We found 13124 price guide item(s) matching your search

A Chinese Famille Rose vase, Republican Period, painted with figures and precious objects and with calligraphy of poems and the artist, 58cm high 民國 粉彩人物博古圖詩題文雙耳大瓶 Condition Report: in good conditionsome light paint splashessome firing blemishes Condition Report Disclaimer

A Chinese Famille Jaune vase, Republican, painted with bird perched on a branch above flower including a large chrysanthemum, inscribed with three lines of calligraphy, 13.8cm high 民國 粉彩花鳥菊花紋筆筒 Condition Report: in good conditionCondition Report Disclaimer

A large Chinese 'Journey to the West' vase, 20th century, painted in iron-red, black and gilt with Xuanzang on horseback, the reverse with calligraphy including the artist's name, 36cm high 民國 粉彩西遊記圖瓶 Condition Report: the base with mark partly scratched away Condition Report Disclaimer

Late 20th century Jade calligraphy brush 39.5cm long

Korean School, 19th century, Lotus, ink and colour on fabric, 36cm x 25cm; and a Korean calligraphy silk scroll, 74cm x 42.5cm (2) Condition Report: extensive wear and damage to the edges of the lotus painting one rod of the scroll broken and silk with dirt and wearCondition Report Disclaimer

A large Chinese calligraphy screen, Qing Dynasty, framed but not glazed, picture size 93cm x 25.5cm清 《疊巘雲霞》書法立軸 Condition Report: extensive rubbing to the surfaceCondition Report Disclaimer

Deng Shiru (1743-1805), Calligraphy couplet, ink on paper, signed and with two seals of the artist, scrolls, picture size 113cm x 30.5cm鄧石如（1743-1805）書法對聯一對 Condition Report: extensive creasing to paperCondition Report Disclaimer

Y&nbspA set of five Chinese lacquer mother-of -pearl inlaid dishes, Kangxi, 17th-18th century, delicately inlaid with two ladies in a garden or on a pavilion terrace, the bases each with two lines of poetry calligraphy, brown borders, the central black lacquer panels 8.5cm x 8.5cm and overall including brown lacquer borders, 11.2cm diameter, Japanese wooden box (5) 清康熙 黑漆嵌螺鈿人物圖盤一組共五件 Condition Report: in overall very presentable condition with the mother of pearl inlay in tact but with some cracking to black lacquer panels see additional images for visual reference to condition one with small glued repair visible in one corner Condition Report Disclaimer

Yūzen Gentatsu (1842-1918), Takeda Mokurai (1854-1930)A Japanese painting with calliraphy, ink on paper, mounted as hanging scroll, painted by Yūzen Gentatsu depicting Daruma with inscription, signed Sanshō bun with three seals of the artist; calligraphy to the right side by Takeda Mokurai, signed Tozan Sahen tei with three seals of the artist.87 x 30.5cm, with a fitted wood box.cf. Yūzen Gentatsu, also  was the 564th abbot of Myoshin-ji, Kyoto, and a  Zen master of Bairin-ji in Fukuoka, Japan. Takeda Mokurai was a student of Yūzen Gentatsu, studied with him for 7 years. Condition Report: Minor creasing to the painting, flaking to the cinnabar lacquered scroll ends commensurate with age.

Shodo Harada (1940 - )A Japanese Zen calligraphy, ink on paper, mounted as hanging scroll, with three seals of the artist.134.5 x 34cm, with fitted box.cf. He was born into a Zen temple in Nara, Japan, started religious training in 1962 under Rinzai Zen master and Japanese calligrapher Mumon Yamada, from whom he received Dharma transmission.Condition Report: With very faint creasing to the calligraphy, generally in good condition.

A temple calligraphy by Sōtō Zen MonkThe calligraphy, ink on paper, mounted as hanging scroll, written with honorific names of Buddhist figures including Śākyamuni to the column in the middle, Eihei Dōgen to the left and Bodhidharma to the right, signed Eshō with two seals.135.5 x 60.5cm, with wood box. Condition Report: Creasing and very faint foxing to the calligraphy, slight staining to the mount. One of the scroll ends is detached but not missing.

Ōtagaki Rengetsu (1791 - 1875)A Japanese calligraphy, ink on gold freckled paper mounted as hanging scroll, signed Rengetsu to the bottom left corner.20.5 x 17.5cm, with fitted wood box.cf. Ōtagaki Rengetsu had a wealth of life experience, adopted by the Ōtagaki family and was well trained in martial art, as well as served the castle till the age of 14 where she learnt the art of the polite including calligraphy and go. She is also a potter, a poet and a well rounded scholar who was a close associate with Tomioka Tessai, a Japanese master in painting who's paintings are also featured in this sale.Condition Report: Fraying, creases, slight staining and foxing to the calligraphy, creases to the mount.

Shaku Sōen (1860 - 1919)A Japanese painting with calligraphy, ink on paper, mounted as hanging scrolls, painted with side profile of Daruma looking up to the inscription atop of him, signed by the artist with three seals.66 x 47cm, with fitted wood box.cf. Shaku Sōen, or Kōgaku Shaku Sōen, was a rōshi of the Rinzai school and was abbot of both Kenchō-ji and Engaku-ji in Kamakura, Japan. He was on of the first Zen Buddhist masters to teach in the United States. Condition Report: Slight staining, creasing and foxing to the painting, yellowing, fraying and staining to the top section of the back of the mount, commensurate with age.

Banryō (Banryu) Zenso Matsubara  (1848 - 1935)A Japanese painting with calligraphy, ink on silk, mounted as hanging scroll, depicting Daruma with large rolled up eyes under bushy eye browns, inscribed to the top section with signature of the artist and three seals.126.5 x 41.5cm, with fitted wood box.cf. Banryō Zenso Matsubara was born in Gifu prefecture and was a priest of the Rinzai sect. Condition Report: Very faint foxing to the painting, and minute staining to the back of the painting, staining and marks to the top section of the mount, one of the scroll ends is dethatched but not missing.

Attributed to Matsuo Bashō (1644-1694)A Japanese calligraphy, ink on paper mounted as hanging scroll, signed by the artist with two seals.83 x 25cm, with fitted wood box dated 1950.Condition Report: Creases to the calligraphy, an area of fraying of approx. 9cm across to the calligraphy, browning of the paper commensurate with age.

Seki Bokuō (1903 - 1991)Each with ink on paper, mounted as hanging scroll, signed by the artist with seals.93 x 27cm; 109.5 x 32cm; 109.5 x 32.5cm, each with a wood box. (3)cf. Seki Bokuō was a Zen Buddhist, priest, the chief abbot of Tenryu-ji of the Rinzai sect in Kyoto. He was the 241st chief priest of the temple. His known disciples include Ōmori Sōgen, Seikō Hirata, and Arakane Tenrin.Condition Report: 1. Yellowing to the top of the mount, creasing to the bottom left corner of the calligraphy. 2. Minor foxing to the calligraphy and foxing to the back of the mount.3. Minor foxing to the calligraphy and the back of the mount.

Ajioka Ryokai (1903 - 1988)A Japanese calligraphy, ink on paper, signed with two seals of the artist and another seal.116 x 32.5cm, with fitted wood box.cf. Ajioka Ryokai, of of Kumamoto prefecture, a monk of Japanese Shingon sect, he was the 57th abbot of Saga Daikyakuji Temple in Kyoto, Japan.Condition Report: Minute foxing to the calligraphy, slight creases to the calligraphy and mount. Both wooden scroll ends are dethatched, one missing.

Soko Shuntaku (D. 1694)A Japanese calligraphy, ink on paper mounted as hanging scroll, with two seals of the artist and one other seal.33 x 53cm, with fitted wood box.cf. Shuntaku Soko was the 201st abbot of Daitokuji Temple, Kyoto, Japan.Condition Report: Creases, minor foxing, tiny worm holes to the calligraphy, larger worm holes fraying and water staining to the mount.

A Chinese Yixing red-clay 'calligraphy' teapot and cover20th centuryOf tapering square form, one side decorated in shallow relief with calligraphy in seal script, the base with impressed four-character mark 'Yixing zisha', the interior of the cover also stamped 'zisha'.16.5cm wide.二十世紀 宜興鐘形壺，「宜興紫砂」款Condition Report: Expected old wear and nibbling to edges. Small nibble to underside of spout.

Three Chinese enamelled bowls, covers and stands, and an Yixing teapotLate Qing dynasty - 20th century, one cover with Daoguang mark and of the period, the others with apocryphal marksComprising: a famille rose cover with a lady Immortal and boy attendant on a log raft, with iron red Daoguang four-character seal mark, with associated floral bowl with apocryphal Qianlong mark, and Wushuang pu stand; a famille rose floral bowl with knot mark to base, associated fluted cover with apocryphal iron-red Qianlong four-character seal mark, and associated base; and an iron-red-ground and green scrolling lotus bowl, cover and stand, the bowl and cover both with apocryphal iron-red Tongzhi seal marks within double square, the Yixing teapot with liner, with moulded calligraphy cartouches around the exterior and an impressed seal mark to the base.The bowls, 10.5cm - 12.5cm diameter (3).清晚期 - 二十世紀 彩繪瓷器一組及宜興茶壺一件Condition Report: Daoguang cover with approx. 7cm wide U-shaped rim section broken off and restuck. Nibbling to edges, surface wear and firing imperfections to bowl and stand.Knot-marked floral bowl with large chip to foot; the cover with two short rim hairlines and a network of hairlines to the foot.The teapot with nibbling to edges, missing cover, otherwise good.All with expected surface wear, running to enamels, nibbling/small chips to edges, and expected firing imperfections.

A Chinese inscribed teapot and and a woven basketQing dynasty, Tongzhi period and later, Tong Zhi gui you nian zhi markThe teapot of cylindrical form, containing a strainer to the inside atop a cover with short finial, with two pierced plaques issuing from the shoulder, inscribed in grisaille and iron red with calligraphy, iron red Tong Zhi gui you nian zhi mark to base; the basket with a bamboo handle and a circular cover applied to the surface with lacquer.teapot 10.5cm high, basket 37cm high. (2)清同治及更晚 墨彩提樑壺，礬紅楷書「同治癸酉年製」，連竹編提籃Condition Report: Teapot in good condition, with wear to the enamel commensurate with age.Basket with wear and flaking the surface lacquer, otherwise good condition.

Group of four tea bowlsChineseincluding a yellow enamel bowl with red painted Xuantong mark, diameter, a Doucai bowl painted with bats and clouds with a blue Guanxu mark, 8.4cm diameter, a pink and enamel tea bowl, 8cm and a white ground tea bowl painted with calligraphy and a red seal, 6.8cm (4) Small chips on the pink bowl and the calligraphy tea bowls.Slight wear to the other two.

Pale blue glass cylindrical perfume bottle and coverChinesewith taotie designs, calligraphy to the cover and an incised Qianlong seal mark, 6cm high x 3.8cm diameter A few light scratches to the surface.

Collection of books on Chinese Art to include a folio size 495 page Royal Academy of Arts catalogue, edited by Evelyn S Rawski and Jessica Rawsonm entitled CHINA 'The Three Emperors' 1662-1795, well illustrated in colours with a wide range of Chinese Art and descriptionsAnthology of Chinese Art, and exhibition book on Arts of Asia held regularly by the Hong Kong Museum of Art, 1985, covering painting and calligraphy on scrolls and fans etc, ceramics from Han to Qianlong Period and metal, hard stones and enamels etcR. Soame Jenyns, assisted by William Watson F.S.A on Chinese Art, 'The Minor Arts II' covering textiles, glass and painting on glass, carvings on ivory and rhinoceros horn, hardstone snuff bottles, ink stones and cakes, printed in Switzerland Office du Livre, Fribourg 1965a large format book on Chinese Art, The Palace Museum Peking, 'Treasures of the Forbidden City' by Wan-Go Weng / Yang Boda Publishers New York 1982and a mint condition two-cased volume issue by Wang Shixiang, Connoisseurship of Chinese Furniture from Ming and Early Qing Dynasties, Art Media Resources, Ltd., 1990 (10) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

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

A Chinese ink rubbing of the Thirty-seven poems by Chairman MaoInk rubbing on paper bound with thread, calligraphy by Guo Moruo written in 1964, celebrating the 15th anniversary of the establishment of the People's Republic of China.28cm x 16cm x 2cm.《毛主席詩詞三十七首》拓片，郭沫若書版

A Chinese paktong inscribed square ink box, late 19th/early 20th century, engraved with a four character mark and two columns of calligraphy, 9.2cm wide

Ca. 900 AD.A gold pendant with calligraphy around the edge and an intricate openwork frog in the centre. It comes from 9th-century Andalusia during the Islamic Golden Age when Arab Andalusians made significant contributions to arts and sciences, influencing European intellectual traditions. It comes with a full authentication report. Size: L:30mm / W:25mm ; 5.82g Provenance: Private UK collection; formerly in the collection of Mr. R. Unger; previouslywith a London gallery; acquired in the 1980s on the UK art market. This item has been checked against the Art Loss Register database.

A LARGE CHINESE CULTURAL REVOLUTION PORCELAIN VASE Painted with industrial workers in a snow storm, a passage of calligraphy to the reverse, inscribed to base Jingdezhen Art Porcelain Factory 44.5cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A Chinese folding fan, Republic period (1912-1949), painted with literati playing go in a pavilion by a river in a landscape, inscribed, dated year of Wuzi (1948), signed by Chen Da (1892-1975) with an artist's seal, the reverse with a calligraphy by Ma Gongyu (1890-1969), signed with three artist's seals, open 46cm longguards 32.5cm long陈达/马公愚 高士图/书法 设色/水墨纸本 成扇 一九四八年作铃印：陈达、書畫傳家三百年、公愚書畫、冷翁Condition ReportFan with creasing marks, small tears and pin holes to edges. Bamboo warped.

A Chinese part hand scroll,with a calligraphy inscription in running script, dated year of Gengzi with two red seals of Qianlong, ink on paper,overall 261 x 39cm乾隆款 行书 水墨纸本 手卷Condition ReportCreasing and cockling throughout.Staining marks to the bottom edge.

'A Gift of Heritage: Selection from the Xubaizhai Collection of Chinese Painting and Calligraphy',two volumes in a slipcase, by the Urban Council, Hong Kong,1992,'Chinese Porcelain: The S C Ko Tianminlou Collection',two volumes in a slipcase, by the Hong Kong Museum of Art, presented by the Urban Council, Hong Kong, 1987,'The Signature Book of Netsuke, Inro and Ojime Artists in Photographs',published by Reed Publishers, USA, 1976,'Ming Ceramics in the British Museum',by Jessica Harrison-Hall, published by the British Museum Press, 2001 (6)Condition ReportTianminlou - cover faded and stained, sleeve with tears. Binding worn.Ming ceramics - binding with tear, knocks to cover.Overall good condition.

A Chinese calligraphy couplet, 20th century, in seal script, with a dedication and signature of Huang Binghong (1865-1955) with three artist's seals, ink on paper, each 169 x 29.5cm (2)Condition ReportPaper with creasing and cockling, small tears to edges, foxing, staining and dirt marks in various locations.

A Chinese calligraphy, 20th century, of a quotation from Chairman Mao in running script, with the signature of Guo Moruo (1892-1978) and an artist's seal, ink on paper, 47.5 x 79.5cmCondition ReportPaper with creasing and cockling, small tears to edges, foxing and staining marks in various locations.

A Chinese calligraphy, 20th century, of the Heart Sutra in slender gold script, with signature of Qi Gong (1912-2005) with two seals of the artists ‘Yuanbai' and 'Qi Gong Si Yin', red ink on paper, 13 x 76.5cmCondition ReportCockling and creasing in various locations.

A Pair of Cantonese Porcelain Vases, 19th century, moulded to the necks with mythical beasts decorated in gilt, painted famille rose enamels in typical fashion with panels containing figures, birds and flowers, 14cm high, together with a pair of Republic period vases in Qianlong style, another modern square section vase painted with landscapes and calligraphy, two metal mounted wine ewers painted in underglaze blue, a box and cover and a carved hardstone model of a tree (one tray)Some wear to each of the ceramic pieces but no major damage or losses, the hardstone tree does have some elements lacking and heavier wear

ZHU RUINING (ACTIVE CA. QING DYNASTY, 18TH-19TH CENTURY) INK PAINTING OF TWO LADIES WRITING CALLIGRAPHY 清 朱瑞凝 仕女練字圖 紙本設淡色 木框款識: 朱瑞凝鈐印: 瑞、凝 ink and colour on paper, depicting two ladies writing calligraphy at a rock-form table within a garden setting with dense plantains, the table with various calligraphy materials atop, including an ink stone, brush washer and a brush pot filled with paper scrolls and brushes, signed and sealed Dimensions:85cm x 30.7cm Provenance:Provenance: Private English collection, London; acquired from Galeri Gerard Levy, 17 Rue de Beaune, 75007 Paris, about 30 years ago, with a certificat d'authenticite issued and signed by Gerard Levy. Note: Note: Zhu Ruining, style name Ji Tang, was from Shanyin, Zhejiang, known for depicting figures, especially ladies.

INK RUBBING OF "THE PREFACE OF XUANZANG'S HOLY TEACHINGS" SONG TO MING DYNASTY 宋至明 《宋拓懷仁集王書〈大唐三藏聖教序 〉》水墨紙本 活頁 夾板鈐印: 張景桂印、字番銓號丹厓、休陽芳溪程氏▢木居士珍藏、▢甫審▢原搨、溉梅書屋珍藏 ink on paper, 54 leaves mounted in a pair on 27 loose-folded silk boards, collectors' seals, wooden covers Dimensions:each rubbing approximately 24.4cm x 13.5cm Provenance:Provenance: Private collection, London; has been through three collectors, before being acquired by the current owner's father. Note: Note: This is a preface composed by Emperor Taizong of Tang (598AD-649AD) for Xuanzang's (602AD-664AD) publication in the calligraphic style of Wang Xizhi (303AD-361AD) collected by Huai Ren the monk. The summary of the composition of this work is explained on the first leaf of this ink rubbing.Xuanzang was a 7th-century Chinese Buddhist monk, scholar, traveller, and translator. He famously travelled to India bringing Buddhist texts to China. On his return in 645AD, Xuanzang was greeted with much honour by Emperor Taizong of Tang. He retired to the Hongfu Monastery in the then Chang'an City (now Xi'an) and devoted his energy to translating Buddhist texts until his death in 664AD. In celebration of Xuanzang's extraordinary achievement in translating the Buddhist texts, Emperor Taizong of Tang composed the content of the ink rubbing in this lot, entitled 'Da Tang San Zang Sheng Jiao Xu'- The Preface of Xuanzang's Holy Teaching. There was a monk, Huai Ren, of the Tang dynasty who also lived in the Hongfu Monastery. He spent about twenty years collecting the famous Chinese calligrapher and writer during the Jin dynasty, Wang Xizhi's calligraphy by each word of Emperor Taizong's 'Preface of Xuanzang's Holy Teaching', coming out with this collection of ink rubbings. Together with this lot is a written note dated 9 Sep 1972 attributed to Ge Jieping (1912-1999), a contemporary calligrapher, painter, epigrapher, poet, and connoisseur of cultural relics, calligraphy and painting. Ge transcribed the collectors' seals and attributed the first collector of this ink rubbing is Zhang Jinggui of the Ming dynasty. A comparable example with extensive collectors' annotations is in the National Palace Museum, Taipei, object no. Zeng Ta 贈拓367N.

INLAID-IRON TESTUBIN (TEA KETTLE) WITH SWALLOW AND REEDS MEIJI PERIOD 明治 龍文堂造刻款 錯金銀秋雁蘆荻圖鑄鐵壺 cast in iron and of slightly tapered cylindrical form with a short spout, the body decorated in silver and gold nunomezogan with flying swallows and reeds, the upper edge and lower waistline presented with an erosion design and rocky lines, the handle adorned with a pair of swallows in silver, the bronze cover finished with a flower-bud finial and signed on the underside Ryubundo zo Dimensions:16.5cm wide; 1350g Provenance:Provenance: Private English collection, Perthshire Note: Note: Ryubundo is one of the leading studios in the Japanese Metalware industry. With many classic and significant masterpieces passing down through generations, Ryubundo kettles are produced with the highest standard of craftsmanship, and with precious materials. From the founder of the studio, Shiho Ryubun (1735-1798), every successive director of the studio Ryubundo were talented not only in metalworking, but also in painting, calligraphy, and poetry. Therefore, the aristocratic, literatic tastes are the main features of Ryubundo tetsubin. From the middle of the Edo Period (1603-1868) when tea culture was popular everywhere in Japan, the development of Ryubundo reached a boom, and this boom continued to the latter Meiji Period (1868~1912). The studio was mentioned in the ironic novel by the famous Japanese writer Natsume Soseki, I Am a Cat. The sentence writes “those people living a luxurious life would lose their sleep if they could not hear the sound made by the lid of Ryubundo iron kettles when water is boiling.”A closely comparable Ryubundo iron testubin of similar form and technique, but with butterfly decoration, was sold at Bonhams New York, 15 March 2017, lot 6300.

OTAGAKI RENGETSU (1791-1875) SET OF FIVE INSCRIBED STONEWARE SAKE CUPS 大田垣蓮月 京焼・杯 共箱（共五件） each carved on the exterior with poem, covered in a ivory tinged glaze with fine craquelure, with inscribed and sealed tomobako Dimensions:heights: 3.7cm to 3.8cm Provenance:Provenance: Private collection, London; acquired from Ura Art Museum Co., Ltd., Osaka, Japan Note: Note: Ōtagaki Rengetsu is probably the most famous female artist of the 19th century in Japan, especially known for her excellent skills in calligraphy and pottery. She was born the illegitimate daughter of a samurai from the Tōdō family. Soon after her birth, she was adopted by Ōtagaki Mitsuhasa, who worked at Chion'in, an important temple of the Jōdo (Pure Land) school in Kyōto. In 1798, after losing her mother and brother, she was sent to serve as a lady-in-waiting at Kameoka Castle in Tanba, where she was taught classical poetry, calligraphy, and martial arts. At only 33 years of age, she had already experienced some fateful years in her life, losing two husbands and all five of her children. She then decided to shave her hair and take Buddhist vows, taking the name Rengetsu (Lotus Moon). During this time, she lived with her stepfather near Chion'in Temple. After his death in 1832, Rengetsu began making her extraordinary pottery, which she usually inscribed with her own waka (31-syllable classical poetry) and sold to support herself. With her unique combination of pottery, calligraphy, and poetry, Rengetsu gained recognition far beyond the borders of Kyōto during her lifetime.

OTAGAKI RENGETSU (1791-1875) SET OF FIVE INSRIBED STONEWARE PLATES 大田垣蓮月 京焼・杯 共箱（共五件） each inscribed on the interior with poem, covered in a ivory tinged glaze with fine craquelure Dimensions:diameters: 12.6cm to 13cm Provenance:Provenance: Private collection, London; acquired from Wutai Co. Ltd., Yufu City, Oita Prefecture, Japan Note: Note: Ōtagaki Rengetsu is probably the most famous female artist of the 19th century in Japan, especially known for her excellent skills in calligraphy and pottery. She was born the illegitimate daughter of a samurai from the Tōdō family. Soon after her birth, she was adopted by Ōtagaki Mitsuhasa, who worked at Chion'in, an important temple of the Jōdo (Pure Land) school in Kyōto. In 1798, after losing her mother and brother, she was sent to serve as a lady-in-waiting at Kameoka Castle in Tanba, where she was taught classical poetry, calligraphy, and martial arts. At only 33 years of age, she had already experienced some fateful years in her life, losing two husbands and all five of her children. She then decided to shave her hair and take Buddhist vows, taking the name Rengetsu (Lotus Moon). During this time, she lived with her stepfather near Chion'in Temple. After his death in 1832, Rengetsu began making her extraordinary pottery, which she usually inscribed with her own waka (31-syllable classical poetry) and sold to support herself. With her unique combination of pottery, calligraphy, and poetry, Rengetsu gained recognition far beyond the borders of Kyōto during her lifetime.

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

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

A CARVED AGATE 'SAGES' SNUFF BOTTLE19th century Of flattened globular form surmounted by a short cylindrical neck, carved on one side with two seated sages and a boy-attendant amongst rockwork, continued on the reverse with two birds perched on a leafy branch, incised in cursive calligraphy with an inscription, the stone of semi-translucent grey tone with dark chocolate-brown inclusions cleverly worked to enhance the details, agate stopper and tortoiseshell spoon. 5cm (2in) high. (2).Footnotes:十九世紀 巧雕瑪瑙刻詩文鼻煙壺Provenance: a French private collectionAn English private collection, acquired in 1970, and thence by descent來源：法國私人收藏英國私人收藏，獲得於1970年，並由後人保存迄今The inscription reads: 且吸杯中月Which may be translated as:To drink the moon in the cupThis line comes from the Song dynasty scholar Su Dongpo's (1037-1101) poem 'On a Moonlit Night Drinking Wine with a Guest below the Apricot Blossoms' (月夜與客飲酒杏花下).Compare with a similar inscribed agate snuff bottle, 1730-1840, which was sold at Bonhams Hong Kong, 28 May 2010, lot 82. See also another similar agate snuff bottle with two sages and four-character inscription, 1760-1800, which was sold at Bonhams London, 8 November 2004, lot 45.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

A RARE WOODBLOCK PRINT OF LADIES AND BOYCirca 1750-1800 Ink and colours on paper, depicting a boy carrying a blue vase issuing a cloud with five bats, behind him an elegant lady sits beside a table, her sleeves decorated with orchids, her left hand raised, behind her another elegant lady stands before a table with vases and antique vessels, collector's seal of van Gulik. 96cm (37 3/4in) long x 46.5cm (13 1/2in) wide.Footnotes:約1750-1800，版畫美人嬰戲圖Provenance: R.H.van Gulik (1910-1967), acquired in 1936, and thence by descent來源：高羅佩（1910-1967）獲得於1936年，並由後人保存迄今Robert Hans van Gulik (1910-1967), also known as Gao Luopei (高罗佩) was a famous Dutch diplomat, musician, writer and sinologist. He was a great admirer of traditional Chinese literati culture and apart from practicing Chinese calligraphy everyday (the cover of the box on the present lot was written by him), he also learnt to play the guqin, of which, the present lot was said to be his favourite instrument. The guqin was often played by van Gulik at diplomatic events, helping him to forge close ties with China's elite; and his book The Lore of the Lute was the first academic study of the instrument and its role in Chinese culture, introducing it to a Western audience for the first time. Van Gulik was one of the rare and great sinologists at the time who embodied the literati ideal and through his rigorous study and translations of classical Chinese texts allowed Chinese culture to speak for itself, acting as a bridge of understanding between East and West.Van Gulik was born in Zutphen in the Netherlands, but from the age of three he lived in Jakarta, with his father who was a medical officer in the Dutch East Indies. While there, he learned Indonesian and Chinese as well as other languages. In 1935, van Gulik earned his PhD from Utrecht University with a dissertation on Hayagriva, the Mantrayanic aspect of Horse-cult in China and Japan. His linguistic skills allowed him to have a position in the Dutch Foreign Service from 1935 where he was largely based in Japan and China. During the Second World War he was with the Dutch mission in Chongqing. While in Chongqing, he married Shui Shifang (1912-2005), the daughter of a Qing dynasty official.Van Gulik was a polymath with broad interests and expertise. Aside from his interests in the guqin and traditional Chinese culture, van Gulik was a writer of Detective fiction. His 'Celebrated Cases of Judge Dee' (first published in Tokyo in 1949, with illustrations by himself) was based on the 7th century statesman and detective Di Renjie. Based on this, his earned a reputation as an expert on Imperial Chinese jurisprudence. His other pioneering scholarly works were in sexuality and his Sexual Life in Ancient China and Erotic Colour Prints of the Ming Period are still major reference works in the field. Van Gulik was also an enthusiast of gibbons and kept them as pets as well as writing a study of them: The Gibbon in China.Compare with two rare Suzhou prints of ladies with children, 18th century, which were sold at Bonhams New York, 10 September 2018, lot 216. See also a rare set of three Suzhou prints, Qianlong, by Guan Ruiyu, which were sold at Bonhams London, 5 November 2020, lot 128.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

HAKUIN EKAKU (1685-1768)The Poet Hitomaro Edo period (1615-1868), mid-18th century Kakejiku (hanging scroll), ink on paper in silk mounts, depicting the poet Hitomaro, the image (except the detail of his face) made up of script elements from one of his poems, with another poem to the left (see below); with three seals: one Rinzai Shoshu, two unread; with a fitted wood tomobako storage box inscribed outside Hakuin Osho bokuseki Hitomaru zu (An Ink Painting of Hitomaru by Priest Hakuin) and inscribed inside Higashiyama Sahen daiga (Inscribed by Higashiyama Sahen). Overall: 109cm x 69.6cm (43in x 27 3/8in); image: 32.5cm x 54.5cm (12¾in x 21½in) (2).Footnotes:Kakinomoto no Hitomaro (also Hitomaru, circa 662-709), the most famous Japanese poet of the earliest period, has been depicted in art since the Heian period (794-1185) and his basic posture, seated in court robes and holding a brush, was established in 1118 by a portrait (no longer extant) that has served as the model for all subsequent depictions. Hakuin always painted the poet as amoji-e (picture made of writing) using both Chinese characters and the more flexible Japanese hiragana syllables from one of Hitomaro's most famous poems: Honobono to / Akashi no ura / no asagiri ni / shimagakureyuku / fune o shi zo omou that was memorably translated in 1919 by Arthur Waley whose English version exactly reverses the line-order of the original: My thoughts are with a boat / Which travels island-hid / In the morning-mist / Of the shore of Akashi— / Dim, dim!. The punning poem to the left, also seen in most if not all of Hakuin's Hitomaro paintings, reads: Shobo wa / kaki no moto made / kitaredomo / Akashi to ieba / koko ni hi tomaru, translated by Addiss and Seo (cited below): The destructive fire / reached / Kakinomoto— / but when we called out 'Akashi' / it stopped there. For a discussion of Hakuin's Hitomaro images, see Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, Boston, Shambhala Publications, 2010, pp.193-197.Hakuin painted this image many times with only slight variations but there is an especially similar example in the collections of Hanazono University Historical Museum, Kyoto, see iriz.hanazono.ac.jp/k_room/k_room01e2.htmlThe storage box was inscribed by Higashiyama Sahen, better known as Takeda Mokurai (1854-1930), a highly influential Zen master who emphasized, like Hakuin, that Zen enlightenment cannot be rushed and requires years of diligent patience and discipline before the final breakthrough is achieved.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

TWO METAL YATATE (PORTABLE BRUSH AND INK CONTAINERS)Edo period (1615-1868) or Meiji era (1868-1912), 19th centuryThe first miniature, bronze and shakudo decorated with an all-over design of trailing kikyo (Chinese bellflower), unsigned, 5.2cm (2in) long, with a plain wood storage box; the second of bronze and brass, modelled in the form of a calligraphy brush, unsigned, 15.5cm (6 1/8in) long. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE CLOISONNÉ ENAMEL AND GILT-BRONZE 'DOUBLE SCROLL' 'TROMPE-L'OEIL' BRUSHPOT, BITONGQianlongThe vessel ingeniously simulating in its form two scrolls bound together with a ribbon, the smaller scroll decorated with multi-coloured chrysanthemums within a honeycomb pattern, with further flowers scattered above, the large scroll decorated with further stylised florettes against a wan-diaper pattern ground enameled turquoise blue, the 'ribbon' dark blue with green foliate scroll tied with a bow, the gilt base flat. 9.5cm (3 3/4in) high.Footnotes:清乾隆 銅胎掐絲琺瑯捲軸式筆筒Provenance: Spink & Son Ltd., London, 1987Published, Illustrated and Exhibited: Spink & Son Ltd, The Minor Arts of China, London, 1987, no.101.S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.154-155.來源：倫敦古董商Spink & Son Ltd.，1987年展覽著錄： Spink & Son Ltd,《The Minor Arts of China》，倫敦，1987年，編號101S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第154-155頁Scrolls, repositories of learning and art, whether containing calligraphy, a painting or texts, perfectly encapsulate the ideals of the scholar-literati. Indeed, the Four Arts of the Scholar were qin (the zither), qi (chess), shu (calligraphy), hua (painting). In this rubric, scrolls usually come to signify calligraphy and painting. It would have been entirely suitable therefore, for a brushpot in the form of scrolls to adorn the desk of a scholar. The literati appreciated the value of 'play' (wan 玩) however, and so-called 'scholar's objects' can be termed in Chinese as wenwan (文玩), or 'literati playthings'. The trompe-l'oeil effect of a brushpot formed as two beribboned scrolls entirely fits this aesthetic of elegant fun and would have delighted the eye of the scholar. See a cloisonné enamel guqin-shaped box and cover, Qianlong, in the Victoria & Albert Museum, London (acc.no.M.782BOX-1910). See also a cloisonné enamel box of scroll and brocade form, mid Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections of the Palace Museum: Enamels, vol.4, Beijing, 2011, p.161, no.112. Compare also with a related cloisonné enamel 'double scroll' brushpot of similar form, for which the present lot was probably the earlier prototype, late Qing dynasty, illustrated in ibid., p.364, no.294.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A DOCUMENTARY BLUE AND WHITE BRUSHPOT, BITONGChongzhen, cyclically dated to the Guiwei year corresponding to 1643 and of the periodThe tall cylindrical vessel painted in vibrant tone of cobalt-blue with a fan-shaped panel containing a landscape with mountains and river, separated by two sections of calligraphy, and a large leaf, all between incised rims on the foot and mouth. 15cm (5 3/4in) high.Footnotes:明崇禎1643年 青花開光山水圖詩文筆筒Provenance: Berwald Oriental Art Ltd., London, 23 April 1999Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.102-103.來源：倫敦古董商Berwald Oriental Art Ltd.，1999年4月23日著錄： S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第102-103頁The inscription on the present lot reads:湖上扁舟能藉我載將詩思去尋僧癸未季孟夏月吉日寫Which may be translated as:I hope to borrow a skiff on the lake and carry my poetic feelings on board, when I visit the monk.Written on an auspicious day of the first half of Summer of the Guiwei year [1643]The poem does not appear to be recorded, but is similar to one written by Ni Qian (1415-1479) in the Siku quanshu, who was sent on a diplomatic mission to Korea in 1450 and exchanged poetry with Korean scholars. The year in which this brushpot was made was a time of unrest and turmoil for the ailing Ming dynasty, which would collapse the following year in 1644. Many scholars and gentry would have indeed dreamt of becoming a monk and living in the mountains away from the troubles of the world. The decoration of the leaf may also have a subtle comment. Other dishes decorated with large leaves ostensibly praise the seasons. One blue and white saucer dish in the Butler collection, decorated with a large leaf however, makes a less subtle political comment:梧桐一叶落，天下尽皆秋Once the first leaf of the wutong tree falls, it is autumn everywhere under heavenThe decoration of leaves therefore, may have been subtle political symbols of the autumn years of the Ming dynasty. See three blue and white dishes, decorated with leaves, Shunzhi/Kangxi, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain p.287, nos.III.3.34-35, and p.392, no.III.4.34.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A FINE BLUE AND WHITE 'ODE TO THE RED CLIFFS' SQUARE VASEJiajing six-character mark, KangxiRobustly potted with four tapering sides surmounted by a waisted cylindrical neck with flaring mouth-rim, the body painted in bold tones of cobalt-blue with two scenes of a boat beside cliffs, the moon reflected in the water, two sides with calligraphy. 54cm (21 1/4in) high. Footnotes:清康熙 青花「赤壁賦」方棒槌瓶青花「大明嘉靖年製」楷書款Provenance: Robert McPherson Ltd., London, 11 July 2006來源： 倫敦古董商Robert McPherson Ltd.，2006年7月11日When the Song dynasty literatus Su Dongpo (1037-1101) was first sent to Huangzhou in exile for opposing reformist policies at court, he passed by the supposed site of the naval battle of the Red Cliffs (208 AD) during the Three Kingdoms period. It was here, purportedly, that that the powerful northern warlord Cao Cao was defeated by Liu Bei, virtuous scion of the Han dynasty, who dreamt of reuniting China but ultimately failed. Su wrote the two poems on the Red Cliffs commemorating the valour and bravery of the historical heroes that fought in the battle long past, while also voicing his own sense of nostalgia, loss and receding into the pages of history. His poems have since entered into the Chinese literary canon and are a continuously popular motif for artists and poets; see R.Egan, Word, Image, and Deed in the Life of Su Shi, Cambridge MA, 1994, pp.221-228.A similar blue and white 'Red Cliff' square vase, Kangxi, is in the Shanghai Museum, illustrated in Kangxi Porcelain Wares, Hong Kong, 1998, pp.42-43, pl.31; another very similar blue and white vase, is illustrated by J.B.Curtis, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, New York, 1995, p.84, no.26. Compare also with a similar blue and white square vase with landscapes and poems, Kangxi, illustrated in Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections: Beauty's Enchantment, Shanghai, 2005, pp.276-277. Another very similar square blue and vase, with the same decoration, Kangxi mark and period, is in the Carnegie Museum of Art (acc.no.73.48.82).Compare with a related blue and white 'Romance of the Western Chamber' square vase, Kangxi, which was sold at Bonhams London, 3 November 2022, lot 24.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A DOCUMENTARY ENAMELLED 'LANDSCAPE' BRUSHPOT, BITONGSigned Li Minglan and Huang Zhichong, cyclically dated to the Gengyin Year corresponding to 1890 and of the periodThe cylindrical vessel enamelled around the exterior with a scene of mountains dotted with various trees and pavilions, all beside large bodies of water, calligraphic inscription, the mouth rim gilt. 13cm (5 1/8in) high.Footnotes:庚寅年(1890年) 李明嵐及黃志崇款淺绛彩山水圖筆筒 Provenance: Peter Wain Oriental Art, Anglesey, 17 October 2002Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.272-273 來源：古董商Peter Wain Oriental Art，安格爾西島，2002年10月17日著录：S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第272-273頁The present lot was decorated by Li Minglan who was active during the Guangxu period (1875-1908), and inscribed by Huang Zhicong with his name beside the calligraphy. The inscription reads:扁舟一棹, 維庚寅建午月，仿白易山人之筆法。李明嵐Which may be translated as:An oar and sampan, done in the Gengyin Year (1890), imitating the brushwork of Bai Yingshan. Li MinglanBai Yingshan (白易山人) is the hao or nom de plume of Chen Chun 陳淳 (1483-1544), a famous painter from Suzhou. Born into a wealthy family of scholar officials, he originally studied calligraphy from Wen Zhengming (1470-1559), one of the Four Masters of the Wu School, but later broke away to create his own distinctive style with a strong influence of Mi Fu (1051-1107) from the Song dynasty. The inscription's reference to this artist reflects how craftsmen in the late Qing dynasty became more strongly influenced by classical models of painting, especially those of the Yuan and Ming dynasties. The influence of classical painting on porcelain led to a style known as qianjiang or 'pale umber', because the decorated porcelain resembled paintings done with ink on slightly warm-toned paper or silk. The inclusion of the artist-craftsmen signatures - Li Minglan and Huang Zhicong - on the brushpot reflects a further trend in the late Qing dynasty when craftsmen were no longer seen as anonymous manufacturers, but artists in their own right; developing their own unique styles and sufficiently independent from the Court, which at this time was in turmoil, to accept commissions from patrons. See for example a related porcelain plaque with similar mountainous landscape, dated to 1898, by Ren Huanzhang, in the British Museum, London (acc.no.1998,1219.1)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE CARVED CINNABAR LACQUER '108 SHOU CHARACTERS' BRUSHPOT, BITONGQianlong The cylindrical vessel crisply carved through layers of cinnabar lacquer around the exterior with continous rows of 108 shou characters in various styles of zhuanshu calligraphy, all on a diaper-pattern ground, the mouth rim with a key-fret border. 9.8cm (3 7/8in) high.Footnotes:清乾隆 剔紅「壽」字紋筆筒Provenance: Priestley & Ferraro Chinese Art Ltd., London, 1 February 2013來源：倫敦古董商Priestley & Ferraro Chinese Art Ltd.，2013年2月1日The present brushpot with continuous rows of 108 Shou ('longevity') characters in different forms of seal script, was probably made as a birthday gift. The number of characters is highly significant as it tallies with the number of beads in a Buddhist rosary. The present lot is thus laden with auspicious and religious meaning. A Buddhist rosary has 108 beads because there are said to be a total of 108 energy lines or chakras converging to the heart. One of them, sushumna, leads to the crown chakra, and is believed to lead to the path of self-realisation. The number 108 is also significant for other reasons. The Temple of Heaven in Beijing has 108 pillars in the base, and the first King of the Zhou dynasty called on 108 Gods to help his troops in his attack on the Shang dynasty. The various styles of zhuanshu or seal script calligraphy is also entirely keeping with scholarly and artistic trends of the time. The Qing emperors endorsed Han learning and scholarship, encouraging scholars to study ancient texts carefully and meticulously. This movement, known as the 'searching for evidence' movement (kaozheng 考證), reached its height in the Qianlong era. Numerous dictionaries were published and the new philology sparked a fascination for artistic archaism, with the ancient seal script calligraphy becoming in vogue. See for example, a carved cinnabar lacquer screen with similar 'shou' characters, Qianlong, illustrated in The Creation of Natural Immensity and Grandeur: The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, no.66.Compare with a related Imperially inscribed cinnabar lacquer carved brushpot, Qianlong seal mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 66.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A LARGE BLUE AND WHITE 'SCHOLAR'S ROCKS' BOWLChongzhenThe deep rounded sides rising from a short inward-tapering foot, painted around the exterior with a three-legged toad amidst various lingbi and taihu scholars' rocks, gnarled and with apertures, one within a stand, the interior with a further scholars' rock in the well, surrounded by sprays or orchid, lotus, prunus and camellia around the cavetto, all beneath a key-fret band beneath the mouth rim. 35cm (13 3/4in) diam. Footnotes:明崇禎 青花賞石花卉紋碗Provenance: Jan van Beers Oriental Art Ltd., London, 3 November 2007來源：倫敦古董商Jan van Beers Oriental Art Ltd.，2007年11月3日The fine painting of scholars' rocks on the present lot reflects the long history of collecting and connoisseurship of extraordinary rocks. Throughout the centuries both emperors and the scholar-elite have considered the rocks' unusual forms worthy of contemplation in both an exterior garden setting as well as inside the home. Enjoyed for their dynamic shapes that could be judged with similar criteria used for calligraphy — traditionally the highest art form in China - or appreciated for their resemblance to lofty mountains or coiled dragons, fantastic rocks (guaishi 怪石) were prized for their abstract qualities as well as their inspiration for imagination. The combination as painted on the present lot of rocks with the Three-Legged Toad greedy for coins - a symbol of wealth and associated with the Immortal Liu Hai - is not so unusual, as rocks could command extremely high prices. The obsessive length to which collectors of rocks went to acquire them was described by Pu Songling 蒲松齡 (1640-1715) in Liaozhai zhiyi (聊齋誌異), where in one story a collector agrees with the spirits to shorten his own life by a few years just so he could possess a special rock in his collection for a bit longer. J.T.Zeitlin, Historian of the Strange: Pu Songling and the Chinese Classical Tale, Stanford, 1993.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE AND IMPORTANT INSCRIBED BLUE AND WHITE AND COPPER-RED 'VIRTUOUS OFFICIALS' BRUSHPOT, BITONGKangxi six-character mark and of the periodExpertly potted of cylindrical form with straight sides inscribed around the exterior in kaishu calligraphy with the prose-poem 'The Wise Emperor has Worthy Officials', a seal in underglaze copper-red reading Xi chao chuan gu, 'antique to be handed down from our glorious dynasty', the small recessed base with the mark in underglaze blue. 19.1cm (7 1/2in) diam.Footnotes:清康熙 青花釉裡紅「聖主得賢臣頌」筆筒青花「大清康熙年製」楷書款Provenance: Sotheby's Hong Kong, 30 April 1996, lot 457Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.126-127. 來源：香港蘇富比，1996年4月30日，拍品編號457著錄：S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第126-127頁The poem on the present lot is 'The Wise Emperor has Worthy Officials' (聖主得賢臣頌) by the Western Han dynasty poet Wang Bao (王褒, 84-53 BC) for the Han Emperor Xuan (74-48 BC). The Han dynasty under Emperor Xuan prospered economically and militarily to become a regional superpower. Emperor Xuan was considered a diligent and brilliant ruler by historians. Unusually, despite his noble birth as a prince, because his grandfather was framed for witchcraft against Emperor Wu and committed suicide after being forced into a failed uprising, the young Emperor Xuan survived the tumult and lived as a commoner after an amnesty from Emperor Wu in 87 BC. His understanding of life as a commoner made him more sympathetic and humane as a ruler, and he lowered taxes, and employed many capable officials. Wang Bao's prose-poem on the present brushpot, therefore, was not just the usual flattery offered to Royalty, but genuine praise. Some sections can be translated as follows:賢人君子，亦聖王之所以易海內也。是以嘔喻受之，開寬裕之路，以延天下之英俊也。夫竭智附賢者，必建仁策；索人求士者，必樹伯跡... 由此觀之，君人者勤於求賢而逸於得人。Sage and gentlemen are also a sharp tool for a wise emperor to govern the country. Therefore, to accept talented people with an open mind would only aid in the country's best interest. Knowing this truth, you should establish a strategy for recruiting talents. Recruiting talents from all over the country is a necessary procedure for becoming a hegemon... As a king, only by making painstaking visits to talents in advance can he enjoy the long-term peace and stability brought by talents.故世平主聖，俊乂將自至，若堯舜禹湯文武之君，獲稷契皋陶伊尹呂望之臣，明明在朝，穆穆列布，聚精會神，相得益章。When the world is peaceful and the emperor is sage, talented people will show up. Just like 'Yao, Shun, Yu, Tang, Wen, and Wu' and 'Ji, Qi, Gaotao, Yiyin, and Lu Wang', the names of sage emperors and loyal ministers throughout the dynasties are too many to count. There is a diligent king above, and respectful ministers below. They work together and bring out the best in each other.故聖主必待賢臣而弘功業，俊士亦俟明主以顯其德。上下俱欲，懽然交欣，千載一會，論說無疑。Therefore, a wise ruler must rely on the help of virtuous ministers to expand his achievements, and the talents must rely on the appreciation of their wise master to fully unleash his potentials and virtues. Harmony between monarchs and ministers is rare in a thousand years. They trust each other and appreciate each other, like a feather following the wind, like a fish in water, how can it be possible to not let it happen? This harmonious ruling style will surely bring auspiciousness and far-reaching influence to all over the country, benefiting the people with its boundless effect.The Kangxi Emperor clearly thus wanted to link his reign - which began shakily with the Revolt of the Three Feudatories (1673-1681) - with invoking the glorious Han dynasty and the reign of the Emperor Xuan. This is significant because the Han dynasty, which lends its name to the Han Chinese ethnic group, was also a time of stability and prosperity giving rise to Han rhapsodies and grandiloquent prose-poems praising the emperors. The Kangxi Emperor, a Manchu, aware of his perceived 'foreignness', needed to show himself as the custodian of Han culture and civilisation and thus win over scholars and gentry still reluctant to support the Qing dynasty. There were scholars such as Zhang Dai who still looked back longingly to the Ming dynasty as late as 1684. The present lot therefore, with a Han prose-poem, not only exhibits the erudition of the Kangxi Emperor, but his role as custodian of Han civilisation, and his appreciation of Confucian scholars whom he needed to help administer the empire justly. In 1682, during his second pageantry tour to Manchuria, to make offerings to his ancestral tombs, the Kangxi Emperor often stressed his desire to search for talented officials:朕禦極以來，恆念山林藪澤必有隱伏沉淪之士，屢詔徵求，多方甄錄，用期野無遺佚，庶愜愛育人材之意Regarding the concealed and dejected scholars who must be hiding in forested mountains or marshes in the realm. Repeatedly I have issued edicts to recruit them, enlisting their services from all directions, with the intention that no talent will be left unappreciated in the fields.Written after the rebellion of the Three Feudatories (1673-1681) which was the last substantive threat to Manchu Qing rule, the Kangxi Emperor's reiteration of his daily intimacy with 'literature and ink' (俾日親文墨) and appeal to hidden talent in the marshes is a victor's gesture of benevolent reconciliation.See a very similar blue and white and copper-red brushpot, Kangxi, with the same inscription, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2000, p.207. Another very similar brushpot with the same inscription, Kangxi six-character mark and of the period, in the Shanghai Museum, is illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, no.19. Another blue and white and copper-red brushpot with the same inscription, Kangxi six-character mark and of the period, is illustrated in A Loan Exhibition of Chinese Art of the Early Periods, Singapore Art Society, British Council Centre, Singapore, 1953, no.94. Another very similar blue and white and copper-red brushpot, with the same inscription, Kangxi mark, was donated by Sir Augustus Wollaston Franks (1826-1897) to the British Museum, London (acc.no.Franks.146). Another very similar blue and white and copper red brushpot, with the same poem, Kangxi mark and of the period, is in the National Palace Museum, Taipei, illustrated in Ceramics Gallery of the Palace Museum, Taipei, 2009, p.325, no.306. Compare also with a related blue and white brushpot inscribed with a different inscription, Kangxi, dated 1684, in the Art Gallery of the Chinese University of Hong Kong, illustrated in Qing Imperial Porcelain: of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.14.A similar underglaze blue and copper-red brushpot with the same poem, Kangxi six-character mark and period, was sold at Sotheby's Hong Kong, 8 November 1982, lot 170, and again in the same Rooms, from the collection of Sir Quo-Wei Lee, on 3 October 2018, lot 141.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE BLUE AND WHITE 'SPRING EVENING BANQUET' BRUSHPOT, BITONGJiajing six-character mark, KangxiThe cylindrical vessel with slightly waisted sides painted around the exterior in vibrant tones of cobalt-blue with a continuous scene of an elegant gathering of scholars, the moon and stars in the sky and the lanterns in the trees indicating it is night, a servant pours wine from an ewer to a scholar at a desk with paper and brushes, another scholar at the same desk pushes a cup towards a seated gentleman, another with cup in hand has let his robes fall to reveal his bare back, all within a balustraded garden setting with gnarled rocks and trees, across the wall more scholars read from books, while one sits on a mat in the centre with a fan, the recessed base with the six-character mark. 18.6cm (7 1/4in) diam. Footnotes:清康熙 青花「春夜宴桃李園」筆筒青花「大明嘉靖年製」楷書款Provenance: Marchant & Son, London, 21 November 1997Professor D.R.Laurence (1922-2019)Marchant & Son, London, 4 November 2010Published, Illustrated and Exhibited: S.Marchant & Son, Selected Chinese Porcelain from the Collection of D.R.Laurence, London, 2010, p.32, no.18.S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, p.136.來源：Marchant & Son Ltd.，1997年11月21日D.R.Laurence教授 (1922-2019年)倫敦古董商Marchant & Son Ltd.，2010年11月4日展覽著錄：S.Marchant & Son，《Selected Chinese Porcelain from the Collection of D.R.Laurence》，倫敦，2010年，第32頁，編號18S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第136頁Desmond R. Laurence (1922-2019) was Professor Emeritus of Pharmacology and Therepeutics at University College London, and co-author of nine editions over 40 years of a highly successful medical textbook. He also compiled Chinese Porcelains: 25 Years of Unscholarly Collection. He first became interested in Asian ceramics in 1947-1948 during his military service in Japan as a medical specialist in the Royal New Zealand Army medical Corps: see R.Davids and D.Jellinek, Provenance, Oxford, 2011, p.289.Congregations of scholarly and cultivated friends, known as 'elegant gatherings' (yaji 雅集) were an important form of social interaction in traditional China. These gatherings were held for various reasons and could be either large or small. The host and guests not only enjoyed fine food and drink, but also took part in other refined activities such as reciting poetry, performing on the guqin, playing weiqi, viewing paintings and calligraphy, and enjoying tea. These parties offered opportunities for inspiration and friendly competition.Numerous elegant gatherings became immortalised in cultural memory and works of art such as the 'Orchid Pavilion Preface' by Wang Xizhi (303-361), 'Elegant Gathering in the Western Garden' (circa 11th century), with guests such as Su Shi (1037-1101) and Huang Tingjian (1045-1105), which probably never happened, but which still fed peoples' imaginations. Gu Ying (1310-1369) held as many as thirty elegant gatherings which became known collectively as the 'Elegant Gathering at Jade Mountain'. The elegant gathering thus sometimes was not necessarily a real one-time historical event, but an imagined gathering of all the great scholars and artists of a particular period. Another such example, often seen on brushpots, is the 'Eighteen Scholars of the Tang Dynasty'. See for example a similar blue and white brushpot, Kangxi, depicting the 'Eighteen Scholars', illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pp.70-71, pl.46.The present lot has a very similar scene to a blue and white brushpot which was sold at Sotheby's New York, 21 April 2023, lot 604. The said brushpot has a poem by Li Bai (701-762), Chunye yan tao liyuan xu 春夜宴桃李園序 (Preface to the Spring Evening Banquet at the Peach and Pear Blossom Garden). It is therefore very likely that the present brushpot is also depicting the Spring Evening Banquet, which is confirmed by the moon and stars decorated on it. The poem was composed around 733, and begins with a rumination on the transience of life while describing Li Bai drinking and composing poems during a spring evening with friends, the fragrance of peach blossoms hanging in the air, and concludes with a drinking punishment for those who fail to compose a poem.See a related blue and white brushpot of slightly waisted cylindrical form but with the same scene, Kangxi, illustrated by Chen Runmin, Gugong bowuyuan cang Qingdai ciqi leixuan, Qing Shunzhi Kangxi chao qinghuaci, vol.1, Beijing, 2004, pl.211.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Sudanese kaskara, the blade etched with scrolling Arabic calligraphy, leather bound grip, blade 95cm longoverall 108cm longShipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportScuffs and wear to the pommel. Blade with pitting.

Two Indo-Persian trident spears,19th century, the spear heads chased with foliate scrolls or calligraphy, the wood shaft with copper mounts,blades 27 and 28cm long218 and 228cm long (2)Shipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportPitting and surface scratches. The five spear head with small nibble.

A Chinese famille rose porcelain brush pot, late 19th century. Of cylindrical form and decorated with birds in flight, flowering branches, calligraphy and red seal, height 13.5cm, diameter 12cm.Two star hailrine cracks to body and one to base. gilt rub to top.

A Chinese hardwood hanging sign, early-mid 20th century. With brass ring hanger and gilt decorated calligraphy, 61 x 26cm.

A Chinese pottery jardiniere, circa 1900. The glazed body decorated with foliage, the underside with rows of calligraphy, height 13cm, diameter 26.5cm.