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A Stainless Steel Automatic Calendar Centre Seconds Steinhart Wristwatch, model: Ocean 39 Green Ceramic, ref: 103-1044, circa 2020, with Steinhart boxes, booklet, three spare bracelet links and a swing tagIn going order, bracelet and case with light surface scratches

RARE BLACK POTTERY WINE VESSEL, JUE SHANG DYNASTY 商 黑陶爵 elegantly potted, the oval body supported on three blade legs, the mouth extended to a cupped pouring tip at one end and a raised pointed tip at the opposite flanked by two vertical posts with conical finials in between, one side of the vessel applied with a loop handle Dimensions:19cm high Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Acquired at Christie's London, 19 Jun 2001, lot 3, with an original receipt. The result of the Oxford Authentication Ltd. thermoluminescence analysis test, sample no. C101j70, is consistent with the dating of this lot, with a photocopied certificate dated 1 May 2001. Note: Note: Ritual wine vessels in the form of a jue are more commonly seen in bronze. They were designated for heating and pouring wine during Shang dynasty rituals. The capped posts rising from the rim would have allowed the hot metal vessel to be lifted from the heat and poured, whereas the ceramic form of this vessel would not have been suitable for this.Compared to zun and gu vessels dated to the Shang dynasty made in the form of ceramic instead of bronze, fewer jue and jia vessels are known. Compare to a greatly simplified and squatted jue, dated to the late Shang dynasty, in the Asian Art Museum, San Francisco, object no. B60P1834, and illustrated by He Li in Chinese Ceramics - The New Standard Guide, London: Thames and Hudson, 1996, p. 63, no. 20. Also see other similar simplified examples, Shang dynasty, one in Princeton University Art Museum, museum no. y1965-52; some in Institute of History and Philology, Academia Sinica Taipei, accession nos. R023599BBWA_2, R000175CCWA, R000174CCWK_1. These tripod vessels with slender legs, like this lot, would have been more difficult to fire successfully.

COLLECTION OF ART REFERENCE BOOKS ON ASIAN CERAMICS中國陶瓷藝術參考書籍（共八十五本）含：重要陶瓷研究及出版著作、大英博物館大維德中國藝術基金會若干收藏、顯赫收藏拍賣圖錄、古董商著作及圖錄等 including art reference books on asian art ceramics, in total 85 publications:Ashmolean Museum, Eastern Ceramics: and other works of art from the collection of Gerald Reitlinger, Oxford: Ashmolean Museum, 1981Battie, David (ed.), Sotheby's Concise Encyclopaedia of Porcelain, London: Conran Octopus Limited, 1994Beurdeley, Cecile, A Connoisseur's Guide to Chinese Ceramics, Office du Livre, 1985Butler, Michael, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, London: Scala Publishers Limited, 2006Carswell, John, Blue & White: Chinese Porcelain Around the World, London: The British Museum, 2000Carswell, John, Chinese Ceramics in the Sadberk Hanim Museum, Istandbul: Sadberk Hanim Museum, 1995Catalogue of a Special Exhibition of Early Ming Period Porcelain, Taipei: National Palace MuseumChina without Dragons: Rare Pieces from the Oriental Ceramics Society Members, Hong Kong: CA Book Publishing, 2020Chinese Ceramics: Selected articles from Orientations 1982-2003, Hong Kong: Orientations Magazine Ltd., 2004Vainker, S.J., Chinese Pottery and Porcelain: From Prehistory to the Present, London: The British Museum, 1991Crick, Monique (ed.), Celadon: Grès des musées de la province du Zhejiang, Chine, Paris: Paris-Musées, 2005Davidson, Gerald, The Handbook of Marks on Chinese Ceramics, London: Han - Shan Books, 1994Eskenazi: Song ceramics 10th to 13th century (catalogue), 2003Fischell, Rosalind, Blue & White China: Origins/Western Influences, Boston: Little Brown & Company, 1987Foundation Amaverunt, Musée Ariana, La porcelaine chinoise de transition et ses influences sur la céramique japonaise, proche-orientale et européenneFrick Collection, Chinese Blue-and-white Porcelain in the Frick Collection, Frick Collection, 1992Fung, Rebecca, Ming Colours: Polychrome Porcelain from Jingdezhen, London: School of Oriental and African Studies, 2006Garner, Harry, Oriental Blue & White, London: Faber and Faber Limited, 1954Gray, Anita, A Catalogue of Oriental Ceramics and Works of ArtGray, Anita, A Catalogue of Oriental Ceramics and Works of ArtGray, Basil, Sung Porcelain & Stoneware, London: Faber and Faber Limited, 1984Hardy, Sheila Yorke, Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1999Harrison-Hall, Jessica, Ming Ceramics in the British Museum, London: The British Museum, 2001Heaven and Earth Seen Within Song Ceramics from the Robert Barron Collection, New Orleans: New Orleans Museum of Art, 2000Ho, Lee Ying, Antique Ceramics: translated by Goh Beng Choo, Singapore: Asiapac Books PTE Ltd., 1996Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1997Illustrated Catalogue of Ming and Ming Style Polychrome Wares in The Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 2006Illustrated Catalogue of Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1989Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares in the Percival David Foundation of Chinese Art, Hardy, Sheila Yorke, London: School of Oriental & African Studies, 1999Jenyns, Soame, Japanese Pottery, London: Faber and Faber Limited, 1971Jenyns, Soame, Ming Pottery and Porcelain, London: Faber and Faber Limited, 1988Kerr, Rose (et al.), The World in Colours: an exhibition of ceramics with coloured decoration dating from 700 to 1920 belonging to members of the Oriental Ceramic Society, London: The Oriental Ceramic Society, 2006Kerr, Rose, Song Dynasty Ceramics, London: V&A Publications, 2004Krahl, Regina, Dawn of the Yellow Earth: Ancient Chinese Ceramics from the Meiyintang Collection, New York: China Institute Gallery, 2000Kuwayama, George, Chinese Ceramics in Colonial Mexico, Los Angeles: Los Angeles County Museum of Art, 1997Li, He, Chinese Ceramics: The New Standard Guide, London: Thames and Hudson, 1996Little, Stephen, Chinese Ceramics of the Transitional Period: 1620-1683, New York: China Institute in America, 1983Littleton & Hennessy, Littleton & Hennessy: Exhibition of Qing Porcelain, London: Littleton & Hennessy, 2005Liu, Liang-yu, A Survey of Chinese Ceramics: Ch'ing Official and Popular Wares, Taipei: Aries Gemini Publishing Ltd., 1991Liu, Liang-yu, A Survey of Chinese Ceramics: Ming Official Wares, Taipei: Aries Gemini Publishing Ltd., 1991Liu, Liang-yu, A Survey of Chinese Ceramics: Sung Wares, Taipei: Aries Gemini Publishing Ltd., 1991Lo, Kai-Yin (ed.), Bright as Silver White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Yung Ming Tang, 1998Macintosh, Duncan, Chinese Blue and White Porcelain: Third Edition, Woodbridge: Antique Collectors' Club Ltd., 1994Medley, Margaret, Illustrated Catalogue of Ming Polychrome Wares, London: School of Oriental & African Studies, 1978Medley, Margaret, Illustrated Catalogue of Ting and Allied Wares, London: School of Oriental & African Studies, 1980Medley, Margaret, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 2004Medley, Margaret, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains, London: School of Oriental & African Studies, 1976Medley, Margaret, Metalwork and Chinese Ceramics, London: School of Oriental & African Studies, 1972Medley, Margaret, The Chinese Potter: A Practical History of Chinese Ceramics, Oxford, Phaidon Press Limited, 1999Medley, Margaret, Yuan Porcelain & Stoneware, London: Faber and Faber Limited, 1974For full list, please see: https://www.lyonandturnbull.com/auction/lot/lot-241---collection-of-art-reference-books/?lot=279991&so=0&st=&sto=0&au=9380&ef=&et=&ic=False&sd=0&pp=96&pn=3&g=1Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Note:Please note this lot will be offered with no reserve. 本拍品不設底價

FINE PAIR OF INSCRIBED BLUE AND WHITE TEA TRAYS QING DYNASTY, JIAQING MARK AND OF THE PERIOD 清嘉慶 青花「大清嘉慶年製」六字篆書款 青花開光御製詩海棠式茶托 each with shallow lobed sides of quatrefoil section, supported on four short bracket feet, the interior inscribed with an imperial poem pertaining to the preparation of tea and dated to the dingsi year of the Jiaqing reign (corresponding to 1797), surrounded by a band of scrolling lotus and florets repeated on the interior and exterior walls with a variation on the central bloom, the base inscribed with a six-character Jiaqing seal mark in underglaze blue and surrounded by spur-marks, with fitted wooden stand Dimensions:16.1cm wide each Provenance:Provenance: Private Scottish collection; inherited from the family who worked and travelled extensively in Asia during the 1920s-1940s. Note: Note: The poem on these small dishes, composed by the Jiaqing Emperor, praises the pleasure of drinking tea and appears on tea trays and teapots of different palettes. S.W. Bushell translates the poem in Oriental Ceramic Art, London, 1981, p. 239, as: 'Finest tribute tea of the first picking. And a bright full moon prompts a line of verse. A lively fire glows in the bamboo stove, The water is boiling in the stone griddle, Small bubbles rise like ears of fish or crab. Of rare Chi'i-ch'iang tea, rolled into tiny balls, One cup is enough to lighten the heart, And dissipate the early winter chill.' A similar blue and white tray is illustrated by H.A. Van Oort, Chinese Porcelain of the 19th and 20th Centuries, The Netherlands, 1977, p. 19, pl. 2. Closely comparable pairs of dishes of this pattern and date were sold at Christie's London,15 May 2012, lot 395 and Sotheby's Hong Kong, 9 October 2012, lot 3081.

GREY POTTERY GRANARY JAR HAN DYNASTY 漢 弦紋熊足灰陶倉 decorated with four sets of triple ribs on the cylindrical body, supported on three bear-form feet, the bears moulded in minute detail with bulging eyes, full mane and an upper limb holding an object towards the mouth Dimensions:29cm high Provenance:Provenance: Sotheby's, 1984. Previously in the S.C. Coles Collection (according to collector's inventory). The base with two labels indicating it was exhibited in the Oriental Ceramic Society, 1963, no. 32.Dr. Kenneth P. Lawley's inventory number: Cer.98. Note: Note: A larger comparable pottery granary jar, Han dynasty, with more stylised rendition of bear-feet, is illustrated in Ben Janssens Oriental Art, 2010, p. 15. Also compare to a granary jar with a pale green glaze, formerly in the Charles B. Hoyt collection, now in the Museum of Fine Arts in Boston, accession no. 50.1843, illustrated in The Charles B. Hoyt Collection: Memorial Exhibition, Boston: Museum of Fine Arts, 1952, pl. 26.Please note this lot will be offered with no reserve. 本拍品不設底價

WHITE-GLAZED HANDLED JAR TANG DYNASTY 唐 白釉四繫罐 the ovoid body supported on a short splayed foot, set on the rounded shoulders with four double-stranded lug handles joining the straight neck, covered overall with a finely crackled ivory glaze of greyish tinge, stopping undulatingly short of the foot revealing the buff body Dimensions:29.6cm high Provenance:Provenance: Clayton, 1976 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: Cer.72. Note: Note: A comparable jar is formerly in the collection of Mrs Walter Sedgwick, included in the exhibition The Arts of the T'ang Dynasty, 1955, Oriental Ceramic Society, London, pl. 177; Also compare to two jars with covers in auctions, one closely comparable in shape, sold at Sotheby's New York, 23 Sep 2020, lot 690; the other of more globular form, sold at Bonham's New York, 20 March 2023, lot 129.Please note this lot will be offered with no reserve. 本拍品不設底價

STRAW-GLAZED BOTTLE VASE TANG DYNASTY 唐 白釉盤口橄欖瓶 heavily potted with an oval body on a short flared foot surmounted by a galleried mouth, the creamy glaze with slight pale celadon tinge covered the body stopped inconsistently above the foot revealing buff body Dimensions:30.7cm high Provenance:Provenance: Bluett & Sons Ltd., 1969 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: Cer.39. Note: Note: A comparable but smaller oviform vase with a dish-shaped mouth, Tang dynasty, is illustrated in the catalogue of The George de Menasce Collection Part One, 1971, London: Spink & Son Ltd, pl. 21. The same vase was exhibited in the Oriental Ceramic Society, 1955, No. 192. Also compare to two smaller jars, in a more squatted form, one of straw-glazed and the other white-glazed, are illustrated in Regina Krahl, 2000, Yuegutang: A Collection of Chinese Ceramics in Berlin, Berlin: G + H Verlag, pls. 84 & 86.Please note this lot will be offered with no reserve. 本拍品不設底價

BLUE-GLAZED 'JUN' DISH SONG DYNASTY 宋 鈞窯天藍釉折沿盤 sturdily potted with shallow rounded sides rising from a short foot to a wide everted rim, covered overall in a milky lavender-blue glaze thinning to a mushroom tone at the mouth rim, save for the foot revealing the buff-orange body and five evenly-spaced spur marks Dimensions:17.8cm diameter Provenance:Provenance: Sydney L. Moss Ltd., 1 October 1968, with an original receipt; Previously in the collection of Mr and Mrs Brodie Lodge.Exhibited: Sung Dynasty Wares: Chün and Brown Glazes, Oriental Ceramic Society, 1952, catalogue no. 71, pg. 10, with a copy of the catalogue.Dr. Kenneth P. Lawley's inventory number: Cer.38. Note: Note: A slightly larger Jun ware dish is in the Museum of Fine Arts, Boston, note the different treatments on the foot rim and spur marks, accession no. 50.1310; Another similar but smaller dish is in the Victoria and Albert Museum, museum no. FE.167-1974, illustrated in Rose Kerr, 2004, Song Dynasty Ceramics, London: V&A Publications, pl. 23. Also compare to several examples in the market, one from the Pilkington Collection, sold at Sotheby's Hong Kong, 05 April 2016, lot 13; other two of the Song-Jin dynasty, sold at Sotheby's London, 11 May 2016, lot 24 and Christie's London, 14 May 2019, lot 207.Please note this lot will be offered with no reserve. 本拍品不設底價

CERAMIC REFERENCE BOOK COLLECTION 中國陶瓷藝術參考書籍（共四十四本）含：高古、中古、明清陶瓷研究及出版著作、顯赫館藏等 Including: early pottery, Chinese Ming and Qing dynasty ceramics, museum and private collection, in total 44 publications.Asahi Shimbun Cultural Planning Department (Ed.). Newly Discovered Southern Song Ceramics: A Thirteenth-Century "Time Capsule". Tokyo: Asahi Shimbun Publishing Company, 1998.Ayers, John. The Seligman Collection of Oriental Art: Chinese and Korean Pottery and Porcelain. London: The Arts Council of Great Britain, 1964.Chen, Quanfang. Yaozhou Kiln. Shaanxi: Shaanxi Travel & Tourism Press, 1992.Chinese Ceramics: Leeds Art Gallery and Temple Newsam House. Leeds: Beck & Partridge Ltd, 1966.D'Argence, Rene Yvon Lefebvre. The Hans Popper Collection of Oriental Art. Japan: Kodansha International Ltd, 1973.Duan, Qing Bo. Ancient Chinese Pottery. Wuhan: Hubei Fine Arts Publishing House, 2001.Gerald, Reitlinger. Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger. Oxford: The Ashmolean Museum, 1981.Gompertz, G. St. G. M. Chinese Celadon Wares. London: Faber & Faber, 1958.Houli, Yang, and Fan, Fengmei. Dated Qingbai Wares of the Song and Yuan Dynasties. Hong Kong: Ching Leng Foundation, 1998.Hughes-Stanton, P. and Kerr, Rose. Kiln sites of ancient China: An exhibition lent by the People's Republic of China, 1981.Illustrated Catalogue of Celadon Wares in The Percival David Foundation of Chinese Art. London: School of Oriental and African Studies, 1997Joseph, Adrian Malcolm (Ed.). Chinese Pottery Burial Objects of the Sui and Tang Dynasties. London: Hugh M. Moss Ltd., 1970.Kerr, Rose. Song Dynasty Ceramics (Victoria & Albert Museum - Far Eastern Series). London: V&A Publications, 2004.Kotz, Suzanne (Ed.). Imperial Taste: Chinese Ceramics from the Percival David Foundation. San Francisco: Chronicle Books, 1989.Krahl, Regina. Yuegutang: Eine Berliner Sammlung Chinesischer Keramik / A Collection Of Chinese Ceramics In Berlin. Berlin: G + H Verlag, 2000.Lau, Aileen (Ed.). Spirit of Han: Ceramics for the After-life. Singapore: Sun Tree Publishing, 1991.Laurence, Desmond Roger. Chinese Porcelain: 25 years of unscholarly collecting. London: D.R. Lawrence, 2003.Laurence, S.J.. Chinese Pottery and Porcelain: From Prehistory to the Present. London: British Museum Press, 1991.Li, Hui Bing. Porcelain of the Song Dynasty (vol 1). Shanghai: Shanghai Science and Technology Press, 2002.Li, Hui Bing. Porcelain of the Song Dynasty (vol 2). Shanghai: Shanghai Science and Technology Press, 2002.Lu, Yaw, Feng, Xianming, and Tregar, Mary. Song Ceramics: With an Illustrated Catalogue of the Exhibition Organized by the Southeast Asian Ceramic Society and Held at the National Museum, Singapore in May-June 1983. Singapore: Southeast Asian Ceramic Society, 1983.M.H. de Young Memorial Museum. Avery Brundage Collection: Chinese Ceramics. San Francisco: de Young Museum Society, 1967.McElney, Brian Shane. Museum of East Asian Art: Chinese Ceramics v. 1: Inaugural Exhibition. Bath: Museum of East Asian Art, 1993.Medley, Margaret (Ed.). Decorative Techniques and Styles in Asian Ceramics: Colloquies on Art & Archaeology in Asia No.8. London: School of Oriental and African Studies, 1978.Medley, Margaret. Yuan Porcelain and Stoneware. London: Faber & Faber, 1974.Mino, Yutaka and Tsiang¸ Katherine. Ice and Green Clouds: Traditions of Chinese Celadon. Indianapolis: Indiana University Press, 1986.Mowry, Robert D., Farrell, Eugene, and Rousmaniere, Nicole Coolidge. Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black Glazed Ceramics, 400-1400. Cambridge: Harvard University Art Museums, 1996.Pierson, Stacey (Ed.). Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties. London: Percival David Foundation of Chinese Art, 2011.Pierson, Stacey (Ed.). Song Ceramics: Art History, Archaeology and Technology: Colloquies on Art & Archaeology in Asia No. 22. London: Percival David Foundation of Chinese Art, 2004Pierson, Stacey (Ed.). The Museum of East Asian Art Journal. Bath: Museum of East Asian Art, 1995.Pope, John Alexander. Fourteenth-Century Blue and White: A Group of Chinese Porcelains in the Topkapi Sarayi Muzesi, Istanbul. Washington: Freer Gallery of Art Occasional Papers, 1952.Scott, Rosemary E. (Ed.). The Tectus Collection: Tectussamlingen, Centraltryckeriet AB Boras. 1991.Sullivan, Michael. Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow. London: Faber and Faber Limited, 1963.Sydney L. Moss Ltd.. Chinese Monochromes From the P.J. Donnelly Collection. London: Sydney L. Moss Ltd., 1974.The Burrell Collection: Chinese Stonewares and Porcelains. Glasgow: Glasgow Art Gallery, 1950s.The Museum of Oriental Ceramics, Osaka. Song Ceramics. Tokyo: Asahi Shimbun Publishing Company, 1999.The Vancouver Society for Asian Art Presents The Talking Jars. 1971Tregear, Mary. Early Chinese Green Wares: in the collection of the Ashmolean Museum. Oxford: Oriental Art, 1967.Tregear, Mary. Guide to the Chinese Ceramics in the Department of Eastern Art Ashmolean Museum. Walsall: Finaprint Ltd, 1966.Tung, Wu. Earth Transformed: Chinese Ceramics In The Museum Of Fine Arts, Boston. Boston: Museum of Fine Arts, 2001.Watson, William. Pre-Tang Ceramics of China: Chinese Pottery from 4000 BC to 600 AD. London: Faber & Faber, 1991.Watson, William. Tang and Liao Ceramics. New York: Rizzoli International Publications Ltd., 1984.Wirgin, Jan. Sung Ceramic Designs. 1970.Wood, Nigel. Chinese Glazes. Philadelphia: University of Pennsylvania Press, 1999. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

CERAMIC FLOWER VASE BY KUSUBE YAICHI (1897-1984), SHOWA PERIOD, CA. 1960 昭和 約1960 楠部彌弌 花瓶 共箱 signed Ya, with a wooden tomobako inscribed Heigyokuyu kabin (Jasper glaze flower vase) signed Yaichi saku and sealed Dimensions:35.5cm high Provenance:Provenance: Greg Baker Asian Art, 7 November 2018, with a printed valuation document from the gallery after purchase.Exhibited: 'Diversity from Adversity: An exhibition of Japanese works of art from the 1950s and 1960s', Gregg Baker Asian Art & Brian Harkins Oriental Art, 3rd-19th November 2005, catalogue no. 2, with a copy of the catalogue.Dr. Kenneth P. Lawley's inventory number: Cer.168. Note: Note: Kusube Yaichi was born to a family of ceramic exporters in Kyoto and studied ceramics at the Ceramic Institute of Kyoto.In 1920, joined by other aspiring young ceramists, he formed the innovative group Sekidosha manifesting to create ceramics as art objects. He first exhibited at the Teiten (the Imperial Fine Art Exhibition) in 1927, the year when the ‘works of art’ section was first introduced and won the Tokusen (Speciality) prize in 1933.After serving as a judge for the Shin-Bunten (Ministry of Education New Fine Arts Exhibition) and the Nitten (The Japan Fine Art Exhibition) for many years, he became a director in 1969 and a consultant in 1974.Kusube was honoured with the Minister of Education Award in 1951 at the 7th Nitten, the Japan Art Academy Award in 1962 and both the Mainichi Newspaper Art Award and the cultural merit award in 1972. After receiving the Order of the Sacred Treasure from the government, his solo exhibition was successfully held at the Louvre (Museé Des Art Décoratifs) in Paris in 1977. Finally, the Bunka Kunshō, or Order of Cultural Merit, was conferred upon him in 1978.Having studied all kinds of ceramic techniques in Japan, China and Korea and utilising them for his creations, Kusube is regarded as one of the most important ceramic artists of the 20th century.Please note this lot will be offered with no reserve. 本拍品不設底價

Ceramic in matte finish modeled as Timon from The Lion King dressed as a hula girl dancing. Walt Disney Collection backstamp. This item has its original box. Box measures: 7.5â€L x 7.5â€W x 5â€H. Certificate of Authenticity included. Dimensions: 4.5â€L x 2.25â€W x 4.5â€HManufacturer: Walt Disney ClassicsCondition: Age related wear.

French Art Deco Figure form table lamp, two desk stands, plus ceramic dog All in used condition, not tested for working

PAIR OF MASONS CERAMIC DOUBLE GOURD FORM URNS, FLORAL DECORATION, APPROX 25.5cm HIGH USED WITH WEAR ETC

Pair of hand painted and gilded ceramic reclining figure form sweet dishes appear in reasonable used condition WITH FEW MINOR CHIPS TO FLORAL SPRAYS ETC

Royal Doulton glazed ceramic figure - The Balloon Man. HN1954 REASONABLE USED CONDITION

Studio pottery glazed ceramic globular vase, stamped to base. App. 27.5cm H

A VERY RARE CARVED AND INSCRIBED AMBER SNUFF BOTTLEWang Baishi (1830-1850)Of flattened baluster shape rising from a flat base, the orange-honey tone bottle finely carved on both sides with a calligraphic inscription by Wang Baishi, seals of Yinfeng (To sing in the breeze), Baishi (used twice), Shanren (hermit, used twice), and Nongyue (To admire the moon), stopper inlaid with a pearl and ivory spoon. 5.5cm (2 1/4in) high. (2).Footnotes:十九世紀 王白石（1830-1850） 琥珀刻詩文鼻煙壺The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). Ref.5DFNKQRH該批次中含有象牙的物品已根據《象牙法案》（章節10）註冊，Ref.5DFNKQRHProvenance: Tristan Knight collectionHugh M. Moss Ltd., Hong Kong, February 1971An English private collection, and thence by descentExhibited: The Oriental Ceramic Society, The Chinese Scholar's Desk, 17th to 18th Century: An Exhibition Held in the Ashmolean Museum, Oxford, 1979Published: H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol.7 (part 1), Hong Kong, 2009, no.1569, p.259, A2.來源：Tristan爵士舊藏香港古董商Hugh Moss，1971年2月英國私人收藏，並由後人保存迄今展覽：東方陶瓷學會，《The Chinese Scholar's Desk, 17th to 18th Century: An Exhibition Held in the Ashmolean Museum》，牛津，1979年著錄：H.Moss, V.Graham and K.B.Tsang，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，第7冊（第1部分），香港，2009年，編號1569，第259頁，A2The inscription on one side reads: 空憐北闕歸東野偶作草堂Which can be translated: 'It is unnecessary to pity a gentleman who leaves the Imperial palace and goes back to the countryside. The occasionally built thatched cottage.The other side with:卻怪西瀼客拾遺偶草并芝蘭It is only needed to blame the west of the Xiang River to treat the Shiyi as a guest.Messy grass and fragrant grass.Shiyi was a the title of an advisory official in the Tang dynasty. This probably refers to the Tang dynasty poet Du Fu (712-770), who used to undertake this position and lived in the west of the Xiang river for years. Du Fu was sometimes called Du Shiyi by later generations.Baishi is best known as the carver of a small series of hornbill snuff bottles of masterly quality, but he also made at least three amber snuff bottles, all with inscriptions and seals only, without the pictorial content we have come to expect of his hornbill carvings. H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol.7 (part 1), Hong Kong, 2009, p.259, list three known amber snuff bottles by Wang Baishi: the first, noted as A1, no.1570 in the Bloch collection, which was sold at Bonhams Hong Kong, 23 November 2010, lot 12; the second, noted as A2, is the present snuff bottle; and the third, noted as A3, with an inscription from an archaic bronze.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A RARE PAIR OF FAMILLE VERTE 'POETIC INSCRIPTION' SAUCER-DISHESKangxiOne dish decorated with a scholar clasping a guqin engaged in conversation with another scholar seated beside a rocky ledge, all beneath various gnarled trees, a poetic couplet flanked by a gilt leaf and seal, the other dish decorated with a scholar gazing out from a large pavilion beside a lake, also with poetic inscription between a gilt leaf and seal. Each 15.8cm (6 1/4in) diam. (2).Footnotes:清康熙 青花五彩山水人物圖詩文盤一對Provenance: Mrs Joan C.P. Barrow (d.1987)Bluett and Sons Ltd., LondonA European private collection, acquired from the above circa 1988-1989, and thence by descentPublished and Illustrated: M.Medley, 'Patterns of Chinese Taste in Porcelain', Transactions of the Oriental Ceramic Society, vol.52, 1987-1988, p.79, colour plate C (upper; showing one of the pair). 來源：Joan C.P. Barrow 夫人（1987年去世）倫敦古董商 Bluett and Sons Ltd.歐洲私人收藏，約1988-1989年從上處購得，並由後人保存迄今著錄：M.Medley，《中國品味的陶瓷圖案》，《東方陶瓷學會會刊》，第52期，1987-1988年，第79頁，圖版C （上部；該拍品中的一個）Joan Barrow was a client of Bluett's, London and an active collector from the late 1960s to the mid 1980s; for more information see R.Davids and D.Jellinek, Provenance, Oxford, 2011, p.62.One dish with the scholar in the pavilion is inscribed with the last two lines of the poem 'I Show These Two Odes to My Younger Brother Returning to Lantian to Greet His New Wife' by Tang dynasty poet Du Fu (712-770): 此時同一醉應在仲宣樓卉庵Which may be translated as:At this moment similarly intoxicated,One should be in the Zhong Xuan pavilion.Hui'anThe inscription on the other dish is also from a poem 'To Release the Boat' by Du Fu reading:江流大自在坐穩興悠哉Which may be translated as:Carefree by the flowing riverSitting down and enjoying oneself!The poems are preceded with a leaf-shaped seal and ended by a seal of whose characters are illegible. This format was created by artisans in the 17th century to cater to literati tastes. The combination of Tang poetry, scenes of idle scholars and distinctive seals make this pair of dishes ideal scholarly-themed wares. The signature Hui'an often appears on porcelains of the Kangxi period. Compare with a related famille verte plate, Kangxi, with similar Hui'an signature, illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Shanghai, 1998, no.107. See also a pair of famille verte dishes with the same signature Hui'an in the collection of The British Museum, London, (acc.no.1947,0712.301.a-b).A similar but larger famille verte dish with the same Hui'an signature, Kangxi period, was sold at Christie's New York, 25 September 2020, lot 1580.For further information on this lot please visit Bonhams.com

A BLANC-DE-CHINE FIGURE OF GUANYIN AND ACOLYTEChen Wei impressed seal mark, 18th centuryThe deity seated on a lotus plinth rising from waves roiling with a lotus bud and fish, an acolyte standing on a leaf to one side, wearing loose flowing robes open at the chest to reveal beaded jewellery, her face with a serene expression in a downcast gaze beneath finely moulded tiara and veil, covered overall in a creamy-white glaze, the back impressed with a four-character seal mark. 32.5cm (12 3/4in) high.Footnotes:十八世紀 德化白釉觀音童子像「陳偉之印」篆書款Provenance: Sotheby's London, 28 September 1976, lot 87An English private collection來源：蘇富比倫敦，1976年9月28日，拍品編號87英國私人收藏Chen Wei was an outstanding Ming dynasty ceramic artist. One of his best known works is a Guanyin figure, 17th century, in The British Museum, London, illustrated by P.J.Donnelly, Blanc-De-Chine, London, 1969, fig.82b. Chen Wei also made boxes and bowls for everyday use. See R.H.Blumenfield, Blanc-De-Chine: The Great Porcelain of Dehua, Berkeley/Toronto, 2002, p.139.Compare with a related blanc-de-Chine figure of seated Bodhidharma bearing the same seal mark, Qing dynasty, which was sold at Bonhams New York, 11 November 2020, lot 50.For further information on this lot please visit Bonhams.com

A FINE AND RARE PAIR OF GREEN-GLAZED INCISED DOUBLE-GOURD VASESKangxiDensely and delicately carved on the larger lower and upper pear-shaped section of the body with large-headed tree peony in a continuous meander within curling leaf sprays, the carving of particularly attractive quality, all under a pale translucent green glaze. 44cm (17 1/2in) high. (2).Footnotes:清康熙 青釉纏枝牡丹紋葫蘆瓶一對Provenance: An American private collectionRalph M. Chait Galleries, New York, 5 May 2017A European private collection來源：美國私人收藏Ralph M. Chait Galleries，紐約，2017年5月5日歐洲私人收藏The present pair of vases is notable for its exquisite luminous green glaze, the purity of which accentuates the graceful curves of its shape. This glaze was created in imitation of Longquan celadon vases of the Southern Song and Yuan periods and reflects the penchant for early wares and the remarkable technical developments achieved at the kilns of the time.According to the 'Commemorative stele on ceramic production', compiled in 1735 by Tang Ying (1682-1756), supervisor of the Imperial kilns at Jingdezhen, several varieties of celadon glazes were experimented with at the time; see S.W.Bushell, Oriental Ceramic Art, London, 1981, p.197.The double gourd, hulu, was highly regarded in the Ming and Qing dynasties as it underscored auspicious symbolism concerning fertility and progeny, because of the large number of its seeds. It was also an important symbol of Daoism and was particularly associated with Li Tieguai, one of the Eight Immortals, who is often depicted with a double gourd at his waist containing the elixir of Immortality. In addition, the Chinese word for double gourd forms a rebus with the phrase Fulu, meaning happiness and prosperity through government positions.The shape of the present vases closely compares with a related pair of celadon-glazed 'double-gourd' vases, 18th century, which was sold at Christie's London, 8 July 2010, lot 1026.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 FAMILLE VERTE MODEL OF FOREIGNERS ABOARD A SHIPKangxiBrightly glazed in red, green, aubergine and straw all over the visible areas, elaborately modelled as a junk with an aggressive fish-shaped prow, two folding Lateen masts and a flag flying from a third, a compartment with pierced windows at the stern, both sides with the muzzles of six cannons, the desk filled with four European figures wearing frock coats and wide rimmed black hats, one manning the tiller, two others standing and a fourth figure seated cross-legged. 29cm (11 1/2in) wide.Footnotes:清康熙 素三彩瓷塑帆船Provenance: an American private collection Ralph M. Chait Galleries, New York, 10 May 2016A European private collection來源：美國私人收藏Ralph M. Chait Galleries，紐約，2016年5月10日歐洲私人收藏Exceptionally detailed models of Chinese ships in enamels on biscuit are rare, and more so when including representations of Europeans and details such as cannons and partially folded sails as superbly detailed on the present lot. This model of a junk is described in a 1779 inventory on Chinese porcelain in the collection of Augustus the Strong in Dresden; see a related three-glazed model of a junk, Kangxi, illustrated by E.Ströber, Maladie de Porcelaine. East Asian Porcelain in the Collection of Augustus the Strong, Berlin, 2002, p.57.The depiction of foreigners on a boat reflects not only a growing fascination in 18th century China towards the West but the Kangxi Emperor's policy of open trade from 1684, after his consolidation of power against pirates and Ming loyalists along the coast. In dealing with the issue of overseas trade (which previous Chinese governments sometimes banned), the Kangxi Emperor supported the pursuit of profit and like many European monarchs of the day, he believed that trade — including overseas trade — benefited both state and society. On the basis of this view, in 1684, the Kangxi Emperor invited foreign merchants to bring their goods to China's ports and encouraged Chinese merchants to set out from those ports for destinations in foreign lands. More important, over the subsequent thirty years, he persisted in this open-door policy, blocking every attempt to reinstate the maritime trade ban. This re-opening of trade with the West in the Kangxi reign led to interest in foreigners: their clothes, customs and belongings, and is reflected in a number of the arts of the period. Scrolls depicting tribute bearers from foreign lands were commissioned by the Court, in which figures from various countries were shown in their different costumes. On one such hand-scroll in the collection of the Palace Museum, Beijing, many of the figures are described as being from the West and the attributes of each couple are discussed in both Chinese and Manchu; see Splendors of a Flourishing Age, Macau, 1999, no.42. See a similar famille verte model of a ship with Dutchmen, Kangxi, illustrated by A.du Boulay, Christie's Pictorial History of Chinese Ceramics, Oxford, 1984, p.289, no.10 (which sold at Christie's London, 13 July 1959). Foreigners can also be seen in blanc de-Chine wares; see for example P.J.Donnelly, Blanc de Chine, London, 1969, pl.117, and a blanc-de-Chine boat with foreigners, in ibid, pl.118. See also a similar famille verte boat, but without figures, Kangxi, illustrated by W.R.Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, 1991, pp.76-77, no.29.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

TWO MIRROR-BLACK-GLAZED LONG-NECKED BOTTLE VASESKangxiOne vase with a pear-shaped profile rising from a slightly splayed foot to an elongated neck, finely coated in a brilliant shiny rich dark glaze, the interior plain, 22cm (8 3/4in) high; the second vase with a globular body below the long neck, with traces of floral gilt decoration, 25cm (9 1/2in) high. (2).Footnotes:清康熙 烏金釉長頸瓶 一組兩件Provenance: an American private collection (the pear-shaped vase)Ralph M. Chait Galleries, New York, on 10 May 2016 (the pear-shaped vase)Professor Edward Thomas Hall (1924-2001) (label) (the globular shape vase)Ralph M. Chait Galleries, New York, on 18 November 2005 (the globular shape vase)A European private collection來源：美國私人收藏（梨型身瓶）Ralph M. Chait Galleries，紐約，2016年5月10日（梨型身瓶）Edward Thomas Hall 教授（1924-2001)（標籤）(球型身瓶)Ralph M. Chait Galleries，紐約，2005年11月18日(球型身瓶)歐洲私人收藏Compare the pear-shaped vase with a similar mirror-black-glazed vase, illustrated by P.Y.K.Lam, Shimmering Colours: Monochromes of the Yuan to Qing Periods, Hong Kong, 2005, p.235, pl.157. See also a related mirror-black-glazed vase, Kangxi, which was sold at Bonhams London, 16 May 2019, lot 28. Compare the globular vase with a related black-glazed vase, Kangxi, in the collection of The Metropolitan Museum of Art, New York (acc.no.14.40.23). A similar black-glazed vase in the Victoria and Albert Museum, London, is illustrated in Sekai tōji zenshū (Ceramic Art of the World), Vol.15, Tokyo, 1983, p.194, pl.251. Another similar black-glazed vase Kangxi, in the Asian Art Museum of San Francisco is illustrated by H.Li, Chinese Ceramics: The New Standard Guide, London, 1996, p.282, no.553.See also a similar mirror-black-glazed vase, Kangxi, which was sold at Christie's London, 7 June 2004, lot 195.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 PAIR OF FAMILLE VERTE 'DUCK AND LOTUS' WATER DROPPERSKangxiEach finely modelled swimming with their heads turned to the left behind a large deep lotus leaf to contain water for the painter, the duck's body mottled green yellow straw and brown. 9cm (3 1/2in) wide. (2).Footnotes:清康熙 三彩荷葉鴨形筆洗Provenance: Sydney L. Moss Ltd., LondonRalph M. Chait Galleries, New York, 22 August 2008A European private collection來源：倫敦古董商Sydney L. Moss Ltd.Ralph M. Chait Galleries，紐約，2008年8月22日歐洲私人收藏See a similar pair of sancai-glazed 'duck and lotus' water droppers, Kangxi, illustrated by W.R.Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, 1991, pp.36-37, no.7. Compare with a related pair of famille verte biscuit-glazed 'lotus and duck' water droppers, Kangxi, which were sold at Sotheby's New York, 22 March 2023, lot 604.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 RARE PAIR OF GREEN-GROUND FAMILLE-ROSE TROMPE L'OEIL VASESQianlong Each vase delicately potted with an ovoid body rising from a splayed foot to an elongated neck with a flaring mouth, the shoulders moulded with a beribboned coral-red sash tied at the centre and filled with gilded designs of vaporous clouds and bats, reserved on the overall turquoise-ground decorated with blossoming lotus, all between a band of ruyi at the foot and shoulders, the neck with further blooming lotus. 16cm (6 2/8in) high. (2).Footnotes:清乾隆 粉彩描金綠地花卉紋包袱瓶一對Provenance: Robert Charles Bruce MC (1898-1953), LondonAntique West Ltd., London, June 1998A European private collectionExhibited, Illustrated and Published:The Oriental Ceramic Society, Exhibition of Enamelled Polychrome Porcelain of the Manchu Dynasty 1644-1912, London, 1951, no.202 (one of the pair)來源：Robert Charles Bruce MC (1898-1953)，倫敦倫敦古董商Antique West Ltd.，1998年6月歐洲私人收藏展覽著錄：東方陶瓷學會，《Exhibition of Enamelled Polychrome Porcelain of the Manchu Dynasty 1644-1912》，倫敦，1951年，第202號（其中一個）Robert Charles Bruce (1898-1953), who ran a business on the London Stock Exchange, developed his interest in collecting after inheriting the Imperial ceramics and cloisonné enamels collected by his great uncle Sir Frederick Wright-Bruce, British Envoy Extraordinary and Minister Plenipotentiary to China (1859-1865). He loaned more than a dozen items to the Royal Academy Exhibition in London, 1935-1936. During the First World War he served with the Grenadier Guards and won a Military Cross for outstanding service. Notable for their extravagant designs and refined workmanship, the present vases display the technical innovations and unconventional aesthetics characterising porcelain vessels made during the reign of the Qianlong Emperor. Porcelain vases decorated with the eye-catching designs of knotted cloths, such as the present examples, are exceedingly rare and remarkable examples of trompe l'oeil. The design was much favoured by the Qianlong Emperor who favoured porcelain wares that contained elements simulating objects in other materials. The potters active at the Imperial kilns in Jingdezhen were thus prompted to create wares that were technically innovative and unconventional in their aesthetics.The Japanese packaging tradition, known as furoshiki, strongly influenced the silky knotted cloth design on the present vases. The illusion of an object wrapped in cloth was frequently evoked in Japanese lacquer and replicated at the Palace Workshops in various media, such as painted enamels, cloisonné, glass, wood and lacquer, throughout the reigns of the Yongzheng and Qianlong Emperors. See, for example, a painted enamel vase and cover, Qianlong mark and period, decorated with designs of knotted scarves, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol.5, Beijing, 2011, nos.141 and 142. See also a lacquer box, Yongzheng, decorated with knotted cloth designs, illustrated in China: The Three Emperors, London 2005, no.175.The strikingly conceived design depicted on the present vases convey the high standards achieved by the Imperial ateliers inside the Forbidden City, where artists and artisans, well versed in different media, worked together and influenced each other. The resulting overall design is not only visually appealing, but also highly auspicious as the term baofu ('wrapping cloth') is a wordplay on 'wrapping up good luck.'Compare with a green-ground famille rose trompe l'oeil vase, Qianlong mark and period, featuring similar designs of vaporous clouds decorating the beribboned sash, which was sold at Sotheby's New York, 5 April 2017, lot 3640; see also a pair of related pink-ground famille rose 'trompe l'oeil' jars and covers, Qianlong marks and of the period, which were sold at Sotheby's Hong Kong, 5 October 2016, lot 3611.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 RARE CORAL-GLAZED AMPHORA VASE18th centuryThe slender baluster and trumpet neck with wide rim all under a dappled orange-coral glaze on the exterior, fired white inside the neck and within the foot. 24.5cm (8 1/4in) high.Footnotes:十八世紀 珊瑚紅釉撇口瓶Provenance: Professor E.T. Hall (1924-2001) Ralph M. Chait Galleries, New York, 5 August 2004A European private collectionExhibited, Published and Illustrated: The Oriental Ceramic Society, Iron in the Fire: Chinese Potters' Exploration of Iron Oxide Glazes, London, 1988, no.100來源：E.T. Hall教授 (1924-2001) Ralph M. Chait Galleries，紐約，2004年8月5日歐洲私人收藏展覽著錄：東方陶瓷學會，《Iron in the Fire: Chinese Potters' Exploration of Iron Oxide Glazes》，倫敦，1988年，編號100Professor Edward Thomas Hall (1924-2001), a scientist and inventor, was a leading expert in the development of archaeometry, radio-carbon dating and research in thermoluminescence techniques.Compare with a related coral-red-glazed vase, Qianlong, which was sold at Christie's New York, 27 March 2018, lot 74.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 YELLOW-GLAZED CUPYongzheng six-character mark and of the periodDelicately potted with deep rounded sides rising from a small ring foot to a gently flared rim, the interior white, the exterior all under a rich glossy even pale eggyolk-yellow glaze stopping sharply at the out-turned rim, wood stand. 9.4cm (3 3/4in) diam. (2).Footnotes:清雍正 黃釉碗青花「大清雍正年製」楷書款Provenance: a European private collection來源：歐洲私人收藏Compare with a similar pair of yellow-glazed cups, Yongzheng marks and period, in The British Museum, London, illustrated in Ceramic art of the World, vol.15, Japan, 1983, p.203, no.292; another example is illustrated by J.Ayers, The Baur Collection, vol.3, Geneva, 1972, no.A 489. A similar yellow-glazed cup, Yongzheng mark and of the period, was sold at Christie's New York, 16 March 2017, lot 638.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 RARE WUCAI 'SHOULAO' SAUCER DISHWanli six-character mark and of the periodCentrally painted in blue and enamelled in green, red and yellow with Shoulao descending on a flying crane towards a fenced terrace, a red-robed dignitary, small boy and standing crane awaiting his arrival, all within a border of shou characters in a continuous leafy meander. 17.5cm (6 3/4in) diam.Footnotes:明萬曆 五彩獻壽圖盤青花「大明萬曆年製」楷書款Provenance: Christie's Hong Kong, 28 October 2002, lot 738A European private collection來源：香港佳士得，2002年10月28日，拍品編號738歐洲私人收藏Compare with a related wucai dish, Wanli six-character mark and period, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 2007, p.47, no.43. See also a similar wucai dish, with shou-characters around the border, Wanli six-character mark and of the period, in the Songde Tang collection, illustrated in The Fame of Flame: Imperial Wares of the Jiajing and Wanli Period, Hong Kong, 2009, pp.288-289. See also Enlightened Elegance: Imperial Porcelain of the Mid to Late Ming, the Huaihaitang Collection, Hong Kong, 2012, pp.296-297, where the author notes that 'Emperor Jiajing's Daoist belief led to the production of a large quantity of ceramic wares with religious symbolism. This stylistic trend waned slightly during the Wanli period although it still permeated ceramics of this era'.Compare with a related wucai dish, Wanli, decorated with figures in a garden setting, in the Victoria and Albert Museum, London, acc.no.C.1037-1917.A similar wucai dish decorated with boys holding a lantern, Wanli mark and of the period, was sold at Christie's Hong Kong, 29 November 2017, lot 2813.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 GREEN-GLAZED WATER BUFFALO RHYTON CUPKangxiCrisply and thinly potted all under a rich apple-green glaze with a halter rising from its nose and looped around its flat horns, fitted stand. The cup 10.5cm (4in) long.Footnotes:清康熙 绿釉牛首来通杯 Provenance: Ralph M. Chait Galleries, New York, 22 March 2004A European private collection来源：Ralph M. Chait Galleries，纽约，2004年3月22日歐洲私人收藏Buffalo-head rhyton cups date to at least the Tang dynasty with examples being found in pottery and even jade. The reappearance of this form in the Kangxi period undoubtedly reflected a continuing interest in antiquities which has long been part of the Chinese aesthetic. See a similar but turquoise-blue glazed buffalo rhyton cup, early 18th century, illustrated by W.R.Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, 1991, p.83, n0.32.Compare with a related egg and spinach-glazed water buffalo-head rhyton, Kangxi, which was sold at Sotheby's New York, 24 January 2014, lot 32.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 PEACHBLOOM-GLAZED BRUSHWASHER, TANGLUO XIKangxi six-character mark and of the periodThe exterior under an even pale glaze with two areas naturally firing to a slightly darker tone, the interior of the vessel and within the foot fired white. 11.7cm (4 1/2in) diam.Footnotes:清康熙 豇豆紅釉筆洗青花「大清康熙年製」楷書款Provenance: Yamanaka & Co., New York (according to the collector's documents)A European private collection來源：山中商會，紐約（據藏家文件）歐洲私人收藏The present brushwasher belongs to a group of eight vessels referred to as the Badama, which literally translates as 'The Great Eight Numbers', which were made for the scholar's desk during the reign of the Kangxi Emperor. Characterised by a wide range of tones and variegated effects, the peachbloom glaze was considered one of the most important innovations developed by the Imperial kilns at Jingdezhen. Ceramic production at the Imperial kilns at Jingdezhen were revived during the reign of the Kangxi Emperor, after a period of nearly sixty years of standstill, and the arrival of Zang Yingxuan as supervisor of the kilns in 1681 initiated a new era of high-quality production and technical innovation.The copper red-pigment used in peachbloom glazes was difficult to fire so it was largely abandoned after the reign of the Xuande Emperor. It was re-introduced in the Jingdezhen kilns during the Kangxi reign with a newfound appreciation of the visually pleasant effect the pigment created during the firing, which ranged 'from the deep muted tones of ashes-of-roses and the apple-red to the lighter luminous glowing peach-pink [...]'; see R.Chait, 'The Eight Prescribed Peachbloom Shapes Bearing K'ang His Marks', in Oriental Art, vol.3, no.4, 1957, p.130. The peachbloom glaze was recorded in the 'Notes on the Nanyao' Nanyao Biji, composed during the reign of the Qianlong Emperor, as cuihong and cuiqing. The glaze was applied by blowing into a tube the other end of it had been wrapped with gauze and dipped into the red glaze until the biscuit body was entirely covered with red mottles. After firing at high temperatures, green mottles sometimes appeared on a pinkish and red ground.Recent scholarship has however identified a ninth shape making up the 'Prescribed Group', this being a variant of the globular waterpot used at the time. Accordingly, waterpots referred to as 'apple jars' Pingguo zun were modelled with a gently inward curving mouth rim, whilst the 'pomegranate jars' Shiliuzun were characterised by a raised, low, neck, which was similar to a stalk; see, J.Ayers, 'The Peachbloom Wares of the Kangxi Period (1662-1722)', Transactions of the Oriental Ceramic Society, vol.64, 1999-2000, p.49.Similar brushwashers have been widely published and are in numerous public and private collections. See, for example, a peachbloom-glazed brushwasher, Kangxi mark and period, in The Metropolitan Museum of Art, New York, illustrated by S.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p.237, no.236. A further brushwasher, Kangxi mark and period, in the Palace Museum, Beijing, is illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl.123.Compare with a similar peachbloom-glazed brushwasher, Kangxi mark and period, which was sold at Sotheby's New York, 21 March 2023, lot 14.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 RARE ROBIN'S-EGG-GLAZED BOTTLE VASEYongzheng The tall slender neck and oviform body entirely covered in an even rich lustrous lavender glaze with minute dappling to simulate a bird's egg, the interior of the foot plain white. 20cm (8in) high.Footnotes:清雍正 爐鈞釉膽瓶Provenance: Ton-Ying & Co., New YorkParke-Bernet Galleries Inc., New York, 1 December 1962, lot 93A European private collection來源：紐約古董商通運公司Parke-Bernet Galleries Inc.，紐約，1962年12月1日，拍品編號93歐洲私人收藏Vessels glazed in the so-called robin-egg's glazes were made in response to the Yongzheng Emperor's interest in reinterpreting the classic Jun glazes of the song and Ming dynasties, which he was particularly enamoured with. In order to have the glazes recreated or imitated, the Emperor went as far as sending potters from the Imperial kilns on study trips to the Jun region in Henan province. Several glazes characterised by mottled purple tones were made following the potter's trips, including the flambé types and the mottled turquoise ones, such as the 'robin's egg' varieties. The 'Commemorative Stele on Ceramic Production' Taocheng jishi bei, written by Tang Ying in 1735, lists the 'robin's egg' glaze first in a list of the nineteen most popular types of wares produced by the Imperial factory. Compare with a related robin's-egg-glazed bottle vase, 18th/19th century, which was sold at Christie's New York, 25 June 2014, lot 389.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 RARE IMPERIAL WHITE-GLAZED BOWL WITH CUT-OUT DECORATIONQianlong seal mark and of the periodUnusually and very delicately decorated, carved through the very thin body with an elaborate continuous design comprising seven profile flower heads, each within a continuous scrolling meander, the empty spaces pierced in the body only filled with the almost clear glaze. 13.5cm (5 1/4in) diam.Footnotes:清乾隆 白釉玲瓏瓷纏枝蓮紋碗青花「大清乾隆年製」篆書款Provenance: Garland collection, by reputeA European private collection來源：Garland舊藏（據傳）歐洲私人收藏James Garland (1840-1900) was born in Philadelphia. He was the Vice-President of the First National Bank of New York. He was also a co-founder of the Northern Pacific Railroad and towards the end of his life he moved to London as a partner with J.P. Morgan. He was a serious collector of tapestries, oriental jades and Chinese porcelain. The James A. Garland Collection was one of the largest and most comprehensive in the United States. The collection was on loan to the Metropolitan Museum of Art in New York until 1902 when the heirs sold it to the Duveen Brothers, who had then sold it to J.P. Morgan. The present lot 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 bowl, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl.147; another in the Palace Museum, Taipei, is 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 is 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, is 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. Another very similar white-glazed 'cut through' lotus bowl, Qianlong seal mark and of the period, was also sold at Bonhams London, 5 November 2020, lot 29.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

MAKUZU KOZAN WORKSHOPAn Inlaid Ceramic Kogo (Incense Container) Taisho (1912-1926) or Showa (1926-1989) era, 20th century The cover decorated in gold and iro-e hiramaki-e and ceramic inlay with two origami cranes on an orange red ground, the sides of the lid and box with a band of shippo-tsunagi (linked-cash) patterns; signed on the unglazed foot Makuzu; with a wood tomobako storage box inscribed outside the lid Kogo (Incense Container), inside the lid Josuian gonomi (Favourite piece of Josuian), and Makuzu Kozan saku with seal Kozan. 1.7cm x 7.2cm (5/8in x 2 13/16in). (3).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

TSUTAKA WAICHI (1911-1995)Showa era (1926-1989), 20th centuryAn abstract composition, decorated in blue, rust, turquoise, and black glaze on a thick ceramic tile in a speckled ground, framed within a wood mount, unsigned, a brass plaque with the artist's name nailed on the wood mount. Overall: 38cm x 50cm (15in x 19 5/8in); the tile: 18.5cm x 30.5cm (7¼in x 12in).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

Late 19th Century Mahogany Commode with pull out step and original ceramic bowl. 20 inches tall. Make quirky indoor planter. See photos. S2

3 Large ceramic horses plus 2 carts and a bow top caravan.

Gilt metal ornate cherub lamp base with ceramic panels plus 3 polished brass table lamps.

Various ceramic clown and face wall plaques.

11 Vintage ceramic shaving mugs and 3 brushes.

11 vintage ceramic shaving mugs.

11 Vintage ceramic shaving mugs.

12 Vintage ceramic shaving mugs.

Large selection of various ceramic and pewter and ceramic thimbles in 2 glass display cases.

A Ceramic gnome sitting on a metal chair, the chair is approx 25" Tall.

Chinese bowl made from metal and ceramic with dragon detail, Qinglong mark to the base.

Large collection of various ceramic and metal collectable thimbles.

Porsgrund Norway ceramic Polar bear figurine. 7" tall and 8.5" long

Pair of Whyte and Mackay ceramic empty whiskey bottles.

Two very pretty images of fairies hand painted onto ceramic. Both framed which measure 10 x 9 inches. . See photos.

3 vintage ceramic bedpans.

A SANCAI-GLAZED OPENWORK 'THREE FRIENDS OF WINTER' BRUSHPOT, BITONG KangxiExquisitely moulded in the form of a bamboo grove with gaps between each stem, issuing bamboo leaves and applied with gnarled branches of flowering prunus and pine, glazed green, brown and transparent glazes save the base revealing the biscuit body and an impressed chrysanthemum design. 12cm (4 3/4 in) high.Footnotes:清康熙 素三彩「歲寒三友」筆筒Provenance: Jeffrey P.Stamen, Weston, USA, 28 May 2003Published, Illustrated and Exhibited: The Oriental Ceramic Society, China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.68, no.33. S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.222-223.來源：Jeffrey P.Stamen，美國威斯頓，2003年5月28日展覽著錄：東方陶瓷學會，《龍隱：東方陶瓷學會會員稀珍藏品展》，倫敦，2016年，第68頁，編號33S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第222-223頁The 'Three Friends of Winter' stand for the plum blossom, pine tree, and bamboo. These plants all stay green or blossom during the winter in China. As such, they were seen by the scholar-literati as embodying the virtuous qualities of resilience and strength as well as beauty. Although the three plants together were mentioned in a 9th century poem by Zhu Qingyu 朱慶餘 (c.797 -?), the term 'Three Friends of Winter' appeared in the Record of the Five Cloud Plum Cottage (五雲梅舍記), from the Clear Mountain Collection (霽山集) by the Southern Song dynasty scholar Lin Jingxi 林景熙 (1242-1310), and has been pervasive in Chinese art and literature since.A similar brushpot is illustrated by J.P.Stamen, C.Volk, and Ni Yibin, A Culture Revealed: Kangxi-era Chinese Porcelain from the Jie Rui Tang Collection, Boston, 2017, p.108; which was later sold at Sotheby's New York, 20 March 2018, lot 352. See also a pair of related turquoise bamboo-stem brushpots mounted as baskets with ormolu handles and stands, Kangxi, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.2, London, 2016, nos.1438-1439. Another related pair of turquoise-glazed bamboo-stem brushpots, Kangxi, is illustrated by R.Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, vol.2, n.p, 1996, no.262.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 AND COPPER-RED 'MASTER OF THE ROCKS' SAUCER DISHEarly KangxiPotted with deep rounded sides rising to a slightly everted rim, supported on a channelled foot, meticulously painted in vibrant tones of cobalt-blue with a rocky cliff on the left leading to a hut and gnarled wutong trees issuing copper-red leaves, the mountain range painted with characteristic 'hemp-fibre' strokes, curling around the lake, interspersed with mist executed with 'dots'. 33cm (13in) diam.Footnotes:清康熙早期 青花釉裡紅山水圖盤Provenance: Berwald Oriental Art Ltd., London來源：倫敦古董商Berwald Oriental Art Ltd.The present dish is decorated with a landscape in the so-called 'Master of the Rocks' style. This style, which seems to have developed towards the mid-17th century in the final years of the Ming dynasty, continued to be popular in the early years of the Kangxi reign, with very few examples being made as late as the turn of the century. The 'Master of the Rocks' style was by no means limited to the brush of a single artist, and appears in a number of versions on porcelains from about 1640 to 1700. It was used on porcelains decorated in underglaze cobalt blue and also those decorated in underglaze blue and copper red, such as the present lot. There are even very rare examples where the style has been combined with famille verte enamels. The style itself is characterised by the use of 'hemp-fibre' strokes to produce rocky landscapes full of movement and drama, often combined with the use of fluid dots to depict scrub and foliage.This development in porcelain painting reflected elements seen in the landscape painting of certain artists working on silk and paper. The use of 'hemp-fibre' brush strokes can be seen in the work of the famous late Ming dynasty literatus Dong Qichang (1555-1636), for example in his hanging scroll 'Autumn Landscape' in the Nü Wa Chai Collection illustrated by J.Cahill, Chinese Painting, Lausanne, n.d., p.150. The dramatic, almost writhing, rock forms as well as the 'hemp-fibre' brush strokes can also be seen in paintings such as 'Returning Home from Gathering Fungus' painted in 1628 by Wang Jianzhang (active 1628-1644), illustrated by S.Little, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, New York, 1995, p.36, fig.2.The influence of such paintings on the porcelain decorators at Jingdezhen was not necessarily direct. This style of painting was not only well-regarded, it also lent itself to translation into woodblock printing, and it is quite possible that it was through this medium that aspects of style, such as 'hemp-fibre' strokes were transmitted to the ceramic artists of Jingdezhen. See for example the 'hemp-fibre' brush stroke mountain landscape in the Mustard Seed Garden Manual of Painting, circa 1679, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.404.For a blue and white brushpot with this 'Master of the Rocks' style landscape dish, Kangxi, see ibid., pp.406-417.Compare also with a blue and white 'Master of the Rocks' dish, Kangxi, which was sold at Bonhams London, 6 November 2014, lot 111.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

Three early C20th Robinson & Leadbeater wall mounted flower holders and 3 ceramic flower posy vases decorated with ceramic flowers (6)

Dutch brass and ceramic five branch chandelier and a matching three branch chandelier, both with tint and decorated shades, W60cm (2)

Porsgrund Studio: Norwegian ceramic wall plaques/tiles designed by Konrad Galaaen (1923-2004), incl. birds and figures, max. H41cm (8)

C20th continental brass 400 day suspension clock, cream ceramic Arabic dial, back plate numbered 99266 H31cm

Collection of glass and ceramic Polar Bear figures inc. Snapphane Glastbruk, and a glass etched Polar Bear paperweight by Steinbach (10)

Collection of Royal Albert Old Country Roses ceramic tableware, Royal Albert metal cooking pots and other similar items

Mixed collection to include 8 Lilliput Lane models, ceramic donkeys, a framed painting of chickens, a money box, 1984 Pirelli Calendar, 2 lamps (A/F), a vintage Post Office coin bank, vintage tools, a copper jam pan, collection of make up and ladies purses, belts, a Britney Spears Lucky CD etc.

Blue bottle form ceramic water cooler and saucer attributed to Watcomb Pottery, H28cm; pearlware jug dated 1836, A/F;  four thermometers; brassware; oil lamps; two continental figures incl. one with Sitzendorf mark; two walking sticks, measuring stick, etc. (2 boxes) (please note the Land Rover ashtray pictured in this lot has been withdrawn)

Two reproduction miners lamps incl. one marked Eccles Type 6; and a late C19th/early C20th oil lamp, fluted brass column on black ceramic base, with etched glass shade, 57cm (3)