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

A LARGE 19TH CENTURY CHINESE QING PORCELAIN VASE WITH FIGURAL & CALLIGRAPHY DESIGN, HEIGHT 43CM

A LARGE JAPANESE TAPESTRY SCROLL WITH CALLIGRAPHY SIGNATURE TO TOP, LENGTH 141CM

A PAIR OF MINIATURE CHINESE PORCELAIN BOTTLE VASES WITH CALLIGRAPHY DESIGN, HEIGHT 7.5CM

A Chinese hardwood four leaf screen, of open asymmetrical design with central inset famille rose porcelain panels of a woman and calligraphy, 170cm h; 151cm l Good condition

A Chinese famille rose square kettle and cover, c1900, painted with figures and calligraphy, 12cm h excluding wire handles, a Chinese blue and white ginger jar painted with figures and a Japanese reeded Imari dish, Edo period, 18th c (4) Kettle - corner chipped and cover broken and re-stuck. Jar in good condition. Dish with chip on rim at 11 o'clock and decoration worn

Martin Bradley, British b.1931 - Dragon Child, 1978; oil on canvas assemblage, signed and dated lower left 'Martin Bradley 78' and titled upper left, 97.8 x 40 cm (ARR)Note:Martin Bradley is a British painter whose work is suffused with surrealism and symbolism, whilst also displaying the strong influence of Chinese and Japanese calligraphy which he encountered on his extensive travels around Asia. Artworks by Bradley are held in the Tate Gallery in London and the Museum of Modern Art in New York, and by important figures such as Roland Penrose, Barbara Hepworth and Herbert Read. During the 1950s he held exhibitions at galleries including Gimpel Fils, Redfern and Galerie Rive Gauche, which showed important international figures such as Max Ernst and Yves Tanguy.

A set of six Chinese ‘Seven Sages of the Bamboo Grove’ saucer dishes, Kangxi marks but late 19th century, seven of the sages observing a game of weiqi at a table, the other holding aloft a calligraphy brush, 12.3cm diameter***CONDITION REPORT***Typical minor glazed imperfections, no chips, cracks or restoration detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese white and black jade group of the calligrapher Wang Xizhi seated by a goose, 18th century, the figure of Wang Xizhi depicted in a relaxed contemplative pose with a calligraphy brush over his shoulder, seated by a goose, rockwork and lingzhi fungus. Wang’s fondness for geese is reflected in the famous story where he copied the Daoist classic Daodejing [the classic of the Dao and of virtue] for a priest in exchange for a white goose and he is also known to have gained inspiration from natural forms, including the graceful necks of geese, 9.7cm across, carved zitan wood stand***CONDITION REPORT***Provenance - the former owner collected jades and snuff bottles in the 1960s and early 1970s while living and working in Hong Kong.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Collection of framed Calligraphy and other art works, to include, Psalms and passages from the Koran; fish calligraphy -opening verse of the call to prayer

A porcelain Famille Verte plaque with calligraphy depiction. China, 20th century.

A Chinese Republic style dish decorated with fisherman and calligraphy, single character mark to base, 24cms diameter.Condition ReportThe dish is in good condition with no chips or cracks.

A Chinese republic shallow footed dish, decorated cats and calligraphy with red character mark to the underside, 28cm diameter Condition ReportGood condition with no damage or repair

A set of four Chinese paintings depicting birds, flowers and calligraphy, all framed & glazed, each 16 by 36cms (4).

A Chinese Republic style shallow dish decorated with a river landscape and calligraphy, red seal mark to the underside, 27cms diameter.

A set of four Chinese silk embroidered panels depicting birds and calligraphy, each 21 by 28cms, framed & glazed.

A Chinese Yixing pottery teapot decorated with a seated monk and calligraphy, 10cms high; together with a Chinese Yixing pottery teapot with gold splash decoration, 9cms high; and a similar Yixing vase decorated with dragons, 16cms high (3).

'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。

A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)

'LANDSCAPE', BY PU RU (1896-1963)China. Ink and watercolors on paper. Depicting an autumnal scene with pavilions nestled between pine trees and rocks above a river, the background with mountains picked out in blue and salmon.Inscriptions: Top right, signed 'Pu Ru', and inscribed 'In the mountains are thickly overgrown trees, many pines, the fog rises. One climbs into a gazebo to drink alone. The frost shields the moon. One hears the heavenly rooster singing.' Two seals of the artist, 'Xinshe' and 'Pu Ru zhi yin'.Provenance: British trade. Condition: Very good condition with minor wear, little foxing, and soiling. The frame with a few nicks, minor losses, and splits.Dimensions: Size incl. frame 56.7 x 47.8 cm, Image size 39.5 x 31 cmFramed behind glass. (2)Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 16 December 2014, lot 8399Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: Pu Ru (1896-1963), LandscapeExpert remark: Compare the related motif and manner of painting. Note the size (127.5 x 47.5cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 13 September 2018, lot 587Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: Pu Ru 1896-1963, landscape with pavilion Expert remark: Compare the related motif and manner of painting. Note the size (92.7 x 33 cm).溥儒(1896-1963)款《亂峰積翠》中國，紙本設色。秋日山景，蜿蜒層層山間亭台樓閣聳立。 款識：亂峰積翠白，低松際，浮煙與岸齊幽，人登樓，獨醉飲，曉霜遮月聼天雞雲。心畲。鈴印：心畲，溥儒之印 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、輕微起皺和污漬。框架有一些缺口、輕微缺損和裂縫。 尺寸：總56.7 x 47.8 厘米，畫面39.5 x 31 厘米 玻璃裝框。(2) 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年12月16日，lot 8399 價格：USD 11,250（相當於今日EUR 13,500） 描述：溥儒《山水》 專家評論：比較相近的主題和繪畫風格。請注意尺寸(127.5 x 47.5厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月13日，lot 587 價格：USD 20,000（相當於今日EUR 22,000） 描述：溥儒《極目溪山》 專家評論：比較相近的主題和繪畫風格。請注意尺寸(92.7 x 33 厘米)。

SEVEN 'SILK PRODUCTION' PAINTINGS, AFTER JIAO BINGZHEN (FL. 1689-1726), QING DYNASTYChina, 18th-19th century. Ink and watercolors on paper. Each skillfully painted to illustrate a different stage of silk production, including the preparation and inspection of twig frames and trays for the silkworms and mulberry leaves, as well as the loading and weighing of baskets filled with silkworm cocoons and the soaking of such cocoons in order to free the silk. Provenance: English trade. Condition: Good condition with minor wear, soiling, and creasing.Dimensions: Image size 25.5 x 25 cm (each)Each painting is matted and framed. (14)Didactic images of silk and rice production first appeared in Chinese culture around 1145 with the Southern Song dynasty court painter Lou Shou (1090-1162). Accompanied by poetic inscriptions describing the individual steps of production, these imperially sponsored images demonstrated the Emperor's interest in fostering sound agricultural and sericulture practices for these key economic engines and sources of food and clothing for the nation, as well as government revenue through taxation.In the seventeenth century, the Kangxi Emperor commissioned the court artist Jiao Bingzhen (fl. 1689-1726) to create a new edition of the Gengzhi tu, which was published as woodblock printed albums in 1696. As a result of the book's wide distribution, the imagery from the 1696 edition soon began appearing in a variety of media, on porcelain vases, lacquer screens, fine embroidery, and paintings, as seen in the present lot.Literature comparison: An album of woodblock prints, with 46 illustrations on the cultivation of grain and silk, commissioned by the Kangxi Emperor, dated 1696, is in the British Museum, registration number 1949,0709,0.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 27 January 2014, lot 397 Price: USD 7,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A set of six Chinese silk production pictures, 19th century Expert remark: Note the similar sizes (23.7 x 24.1 cm) and that the lot comprises six album leaves, each with two pictures, four of which are framed.Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2019, lot 178 Price: GBP 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: Formerly attributed to Jiao Bingzhen (fl. 1689-1726), Sericulture Expert remark: Note the size (30.4 x 26.6 cm) and that the lot comprises an album of 24 leaves, twelve of which are closely related paintings, the other twelve with calligraphy reproducing the text of the Kangxi Emperor's poems inscribed on Jiao Bingzhen's original paintings.清代《蠶織圖》中國，十八至十九世紀，紙本設色。描繪中國南方蠶織戶養蠶、下蠶、繅絲生產的過程。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損、污漬和摺痕。 尺寸：畫面分別為25.5 x 25 厘米 裝框。(14)文獻比較： 一組1696 年康熙皇帝委託製作的版畫畫冊，共 46 幅有關種植糧食和絲綢的插圖，收藏於大英博物館，館藏編號 1949,0709,0.1。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年1月27日，lot 397 價格：USD 7,500（相當於今日EUR 8,600） 描述：十九世紀一組六幅《製絲綢過程》 專家評論：請注意相似的尺寸 (23.7 x 24.1釐米)，以及此為六幅畫。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年5月14日，lot 178 價格：GBP 11,250（相當於今日EUR 14,500） 描述：焦秉貞款（fl. 1689-1726）《蠶業》 專家評論：請注意尺寸(30.4 x 26.6釐米) 。這是一本24頁的畫冊，其中十二幅是密切相關的繪畫，另外十二幅是複製康熙皇帝在焦秉貞原畫上題寫的詩文。

AN ILLUSTRATED 'RAMAYANA' FOLDING MANUSCRIPT, PARABAIK, BURMA, 19TH CENTURYInk and watercolors on paper. The accordion-style manuscript comprising 94 leaves inscribed with calligraphy, 12 of which are finely painted with scenes from the Ramayana. The front and back covers lacquered black.Provenance: From the collection of Jean Claude Moreau-Gobard, Paris, who was a French collector and dealer specializing in Asian art, born into a family of antiques experts in Paris. He was active from the 1950s until the 1980s. Today, the family business is continued by Juliette Moreau-Gobard.Condition: Good condition with some wear, small losses, minor creases and soiling.Dimensions: Size 14 x 67.5 cm (each page)The earliest known parabaiks date to the mid-18th century and seem to have originated mostly from Mandalay. Originally, they were made for patrons associated with the court, but later, they were also commissioned by wealthier Burmese, to mark special occasions and ritual events.Literature comparison: Compare a related Mandalay style parabaik, dated to the 19th century, in the British Museum, registration number 1946,1214,0.1. Compare a related parabaik, attributed to the court of King Mindon or Thibaw, or associated workshops, dated 1870s-1880s, in the Metropolitan Museum of Art, accession number 2017.209.

A FINE FAMILLE ROSE PLAQUE DEPICTING WANG ZHAOJUN, QING DYNASTYChina, 1644-1912. Exquisitely painted in bright enamels with Wang Zhaojun in a cold winter landscape with gnarled barren branches, bamboo leaves, craggy rockwork, and towering mountains partly obscured in the fog, shrouding herself in her voluminous robes, a youthful attendant walking behind her and carrying her silk-covered pipa, both with well-detailed, expressive faces of reddened complexion.Provenance: English trade, previously in an English private estate. Condition: Very good condition with some wear and expected firing irregularities, minor fritting to edges, and a small chip to one corner.Dimensions: Size 50.5 x 32.5 cmWang Qian, commonly known by her courtesy name Wang Zhaojun, was known as one of the Four Beauties of ancient China. Born in Baoping Village, Zigui County (in current Hubei Province) in the Western Han dynasty (206 BC-8 AD), she was sent by Emperor Yuan to marry Chanyu Huhanye of the Xiongnu Empire in order to establish friendly relations with the Han dynasty through marriage. The present plaque depicts Wang's journey north across the steppe.Wang Zhaojun was endowed with dazzling beauty and an extremely intelligent mind. She was adept in playing the pipa and was also a master of the ancient 'Four Arts of the Chinese Scholar' - the guqin, weiqi, calligraphy, and Chinese painting. Although Zhaojun was a concubine in the harem of Emperor Yuan (Han Yuandi, reigned 48-32 BC), he had never noticed her. One reason was that she refused to bribe a painter, Mao Yanshou, so his painting of her did not do her justice. As a result, when a Central Asian nomad prince named Huhanye came looking for a bride, the Emperor volunteered her (by another account she was so desperate that she volunteered herself). She then had to spend the rest of her life in the barren lands of Central Asia. When her husband died, she was married to her stepson, as custom dictated. She requested permission from Han Emperor Cheng to return home, but he refused.A set of tombs near the Inner Mongolian capital, Hohhot, is said to include the grave of Wang Zhaojun. The grave is mentioned as early as the Tang dynasty, by which time stories of Wang Zhaojun had become very popular. There are a number of poems about her. Most of them are sad, dwelling on her desire to return home. Typical is this poem by Li Bai, which at the end mentions her grave:The moon above the Han palace and land of Qin, Sheds a flood of silvery light, bidding Mingfei ("the radiant lady") farewell. She sets out on the road of the Jewel Gate, a road she will not travel back. The moon above the Han palace rises from the eastern seas, But the radiant lady wed in the west will return nevermore. On the Mongolian mountains flowers are made of the long winter's snow, The moth-eyebrowed one, broken-hearted, lies buried in the desert sand. Living she lacked the gold, and so her portrait was distorted, Dying she leaves a green mound, which moves all the world to pity. (taken from Yang Gang, Zhongguo ming sheng shi ci da ci dian, 2001, page 161)清代粉彩王昭君瓷板畫中國，1644-1912年。粉彩描繪王昭君出塞圖，枯枝竹葉，怪石嶙峋，巍峨群山半掩於霧中；王昭君身披寬大紅色斗篷，丫鬟抱著她的琵琶。瓷片髮色沉著，畫面生動。 來源：英國古玩交易，來自英國私人舊藏。 品相：狀況極好，有一些磨損和燒製瑕疵，邊緣有輕微磨損，一個角有小缺口。 尺寸：50.5 x 32.5 厘米 內蒙古首都呼和浩特附近的一個墓葬群，據說包括王昭君的墳墓。早在唐代，王昭君的故事就已廣為流傳。有很多關於她的詩，訴說著她想回家的願望。最典型的是李白的這首詩，最後提到了她的墳墓：漢家秦地月，流影照明妃。一上玉關道，天涯去不歸。漢月還從東海出，明妃西嫁無來日。燕支長寒雪作花，蛾眉憔悴沒胡沙。生乏黃金枉圖畫，死留青塚使人嗟。（摘取自楊剛，《中國名勝詩詞大辭典》，浙江大學出版社，2001年，頁161）

'THE EIGHT IMMORTALS', BY FAN ZENG (BORN 1938), DATED 1995China. Ink and watercolors on cloth. Boldly painted with vigorous brushstrokes to depict the Eight Immortals (baxian), with Zhang Guolao smiling as he sits on his donkey, next to a standing Li Tieguai carrying his iron crutch with the double gourd at the top. Two further immortals are seated together, one playing with his beard, while another sleeps blissfully on a craggy rock, behind a female immortal looking into the distance, and two standing immortals examining a rock.Inscriptions: To the top, 'Painting of the Baxian. According to legend, the Eight Immortals crossed the ocean. Later it was said that everybody used their talents or skills to achieve a common goal. In the Year of Yihai corresponding to 1995, in Shiguzhai in Jinling (Nanjing).' Two seals of the artist: 'Qingmao lueesi' and 'Wo jian qingshan duo wumei'.Provenance: From a private collection in Germany, by repute acquired directly from the artist in China, and thence by descent. According to the previous owner's son, the present work was painted in front of him for his father, who lived in China at the time. The owner made this testimonial during a German television show, the video is accessible here: https://www.zdf.de/show/bares-fuer-rares/bares-fuer-rares-vom-11-november-2022-100.html (the sequence starts at minute 18:30).Condition: Generally in fine condition with some wear, soiling, some water stains, the edges with small holes from wall mounting.Dimensions: Image size 184 x 76 cm, Total size 224 x 88.5 cmThe Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Popular during the Tang and Shang dynasties, the Eight Immortals were said to live on a group of five islands in the Bohai Sea. Their stories were first recorded by the Ming dynasty poet Wu Yuantai. Their status as fabled folk icons makes them well-known in popular culture.Fan Zeng (b. 1938) is a contemporary master of traditional Chinese painting, best known for his skillfully executed figural works. Born in Jiangsu, he studied history, literature, painting, and calligraphy, before enrolling at Nankai University. In 1957, he attended the Central Academy of Fine Arts, where he studied painting under Wu Zuoren, Li Keran, Jiang Zhaohe, and Li Kuchan. In addition, he has received numerous awards in design and painting. From 1962, Fan worked at the National Museum of Chinese History. In the late 1970s, he taught at the Central Academy of Arts and Design. In the 1980s, Fan founded the Oriental Art Department at Nankai University and became the dean of the department in 1993. At the age of 63, he was elected as the head of the Nankai University Museum of Antiquities and graduate advisor in both the Fine Arts and Literature departments. His works fuse elements of landscape, flower-and-bird, and figure painting, as well as forms of poetry and calligraphy. His paintings of ancient figures are famous for their simple yet vivid style and vigorous brushstrokes. He held solo exhibitions in Japan throughout the 1980s and participated in various exhibitions in Asia. In 1984, a permanent museum was built in Japan to house his works.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 6 October 2019, lot 2775 Price: HKD 7,375,000 or approx. EUR 941,000 converted and adjusted for inflation at the time of writing Description: Fan Zeng, Eight ImmortalsExpert remark: Note that this lot comprises a set of four hanging scrolls painted on paper, the largest 143.2 x 95.1 cm范曾（1938- ）《八仙圖》，1995年中國，布面水墨設色。以中國八仙的傳說為主體人物而創作的，筆勢豪放雄健，張果老笑瞇瞇地騎在驢背，身旁站著李鐵拐，手執雙葫蘆鐵拐杖。身側兩位仙人，一個玩著他的鬍子，而另一個幸福地躺在一塊崎嶇的岩石上。人物構圖嚴謹，筆墨灑脫，痛快淋漓。 款識：八仙圖，傳説□有八仙渡海，慶壽後□，多以八仙過海，喻各顯神通，盡其智慮以成大業，乙亥年師古齋並寫於金陵；鈴印：我見青山多嫵媚，情貌略似，陳□春印 來源：德國私人收藏，據説在中國直接購於藝術家處，保存至今。根據這位先生在電視節目中敘述，藝術家當著他的面為他的父親做了這幅畫。當時，他的父親生活在中國。相關視頻：https://www.zdf.de/show/bares-fuer-rares/bares-fuer-rares-vom-11-november-2022-100.html (開始於18:30處). 品相：狀況良好，有一些磨損、髒污、水漬，邊緣有用於懸掛所做的小孔。 尺寸：畫面184 x 76 厘米，總 224 x 88.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年10月6日，lot 2775 價格：HKD 7,375,000（相當於今日EUR 941,000） 描述：范曾八仙圖 | 設色紙本四聯屏，一九八二年作 專家評論：請注意此為紙本設色四幅畫一組，最大一幅的是143.2 x 95.1 厘米。

'YELLOW HAWK ON AN OLD JUNIPER', AFTER ZHANG SHUNZI AND XUEJIE WENG, MING DYNASTYChina, 1368-1644. Ink and watercolors on very fine silk, with a silk brocade mounting. Depicting an eagle perched on a gnarled branch atop a cliff, the plumage masterfully painted in black and white, the face well detailed with a long beak and glaring eye.Provenance: Dutch trade. Condition: Good condition, commensurate with age. Creasing, some losses, minor touchups, soiling, and browning. The frame with expected age cracks, few nicks, and flaking to the lacquer. Dimensions: Image size 63.2 x 34.8 cm, Size incl. mounting 44.8 x 85.7 cmWith an old lacquered wood frame, possibly of Japanese origin. (2)Literature comparison:Compare a closely related painting by Zhang Shunzi and Xuejie Weng, titled 'Yellow Hawk on an Old Juniper' (Huangyingguhuitu), 147.2 x 96.8 cm, dated to the Yuan dynasty, in the Palace Museum, Beijing. According to the inscription on this painting, the eagle was painted by Xuejie Weng while the juniper was painted by Zhang Shunzi.Zhang Shunzi was a famed 14th-century Chinese painter, calligrapher, and poet of the Yuan dynasty. Zhang was a native of Hangzhou, Zhejiang Province, and specialized in landscape and bamboo paintings, utilizing steady and bold brushstrokes, who further excelled in calligraphy, poetry, and prose. He also served as county chief executive in Fujian province in the Tianli era (1328-1330) of Emperor Wenzong of the Yuan Dynasty. Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 28 June 2016, lot 8244Price: USD 15,000 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: Eagle on pine, Anonymous (Qing dynasty)Expert remark: Compare the related motif and composition. Note the size (134.5 x 77.5 cm).仿雪界翁、張舜諮《鷹檜圖》，明代 中國，1368-1644年，絹本水墨設色。山石間一株古檜，枝乾粗狂，一隻蒼鷹昂首挺立其上，雙目迥然。 來源：荷蘭古玩交易。 品相：品相良好，有摺痕、小缺損、小修補、汙漬和褐變。框架出現裂紋、少許劃痕和漆面剝落。 尺寸：畫面63.2 x 34.8 釐米, 總44.8 x 85.7 釐米 漆木框，可能來自日本。(2) 文獻比較： 比較一件非常相近雪界翁、張舜諮合繪元代《鷹檜圖》，147.2 x 96.8毫米，收藏於北京故宮博物院。據此畫題記，鷹為雪界翁所畫，杜松為張舜諮所畫。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2016年6月28日，lot 8244 價格：USD 15,000（相當於今日EUR 17,000） 描述：無款（清）《松鷹圖》設色絹本立軸 專家評論：比較相近的主題和構圖。請注意尺寸(134.5 x 77.5毫米)

A CLOISONNE ENAMEL 'PRECIOUS OBJECTS' CIRCULAR WALL PLAQUE, JIAQING PERIODChina, 1796-1820. The circular plaque is finely enameled with a large blue and white baluster vase on a carved stand at the center, issuing blossoming peonies and prunus, flanked by an ornate cloisonne censer and a colorful brush holder with calligraphy implements including brushes and paper, backed by two books and a waterpot, the foreground scattered with fruits, all above a turquoise wan-diaper ground.Provenance: From an old Austrian private estate, where it was originally fitted into an old German sideboard dating from circa 1870-1880. The back with an old label '60 frco'. Condition: Very good condition with minor wear, few scratches, light nicks, little warping, small chips and losses to the edge, and pitting as expected. The back with scratches.Weight: 1,680 g Dimensions: Diameter 41.7 cmCloisonne enamel plaques were popular from the second half of the 16th century onwards and became particularly popular during the mid-Qing dynasty, bringing vibrant colors to the imperial palaces' interiors. These plaques were used on screens, large furniture such as imperial thrones, or as decorative framed hanging panels.Literature comparison: Compare a related cloisonne plaque, dated mid-Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133-148. Compare related cloisonne panels decorated with antiques, dated to the second half of the 18th century, illustrated in H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, nos. 307-310.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 743Price: GBP 35,250 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A large cloisonne enamel 'precious objects' circular plaque, Qianlong/JiaqingExpert remark: Compare the closely related form and motif. Note the significantly larger size (67.1 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 22 June 2017, lot 175Price: EUR 25,000 or approx. EUR 28,500 adjusted for inflation at the time of writingDescription: A gilded bronze and cloisonne enamel plaque, Qing dynasty, Jiaqing-Daoguang periodExpert remark: Compare the closely related motif and size (41.3 x 50.8 cm). Note the rectangular form.嘉慶掐絲琺瑯博古紋壁盤中國，1796-1820年。圓盤銅胎掐絲琺瑯，盤内藍地修飾博古紋，一個青花賞瓶中插著三朵盛開的牡丹；瓶兩側分別是一個仿古景泰藍香爐和一個木紋釉筆筒，筆筒裏放著毛筆，瓶后有書籍和筆洗；瓶子前面散落著水果。 來源：奧地利私人舊藏，它最初被安置於大約 1870-1880 年的舊德國餐具櫃中。背面帶有舊標籤“60 frco”。 品相：狀況極好，輕微磨損與劃痕、刻痕和小翹曲，邊緣有小缺口，點蝕。背面有劃痕。 重量：1,680 克 尺寸：直徑 41.7 厘米 銅胎掐絲琺瑯壁飾從十六世紀下半葉開始流行，並在清朝中葉盛行，為皇宮的內部增添了鮮豔的色彩。這些壁飾被用在屏風、大型家具（如皇家寶座）上。 文獻比較： 比較一件相近的明代中期銅胎掐絲琺瑯掛屏，見 《故宮博物院藏品大系‧琺瑯器編》，卷 4，北京，2011年，圖133-148。比較一件相近的十八世紀下半葉銅胎掐絲琺瑯古董紋掛屏，見 H. Brinker 和 A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號307-310。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年6月7日，lot 743 價格：GBP 35,250（相當於今日EUR 49,000） 描述：清乾隆/嘉慶銅胎掐絲琺瑯博古圖「百事如意」圓掛屏 專家評論：比較非常相近的外形和主題。請注意明顯尺寸較大 (67.1釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 175 價格：EUR 25,000（相當於今日EUR 28,500） 描述：清嘉慶/道光掐絲琺瑯清供圖長方屏 專家評論：比較非常相近的主題和尺寸(41.3 x 50.8釐米)。請注意此屏是長方形。

'RIVER LANDSCAPE', BY WU HUFAN (1894-1968), DATED 1945China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Finely painted with gnarled pines and blossoming prunus growing from craggy rockwork classically executed in shades of blue and green, above a calm river with two fishing boats below a small waterfall.Inscriptions: Upper left, signed 'Wu Hufan', titled 'The Waterfall', dated 'On an Autumn day in the Year of Yiyou (corresponding to 1945)', and inscribed 'In the style of Tang Yin'. One seal of the artist.Provenance: UK trade. Condition: Very good condition with minor wear and minimal foxing.Dimensions: Image size 40 x 30 cm, Size incl. frame 57.8 x 47.7 cmFramed behind glass. (2)Wu Hufan (1894-1968) was a leading traditional painter, known for his sophisticated landscape works, as well as for being a noted collector and connoisseur. The grandson of calligrapher and painter Wu Dacheng, he was born into a family with generations of scholar-officials and received a classical education. Surrounded by genuine works from the past, he solidified his strong foundation in traditional culture, devoting his entire life to the realm of Chinese art. With both a firm grasp and a rigorous practice of ancient inscriptions, painting, calligraphy, literature and opera, Wu lived the life of a traditional literatus. He spent the early part of his life in the Shanghai region, and, following the establishment of the People's Republic of China in 1949, taught at the Shanghai Institute of Chinese Painting. He went on to become one of the city's most important connoisseurs, writing extensively about the works in his collection.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 March 2013, lot 3083 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: Wu Hufan (1894-1968), Blue-Green Landscape, 1948Expert remark: Compare the closely related execution of the rockwork with similar shades of blue and green. Note the size (87.6 x 43.5 cm).吳湖帆《洞壑奔泉》，1945年中國，紙本水墨設色，掛軸。溝壑之中秋水奔泉。岩上松木林立，湖中兩艘漁船。畫面雅腴靈秀、縝麗清逸，把傳統山水的青綠、水墨、淺絳幾種畫風相互調和，熔水墨烘染與青綠設色於一體。 款識:乙酉秋日學唐六如筆法，以爲略似，倩庵吳湖帆；鈴印：湖帆 來源：英國古玩交易。 品相：品相極好，輕微磨損與起皺。 尺寸：畫面40 x 30 厘米，總57.8 x 47.7 厘米 玻璃裝框。 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年3月20日，lot 3083 價格：USD 15,000（相當於今日EUR 18,000） 描述：吳湖帆《青綠山水》，設色紙本立軸，一九四八年作 專家評論：比較非常相近的藍色和綠色繪畫假山。請注意尺寸(87.6 x 43.5 厘米)。

A SCENE FROM 'JOURNEY TO THE WEST', BY PU RU (1896-1963)China. Ink and watercolors on paper, laid down on paper. Depicting the monkey king Sun Wukong and another monkey in a vicious fight, each holding a long staff and standing in a dynamic pose on a bridge next to a crashing waterfall, with Zhu Bajie watching nearby.Inscriptions: Top left, inscribed 'Journey to the West', signed 'Pu Ru'. One seal of the artist, 'Xinshe'.Provenance: British trade. Condition: Very good condition with only minor wear and soiling.Dimensions: Image size 16.4 x 8.1 cm, size incl. backing 30.4 x 15.8 cmThe present painting depicts a famous scene from Journey to the West (Xi You Ji), in which Sun Wukong is fighting a six-eared macaque who was impersonating him. Eventually, Sun Wukong vanquishes his doppelganger. Sun Wukong, also known as the Monkey King, is a legendary mythical figure who also appears in many later stories and adaptations. In Journey to the West, Sun Wukong is a monkey born from a stone who acquires supernatural powers through Taoist practices. After rebelling against heaven, he is imprisoned under a mountain by the Buddha, until he joins Tang Sanzang in his quest. Sun Wukong possesses many abilities, including amazing strength and extreme speed. Sun Wukong also acquires the 72 Earthly Transformations, which allow him to access 72 unique powers, including the ability to transform into sundry animals and objects. He is a skilled fighter, capable of defeating the best warriors of heaven. His hair has magical properties, capable of making copies of himself or transforming into various weapons, animals, and other things. He also shows partial weather manipulation skills and can stop people in place with fixing magic.Journey to the West (Xi You Ji) is a Chinese novel published in the 16th century during the Ming dynasty and attributed to Wu Cheng'en. It is regarded as one of the greatest Classic Chinese Novels, and has been described as arguably the most popular literary work in East Asia. The novel is an extended account of the legendary pilgrimage of the Tang dynasty Buddhist monk Xuanzang, who traveled to the 'Western Regions' (Central Asia and India) to obtain Buddhist sacred texts and returned after many trials and much suffering. The monk is referred to as Tang Sanzang in the novel. The novel retains the broad outline of Xuanzang's own account, Great Tang Records on the Western Regions, but adds elements from folk tales and the author's invention: Gautama Buddha gives this task to the monk and provides him with three protectors who agree to help him as an atonement for their sins. These disciples are Sun Wukong, Zhu Bajie, and Sha Wujing, together with a dragon prince who acts as Tang Sanzang's steed, a white horse. The pilgrims journey towards enlightenment through the power and virtue of cooperation.Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison:Type: Closely relatedAuction: China Guardian, Beijing, 20 November 2010, lot 484Price: CNY 280,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writingDescription: Paintings from record of journey to the west, Pu Ru (1896-1963)Expert remark: Compare the near identical motif. Note that the lot comprises a second painting of closely related subject.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 3 April 2018, lot 127Estimate: HKD 100,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: Pu Ru (1896-1963), Monk Xuanzang and Monkey GodExpert remark: Compare the related motif. Note the size (25.5 x 15.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 3 April 2017, lot 1204Price: HKD 275,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writingDescription: Pu Ru, Monkey King and the HorseExpert remark: Compare the related motif. Note the form and size (43.9 x 14.2 cm).溥儒款《西遊記》中國，紙本水墨設色，鏡片。《西遊記》中的真假猴王場景，線條簡練，筆觸清晰。 款識：西遊記，心畲；鈴印：心畲 來源：英國古玩交易。 品相：狀況極好，只有輕微的磨損和污跡。 尺寸：畫面16.4 x 8.1 厘米，總30.4 x 15.8 厘米 《西遊記》是一部中國古典名著，出版於十六世紀，作者為吳承恩，是東亞最受歡迎的文學作品之一。小說描述唐代高僧玄奘帶領四位弟子西去西域求取佛經，歷經千辛萬苦歸來的傳奇朝聖故事。

A PAIR OF REVERSE GLASS PAINTINGS DEPICTING A MANCHU NOBLEMAN AND LADY, QING DYNASTYChina, 19th century. One painting depicting a lady seated at the window, leaning on a table, with a pipe in her left, her hair embellished with pearls, dressed in fine robes with floral patterns, calligraphy hanging in the background. The other painting with a smoking nobleman, dressed in a blue robe with floral decorations, a poem by Wan Chu depicted behind him on the wall. Both framed within a roundel reserved on a background of pomegranates, lotus, butterflies, and gourds on a dense blue and white floral ground.Inscriptions: The calligraphy on the wall behind the nobleman is from a poem titled 'Wu ri guan ji' on the beauty of a woman by the Tang poet Wan Chu.Provenance: French trade. Condition: Very good condition with minor wear to the paint. The wood frames with few small nicks, drilled holes for mounting, and expected minor age cracks. Dimensions: Size incl. frame 55 x 40.6 cm and 55.3 x 40.4 cm, Image size 48.8 x 34 cm and 48.7 x 34.5With two matching wood frames of the period. (4)Literature comparison:For a closely related example of two reverse glass portraits of a Mandarin man and woman, dated ca. 1858, a gift of Lawrence W. Jenkins to the Peabody Essex Museum, Salem, MA, accession numbers 1956 M8873 and 1956 M8874.Auction result comparison:Type: Closely relatedAuction: Bonhams Edinburgh, 10 July 2013, lot 370Price: GBP 1,750 or approx. EUR 2,800 converted and adjusted for inflation at the time of writingDescription: A reverse painting on glass of a Manchu boy 19th centuryExpert remark: Compare the closely related motif, pose, background, and size (42 x 34). Note that this lot contains only one painting.清代一對玻璃畫人物肖像中國，十九世紀。開光描畫人物。畫中的婦人鳳眼、柳葉眉、櫻桃小嘴、窄溜肩，配上華貴的髮飾和服裝，倚窗而坐，左手拿著煙斗。另一幅畫中見一貴人，身著藍色碎花長袍。四周石榴、蓮花、蝴蝶和葫蘆紋飾，濃密的藍色和白色花卉為地。 款識：背景文字取唐代萬楚《五日觀妓》：西施謾道浣溪紗，碧玉今時斗麗華。眉黛奪將萱草色。 來源：法國古玩交易。 品相：狀況極好，油漆有輕微磨損。木框輕微小刻痕、安裝用鑽孔和輕微老化裂縫。 尺寸：總55 x 40.6 厘米 與55.3 x 40.4 厘米，畫面48.8 x 34 厘米 與 48.7 x 34.5厘米 同期相配木框 (4) 文獻比較： 一件非常相近約1858年的兩件玻璃鏡畫人物像，一件為滿州男人像，另一件為女人像，Lawrence W. Jenkins贈予美國麻塞諸塞州賽勒姆的Peabody Essex Museum，館藏編號1956 M8873和1956 M8874。 拍賣結果比較： 形制：非常相近 拍賣：愛丁堡邦瀚斯，2013年7月10日，lot 370 價格：GBP 1,750（相當於今日EUR 2,800） 描述：十九世紀滿州年輕男性玻璃鏡畫 專家評論：比較非常相近的主題、姿勢、背景和尺寸(42 x 34)。請注意此畫僅有一幅。

AN IMPORTANT BUDDHIST VOTIVE PAINTING DEPICTING BUDDHA, EARLY MING DYNASTY, 1400-1450Published: Roderick Whitfield et al., Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy, Wou Lien-Pai Museum, Hong Kong, 2011, pages 16-17, elaborately discussed in Roderick Whitfield's essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, and page 109, no. 6 (note that the size is erroneously noted as 136.5 x 68 cm).Expert's note: According to Roderick Whitfield in his essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, written in 2008, the present lot exhibits numerous features which are typical of Buddhist paintings on silk dating from the first half of the fifteenth century, some originating from the capital and others from Shanxi province. Roderick Whitfield (b. 1937) is a British scholar and art historian who was the Percival David Professor at the School of Oriental and African Studies of the University of London, as well as Assistant Keeper at the British Museum between 1968 and 1984 and head of the Percival David Foundation of Chinese Art between 1984 and 1993.China, first half of the 15th century. Ink and watercolors on silk. Depicting the Buddha seated on a double lotus over an elaborate hexagonal tiered throne supported by two striding guardian figures centered by a lion, his left hand holding a small flask and his right held above his lap, wearing loose-fitting robes and adorned with jewelry, backed by a circular halo of multi-colored rays of light. His serene face with heavy-lidded eyes and pursed lips, his blue hair arranged in spiral curls around the central ushnisha. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.38. The frame with an old label, 'KW P38', as well as further old labels to the back. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Extensive wear, creasing, losses, tears, and soiling. Minor old touch-ups here and there. The wood frame with wear, chips, and losses.Dimensions: Image size 148 x 70 cm, size incl. frame 157.5 x 80 cmWith a finely carved old gilt wood frame. (2)The present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the early Ming dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.As explained in Caroline Gyss-Vermandes' pioneering article about the sets of Shuilu (Water and Land) paintings obtained by Paul Pelliot from “a library in the Imperial Palace” and now in the Musee Guimet (Demons et Merveilles: vision de la nature dans une peinture liturgique du XVe siecle, Arts Asiatiques 43, 1988, pages 106-122), such paintings were not objects of worship, but rather illustrations of the pantheon invoked in the Water and Land rituals, hung up in a prescribed order on the left and right walls of the sanctuary, while the main deities, in a larger size, were hung slightly higher on the north wall. Literature comparison: Compare a related painting of the Medicine Buddha, dated 1477, in the University of Oregon Museum of Art, illustrated in Marsha Weidner, Latter Days of the Law: Images of Chinese Buddhism 850-1850, cat. no. 5, pl. 3.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2016, 1110 Price: USD 112,500 or approx. EUR 130,000 converted and adjusted for inflation at the time of writing Description: A Buddhist Figure, ink and color on silk, anonymousExpert remark: Compare the closely related manner of painting. Note the smaller size (95.7 x 50.4 cm).1400-1500年明初重要還願佛陀坐蓮像中國，十五世紀上半葉，絹本水墨設色。出版：Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年，頁16-17，Roderick Whitfield的文章 “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”，頁109，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米)。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 P.38。框上和背面有老標籤。 品相：大量磨損、摺痕、缺損、撕裂和汙跡，多處輕微的小修補，木框有磨損、刻痕和缺損。 尺寸：畫面148 x 70 厘米，含框 157.5 x 80 厘米 描金雕刻木框 (2)

'BAMBOO AND BUTTERFLIES', BY QI GONG (1912-2005)China. Ink and watercolors on paper. With a silk brocade frame, mounted as a hanging scroll. Finely painted in varying shades of green with leafy stalks of bamboo and two red butterflies playfully flying below.Inscriptions: Upper right, signed 'Jianjingweng Qi Gong' and inscribed with a poem. One seal of the artist.The poem inscribed on this painting can be translated as follows:The green bamboo shoots from the earth and supports the sky,One cannot take them in the hand as a fishing rod, The leaves and the branches are so long and get tangled,It is so difficult to remove the superfluous leaves and branches. Provenance: British trade. Condition: Very good condition with only minor wear and little foxing.Dimensions: Image size 82 cm x 33 cmQi Gong (1912-2005), whose artist name was Jianjingweng, was a descendant of the Yongzheng Emperor through his son Hongzhou. formally known as Prince He. He grew up in extreme poverty but learned Chinese calligraphy in his childhood and studied various historical stone inscriptions of calligraphy. Qi Gong was versatile in all writing styles, especially the regular script (kaishu), the running hand (xingshu), and the cursive script (caoshu).Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 21 June 2011, lot 8396Price: USD 13,420 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: Qi Gong (1912-2005), Green BambooExpert remark: Compare the closely related motif and fine details. Note the size (94 x 46 cm).啓功 (1912-2005)款《翠竹》中國，紙本水墨設色，掛軸。翠竹濃淡相宜，明淨無塵，清勁秀潤；蝴蝶飛舞，手法生動，色彩鮮明。 款識：拔地擎天翠色寒，未能入手作魚竿。絲綸百尺牽纏處，縟葉繁枝剪難。堅淨翁啓功；鈴印：啓功之印 來源：英國古玩交易。 品相：狀況極好，只有輕微磨損和起皺。 尺寸：畫面82 釐米 x 33 釐米 啓功(1912-2005) 先生號堅淨翁，雍正帝第九代孫，是當代著名學者、畫家和書法家。他著作豐富，通曉語言文字學，甚至對已成為歷史陳蹟的八股文也很有研究；他做得一手好詩詞，同時又是古書畫鑑定家，尤精碑帖之學。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2011年6月21日，lot 8396 價格：USD 13,420（相當於今日EUR 16,000） 描述：啓功《綠竹》 專家評論：比較非常相近的主題和精細的細節。請注意尺寸(94 x 46毫米)。

A PAIR OF 'SPOTTED BAMBOO' FAMILLE ROSE DISHES, EARLY QIANLONG PERIODChina, circa 1740. The dishes with openwork sides in the form of overlapping rings imitating spotted bamboo (xiangfei zhu), enameled in yellow and brown. The center decorated with peonies, chrysanthemums and butterflies superbly painted in crisp enamels, enclosed by a floral diaper band, detailed with radiating lines within cells on a green ground with horizontal lines. (2)Provenance: Sotheby's, London, 6 November 1973, lot 132. Dr. Anton C.R. Dreesmann, acquired from the above. Christie's, London, 10 April 2002, lot 374, sold for GBP 3,525 or approx. EUR 7,800 (converted and adjusted for inflation at the time of writing). S. Marchant and Son, London, 2002. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant and Son, London, dated 14 June 2002, dating the plates to circa 1740, and stating a purchase price of GBP 6,500 or approx. EUR 14,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Each dish with two old inventory labels from the Dreesmann collection to the base, one dish further with a label 'Marchant London Qianlong 1736-1795'. Dr. Anton C.R. Dreesmann (1923-2000) was a third-generation member of the founding family of the biggest Dutch department store, Vroom & Dreesmann, and a passionate collector, amassing over 1,300 works of art, including the famous 'Waterloo Bridge' by Claude Monet. Condition: Very good condition, superbly enameled and with only light wear, manufacturing flaws including minor warping, pitting, dark spots, glaze recesses, and few firing cracks.Weight: 316.6 g and 312.2 g Dimensions: Diameter 21.4 cm and 21.2 cmXiangfei zhu, or spotted bamboo, a native plant of Hunan, Henan, Jiangxi and Zhejiang, refers to several types of bamboo with stems that are mottled by dark spots. The stems of the spotted bamboos are generally esteemed for making the handles of Chinese brushes, used for calligraphy and painting. Early examples from brushes made of spotted bamboo date back to the 8th century, Tang dynasty, and were highly valued in China as well as Japan, as can be seen from objects imitating spotted bamboo in the Shosoin (treasure house) in Japan.Literature comparison: Compare a closely related dish with openwork rim, late 17th to early 18th century, in the collection of the Metropolitan Museum of Art, accession number 79.2.1037.乾隆早期一對粉彩湘妃竹紋開光花開富貴盤子中國，約1740年。折沿淺腹盤，圈足。折沿鏤空連環狀，琺瑯彩黃褐相間，如湘妃竹紋理。盤中開光描繪富貴花開圖，牡丹、菊花，四周蝴蝶飛舞。 (2) 來源：倫敦蘇富比，1973年11月6日；Dr. Anton C.R. Dreesmann購於上述拍賣；倫敦佳士得，2002年4月10日，lot 374，售價 GBP 3,525，折合為現今EUR 7,800 (根據現今通貨膨脹率)；倫敦S. 3月ant and Son，2002年；Richard and Maxine Markell，購於上述藝廊。隨附倫敦S. Marchant and Son藝廊2002年6月14日出具的原始發票複印件，上面斷代為約1740年，售價 GBP 6,500 ，折合為現今 EUR 14,500 (根據現今通貨膨脹率)。每個盤子底部都有Dreesmann 收藏標籤，一個上面可見 '3月ant London Qianlong 1736-1795'。 Dr. Anton C.R. Dreesmann (1923-2000) 是荷蘭最大百貨公司 Vroom & Dreesmann 創始家族的第三代成員，也是一位忠實的收藏家，收藏了 1,300 多件藝術品，包括莫奈 Claude Monet 著名的“滑鐵盧橋”。 品相：狀況非常好，釉色精美，輕微磨損，製造缺陷包括輕微翹曲、點蝕、黑點、釉面凹陷和少量燒製裂紋。 重量：分別爲316.6 克與 312.2 克 尺寸：直徑分別為 21.4 厘米與 21.2 厘米 文獻比較： 比較非常相近的十七世紀晚期至十八世紀早期鏤空雕刻彩盤，收藏於大都會藝術博物館，館藏編號79.2.1037。

'WISTERIA', BY QI BAISHI (1864-1957)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Virtuously painted with a cluster of wisteria leaves hanging from a twisting vine further issuing leafy stems in variegated shades of green, executed with bold and vivid brushstrokes.Inscriptions: Baishi shanweng Huanghun zuo (old man Baishi painted this at dusk). One seal of the artist 'Qida'.Provenance: From the collection of Hazel Elfwendahl, and thence by descent in the family. Hazel Elfwendahl (1923-2018) was the wife of Bo Elfwendahl (1928-2004), Vice Consul at the Royal Swedish Consulate in Hong Kong between 1957 and 1962. While in Hong Kong, she took great interest in and developed a deep understanding of Chinese art, perusing painting and calligraphy studies for the Lingnan School master Chow Leung Chen-Ying (1921-2005). She also befriended several noted Hong Kong art collectors. Note that another work by Qi Baishi from the collection of Hazel Elfwendahl, Pumpkins, was sold at Bonhams London, 3 November 2022, lot 212, for GBP 44,400 or EUR 50,700 (converted at the time of writing).Condition: Excellent condition with minor wear and little soiling.Dimensions: Image size 66.5 x 32.5 cm, Size incl. mounting 132.5 x 41.4 cmQi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Literature comparison:Compare a related painting of Wisteria by Qi Baishi, dated ca. 1930, exhibited in the Noguchi Museum, Isamu Noguchi and Qi Baishi: Beijing 1930, 25 September 2013 to 26 January 2014.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 1 June 2021, lot 878 Price: HKD 565,000 or approx. EUR 68,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the closely related subject, executed with bold and vivid brushstrokes. Note the similar size (67.5 x 33.2 cm). Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2015, lot 303 Price: USD 81,250 or approx. EUR 93,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the smaller size (33 x 44.4 cm).齊白石(1864-1957)《紫藤》中國，紙本水墨設色，掛軸。白石老人畫藤如蛇，幾串紫藤開得奼紫嫣紅，在紫藤的一片熱鬧中，幾筆縱橫交錯的藤，顯得畫面更富有層次。 款識：白石山翁黃昏作；鈴印：齊大 來源：Hazel Elfwendahl收藏，保存在同一家族至今。Hazel Elfwendahl (1923-2018年) 是Bo Elfwendahl (1928-2004)的妻子，她於1957年至1962年任瑞典皇家駐香港總領事館副領事。在港期間，她對中國藝術產生濃厚興趣，拜師與嶺南派大師梁粲纓研習書畫（ 1921-2005）。她還結識了幾位著名的香港藝術收藏家。請注意Hazel Elfwendahl 收藏的齊白石另一幅作品《南瓜》，2022 年 11 月 3 日售於倫敦邦瀚斯，lot 212，售價為 GBP 44,400（或相當於今日EUR 50,700）。品相：狀況極佳，輕微磨損，輕微汙漬。 尺寸：畫面66.5 x 32.5 厘米，總132.5 x 41.4 厘米 文獻比較： 比較一件相近的約1930年作齊白石《紫藤》，展覽於Noguchi Museum，《Isamu Noguch and Qi Baishi: Beijing 1930》，2013年9月25日至2014年1月26日。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年6月1日，lot 878 價格：HKD 565,000（相當於今日EUR 68,000） 描述：齊白石《紫藤》，設色紙本鏡框 專家評論：請注意非常相近的主題，以及以大膽而生動的筆觸。請注意相似的尺寸(67.5 x 33.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月18日，lot 303 價格：USD 81,250（相當於今日EUR 93,000） 描述：齊白石《紫藤》 專家評論：請注意尺寸較小(33 x 44.4 厘米)。

A Chinese travelling trunk, probably pig skin and another smaller. Early 20th century, each with brass mounts, handles red paper label with calligraphy, largest height 28cm, width 45cm, depth 31cm. (2)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

A Chinese calligraphy scroll, with red seals, 20th century. And four Chinese paintings on silk, mid 20th century.Mountainous river scenes with character marks and red seal. (5)

Thirteen works on Japanese printed art. Including 'Japanese Colour Prints' by Laurence Binyon and J. J. O'Brien Sexton, 'Sex and the Floating World', 'Osaka Kagami' and 'Zen Painting & Calligraphy'. (13)

A set of ten Chinese rice paper paintings of execution and torture scenes, 19th century. With panels enclosing calligraphy, approx 28 x 41cm. (10)* Please note: This lot contains themes/imagery that some may find disturbing.Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.Each image comes with a paper backing which has some fixing, though this doesn't affect the rice paper. Some creases to the edges of the rice paper. Please view extra images.

A Chinese porcelain Famille verte spoon Daoguang seal mark. Decorated with flowers and foliage with calligraphy, bats to the underside, length 18cm.There is a tiny chip on the spoon end and there are some pitted kiln marks on the back.

R. H. BLYTH. Japanese Life and Character in Senryu Published by Hokuseido Press, Tokyo,1960; First edition. Hardcover, octavo; beige cloth boards with black spine titling and small blind-stamped insignia on rear board; 630pp., colour frontispiece with tissue-guard and 17 colour and b&w plates all with tissue-guards, decorated endpapers, in plain cardboard mailer with spine and upper board titles and publisher's bird insignia on lower board. Very good..Together with other Japanese-themed books focussing on art, pottery, calligraphy and more.

A Chinese bronze archaic style vase, circa 1900-1920. With serpent handles flanking rows of calligraphy, height 32.5cm.

A Japanese glazed stoneware ovoid saki bottle, circa 1900. Decorated with blue calligraphy, height 32.5 cm, width 16cm.From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s.

A Chinese bronze card tray, circa 1900. With multiple rows of calligraphy, raised on four feet, character marks and dragons to underside, height 1.3cm, width 13.5cm, depth 13.5cm.

A Chinese silk embroidered banner, early 20th century. With calligraphy and metal thread decoration with figures and character marks, 400 x 66cm.

A large Chinese porcelain vase, 20th century, red seal mark, with female figures in a garden scene, rows of calligraphy, height 62cm, width 23cm.some scratches on the body.

Three Chinese painted scrolls, 20th century. 162 x 42.5cm, 105 x 36cm, calligraphy scroll 159 x 48cm and a loose sheet of calligraphy, 130 x 69cm. (4)

* Teapot. A Chinese Yixing stoneware teapot, of square form incised with 4 rows of calligraphy, the base with an impressed seal mark, 16 cm long QTY: (1)

CHINESE CARVED CALLIGRAPHY INK BLOCKof shaped outline decorated with birds, dragon and pagodas, with a central lift off lid with a shallow bowl below, with character mark to base, 24cm long

A Hindustan illustrated manuscript, possibly Mughal period (16th-19thC), painted with a reserve of birds, and a lioness attacking a buffalo, within a border of detailed calligraphy, 33cm x 21.5cm.

A Syrian brass and copper vase, circa 1900, With arabic calligraphy, height 44cm, width 30cm.

An Ottoman embroidered metal thread panel, late 19th century. Decorated with calligraphy and foliage, 107 x 106cm.

An Islamic copper scroll holder. containing a paper scroll with arabic calligraphy, body of scroll holder length 5.5cm, diameter 4.5cm.

An Indian Bidri ware bowl and cover, early 20th century. Islamic calligraphy to the underside, height 10cm, diameter 15cm.

A Chinese Porcelain Calligraphy Tea Bowl Decorated with Exterior Scene in Pink Enamels, Six Character Mark to Base in Red, 6cm high

An Chinese Porcelain Vase Decorated with Bird in Blossoming Branches and Calligraphy Verse, 20cm high

Oriental red lacquered box and cover, the shaped box decorated with hand-painted panels of flowers, fallen fruit and insects within scrolls and calligraphy, ebonised interior, 10cm high, 45cm wide and 39cm deep.

An assortment of 19th century & later Chinese Oriental porcelain & clay items. The lot to include a Chinese red clay Yixing teapot, a blue & white porcelain bowl with pagodas decorations, a carved soap stone seal with white calligraphy, together with a miniature orange clay tea pot & cups. Teapot measuring approx. 15cm tall. 

A CHINESE FAUX BRONZE DISH circular, with slightly flared deep rim, gilded with calligraphy, bears Qianlong mark. 18cm diameterIn good condition without chips, cracks or restoration.

TWO CHINESE BLUE AND WHITE PORCELAIN SNUFF BOTTLES one of double gourd form, painted with birds and butterflies; the other with iron red panels of calligraphy; together with a small Tibetan white metal-mounted green hardstone jar and cover with lion mask handles. (3) Heights 11.5cm, 7cm and 7.5cm

TWO CHINESE WHITE METAL TRADE TOKENS one in relief with a Zodiac wheel opposed by dragons, the other with a seated deity to both sides amidst calligraphy. (2) 9cm by 5cm, and 9.5cm by 5.5cm

Very Large Japanese Watercolor of Flowers and a butterfly. Inscribed and signed w Calligraphy and a Red Ink Stamp. Overall size: 19 3/4 x 81 3/4 in. Sight size: 15 x 67 in.

Titled, "Dusk", lithograph with hand coloring, numbered 32/100, pencil signed Toko Shinoda. Born in Dalian, Manchuria, Toko Shinoda practiced calligraphy from the age of six. In 1940, Shinoda had her first solo exhibition at Kyukyodo Gallery, and began working on abstract paintings in sumi by 1945. Shinoda traveled the United States from 1956 to 1958, and came into contact with the works of Jackson Pollock, which left a deep impression on her. She moved beyond traditional calligraphy towards an expressive, abstract style. During her time in the United States, she had a number of exhibitions, which helped to make her name. Her works were bought by several high-profile collectors. Shinoda also became involved in the abstract expressionist movement of the time. She died at the age of 108 in Japan. Overall size: 14 1/4 x 11 1/4 in. Sight size: 13 1/2 x 10 1/2 in.