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A Collection of Four Pieces of 20th Century Chinese Porcelain to Include Lidded Ginger Jar (Lid AF), Calligraphy Late Republic Vase, Famille Rose Vase etc, Tallest 21cm high

A Chinese porcelain blue and white double gourd-shaped vase depicting flowers and dragons, height 26.5 cm, character marks to base

Chinese porcelain trinket box and pierced cover of elongated quatrefoil form, 12cm and a seated female figure, partly glazed, reclining on a rock, 23cm high (2)

A “Diana Cargo” Chinese blue & white provincial porcelain deep bowl with floral decoration, 7” diam. x 3¼” high; & a “Tek Sing” Cargo bowl with stylised decoration, 6” diam. x 2¾” high.

A pair of “Tek Sing” Cargo Chinese provincial blue & white porcelain 8?” shallow dishes with floral decoration & diaper borders to the wide rims.

A late 17th century “Vung Tau Cargo” Chinese blue & white export porcelain octagonal saucer dish, with floral decoration, 5¾” wide; a “Hoi An Hoard” small bottle vase & teabowl, 2?” & 1½” high; & a similar teabowl & saucer, 1½” high & 4?” diam. (5).

A Ming dynasty Chinese blue & white porcelain stem cup, the conical bowl with slightly flared rim & decorated with scrolling foliage, with three lines of calligraphy to the interior; 5?” diam. x 4?” high.

An early 18th century Chinese blue & white porcelain vase & cover of ovoid form, with copper rim to the raised handle, & decorated all over with swimming fish amongst foliage; 5” high x 3¾” diam. (hairline crack).

An 18th century “Nanking Cargo” Chinese blue & white export porcelain spittoon with wide flared rim & floral decoration, on short foot; 4?” diam. x 3¼” high.

A late 17th century “Vung Tau Cargo” Chinese blue & white export porcelain bottle vase & cover, with bulbous neck, decorated with alternating panels of landscapes & vases of flowers, on short foot; 5¾” high. (Ex: Marchant, London). (hairline crack).

An early 18th century Chinese blue & white export porcelain shallow bowl & cover with all over decoration of figures in a formal garden setting, 5?” diam. x 2½” high; a ditto deep bowl with landscape decoration, 5?” diam.; & a similar 2?” coffee cup. (3).

Five various 18th century Chinese blue & white porcelain shallow bowls, including two of hexagonal shape (one re-stuck), one with waved rim, & two circular (both broken & re-stuck); all 9” diam.

Five various 18th century Chinese blue & white porcelain plates, with landscape, floral, & river scene decoration, all 9”/ 9¼” diam. (some chipped, one re-stuck).

Four items of 18th century Chinese blue & white export porcelain, comprising a 2½” coffee can, a 3½” diam. bowl & a 4½” diam. bowl, all decorated with landscapes & figures; & a 4½” diam. ogee bowl decorated with swimming fish with four-character Kangxi mark to base. (riveted).

A 19th century Chinese blue & white porcelain gu-shaped vase of square cross-section, painted all-over with flowers & foliage; 12¼” high.

A Chinese porcelain rouleau vase, of powder-blue ground with traces of gilt decoration, Kangxi six-character mark in underglaze blue to base; 9¾” high.

An 18th century Chinese porcelain powder-blue charger, with wide rim& café-au-lait edge; 16” diam. (star crack to rim with scroll piece re-stuck).

A PAIR OF 19th century CHINESE PORCELAIN BAT-SHAPED BOWLS, each with gilt rim, decorated in family rose enamels with figures, animals, & precious objects, with lines of calligraphy in between, & with three bats in iron red to the reverse; 8½” wide x 2½” high x 5” deep. (with one later hardwood stand).

An 18th century Chinese export porcelain 5” diam. deep bowl painted with floral sprays in iron-red & gilt.

An 18th century Chinese Imari porcelain large sparrow beak jug with all-over floral decoration, loop handle, the base inscribed “Des Landes”, 8” high. (riveted).

A late 19th century Chinese porcelain shallow dish of quatrelobe form with famille rose floral decoration, 10” x 7¼”; a pair of 20th century Japanese blue & white porcelain bowls, 5” diam.; & two other items of blue & white porcelain. (5).

A Chinese blue & white porcelain large shallow bowl with all-over decoration of Phoenix amongst foliage, 13¾” diam.

An early 19th century English mazarine blue ground & gilt-decorated two-handled baluster vase, 6¾” high (lacking cover); a similar 7¼” vase in the Chinese style; a late 19th century Meissen white glazed & gilt decorated dish with pierced border & raised grapevine decoration, 10¾” diam. seven “Royal Lily” pattern 7½” diam. plates; three Victorian porcelain floral painted dessert plates; & an Aynsley turquoise-bordered dinner plate decorated with a bird & fruit.

A Chinese bronze Gu-shaped vase with flared rim, 7¾” high; a bronze hand mirror with relief decoration to one side, 4½”; a small bronze censer, 4” high; a small bronze square dish on stand; three coins; a pair of small cloisonne vases & stands, 3¾”; a porcelain square-form vase, 4¾”; a Chinese pewter opium pipe; a Japanese cigarette case; & a pair of Satsuma porcelain floral-decorated vases, 7¼” high.

λ A CHINESE ARCHAISTIC RHINOCEROS HORN 'CHILONG' LIBATION CUP 17TH/18TH CENTURY The flared body decorated with stylised taotie masks reserved on a leiwen ground, carved in relief to one side with a curved handle, with two cat-like chilong clinging to the rim, their bifurcated tails trailing over the exterior, with key fret encircling the rim, all reserved on a short oval base, 17cm, 219g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item's weight. Provenance: from the collection of George and Cornelia Wingfield Digby and thence by descent. George and Cornelia Wingfield Digby started buying Chinese and Japanese art, notably porcelain, in the early 1950s, and they continued to build their collection over the next 40 years. George Wingfield Digby (1911-1989) joined the Victoria & Albert Museum's textile department in 1934 and later served as keeper between 1947 and 1972. He expanded the V & A's textile collection considerably during his time there and wrote three books on the subject. He also released three further publications on different fields of art, including The Work of the Modern Potter in England (1952), which his wife Cornelia played a large part in assisting him write. In addition to their extensive Asian art collection, they also acquired a significant number of pieces of studio pottery which were lent to Tate, St Ives in 1993. George and Cornelia lived in Palace Gardens Terrace, London, and they regularly bought from art dealers on Kensington Church Street as well as those outside London. After retiring, they settled in Dorset and part of their Chinese and Japanese art collection was exhibited at Sherborne Castle for 25 years. Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.49, no.2 for a related example.十七/十八世紀 犀角雕螭龍紋杯來源：George and Cornelia Wingfield Digby收藏。他們從1950年代初就開始收藏中國及日本藝術品，對瓷器尤為熱愛，之後的40年裏他們陸續購入他們的藏品。George Wingfield Digby （1911-1989）在1934年加入了維多利亞及艾爾伯特博物館（簡稱V&A博物館）的織品部門之後又分別在1947年至1972年擔任管理員。在職期間，George使得V&A博物館織品收藏體系得到質的飛躍，並以此為基礎出了三本書。之後在1952年又和他妻子共同出版了一本關於英國現代製瓷的書。他們的英國瓷器收藏曾在1993年出借給St Ives的Tate博物館。他們曾住在倫敦Palace Gardens Terrace，所以大部分亞洲藝術藏品購於肯辛頓教堂街的古董店。退休之後搬去了多塞特郡，一部分的亞洲藏品曾出借給Sherborne城堡展覽了25年。 注：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

A PAIR OF CHINESE BLUE AND WHITE MOULDED VASES KANGXI 1662-1722 The ovoid bodies moulded with tall petal-shaped panels painted with branches of prunus, peony and other blossoming flowers growing amidst rockwork, the slender necks flanked by handles formed as animal masks suspending loose rings, with artemisia leaves to the bases, 24.6cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby's Works of Art Department in 1959. She travelled widely for Sotheby's and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James's. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain's abolition of the Slave Trade in 2007.清康熙 青花花卉紋瓶 一對來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

A PAIR OF CHINESE POWDER BLUE-GROUND EWERS AND COVERS KANGXI 1662-1722 With pear-shaped bodies, each set with a loop handle and a slender spout joined to the neck with a moulded S-shaped scroll, the flat covers surmounted by simple ovoid finials, decorated with mottled dark blue glazes enhanced with traces of floral decoration in gilt, the interiors and bases glazed white, 20.5cm. (4) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby's Works of Art Department in 1959. She travelled widely for Sotheby's and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James's. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain's abolition of the Slave Trade in 2007.清康熙 藍釉壺 一對來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

A CHINESE BLUE AND WHITE BEAKER VASE, GU TRANSITIONAL C.1640 Painted to the upper register with a man fishing beneath a willow tree in a river landscape, a boy and a lady carrying baskets over her shoulders look onwards, the scene divided by craggy rocks and swirling clouds, the slightly raised central section decorated with three floral sprays, with a band of stylised leaves above the foot, 43.2cm. Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby's Works of Art Department in 1959. She travelled widely for Sotheby's and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James's. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain's abolition of the Slave Trade in 2007. Cf. R S Kilburn, Transitional Wares and Their Forerunners, p.89, no.65 for a related blue and white beaker vase decorated with birds and flowers above floral sprays and plantain leaves; see also Christie's New York, 19th-20th September 2013, lot 1317 for a comparable vase also painted with a figural scene.明末清初 青花人物故事紋花觚來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

A CHINESE ENAMELLED AND GILT-DECORATED CHOCOLATE POT AND COVER 18TH CENTURY The conical body gently tapering towards the top, set with a loop handle and a curved spout, painted with a large panel depicting a figure and an ox by a river, the scene surrounded by en grisaille flowers reserved on a rich gilt ground, with similar decoration to the cover, 21.5cm. (2) Provenance: formerly the Winkworth Collection; and then the collection of Lady Kate Davson, née Kate Foster (1938-2020). Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby's Works of Art Department in 1959. She travelled widely for Sotheby's and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James's. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain's abolition of the Slave Trade in 2007.十八世紀 五彩水牛圖壺來源：Winkworth舊藏，Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

A CHINESE BLANC DE CHINE 'CHILONG' TEAPOT AND COVER KANGXI 1662-1722 Decorated in relief with a simple tied ribbon and two chilong clambering over the cylindrical body, one beast arching its back to form the handle, the other with its mouth agape acting as the spout, the flat cover surmounted by a metal bird-shaped finial and joined to the teapot with metal mounts, 17.5cm overall. Provenance: formerly Marchant; and then the collection of Lady Kate Davson, née Kate Foster (1938-2020). Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby's Works of Art Department in 1959. She travelled widely for Sotheby's and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James's. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain's abolition of the Slave Trade in 2007. Cf. C J A Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, p.240, no.272 for a similar example.清康熙 德化螭龍紋茶壺來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

A NEAR PAIR OF CHINESE BLUE AND WHITE YEN YEN VASES 19TH CENTURY Each painted with a continuous scene of scholar-officials engaged in various activities in a rocky wooded landscape, the gentlemen admire scrolls, play weiqi, drink tea and converse in the setting, with mountainous riverscapes and lines of calligraphy to the tall flaring necks, each with a four character mark reading nei fu dai zao to the base, 45.4cm and 44.7cm. (2) Provenance: from the collection of Lady Kate Davson, née Kate Foster (1938-2020). Kate Davson was a prominent dealer in European ceramics. The daughter of Ludovic Foster and Pamela Wilberforce, Kate was brought up near Pulborough in Sussex and educated at Downe House School near Newbury. Kate joined Sotheby's Works of Art Department in 1959. She travelled widely for Sotheby's and set up their Munich office. In 1973, she established the firm of Kate Foster Ltd, with premises in Ryder Street, St. James's. She also founded the French Porcelain Society in 1984. Kate married Christopher Davson (1927-2004) in 1975 and later became Lady Davson in 1998, although she still liked to be known as Kate. She was proud to be the great-great-great grand-daughter of William Wilberforce and was prominent in the bicentenary celebration of Britain's abolition of the Slave Trade in 2007.十九世紀 青花人物故事紋鳳尾尊 一組兩件來源：Kate （Davson）née Kate Foster 女士收藏(1938-2020)。

A PAIR OF SAMSON FAMILLE VERTE 'LION DOGS' BOTTLE VASES 19TH CENTURY Each painted to the exterior with lion dogs playing with brocade balls in a landscape, with bands of scrolling flowerheads and ruyi-heads to the shoulders, each surmounted by a tall slender neck, with bands of diaper encircling the gently flared rims, raised on ormolu stands, 43cm excluding stands, 48.5cm overall max. (2) Provenance: from the collection of the 8th Lord Abinger, Inverlocky Castle. Cf. C J A Jörg, Famille Verte: Chinese Porcelain in Green Enamels, p.43, no.33 for an 18th century Chinese bottle vase with a similar design in the collection of the Rijksmuseum, Amsterdam.十九世紀 五彩獅子繡球長頸瓶 一對

A FINE CHINESE FAMILLE VERTE 'LADIES' BASIN KANGXI 1662-1722 The well painted with a large roundel enclosing a seated gentlewoman and her attendants watching a dancer perform as a large group of women play accompanying music, they play horns, drums, pipes and other instruments, with cartouches enclosing mythical beasts, a deer and flowers to the rim, the panels divided by further blooms and butterflies, together with an old photograph of the item from S Marchant & Son, 38.4cm. Provenance: S Marchant & Son. Cf. Marchant, 90th Anniversary Exhibition of Qing Porcelain from Private Collections, pp.16-17, no.7 for a comparable famille verte basin decorated with a figural scene surrounded by cartouches reserved on floral diaper; see also Sotheby's New York, 19th March 2013, lot 180 for another related basin; see also J P Stamen and C Volk, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp.50-51, no.10 for a related large famille verte dish decorated with a dancing lady and musicians performing at a banquet.清康熙 五彩人物故事紋盆來源：購於S Marchant & Son馬錢特。

A RARE CHINESE BLUE AND WHITE 'LANDSCAPE' DISH c.1660 The deep body rising from a short gently tapering foot to a flared rim, painted to the centre with a young scholar writing an inscription on a post as his lover stands by holding his inkstone, with a horse and an attendant carrying their possessions beside them, all in a mountainous river landscape, the underside decorated with a figure seated on a sampan in another vast landscape, with small dwellings dispersed throughout the setting, the base with a six character mark reading Qi shi bao ding zhi zhen, 17.4cm. The scene depicts the Han dynasty poet Sima Xiangru (179-117 BC). When he was a poor young scholar, Xiangru eloped with his beloved Zhuo Wenjun, the daughter of a wealthy gentleman. Humiliated, her father refused to support the couple, and so they lived in poverty making a living by running a roadside wine shop. Having been encouraged by his wife, Xiangru went to seek his fortune in the capital, Chang'an. Xiangru parted from Wenjun on the bridge leading to the city and vowed that he would not cross the bridge again unless he did so riding in a carriage drawn by four horses, having made his fortune. This scene shows Xiangru writing this vow on a pillar by the bridge as Wenjun holds his inkstone. Xiangru impressed the Emperor in the capital and had a successful career at court. He later returned home in his horse-drawn carriage and was received with great honour. The story is regarded as a tale of inspiration, demonstrating how hard work and ambition can lead to great success. Cf. Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.64-65, no.43 for a related blue and white dish with the same mark; see also J P Stamen and C Volk, A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp.84-85, no.25 for a similar Kangxi mark and period dish; see also Sotheby's London, 15th May 2019, lot 138 for a famille verte dish painted with the same scene.1660年代 青花相如题柱紋碟《奇石寶鼎之珍》款。

A CHINESE BLUE AND WHITE 'QILIN' BEAKER VASE TRANSITIONAL C.1640 The tall cylindrical body flaring at the rim, painted with a qilin seated in a landscape amidst rockwork and plantain, with pendant leaves and sprays of pomegranate and magnolia below, 40.6cm. Provenance: acquired in the 1980s. Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.1, p.128, nos.247 and 248 for two vases with similar decoration; see also R Chen, Qing Shunzhi Kangxi Chao Qinghua Ci (Qing Dynasty Shunzhi and Kangxi Blue and White Porcelain), pp.100-101, no.53 for a related blue and white Shunzhi period sleeve vase decorated with a qilin and phoenix in a rocky landscape above scrolling lingzhi and pendant leaves.明末清初 青花麒麟送子紋花觚來源：購於1980年代。

A CHINESE COPPER-RED 'SAN DUO' VASE, MEIPING 18TH CENTURY Painted with three large sprays of fruiting branches bearing peaches, pomegranates and finger citron, the design set above a band of pendant leaves, the shoulder decorated with spearheads and key fret, with flowerheads to the short gently flaring neck, 35.5cm. Provenance: from the collection of Lady Molly McAlpine (d.1987), and thence by descent. According to the family, the vase was purchased from Thomas Goode & Co. Peaches, pomegranates and finger citron together form the san duo, or the Three Abundances, which are long life, many sons and blessings. The peach represents longevity, whilst the pomegranate is a symbol of many sons because of the fruit's many seeds. The Chinese word for finger citron, foshou, is homophonous with fushou, meaning good fortune and long life. Cf. The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (III), p.189, no.173 for a Qianlong mark and period copper-red meiping similarly decorated with sprays of the san duo; see also S Jenyns, Later Chinese Porcelain, pl.XXII, no.2 for a smaller comparable Qianlong vase painted with fruit from the Garner Collection; see also Christie's Hong Kong, 29th May 2007, lot 1465 for a small 18th century example also painted with the san duo; see also Sotheby's Hong Kong, 8th April 2011, lot 3132 for a related underglaze red 'phoenix' meiping with a similar band of plantain leaves above the foot.十八世紀 釉裏紅三多紋梅瓶來源：Molly McAlpine女士收藏（逝於1987年），之後由其家人繼承。據其家人回憶此件拍品購於Thomas Goode & Co。

A CHINESE COPPER-RED GLAZED PEAR-SHAPED VASE, YUHUCHUNPING SIX CHARACTER XIANFENG MARK AND OF THE PERIOD 1851-61 Rising from a short foot to a waisted neck which flares at the rim, the exterior decorated all over with a deep cherry-red glaze, the interior and base glazed white, with the reign mark in underglaze blue, 30cm. Cf. The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, p.30, no.27 for a comparable vase from the Tongzhi period.清咸豐 紅釉玉壺春瓶《大清咸豐年製》青花楷書款。

A CHINESE ENAMELLED AND GILT-DECORATED PORCELAIN MODEL OF THREE BOYS REPUBLIC PERIOD The three children sit together on a black pedestal painted with stylised turquoise, blue and red stars, the central boy with his arms outstretched, his right hand resting on one boy's mouth and his left upon the other's chest, the children highlighted in gilt, with a paper label for Hugh M Moss Ltd to the base, together with a wood stand, 12.2cm. (2) Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Hugh Moss.民國 五彩描金心口如一鎮紙來源：英國西約克郡私人收藏，1970-1980年代，購於Hugh Moss（附標籤）。

A PAIR OF CHINESE FAMILLE ROSE CORAL-GROUND 'PEONY' BOWLS SIX CHARACTER XUANTONG MARKS AND OF THE PERIOD 1908-11 Each painted with three panels enclosing large peony flowerheads against a yellow ground, the designs framed by elegant blue flowers growing from leafy branches, all reserved on a bold coral ground, the bases with the reign marks in underglaze blue, each with a paper label for Douglas J K Wright Ltd, Curzon Street, 11.2cm. (2) Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Douglas Wright. Cf. S Marchant and Son, Exhibition of Nineteenth Century Mark and Period Porcelain, 1991, p.67, no.72 for a pair of Guangxu mark and period bowls with the same design.清宣統 珊瑚紅地開光牡丹紋碗 一對《大清宣統年製》青花楷書款。來源：英國西約克郡私人收藏，1970-1980年代，購於Douglas Wright（附標籤）。

A CHINESE BLUE AND WHITE 'ROMANCE OF THE WESTERN CHAMBER' DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Painted to the centre with Scene 14 (Book 4) of the Romance of the Western Chamber, depicting the future scholar Zhang kneeling down asking the seated maid Hongniang to deliver his love letter to her mistress, with four cartouches enclosing peaches against a diaper ground encircling the rim, the underside decorated with two rocky landscapes, 21cm. Provenance: formerly an English private collection. Cf. C J A Jörg, Famille Verte: Chinese Porcelain in Green Enamels, p.100 for a description of this scene.清康熙 青花西廂記碟《大清康熙年製》青花楷書款。來源：英國私人收藏。

A CHINESE DOUCAI BRUSHPOT, BITONG KANGXI 1662-1722 The cylindrical body decorated with two large rectangular panels enclosing figural scenes, one depicting a scholar holding a lotus flower as he greets a gentleman and a beauty, with his attendant behind him, the other scene with another scholar and his attendants, one boy carrying a qin, each scene set in a fenced garden with rockwork and clouds above, 17.5cm dia. Cf. Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.276-277, no.181 for a similarly decorated doucai brushpot; see also Christie's South Kensington, 14th May 2010, lot 649 for another related item.清康熙 鬥彩人物故事紋筆筒

A PAIR OF CHINESE BLUE AND WHITE 'PEACH' MOONFLASKS, BAOYUEPING 19TH CENTURY With compressed circular bodies, each moulded with peach-shaped panels to the principal sides, painted with scenes of bats in flight amongst fruiting peach branches, the designs surrounded by continuous scrolls of flowering lotus, with bands of lingzhi to the sides, each surmounted by a short waisted neck flanked by two applied strap handles terminating in moulded ruyi-heads, with six character Daoguang marks to the bases, 24.8cm. (2) Provenance: acquired in the 1970s. Cf. Sotheby's London, 19th June 1984, lot 351 for a single Daoguang mark and period moonflask of this type; see also Illustrated Catalogue of Ch'ing Dynasty Porcelain, pl.112 for another Daoguang flask with this pattern in the collection of the National Palace Museum; see also The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (III), p.162, no.148 for a Jiaqing mark and period moonflask with the same design; see also Christie's New York, 14th September 2012, lot 1450 for a Qianlong example.十九世紀 青花如意福壽抱月瓶 一對《大清道光年製》青花篆書款。來源：購於1970年代。

A SMALL CHINESE IMPERIAL YELLOW-GROUND 'DRAGON' SAUCER DISH SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908 Decorated to the centre with two incised dragons picked out in aubergine and green enamel, the beasts contest a sacred pearl amidst stylised flames, with sprays of peaches and blossoms to the cavetto, the underside with two further dragons divided by lingzhi branches, 10.8cm. Provenance: formerly the collection of Henry Mazot (1882-1956). Henry Mazot lived in Beijing from the 1920s. He worked for the Bank of Indochina there and eventually became the Chairman. The Mazot family left Beijing in 1946 and returned to France, settling in Normandy. Most of the Chinese porcelain in the family collection was left in trunks in the basement of their chateau from 1946 until Christmas 2015, when Henry Mazot's granddaughter, who had inherited the home, decided to open them. Cf. Marchant, Qing Mark and Period Monochromes and Enamelled Wares, 1981, no.29 for a comparable Daoguang piece; see also The British Museum, registration no.PDF.777 for a similar Kangxi dish on loan from the Sir Percival David Foundation of Chinese Art; see also G Avitabile, From the Dragon's Treasure, Chinese Porcelain from the 19th and 20th centuries in the Weishaupt Collection, p.117, no.165 for a Xuantong example.清光緒 黃地綠褐彩趕珠龍紋碟《大清光緒年製》款。來源：Henry Mazot （1882-1956）舊藏，由家族繼承。Mazot先生於1920年代在北京的印支銀行工作，之後升任為總裁。Mazot家族在1946年的時候離開北京去了法國。大部分瓷器藏品都封存在集裝箱內並一直保留在地下室內。直至他們的孫女繼承了他們的房子之後於2015年的聖誕節期間才被打開。 

A LARGE CHINESE IMPERIAL BLUE AND WHITE 'DRAGON' BRUSH WASHER SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The deep sides decorated with two sinuous five-clawed dragons writhing over tempestuous waters, with stylised flames and clouds surrounding the mythical beasts, the base with a recessed glazed medallion painted with the reign mark in underglaze blue, 26.5cm dia. Provenance: from the collection of Wing Commander F W Hilton (d.1990s), and thence by descent. According to an accompanying card, the bowl was purchased from Riddett and Adams Smith on 4th February 1964 at a sale of the J W Richardson collection of Chinese porcelain, which was formed when Richardson was resident in Beijing at the end of the 19th century. Cf. S Marchant & Son, Exhibition of Qing Mark and Period Blue and White, no.27, and Exhibition of Imperial Porcelain of Kangxi, Yongzheng and Qianlong, p.74, no.50 for two smaller pieces with this design; see also Marchant, Recent Acquisitions 2010, pp.82-83, no.46 for another example included in a more recent exhibition; for comparable Qianlong mark and period pieces sold at auction, see Sotheby's Hong Kong, 11th July 2020, lot 3612, Sotheby's New York, 12th September 2018, lot 149, and Christie's New York, 22nd March 2007, lot 333; see also H Garner, Oriental Blue & White, pl.83A for a similarly decorated Tongzhi mark and period piece from the B C Tattenhall Collection.清乾隆 御製青花海水龍紋筆洗《大清乾隆年製》青花篆書款。來源：皇家空軍中校F W Hilton（1990年代逝世），之後由其家人繼承。據家族提供筆記記載：1964年2月4日，購於Riddett and Adams Smith的J W Richardson收藏中國瓷器專場拍賣。J W Richardson曾於十九世紀末在北京居住。

A CHINESE IMPERIAL YELLOW-GROUND 'DRAGON' SAUCER DISH SIX CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722 Incised with two dragons in pursuit of a sacred pearl amidst flames, one dragon highlighted in aubergine enamel, the other picked out in green, the underside with bunches of grapes, all reserved on a pale yellow ground, 13.2cm. Provenance: formerly the collection of Henry Mazot (1882-1956), and thence by descent; and then purchased directly from the family. Henry Mazot (1882-1956) lived in Beijing from the 1920s. He worked for the Bank of Indochina there and eventually became the chairman. The Mazot family left Beijing in 1946 and returned to France, settling in Normandy. Most of the Chinese porcelain in the family collection was left in trunks in the basement of their chateau from 1946 until Christmas 2015, when Henry Mazot's granddaughter, who had inherited the home, decided to open them. Cf. The British Museum, registration no.PDF.777 for a dish of the same design on loan from the Sir Percival David Foundation of Chinese Art; see also The Wonders of the Potter's Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art, pp.58-59, no.24 for another similar example.清康熙 黃地綠褐彩雙龍戲珠碟《大清康熙年製》青花楷書款。來源：Henry Mazot（1882-1956）舊藏，由家族繼承，之後直接從其家族購得。Mazot先生於1920年代在北京的印支銀行工作，之後升任為總裁。Mazot家族在1946年的時候離開北京去了法國。大部分瓷器藏品都封存在集裝箱內並一直保留在地下室內。直至他們的孫女繼承了他們的房子之後於2015年的聖誕節期間才被打開。

A RARE TIBETAN-STYLE GILT AND BLACK LACQUER EWER AND COVER, DUOMUHU 18TH CENTURY The tall cylindrical body set with a slender spout to one side, with four raised bands and mounts suspending chains to form the handle, decorated in gold lacquer on a black ground with many roundels formed as blossoming branches, the flowers including orchids, chrysanthemums, lotus and prunus, the cover surmounted by a finial shaped as a crouching lion dog, 47.7cm. (2) Provenance: from the collection of the late Hubert René Joseph Georges Faure (1919-2020). Hubert Faure was the first husband of Elizabeth (Bessie) de Cuevas, who married when she was nineteen. Bessie was the daughter of Margaret Rockefeller, granddaughter of John D Rockefeller. This form of ewer is known in Chinese as a duomuhu and it is derived from the Tibetan bey lep. Bey lep literally translates as 'container for butter', but these vessels were also used to store milk, wine and milk tea in Lamaist monasteries. The shape is believed to have first appeared in China during the Yuan dynasty and, after little use in the Ming dynasty, was revived under the reign of the Kangxi Emperor (1662-1722) during the Qing dynasty. His interest in Tibet and Tibetan Buddhism led to the resurgence of the duomuhu form, notably in metalwork and porcelain. Cf. The Complete Collection of Treasures of the Palace Museum, Lacquer Wares of the Qing Dynasty, p.182, no.135 for a comparable gold and purple lacquer duomuhu in the Qing Court Collection; see also pp.152-153, no.111 for a Qianlong period twin-dish decorated with comparable floral medallions in gold on a black lacquer ground.十八世紀 黑漆描金多穆壺來源：Hubert René Joseph Georges Faure (1919-2020)收藏，購於二十世紀初（傳）。他是Elizabeth (Bessie) de Cuevas的第一任丈夫。Bessie是Margaret Rockefeller的女兒，John D Rockefeller的外孫女。

A CHINESE IMPERIAL IRON-RED 'DRAGON' WINE CUP SIX CHARACTER DAOGUANG MARK AND OF THE PERIOD 1821-50 The deep body raised on a short foot and gently flaring towards the rim, painted with two scaly five-clawed dragons in flight over crashing waves, with stylised clouds dividing the two beasts, the design contained between simple cobalt blue rings, the base with the reign mark in underglaze blue, 6cm dia. Provenance: from the collection of Lilian Colston (1852-1931), and thence by descent. Lilian was the daughter of Edward Colston (1822-1864) and Louisa Murray (1826-1900). She was an avid collector of antique furniture and items of curiosity. Lilian is remembered as a charitable woman and beloved family member. Cf. Christie's New York, 2nd December 1989, lot 384 for a pair of Daoguang mark and period cups with the same design; see also Christie's London, 5th November 2013, lot 461 for another pair from the Daoguang period; see also The British Museum, registration no.PDF B711 for a Tongzhi mark and period example on loan from the Sir Percival David Foundation of Chinese Art; see also the Victoria & Albert Museum, accession no.803-1883 for another Tongzhi example; see also S Marchant and Son, Exhibition of Nineteenth Century Mark and Period Porcelain, 1991, p.56, no.58 for a Tongzhi mark and period cup with the same design and p.63, no.68 for a pair of Guangxu mark and period examples.清道光 礬紅趕珠龍紋杯《大清道光年製》青花篆書款。來源：Lilian Colston （1852-1931）舊藏，之後由其家族繼承。

CHINESE PORCELAIN TABLE SCREEN - 67 CMS (H)

A Chinese white porcelain with blue Paeonies tea set consisting of six cups and a lidded tea pot in its original presentation box.

A Chinese, hand painted with exquisite detail, porcelain trinket box revealing an elaborate Chinese dragon yellow metal ring. Ring size: N.

A Chinese porcelain plaque of a dog after Castiglione, 36 x 24cm, framed,

A quantity of mixed Chinese porcelain etc

PAIR OF CHINESE POWDER BLUE & GILT PORCELAIN JARDINIERES, 19th/20th Century, decorated in gilt with a continuous frieze depicting three ladies greeting a travelling scholar with horse and attendant, in a terraced garden with three boys and pavilion, above and below diaper borders, bases with underglaze blue double circles, 20cms high x 23.5cms diam. (2) Provenance: private collection, north Wales Condition: one with gilt slightly worn, the other with area scratched to shoulder, some areas gilt worn.

CHINESE BLUE & WHITE PORCELAIN BRUSHPOT, 19th/20th Century, painted with two confronting 5-clawed dragons amid flowering peony, lotus and camellia, 12.7cms high x 14cms diam. Provenance: deceased estate, west Wales Condition: no apparent problems

CHINESE BLUE & WHITE PORCELAIN SQUARE FLASK, probably 18th Century, painted with four panels of different flowering plants including plum and chrysanthemum within diaper borders, arched shoulder with triple lozenges and lotus stems, short waisted neck, unglazed base, 27cms high Provenance: deceased estate, west Wales Condition: neck chipped, with cracks extending to shoulder

CHINESE BLUE & WHITE PORCELAIN 'HAWTHORN' JAR AND COVER, late Qing Dynasty or later, painted with two lobed panels of vases of lotus and of peony and with Chinese antiques, reserved on a cracked ice and flowerhead ground, 25.5cms high Provenance: deceased estate, west Wales Condition: no apparent problems, cover possibly associated

CHINESE BLUE & WHITE PORCELAIN SQUARE FLASK, 19th/20th Century, arched shoulders and countersunk panels with indented corners, painted in the Kangxi-style with lotus scrolls above panels depicting an elegant lady beside furniture in a garden with banana, willow, maple and prunus, possibly denoting the seasons, later applied plated metal neck, glazed base, 25cms high Provenance: deceased estate, west Wales Condition: neck broken off, minute fritting and surface wear to corners/edges, pin pricks to glaze.

CHINESE BLUE & WHITE PORCELAIN JAR, Kangxi mark but later, painted with a long-tailed pheasant on a rock issuing flowering peony and prunus branch, below a bold lotus decorated cloud collar, short neck with double lined border, base with 6-character mark within double circles, 24cms high Provenance: consigned via our Colwyn Bay saleroom Condition: glaze with scattered 'pin pricks' and iron oxide blemishes

CHINESE POWDER BLUE GROUND PORCELAIN ROULEAU VASE, six-character Kangxi mark but 19th/20th Century, painted with two large reserves depicting Xiwangmu with flower basket and hoe, riding a deer beside an attendant holding a large peach of immortality, beneath a gnarled pine tree, four other smaller fan-shaped and pomegranate-shaped reserves painted with fish and with flowering iris respectively, base with apocryphal reign mark within a double circle, 43cms high Provenance: Cardiff based merchant seaman, thence by descent to the present owner. Auctioneer's Note: compare with a smaller powder blue rouleau vase sold at Rogers Jones & Co, Cardiff, lot 162, 26 March 2021 with similar shaped panels Condition: no apparent damage

CHINESE BLUE & WHITE PORCELAIN VEGETABLE TUREEN & COVER, late Qianlong/Jiaqing, of shaped oval form, painted to the inside and cover with pavilions nestling on tree-strewn river banks, diaper borders, grooved twisted strap handles with foliate terminals, pierced bud knop, unglazed base, 32cms wide Provenance: private collection Cardiff Condition: minor glaze scratches