We found 17386 price guide item(s) matching your search

A GOOD 20TH CENTURY CHINESE SCROLL PAINTING, painted with a standing female deity, an attendant kneeling by her side, signed with red seal marks, 130cm x 65cm.

A GOOD 20TH CENTURY CHINESE SCROLL PAINTING, depicting a growling tiger standing on a rocky outcrop with a waterfall below, signed with red seal marks, 135cm x 67cm.

TWO 20TH CENTURY CHINESE SCROLL PAINTINGS, one depicting junks in a river landscape with buildings, the other a parkland scene with skyscrapers, image sizes 100cm x 54cm and 67cm x 45cm.

A 20TH CENTURY CHINESE SCROLL PAINTING, of a mountainous landscape, together with another landscape and calligraphic scroll, various sizes.

AN EARLY 20TH CENTURY CHINESE ALTER STYLE CABINET with scroll ends, a single small drawer over a pair of carved panelled cupboard doors, 75cm long, 38cm deep, 76cm high.

A Chinese silk mounted hand painted scroll of a mountain landscape with waterfall, 183cm x 79cm.

18th/19th century Chinese pressed cinnabar lacquer baluster vase and cover, decorated with a continuous frieze of figures in an expansive landscape, above diaper and precious object band, in foliate scroll borders, 39cm high

Antique Chinese carved wood figure of a seated Deity, in meditative pose how,ing scroll and lotus flower, with polychrome and gilt ornament six character marks to rear, raised on plinth base carved with clouds, 48cm high

AN ORDOS GILT BRONZE ‘CROUCHING BEAR’ HORSE TACK ORNAMENT, WARRING STATES China, Inner Mongolia, Ordos, 4th-3rd century BC. Of circular shape, cast in the form of a crouching bear with distinctive ears and finely incised claws. Condition: Extensive wear, losses on the back, minor dents. Fine dark patina with small areas of malachite green patina as well as encrustations on the interior. Provenance: Grays Antique Center, London. Dr. Koos de Jong, acquired from the above in 2007. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch. Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam - Hong Kong 2013, ill. 1.10 (left), p. 23. Weight: 17.8 g Dimensions: Diameter 3 cm Auction result comparison: Compare with a closely related scroll weight sold by Christie’s Los Angeles in Myth and Reality: Animals in Chinese Art on 7 May 1999, lot 31, for USD $23,000 incl. buyer’s premium. 鄂爾多斯銅鎏金熊形馬具，戰國 中國，内蒙古，鄂爾多斯，公元前四至三世紀。圓形，鑄成蹲伏熊的形狀，有獨特的耳朵和爪。 品相：廣汎磨損，背部有缺損，輕微凹痕。深色包漿，局部有銅綠，内部有結殼。 來源：Grays Antique Center, London. Drs. Koos de Jong收藏，2007年購於上述收藏。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 出版：Dr. Koos de Jong著書《Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond》, 阿姆斯特丹 - 香港，2013年，圖1.10左側，頁23。 重量：17.8 克 尺寸：直徑 3 厘米

A FAMILLE VERTE ‘LADIES’ BALUSTER VASE, KANGXI China, early 18th century. Vividly enameled with a continuous scene of noble ladies and their children enjoying leisurely pursuits on a terrace overlooking a garden with craggy rocks and a Bodhi Tree. Condition: Pristine condition with old wear, minor traces of use, minimal firing flaws and some pitting, all exactly as expected on a vase from this period. Provenance: From an English private estate. Weight: 3.8 kg Dimensions: Height 45.2 cm The shoulder is decorated with iron-red flowerheads on a scroll ground, all beneath a continuous river and mountain scene around the neck. The foot rim with a lappet border. The base with a double circle painted in cobaltblue under the glaze. Auction result comparison: For a closely related decoration of the shoulder and neck see Bonham’s London in The Roy Davids Collection of Chinese Ceramics, 6 Nov 2014, lot 64, sold for GBP £9,375 and for another vase with a closely related ‘ladies’ subject see lot 66 in the same sale, sold for GBP £12,500. 硬彩園中貴婦棒槌瓶，康熙 中國，十八世紀初。硬彩描繪園中貴婦兒童嬉戲圖。 品相：原始品相，輕微磨損與使用痕跡，輕微燒製瑕疵，一些點蝕，更加證明其年代。 來源：英國私人遺產 重量： 3.8 公斤 尺寸： 高 45.2 厘米

A PORCELAIN PLAQUE BY WANG QI (1884-1937) China, signed Zushan taotaozhai Wang Qi. Depiction of Lin Bu with a pupil, carrying a branch of plum blossoms. Painted in fine polychrome enamels. One poem in black ink. One seal. Condition: Good condition with some wear and minimal firing flaws. Provenance: From a private estate in the United Kingdom. Weight: 231.6 g including frame Dimensions: 22.2 x 14.5 cm including the frame Lin Bu (967-1028), art name Hejing, was a Chinese poet during the Northern Song dynasty. One of the most famous verse masters of his time. His works and theatrical solitude won him nationwide fame, and he was offered prestigious government posts, although he refused all civic duties in pursuit of his poetry. Long after he died, Lin’s eccentric attitude and his works retained a vivid place in Song cultural imagination and later works. He wrote countless poems on the plum blossom. Among the most famous is ‘Shanyuan Xiaomei’. It reads ‘Among withered flowers plum trees brightly bloom, dominating garden with beauty unsurpassed.’ With a European frame. (2) Wang Qi (1884-1937) Wang Qi was the most outstanding porcelain painter of his day. The present plaques, lot 359, 360, 361 and 362 are fine examples of his use of rapid and expressionistic brush strokes. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center of China. Porcelain artists, released from imperial restraints, developed their own styles based upon famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves ‘The Full Moon Society’ came to be known as the ‘Eight Friends of Zushan’. The development of Wang Qi’s mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang’s style. This influence can still be seen one some of the present lots with their whimsical, sometimes exaggerated figures and sparse backgrounds juxtaposed with long calligraphic inscriptions in running script. Not content to just emulate Huang’s style, Wang created his own by incrementally incorporating Western techniques in his work. This is also seen in the use of light and shading on faces and clothing of the immortals in the four present plaques, where realism and impressionism are harmoniously blended. 人物瓷板畫，王琦 (1884-1937) 中國，落款“珠山陶陶齋”與“王琦”，描繪詩人林逋植梅圖。設色暈染，題詩，印章。 品相：品相良好，一些磨損和輕微燒製瑕疵 來源：英國私人遺產 重量：231.6 克含框 尺寸：22.2 x 14.5 厘米 含框 王琦 (1884-1937) 王琦是十九世紀末二十世紀初著名陶瓷人物肖像畫藝術家之一。拍號359、360、361及362表現了他部分筆墨特點。王琦是“珠山八友”之首，他的成熟風格的發展可追溯到1916年去上海觀看“揚州八怪”作品展覽，深受黃慎畫風感染。 在他的一些人物肖像瓷板畫中仍然可見黃慎的影響，這些作品構圖誇張，背景稀疏，提款流暢。王琦并不僅僅滿足於模仿黃慎的風格，他不斷在自己的作品中融入西方繪畫技術，由此創造自己的風格。現在的四件肖像瓷板畫中對人物的面部以及衣服部位使用光影都可以看出他把現實主義和印象派和諧地融合在一起。

LIU YUESHENG (B. 1941): A HANGING SCROLL PAINTING DATED 1982 China, Renxu (1982). The painting likely relating to the legend of Nüwa, the mother goddess of Chinese mythology, repairing the sky. A paper label in the back reads: Liu Yue Sheng: ‘Flight of the fancy Fee [fairy]’. With wood roller ends and a fitted brocade storage box. Condition: The image in good condition, the mounting with a repaired tear and some creases. Provenance: Croatian private collection, formerly in the collection Prof. Dr. D. Nowak (as per label on the fitted brocade storage box). Dimensions: Size 156 x 62 cm.

A CHINESE ‘COURT LADY WITH FAN’ SCROLL PAINTING, REPUBLIC PERIOD China, early 20th century. Painted in various colors on paper, signed, one seal. Well executed portrait of a noble lady standing in a palace patio with bamboo in the background. Condition: Good condition with some wear, minor soiling and creases. Provenance: German private collection. Acquired during the 1980s. Dimensions: ca. 120 x 60 cm

A CHINESE ‘PAVILLION IN MOUNTAIN LANDSCAPE’ SCROLL PAINTING, REPUBLIC PERIOD China, early 20th century. Painted in various colors on silk fabric, signed, six seals. Condition: Fair condition with only minor traces of use, several creases, tears, minor soiling Provenance: German private collection. Acquired during the 1980s. Dimensions: ca. 90 x 30 cm

CHINESE SCROLL PAINTING WITH LANDSCAPE, STYLE OF DONG SHOUPING - 20th CENTURY China, 20th century. Style of Dong Shouping (1904–1997). This large painting shows a landscape with trees, mountains and clouds. Artist signature and two seals are to be found at the upper right: Painted in Beijing, summer 1979. Condition: Good condition with minor signs of wear. Provenance: Austrian private collection. Dimensions: TOTAL SIZE 211 x 91 cm, IMAGE SIZE 132 x 68.5 cm

Scroll painting Chinese, depicting a tiger in a mountainous landscape, image size 82cm high x 28cm across

Chinese Republic Period Pair of Bulbous Fishtail Shaped Vases, finely decorated in iron red colours, depicting three scholars sitting at a table drinking tea and reading a scroll in a garden setting, with attendants looking on. Behind is a gnarled shaped tree with unusual bell shaped lanterns hanging from its branches. Red painted seal mark to the base. Size 12.5" height.

Chinese Antique Bamboo Scholars Brush Pot, Finely Carved to the Body with a Man Riding a Mounted Horse with a Boy Carrying a Scroll to a Sage In a Garden Setting. Signed with Character Marks to the Side. Height 6.5 Inches & Diameter 5 Inches.

A Chinese carved black stone censer and cover in archaic style, scroll pierced cover, and incised detail,13cm diameter; a stone night light, 8cm high; a pedestal bowl on high foot, 21cm high (3)

A Chinese carved soapstone figure of Guanyin, seated holding a scroll, Republic Period in Qing style, 22cm high

A Chinese Scroll Painting, Late Qing Dynasty/early 20th century, painted with flowering orchids growing from rocks, inscription and seal in red, black ink on paper,196 x 41cm

A Chinese Calligraphy Scroll, perhaps late Qing Dynasty/Republic Period, two red seals, ink on paper (staining), 199 x 48cm

A Chinese Calligraphy Scroll, late Qing Dynasty/20th century, extensive inscription, on paper, five red seals,160 x 47.5cm

A Chinese scroll painting, 19th/20th century, painted with figures planting rice in paddy fields, eight red seals, ink and colours on paper, 212 x 51cm: and a companion painting, of a man ploughing with a water buffalo, 216 x 51.5cm (2)

A Chinese calligraphy scroll, 20th century, single character, two red seals,151.5 x 25cm

A Chinese scroll painting, Qing Dynasty, depicting scholars in a pavilion in a vast mountain landscape, extensive inscription, three red seals,164 x 47cm (poor state)

Follower of Qian Songyan: A Chinese scroll painting, of a deep gorge with a pavilion overlooking a waterfall, colours on paper, inscription and red seal, 95 x 51cm

A Chinese Buddhist hanging scroll, depicting a Buddha seated above two Bodhisattvas, Qing Dynasty, 19th century

A WOOD NETSUKE OF A MAN WITH SCROLL, C. 1800 TO EARLY 19TH CENTURY Japan, c. 1800 to early 19th century, Edo period (1615-1868) A man dressed in Chinese style and holding up a scroll, probably the poet recluse Kanzan from Cold Mountain. Usually Kanzan is depicted together with his companion Shide, who was an assistant at the temple on Cold Mountain, with Kanzan reading to Shide from a scroll. Black-stained wood, large himotoshi on the reverse. HEIGHT 6.3 CM Condition: Good condition. Provenance: Austrian private collection.

EARLY 20TH CENTURY CHINESE FIGURE OF GUANYIN, the female modelled standing and in floral decorated robes, holding a scroll in her hands, 50cm high

A huanghuali two-tier stand, Chinese, circa 1900Having a rectangular flush and slightly recessed panelled top set within a thick rectangular frame, angular scroll-carved aprons, on square-section legs, joined by an under-shelf, 'hoof' feet, 46cm wide x 46cm deep x 82cm high, (18in wide x 18in deep x 32in high)For further information on this lot please visit Bonhams.com

An early 20th century hardwood two-tier stand, ChineseHaving a flush panelled top, and archaistic angular scroll-carved aprons, a panelled undertier, on turned legs with leafy-scroll carved feet, 35cm wide x 24cm deep x 74.5cm high, (13 1/2in wide x 9in deep x 29in high)For further information on this lot please visit Bonhams.com

A Chinese figure of female with scroll crackle glaze decoration, height 25cm (head re-attached and fingers missing) Head broken and restuck, hand damaged with loss

A pair of Chinese Canton enamel dishes or brush washers, probably late Qing dynasty, each with a lobed rim, painted and gilt heightened with lotus scroll decoration, on a blue ground, 8cm diameter (2)Condition report: Both with chips to enamel. Scratches and rubbing to gilding. Discolouration to metal.

Paper China, Qing Dynasty (1645-1911) Dimensions: Height 135 cm by 33,5 cm Weight: 253 grams Hanging scroll with Chinese scripture.

Silk China, Qing Dynasty (1645 - 1911) Dimensions: Height 101 cm by 41 cm Weight: 376 grams Title: 《十六罗汉》Sixteen Arhats Hanging scroll with Chinese ink painting of the 16 Arhats, standing on a large cloud, a landscape of rocky mountains and trees is visible beneath them. One of the arhats is descending from the sky on a mystical dragon. The sages are accompanied by a tiger.

Denby Coffee Pot, stoneware pottery, decanters, Chinese scroll, large print, map.

A Chinese famille rose porcelain circular plate, diaper-ended scroll reserve painted in polychrome enamels with two cockerels, peonies, and a rocky outcrop, the pink ground with further landscape vignettes, blossoming foliage, and leafy sprigs, 23.5cm diam, 19th century

A Chinese ovoid vase, painted in polychrome with figures holding a scroll, beneath a banner inscribed with verse, 23cm high, hardwood stand

A Chinese wucai flared bowl, painted with stylised trees, flowers and scroll lappets, 16cm diam, seal mark

A Louis XV Rococo ormolu-mounted Chinese black lacquer encrier, twin-branch candelabra with leafy sconces and drip pans, centred by a foliate sprig, shaped japanned inkstand base, acanthus scroll feet, 31cm wide, French, c. 1745-1749

A 19th Century Chinese table screen, probably Zitan, the sectional panel screen raised on a curved archaic carved base with deep finely carved traditional scroll borders, the panels profusely relief carved with five-clawed dragons in pursuit of the flaming pearl, amidst ruyi bats and lotus borders, with upper cloud pediment and flanges, height 75cm and width 79cm.

A Chinese hanging scroll or painting, late Qing Dynasty (1644-1912), painted in ink, depicting a scholar seated in a veranda with a horse in the foreground and flanked by blossom trees, ink on silk later laid on board, 62cm x 66cm, framed and unglazed.

In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteThe unique ‘Defence of Legations’ C.G.M. group of five awarded to Chief Signal Bosun H. Swannell, Royal Navy, who ran into No Man’s Land beyond the British Legation defence lines to help a wounded man under “close and accurate” enemy fire; he twice stood up on the Tartar Wall in full view of the enemy, first to re-hoist the British flag after it had been shot away and the next day to use his signal flags to direct British units of the International Relief Force, ensuring that they were the first troops to reach the Legations, arriving two hours before contingents from other nations Conspicuous Gallantry Medal, V.R., 2nd issue, scroll suspension (Harry Swannell, Leadg. Signalman. R.N. China. 1900) officially engraved naming; China 1900, 1 clasp, Defence of Legations (H. Swannell Lg. Sign., H.M.S. Orlando) officially impressed naming; 1914-15 Star (Sig. Bosn. H. Swannell, R.N.); British War and Victory Medals (Ch. S. Bosn. H. Swannell. R.N.) mounted as worn, light contact marks, otherwise very fine or better (5) £30,000-£40,000 --- Provenance: Sotheby, January 1972; Christie’s, April 1984; Dix Noonan Webb, December 2011. C.G.M. London Gazette 14 May 1901: ‘In connection with the recent operations in China.’ 
The following is extracted from the enclosure by Captain F. G. Poole to the main despatch by Captain Wray, R.M.L.I., published in the London Gazette of 11 December 1900: ‘Sir, I have the honour to bring to your notice particularly the conduct of Leading Signalman H. Swannell, Her Majesty’s Ship Orlando. On the 5th instant being in command of the Hanlin outposts, at 10.30 a.m. I heard that Mr Oliphant, her Britannic Majesty’s Consular Service, had just been wounded. I ran out to the spot and found Leading Signalman Swannell attending to Mr Oliphant, who was mortally wounded, under the close and accurate fire of the enemy. He remained with Mr Oliphant until he was brought into a place of safety.’ Two Conspicuous Gallantry Medals were awarded for the Defence of Legations. The award to Sergeant Preston, R.M.L.I., is in the collection of the Royal Marines Museum, Eastney. This C.G.M. was presented to Swannell at a parade held on the exact spot where he had performed his act of gallantry.
 Harry Swannell was born in Camden Town, London, on 22 December 1877. After working as a Carter, Swannell joined the Royal Navy as a 16 year-old Boy 2nd Class aboard H.M.S. St Vincent on 26 February 1894. This ship, permanently moored at Haslar in the Solent, was an ancient wooden first-rate ship of the line that was used to train boys for a career in the Navy. Swannell became a Boy Signaller in January 1895 and remained in the Signals branch throughout his naval career. On reaching his 18th birthday in December 1895, he entered a 12-year service engagement. He was recorded as being about 5ft 3” tall, with brown hair and light blue eyes. In March 1898 he joined the brand-new Armoured Cruiser H.M.S. Terrible on the China Station. He was promoted to Leading Signalman and transferred to the Armoured Cruiser HMS Orlando in February 1899 when she joined the China Station. The Defence of the Foreign Legations at Pekin The Boxer Uprising, called by Chinese the Yihetuan Movement, was an anti-foreign, proto-nationalist insurgency mounted by members of the Fists of Righteous Harmony in north China between 1899 and 1901. The insurgency took place during a period of severe drought, combined with economic disruption caused by the growth of foreign spheres of influence. Russia and Germany sought to seize large tracts of north China. The Boxer grievances ranged from foreign interference with Chinese culture and ancient traditions, economic incursions and above all strident missionary evangelism, which put local Christian converts in a privileged position versus their Chinese peers. Following many bloody attacks on isolated mission stations and Chinese Christian converts, the most famous episode of the Uprising was the defence of the foreign legations district in central Pekin. Just over four hundred lightly armed allied officers and men held out behind improvised defences for 55 days against vastly superior numbers of Chinese regular and irregular forces, who were all intent on using murder, arson and any other means to drive out of the country every ‘foreign devil’ and ‘Chinese Christian’, including women and children. During May and early June 1900 Boxer fighters converged on Pekin, proclaiming “Support the Qing, Exterminate foreigners.” No foreign troops or garrisons were allowed in or near the city, as the Imperial Government assumed responsibility for the safety and security of all authorised residents. Foreign Legations were unwanted by the Imperial Government but had been forced upon it. The Legations were not fortified. They were grouped together on separate plots of land in a single district within the 14th century walls of the ancient Tartar city, and close to the walled and moated Imperial City and the enclosed Forbidden City, where the Emperor and his formidable and powerful mother, the Empress Dowager Cixi, lived. Chinese officials had concentrated the eleven Foreign Legations together to keep them as far as possible out of sight and out of contact with the citizens of Pekin. The district was approximately two miles long and a mile wide. It also housed the Imperial Maritime Customs, foreign businesses such as banks, hotels and a post office and a large number of shops and dwellings. As Boxer violence became an increasing threat, the foreign powers with economic interests in China activated plans to defend those interests militarily. Most sent warships, with contingents of marines and/or soldiers aboard, to the treaty ports of North China. By May the security situation in Pekin was steadily deteriorating, and on 30 May 1900 the diplomats, led by Sir Claude Macdonald, the widely-respected British Minister, requested that the Imperial government agree that foreign military contingents be sent to Pekin to secure the Legations. The Chinese reluctantly acquiesced to a total of 400 lightly armed servicemen from eight countries. The Royal Navy was ordered to provide a guard force for the British Legation by landing bluejackets and marines from warships in the Gulf of Bohai. The British Legation Guard arrived in Pekin by train from Tientsin at 7 p.m. on 31 May 1900, then marched five miles in full equipment through the dust and filth of Pekin’s squalid streets to reach the Legation. It comprised 79 men of the Royal Marine Light Infantry (three officers, seventy-five non-commissioned officers and men and one bugler) and three Royal Navy ratings - a signaller (Swannell), an armourer and a sick-berth steward. Each of those three bluejackets were destined to be mentioned in despatches, both for their conduct and for their important contribution to the defence of the Legations. The arrival of 83 guards, who were well-trained but had no machine-guns, artillery or even an ample supply of small arms ammunition, did not make the British Legation safe. It was a spraw...

Three various early 20thC porcelain figures, comprising a standing Chinese lady holding scroll, polychrome decorate in blue and green robes, 28cm high, a figure of a bearded gentleman and two seated figures in flowing robes, polychrome decorated. (3, AF, one head completely detached)

Collection of 15 Chinese silver, white metal and brass padlock style pendants with floral scroll and character mark decoration

Ca. 1368-1644 AD. Chinese Ming Dynasty. An elaborately crafted male attendant figure dressed a dark blue tunit with red side panels, light blue cuffs and a blue sash as well as black boots and a light coloured conical hat with a brim. The attendant holds an object, possibley a bottle or a scroll. During the Ming Dynasty the Chinese art industry flourished and the production of ceramic and porcelain pieces increased exponentially. Figures of this type were particularly popular during the Ming artistic revival which placed great importance on depicting aspects of Chinese political and social life including warriors, servants and ladies of high status. Excellent condition. Size: L:190mm / W:55mm; 275g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

A Chinese Bronze Censer, Ding, Xuande marks but not of the period, of cushioned rectangular form with twin scroll handles, cast with stylised foliage, on four feet, bears six character reign mark, 31.5cm wide

A Chinese Porcelain Coffee Pot and Cover, Qianlong, after a European metalware original, of cylindrical form with scroll moulded side handle and spout, painted in iron red, puce and gilt with flowersprays and scattered sprigs within a green and purple meander border, 19cm high; A Matching Teapot and Cover, 15.5cm high; and A Similar Cylindrical Mug, painted in famille rose enamels with figures in a garden within underglaze blue and gilt borders, 12.5cm high (3). The coffee pot with a small chip to the rim of the cover and with slight fretting to the spout the teapot has a chip to the rim of the main body. The tankard has a small rim chip, no restoration at all to any of the three pieces.

A Chinese Porcelain Baluster Jar and Cover, Kangxi reign mark and possibly of the period, painted in underglaze blue with figures engaged in pastimes within cloud scroll and panel borders, bears six character reign mark, 37cm high

A Chinese Bronze Ritual Wine Vessel, in Archaic style, modelled as hawk with incised feathers and scroll handle, the cylindrical neck inscribed with calligraphy, 30cm high. Some superficial marks, no breaks or repair.

A Chinese Huanghuali Table Stand, Qing Dynasty, of rectangular form with scroll ends supports, 35cm by 22cm. Good rich colour, no chips or cracks to the timber, very slight warping.

A Chinese embroidered silk scroll, with bird on a blossom tree, 195cm x 54cm; another (2)

A mid-20th century Chinese mother of pearl inlaid opium bed, the three-panelled back with carved vignettes of animals within ornate borders, the arm rests with fan-shaped motifs carved with cherry blossom and bamboo above a base with carved frieze on scroll feet, 64 x 198 x 128cm. CONDITION REPORT Mother of pearl loss throughout, some joints opening, especially on the front right hand arm. Some splits in the base and there is an approx 0.5cm gap where the front section has shrunk a bit. The vignettes in the back have dropped in their frames slightly and there are some splits in the vignettes. Overall scratches, knocks, wear and tear as to be expected. It may have been polished on the back panels because there are some runs of liquid present. There are some very minor paint splatters to parts, some stains and water marks to the bed base. A couple of the legs have splits. Overall of solid construction and looks impressive. Please refer to additional photographs.Height of bed base 53cm.

An impressive Chinese carved and gilded wedding bed, the canopy with a profusely carved frieze depicting peonies, figures in a garden and scrollwork, enclosing an internal frame with suspended carved ceiling and frieze with four drawers above the side and back panels with painted vignettes depicting peonies, writing implements and musical instruments, the whole raised on carved scroll feet, 239 x 228 x 149cm. CONDITION REPORT There is a box of various bits that go with this bed, some of which are the parts of carving that are missing. The overall painting of the bed is worn, there are scratches, stains and knocks as would be expected. The frieze on the front of the bed is missing two finials on the right hand side, it is missing a bracket on the left hand side and there may be various small pieces missing. The back frieze may be a later addition, although it matches very well. The suspending ceiling is sagging slightly, minor losses, scuffs and knocks to the upright. The back and the side panels again are the same, with wear and tear. Some of the back panels are bowed. Looking at the back of the bed, to the top, there is a modern curtain rail attachment, not noticeable from the front, but clearly to suspend some fabric. Also, the back frieze rests on some modern blocks, again not visible from the front. There are some location holes on the back two uprights which must have had something in them at some point, and on the front internal uprights, but again not noticeable from the front. The right hand side panels have a small gilded carved section missing from the middle of the gallery. The base of the bed has an undershelf that appears to have had modern planks nailed to it, presumably for extra strength and the front frieze is present but loose. It is photographed in situ but is not secured enough to stay on the bed without some due care and attention. The legs have a small piece missing from each front. There are some ply boards that come with this bed that the vendors used on top of the base for the mattress to sit on. Overall it looks impressive and very decorative. We cannot guarantee that all the pieces missing from the bed are present in the box of parts, but it does look as though the missing little piece from the right hand gallery is indeed there.

A Chinese scroll holder and a papier mache pen box, 22cm

Chinese School, Monumental 12 ft Scroll Painting. Signed, with multiple collection stamps throughout. Watercolor/ink on paper. Provenance: Private California collection. Image size: 150 x 12.5 inches.

Chinese School, Watercolor Scroll Painting. Calligraphy inscription upper right and lower left with red stamps. Watercolor/ink on paper. Image size: 13 x 12.5 inches.

Chinese School, Signed Watercolor Scroll Painting of Two Elegant Women. Watercolor/ink on paper. Calligraphy inscription upper right. Image size: 35 x 17.5 inches.

Antique Chinese Large Carved Lapis Lazuli Figure depicting a Chinese deity, dressed in fine robes and holding a scroll; 9.5 inches (23.75cms) high, weight 50ozs (chip to hilt of sword in his belt)