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A group of Chinese silk skein threads for embroidery, Qing dynasty, the silk threads in paper folders with Chinese calligraphy identifying the silk colours, together with gold threads; two glass phials for rose oil in silk holders and the bottles with paper labels with Chinese calligraphy; a Chinese wood-block book illustrating twenty-three stages of silk production, after a Kangxi original, this edition reprinted in the fifth year of Guangxu (1880); a modern border weave length with shou symbols and eight glass purse ribbon decoration beads清 绣品一组Condition Report: some wear to silk and paper folders containing silk with foxing, holes and tears The glass phials with wear to paper labels the silk production box with some fading and staining to covers and tears and worm holes to some pagesCondition Report Disclaimer

An unusual Dehua type 'Tree Squirrel' brush rest or group, Qing Dynasty, modelled with three tree squirrels on fruiting vines, their eyes glazed in brown, 11cm long x 4.8cm high; A Chinese 'Fish' brush rest or group, glazed in green to the base with iron-red and black details, 10.5cm long x 4.5cm high; a pair of Chinese Famille Rose square stands, 18th century, 8cm square x 4.5cm high and a small Chinese circular lacquer box and cover, Qing Dynasty, 17th or 18th century, carved with a scholar beside plantain leaves holding a calligraphy brush and with an attendant to one side, 7.5cm diameter (5)Provenance: From a Noble English family, prior to 1921 清 德化松鼠笔山等一组5件拍品来源：英国显赫贵族私人收藏，购自1921年前Condition Report: The squirrel group in good condition other than minor firing blemishes The fish with tip of dorsal fin glued and small chip to tail and with some wear and losses mainly to green enamelThe stands largely ok other than one has 2cm x 1cm scale chip on upper surface the lacquer box and cover showing signs of wear and the underside of the cover with large crack approximately 5cm x 4cm partly visible on top with small area of loss around crack measuring approximately 11mm x 2mmthe rims of he cover and base both with small chipsCondition Report Disclaimer

A Qajar gold damascened steel shield, Persia, 19th century, of typical shallow domed circular form with four rounded rosette bosses, the centre with a cut-steel design based around a central star, enclosed by bands with calligraphy, deer and foliage, 38.5cm diameter Provenance: Private collection recently removed from Knightsbridge, London and by family descent. Condition Report: some degradation to metal surface and some wear to gilding and rim wit old repair to crack and other minor knocks and dents commensurate with ageCondition Report Disclaimer

Orchard calligraphy drawing adjustable board

A 20th century Japanese green patinated bronze vase, decorated in relief with a frog to one side above incised lined of calligraphy, height 12ins - Good condition, no dents, cracks etc

Robinson (B.W.) & others. The Keir Collection: Islamic Painting and the Arts of the Book, 1976 § Losty (J.P.) The Art of the Book in India, 1982 § Lings (M.) The Quranic Art of Calligraphy and Illumination, 1976 § Wood (F.) & Mark Barnard. The Diamond Sutra, 2010 § Ginsburg (Henry) Thai Art and Culture: Historic Manuscripts from Western Collections, 2000 § Jansen (M.) & G.A.Pérez Jiménez. Codex Bodley: A Painted Chronicle from the Mixtec Highlands, Mexico, Oxford, 2005, illustrations, many colour, original cloth or boards with dust-jackets; and 14 others on Eastern manuscripts, v.s. (20)

Hendrix (Lee) & Thea Vignau-Wilberg, editors. Mira Calligraphiae Monumenta: A Sixteenth-Century Calligraphic Manuscript Inscribed by Georg Bocskay and Illuminated by Joris Hoefnagel, colour illustrations, original cloth, slip-case, Los Angeles, 1992 § Backhouse (Janet) John Scottowe's Alphabet Books, plates highlighted in gold, original morocco-backed cloth, spine faded and nicked, for members of the Roxburghe Club, 1974; and another on calligraphy, v.s. (3)

A Chinese Famille Rose 'Cockerel' pot pourri vase, Republic, with two facing cockerels and other birds, with poetic calligraphy to reverse, the tapering ovoid body with pierced rim and cover, brightly enamelled in pink and tones of green with complex black enamel borders, the rim and cover with iron-red and black enamel details, the base with apocryphal four-character Qianlong mark in blue enamel within double square, 17cm highProvenance: From a private London collection and inherited by the current owner 民国 "乾隆年制"粉彩题诗文天鸡图瓶拍品来源：伦敦私人收藏，后家族继承Condition Report: in good condition with the unglazed inner cover with two very tiny chips which are hardly noticeable Condition Report Disclaimer

Three Chinese painted fans, late 19th/20th century, including: a fan painted by Yang Yi (1864-1929), and calligraphy to the reverse by Zeng Xi (1861-1930), 54.4cm wide, extended; a fan painted by Hu Tiemei (1848-1899), and calligraphy to the reverse by Lu Runyang (1841-1915), 43cm wide, extended; and a fan attributed to Wu Hufan (1894-1968), 42.2cm wide, extended (3) 吴湖帆（款）、陆润庠、曾熙、胡铁梅等 山水书法扇面三件吴湖帆（1894～1968），字东庄，号倩庵、丑簃，江苏苏州人。为西泠印社社员，山水宗"四王"、董其昌，上溯宋元各家，以雅腴灵秀享誉画坛，为海上重要名家，亦为海上"三吴一冯"之一。陆润庠（1841～1915），字云洒，江苏苏州人，同治十三年（1874）状元，歴任国子监祭酒、内阁学士、吏部尚书、东阁大学士等职，辛亥革命后为溥仪师傅。胡铁梅（1848-1899），字铁梅，安徽桐城人。工山水及人物、花卉，与王冶梅并以画梅得名，铁梅能腴，冶梅能瘦，并为巢林遗派。有梅花高士图。久寓沪上，旋游日本，画名甚噪。曾熙（1861～1930），字子缉，晚号农髯，湖南衡阳人。张大千之业师，光绪二十九年（1903）进士。1915年始居上海，以卖字为生。主讲石鼓书院。工书画，与李瑞清有"南曾北李"之誉。为近代六十名家之一。Condition Report: The pan signed Wu Hufan with worm holes on both sides, minor foxing on three fans commensurate to ageCondition Report Disclaimer

A print, after David Jones, calligraphy script, 60 x 40cm, plus frame and glazed, and an etching, K Vernon, Windsor, 27 x 11cm, framed

A set of three Indo-Persian hand-coloured plates, highlighted with gilding, two depicting a tiger hunt, the third of six panels with various hunting vignettes, each with bands of calligraphy, top and bottom, framed. (3) 23.5cm by 13.5cm

A Chinese Yixing stoneware teapot, of cylindrical form, the cover incised with a band of Greek Key, the body decorated with a mountainous landscape opposed by calligraphy, with strainer and impressed seal mark to the base; together with a Yixing teapot of irregular shape, unmarked. (2) 8cm by 14cm (across handle and spout) and 9cm by 17cm (across handle and spout)

An octagonal lacquered storage box with polychrome Chinoiserie lotus panel landscapes featuring ducks and egrets, the interior with Chinese calligraphy, 46 cm diam x 59 cm high

CHEN CHUNYU (ACTIVE 19TH CENTURY)Orchid Pavilion, cyclically dated Wushen year (1848) Handscroll, ink and colours on silk depicting scholars amidst a mountainous landscape, cups flowing down a stream, colophon and seals of Hu Tong'en (active mid 19th Century) cyclically dated to the Jiayin year (1854) and seals. The calligraphy 95cm (37 1/2in) long x 21.5cm (8 1/2in) high; The landscape 131cm (51 1/2in) high x 21.5cm (8 1/2in) high.Footnotes:陳春雨 蘭亭修褉圖 一八四八年作 絹本設色 手卷Provenance: an English private collection來源：英國私人收藏Hu Tong'en 胡彤恩 (late Qing dynasty), studio name Wu'an (勿庵), was from Sanshui in Guangdong Province. Little is known of his life except that he became a jinshi degree holder during the Guangxu reign, and was an official in the Department of Criminal Justice.The literati gathering in Orchid Pavilion near Shanyin (present day Shaoxing) in 353 CE, became a symbolic event in literati cultural history, immortalised by the writings of the sage of calligraphy Wang Xizhi (303-361). Wang Xizhi wrote the canonical work of calligraphy 'Preface to Orchid Pavilion', for the poetry written by 42 literati engaged in a drinking contest. As the present lot shows, wine cups were floated down a small winding creak as the men sat along its banks; whenever a cup stopped, the man closest to the cup was required to empty it and write a poem. Apart from the calligraphy of Wang Xizhi, the event itself encapsulated an elegant and poetic lifestyle that generations of scholars forever after strove to emulate and represent in paintings such as the present lot. For an ink rubbing of a related scene of the Orchid Pavilion Gathering, see G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.28.For further information on this lot please visit Bonhams.com

Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sTwo chuban yoko-e shunga prints from the series Furyu Enshoku Mane'emon (Elegant Erotic Mane'emon): the first, no.2, depicting a calligraphy teacher taking advantage of his young female pupil, the miniature man Mane'emon watching them through an opening of the pierced leg of a writing table, unsigned, 21cm x 27.2cm (8¼in x 10 11/16in) ; the second, no.8, a man and woman frolicking after bathing at a hot-spring resort, enjoying the shamisen music played by a bald blind singer in the adjoining room, the naked Mane'emon emerging from the bath on the right, unsigned, 18.7cm x 28.1cm (7 3/8in x 11 1/16in). (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

Kitao Shigemasa (1739-1820)Edo period (1615-1868), circa 1773A chuban yoko-e shunga print from an untitled series, depicting a middle-aged husband and wife making love behind their young daughter practising calligraphy in front of half-opened shoji doors overlooking a garden; unsigned. 19.2cm x 25.3cm (7 9/16in x 10in).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 LARGE ZITAN LOTUS-SHAPED BRUSHPOT, BITONG18th centuryThe vessel deftly carved with barbed sides divided into twelve bracket lobes, supported on a foot of corresponding lobes rising from five ruyi feet, the lustrous precious wood patinated to a deep brown tone. 19cm (7 1/2in) diam.Footnotes:十八世紀 紫檀葵瓣式筆筒Provenance: Nicholas Grindley, no.1004.18 (label)Wilson collection, no.C94 (label)Christie's New York, 17 March 2016, The Ian and Susan Wilson Collection of Scholar's Objects, lot 1164An important European private collection來源：倫敦古董商Nicholas Grindley，編號1004.18（標籤）威爾遜伉儷舊藏，藏品編號C94（標籤）紐約佳士得，2016年3月17日，拍品編號1164歐洲重要私人收藏This well-proportioned brushpot is a fine and rare example of a scholar's classic object. It served the essential function of holding the brushes that allowed a scholar to engage in the art of calligraphy and landscape and still-life painting. In addition to playing a functional role, the brushpot fulfilled the aesthetic taste of the literati because of its organic material which helped a scholar to reconnect with the natural world. Escaping to nature was a central theme of the literatus scholar as this provided him with an escape from the mundane world of current affairs to an ideal environment where he could reaffirm his identity as poet, philosopher and calligrapher. Zitan ('purple sandalwood'), alongside huanghuali was the finest type of wood at the time, and is the most dense and slow-growing of hardwoods used to create objects for the scholar's desk. Therefore, zitan brushpot of such impressive size as the present lot are particularly rare. A related zitan lobed brushpot, 17th/18th century, is illustrated by G.Wu Bruce, The Best of the Best. The MQJ Collection of Ming Furniture, Hong Kong, 2017, p.442. Compare with a similar zitan lobed brushpot, 18th/19th century, which was sold at Sotheby's New York, 15 March 2016, lot 24.紫檀為材，雕挖呈六瓣式。敞口，平沿，口沿起寬棱，倭角線由口沿向下延伸至底部隨弧形凸出，各瓣中心向下延續為六腳支承。紫檀自古就是中國最為名貴的木材。本器六方六棱，餘則光素無紋，惟以本然之紋理與渾厚之包漿為飾，簡潔素雅，協調規整，上下相應，婉轉相因。置於文人案頭，朝夕相伴，摩挲觀賞，是以澄懷觀道，以達悠遊隱逸自然。一例十七至十八世紀紫檀葵瓣式嵌銀筆筒，造型與本例相似，見伍嘉恩著，《木趣居：家具中的嘉具》，北京，2017年，頁442。另有一例十八至十九世紀紫檀葵瓣式筆筒，售於紐約蘇富比，2016年3月15日，拍品編號24，可資比對。For further information on this lot please visit Bonhams.com

A RARE HUANGHUALI SQUARE-CORNER CABINET, FANGJIAOGUI17th/18th centuryOf rectangular form, the doors with single floating panels of standard miter, mortise and tenon construction enclosed within a frame, the top and sides similarly constructed, the interior with one shelf above a pair of drawers, all above a beaded front apron carved with intertwining scrolling designs, the side aprons similarly decorated, with metal hinges, shaped lockplate, pin and pulls. 123cm (48 1/2in) high x 77cm (30 2/8in) wide x 44cm (17 2/8in) deep.Footnotes:十七/十八世紀 黃花梨方角櫃Provenance: an important private European collection來源：歐洲重要私人收藏The present cabinet is notable for its restrained design, minimalist decoration, elegant proportion and extravagant use of beautifully-grained huanghuali. Constructed entirely from high-quality huanghuali wood, chosen for its rich golden-honey tones, the wide flat surface emphasises the natural beauty of the densely-grained wood.The simple austere lines of these cabinets created a sense of solidity and strength resulting from a slim profile combined with the strong horizontal lines of the top and bottom members. The circular door pivots form an elegant contrast to the square members. In addition, the cabinet has no superfluous ornamentation, except the beaded edge along the plain apron and spandrels towards the feet and the polished baitong mounts. This way, the eye is drawn to the beauty and subtlety of the natural wood which conveys a graceful and soft feel. The functional metal hinges, lock plate and pulls enhance the richness of the wood. These important decorative elements were carefully sized and spaced to complement the proportion of the cabinet. The lockplates are persimmon-shaped, while the pulls are shaped as double fish, subtly intimating auspicious wishes for abundance and wealth.During the Ming and Qing periods, furniture was probably selected from books of designs at the cabinetmaker's workshop and made to the proportions required. This would have allowed certain unique personal preferences in stylistic choices, such as the higher beaded oval feet in the present lot, which lend it its 'unusual distinction'. Subtle variations give individual character to different tapered cabinets.The fact that the panel forming the horizontal top of the present cabinet is also constructed from huanghuali makes it is unlikely that the cabinet had an associated hat chest (additional storage chests holding additional items of clothing). This cabinet was probably made for a scholar's studio, where it would have held painting and calligraphy, implements or treasured artifacts. The lavish use of huanghuali to construct all the inner members, such as shelves and drawer lines, demonstrates an exceptional level of craftsmanship and attention to details. For a detailed discussion about the use of cabinets in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.241-267.Square-corner cabinets with flush-panel doors but constructed without hat chests are rare. A similar cabinet without a hat chest is depicted in an 18th century handscroll depicting 'The Qianlong Emperor's Southern Inspection Tour', dated to 1770, in The Metropolitan Museum of Art, New York, acc.no.1988.350a-d. See also a line drawing of a similarly-shaped cabinet, 17th/18th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.2, 1990, Hong Kong, p.152, D24. A related huanghuali square-corner cabinet, 17th/18th century, was sold at Christie's New York, 22-23 March 2012, lot 1726.「一封書」式方角櫃，方方正正，櫃體光素，只在三面牙條上浮雕卷草紋。櫃門平鑲，兩門之間立閂桿，安葵形面葉。櫃內抽屜架安有兩個抽屜，將內部空間分隔為兩層，下無櫃膛。整體線條利練，設計簡約，盡顯木材自然紋理，乃明清傢俱的永恆經典。明清時期，家具大多依照工匠圖樣、按約定尺寸進行定制。傳世的方角櫃尺寸多樣，本例頂面也使用黃花梨木製成，表明製作時沒有與之相配的頂櫃，且尺寸適中，非常適合置於文人書齋內儲物，兼器物陳設。屜板等櫃內構件也以黃花梨木製成，毫不吝惜木料，原主人的審美品位和日用標準可見一斑。關於方角櫃用途的詳細陳述，參考S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁241-267。無頂櫃的「一封書」式方角櫃傳世不多。現藏於紐約大都會博物館（館藏編號1988.350a-d）、由宮廷畫家徐揚於1770年所作之《乾隆南巡圖》中，繪有一隻形制相似的無頂櫃方角櫃。另參一幅方角櫃線稿，收錄於王世襄著，《明式家具珍賞》，卷二，香港，1990年，頁152，編號D24。一例十七至十八世紀黃花梨方角櫃，售於紐約佳士得，2012年3月22-23日，拍品編號1726，可為參考。... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A RARE LARGE HUANGHUALI FLAT-TOP RECESSED-LEG TABLE, PINGTOU'AN17th/18th centuryThe table top of standard miter, mortise and tenon construction, enclosing a two-board round-cornered floating panel supported underneath by dovetailed transverse stretchers, the cylindrical legs double tenoned into the top and cut to house the plain spandrelled apron, with two oval-sectioned stretchers joining each pair of legs. 221.5cm (87 2/8in) wide x 90cm (35 1/2in) high x 50.5cm (19 7/8in) deep. Footnotes:十七/十八世紀 黃花梨夾頭榫大平頭案Provenance: an important European private collection來源：歐洲重要私人收藏Made from prized huanghuali wood of attractively warm brown and amber tones, and set with a lively-grained two-board top, the present table is a remarkable example of one of the most versatile and popular designs in Chinese furniture. The popularity of this linear form is evident in its continuous popularity without any major evolution in the design. The elegant wood grain and the smoothly-finished joinery of the present example indicate that this table would have belonged to a high-ranking member of the court or a scholar. Recessed-leg tables were historically referred to as 'character one' tables yi zi zhuo shi, as the single horizontal stroke of the Chinese character for the numeral 'one' resembles this linear form. This design appears to have derived from standard wood building construction employed from as early as the Han dynasty. This particular design with side stretchers is known from as early as the Song dynasty (960-1279), when tables with bridle and tenon joints, a continuous apron with small spandrels, and double stretchers at the sides were produced. See two recessed-leg tables depicted in a painting entitled 'Country Boys Playing in Class', attributed to the Song period and illustrated by Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.55, pl.35.Because of their light and simple form, these tables could be easily moved from one location to another. They were usually placed against the wall in the main hall of the family compound where important visitors were received and family ceremonies took place; hence these tables became representative of their owner's status and level of refinement and functioned as surfaces on which to display cherished antiquities, artefacts, scroll paintings, to practice calligraphy and painting, and even play the qin; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238. Compare with a huanghuali recessed-leg table, 17th century, illustrated by R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Museum of Arts, Minneapolis, 1999, pp.122-123, no.40. A similar huanghuali recessed-leg table, 17th century, was sold at Christie's Hong Kong, 10 November 2015, lot 380. See also a rare huanghuali recessed-leg altar table, 18th century, which was sold at Christie's Hong Kong, 28 November 2012, lot 2028.黃花梨製，頂面標準榫卯攢邊框，鑲兩拼面心板，牙頭光素，腿子截面圓形，以兩根橫棖連接。結構清雅，渾厚圓實，木紋緻密，亮澤如蜜，盡現傳統中國家具之經典，細節間無不透露了原主人的顯赫身世。此類桌案歷史上被稱為「一字桌式」，蓋因平直的案形與漢字「一」相似。該造形似從漢代木造建築演化而來，宋代已可見此樣式，榫卯結構，沿邊嵌牙條，雙橫棖，並屢見於宋畫。參考明代仇英臨宋人畫冊之《村童鬧學圖》中所繪二條案，見王世襄著，〈Development of Furniture Design and Construction from the Song to the Ming〉，收錄於《Chinese Furniture: Selected Articles from Orientations 1984-1999》，香港，1999年，頁55，圖版35。平頭案由於質樸簡練，曲直合度，宜作多方用途，常於一戶正廳之中靠牆擺放，用以展示古玩字畫，從而成為主人身份地位的象徵。見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，伯克利，2001年，頁224-238。參考一件十七世紀黃花梨平頭案，見R.D.Jacobsen與N.Grindley著，《明尼阿波利斯藝術館藏中國古典家具》，明尼阿波利斯，1999年，頁122-123，編號40 。另有一件十七世紀黃花梨平頭案，與本例相似，售於香港佳士得，2015年11月10日，拍品編號380；及一件十八世紀黃花梨平頭案，售於香港佳士得，2012年11月28日，拍品編號2028，可資比對。This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

20th Century Chinese famille rose vase decorated with three female figures at a table within a garden, with calligraphy inscription, red printed seal mark to the base, height 25cm

A Chinese Tianhuang carved figure of a seated figure of Lohan Buddha holding a censer, his robes foliate engraved and with turquoise and red painted detail, upon a carved hardstone base, foliate carved and pierced, within pale blue silk lined fitted box with paper calligraphy inscriptions, the hardwood box with sliding lid, height including stand 11.5cm, width of box 20cm

A Chinese famille verte dish with calligraphy inscriptions and painted with bamboo issuing from rocks, the base with painted seal mark, diameter 10cm

A Chinese silk painted panel depicting five females in a garden, calligraphy and red circular seal mark, 59 x 38.5cm.

A set of three Japanese pottery brush pots, two with calligraphy inscriptions, the other decorated with bamboo, inscribed to the base, height 12cm.

Japanese wood block print of a lady looking into a mirror, with calligraphy inscription, 37cm x 24.5cm

[ALLEN PRESS].SHAKESPEARE, William (1564-1616).Romeo and JulietGreenbrae: Allen Press, 1988.4to. Illustrated pen and ink drawings by Michele Forgeois, calligraphy by Mark Livingston. HAND-BOUND IN ORIGINAL FULL VELLUM, stitching on sides, spine hand-lettered, uncut, by Jenifer Lindsay, London.LIMITED EDITION, one of 10 unnumbered copies specially bound, of a total edition of 115.Property from the Collection of Jack BelcherFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

[LOGAN ELM PRESS]. CITINO, David (1947-2005). A Letter of Columbus. Ohio State University: Logan Elm Press, 1990.4to. Monoprints printed from hand-painted zinc plates by Anthony Rice, calligraphy by Ann Alaia Woods. Sewn into paper-covered boards with goatskin spine; original pastepaper-covered slipcase with cast paper bas-relief inset of the title-page illustration.LIMITED EDITION, number 125 of 130 copies SIGNED BY RICHARD TAUBER, CITINO, and RICE, printed at the Logan Elm Press and Papermill from hand-set Janson types on handmade Spanish flax specially-watermarked paper. [Laid in:] an additional bifolum, the text opening with calligraphy and illustration, the integral second leaf blank except for an illustration to the lower corner verso.Property from the Collection of Jack BelcherFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

[LOGAN ELM PRESS]. GREEN, Louisa Bertch. Solche Sensationen/Such Sensations. Food & Philosophical Reflectionsof Chef Hubert Seifert. Ohio State University: Logan Elm Press, 2010.Folio. 12 drypoint monoprint menus printed from copper plates and designed by Anthony Rice, calligraphy by Ann Alaia Woods. Original hand-sewn CavePaper covers; original Italian linen-covered folding case, the upper cover inset with an original copper intaglio monoprint plate.LIMITED EDITION, number 11 of 26 copies, SIGNED BY GREEN, RICE, WOODS, book designer ROBERT TAUBER, and chef HUBERT SIEFERT."The idea for Solche Sensationen... originated with Robert Tauber in the spring of 1990 based on his familiarity with two other books: The Shepheardes Calendar by Edmund Spenser, first published in 1579...and Onze menus de Paul Gaugin by Robert Rey, first published in 1950... Each of the twelve menus in the book recreates a meal that marked a milestone or special occasion in Chef Hubert's life" (Colophon).Property from the Collection of Jack BelcherFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

A large Chinese scroll painting on paper, laid on silk, depicting blooming red flowers and foliage on a gilt ground, with calligraphy to the left, with four red seal stamps, held on a hardwood roll, the work 86.5 cm long x 45.5 cm wide

A CHINESE FAMILLE ROSE PORCELAIN TRIPLE GOURD SNUFF BOTTLE, decorated with swimming fish and reed with bands of calligraphy, with a porcelain stopper, the base with a red signature, 9cm high,

TWO CHINESE REVERSE PAINTED GLASS SNUFF BOTTLES, one depicting seated immortals and horses, with bands of calligraphy, the other depicting immortals seated with cranes, again with calligraphy, 7cm high x 4cm wide.

A PAIR OF 19TH CENTURY CHINESE WOTSI PORCELAIN BOWL & SAUCERS, with typical red & green decoration of floral design, with roundel's of calligraphy, the bases with underglaze blue marks, 10.5cm wide ( bowls ) 13.5cm diameter ( plates )

A GOOD 19TH CENTURY CHINESE FAMILLE ROSE SQUARE TAPERING VASE, with panels of calligraphy, figures and dragons, 47cm high.

A LARGE PAIR OF CHINESE WUSHANPU PORCELAIN FAMILLE ROSE FIGURAL VASES - The large pair of vases decorated with many important figures with calligraphy, the interior opening with turquoise ground, with lower and upper borders of key and fruit decoration, with twin chilong handles, 61cm high.

A NICE CHINESE SCROLL PAINTING OF TWO FEMALE FIGURES, the two female figures in a landscpae holding a basket and tool, with calligraphy to the right section and seal, with hardwood carved handles, 205cm high x 84cm wide.

A CHINESE BRONZE CALLIGRAPHIC COFFEE POT & COVER, with two panels, of iris and calligraphy, the base with a seal mark, 21cm high,

A CHINESE CARVED JADE CALLIGIRAPHIC WATERSIDE LANDSCAPE PENDANT, one side depicting a waterside landscape, the verso with calligraphy, 7cm x 4cm

AN 18TH CENTURY CHINESE BAMBOO BRUSH POT, carved with a man riding an oxen with calligraphy, 15cm high.

A CHINESE BLUE & WHITE PORCELAIN HAWK TILE / PANEL, depicting a hawk landed upon rocky outcrops the upper section with calligraphy, the lower with a seal, 36.5cm x 25cm

A CHINESE YIXING CLAY PAINTED TEAPOT - the body decorated with a landscape view in famille rose, the verso with incised calligraphy, with a seal mark to both the underside of the pot and lid, 14cm.

A RARE CHINESE DING STYLE TWIN DRAGON HEAD HANDLE JAR - the body with and oval unglazed panel of calligraphy, with twin moulded dragon head handles, 17.5CM

A PAIR OF CHINESE REPUBLIC FAMILLE ROSE PORCELAIN EROTIC PANELS, each with a saucy scene and calligraphy, framed in hardwood frames, 21cm x 16cm

A PAIR OF CHINESE YELLOW GROUND PORCELAIN BOWLS, decorated with floral decoration and birds, the based with iron red seal marks, the front with red calligraphy, 10.5cm

A CHINESE YIXING CLAY CALLIGRAPHIC TEAPOT, the body of the pot with calligraphy, the base with a six character mark, 18cm wide.

A CHINESE RU STYLE LONG NEC PORCELAIN VASE, with a ribbed neck, base with incised and gilded calligraphy & mark, 26cm

A CHINESE YIXING CLAY TEAPOT, of square / rectangular form, the body with carved calligraphy, the lid with four character mark, the base with a seal mark, ,12cm

A CHINESE BLUE, WHITE & COPPER RED PORCELAIN PANEL OF A HAWK- depicted upon a rocky outcrop, the lower section with calligraphy and a seal mark, with a hardwood frame, 89cm x 52cm

TWO CHINESE PAINTINGS OF NATIVE FLORAL DISPLAY, one on paper depicting natural vegetable growth, stuck to card, 42cm x 27cm, the other painting on textile, depicting chrysanthemum and foliage, with calligraphy , 39.5cm x 27cm. (2)

A CHINESE MOUNTED PAINTED PAPER FAN - TWO BIRDS, the fan panel stuck to card, depicting two seated birds amongst floral growth, with bands of calligraphy, the actual fan itself, 57cm wide.

A CHINESE PAINTING ON PAPER - WARRIOR ON HORSEBACK, the painting depicting a warrior in battle upon horseback, the left side with calligraphy and seal marks, 37cm x 24cm

A CHINESE CARVED SOAPSTONE SEAL, carved with chilong and calligraphy, 5cm

AN ISLAMIC WOOD & LACQUER PANEL OF A SEATED MAN - the man in a seated position with a huqqa and pole arm, with upper and lower bands of calligraphy, 40cm x 30cm

A LARGER ISLAMIC PAINTED & MICRO MOSAIC FRAMED MIXED METAL CALLIGRAPHIC PANEL, the panel with calligraphy, birds and flora, the frame with micro mosaic and painted decoration of peacocks, birds and native flora, 60cm x 51cm

A CHINESE FAMILLE ROSE & UNDERGLAZE BLUE PORCELAIN TILE / PANEL - depicting a figure seated beneath a tent under a tree, with underglaze blue key borders, the left side with calligraphy and seal mark, 36.5cm x 25.5cm

A CHINESE SCROLL PAINTING OF MOUNTAIN LANDSCAPE - SIGNED RINMEI? - the painting on silk or textile depicting a mountainous landscape scene, with upper calligraphy and signature, with carved bone handles,

A 19TH CENTURY QAJAR OPENWORK CANDLESTICK, with open work decoration and a profuse amount of calligraphy,in three pieces overall measuring approx 160cm high.

AN EARLY NISHAPUR POTTERY BOWL, the exterior with bands off calligraphy , with blue stripe decoration, 21cm diameter (af)

AN EARLY PERSIAN KASHAN BLUE MOULDED POTTERY JUG, with calligraphy to the body and animals, 17cm high.

AN INWORK AND GILDED ISLAMIC CALLIGRAPHIC SCROLL ON PAPER, with many bands of calligraphy and gilded ground, (dated 1260) 78cm x 30cm

A TURKISH OTTOMAN INLAID WOODEN CALLIGRAPHY PANEL, the panel inlaid with pearl to depict calligraphy and framed, 37.5cm square