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Y Two Chinese huanghuali brush pots, Qing Dynasty, 14.5cm high x 14.3cm high (2) Provenance: Property from a deceased estate清 黄花梨笔筒两件拍品来源：英国私人大宅收藏Condition Report: smaller one one has two filled holes to the side and several cracks larger with grooved cut to upper rim and smooth chip to inner rim and base plug with chips to interior and minor cracks both with some sun fading to original patinasee additional images for visual reference to condition   Condition Report Disclaimer

A Chinese sancai 'lotus and egret' brush pot, Kangxi, the cylindrical body moulded in relief with an egret standing on one foot in a lotus pond, covered overall with an unctuous sancai glaze, 12.7cm high x 6.5cm diameter Provenance: Property of a Gentleman, his father purchased from Douglas J K Wright Ltd.清康熙 素三彩一路联科图笔筒拍品来源：英国绅士私人收藏，其父亲早年所购从古董商Douglas J K Wright所购，并由家族传承Condition Report: firing blemishes to the glazeCondition Report Disclaimer

A Chinese green glazed brush rest, 18th century, modelled in relief with a pavilion beneath a pine tree and the reverse with a scholar crossing the bamboo bridge, 10.5cm long x 5.5cm high; and a small Chinese brown and white glaze joss-stick holder in the form of a lion, 18th century, 4.7cm high (2)Provenance: From the private collection of a Gentleman, by descent from his father清18世纪 绿釉松间高士图笔山及褐釉狮子香插拍品来源：英国绅士私人收藏，其父亲早年所购，并由家族传承Condition Report: some firing cracks under the glaze to the brush restCondition Report Disclaimer

A Chinese Famille Rose punch bowl, Tongzhi, 22.8cm diameter; a Chinese yellow glazed double gourd vase, early 20th century, painted with lotus pond scene; a small Chinese Famille Rose 'Magu' brush pot, Tongzhi, 12.5cm high (3)晚清 同治粉彩麻姑献寿小笔筒等三件Condition Report: brushpot with one firing crack to the sideCondition Report Disclaimer

A Chinese brown-glazed 'lady' brush pot, Qing dynasty, 13.8cm high清 酱釉雕仕女笔筒Condition Report: restoration to the rockery and the branchCondition Report Disclaimer

An Art Deco four piece silver and enamelled dressing table set, with hand mirror, clothes brush and pair of hairbrushes (4)

A Victorian silver presentation tray and other silver items, the tray with embossed decoration and 24cm wide and having inscription dated 1896, 8.58 ozt, along with a silver shaving brush, pair of dishes, rectangular dish and comb

Three items of Art Deco silver and a small quantity of coins, including two sugar sifters, 4.18 ozt, a silver filled shaving brush, several George V 3 pences and other coinage

Five boxed Hornby OO gauge locomotives to include R157 BR Diesel Power Car, R357 BR Loco A1A Diesel, R060 BR Diesel Brush Type 4, R072 BR Class 25 Diesel green and R075 BR Class 47 Diesel loco

Five boxed Hornby OO gauge locomotives to include R863 Brush Type 4 Diesel Electric loco, R052 BR 0-6-0 Tank Locomotive, R765 The Lord Westwood 4-6-0, R357 BR A-I-A Diesel Electric Locomotive (tape repir to box) and R253 0-4-0 Diesel Dock Shunter

A small silver bowl, five assorted silver teaspoons and a large silver mounted clothes brush (with initials) - sold with a pair of plated knife rests and pair of grape scissors

A box containing a silver four piece hand mirror and brush set, cased wedding spoons, R.N.S.S. plaque, etc.

An oak desk stand with silver plated fittings and strapwork with single drawer to front and two cut glass inkwells (one a/f) - sold with a sterling silver mounted dressing table brush and a cut glass powder bowl with faux tortoiseshell lid

A wicker basket containing a quantity of collectable items including Cornish serpentine table lighter, wooden games box with cribbage board lid, barometer brush set, etc.

A silver mounted enamel five piece brush and hand mirror set - mirror handle enamel damage

A WHITE JADE 'LOTUS LEAF' BRUSH WASHER18th centuryThe brush washer finely carved as a large lotus leaf borne on a stem bundled together on the base with the stems of the smaller leaves and buds carved in openwork around the sides, the semi-translucent stone of even white tone, wood stand. 10cm (4in) long. (2).Footnotes:十八世紀 白玉蓮葉式洗Provenance: Spink & Son Ltd., LondonJoseph (1938-2005) and Bella (1941-2011) Shapiro, acquired from the above on 13 August 1981, and thence by descent 來源：倫敦古董商Spink & Son Ltd.Joseph Shapiro (1938-2005)和 Bella Shapiro (1941-2011)在1981年8月13日從上處購得，並由後人保存迄今See a similar jade cup in the shape of a flower, Ming dynasty, in the British Museum, illustrated by J.Rawson, Chinese Jade: From the Neolithic to the Qing, London, 1995, fig.7, p.389. Compare also with a similar pale green jade 'lotus leaf' brush washer, 18th century, which was sold at Christie's New York, 21 September 2022, lot 277.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A PALE GREEN JADE PEACH-SHAPED BRUSH-WASHERMing DynastyThe body finely carved as a hollow peach borne on a leafy gnarled branch issuing a further smaller peach and blossoms forming the handle and base, the stone of celadon tone with russet inclusions, wood stand. 9.2cm (3 5/8in) long. (2).Footnotes:明 青白玉桃式洗 Provenance: Sotheby's London, 16 July 1957, lot 244 (part lot)Victor Ezekiel (1905-1976), and thence by descent來源： 倫敦蘇富比, 1957年7月16日，拍品編號244（其一）Victor Ezekiel（1905-1976年）舊藏，並由後人保存迄今Victor Ezekiel and his father Marcus Ezekiel were two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century. Marcus Ezekiel was born in Bombay in 1854, and was employed in Shanghai by E.D.Sassoon & Co, and later became director of the Hong Kong and Shanghai Banking Corporation. Marcus formed an extensive collection of Chinese art, mostly ceramics, but his son Victor would collect mostly jade and hardstone carvings. Victor Ezekiel was much involved with the Oriental Ceramic Society, serving as a Council Member from 1965 to 1970. He was generous with loans to the Society's exhibitions, 'The Arts of the Ch'ing Dynasty' in 1964, 'The Animal in Chinese Art' in 1968, and the Society's Fiftieth Anniversary exhibition, 'The Ceramic Art of China', in 1971.For further information on this lot please visit Bonhams.com

MANNER OF XUE JIElegant Gathering the Western Garden, 19th century Ink and colour on silk, with spurious signature of the artist, glazed and framed. 45cm (17 3/4in) high x 300cm (118in) long.Footnotes:十九世紀 薛稷款 西園雅集 設色絹本 木框裝裱Despite the signature of Xue Ji (649-713), a famous Tang dynasty calligrapher, painter and politician, the subject matter of the present lot is based on an event that supposedly occurred in the Song dynasty. According to legend, in 1088 a group of sixteen famous statesmen, literati, and artists gathered in the Western Garden of Wang Shen, an Imperial son-in-law. The scholar and artist Mi Fu (1052–1107) purportedly wrote an account commemorating the occasion, and Li Gonglin (d.1106) is said to have painted a scene of the gathering. Regardless of whether this event indeed took place, it entered the cultural imagination and became both a model for later literary gatherings and a theme in painting. Here, the scholar Su Dongpo (1037-1101) is seated at one table practicing calligraphy while others look on. Further along the painting Mi Fu (1051-1107) stands with a brush in hand, inscribing a stone face.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A five piece silver dressing table set; comprising a hand mirror, two hair brushes and a clothes brush, engine turned with monograms engraved to centres, London 1913; together with a pair of silver mounted glass toilet jars, London 1906, and one other, Birmingham 1922; three silver napkin rings, a small quantity of silver flatware and sundry other silver plate. Gross weight weighable. 9.33ozt.

A collection of silver items including a sugar bowl with stand, the cover with a hawk finial, three hand mirrors; one in silver with UK hallmarks, a brush in white metal, a small dog ornament in bronze signed C. Chemin, a snuff box, a stamp box, and a set of spoons and lobster picks.

A collection of silver backed dressing table items to include; A matched dressing set of engine turned and knotted design Walker & Hall Sheffield silver consisting of mirror, two brushes and larger brush. Together with a Birmingham silver topped faux tortoiseshell comb, and a Birmingham silver fronted easel form photo frame with wooden back.Further Details: Some tarnishing, denting and wear, the frame having loose glass and back.

ASSORTED SILVER-MOUNTED DRESSING TABLE BRUSHES including an Art Deco three-piece set by Davis, Moss & Co, Birmingham 1936, 1937 and 1938, comprising a hand mirror, hair brush and clothes brush; etc. (6) Deco mirror 26.8cm long

A LOUIS XV SILVER-MOUNTED LACQUER BOÎTE-À-MOUCHES, CIRCA 1760 of rectangular form with gold and silver piqué decoration, the interior with two compartments, a brush and a mirror beneath the lid. 6cm wideSeveral small hairline cracks in the lacquer. The hinge is in good condition and closes well.

A CHINESE CLOISONNÉ ENAMEL OCTAGONAL BRUSH POT decorated in low relief with children playing with kites and hobby horses, within floral borders, to a gilt ground, base unmarked. 14cm high

SILVER BRUSH AND PLATED ITEMS including cutlery and a hand mirror

*FIRE BRUSH AND A 1950'S COAT RACK / LOCATED AT VICTORIA ANTIQUES, WADEBRIDGE, PL27 7DD

*TWO ORIENTAL BAMBOO BRUSH POTS, BOTH 24.5CM HIGH / LOCATED AT VICTORIA ANTIQUES, WADEBRIDGE, PL27 7DD

Carl Rawson (American, 1884-1970). Oil on board painting depicting a wooded landscape and a small pond or stream, 1926. Signed and dated along the lower right.Carl Rawson was born in Des Moines, Iowa. He studied art at Cumming Art School, the Minneapolis School of Art, and the National Academy of Design in New York. He made his home in Minneapolis in 1906 for a position as a cartoonist for the Minneapolis Tribune where he worked for nine years. After leaving the Tribune he made a living by painting portraits and then idyllic landscapes from the Hudson River to Minnesota. His favorite topic was the North Shore of Lake Superior, where he found scenes for his brush many times.Sight; height: 21 in x width: 26 in. Framed; height: 26 in x width: 31 1/2 in.Condition: There are no major tears, losses, or restorations when inspected under UV light. There are a few scattered spots of minute losses throughout. There are a few light scuffs and scratches throughout the work. Light wear along the extreme edges of the work where the painting rubs against the frame. Light soiling to the verso that does not affect the recto. There are a few areas of wear along the verso where nails rub against the board. Wear and losses to the gilding throughout the frame.

Carl Rawson (American, 1884-1970). Untitled oil on canvas painting depicting a peaceful north shore of Lake Superior in Minnesota, which was one of the biggest inspirations for the artist, with trees on the left and the lake in the background. Signed and dated 1928 along the lower right.Carl Rawson was born in Des Moines, Iowa. He studied art at Cumming Art School, the Minneapolis School of Art, and the National Academy of Design in New York. He made his home in Minneapolis in 1906 for a position as a cartoonist for the Minneapolis Tribune where he worked for nine years. After leaving the Tribune he made a living by painting portraits and then idyllic landscapes from the Hudson River to Minnesota. His favorite topic was the North Shore of Lake Superior, where he found scenes for his brush many times.Sight; height: 25 in x width: 32 in. Framed; height: 26 1/2 in x width: 33 in.Condition: There are no major tears or restorations when inspected under UV light. The surface of the work is brittle. There are numerous scattered losses to the paint layer throughout; the largest areas being along upper right of the canopy of the trees and the lower left corner. Numerous other areas of losses, mostly along the edges of the work. Along the uppermost rock there is a large area where the paint layer has cupped and is in danger of flaking off. There is moisture exposure the lower edge of the work; a tideline is visible along the verso. There are numerous accretions along the lower edge of the work that fluoresce under UV light. Wear to the frame.

Carl Rawson (American, 1884-1970). Untitled oil on board painting depicting a peaceful landscape with a house overlooking a pond. Signed along the lower right.Carl Rawson was born in Des Moines, Iowa. He studied art at Cumming Art School, the Minneapolis School of Art, and the National Academy of Design in New York. He made his home in Minneapolis in 1906 for a position as a cartoonist for the Minneapolis Tribune where he worked for nine years. After leaving the Tribune he made a living by painting portraits and then idyllic landscapes from the Hudson River to Minnesota. His favorite topic was the North Shore of Lake Superior, where he found scenes for his brush many times.Sight; height: 15 1/4 in x width: 19 1/4 in. Framed; height: 18 in x width: 22 in.Condition: There are no major losses, tears, or restorations when inspected under UV light. There are a few losses to the paint layer along the extreme edge along the lower left. Some light dirt and dust collected in the recessed areas of the artwork. The varnish has slightly yellowed. Some soiling to the verso that does not affect the recto. There are sixteen nails that pierce through the verso to hold the artwork in place along the frame; they do not appear to pierce through all the way to the recto of the work. Light wear to the frame.

George Morrison (Ojibwe, 1919-2000). Oil on canvas painting titled "Descent on the Avenue" depicting an abstract scene painted with thick and vivid colors harmoniously dancing along the surface of the canvas, 1962. Signed and dated along the lower right. Further signed and titled along the verso.Provenance: Freeman Fine Arts, "Jewelry - Furniture & Decorative Arts - Paintings - Prints & Sculpture," February 14, 2011, Lot 1280, Philadelphia, Pennsylvania; Private Minnesota Collection.As described on page 101 of his memoir "Turning the Feather Around" by Morrison:"I went through a period of using thick paint, starting from the late 50's all through the 60's. This gave more immediacy to the painting. Putting the paint on without thinning it with oil, using acrylic paint without any water added.. Putting it thick on the brush and then on the canvas with broad strokes, showing the thickness and movement of the pigment. Some of the paints right out of the tube...This was my version of gestural painting...Movement of the paint became an integral part of the idea of the painting....the artist was more conscious of the paint itself, and that became the painting."Sight; height: 12 in x width: 18 in. Framed; height: 12 1/2 in x width: 18 3/4 in.Condition: The item is in generally good condition with no visible tears, or major creases or losses. The surface is stable, and the color is bold and deep. No visible sign of restoration under UV light. There are several deep cracks to thick paint surfaces; please refer to the listing image, possibly original to the artistic process. Along the extreme edges, there are several scattered areas with minute paint losses against the frame. Along the verso, there is heavy soiling and toning; there is a network of minute accretions along the upper margin. Wear to the frame.

Carl Rawson (American, 1884-1970). Untitled oil on board painting depicting a beautiful fall landscape, 1964. Signed and dated along the lower right.Carl Rawson was born in Des Moines, Iowa. He studied art at Cumming Art School, the Minneapolis School of Art, and the National Academy of Design in New York. He made his home in Minneapolis in 1906 for a position as a cartoonist for the Minneapolis Tribune where he worked for nine years. After leaving the Tribune he made a living by painting portraits and then idyllic landscapes from the Hudson River to Minnesota. His favorite topic was the North Shore of Lake Superior, where he found scenes for his brush many times.Sight; height: 11 1/2 in x width: 14 1/2 in. Framed; height: 16 in x width: 19 in.Condition: There are no visible rips, losses, or restorations when inspected under UV light. The varnish has yellowed somewhat. There is very light wear along the extreme edges of the work. Light wear to the frame; the verso was not inspected.

John Duncan Fergusson RBA (British, 1874-1961)Portrait of Miss Anna MacDonald signed and inscribed 'J. D. Fergusson/Miss MacDonald no 70' (on the reverse)oil on canvas72 x 54cm (28 3/8 x 21 1/4in).painted c. 1904Footnotes:ProvenanceThe artist (an old label on the reverse gives Fergusson's address from 1939 until his death in 1961, so it is assumed that the work was in his possession).The Fine Art Society Ltd., London and Edinburgh, October 1974, no. 6442/22.Private collection, UK (acquired from the above); thence by descent to the present owner.ExhibitedPossibly Paris, Salon d'Automne, 1907, no. 595 (titled 'The Green Feather').London, The Fine Art Society, and Glasgow and Edinburgh, Centenary Exhibition, 1974.The present portrait sees Fergusson on the cusp of a new stage in his career. He is still exploring the possibilities of a more formal, elegant style of portraiture synonymous with Edwardian Britain, with the sitter's wonderful hat and the flashes of her white, gold, and green outfit. There is a precedent to the pose and colouring which highlight his enduring interest in the work of both Velazquez and Frans Hals. However, at this time in the studio, Fergusson is experimenting with some new techniques picked up from his first trips to the continent. Manet was Fergusson's idol here, and the many studies and paintings he made throughout this period show his adoption of Manet's style – in terms of colouring, but also fluidity of paint and brushstrokes. This is clear here when one takes a closer look at the sitter's face, hat, and breast, all of which have been captured with fast, curving strokes, the brush often heavily loaded with paint. Released not long after this painting would have been completed, in his 1905 manifesto which introduced his exhibition catalogue for the Baillie Gallery, Fergusson stated that the artist is 'trying for truth, for reality; through light.' This is a sentiment which is present throughout his long career, however here, with the strong juxtaposition between light and dark and only subtle tonal gradations in places, this core to his manifesto is perhaps most clearly evident.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

Alan Furneaux (b.1953)Marrakech, Half Moon, 2016signed (lower left), titled and dated (to reverse)oil on canvas61 x 76cm.Condition good – one or two un-associated dots of white paint probably from the artists brush and including a faint vertical line of them extending ¾ of the way down through the building centre right. See new uploaded photo.

LIU DAN (b.1953)Old Cypress from the Forbidden City, 2007Ink on xuan paper, signed in lower right corner. 259.1cm high x 137.2cm wide (102in high x 54in wide) Footnotes:劉丹（1953年生） 紫禁城御花園古柏 水墨紙本 鏡框 2007年作Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.71.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, p.75.展覽著錄：《當代中國水墨畫》，紐約，2010年，第71頁。Michael Goedhuis著，《Ink: the Art of China》， 薩奇美術館，倫敦，2012年，第75頁。Liu Dan is one of the most internationally renowned painters of his generation, known for his meticulously detailed ink paintings of rocks, trees and flowers that combine literati traditions with western hyper-realism. Liu Dan's paintings of trees are rare, and most of his work usually depicts rocks or flowers. The present lot depicts a specific cypress tree in the Imperial garden of the Forbidden City. The garden, which is at the rear of the palace, was a private retreat for the Imperial family. Many of the trees planted there date to the Ming dynasty and are living time capsules of history. Indeed, the cypress in Chinese is baishu (柏樹) which is homophonous with bai (百) 'hundred', and so symbolises longevity as well as virtue. The present painting therefore, seems to capture the essence of China's long and textured history. Born in Nanjing, Jiangsu Province, in 1953, Liu studied the Confucian classics, poetry, painting, and calligraphy with his grandfather at an early age. After the disruption of the Cultural Revolution and joining the Nanjing Red Guards, Liu returned to traditional painting under Ya Ming (1924-2002) at the newly reopened Jiangsu Academy of Chinese Painting, Hangzhou, from 1978 to 1981. He later moved to Hawaii and studied Western art. Liu then moved to New York in 1992, and after fourteen years there, he returned to China in 2006.Despite his highly privileged training with noted ink painter Ya Ming, and years of study at the Jiangsu Provincial Academy of Painting in his native town of Nanjing, Liu Dan's work departs from the dramatic expressive qualities of the brush and brushstrokes that were central to his education. Having mastered the art of self-expression via the brushstroke, for centuries regarded as key to the most sophisticated Chinese ink painting revealing the hand and heart of the artist, Liu Dan rejected it in favour of a focus on structure. There are three reasons why Liu's painting moved away from brush-strokes to hyper-realism: Firstly, he found it imperative to reconnect with an original pure creative spirit and for this reason he delighted in the less self-conscious forms of classical and medieval Western art, and Chinese art of the Yuan dynasty (1271-1368) and earlier. Secondly, while living in the West - primarily Hawaii and New York, from 1981 until moving to Beijing in 2006 - he concluded that most twentieth-century Chinese art had been produced in response to external pressures. He aspired to be an agent of self-directed creativity rather than reactive production. Thirdly, he developed a personal philosophy of nature's generative force, observing that natural forms evolve and duplicate on a grand scale, such that rocks can be considered the 'stem cells of landscape, see, C.von Spee, Modern Chinese Ink Paintings, London, 2012, p.101. Liu Dan explains his doctrine as an artist: 'Your one responsibility as an artist is changing the visual experience of people, the way they look at things. Your one purpose is to encourage an openness of mind that allows them to look beyond everyday concerns and think freely.' Liu Dan's ink paintings, whether of landscapes, scholar's rocks, or old cypress trees in the Forbidden City, are all fastidiously conceived, complex works which highlight his concern to emphasise underlying compositional structure over virtuoso expressions of brushwork. Liu's paintings are collected globally and can be found in many prestigious museums and collections including the British Museum; the Musée Guimét, Paris; The Shanghai Contemporary Art Museum; the Ashmolean Museum, Oxford; and the San Diego Museum of Art. See a painting of a poppy by Liu Dan, which was sold at Christie's New York, 16 September 2016, lot 1118.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LI JIN (b.1958)Health, 2005Ink on paper, with calligraphic inscription and seal of the artist, glazed and framed. 45cm wide x 38cm high (17 3/4in wide x 15in high). Footnotes:李津（1958年生） 中華有神功 水墨紙本 鏡框 2005年作Li Jin and his work belongs to the 'New Literati' movement of Chinese ink painting but are more quirky than most, exuding a hedonistic and charming appreciation for the simple things in life, notably food, wine and sex, but also bathing and sleeping etc. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li Studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and colour. His aunt was Zhou Sicong (1939-1996), an important ink painter who often made use of bleeding colour or ink. This technique can often be seen in Li's own paintings which hint at insouciance but, like all good literati painting, could not be created without mastery of the brush. Li Jin gradually formed his uniquely playful style in the early 1990s, and is now famous for his humour and seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati paintings - often derived from famous texts, pictures by earlier masters, or both - food and wine and the simple things in today's life are Li's subject matter. The Falstaffian figure that appears repeatedly in his work is modelled on himself. For more on Li Jin, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.148-150.The present lot is typical of the artist's humour. The inscription reads: 中华有神功, which may be translated as 'Amazing Kungfu in China' and is actually taken from a popular song by Tu Honggang. It depicts an ailing figure with pain in his expression as the skin on his back is pulled by the heated glass bulbs for moxibustion, exhibiting Li Jin's unique mix of tradition, modernity and humour.Li Jin's paintings are in several important institutions and collections globally, including the National Arts Museum, Beijing; Hong Kong Museum of Art; Olenska Collection, Geneva; Seattle Art Museum; and the Berkeley Art Museum.For further information on this lot please visit Bonhams.com

LI JIN (b.1958)Reading at Night, 2005Ink on paper, signed and dated, with calligraphic inscription and seal of the artist, glazed and framed. 38.1cm wide x 44.5cm high (15in wide x 17 1/2 high).Footnotes:李津（1958年生） 夜讀圖卷 水墨紙本 鏡框 2005年作The inscription on the present lot reads: 夜讀圖卷, which may be translated as 'Scroll of Night Reading'. It depicts a man sitting before an open book, but his mind wanders as he gazes up. A cat sleeps beneath the table echoing the figures' idleness and leisure.Li Jin and his work belongs to the 'New Literati' movement of Chinese ink painting but are more quirky than most, exuding a hedonistic and charming appreciation for the simple things in life, notably food, wine and sex, but also bathing and sleeping etc. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li Studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and colour. His aunt was Zhou Sicong (1939-1996), an important ink painter who often made use of bleeding colour or ink. This technique can often be seen in Li's own paintings which hint at insouciance but, like all good literati painting, could not be created without mastery of the brush. Li Jin gradually formed his uniquely playful style in the early 1990s, and is now famous for his humour and seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati paintings - often derived from famous texts, pictures by earlier masters, or both - food and wine and the simple things in today's life are Li's subject matter. The Falstaffian figure that appears repeatedly in his work is modelled on himself. For more on Li Jin, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.148-150.Li Jin's paintings are in several important institutions and collections globally, including the National Arts Museum, Beijing; Hong Kong Museum of Art; Olenska Collection, Geneva; Seattle Art Museum; and the Berkeley Art Museum.For further information on this lot please visit Bonhams.com

CHUN-YI LEE (b.1965)Painting in Poetry, 2012Ink on paper, hanging scroll. 152.4cm long x 68.6cm wide (60in long x 27in wide). Footnotes:李君毅（1965年生）詩中有畫 水墨紙本 鏡框 2012年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance, his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period (386-535) and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past.The title of the present lot, 'Painting in poetry' is taken from the Northern Song dynasty literatus Su Shi (1037-1101) who commented on a the work of Tang dynasty poet and painter Wang Wei: 'in poetry there is painting, in painting there is poetry' (詩中有畫，畫中有詩). Lee takes this to a new level however, as his paintings are literally made of characters.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

CHUN-YI LEE (b.1965)Unyielding Mountains, 2009Ink on paper, framed. 66.3cm high x 78.5cm wide (26 1/8in high x 30 7/8in wide).Footnotes:李君毅（1965年生）不屈的山 水墨紙本 鏡框 2009年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. The present lot is stamped with both the Communist hammer and sickle, as well as the Republican sun used in the Taiwanese flag. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past. Lee has participated in over 30 group and solo exhibitions internationally. His works have been collected by the Ashmolean Museum, Oxford; the Arthur M. Sackler Museum, Harvard University; the Asian Art Museum, San Francisco; the Phoenix Art Museum, USA; the Jiangsu Art Museum; the Qingdao Art Museum, China; the National Arts Education Institute, Taipei; the Hong Kong Museum of Art, and other public and private collections.Compare with a related painting by Chun-Yi Lee, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2835.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LO CH'ING (b.1948)The DNA of Chinese Painting Series, Landscape: Conversation with Mountain Huang Series, The Crystallized Mountain Huang in Snowy Dusk, 1999Ink and colour on xuan paper. 137cm long x 69cm wide (54in long x 27 1/4in wide).Footnotes:羅青（1948年生）黃山西梅暮雲慾雪圖 設色紙本 鏡框 1999年作Published, Illustrated and Exhibited：Chinese Ink Painting Now, New York, 2010, p.88.展覽著錄：《當代中國水墨畫》，紐約，2010年，第88頁。Born in Qingdao, Shandong Province, in 1948, Lo Ch'ing is not just a painter, but also a poet and calligrapher. He moved to Taiwan with his parents in 1949. At an early age, Lo learned classical ink painting of the court tradition from the ink painting master Pu Ru, a member of the Qing Imperial family. Subsequently he studied in the English Department of Fu Jen University, and received an MA degree in Comparative Literature from the University of Washington, Seattle, in 1974. He has been both a professor of literature and a professor of fine arts in universities in Taiwan, the United States, the United Kingdom, Prague, and mainland China. Lo is well versed in classical Chinese literature and arts of the brush, as well as in modern and postmodern literature and art. His poems have been published and translated into many languages, and Lo Ch'ing is regarded as one of the pioneers of post-modern poetry in Taiwan. He has also been a major innovator in ink painting, for which he has created a new visual vocabulary that deconstructs the classical forms of Chinese landscape by introducing into his compositions abstract and geometric elements as well as unexpected contemporary motifs.Lo Ch'ing's paintings are in several prestigious collections worldwide including the British Museum, London; The Royal Ontario Museum, Canada; The Saint Louis Art Museum, USA; Museum fur Ostasiatische Kunst, Berlin; National Taiwan Museum; Ashmolean Museum, Oxford; and Asia Society, New York.Compare with a related painting by Lo Ch'ing, titled 'Ten Thousand Peaks of White Snow', 1997, which was sold at Christie's Hong Kong, 28 November 2016, lot 1606.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LO CH'ING (b.1948)The Sun also Rises, 2016Ink and colour on paper, signed and dated by the artist, framed. 180cm long x 96cm wide (70 3/4in long x 37 3/4in wide).Footnotes:羅青(1948年生) 太陽照常升起 設色紙本 鏡框 2016年作Born in Qingdao, Shandong Province, in 1948, Lo Ch'ing is not just a painter, but also a poet and calligrapher. He moved to Taiwan with his parents in 1949. At an early age, Lo learned classical ink painting of the court tradition from the ink painting master Pu Ru, a member of the Qing Imperial family. Subsequently he studied in the English Department of Fu Jen University, and received an MA degree in Comparative Literature from the University of Washington, Seattle, in 1974. He has been both a professor of literature and a professor of fine arts in universities in Taiwan, the United States, the United Kingdom, Prague, and mainland China. His knowledge of literature is hinted at in the title of the present lot, which is the title of Ernest Hemingway's famous first novel 'The Sun also Rises' (1926). Lo is well versed in classical Chinese literature and arts of the brush, as well as in modern and postmodern literature and art. His poems have been published and translated into many languages, and Lo Ch'ing is regarded as one of the pioneers of post-modern poetry in Taiwan. He has also been a major innovator in ink painting, for which he has created a new visual vocabulary that deconstructs the classical forms of Chinese landscape by introducing into his compositions abstract and geometric elements as well as unexpected contemporary motifs.Lo Ch'ing's paintings are in several prestigious collections worldwide including the British Museum, London; The Royal Ontario Museum, Canada; The Saint Louis Art Museum, USA; Museum fur Ostasiatische Kunst, Berlin; National Taiwan Museum; Ashmolean Museum, Oxford; and Asia Society, New York.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A mixed lot to include glassware, flatware, picture and mixed ceramics together with a brush chrome ceiling lightLocation:

A CHINESE QING DYNASTY SANG DE BOEUF PORCELAIN BRUSH WASHER, six-character mark to base, 13cm diameter.

A CHINESE FAMILLE VERTE PORCELAIN BRUSH POT, painted with figures in an outdoor setting, 14cm high.

AN EARLY 20TH CENTURY CHINESE BLUE AND WHITE PORCELAIN BRUSH POT, decorated with figures, 17cm high.

A CHINESE FAMILLE ROSE PORCELAIN BRUSH POT, painted with a cricket and flora, the base with red character mark, (restoration), 20.5cm diameter.

A CHINESE FAMILLE VERTE PORCELAIN BRUSH POT, decorated with panels of figures, the base with six-character mark, 20cm high.

TWO CHINESE MOTHER OF PEARL INLAID BRUSH POTS.

A Chinese apple-green monochrome brush pot, Qianlong mark and of the Period, of rectangular section, standing on four feet, the base with Qianlong underglaze blue six-character seal mark, with labels for Sidney L. Moss, 81 Davies St, London, Radcliffe Collection 'C7' and collector's label 'K.W.W-B', 9.5cm high Provenance: Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive as purchased, circa 1969, and noted that Sidney Moss said 'K.W.W-B' label references the K. W. Woollcombe-Boyce Collection清乾隆 豆青釉"乾隆年制"款笔筒拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族档案编号C7），原来自英国K. W Woollcombe-Boyce收藏Condition Report: no damage or restoration showing under UV light except small area of minor glaze loss or circular glaze scratch 2mmx 2mm and surface scratches commensurate with age and typical firing blemishes Condition Report Disclaimer

Y Two large Chinese huanghuali brush pots, Qing Dynasty, one 16.4cm high and the other one 17.5cm high (2)Provenance: Property from a deceased estate清 黄花梨笔筒一组2件拍品来源： 英国显赫乡村大宅Condition Report: surface with worn and scratches commensurate with age, one brush pot with replaced base and two areas of old fillingsee additional images for visual reference to condition Condition Report Disclaimer

Y Three Chinese hardwood brush pots, Qing Dynasty, the largest 17cm high and the smallest 11.5cm high (3)Provenance: Property from a deceased estate清 硬木笔筒一组三件拍品来源： 英国显赫乡村大宅Condition Report: wood with cracks commensurate with agethe largest brush pot with filled cracks and discolourationsee additional images for visual reference to condition Condition Report Disclaimer

Y Two Chinese huanghuali brush pots, Qing Dynasty, each approximately 15cm high (2)Provenance: Property from a deceased estate清 黄花梨笔筒一组两件拍品来源： 英国显赫乡村大宅Condition Report: one with sun fading both with old stress cracks see additional images for visual reference to condition Condition Report Disclaimer

Y Two Chinese huanghuali brush pots, Qing Dynasty, 15.9cm high and 14.6cm high (2)Provenance: Property from a deceased estate清 黄花梨笔筒一组两件拍品来源： 英国显赫乡村大宅Condition Report: both with wear knocks and small chips and loss of original surface patina and larger with water stains both with age cracksthe smaller one with chip to feet see additional images for visual reference to condition Condition Report Disclaimer

Y Two Chinese huanghuali brush pots, Qing Dynasty, 15cm high and 14.5cm high (2)Provenance: Property from a deceased estate清 黄花梨笔筒一组两件拍品来源： 英国显赫乡村大宅Condition Report: 14.5cm brush pot with base plug a replacement ad three filled holes to the side and wit grove cut to upper rim the larger with slightly chipped rim and chipped plug on the inside and some marks to surface both with very minor stress cracks and scratches to surface Condition Report Disclaimer

Y Two Chinese huanghuali brush pots, Qing Dynasty, 14.8cm high x 12.5cm wide and 14 cm high x 12.5cm wide (2)Provenance: Property from a deceased estate清 黄花梨笔筒一组两件拍品来源： 英国显赫乡村大宅Condition Report: the taller brush vase with several small cracks to rim and chip to base rim and chip to rim the larger with surface marks and plug probably a replacement and several small cracks around rim and surface quite dry see additional images for visual reference to condition Condition Report Disclaimer

Y Three Chinese huanghuali brush pots, Qing Dynasty, 12.5cm high, 13cm high and 13.5cm high (3) Provenance: Property from a deceased estate清 黄花梨笔筒一组三件拍品来源： 英国显赫乡村大宅Condition Report: 12.5cm high pot with filled crack to side extending into base and some sun fading and water stains around base 13cm high chip to plug on inside and one side quite faded and long filled crack to side 13.5cm brush pot with chip to plug on underside and other very minor chips to rim and basesee additional images for visual reference to condition  Condition Report Disclaimer

Y Four Chinese huanghuali brush pots, Qing Dynasty, 14.5cm high, 13.5cm, 13cm high and 12.8cm high (4) Provenance: Property from a deceased estate清 黄花梨笔筒一组四件拍品来源： 英国显赫乡村大宅Condition Report: 14.5cm brush pot sun fading to surface cracks to base and side and water stains to rim and possible repair to burr on outside 13.5cm brush pot with replace base and a few small knocks13cm one filled crack to side and faded and stained surface and small crack to base 12.8cm pot with faded surface and water stains and crack to plug see additional images for visual reference to condition  Condition Report Disclaimer

Y Three Chinese huanghuali brush pots, Qing Dynasty, 13.8cm high, 13cm high and 10.5cm high (3) Provenance: Property from a deceased estate清 黄花梨笔筒一组三件拍品来源： 英国显赫乡村大宅Condition Report: brush pot 13.8cm high: extensive scratches to the surface and one big crack to the basebrush pot 13cm high: faded surface and a few cracked areas to the bottom of the body and filledbrush pot 10.5cm high: faded and stained surfaceall with dirt built up to the interior and wood with cracks commensurate with ageCondition Report Disclaimer

A Chinese burlwood brush pot, 19th or early 20th century, carved according to the natural form of the burlwood with a tight network of swirls on the surface, the rim and base both mounted with hardwood, 15cm highProvenance: Property from a deceased estate晚清民国 瘿木笔筒Condition Report: tiny chips to the rim of the burlwood under the rim band wear and scratches to the surfaceOne dented line of 4cm to the body and possibly natural wood flawCondition Report Disclaimer