifting to sides of brushes, and silver top of one clothes brush detached.Hallmarks with some wear, but generally legible.Case with wear to exterior and interior.

With original drawing.- Repton (Humphry) Sketches and Hints on Landscape Gardening, first edition, half-title, 16 fine aquatint plates (10 hand-coloured and with overslips, including 4 double-page and 6 uncoloured, all but 2 with overslips), woodcut illustrations and vignette tail-piece, one plate with marginal tear, with an original pen and brush drawing with monochrome wash mounted on front pastedown, some foxing, light browning to edges, uncut in old marbled boards, rebacked, rubbed and soiled, extremities worn, preserved in modern silk-lined brown half morocco drop-back box, [Abbey, Scenery 388; Tooley 400], oblong folio, Printed by W. Bulmer and Co., [1795].⁂ An exceptional copy of the rarest of Repton's landscape books. Only 250 copies were printed and Repton refused to issue a second edition although some of the chapters were re-used in 'Observations' and 'Fragments'. This copy enhanced by the inclusion of the original drawing, signed lower right "H. Repton" and within the original wash border, of plate VIII showing "the effect of cutting down some chestnut trees in the avenue at Langley [Langley Park, Kent, the seat of Sir Peter Burrell, Bart, M.P.], to let in the hill, richly covered with oaks, and that majestic tree, which steps out before its brethren like the leader of an host..."Another original drawing for plate 2 from this work (Rivenhall Place) was sold by Christies NY in 2004 for $16,000.Repton (1752-1818) was the first person to use the term 'Landscape Gardening', explaining in the introduction to this highly important and influential work that "the art can only be advanced and perfected by the united powers of the landscape painter and the practical gardener."

A Vintage Melissa Mother of Pearl Powder Compact, together with a cigarette case, the hinged lid detailed with mother of pearl; a plate hand mirror amd matching brush, key rings, hair slide, head bands, etc.

'JOYFUL FISH' BY LI KUCHAN (1899-1983)China. Ink on paper. Depicting a larger and two smaller fish swimming underwater, with some grass on the left lower corner, superbly painted in the artist's characteristic bold and spontaneous style.Inscriptions: To the top right 'Yu le tu' ('Joyful fish', but also a homonym for 'Amusement'), signed 'Kuchan', one seal 'Ling Ying zhiyin'. Provenance: British trade. Condition: Very good condition with some wear, foxing and very little creasing.Dimensions: Size 63.7 x 44.7 cm Li Kuchan (1899-1983) was a renowned Chinese painter, calligrapher, and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957) and was considered his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 2 June 2015, lot 1340Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1898-1984) Two Fishes Expert remark: Compare the related motif and technique. Note the different size (137.3 x 36.3 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2017, lot 1443Price: HKD 150,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) FishExpert remark: Compare the closely related motif and technique. Note the similar size (62 x 46 cm) and that this lot comprises two paintings. 李苦禪款《魚樂圖》中國，紙本設色。以藝術家特有的大寫意風格描繪一條大魚帶著兩條小魚水中嬉戲，水草搖曳。款識：魚樂圖，苦禪鈴印：李英之印 來源：英國古玩市場。 品相：狀況極好，有一些磨損、褐變和輕微摺痕。 尺寸：63.7 x 44.7 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2015年6月2日，lot 1340 價格：HKD 325,000（相當於今日EUR 47,000 ） 描述：李苦禪《雙魚》 專家評論：比較相近的主題和技術。請注意尺寸不同 (137.3 x 36.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月30日，lot 1443 價格：HKD 150,000（相當於今日EUR 20,500 ） 描述：李苦禪《魚戲》 專家評論：比較非常相近的主題和技術。請注意尺寸不同 (62 x 46 厘米) ，以及此圖組有兩幅畫。

A FINE CELADON JADE 'FISH BASKET' BRUSH WASHER, 18TH-19TH CENTURYChina. Finely carved and well hollowed in the form of a fish basket, with exquisite incision work simulating wickerwork, surrounded by crabs, lotus, a leaping carp, and crashing waves forming a spiral to the base. The translucent stone of a pale celadon tone with russet veins and creamy white inclusions. Smooth polish with an unctuous feel overall.Provenance: British trade. Condition: Very good condition with minor old wear, minuscule chips to exposed areas, some of which have possibly been smoothened.Weight: 275.5 g Dimensions: Length 9 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 7 April 2013, lot 3225Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'fish basket' washer and cover, Qing dynasty, 19th centuryExpert remark: Compare the similar size (7.2 cm), form and motif, including the fine incision work.十八至十九世紀青玉魚簍筆洗中國。雕工精細，鏤空精巧的魚簍，如柳條編緻，周圍環繞著螃蟹、蓮花、跳躍的鯉魚。魚簍下可見水波紋。淺青色的半透明玉料，帶有赤褐色的脈絡和乳白色的絮狀物。表面光滑，整體包漿瑩潤。 來源：英國古玩交易市場。 品相：狀況極好，有輕微的磨損，局部有微小的磕損，其中一些已經被磨平。 重量：275.5克 尺寸：長9厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年4月7日，lot 3225 價格：HKD 100,000（相當於今日EUR 15,000） 描述：清代十九世紀白玉魚簍帶蓋筆洗 專家評論：比較相似的尺寸(7.2厘米)、外型、主題，以及精緻的雕刻。

A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制，完整中文敘述請至www.zacke.at查看。

'TWO GALLOPING HORSES', BY XU BEIHONG (1895-1953), DATED 1948China. Masterfully painted in a highly expressive manner with bold and vivid brushstrokes, characteristic for the artist, using exclusively black ink against a pure white background. Note the scattered remnants of preliminary sketch work below the final painting, and the distinct horizontal imprints from the edges of the supporting board - both peculiarities occasionally found on works from this artist.Inscriptions: on the upper left, “in the 37th year” (of the Republic of China, corresponding to 1948), and signed “Beihong”.Provenance: From the collection of Dr. Ivan Vodopija, acquired in China during a work trip for the WHO, according to a source familiar with the collection, and thence by descent to the last owner. Dr. Ivan Janko Vodopija (1925-2021) was a noted Croatian physician and expert in tropical medicine and vaccines. He worked for the World Health Organization (WHO) and conducted ground-breaking clinical research on vaccines in many countries. From 1995 to 2002, he was the President of the National Health Council of Croatia and in 2004, he was credited by the WHO for his significant contribution to eradicating polio. Dr. Vodopija was a passionate and eclectic collector of fine art, particularly paintings, and would frequently acquire works during his lengthy stays in foreign countries. Condition: Very good condition with minor wear, minimal soiling, little creasing. The silk brocade mounting with significant losses, possibly due to insect activity.Dimensions: Image size 109 x 40.5 cm, Size incl. mounting 165 x 51.5 cmWith a silk brocade frame and mounted as a hanging scroll with wooden handles.Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became President of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.During his career Xu Beihong painted many pictures of horses in various postures. During the Sino-Japanese War (1937-1945) these images became particularly important, both as symbolic representations of China's strength and perseverance as well as for fund raising to support the war effort. While Xu's equines are characteristically powerful, vibrant, and rendered with anatomical precision, only his best examples have such detailed musculature and brushstrokes that suggest a play of light across the horse's torso, as seen on the anterior horse of the present work. It is quite exceptional to find an example where Xu took the time to paint two galloping horses in a rather small format as opposed to just a single horse. The close attention to modeling that is particularly visible in the heads reveals Xu's skill as a draughtsman and his interest in using Western techniques to enhance Chinese traditional paintings.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2019, lot 1136 Price: USD 375,000 or approx. EUR 421,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong 1895-1953, Galloping Horse Expert remark: Note the significantly larger size (93.7 x 152.7 cm) and that the painting depicts a single horseAuction result comparison: Type: Related Auction: Sotheby's New York, 17 March 2016, lot 1187Price: USD 47,500 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: Xu Beihong, Galloping Horse Expert remark: Note the significantly smaller size (25.5 x 45.5 cm) and that the painting depicts a single horse徐悲鴻款《奔馬圖》，1948年中國，紙本水墨，掛軸。 款識：三十七年始寒，悲鴻 來源：Dr. Ivan Vodopija收藏，被世衛組織派去中國公務之時購買，據熟悉該系列的消息人士稱，此畫一直被保存至最後一位繼承人。Dr. Ivan Janko Vodopija (1925-2021年) 是克羅地亞著名的醫生，也是熱帶醫學和疫苗方面的專家。他曾在世界衛生組織 (WHO) 工作，並在多個國家開展了開創性的疫苗臨床研究。從 1995 年到 2002 年，他擔任克羅地亞國家衛生委員會主席，並於 2004年因在根除脊髓灰質炎方面做出的重大貢獻而被世界衛生組織稱讚。Vodopija 醫生是一位美術收藏家，尤其是繪畫，他在國外逗留期間經常會收藏作品。品相：狀況極好，小磨損，輕微污漬和摺痕。錦地裝幀上有大損失，可能是蟲咬所致。 尺寸：畫面109 x 40.5 厘米，總165 x 51.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

'ADMIRING THE WATERFALL' FU BAOSHI, DATED 1963China. Black ink and watercolors on paper. Depicting a scholar with a cane standing below a monumental waterfall, his head raised in awe towards the cliff. Silk brocade frame and mounted as a hanging scroll.Expert's note: Fu Baoshi reached his first artistic peak during his stay in Chongqing. Inspired by the geographical eccentricity of the location, he painted a series of landscapes and waterfalls which later became known as the “Landscapes of Jingangpo” - the mountain suburb of his residence. During his later years, he kept painting variations of these landscapes, including the present work, further improving the emotional density of the scenes. As Fu recalled, “There is a myriad of breath-taking scenery surrounding Jingangpo. Everywhere you look, fenben [artist's sketch books and preparatory drawings] exist in abundance. Those who live in the Southeast [Chongqing is located in the Southwest] cannot and dare not embrace this realm made possible only by the local misty atmosphere and the majestic peaks.”The composition of the present work emphasizes grandeur and monumentality. Technically, Fu Baoshi mostly eschews outlines and utilizes dappling of the brush and ink washes. In spite of the first impression, each element is rendered meticulously and with distinctive purpose. The distant rocks with atmospheric effect on the very top of the work contrast with the near and clear ones on the bottom. The seeming disorder of the falling waters, upon closer examination, is consisted of logically cascading waterflows seeking ways between protruding rock spires. A giant tree is rising above the cliff on the left. Near the bottom stands a lofty scholar, halting to admire the wonders of nature that take his breath away. Fu Baoshi uses flesh color to accent the head of the minuscule figure and razor sharp minuscule brushstrokes for the staff and the outlines of the robe, which do not shy a tenfold magnifying, adding vitality and a point of entry for the viewers to experience this pictorial world vicariously. The minuscule figure further highlights the colossal towering peaks and waterfalls.Fu Baoshi's family later reminisced about their time there: “Jingangpo, where we lived, was a typical mountain district of Sichuan province. Villages are scattered in layers of mountains and hills, where streams, bamboo groves, thickets, and forests are ubiquitous. And in the mountains there are the secluded ancient temples. In the summer, fog and mist frequently permeates the air, causing one to lose one's direction. However, this type of scenery was beloved by father [Fu Baoshi] the most.” The present work, in every way, exemplifies the finest of Fu Baoshi's waterfalls.Inscriptions: Upper right 'Fu Baoshi in Nanjing, May 1963', one seal 'Baoshi zhi yin'. Lower left, one collector's seal 'Yang Qilin suocang shuhua'.Provenance: From the collection of Yang Qilin, Singapore. Collector's seal 'Yang Qilin suocang shuhua' to lower left of painting. Thence by descent to the auction market, a noted private collector acquired from the above. Yang Qilin (1917-1998), was born in Chao'an, Guangdong Province, and later lived in Singapore. During his lifetime he collected more than 1,000 calligraphies and paintings, among them many highly important works. Together with Huang Manshi, Liu Zuochu and Chen Chuchu, he was known as the "Four Great Collectors of Paintings and Calligraphy in Singapore". Condition: Excellent condition with minor wear and traces of age, and few small creases to the mounting.Dimensions: Image size 51.5 x 28.5 cm, Size incl. mounting 201.5 x 46.7 cmThe finely polished hardwood scroll handles are probably carved from ebony. Fu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 October 2018, lot 1319Price: HKD 3,240,000 or approx. EUR 438,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi, Expedition to the WaterfallExpert remark: Note the size (96.5 x 37 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 8 July 2020, lot 1074Price: HKD 812,500 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi (1904-1965), Viewing WaterfallExpert remark: Note the size (69 x 33 cm)傅抱石款《觀瀑圖》，1963年中國，紙本設色，掛軸。散鋒皴擦水口的山石，透過其佈局襯托出流水的質感和動勢，構圖滿密，瀑布飛泉依山勢曲折而下，水勢湍急。一人立于石台之上，沉浸在震耳欲聾的水聲中，暢然忘返。由於字數限制，完整中文敘述請至www.zacke.at查看。

A FINELY CARVED 'HAIR-CRYSTAL' BRUSH WASHER, 1750-1850China. Of signified peach form, with thick walls and an uneven, wavy rim allowing for use as a brush rest. The clear rock crystal with an attractive sparse pattern of tourmaline needles.Provenance: Dutch trade. Condition: Excellent condition with traces of use, old wear and possibly microscopic nicks. The stone with natural flaws and fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 826.9 g Dimensions: Length 14.5 cmExpert's note: With the random distribution of differently colored needles of varying thickness and length, scholarly objects made from hair crystal provide an infinite variety of exciting patterns. The needle-like crystalline inclusions can be black (tourmaline), green (actinolite) and coppery red or silvery gold (rutile). The inclusions in this remarkable example are tourmaline. The artist has set the natural scene by giving the vessel a distinct form remnant of a peach, with a wavy rim ideally suited for several brushes to rest. The 'hairs' are concentrated in the lower portion of the washer, around the well, rising up from there and thinning as they go. The effect is suggestive of reeds or long grass and the dramatic image is further enhanced by the small flaws in the stone which reflect light in brilliant, iridescent bursts.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 20 March 2012, lot 178Price: USD 4,375 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A hair-crystal brush washer, Qing dynasty, 19th centuryExpert remark: Compare the related material and similar size (12 cm). Note the elaborate carving.Auction result comparison:Type: RelatedAuction: Bonhams London, 7 November 2011, lot 45Price: GBP 12,500 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A hair-crystal brush washer, 18th centuryExpert remark: Compare the related material and form. Note the elaborate carving and smaller size (7 cm). 1750-1850年發晶桃形筆洗中國 。筆洗呈桃形，厚壁，不規則波浪形邊緣，可用做筆架。晶瑩剔透的水晶内含有黑色針狀電氣石。 來源：荷蘭古玩交易市場 品相：品相極好，有使用痕跡, 舊磨損和輕微刻痕。晶石具有天然瑕疵和裂紋，隨著時間的推移，其中一些可能已經發展成髮際線裂縫。 重量：826.9 克 尺寸：長14.5 厘米 專家注釋：排列組合不同的毛髮針狀礦物質分佈在水晶的內部，整體看起來就像是水晶裏麵包含住了髮絲一樣。而包含各種不同礦物質的發晶就會形成不同的顏色發晶，進而形成不同的圖案。這件水晶内含有黑色電氣石。筆洗呈桃狀，彎曲的邊緣非常適合擱置毛筆。“毛髮“集中在筆洗下部，讓人聯想到蘆葦或青草，晶石上的小瑕疵進一步增強了戲劇性效果，可以折射出明亮的彩虹色。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 20 March 2012, lot 178 價格：USD 4,375 （相當於今日EUR 5,100） 描述：十九世紀清代發晶筆洗 專家評論：比較相近的材質、精心雕琢，但尺寸較小 (12 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰思, 2011年11月7日, lot 45 價格：GBP 12,500（相當於今日EUR 19,000） 描述：十八世紀發晶筆洗 專家評論：比較相近的材質和形制。請注意精心雕琢、尺寸較小 (7 厘米)。

A LARGE PUCE-GROUND 'SLEEPING TEACHER & MISCHIEVOUS BOYS' VASE, LATE QING TO REPUBLIC PERIODChina, 1850-1949. The baluster sides rising from a thick tall foot to a waisted neck with flared rim. The exterior is finely painted in bright enamels against a puce ground with a charming and humorous scene of an elderly scholar who has fallen asleep at his desk and the chaos ensuing around him. One boy is standing behind the scholar on his chair, removing his hat, while another holds up a rod with a small spider attached to it in an effort to frighten the poor teacher once he awakes. The base and interior glazed turquoise.Inscriptions: To one side, 'The children bring happiness and joy. They laugh and sing and celebrate the new year.'Provenance: Lyon & Turnbull, Edinburgh, United Kingdom, 8 January 2005, lot 109 (invoice not available, old label to interior). A Scottish private collection, acquired from the above, and thence by descent.Condition: Excellent condition with minor wear and minimal firing irregularities only. Must be considered extremely rare in this splendid state of preservation.Weight: c. 7.2 kg Dimensions: Height 45 cmFurther boys are seen idling about or playing games, while one particularly studious child sits at a desk much like his master's, holding a brush and showing a pensive expression, and another is leafing through a book from a pile on a stand in front of him. The back with a poetic inscription. The recessed base with an apocryphal iron-red gilt-ground four-character mark Qianlong nianzhi.Expert's note: Most porcelain vases painted with the 'boys' motif use this subject to reference a certain festivity, such as the New Year or the Dragon Boat Festival. The present lot, however, lacks any such allusions and instead offers a humorous and very lifelike scene of children running amok in the absence of an attentive guardian, and is thus much rarer than comparable examples.清末民初胭脂紅地粉彩《稚子拈吉祥》瓶中國，1850-1949年。瓶口外撇，束頸，溜肩，豐胸圓腹，圈足。胎質堅實。胭脂紅彩地，粉彩描繪書院小孩童們趁夫子瞌睡之際一旁玩鬧戲耍，天真活潑。人物刻畫細膩傳神，一個男童站在夫子身後，正摘下他的帽子（圖 1）；而另一個男孩則舉起一根綁著一隻小蜘蛛（圖 2）的杆子，打算嚇唬父子。色彩雅麗。瓶内與圈足内施松石綠色釉。 款識：稚子拈吉祥，染翰作屏圖，和風徊笑語，齊歌樂嵗詩 來源：蘇格蘭私人收藏，購於英國愛丁堡Lyon & Turnbull拍賣行，2005年1月8日，lot 109 (發票遺失，瓶内標簽)，保存至今。 品相：狀況極好，輕微磨損，輕微燒製瑕疵。 重量：約7.2公斤 尺寸：高45 厘米 圈足内描金鐵紅“乾隆年製”四字款。 專家注釋：很多以“嬰戲圖”為主題的陶瓷器皿與某個節日相聯繫，例如新年或端午節。 然而，本拍品沒有任何此類典故，而是提供了一個幽默活潑的場景，即孩子們在學校裏嬉戲搗亂的場景，因此比同類例子少得多。

A LARGE FAMILLE ROSE 'MAGU, HE XIANGU AND LAN CAIHE' BRUSHPOT, BITONG, 18TH CENTURYOpinion: The present lot belongs to a coveted group of porcelain brush pots made during the 18th century, which has seen a surge of modern fakes entering the market, with buyers reacting accordingly; today only pieces in perfect condition, with well-documented old provenances, and exhibiting a superior quality of painting will find the interest of serious buyers. The present lot boasts all three of the aforementioned features.China. Sturdily potted, the cylindrical vessel is painted to the sides in bright enamels, gilt and iron-red above the glaze with the three immortals in a fenced garden amid gnarled trees, craggy rockwork, and precious objects, each wearing loose-fitting and finely patterned robes. Magu is seated on a spotted deer with a lingzhi sprig in its mouth, Lan Caihe holds a vase with flowers in both hands and He Xiangu is accompanied by a crane. Covered in a transparent glaze, the base with a small countersunk center within a broad unglazed ring.Provenance: Binsted Antiques, Teddington, Middlesex, United Kingdom, 25 November 1985. Collection of S.J. Castello, Esq., London, acquired from the above. A copy of the original invoice from Binsted Antiques, written and signed by the owner C.J. Wills, addressed to S.J. Castello, dated 25 November 1985, dating the brush pot to the “late 18th century”, accompanies this lot.Condition: The bitong is in magnificent condition with only minor old wear and expected small firing irregularities. The wood stand is warped and does not fit well, it also shows age cracks, chips, and losses.Weight: 1,803 g (excl. stand)Dimensions: Diameter 19.2 cmWith a finely carved and pierced wood stand dating from the Qing dynasty. (2)Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2004, lot 341 Price: USD 47,800 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose brushpot, bitong, 18th centuryExpert remark: Compare the form, the elaborate scene which completely lacks decorative borders, the spirited yet remarkably elaborate manner of painting, the base with its similarly countersunk center and broad unglazed ring. Also note the similar size (17.5 cm).十八世紀大型粉彩麻姑筆筒中國。胎體厚重，圓柱形容器，外壁明亮粉彩琺瑯描繪園中三位神女，可見麻姑、何仙姑和藍采和，身著仙袍。麻姑坐在梅花鹿身上，鹿嘴裡叼著一根靈芝。四周的樹木與假山。藍采和手捧花瓶，一旁何仙姑與一隻鶴為伴。 底座覆蓋透明釉，底部圈足有一個小孔。 專家注釋：這是一個十八世紀的筆筒。贗品大量湧入市場的今天，這樣一個品相完美、來源有據可查、畫作上乘的筆筒，一定會引起認真的買家的興趣。 來源：英國米德爾塞克斯的泰丁敦Binsted古玩，1985年11月25日；倫敦S.J. Castello收藏，購於上述藝廊。隨附一份古玩店的發票副本，發票上由店主 C.J. Wills簽名，收件人爲S.J. Castello，時間爲1985年11月25日，將這件筆筒描述爲“十八世紀末”。 品相：筆筒品相華美，輕微磨損和預期的輕微燒製瑕疵。木架翹曲，出現老化裂縫、磕損。 重量：1,803 克（不含底座） 尺寸：直徑19.2 厘米 清代木底座。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2004年9月21日，lot 341 價格：USD 47,800（相當於今日EUR 73,500） 描述：十八世紀粉彩筆筒 專家評論：比較形式，精心設計的場景完全沒有裝飾邊框，精神飽滿而又非常精緻的繪畫方式，底部內凹圈足、覆蓋透明釉。請注意尺寸類似(17.5 厘米)。

A HU WENMING PARCEL-GILT CENSER, GUI, MING DYNASTYChina, 16th-17th century. The rare copper-alloy and gilt-bronze incense burner is decorated on each side with a central band of various mythical sea creatures including winged dragons and horses rising from waves and chasing flaming pearls, all finely chased and incised in relief, between bands of neatly silver-inlaid key-fret around the neck and foot, flanked on either side by imposing dragon-head loop handles. Cast with a rectangular gilt panel on the base bearing the incised Hu Wenming mark.Inscriptions: To base, 'Yunjian Hu Wenming zhi' ('made by Hu Wenming of Yunjian [modern Songjiang, near Shanghai]).Provenance: United Kingdom trade. Condition: Good condition with extensive wear to gilt, minor casting flaws, few small dents, nicks, and shallow surface scratches. Fine naturally grown patina overall with scattered encrustations.Weight: 696.6 gDimensions: Width 19.7 cm (across handles)Hu Wenming is one of the most renowned metalworkers in Chinese history and one of the few whose name and style are discussed in Chinese art-historical writing. Most of the works attributed to Hu Wenming are scholarly objects, such as incense burners and brush pots, characterized by densely worked backgrounds covered with naturalistic and other motifs cast in high relief.Literature comparison: The same mark can be found on a slightly smaller censer with similar decoration in the main band and with similar handles, in the Palace Museum Collection and listed as a 'national first-grade cultural relic', illustrated in Illustrated Important Chinese Cultural Relics Ranking Standard- Bronze, Beijing, 2006, pl. 143. For other related censers with the same primary decoration and mark, but with variations to the decorative bands, see one illustrated in The Literati Mode, Sydney L. Moss, Ltd., London, 1986, pp. 291-2, no. 145, and another illustrated in Sotheby's Hong Kong Twenty Years, Hong Kong, 1993, no. 402.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2017, lot 8117 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A rare parcel-gilt bronze censer, gui, Ming dynasty, Yunjian Hu Wenming zhi seal markExpert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot and is of similar size (26.7 cm), but that the gilt to the central band and handles is well-preserved.Auction result comparison: Type: Closely related Auction: Christie's London, 13 May 2011, lot 1039Price: GBP 30,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A fine parcel-gilt bronze censer, late Ming dynasty, 16th/17th century, Hu Wenming Expert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot, is of smaller size (17 cm), and shows similarly extensive wear to the gilt.明代胡文明款鎏金簋形爐中國，十六至十七世紀。罕見的鎏金銅簋形爐，束頸處飾錯銀雷紋帶；圓腹，浮雕瑞獸；圈足處飾錯銀雷紋帶。圈足内有胡文明款。 款識：雲間胡文明製 來源：英國古玩市場。 品相：狀況良好，鍍金磨損嚴重，輕微鑄造缺陷，小凹痕、刻痕和表面輕微淺劃痕。自然包漿。 重量：696.6 克 尺寸：寬 19.7 厘米 (雙耳之間) 文獻比較：同樣的款識可見於一件稍小的香爐，有相同的紋帶和和把手，收藏於北京故宮博物院，列為「國家一級文物」，見《文物藏品定級標準圖例‧青銅卷》，北京，2006年，編號143。一件相近的相同款識和裝飾的香爐，但有多種紋帶，見Sydney L. Moss，Ltd. ，《The Literati Mode》，倫敦，1986年，頁291-2，編號145，另一件見香港蘇富比《 Twenty Years》，香港，1993年，編號402。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月27日，lot 8117 價格：HKD 562,500（相當於今日EUR 76,000 ） 描述：明代胡文明款鎏金簋形爐 專家評論：比較非常相近的簋形外型和銅合金浮雕、嵌銀和龍形把手。請注意款識相同，且尺寸相似(26.7 厘米)，但紋飾和把手上的鎏金保留完好。由於字數限制，完整中文敘述請至www.zacke.at查看。

A HENAN RUSSET-PAINTED BLACK-GLAZED VASE, YUHUCHUNPING, JIN DYNASTYChina, 1115-1234. The pear-shaped body rising from a short, massive foot to a waisted neck with a broad, everted rim. The body is decorated in bold yet elegant brush strokes of russet with stylized flower heads on a black glaze. The base left unglazed to reveal the grayish-buff body.Provenance: An old private estate in New York, USA. North American trade, by repute acquired from the above. The base with an old collector's label, describing the present lot as a Henan bottle, and dating it to the Song dynasty. A second old label next to it, inscribed 'Song bottle Agathe' and with an inventory number. Condition: Very good condition with minor wear and manufacturing flaws, including glaze recesses, the foot with two small chips.Weight: 1,312 g Dimensions: Height 28.4 cmThe floral decoration is achieved by painting with an iron-saturated glaze which fires reddish brown instead of black. Wares of this type were made in northern China at the Henan kilns producing Cizhou-type wares and also in southern China at kilns in Fujian.Literature comparison:Compare a closely related Henan black and russet glazed vase, dated to the Jin dynasty (1115-1234), in the collection of the British Museum, museum number 1947,0712.148. Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 10 September 2018, lot 150Price: USD 9,375 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A fine Henan black-glazed russet-painted bottle vase, Jin dynastyExpert remark: Compare the closely related form, glaze, and size (29.3 cm)金代河南黑釉鐵鏽花玉壺春瓶中國，1115-1234年。玉壺春瓶秀氣端莊，圓唇口外折，細長頸，溜肩，垂鼓腹，寬淺圈足。器身內外施黑釉，釉面具光澤。腹部醬褐色彩裝飾兩組折枝花葉紋，清晰不暈散。黑褐二色對比鮮明，黑釉釉面烏亮，褐彩烏光，風格獨具。觀器底，足際露胎。 來源：美國紐約私人舊藏；北美古玩交易市場，據説購於上述舊藏。底部有藏家標籤，描述此瓶為河南窯，為宋代。第二個標籤上寫著“Song bottle Agathe”以及一個收藏編號。 品相：狀況極好，有輕微磨損和製造缺陷，包括釉面凹陷，足部有兩個小磕損。 重量：1,312 克 尺寸：高28.4 厘米 文獻比較： 比較一件非常相近金代河南黑釉鐵鏽花瓶，收藏於大英博物館，館藏編號1947,0712.148。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2018年9月10日，lot 150 價格：USD 9,375（相當於今日EUR 11,000） 描述：金代黑釉鐵銹彩花卉紋瓶 專家評論：比較非常相近的外型、釉面和尺寸 (29.3 厘米)。

A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。

ERNI UPTON FRSA,TRAIGH NA CRICHE, NORTHWEST IONAoil on canvas, signed, titled versoimage size 51cm x 101cm, overall size 78cm x 128cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).

ERNI UPTON FRSA,SAORSA ASHORE, RUDHA CHINN MHOR, ARDMINISH, GIGHAoil on canvas, signed, titled versoimage size 42cm x 52cm, overall size 62cm x 72cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).

ERNI UPTON FRSA,OYSTERCATCHERS, PORT DUNAIN, NORTHWEST IONAoil on board, signed, titled versoimage size 26cm x 31cm, overall size 45cm x 50cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).

ERNI UPTON FRSA,JURA FROM KINTYREoil on board, signed, titled versoimage size 27cm x 37cm, overall size 41cm x 51cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).

A CHINESE GREEN POTTERY BRUSH POT. 4ins long.

A CHINESE DRIP GLAZE CIRCULAR PORCELAIN BEEHIVE BRUSH POT. 4.5ins diameter.

Three mid century mirrors with an ornate metal mirror and clothes brush set

Qianlong Period Interest. Calligraphy Brush From the Qianlong Period. Approx Size 16 Inches In length.

Qianlong Period Interest. Calligraphy Brush From the Qianlong Period. Approx Size 14 Inches In length.

C20th green glass Lillicraps Hone, German cut throat razor, brass oil can, Berry's of Sheffield Lion Ales book match cover, Austin Reed boxed brush set and other items of interest, (2 boxes)

Boxed Hornby OO gauge R863 Brush Type 4 Class 47/48 Diesel Electric Locomotive Silver Seal plus a Hornby Dublo 0-6-2 BR locomotive in black and around 28 x OO gauge model vehicles featuring Base Toys, DHL Trucks and Bush

Three boxed Hornby OO gauge locomotives to include R060 BR Diesel Brush Type 4, R068 BR Class 25 Diesel Blue and R084 BR Class 29 Diesel Blue

A large Chinese porcelain brush washer, of beehive form, painted with two dragons & fenghuang amongst lotus flower and leaf scrolling tendrils against a yellow ground, between ruyi head and spuming wave bands, apocryphal Yongzheng zhuanshu mark, 12.5cm high, 15.9cm diaThe glaze crazed throughout but generally in good condition with no obvious chips or restoration.

A blue velvet ethnic style dress or kaftan with bell sleeves, embellished with faux pearls, sequins and soutache. late 1960s, along with a vanity case and a towelling covered handbag (3)42 inch/ 106 cm chest, good condition, would benefit from an airing and a brush down.

Daniel O'Neill (1920 - 1974)Portrait of Young WomanOil on board, 45 x 35cm (17¾ x 13¾")SignedThe epithet Romantic is often applied to the work of Daniel O’Neill, though that can be misleading. His paintings are indeed romantic, but not in the strict art historical sense of Romanticism and the Romantic movement. Rather they are romantic in the sense that Puccini’s La Bohème is romantic, evoking the bohemian life of artists in the Latin Quarter in Paris, a world of intense emotion and passionate creativity. O’Neill visited and loved this world in 1948, when he stayed in Montmartre, brilliantly capturing the atmosphere in one of his best known paintings, Place du Tertre (now in the Ulster Museum). But imaginatively, artistically, he always seemed to inhabit it.Born in Belfast, the son of an electrician, he followed his father into the trade, working for the corporation’s transport department and the shipyards. But even in his early teens he was drawn to art, studying books in the library and attending night classes at technical college. At work he opted for night shifts, painting during daylight. He was taken up by the fine painter and muralist Sidney Smith and befriended Gerard Dillon, exhibiting with him in Dublin in 1943. The great dealer Victor Waddington put him on contract two years later, establishing him as an artist. He had a natural instinct for simplified, stylised imagery, innate compositional ability, and an eye for drama (little wonder he was commissioned by the Abbey to design the set for a production of Synge’s Playboy).Dreamy melancholy is one of the defining moods of his work, a term that perfectly suits this outstanding, idealised study of a young woman. She looks not back at the viewer but is lost in her own thoughts. The agitated background unmistakably suggests a tempestuous inner life. Quite early on, Cecil ffrench Salkeld noted O’Neill’s exceptional skill at juggling contrasting paint textures in a single composition, marrying the vigorous impasto of brush and palette knife with soft, silky glazes. That skill is used to great effect here in the caressing dialogue between fabric and flesh, figure and ground. In addition, O’Neill illuminates his subject with the expertise of a Hollywood lighting cameraperson.Aidan Dunne, August 2022

Gerard Dillon (1916-1971)Clown DreamingOil on board, 41 x 51cm (16 ¼ x 20")Signed, inscribed versoProvenance: With The Dawson Gallery, Dublin,  label versoA fantastically imaginative and slightly surreal work, Dillon has placed his sleeping clown atop of what appears to be the traditional striped roof of a circus tent. It spreads out around him enveloping him in a strange floating landscape. The bird perched on a nest of twigs offers an injection of colour within the otherwise grey environment of the painting. Its yellow and black body is reflected in the waxing circular orb rising above it, potentially the sun being overtaken by the moon and darkness setting in. Or is it an offering of hope by the artist, of the coming dawn which will awaken our sleeping protagonist?Clowns were very common in Dillon’s work from the 1950s onwards and he often depicted them in states of slumber such as Dreaming (sold in Whytes in 2018) or the watercolour Face in Sky sold in these rooms in 2020 as part of the McClelland Collection which depicts a harlequin figure awake while the clown dreams. In his works he adopted the traditional figure of Pierrot, the commedia dellarte character dressed in all white, wearing his typical pointed hat.Usually, the landscapes around the sleeping figures are expansive and filled with colour but in this instance, it is a much more constrained composition. The only suggestion of something beyond this scene is the bird enclosed within a frame, as if looking through a window out onto another world, into the subconscious mind of our dreaming subject. The darker palette and more sombre colour tones of this work may suggest the proximity to the danger or fear within our dreams. Works of this period are often associated with the traumatic events occurring simultaneously in Dillon's personal life, most notably the premature passing of his brother. Through sombre and somewhat haunting compositions, they are imbued with a sense of desolation and sorrow.It has also been suggested that Dillon adopted the clown as an alter ego, a persona that he could express his own emotions and fears, and it is true that in some works he even depicted them as artists. In The Artist, sold in these rooms in 2017, the protagonist stands before an easel painting an unseen canvas, potentially creating the larger composition forming behind him. In this work the sleeping figure holds something aloft in his hand, his arm outstretched and reaching triumphantly into the air. Is it an instrument of his trade, a prop used to entertain? Or could it be a paint brush, the essential tool of Dillon’s own trade, referencing his vital role within the creation of the work. Niamh Corcoran, August 2022

Charles Lamb RHA RUA (1893-1964)In-shore FishermenOil on canvas, 50 x 60cm (19¾ x 23½")SignedExhibited: Dublin, Hugh Lane Gallery, Charles Lamb Memorial Exhibition 1969Certainly not the first artist to become enchanted by the landscape and its people, a native of Armagh originally, Lamb would eventually make the Gaeltacht village of Carraroe his permanent home. In 1935 he built his own house, known affectionately, as his daughter Lailli Lamb reflects, as ‘Tigh Lamb’ or Lamb’s House (Catalogue Essay ‘My Father’, Lamb in Connemara, Adam’s Exhibition at Clandeboy, 2012). It was also here where Lamb ran an art school during the summer months, teaching painting classes.  One can’t help but imagine what the locals made of Lamb and his desire to make them the subjects of his paintings. Though possibly not unused to artists travelling through the region, there must have been a certain amount of apprehension and suspicion towards him. Outsiders are not easily welcomed in these remote places, and it would not be surprising if it took many years before they trusted him entirely. Lamb’s cause was undoubtedly helped by his move to the area with his family. Lamb often depicted fishermen, either as group scenes, observing them going about their work on the shoreline or harbour in Taking in the Lobster Pots (The Armagh County Museum) or as a single figural study in Portrait of a Fisherman with Lobster (lot 49) offered alongside this work in the auction. They also appear in his portraits executed during his time spent in Brittany in 1926/27 where he visited Pont Aven and Audierne. In particular a large-scale portrait entitled The Breton Fisher Boy (Private Collection) in which the young boy stands confidently before the artist, hands tucked into his vest. Behind him appear a sardine fleet, which are immediately reminiscent of the Galway Hookers of Carraroe. In this present example two men finely balanced in their currach, row backwards to the shore line. Lamb has expertly captured the rhythmic movement, as one of the men controls the oars while the other holds out a net pulling in their catch along the way. He uses quick impastoed brush strokes to create a sense of the waves lapping against the boat as it moves through the water while the oars glide across and under its surface. It appears the day’s work has come to an end, with the light slowly starting to fade, casting pale pink highlights that fall along the edge of the boat. The surrounding landscape is a myriad of crosshatched strokes, yellows, pinks and greens while the sky above is a mix of grey clouds. Perhaps the weather is also about to change, as the mountains in the distance turn a midnight blue. He captures the chill and wildness of the Atlantic in the rich blue and green tones.The daily work and traditions of the native people fascinated Lamb. By depicting them in paint, on an expansive scale, he elevated their ordinary lives, celebrating the daily tasks of working the sea as in this example or off the land as in Connemara Harvesters or the weekly custom of the news being read aloud, literacy not a common ability at the time, to a gathering of locals in Hearing the News (1921). There is a real sense as if the men are moving across the surface of the painting, caught for a brief moment by the artist. There is an economy of expression at play, using only small touches of colour to indicate their faces and bodies. This work was included in the Memorial Exhibition held in the Hugh Lane Gallery in 1969, five years after his death. It is reflective of the shift in his career from large-scale portraits towards the broader and more warm toned landscape scenes of his later years. Niamh Corcoran, August 2022

Daniel O'Neill (1920-1974)Girl in the Green MaskOil on board, 46 x 37.5cm (18 x 14¾")SignedProvenance: With Oriel Gallery, Dublin; with Charles Gilmore, Holywood, Co. Down, where purchased by the present owners.Female figures are common in Belfast-born Daniel O’Neill’s oeuvre. His figures often inhabit an air of ambiguity, whether in full portrait or set in serene Irish landscapes. His female subjects are distinct, with their almond eyes cast in shadow, un-naturally slender yet elegant profiles, and dark features more akin to continental Europe than the island of Ireland.Conceptually adrift and open to interpretation, the portraits composed by the artist inhabit many credible subjective readings: maybe the women represent a sister lost in childhood - a life made all too short; the matriarchal anchor of the family, his mother, who creatively encouraged the young artist; relationships past, a marriage to end in divorce; or later in life the birth of his first child, a daughter. For the Catholic minority Belfast boy born into the Irish war of Independence, perhaps his figures were the representation of Ireland herself, mourning those lost in her name and the countless many who emigrated, never to return. Any one of these life story nodes, both personal and political, are credible interpretations of the artist’s work. Nevertheless, any resolve to these narrative uncertainties remains veiled by O’Neill himself and his untimely death in 1974.Remarking on the artist’s personality, Liam Kelly describes him as “something of a mystery man” - a trait of enigma that unfolds all too well on canvas. Although, less so often do his figures quite literally wear this mystery as Girl in the Green Mask does. The darkened green teal mask frames her distinctly O’Neill-style wide eyes, linking to her hairline and backdrop, all awash in darkened turquoise turned teal. The borders between the flattened background, long flowing hair and mask all become mediating zones rather than distinct boundaries. Girl in the Green Mask’s Delphian-like ambiguity seeks no resolve and instead gestures to an alluring melancholy in motion. Does her head tilt in sorrow or in comfort to greet the upward vitalic brush strokes of O’Neill’s flowers; do the flowers come to fall in her arms to embrace or drift upwards fleetingly; the far lines on the corner of her mouth signal a modest smile rising or one which is fading. Girl in the Green Mask is a melancholic pivoting point, but whether to or from is the punctum of unresolve.Aside from a few classes at Belfast College of Art, O’Neill was primarily self-taught and much is owed to the people and places that fostered his creativity into fruition. From his mother to a bygone bohemian Dublin, and not least of all people like Mr Jenkinson - the head of Belfast reference library. Jenkinson bent the rules in lending out O’Neill illustrated books over weekends, resulting in a young Irish artist’s introduction to the European Masters. A creative, fertile ground came to be when Sidney Smith opened up his studio to O’Neill. The result was a space for contemporaries such as Colin Middleton, Markey Robinson and Gerard Dillon to cross paths or creatively weave together as Dillon did in painting several portraits of O’Neill.Professional certainty was ascertained in the 1940s when Victor Waddington signed the artist to his Dublin gallery, allowing him to paint full time; the professional relationship would last until 1970. By his untimely passing in 1974, he had lived and worked in Belfast, Dublin, London, and Paris; exhibited in over twenty overseas group exhibitions; held solo shows in Dublin, Belfast, and Montreal; and had his first retrospective in 1952. In 2022, Karen Reihill curated the artist’s first retrospective in seventy years at Farmleigh Gallery, Dublin, showcasing work borrowed from collections of IMMA, the University of Limerick, and the Ulster Museum. Some work unseen by the public for over 50 years was opened to critics and audiences, old and new, welcoming new interpretations and further canonising the artist to the status of his contemporaries. Simon Bhuiyan, August 2022

Feodor von Luerzer (Austrian/American, 1851-1913). Oil on board painting titled "Untitled (Moose in Landscape)," 1900, depicting a moose striding through the brush to the riverside. Signed along the lower right.Sight; height: 13 1/2 in x width: 21 1/2 in. Framed; height: 21 1/2 in x width: 29 in.

Antique Chinese jade brush washer in the form of a lily pad, of a lovely mottled celadon jade with a few pale russet inclusions. With lovely carved details.Height: 3/4 in x width: 7 in x depth: 3 1/2 in.

Chinese Guangxu period porcelain brush washer with a lovely pale celadon crackle glaze. A label from the Thomas collection is adhered along the underside; the accession number noted on the label is additionally inscribed in ink along the underside.Height: 2 1/2 in x diameter: 10 1/2 in.

Chinese oxblood porcelain brush washer with a Ming dynasty Jiajing reign mark in underglaze blue along the underside.Height: 1 1/2 in x diameter: 4 in.

A collection of silver and white metal jewellery, a Victorian 15mm wide white metal collar 45cm long with an oval 40mm locket attached to front, floral and scroll engraved decoration around vacant cartouche; a silver 30mm wide half hinged bangle (dented); a silver curb link charm bracelet with fourteen charms; a George III silver Crown 1819 in a brooch mount; another similar with 1822 Crown (defaced); two unmounted Victorian Crowns 1883, 1889; other foreign coins; an oval agate brooch, 45mm; two ceramic brooches; a filigree bracelet set with marcasite; cameo brooch; cornelion ring; silver backed brush.

with No. 4 soundbox with brush, 10-inch turntable, Nipper transfer, in oak case with twin doors