A CHINESE CELADON-GLAZED OVOID JAR, GUAN SIX CHARACTER DAOGUANG SEAL MARK AND OF THE PERIOD 1821-50 Well potted with full rounded sides, gently rising to a short neck, moulded on each side in low relief with a C-shaped ear, covered overall with an even soft sea-green glaze, the base with a paper label inscribed ‘547’, 19cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 51, no.547, under the title heading of ‘Whole Colour Porcelain’. For another Daoguang celadon-glazed vase of this type, see Christie’s Paris, 15th June 2005, lot 97. 清道光 青釉月牙耳罐《大清道光年製》青花篆書款來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁51， 編號547。
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A RARE CHINESE RU-TYPE HU-SHAPED VASESIX CHARACTER YONGZHENG SEAL MARK AND OF THE PERIOD 1723-35Modelled after a Song dynasty prototype, with a faceted octagonal-section body raised on a tall flared foot pierced with two rectangular apertures to the sides, with a double band encircling the upper body, covered overall with a pale blue celadon glaze, 27cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 46, no.543, under the title heading of ‘Whole Colour Porcelain’.For a similar vase in the collection of the National Palace Museum, Taipei, with a Guan-type glaze, cf. A Special Exhibition of Ch’ing Dynasty Monochrome Porcelains in the National Palace Museum, p.135, no.81. See also Bonhams London, 15th May 2014, lot 27, for a closely related Yongzheng hu with a Ge-type glaze.清雍正 仿汝窯貫耳瓶《大清雍正年製》青花篆書款來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁46， 編號543。
A SMALL CHINESE CELADON-GLAZED CYLINDRICAL VASEKANGXI 1662-1722 Elegantly potted with a slightly tapering body, a waisted neck and flared rim, coated with an even green glaze suffused with bubbles, the base unglazed and with a paper label inscribed ‘109’, 23cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916, on page 49, no.109, under the title heading of ‘Whole Colour Porcelain’. 清康熙 青釉瓶 來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁49， 編號109。
A RARE CHINESE IMPERIAL ‘HEHE ERXIAN’ TROMPE L’OEIL INCENSE DISHSIX CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820Painted in yangcai enamels, the twin Gods of Harmony and Unity stand holding a slightly open box, they wear blue and iron-red robes and have Liu Hai’s three-legged toad climbing up their backs. The dish is enamelled turquoise and is applied with eight auspicious Daoist emblems including silver and gold ingots, gold, yellow and red coins, a horn and a branch of red coral, all within a square scroll pink border, 12cm.Provenance: the collection of Miss Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).The Hehe Erxian were believed to preside over happy marriages and are derived from two famous poet-monks of the Tang dynasty, Hanshan and Shide. The Imperial Workshop Records, (Huoji dang), note that in the forty-fifth year of Qianlong (1781), eighty incense dishes with the same trompe l’oeil designs were sent to the Imperial court from Jiujiang guan as tributes, half with a yellow ground and half with turquoise ground. Two examples are held by The National Palace Museum Collection in Taipei also set with ingots, coins and coral but one with a spotty horse to the centre on a yellow ground, the other with an elephant on a turquoise ground. Cf. Chih-en Chen, Fooling the eye: trompe l’oeil porcelain in High Qing China, figs.11 and 12, where the above dishes are illustrated. The present dish has an iron red Jiaqing mark so cannot be one of the forty turquoise ground dishes of 1781, but may be either part of a later order, or a replacement to the Qianlong dishes.See also Daguerre, 25th September 2020, lot 59, for a damaged example of the Qianlong prototype. The standing figures set in the centre of this dish also relate to figural snuff bottles with similar modelling and treatment of the robes. Cf. Hugh Moss, Victor Graham and Ka Bo Tsang, a Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, vol.6, nos.1226, 1227 and 1228. See also Sotheby’s Hong Kong, 29th November 2019, lot 555.清嘉慶 御製粉彩合和二仙香插《大清嘉慶年制》礬紅篆書款來源：伊麗莎白·格羅夫納·格斯特女士（1879-1960）收藏。
A RARE CHINESE LATER-ENAMELLED WHITE GLAZED SAUCER DISHSIX CHARACTER HONGZHI MARK AND THE PORCELAIN OF THE PERIOD 1488-1505The glaze of bluish tint, the body enamelled in the famille verte palette with a fruiting grape vine growing from green rocks beside iron-red lingzhi to the underside and spreading over the interior in which nine squirrels play and small butterflies fly among tendrils and fruits, 21cm.Provenance: from the collection of Dr Nariman Bamji (1909-78), and according to the family, purchased from Sotheby’s London in the late 1960s.The script of the mark on a reconstructed dish held within the Imperial Kiln Museums at Jingdezhen is very similar and probably, although not definitively, written by the same hand as the present dish. It also exhibits a slightly recessed central base, a feature known on late 15th and early 16th century pieces but not seen on Qing wares.明弘治 白釉後加彩松鼠葡萄碟《大明弘治年製》青花楷書款來源：Brigadier George Noel Powell DL, (1926-2019)收藏，據其家人回憶此件拍品於1960年代從倫敦蘇富比購得。
A LARGE CHINESE WHITE-GLAZED OVOID ‘DRAGON’ VASE 18TH CENTURY The body with a slightly flared short neck and moulded with two scaly four-clawed dragons, each chasing a sacred pearl of wisdom, the base unglazed, 31.5cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 47, no.275, under the title heading of ‘Whole Colour Porcelain’. 十八世紀 白釉淺浮雕趕珠龍紋罐 來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁47， 編號275。
A LARGE CHINESE MOULDED CELADON-GLAZED ARCHAISTIC OVOID VASESIX CHARACTER QIANLONG SEAL MARK AND OF THE PERIOD 1736-95Robustly potted with a short slightly flared rim and an imbricated border above an ovoid body moulded with a narrow band of square scrolls and ruyi-heads to the shoulder; all above a wide stylised geometric taotie band around the body and with curving lappets or petals above the foot, the base glazed white, 32.5cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), purchased by Viscountess Broome (1893-1896), Sotheby's London, 17th November 1938, lot 193, and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 49, no.207, under the title heading of ‘Whole Colour Porcelain’.Cf. The Y C Chen Collection, Christie's London, 17th May 2013, lot 1335, for a similar but unmarked moulded celadon-glazed ovoid peony jar of this size.清乾隆 青釉浮雕螭龍紋瓶《大清乾隆年製》青花篆書款來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），由布魯姆子爵夫人（1893-1896）從倫敦蘇富比1938年11月17日（編號193）購回，之後由家族繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁49， 編號207。
A LARGE AND FINE CHINESE IMPERIAL PURPLE-GLAZED ANHUA ‘FIVE DRAGON’ DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Finely potted with shallow rounded sides rising from a slightly tapered foot to an everted rim. The centre incised with a large, single five-clawed dragon writhing among flames, encircled by two further dragons to the cavetto, striding in pursuit of a flaming pearl of wisdom. The reverse similarly incised with two dragons chasing a pearl above a band of petal lappets above the foot, applied overall with a brilliant purple glaze partly running over the foot, the front with a paper lot label for Sotheby's London, 17th November 1938, lot 174, 25cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This dish is one of two recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 46, nos.29 and 30, under the title heading of ‘Whole Colour Porcelain’. Cf. Sotheby’s Hong Kong, 12th October 2021, lot 23, for an almost identical Kangxi purple-glazed dish of the same size from the collection of Edward T Hall. Other closely related dishes are illustrated in: Kangxi Porcelains from the Shanghai Museum Collection, pl.224; Chinese Porcelain, the S C Ko Tianminlou Collection, pt.1, pl.144; and another was included in the Exhibition of Chinese Ceramics, The Koger Collection, John and Mable Ringling Museum of Art, Sarasota, cat. no.172, where it is suggested that this vibrant purpleish glaze was an innovation of the late Kangxi period. 清康熙 御製茄皮紫釉暗花龍紋盤 《大清康熙年製》青花楷書款 來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁46， 編號29及30的其中一件。
Paire de candélabres d'époque Louis XV, en porcelaine de Chine d'époque Qianlong (1736-1796) à motifs d'échassiers, à trois bras de lumière, ornementation de bronze doré, milieu du XVIIIe siècleA pair of Louis XV ormolu-mounted and Chinese Qianlong (1736-1796) porcelain wader birds three-branch candelabra, mid-18th centuryEach échassier resting on a naturalistic oval shaped blue decorated base issuing floral sprays and a trunk, surrounded by a branch-like berried foliate border issuing three scrolling branches with further conforming leaves and fruited berries, terminating in engraved foliate-shaped nozzles and drip-pans, 35cm wide, 19cm deep, 41cm high (13 1/2in wide, 7in deep, 16in high). Footnotes:Provenance:Collection of the Late Arnold Seligmann, sold Paris, 4-5 June 1935, lot 117;Collection P. et M. Jonas. With Gismondi, Paris, sold in February 1999 and thence by descent to the present ownerThe fashion for embellishing exotic and expensive Chinese porcelain into objets de luxe with the addition of rich ormolu mounts, reached its peak in the mid-18th century through the activities of the marchands-merciers such as Lazare Duvaux or Simon-Philippe Poirier. The Livre-Journal of Lazare Duvaux for 1751 notes that Madame de Pompadour paid the extraordinary sum of 1,680 livres for a pair of ormolu-mounted celadon ewers. The detail with which such rich objects were described in contemporary sale catalogues during the second half of the 18th century, in contrast to the more generalised descriptions of unmounted Chinese porcelain found in earlier inventories, demonstrates the importance of these objects.Arnold SeligmannFrom the collection of the famous art and antiquities dealer Arnold Seligmann (1871-1935). The gallery Jacques Seligmann & Co. moved from Rue de Sommerand to Place Vendôme and Arnold's two brothers, Jacques and Simon joined the business as partners. The celebrated gallerists went through a very favourable period at the beginning of the 20th century and the gallery was expanding its clientele among the most important art collectors of the time such as Edmond James de Rothschild, the Stroganov family, Benjamin Altman, William Randolph Hearst and J.P. Morgan. However, in 1912, a family quarrel resulted in a lawsuit that split the company. Arnold Seligmann remained the sole owner of the gallery in Place Vendôme which was then renamed Arnold Seligmann & Cie.For further information on this lot please visit Bonhams.com
Exceptionnel ensemble constituant une pièce en papier peint, Chine pour le marché européen, XVIIIe siècleExceptional set of wallpaper, China for the European market, 18th centuryPlaced on stretchers, comprising thirteen panels, two door-tops and a window-top, with a total surface area of 52.25 m2. Painted in tempera on paper, depicting with chinoiserie scenes of imaginary daily life with figures in various pursuits, set in landscaped and mountainous gardensTotal length including the two door tops and the window top: 19,44 mDimensions of each panel: A. 149cm wide, 325cm high (58 1/2in wide, 127 1/2in high) B. 150cm wide, 169cm high (59in wide, 66 1/2in high); C. 107cm wide, 325cm high (42in wide, 127 1/2in high); D. 121cm wide, 325cm high (47 1/2in wide, 127 1/2in high); E. 115cm wide, 325cm high (45in wide, 127 1/2in high); F. 118cm wide, 325cm high (46in wide, 127 1/2in high); G. 76cm wide, 325cm high (29 1/2in wide, 127 1/2in high); H. 105cm wide, 106cm high (41in wide, 41 1/2in high); I. 126cm wide, 325cm high (49 1/2in wide, 127 1/2in high); J. 149cm wide, 325cm high (58 1/2in wide, 127 1/2in high); K. 98cm wide, 325cm high (38 1/2in wide, 127 1/2in high); L. 160cm wide, 73cm high (62 1/2in wide, 28 1/2in high); M. 117cm wide, 325cm high (46in wide, 127 1/2in high); N. 117cm wide, 325cm high (46in wide, 127 1/2in high); O. 117cm wide, 325cm high (46in wide, 127 1/2in high); P. 119cm wide, 325cm high (46 1/2in wide, 127 1/2in high);Footnotes:Arrived by boat from China, the wallpaper we are presenting is a real technical feat, a homogeneous whole in a remarkable state of conservation. Removed from the room where it had been since the 18th century, each strip was cleaned and transposed onto a wooden frame. Having a chinoiserie in your home was a sign of good taste and perfection; it could be painted on woodwork, silk or paper. It was the middle of the 18th century, and trade with China and Europe was very strong, with pieces being made especially for the European market. The trading posts and the Compagnie des Indes transported these coveted works of art, including porcelain, lacquer panels and silk, to the Netherlands, England and France. Although the French sovereigns, the natural protectors of French manufactures, artists and craftsmen, could not openly display their taste for China in the state flats of Versailles, many Chinese or Chinese-style works were displayed in their 'appartements intérieurs' or in their favourite country residences. Louis XV, for example, filled the Château de Choisy, refurbished for him by Gabriel from 1740 onwards, with furniture in Far Eastern lacquer or decorated with varnish, as well as Chinese porcelain, fabrics and wallpaper.France and Holland sent painted scrolls all over Europe to meet demand; we know, for example, that Louise-Elisabeth, daughter of Louis XV and wife of the Duke of Parma, wanted to create Chinese-style rooms at the Reggia in Colorno, so she travelled to Paris three times to acquire Chinese wallpaper and bring it back to Colorno, along with many other items and gifts from her father. These still look good today, although they have been stripped of the objects that accompanied them in Colorno's Chinese room, which ended up in the various Savoy residences between Piedmont and Rome after Italian Unity. What's more, these wallpapers were often reworked to suit European tastes, paving the way for local imitations all over Europe.Commenting on the breakfasts given by Madame de Montaigu, Madame du Bocage wrote that it was very pleasant to invite one's neighbours and friends to a room lined with Peking paper and furnished with Chinese objects.For further reading on the subject see: Emile de Bruijn, Chinese Wallpaper in Britain and Ireland (2018).Madeleine Jarry, Chinoiserie Le rayonnement du goût chinois sur les arts décoratifs des XVIIe et XVIIIe siècles (1981)Dawn Jaconson, Chinoiserie (1993)This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
An attractive Chinese blue and white porcelain Bowl, with landscape design depicting sculler and attendant, the base with four caricature mark, approx. 9cms (3 1/2") diameter; together with a bulbous shaped Chinese blue and white Bowl with river landscape design with blind design rim and base, approx. 14cms (5 1/2") high, as a lot. (2)
A PAIR OF FINE AND RARE CHINESE IMPERIAL WHITE JADE BOWLS FOUR-CHARACTER JIAQING MARKS AND OF THE PERIOD 1796-1820 Each with an elegant U-shaped body gently flaring at the rim, raised on short spread feet, with the reign marks incised to the bases in clerical script, lishu, the stone of an even white tone and with a good polish, 12.4cm dia. (2) Provenance: formerly the Cottreau Collection, sold at Galerie Georges Petit, Paris, on 29th April 1910, lot 119; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Ltd on 25th October 2009. A copy of the invoice is available. Published: R Keverne, Winter Exhibition 2009, pp.122-123, no.105. Both their perfect form and the quality of the stone from which they are carved make these bowls exceedingly rare. The few known comparable examples occasionally bear Qianlong reign marks, but they are more often unmarked. In Chinese Jade from the Neolithic to the Qing, Jessica Rawson illustrates a pair of similar unmarked bowls, p.400, no.29:13. Here, it is noted that "Undecorated jade vessels in porcelain shapes, as here, probably represented the highest quality of eating and drinking vessels. Both the sumptuary laws, which restricted the use of jade vessels, and passages in novels that mention the use of jade cups and bowls for eating and drinking, make it evident that jade was highly valued and used for these purposes." Cf. F Dunand, The Baur Collection Geneva, p.43, B38 for one of a pair of similar Qianlong mark and period bowls; see also J Rawson & J Ayers, Chinese Jade Throughout the Ages, no.436 and B Yang, A Romance with Jade: From the De An Tang Collection, p.178, no.115 for further Qianlong mark and period examples; for other comparable bowls without reign marks, see also J C Y Watt, Chinese Jades from Han to Ch'ing, p.178, no.152 and B Yang, A Romance with Jade: From the De An Tang Collection, p.176, no.113 and p.179, no.116.清嘉慶 御製白玉雕素身碗 一對《嘉慶年製》款來源：Cottreau舊藏，購於巴黎Galerie Georges Petit1910年4月29日·編號119，勞倫斯珍藏玉石，2009年10月25日購於Roger Keverne古董商（附發票複印件）。出版：R Keverne, Winter Exhibition 2009, 頁122-123, 編號105.
A PAIR OF CHINESE WHITE JADEITE 'BAJIXIANG' BOWLS AND COVERS 19TH CENTURY The U-shaped vessels gently flaring at the rims, each decorated in low relief with the Eight Daoist Emblems to the bowl and cover, the precious objects tied with ribbons, with finely incised bands of key fret bordering the edges, each raised on a short circular foot, the thinly-worked jade of a translucent icy-white tone, with a few minor apple-green and russet flecks in the stone, 11.2cm dia. (4) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Exhibited: Burlington Fine Arts Club, 1915, case no.2, illustrated pl.30. Published: E Gorer & J F Blacker, Chinese Porcelain and Hardstones, London, 1911, vol.2, pl.244; also Burlington Fine Arts Club, 1915, case no.2, illustrated pl.30. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The Bajixiang, or Eight Daoist Emblems, are the attributes of the Eight Daoist Immortals. They consist of the sword of Lu Dongbin, the fan of Zhong Liquan, the flower basket of Lan Caihe, the lotus of He Xiangu, the flute of Han Xiangzi, the gourd of Li Tieguai, the castanets of Cao Guojiu, and the drum of Zhang Guolao. They represent difficult conditions in life: poverty, wealth, aristocracy, plebeianism, age, youth, masculinity and femininity. The eight Daoist emblems should not be confused with the eight Buddhist emblems. Although the Qing emperors were not enthusiastic Daoists, the practise of Daoism was popular in society. The Yongzheng Emperor to a degree encouraged the belief in immortality and the practice of some Daoist rituals. Cf. Pearl of the Orient: Treasures of the Hong Kong Museum of Art, p.104, no.131 for a pair of similar bowls decorated with dragons and phoenix; see also Catalogue of a Special Exhibition of Hindustan Jade in the National Palace Museum, pp.276-277, pl.75 for another comparable pair; see also J R Finlay, The Chinese Collection: Selected Works from the Norton Museum of Art, pp.244-245, no.108 for another related bowl. 十九世紀 翡翠雕八吉祥紋蓋碗 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。展出：伯靈頓藝術俱樂部，1915年，展櫃編號2，圖30。
A 19th century Chinese blue and white porcelain vase (af), height 27cm, together with a Chinese hardwood marble top display stand (af), height 92cm.Condition Report: The vase has multiple cracks, splits and hairlines, particularly one starting at the foot rim and moving down to form many gradual cracks to around half way down the vase where they meet a long horizontal crack. Also the stand is missing much fretwork on one side.
An 18th Century Chinese Qing Period Export Tankard Decorated in Underglaze Blue and Famille Rose Depicting River Village Scene with Figures and Boats, the Tankard with Dragon Stylised Handle, 12 cm High Together with an 18th/19th Century Chinese Qing Period Porcelain Plate Decorated in the Famille Rose Palette with Maidens in Boat, Pagoda and Flowers, 23cm Diameter. Both with Substantial Condition Issues to include Glue Repair etc
A GROUP OF FOUR CHINESE WRECK PORCELAIN BOWLS comprising three bowls from the Diana Cargo (1817) including two with archaistic dragon patterns, and another from an unidentified wreck of circa 1680 with Chinese character panels -- 6½in. (16.5cm.) diam.(4)as viewed. One with typically worn wreck found condition with marine encrustations.
A pair of Samson porcelain vases,twin-handled, Chinese export style, with armorial crests, printed marks,19cm hightogether with a Sevres style porcelain vase,19th century, with a painted landscape, to a gilt border, and blue ground, painted marks,21cm high (3)Condition ReportHeavy restoration to the Samson vases, the handles have been repaired, and the finial from one cover is detached but present. The Sevres style vase appears to be in good condition. Please see the additional images.
A group of Chinese famille rose porcelain,late 19th to early 20th century, comprising two bowls, 22.5cm diameter, and a mug, 9cm high,together with a Chinese porcelain figure,of a lady holding a basket of fish,33cm highand a Canton enamel wall hanging, 31cm high (5)Condition ReportHairline crack and chip to one of the bowls. Chip to the base of the mug. Chips and losses to the paint on the figure. Losses to the enamel wall hanging. Please see the additional images.
A mixed group of late 18th century and later porcelain to include a small English saucer painted with figures in the Chinese style, a canary yellow teapot, cup and saucer with polychrome transfer printed figural decoration and a pair of hand painted Copeland cabinet plates, decorated with roses, stamped Spode with Ovington brothers marks to underside, signed ‘J. Wallace’ (6)
A collection of mostly Chinese porcelain and decorative arts to include a small Imari palette teapot of ribbed form together with a miniature double gourd flask painted with children, various tea bowls, a blue and white export vase with floral motifs, an incised porcelain ewer with pale blue glazed finish, etc (group) (AF)
A group of Chinese export porcelain to include a large charger decorated with figures in landscape on a yellow ground with blue floral border, impressed mark to underside, (37 cm diameter) together with a 19th century export plate painted with floral borders and central arrangement within iron red borders (23 cm diameter) a further over-decorated export plate in the Imari palette (23 cm diameter) (AF) also together with a small 20th c export lidded jar (17 cm high) (4)
A mixed selection of Chinese and Japanese porcelain to include an Imari charger (32 cm) a pair of Satsuma miniature bowls on stands (each 6 cm diameter) a blanc de cine figure of Guanyin (20 cm high) together with a large transfer printed plate decorated with a samurai beside script (36 cm diameter) (5)
A pair of Chinese export blue and white porcelain lidded vases (with associated hardwood stands), decorated with vignettes detailing figures receiving tuition, with reign marks to underside, 20 cm high together with a blanc de chine figure of Guanyin, 56 cm high and a Sancai glazed Temple Lion figure, 21 cm high (6)
Mixed collection of decorative enamel and other patch and pill boxes to include Halcyon Days examples in the Bilston and Battersea enamels series, other porcelain examples, a 19th century lacquered example decorated with a seated Cavalier King Charles spaniel to the cover, also together with a Chinese carved hardstone brush washer and a small pair of cylindrical vases (group)
An elm wheel-back elbow chair with solid seat on turned under-framing, A Regency giltwood circular convex wall mirror, 56cm diameter, a/f, a small carved oak stool, a small chest of three long drawers, 57cm wide and a Chinese porcelain stick stand with blue and white prunus decoration 80cm high, a/f.
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