We found 163691 price guide item(s) matching your search

A decanter with stopper and a lidded ceramic bread bin

Two floral design ceramic table lamp bases

A Bretby red glazed bowl, a set of Wedgwood Woodbury dishes, port, scotch and gin ceramic barrels etc., and a box containing a quantity of assorted collectors' plates to include Royal Doulton and Royal Albert, some with certificates

A brass floral design inkwell with ceramic bowl

A mixed lot containing ceramic, brass and pewter jugs together with a Juliana Collection fairy

Two ceramic shire horses

A mixed lot including an 18th Century Chinese bowl (as found), a Chinese vase (as found), glass spill vases, Geode slices, a pair of white ceramic chambersticks etc

Three ceramic animals to include a Lomonosov panda, Sylvac golden retriever and Babbacombe owl.

A 1960's agate and citrine coloured necklace with two dolphin ceramic brooches by Maralyn Reed-Wood.

Sally Arnup FRBS, ARCA (1930-2015) Study of a nude Woman Resin, together with four further ceramic head studies by the artist, including , Woman's head, Jockey's Head (Bob Ilsey), Boy I & Boy II, 76cm high and various other sizes (5)

Sally Arnup FRBS, ARCA (1930-2015) Kitten with ball Ceramic, together with three further ceramic works by the artist, smiling baby, eagle, torso and a cock aluminium relief, 20cm high inc. base and various other sizes (5) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Sally Arnup FRBS, ARCA (1930-2015) Patterdale Terrier head Ceramic, together with two further ceramic head studies of a Terrier and a Daschund (3) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Sally Arnup FRBS, ARCA (1930-2015) ''Cavalier King Charles Spaniel Lying'' Ceramic, 4cm high

OLD GLASGOW 8YO DELUXE A well presented ceramic decanter of Old Glasgow 8 Year Old De Luxe Blended Scotch Whisky. 75cl. 40% abv. In original presentation case. Some evaporation. 1 bottle.

A Ko-Imari large blue-and-white chargerEdo period (1615-1868), 1660-1680Painted in 'Kraak' style, the centre well decorated with a deer about to drink from a pond, in front of clumps of lotus, flowering chrysanthemums and other plants, a butterfly hovering above, surrounded by a broad border containing four panels of stylised flower stalks alternating with four panels enclosing auspicious motifs among scrollwork, separated by ornamental tassels; the reverse plain. 54cm (21 1/8in) diam.Footnotes:For an identical charger, see John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe, London, Oriental Ceramic Society, 1990, p.93, pl.31. Another identical charge is in the Victoria and Albert Museum, no.1724-1876.For further information on this lot please visit Bonhams.com

A Kakiemon cylindrical sake bottle modelled as a section of bambooEdo period (1615-1868), late 17th centuryDecorated in typical Kakiemon palette of iron red, green, and blue enamels with a flowering prunus and pine issuing from behind a bamboo fence, a bird flying above a plum shrub on the reverse, the rounded shoulder scattered with cherry blossoms surrounding a single chrysanthemum bloom in low relief encircling the tubular neck; with a wood storage box. 22.5cm (8 7/8in) high. (2).Footnotes:For a bottle of an identical bamboo form but with a different design in the Rijksmuseum Amsterdam, see Christiaan J. A. Jörg, Fine and Curious: Japanese Export Porcelain in Dutch Collections, Leiden, Hotei Publishing, 2003, p.79, no.68. For another similar bottle with two small branches in relief and decorated with different design in the British Museum, see John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London, Oriental Ceramic Society, 1990, p.150, no.119.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 pair of Kakiemon hexagonal 'Hampton Court' jarsEdo period (1615-1868), late 17th centuryDecorated in typical Kakiemon palette of red, blue, and green enamels, each vase with an identical design, each vase with two different flowers alternating on the eight sides of the body, the shoulder with three quatrefoil floral panels superimposed on a ground of stylised blue blooms interwoven among green karakusa ('Chinese grasses') above a border of repeated triangle patterns, the neck with a key-fret band; with two wood storage boxes. Each vase: 27.1cm (10 5/8in) high. (4).Footnotes:For almost identical vases with covers, see Asahi Shinbunsha Seibu Honsha Kikakubu, Kakiemon no sekai: Genryu kara gendai made (The World of Kakiemon from Its Origins to the Present), Fukuoka, Asahi Shinbunsha Seibu Honsha Kikakubu, 1983, p.55, nos.64 and 65. For another vase, in the collection of the Idemitsu Museum, see Hayashiya Seizo, Nihon no Toji (Ceramics of Japan), vol.9, Kakiemon, Tokyo, Chuokoronsha, 1989. p.54, no.97; and Idemitsu Museum, Kakiemon to Nabeshima (Kakiemon and Nabeshima), Tokyo, 2008, p.108, no.77. For another vase in the Ashmolean Museum, see Oliver Impey, Japanese Export Porcelain: Catalogue of the Collection of the Ashmolean Museum, Oxford, Amsterdam, Hotei Publishing, 2002, p.172, no.269. A fifth example in the British Museum is illustrated by John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London, Oriental Ceramic Society, 1990, p.174. no.155.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

Six various netsuke and okimonoMeiji era (1868-1912), late 19th/early 20th centuryComprising three of wood, one ceramic and two ivory netsuke: the first an okimono-style netsuke of a man seated on the ground with his knees bent attempting to rise beneath the weight of a large sackful of oni on his back, one demon trying to break out, signed on an inlaid ivory tablet Ryukei, 6cm x 6cm (2 3/8in x 2 3/8in); the second a professional sneezer, holding an ivory tickling stick, signature tablet lacking, 7.2cm x 6.5cm (2¾in x 2½in); the third a seated Hotei, unsigned, 4cm (1½in); the fourth a monkey wrestling with a toad, unsigned, 6cm (2 3/8in); the fifth a ceramic netsuke of a monkey on a tree stump, unsigned, 4.3cm (1 5/8in); the sixth a karako (Chinese boy) leaning against Hotei's sack, signed Masamasa/Seisho, 2.7cm (1in) high. (6).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

A Ko-imari vase in the form of a leaping carpEdo period (1615-1868), 17th/18th centuryPainted in underglaze blue and pale-red and gilt, leaping upwards with its mouth wide open taking in air, supported on its curling tail set on a high rectangular base representing a wave-lashed rock, the details of the base painted in green and black. 32cm (12½in) high.Footnotes:For an almost identical model in the Fitzwilliam Museum, see John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London, Oriental Ceramic Society, 1990, p.189, no.178.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 blue-and-white kakiemon-style large flori-rimmed dishEdo period (1615-1868), circa 1700Painted in underglaze blue, the centre well depicting two sages standing on a rocky crag beneath a pine tree, admiring a waterfall, bordered by a pair of confronting tigers prowling among flowering plum and bamboo issuing from behind rocks, within a brown-edged rim, the underside with a continuous band of scrolling foliage, the base painted with the fuku character within a double square; with an inscribed wood storage box. 31cm (12 1/8in) diam. (2).Footnotes:For almost identical dishes, see John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London, Oriental Ceramic Society, 1990, p.158, pl.133; Christiaan J. A. Jörg, Fine and Curious: Japanese Export Porcelain in Dutch Collections, Leiden, Hotei Publishing, 2003, p.147, no.162.Sherds of dishes of this design have been found in Kakiemon kiln sites.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 pair of Ko-Imari blue and white apothecary bottles and a small box and coverEdo period (1615-1868), late 17th centuryThe bottles each of typical bulbous form with short tapering necks with moulded rings, painted in underglaze blue with birds amid trailing peonies beneath a band of variously sized spear heads around the neck, each inscribed within a wystaria roundel, HB, 24.1cm (9½in); the box and cover painted in underglaze blue with the monogram VOC for the Dutch East India Company, within three circles on a simple design of arabesques, 6.2cm (2 3/8in). (4).Footnotes:For a bottle of similar type, see John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces, The Fashion for Japan in Europe, London, Oriental Ceramic Society, 1990, p.98, pl.40. Another featuring the initials IVH within a similar wisteria cartouche is illustrated in Barbara Brennan Ford and Oliver Impey, Japanese Art from the Gerry Collection in the Metropolitan Museum of Art, New York, 1990, p.68, no.36a.The initials HB could refer to Hendrick van Buytenheym, who was Opperhoofd, head of the trading station, on Deshima Island during the years 1685, 1688, 1691 and 1693.For further information on this lot please visit Bonhams.com

A group of reference books on Japanese ArtComprising the following: Sekai toki zenshu (Complete World Ceramics) vol.2, Tokyo, Shogakkan, 1979; Audsley, George Ashdown and Bowes, James Lord, Keramic Art of Japan, London, Henry Sotheran and Co., 1875, complete set of two volumes; Audsley, George Ashdown, The Ornamental Arts of Japan, Mineola, NY, Dover Publications, 2008; Buckland, Rosina, Shunga: Erotic Art in Japan, London, British Museum Press, 2010; Cardeiro, C. Philip, Hirado Ware: Japanese Hirado Porcelain 1640-1909, exhibition catalogue, Monterey, Art Asia Museum, 1989; Collcutt, Martin; Jansen, Marius; and Kumakura Isao, Cultural Atlas of Japan, Oxford, Phaidon Press, 1988; Egami Namio and Bester, John, trans., The Beginnings of Japanese Art, New York, Weatherhill, 1978; Garner, Harry, Chinese and Japanese Cloisonné Enamels, Oxford, Faber and Faber, 1977 (first published 1962); Gorham, Hazel H., Japanese and Oriental Ceramics, Rutland, VT, Charles E. Tuttle, 1978 (first published 1970); Guth, Christine, Japanese Art of the Edo Period, London, George Weidenfeld and Nicolson, 1996; Impey, Oliver and Seaman, Joyce, Japanese Decorative Arts of the Meiji Period, Oxford, Ashmolean Museum, 2005; Irvine, Gregory, Japanese Cloisonné Enamels: The Seven Treasures, Hong Kong, V&A Publishing, 2011; Itsuki Ken (ed.), The Dawns of Tradition, Japan, Nissan Motor, 1983; Joly, Henri L., and Kumasaku, Tomita, Japanese Art & Handicraft, Sawers-Valansot Publication, 1976 (first published 1916); Kawahara Masahiko, The Ceramic Art of Ogata Kenzan, Tokyo, New York, and San Francisco, Kodansha International, 1985; Kozuru Gen, Famous Ceramics of Japan Vol.2: Agano and Takatori, Tokyo, Kodansha International, 1981; Lawrence, Louis, Hirado: Prince of Porcelains, Chicago, Art Media Resources, 1997; Mikami Tsugio and Herring, Ann, trans., The Art of Japanese Ceramics, New York, Weatherhill, 1983 (first published 1972); Miller, Roy Andrew, Japanese Ceramics, Tokyo, Toto Shuppan, 1963 (first published 1960); Mitsuoka Tadanari, Ceramic Art of Japan, Tokyo, Dai Nippon Printing, 1956; Mulder, W. Z., Hollanders in Hirado, Haarlem, Fibula-Van Dishoeck, 1985; Munsterberg, Hugo, The Ceramic ARt of Japan: A Handbook for Collectors, Rutland, VT, Charles E. Tuttle, 1964; Nakagawa Sensaku, Kutani Ware, Tokyo, New York, and San Francisco, Kodansha International, 1979; Rousmaniere, Nicole (ed.), Crafting Beauty in Modern Japan, exhibition catalogue, London, British Museum Press, 2007; Seattle Art Museum, A Thousand Cranes: Treasures of Japanese Art, San Francisco, Chronicle Books, 1987; Smith, Bradley, Japan: A History in Art, New York, Spring Books, 1972 (first published 1964); Stockspring Antiques, The Dragon and the Quail, exhibition catalogue, Ringwood, Pardy and Son, 2000; Tokyo National Museum, Nihon Kokuho Ten (National Treasures of Japan), exhibition catalogue, Japan, Yomiuri Shimbun, 1990; Watson, William (ed.), The Great Japan Exhibition: Art of the Edo Period, exhibition catalogue, London, Royal Academy of Arts, 1981; Wilson, Richard L., The Art of Ogata Kenzan: Persona and Production in Japanese Ceramics, New York, Weatherhill, 1992. (28).For further information on this lot please visit Bonhams.com

A collection of reference books on Kakiemon, Nabeshima and Imari porcelainComprising the following: Arts, P.L.W., Japanese Porcelain: A Collector's Guide to General Aspects and Decorative Motifs, Lochem-Poperinge, De Tijdstroom, 1983; Asahi Shimbun, Kakiemon XIV: Trésors de la Porcelaine Japonaise, exhibition catalogue, 1992; Ayers, John; Impey, Oliver; and Mallet, J. V. G., Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London, Oriental Ceramic Society, 1990; Hinton, Mark, and Impey, Oliver, Kakiemon: Porcelain from the English Country House, exhibition catalogue, London, Christie's, 1989; Idemitsu Museum of Arts, Kakiemon to Nabeshima (Kakiemon and Nabeshima), exhibition catalogue, Japan, 2008; Imaizumi Motosuke, Famous Ceramics of Japan Vol.1: Nabeshima, Tokyo, Kodansha International, 1981; Imaizumi Motosuke, Toji taikei, vol.21 (Nabeshima), Tokyo, Heibonsha, 1973 (first published 1972); Kikuchi Foundation, Juyondai Kakiemon: Kakiemon XIV, exhibition catalogue, Sanwa Printing, 2008; Kyushu Ceramics Museum, Kakiemon: sono yoshiki no zenyo: Heisei juichinen tokubetsu kikakuten (Kakiemon: The Whole Aspect of the Kakiemon Style: Special Exhibition 1999, exhibition catalogue, Saga, Saga Insatsusha, 1999; Kyushu Ceramics Museum, Shogunge e no kanjo Nabeshima: Nihon jiki no saikoho (Nabeshima: Porcelain for the Shogunate), exhibition catalogue, Arita, 2006; Mew, Egan, Japanese Porcelain: Masterpieces of Handicraft, London, T. C. and E. C. Jack, 1909; Nagatake Takeshi, Classic Japanese Porcelain: Imari and Kakiemon, Tokyo, Kodansha International, 2003; Nagatake Takeshi, Famous Ceramics of Japan Vol.5: Kakiemon, Tokyo, Kodansha International, 1981; Nagatake Takeshi, Famous Ceramics of Japan Vol.6: Imari, Tokyo, Kodansha International, 1981; Nagatake Takeshi, Toji taikei, vol.19 (Imari), Tokyo, Heibonsha, 1974 (first published 1973); Nagatake Takeshi, Toji taikei, vol.20 (Kakiemon), Tokyo, Heibonsha, 1977; Schiffer, Nancy N., Figural Japanese Export Ceramics, Atglen, PA, Schiffer Publishing, 2002; Schiffer, Nancy N., Imari, Satsuma, and Other Japanese Export Ceramics, Atglen, PA, Schiffer Publishing, 2000 (first published in 1997); Schiffer, Nancy N., Japanese Export Ceramics 1860-1920, Atglen, PA, Schiffer Publishing, 2000; Schiffer, Nancy N., Japanese Porcelain 1800-1950, Atglen, PA, Schiffer Publishing, 1999 (first published 1986); Schiffer, Nancy N., Shape and Decoration in Japanese Export Ceramics, Atglen, PA, Schiffer Publishing, 2002; Shimura Goro, The Story of Imari: The Symbols and Mysteries of Antique Japanese Porcelain, Berkeley, Ten Speed Press, 2008; Sotheby's, London, Kakiemon Porcelain from the Collection of Mrs. Cornelia Wingfield Digby and the late George Wingfield Digby, June 1990; van Campen, Jan, and Eliens, Titus (eds.), Chinese and Japanese Porcelain for the Dutch Golden Age, Zwolle, Waanders, 2014; Yasukochi Yukie and Tsuchida Ruriko, Nabeshima: Hokoritakaki dezain (Nabeshima Ware: Designs that Inspire Pride), exhibition catalogue, Tokyo, Suntory Museum of Art, 2010. (26).For further information on this lot please visit Bonhams.com

A group of reference books on collections and Japanese art and Bonhams cataloguesComprising the following: Ayers, John, The Baur Collection, Geneva: Japanese Ceramics, Geneva, Collections Baur, 1982; Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, exhibition catalogue, London, 1997; Bonhams, London: The Edward Wrangham Collection of Japanese Art, complete set of 6 volumes (2010-2015), The Misumi Collection, complete set of 3 volumes (2014-2017), The Julius and Arlette Katchen Collection, complete set of 3 volumes (2016-2018), The Robert S. Huthart Collection of Iwami Netsuke, complete set of 2 volumes (2019); Impey, Oliver, Jörg, Christiaan J. A., and Mason, Charles, Dragons, Tigers and Bamboo: Japanese Porcelain and its Impact in Europe, Vancouver, Douglas and McIntyre Publishers, 2009; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Impey, Oliver, and Fairley, Malcolm, Treasures of Imperial Japan: Ceramics from the Khalili Collection, exhibition catalogue, London, National Museum of Wales and The Kibo Foundation, 1994; Japan Society, The Burghley Porcelains: An Exhibition from The Burghley House Collection and based on the 1688 Inventory and 1690 Devonshire Schedule, exhibition catalogue, 1986; Kyushu Ceramic Museum, Shibata Korekushon ten (Shibata Collection), Tokyo, Seibundo, vols.1-6, 8 (1990-2002); Lang, Gordon, The Wrestling Boys: An Exhibition of Chinese and Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House, exhibition catalogue, Eastbourne, Manor Park Press, 1983; Moes, Robert, Brooklyn Museum Japanese Ceramics, exhibition catalogue, 1979; Morse, Edward S., Catalogue of the Morse Collection of Japanese Pottery, Rutland, VT, and Tokyo, Charles E. Tuttle, 1979; Reichel, Friedrich, Early Japanese Porcelain: Arita Porcelain in the Dresden Collection, London, Orbis Publishing, 1981; Sargent, William R., The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, MA, Peabody Museum of Salem, 1991; Ströber, Eva, 'La maladie de porcelaine': Ostasiatiches Porzellan aus der Sammlung Augusts des Starken = East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, Edition Leipzig, 2001; Tokyo National Museum, Oriental Ceramics: The World's Great Collections, vol.1, Tokyo, Kodansha International, 1982 (first published 1976). (a lot).For further information on this lot please visit Bonhams.com

Two unusually shaped tsuba (sword guards)Edo period (1615-1868), late 18th/19th centuryBoth unsigned, the first copper alloy, in the form of a gunpai uchiwa, the handle and reinforcement sticks in shakudo, pierced with an inome shape; the second iron, in the form of a wide-mouthed ceramic jar, overlaid in gold with glaze dripping down the sides, the mouth and base imitating painted decoration; with two wood storage boxes. The first: 8.8cm (3 7/16in); the second: 6.1cm (2 3/8in). (4).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An unusual, inlaid, and lacquered-wood circular suzuribako (box for writing utensils)By a member of the Nomura family, Edo period (1615-1868), 18th/19th centuryThe inrobuta (flush-fitting lid) embellished in gold and iro-e hiramaki-e with an old map of the world, annotated in katakana and Chinese characters, the inside of the lid lacquered in gold hiramaki-e and applied with two ceramic clams from one of which issues forth Chinese figures in intricate and exotic landscape scenes representing the Shinkiro ('Clam's Dream'), the inside of the box with a fitted round board, black-lacquered with a wave-patterned ground containing a removable oval suzuri (ink-grinding stone) and a silver suiteki (water-dropper) in the form of a crescent moon, the side of the box applied with the junishi (12 animals of the East Asian zodiac) carved in relief in pale-olive and white pottery, each within a rectangular reserve on a lacquered ground of turbulent waters; signed on the underside of the box Nomura Kigo/Sonoato sei. 3.3cm x 23.1cm (1¼in x 9 1/16in). (4).Footnotes:The large red land mass located at the bottom of the world map on the lid is identified as the hypothetical continent of Terra Australis ('South Land' in Latin), sometimes also called Australia or Magellanica (the 'Land of Magellan'), among other names. While not yet discovered, it was presumed to exist as it was believed there should be a land mass in the southern hemisphere to balance that in the northern hemisphere. It was depicted in maps between the fifteenth and eighteenth centuries.The label of the continent on the lid is from a Chinese transliteration of Magellanica.For further information on this lot please visit Bonhams.com

Gilbert Valentin (French, 1928-2001) for Atelier Les Archanges, Vallauris, two two-tile pictures, of a sun and flower through the window, signed, signed and 7/10 verso, 30cm x 15cm; another of a white and a black bird crossing, a rose and an olive spray in their beaks, signed, signed, dated 1974 and 10/10 verso, 15cm x 30cm; and an Israeli Ein Reb Ceramic three-tile picture, titled Mother and Child verso, further inscription, 45cm x 15cm (3)  

A Junyao jar and a Junyao bowlYuan DynastyThe bowl well potted with steep sides rising from a slightly tapered foot to a slightly-incurved rim, covered with a pale lavender-blue glaze thinning to a buff colour at the rim and pooling around the unglazed brown foot. 21.3cm (8 3/8in) diam.; the globular jar supported on a short foot, the short wide neck flanked by two loop handles, covered with a pale blue glaze draining from the rim to reveal the russet body beneath and stopping irregularly above the foot to reveal the pale buff body, 14cm (5 1/2in) wide. (2).Footnotes:元 鈞窯釉雙系罐及鈞窯釉盌 一組兩件Provenance: a European private collection, and thence by descentThe jar, with George Eumorfopoulos label no.872George Eumorfopoulos (1863-1939), well-known for his exceptional art collection, was one of the founders of the Oriental Ceramic Society in London. His extensive art-collecting activities led him to expand his Chelsea home, which he later converted into a museum, to better accommodate the objects. He commissioned a catalogue of his collection, which comprised eleven volumes, including six volumes written by renowned Chinese works of art scholar R.L.Hobson, The Eumorfopoulos Collection, vol.I-VI, London, 1925-1928.來源：歐洲私人收藏，並由後人保存迄今鈞窯釉雙系罐，附George Eumorfopoulos標籤，編號872喬治・歐默福普洛斯（1863-1939），倫敦東方陶瓷協會創始人之一，以其傑出的藝術收藏而聞名。為了更好的展示藝術收藏，喬治擴建了其位於倫敦切爾西的居所，後改建為博物館。他為藏品委託編纂圖錄共計十一卷，其中六卷東方藝術圖錄「The Eumorfopoulos Collection」由著名中國藝術學者霍布森(R.L.Hobson，1872-1942)於1925至1928年間編著。Compare with a similar Junyao jar, but with purple splashes, also from the George Eumorfopoulos collection, illustrated by R.L.Hobson, The Eumorfopoulos Collection, vol.III, London, 1926, pl.XXII, no.B.80.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A very rare white glazed 'cut-through' 'lotus' bowlQianlong seal mark and of the periodThinly potted with rounded sides rising from a straight foot to a gently flared rim, delicately pierced around the body with a broad band of scrolling lotus blooms, applied overall with a transparent unctuous glaze revealing the white body and intricate design. 13.5cm (5 1/4in) diam.Footnotes:清乾隆 白釉玲瓏透花番蓮紋盌青花「大清乾隆年製」篆書款Provenance: P. Parizel collection, by reputeGalerie 41 Antiquités, MonacoA European private collection, and thence by descent來源：傳為P. Parizel舊藏摩納哥古董商Galerie 41 Antiquités歐洲私人收藏，並由後人保存迄今This delicate bowl is notable for its exquisite lace-like decoration, which was made by piercing the body with a delicate openwork design of small perforations that were subsequently filled with a clear glaze. An innovation of the Qianlong period, this decoration is known in the West as 'grains-de-riz' (rice grain), because the tiny perforations resembled small grains of rice.Compare with a related example, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl.147; another in the National Palace Museum, Taipei, published by J.Ayers and S.Masahiko, eds, Ceramic Art of the World, vol.15, Tokyo, 1983, pl.280; one with a more elaborate motif illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, pl.793, and later sold at Sotheby's Hong Kong, 8 October 2012, lot 3; a pair from the Alfred F. Pillsbury collection in the Minneapolis Institute of Arts, included in the exhibition Chinese Ceramics from the Prehistoric Period through Ch'ien-Lung, Los Angeles, 1952, no.320; another slightly smaller pair in the Zhuyuetang Collection, illustrated by L.Schwartz-Arenales, eds, Mille ans de Monochromes, Geneva, 2018, p.372, no.197a-b.See also a similar white glazed 'cut-out' decoration bowl and cover, Qianlong seal mark and of the period, which was sold at Christie's New York, 21-22 March 2013, lot 1501. A similar pair of bowls, Qianlong seal marks and of the period, was sold at Sotheby's London, 6 November 2019, lot 7.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 Dingyao moulded 'Buddhist lion' dishJin DynastyThe shallow body finely moulded to the interior with a central medallion enclosing a striding Buddhist lion reaching towards a bunch of lotus, encircled by a fluted border at the rim, covered inside and out with a creamy-white glaze, all supported on a short straight foot, the rim bound in copper.13cm (5 1/8 in) diam.Footnotes:金 定窯印花獅子蓮紋盤Provenance: John Sparks Ltd., LondonBluett & Sons, London, acquired from the above on 26 April 1946 for £15Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge, acquired from the above on 30 April 1946 for £20 (collection, no.TT11)Sotheby's London, 20 May 1952, lot 41Robert Stanley Hope Smith (1910-1979), collection no.S4, and thence by descent來源：倫敦古董商John Sparks Ltd.倫敦古董商Bluett & Sons，於1946年4月26日以15英鎊購自John Sparks Ltd.Cunliffe勳爵舊藏，藏品編號TT11，於1946年4月30日以20英鎊購自Bluett & Sons倫敦蘇富比，1952年5月20日，拍品編號41Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號S4，並由後人保存迄今Rolf, Lord Cunliffe began collecting Chinese art when he was an RAF officer, stationed in London towards the end of World War II. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James. galleries like Bluett's, Spark's and Spink's. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl.We would like to thank Lord Cunliffe and Dominic Jellinek for the provenance information.Compare with a related but larger (17.5cm) moulded Dingyao dish with a design of lions, Jin dynasty, in the National Palace Museum, Taipei, illustrated in Decorated Porcelains of Dingzhou: White Ding Wares from the Collection of the National Palace Museum, Taipei, 2014, no.II-118.See also a similar Dingyao moulded Buddhist lion dish, Jin dynasty, which was sold at Sotheby's Hong Kong, 5 April 2017, lot 3203.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A Junyao purple-splashed dishYuan DynastyThe shallow dish covered in a thick glaze of lavender-blue, darkening at the everted rim to a mushroom hue, the interior highlighted with three purple splashes, all supported on a short foot.21.4cm (8 7/8in) diam.Footnotes:元 鈞窯天青釉紫斑盤Provenance: George de Menasce (1890-1967) collection, no.276 (label) Robert Stanley Hope Smith (1910-1979), acquired in 1951, collection no.S3, and thence by descent來源：George de Menasce（1890-1967）舊藏，藏品編號276（標籤）Robert Stanley Hope Smith（1910-1979）舊藏，購於1951年，藏品編號S3，並由後人保存迄今The family of Georges Ferdinand Joseph Behar, Baron, was ennobled by the Austrian emperor after the Congress of Vienna and they were prominent in Egypt from at least the 19th century. He was born in Liverpool, where the family had cotton interests. George de Menasce collected in many areas, and particularly Chinese porcelain. He was a member of the Oriental Ceramic Society from 1948 and served on the Council.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A rare green enamelled incised 'dragon' dishHongzhi six-character mark, 17th centuryEnamelled and incised in the interior with a writhing five-clawed dragon, the exterior with a further two striding green dragons. 18cm (7 1/8in) diam.Footnotes:十七世紀 綠彩刻龍紋盤青花「大明弘治年製」楷書款Provenance: Montague L. Meyer collection, no.352 (label)Sotheby's London, 10 July 1951, lot 109Robert Stanley Hope Smith (1910-1979), collection no.V16, and thence by descent來源：英國Montague L. Meyer舊藏，藏品編號352（標籤）倫敦蘇富比，1951年7月10日，拍品編號109Robert Stanley Hope Smith舊藏（1910-1979），藏品編號V16，並由後人保存迄今A similar dish from the Hongzhi period of the same size and shape but with the dragon surrounded by waves, deeply incised and covered with a pale-green enamel, is illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, pl.693. See also a Hongzhi dish in the National Palace Museum, Taipei, published in Minji meihin zuroku, vol.II, Tokyo, 1977, pl.82, also with the dragon-and-cloud design.A similar green dragon dish with Hongzhi mark, Kangxi period, was sold at Sotheby's Paris, 11 June 2009, lot 169.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A famille verte square vaseShunzhi/early KangxiThe stoutly potted body with tapered rectangular sides supporting a waisted cylindrical neck and everted rim, each side painted in bright enamels with legendary figures from history and folklore including generals, scholars and emperors, the neck with florets and lozenges. 35.5cm (14in) high. Footnotes:清順治/康熙早期 五彩人物故事圖方瓶Provenance: Robert Stanley Hope Smith (1910-1979), and thence by descent來源：Robert Stanley Hope Smith（1910-1979）舊藏，並由後人保存迄今The scenes depicted on the vase probably refer to scenes in the Ming dynasty historical novel Romance of the Three Kingdoms, attributed to Luo Guanzhong. Their martial exploits were spread by professional storytellers as well as in operas and woodblock-printed novels. The prints from these books in turn were the major source of inspiration for the painters who decorated the present lot. Compare with a similar famille verte square baluster vase with very similar scenes, 1650-1670, in the Victoria and Albert Museum, London (acc.no.CIRC.384-1931).The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A very rare famille rose 'butterflies and peonies' dishYongzheng six-character mark and of the periodThe dish finely potted with gently curving sides rising from a short inward-tapering foot to a slightly everted rim, delicately enamelled with two butterflies fluttering in mid-air beneath a branch of flowering peony blossoms. 20cm (7 7/8in) diam.Footnotes:清雍正 粉彩過枝花蝶紋盤青花「大清雍正年製」楷書款Provenance: Bluett & Sons, London (label), circa 1924 - 1930Sotheby's London, 24 July 1951, lot 161Robert Stanley Hope Smith collection (1910-1979), collection no.R32, and thence by descentWe would like to thank Dominic Jellinek for providing further information on the Bluett's provenance.來源：約1924至1930年間，購自倫敦古董商Bluett & Sons（標籤）倫敦蘇富比，1951年7月24日，拍品編號161Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R32，並由後人保存迄今The blossoming peony branches on the outside extend over the rim of the dish continuing well into the interior. This decorative pattern, known as 'guozhi 過枝' (overextended branches), is a homophone of the phrase 'guozhi 國治', meaning prolonged peace under good government. It was first developed towards the end of the Ming dynasty, and later became popular during the Yongzheng reign. It was especially favoured at court which is shown in Imperial examples such as a larger dish (29.5cm) with peach flower design in the Baur Collection, illustrated by J.Ayers, The Baur Collection, vol.IV, Geneva, 1974, A589; and a charger (50.1cm) in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.67.See a closely related dish with butterflies and peonies design, Yongzheng six-character mark and period, which was sold at Christie's London, 7 November 2017, lot 275.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A rare famille rose 'floral sprays' dishYongzheng six-character mark and of the period, the enamels probably later addedThinly potted with gently curving sides rising from slightly tapered foot, enamelled possibly later with a peony spray in the well, with four sprigs of lotus, magnolia, chrysanthemums and prunus around the cavetto. 19cm (7 1/2in) diam. Footnotes:清雍正，粉彩或為更晚 粉彩花卉紋盤青花「大清雍正年製」楷書款Provenance: Sotheby's London, 28 April 1953, lot 61Robert Stanley Hope Smith (1910-1979), collection no.R34, and thence by descent來源：倫敦蘇富比，1953年4月28日，拍品編號61Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R34，並由後人保存迄今Compare with a Yongzheng dish relatedly decorated with a peony spray in the centre, surrounded by three various floral sprigs, in the Victoria and Albert Museum, London, no.589-1907.A related dish from the Yongzheng period of smaller size, the centre with two butterflies, was sold at Sotheby's Hong Kong, 8 October 2014, lot 3642.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A pair of famille rose 'ladies' dishesYongzhengEach potted with shallow rounded sides rising to an everted rim, the interior finely painted with a seated lavishly dressed lady painting a leaf by a table, her attendant holding a floral fan to her side, a group of lingzhi stems, fly whisk and incense burner resting on the gilt stand behind them, one dish with brush, ingot and ruyi-sceptre maker's mark. Each 19.7cm (7 3/4in) diam. (2).Footnotes:清雍正 粉彩仕女圖折沿盤一對其一 青花「筆錠如意」花押款Provenance: Leonard Gow (1859-1936), Glasgow, no.411Sotheby's London, 15 December 1950, lot 47Robert Stanley Hope Smith (1910-1979), collection no.R31, and thence by descentPublished: R.L.Hobson, Catalogue of the Leonard Gow Collection of Chinese Porcelain, London, 1931, p.101Exhibited: Glasgow Art Galleries & Museums, Reg.No.E6-'36rs and E6-'36rt (labels)來源：英國格拉斯哥Leonard Gow（1859-1936）舊藏，藏品編號411倫敦蘇富比，1950年12月15日，拍品編號47Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R31，並由後人保存迄今出版：R.L.Hobson，「Catalogue of the Leonard Gow Collection of Chinese Porcelain」，倫敦，1931年，頁101展覽：格拉斯哥美術館及博物館，編號E6-'36rs及E6-'36rt（標籤）Leonard Gow (1859-1936), born in Glasgow, Scotland, was the son of a shipping magnate also called Leonard Gow (1824-1910), who established the Glen Line to trade between London, Singapore, China and Japan. Leonard junior eventually became the senior partner in the shipping company Gow, Harrison & Co., a director of Burmah Oil, and chairman of several other companies. A noted philanthropist, Gow established in 1919 a lectureship in the Medical Diseases in Infancy and Childhood at Glasgow University, where he had studied moral philosophy. Glasgow University presented Gow with an honorary doctorate degree in law in 1934. Gow built one of the finest collections of Qing ceramics in the early years of the 20th century, which gained international recognition through a series of ten articles by R.L.Hobson in The Burlington Magazine and through Hobson's catalogue, which Gow published privately in a limited edition of 300 copies in 1931. Part of his collection was exhibited in the Glasgow Art Gallery.One dish has an underglaze-blue mark of a brush (bi), an ingot (ding) and a ruyi-sceptre, tied with ribbons, forming the rebus bi ding ruyi signifying 'may all certainly be as you wish'.Compare with a slightly smaller dish (17.1cm) in the Palace Museum collection, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.74. See two other dishes in the Victoria and Albert Museum, London, nos.640-1907 and 649-1907.Compare with a very similar famille rose 'ladies' dish, Yongzheng, which was sold at Sotheby's London, 17 November 2017, lot 213.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCS periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com

A rare ochre glazed 'Parrot' cupTang DynastyOf shallow oval form, one end formed as a parrot lying on its back, the finely incised tail and wing feathers fanning out to form the cup, the head with large curling beak between sharp piercing eyes, all covered in a warm yellow-ochre glaze, stand. 13cm (5 1/8in) long. (2).Footnotes:唐 褐釉鸚鵡杯Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, purchased on 20 February 2003 from the above.Published: Berwald Oriental Art Facing East, Expressions in Chinese Art, London, no.16.The result of Oxford Authentication Ltd. thermoluminescence test no.C101u72, dated 31 August 2001, is consistent with the dating of this lot.來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2003年2月20日購自前者出版：Berwald Oriental Art，「Facing East, Expressions in Chinese Art」，倫敦，圖錄編號16Oxford Authentication Ltd.公司熱釋光檢測結果（2001年8月31日，編號C101u72）顯示年代與本拍品年代一致。Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved on from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods - from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramic Society and, in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.The term yingwu bei, literally 'parrot cup', is first mentioned as early as the Sui dynasty, in a poem by Xue Daoheng: 'Together pour the fine buttery wine; together tip the parrot cup'共酌瓊酥酒，同傾鸚鵡杯。And it occurs again in a Tang poem by Luo Binwang:'The playing of flutes on the Phoenix Tower has ceased, the urgings to drink wine from the parrot cup has stopped.'鳳凰樓上罷吹簫，鸚鵡杯中休勸酒。The contemporary dictionary interpretation of the term 'parrot cup', which comes from a Tang source, is that it is a cup made from yingwu luo 'parrot snail', meaning perhaps a nautilus shell, named for its supposed resemblance to a parrot. As the exterior form of this cup resembles the shape and size of a nautilus shell, but the piece is fashioned from a representation of a parrot, cups such as this may have been produced as an amusing play on words. Although the parrot was a bird native to southern China, those most admired in the Tang court were the more colourful ones imported from South-East Asia. The later Tang emperor Taizong (r.627-649) commissioned a rhapsody poem to be written about a prized parrot that was a gift from the kingdom of Champa. Furthermore, the Tang emperor Xuanzong (r.712-756) adopted a talking parrot as a pet. Compare with a similar cup, but covered in a white glaze, Tang dynasty, which was exhibited in the Tokyo National Museum, Special Exhibition of Chinese Ceramics', Tokyo, 1994, pl.136. See also a Xingyao white glazed 'parrot cup', Tang dynasty/ Five dynasties, which was sold at Bonhams Hong Kong, 9 October 2014, lot 140.For further information on this lot please visit Bonhams.com

A rare dingyao spittoon, zhadouNorthern Song DynastyThinly potted with a compressed globular body incised around the exterior with stylised lotus petals, the waisted neck surmounted by a wide flared mouth carved with further floral motifs, covered overall in a creamy-white glaze of ivory tone.22cm (8 5/8in) diam.Footnotes:北宋 定窰白釉劃蓮紋渣斗Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, acquired from the above on 30 April 2002來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2002年4月30日購自前者Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods, from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramics Society and in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.Dingyao zhadou vessels of this form are rare with very few published examples. See a related 'Ding' zhadou, in the collection of the Palace Museum, Beijing, similarly carved with lotus flowers borne on an undulating scroll on the wide rim but with a truncated cylindrical body, illustrated in The Complete Works of Chinese Ceramics, Shanghai, 1999, vol.7, Part 11, no.20. It is possible that the present lot is emulating a piece from the 'Yue' kilns in the south. See the 10th-11th century 'Yue' zhadou of similar form, with globular body carved with upright lotus petals and a wide rim incised with lotus scroll, in the collection of the National Museum of Korea, Seoul, illustrated in Sekai Toji Zenshu, Vol.12, Tokyo, 1977, pls.41-42.Zhadou of this form also exist in slightly later Qingbai wares. Compare with a Qingbai spittoon, Northern Song dynasty, in the Kai Yin Lo Collection, illustrated in Bright as Silver, White as Snow, Hong Kong, 1998, pl.29.For further information on this lot please visit Bonhams.com

Box of commemorative plates, Indian Tree plate, glassware, ceramic hot water bottle, tea storage jar, glassware etc

CERAMIC PLANTERS, BOOKEND DRAWS AND QUARTZ WALL CLOCK ETC

Three ceramic planters; together with a glass bonbon dish on stem

A Holsten, Germany beer advertising plaque in the form a barrel end; together with several trophies and ceramic figures

A mixed lot to include a German carved pull along wooden animal stack, a 'Wild Turkey Kentucky Bourbon' ceramic bottle; ceramic apple bottle; a large glass jar of marbles etc

A mixed lot to include ceramic pig figurine, several candlesticks, studio pottery vase, brass censer, Delft windmill etc

A mixed lot of mostly ceramic figurines to include multiple horse figurines including Beswick foal, a blue and gilt unicorn, bird figurines, opalescent glass, etc

A buttonback continental bedroom chair, serpentine front with carved apron and scrolling cabriole legs, on ceramic casters

A pine chest together with a wooden crate, each containing a quantity of terracotta and other ceramic planters

Two ceramic planters together with a terracotta rhubarb cloche and a milk pail

A Victorian Mahogany Wind-Out Extending Dining Table, the moulded top above four reeded tapering legs with brass caps and ceramic castors and with two extra leaves, 170 x 102 cms fully extended

A Pine Straight Front Chest of two short and three long drawers with ceramic handles raised upon a plinth, 107 cms wide, 53 cms deep, 104 cms high

A Late Victorian Walnut and Marquetry inlaid Drawing Room Armchair, the buttoned upholstered back upon shaped uprights and a stuff over seat raised upon turned tapering legs with brass caps and ceramic casters

THREE CERAMIC BULLDOG FIGURES: the largest model a 'Basford Bristish Mascot' 14cm high

A group of assorted mid-20th century ceramics to include two Alison Thomas ceramic pieces to include an ovoid form vase, height 20cm, and similar jug with stylised decoration, a Norwegian studio vase with linear decoration, height 13cm, and a Rosenthal Studio Line cup and saucer designed by Barbara Brenner (4). Additional InformationThe Norwegian vase with fine hairline crack to the interior of the neck, crazing to the body.

JOHN STINTON FOR ROYAL WORCESTER; a large ceramic jardiniere painted with Highland cattle in landscape setting, signed to rim, puce factory marks, height 20cm, diameter 26.5cm.Additional InformationNumerous scratches to the inside of the rim and bowl, wear to the gilding in parts, very minimal wear/nibbles to the gilt joining rim, the largest approx 1mm in size, otherwise good with no other faults.

A group of 19th century transfer decorated blue and white ceramic tableware, including sauceboats, mugs, cups, chamber stick, etc.

NANCY ROTHWELL; a large ceramic sculpture of head with applied detail, original label to the underside, height 35cm, and a studio pottery model of a bull (2).Additional InformationNumerous glaze chips to each, part of the bull's tail has been broken but is still present.

A 19th century Iznik ceramic vase with painted floral detail, height 23cm.Additional InformationChip to the top and foot rim, glaze faults to the body and base and crack to the base, only visible from the interior. A crack to the base.Postage would be medium box, please refer to our website for details of cost.

WONG LEE; a twin handled ceramic urn with enamelled floral urn and bronzed metal mounts, marked to base, height 32.5cm.Additional InformationCrazed, some rubbing, some pitting and general wear.

A Victorian carved walnut spoon back armchair upholstered in a later floral material on ceramic castors.Additional InformationThe upholstery needs attention, minor chips, losses to the veneer and wood, splitting to the back panel.

c2004, model 259.0461.3, the signed black dial, 30mm diameter, with luminous batons and hands, centre sweep and date window at 3 o'clock, ceramic unidirectional rotating bezel, 7 jewel ETA quartz movement number 955612, screw down crown within integral crown guards, case, 40mm diameter, verso screw down, signed and numbered 259.0461.3 05555099, interior numbered 4362 R1, to a signed integral brick link bracelet with spring-loaded deployant clasp, presented with the original case, box, outer sleeve and guarantee dated 07/12/2004