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A RED-GROUND AND GILT THANGKA OF AMITAYUS, WULIANG SHOUFOTibetan-Chinese, late 17th to 18th century. Gold and distemper on cloth, with a silk brocade frame and mounted as a hanging scroll. Finely painted in gilt above with the red ground with a magnificent depiction of Amitayus seated in dhyanasana on a lotus throne, supported on an elaborate stepped base decorated with auspicious symbols, holding a vessel in front of him, backed by a flaming halo, wearing long flowing robes and billowing scarves, richly adorned with fine jewelry, all below an inscription identifying the deity.Inscriptions: To the top, 'Wuliang Shoufo' (Chinese name for Buddha Amitabha).Provenance: The fine Japanese silk brocade mounting indicates that this thangka must have been in an old Japanese private collection at least 100 years ago. From there it went, most likely across several stations, into the French trade. Condition: Good original condition with some old wear, creasing, small losses here and there.Dimensions: Image size 118 x 63 cm, Size incl. mounting 166.5 x 80.3 cmLiterature comparison: Compare a closely related Tibetan red-ground thangka of Amitayus, also painted mostly in gold, dated circa 1800 and attributed to Central or Eastern Tibet, in the collection of the Los Angeles County Museum of Art, accession number M.83.253.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 19 March 2012, lot 1106Price: USD 16,250 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: A red-ground thangka of Shakyamuni Buddha, Tibet, 17th century Expert remark: Compare the closely related manner of painting with similar red ground and extensive use of gold. Note the smaller size (66 x 44.4 cm).紅地描金無量壽佛唐卡漢藏，十七世紀末至十八世紀，布面膠彩描金，掛軸。阿彌陀佛結禪定坐坐於蓮座上，雙手捧著甘露瓶，置於身前，佩戴著華美的珠寶，面容沉穩，五葉冠後高髻，身後有光背。 款識：無量壽佛 來源：精美的日本絲錦裝裱表明這幅唐卡至少在 100 年前就已被日本私人收藏，之後輾轉進入法國的古玩交易。 品相：原始狀態良好，有一些磨損，摺痕，到處都有小缺損。 尺寸：畫面118 x 63厘米，總166.5 x 80.3 厘米 文獻比較： 比較一件非常相近的大約1800年西藏紅地描金阿彌陀佛唐卡，來自於西藏中部或東部，收藏於洛杉磯郡立美術館，編號M.83.253。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年3月19日，lot 1106 價格：USD 16,250（相當於今日EUR 20,500） 描述：十七世紀紅地描金釋迦摩尼唐卡 專家評論：比較非常相近的紅地描金。請注意尺寸較小(66 x 44.4厘米)。

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。

'KINGFISHER AND LOTUS', BY WANG XUETAO (1903-1982)China. Ink and watercolors on paper, mounted as a hanging scroll. Vividly painted with a kingfisher perched on the stem of a large lotus blossom above grasses, leaves, a pink lotus flower, a closed pink lotus bud, and an insect.Inscriptions: Upper right, signed 'Wang Xuetao', two seals of the artist. Lower left, one seal of the artist.Provenance: London trade. Condition: The painting in very good condition with minor wear, foxing, and faint creases, the mounting backed in some areas and generally with more extensive wear and foxing as well as small tears.Dimensions: Image size 136.5 x 68 cm, Size incl. mounting 210.5 x 82.5 cmWang Xuetao (1903-1982) was a Chinese painter from Hebei province, who attended the Baoding Zhili Teachers College and the Peking College of Arts. Later he studied under Wang Mengbai, Qi Baishi, and Chen Banding.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 December 2020, lot 1135 Price: HKD 500,000 or approx. EUR 61,500 converted and adjusted for inflation at the time of writingDescription: Wang Xuetao, Lotus and Mandarin DucksExpert remark: Compare the closely related manner of painting with similar lotus and birds. Note the addition of mandarin ducks in this work and the smaller size (96.5 x 60 cm).王雪濤《翠鳥荷花圖》中國，紙本水墨設色，掛軸。生動地描繪了一隻翠鳥棲息在荷葉梗上，似乎正要起飛，荷葉大如傘，一朵荷花和一個花蕾斜插而出。也許是荷花的花香吸引了蜻蜓飛來。畫面清新生動。 款識：丙辰夏初雪濤時客燕市；鈴印：老雪，遲園 來源：倫敦古玩交易。 品相：狀況極好，有輕微的磨損、褐變、起毛和摺痕。尺寸：畫面136.5 x 68 厘米，總210.5 x 82.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年12月1日，lot 1135 價格：HKD 500,000（相當於今日EUR 61,500） 描述：王雪濤《荷花鴛鴦》 專家評論：比較非常相近的繪畫風格，例如荷花和鳥。manner of painting with similar lotus and birds. 請注意此幅畫中還有鴛鴦，尺寸較小(96.5 x 60厘米)。

'BUDDHA AMITABHA', BY ZHANG DAQIAN (1899-1983)China. Ink, gilt, and watercolors on silk. Superbly painted with Buddha Amitabha seated in dhyanasana on a lotus throne, with each of the overlapping petals showing the Three Jewels. He is wearing a loose-fitting monastic robe decorated with flowerheads and a broad waistband with lotus scroll. His chest is marked with a wan symbol. The serene face with a fine expression. All within a roundel above swirling clouds and below lotus blossoms falling from the sky.Inscriptions: Signed 'Zhang Daqian'. Dedicated to a 'follower from Luojun'. Dated 'Summer of the Year of Bingxu' (corresponding to 1946). Three seals of the artist.Provenance: UK trade, by repute acquired from a British private collection.Condition: Good condition with minor wear, soiling, distinct foxing and minimal losses. With a Japanese silk brocade mounting and a kiri (paulownia) wood frame. The backside with a Japanese paper mounting that shows significant tears and losses.Dimensions: Image size 61 x 24.5 cm, Size incl. frame 79 x 39.2 cmZhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 2 June 2015, lot 1529 Price: HKD 5,440,000 or approx. EUR 779,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Buddha Amitabha Expert remark: This painting is also dated 1946 by inscription and depicting Buddha Amitabha, albeit in a slightly different manner inspired by the Mogao caves. Note the size (97 x 49 cm).Auction result comparison:Type: Related Auction: Christie's Hong Kong, 30 November 2010, lot 2642 Price: HKD 2,780,000 or approx. EUR 486,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Worshipping Buddha and Bodhisattvas Expert remark: Note the size (90 x 44.6 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 11 October 2021, lot 3094 Price: HKD 945,000 or approx. EUR 119,500 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (Chang Dai-chien, 1899-1983), BodhisattvaExpert remark: Note the size (49.5 x 39.5 cm). 張大千(1899-1983) 《阿彌陀佛像》中國。絹本水墨設色，繪製阿彌陀佛坐蓮像，每瓣蓮瓣皆可見三寶。他身著寬鬆的袈裟，衣紋綫條流暢，胸口可見萬字元，面部表情平靜細膩， 身後有光背，下方可見如意祥雲。款識：擬清人丁觀鵬佛造像，嵗在丙戌夏日，羅郡清信弟子大千張爰敬造鈴印：大千毫髮，張大千，星閣來源：英國古玩市場，據説來自英國私人收藏。品相：狀況良好，磨損、汙漬、明顯的修補和輕微缺損。日本絲織錦裝裱和桐木框架。背面有日本紙裝裱，明顯的撕裂和缺損。尺寸：畫面61 x 24.5 厘米，總 79 x39.2 厘米拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2015年6月2日，lot 1529 價格：HKD 5,440,000（相當於今日EUR 779,000） 描述：張大千《無量壽佛》 專家評論：這幅畫的年代也是1946年，畫的是無量壽佛，不過畫法與莫高窟略有不同。請注意尺寸(97 x 49厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2010年11月30日，lot 2642 價格：HKD 2,780,000（相當於今日EUR 486,000） 描述：張大千《龍女禮佛圖》 專家評論：請注意尺寸(90 x 44.6厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年10月11日，lot 3094 價格：HKD 945,000（相當於今日EUR 119,500） 描述：張大千《南無普賢菩薩》 專家評論：請注意尺寸(49.5 x 39.5厘米)。

A VERY LARGE AND EXTREMELY RARE CIZHOU PAINTED ARROW VASE, TOUHU, MING DYNASTYPublished: Michael B. Weisbrod, Inc., From Kilns of Kings and Commoners, 1990, New York, page 68, catalog number 27.Opinion: Except for a similar yet smaller example in the British Museum, the present lot seems to be the only surviving example of a group of Cizhou Touhu vases, probably made for Imperial use during the mid-15th to mid-16th century. The curator of the British Museum, Rebecca Harrison-Hall, comments on the rare vessel as follows: “Two earlier arrow vases of this shape, made of bronze, were excavated from a tomb (M.13) in Pinghu county, Sichuan province. Archaeologists believe that the tomb belonged to the father of the scholar Wang Xi (1405-52) or to one of Wang Xi's father's wives. A number of bronze and iron arrow vases have been collected by Professor Jessica Rawson for the British Museum for future publication. The style of figure painting relates closely to that of blue-and-white wares of the Jiajing period, which were made at Jingdezhen.”China, 15th-16th century. The compressed globular body supported on a low, thick foot and rising to a tall, slightly waisted neck, flanked at the top by two tubular arrow holes, the mouth and each of the arrow holes with thick lipped rims. The exterior densely decorated in brown and black painting above a cream-colored slip.Provenance: Warren E. Cox (1895-1977), New York, USA. A private collection in New York, USA, acquired from the above after 1977. A private collector in Toronto, Canada, acquired from the above. Michael B. Weisbrod, Inc., New York, acquired from the above in 1990. An important North American collection, acquired from the above. Warren Earle Cox (1895-1977) was an important New York antiques dealer and an authority on porcelain and pottery from around the world. His two-volume work “The Book of Pottery and Porcelain” became a standard reference in the field.Condition: Superb condition commensurate with size and age. Some old wear and firing flaws, including open bubbles, firing cracks, pitting, and dark spots, all as expected for Ming dynasty Cizhou wares. Minor glaze flaking along the rims and base with associated small touchups. Minuscule losses, nicks and shallow surface scratches.Weight: 6,386 gDimensions: Height 43.6 cmThe neck masterfully painted with shaped reserves enclosing sages dressed in loose-fitting robes seated amid trees, clouds, and lotus, all below scholar's rocks and plantain leaves as well as a band of ruyi-heads and above bands of key-fret and scroll. The body with a band of lotus petals at the shoulder, above a band of peony blossoms and scrolling vines, and a band of Buddhist lions striking different poses and divided by their ribboned brocade balls, with a scroll band above the foot. The arrow holes with floral diaper.Arrow vases were made for a drinking game called 'touhu', which had been popular among elite men and women from the Spring and Autumn period (770-476 BC). Players threw arrows into bronze or ceramic vases with narrow tubular necks at prescribed intervals, each player equidistant from the vase. The winner successfully projected all his arrows into the vase and the loser was forced to drink at each miss. Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Literature comparison: Compare a closely related Cizhou painted touhu, 40 cm high, dated to the Ming dynasty, circa 1522-1566, in the collection of the British Museum, museum number 1937,0716.74.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2017, lot 1174 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A painted Cizhou jar, Yuan dynasty Expert remark: Compare the related manner of painting showing similar figures within shaped reserves. Note, however, that the present arrow vase is much rarer, of more elaborate form and decoration, and slightly larger than this jar (35 cm). 明代罕見磁州窯彩繪投壺中國，十五至十六世紀。長直頸、兩側貫耳，圓鼓腹，足底露胎，刮痕粗顯，胎質堅硬，色呈淺灰。唇口、内壁和外壁罩白釉，色澤乳白微黃。外壁彩繪人物、神獸以及纏枝花卉等紋樣。 出版：Michael B. Weisbrod，Inc.，From Kilns of Kings and Commoners，1990年，紐約，頁68，畫冊第27號。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。

A Chinese porcelain export blue & white tureen & cover, Qing, 18th century, the domed cover with applied scroll handle, painted with a landscape, the tureen with rabbit head handles and painted with a pagoda beneath a pine tree opposite a fenced garden, on a raised foot, the tureen 30.5cm dia; and an export octagonal tureen and cover, the domed cover with pomegranate knop, painted with floral sprigs, the tureen with rabbit head handles and painted with a deer within a landscape of pine tree, peony, a lingzhi and dwelling, the tureen 28.5cm dia (all measurements excluding handles)The octagonal cover has been broken in two and with Eastern rivet repair. Otherwise all other items in good condition.

A Chinese elm altar table with everted ends, scroll frieze and simple square supports. 229 cm wide x 32 cm deep x 88 cm

Li Yimang (Chinese, 1903-1990). Hanging calligraphy scroll painting, ink on paper. Marked with two red artist's seals along the lower left.Huaxin; height: 31 3/4 in x width: 17 in. Overall; height: 60 1/2 in x width: 20 in.

Hu Jieqing (Chinese, 1905-2001). Hanging scroll painting depicting a cat chasing an insect, ink and color on paper. With an inscription and red artist's seal along the right edge.Huaxin; height: 26 1/4 in x width: 24 1/2 in. Overall; height: 64 in x width: 25 1/2 in.

Su Shi (Chinese, b. 1935). Calligraphy scroll painting, ink on paper. Signed and dated 1999.Huaxin; height: 16 1/2 in x width: 25 in. Overall; height: 57 in x width: 26 1/4 in.

Late Qing Chinese ancestor portrait, ink and color on paper, depicting three figures, two women and one man. The central male figure is dressed in a vibrant blue surcoat with a red and gold civil rank badge beneath a pi ling and ling tou collars, a court necklace, and a brimmed hat with a tall finial. The two women are dressed in matching red robes, elaborately decorated in gold with four clawed dragons. 19th century.Huaxin; height: 90 in x width: 35 1/2 in. Scroll; height: 66 in x width: 38 1/2 in.

Group of miscellaneous itemscomprising of: a silver vesta case, bearing marks for London, 1917, 5cm overall, 38g approx overall, a continental white metal snuff box, stamped 830 with other marks, 5.5cm overall, 43g approx overall, a engraved brass box, decorated with flowers, 6cm overall, a Chinese cutlery set and a cased pair of brass and enamel scroll weights, each measure 19.5cm x 3cm (5)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

IN THE MANNER OF ZHANG DA QIN: A LARGE CHINESE CALLIGRAPHIC SCROLL, with two red seal marks, image 120cm x 64cm.

Chinese hongmu vase stand, late 19th or early 20th Century, the dished top would accommodate a vase of no more than 18cm diameter, raised on five scroll supports, height 18.5cm

A Chinese black ink Calligraphy Scroll, Signed, in fitted case. (1)

A pair of attractive Chinese Famille Rose barrel shaped Garden Seats, each with pierced top with all-over pink floral design, each with two panels decorated with court figures and alternating pierced panels, each on a stand with five scroll legs (one leg missing) 74cms (29") overall. (2)

An exceptional pair of Irish Georgian period mahogany Side or Serving Tables, in the Chinese Chippendale style, each with a rectangular moulded top above an open fret cut frieze, raised on four square chamfered blind fret legs with C scroll angles, 84cms x 180cms (33" x 71"). (2) Provenance:  Oldtown, Naas, Co. Kildare

Antique Chinese watercolour scroll depicting Shoulou with crane, signed, in glazed gilt gilt frame, 116cm x 51cm overall, together with a Chinese watercolour of archers on horseback and two Chinese embroidered sleeves, in glazed frames. (4)Provenance: removed from Basts, GrundisburghGlazed frame, not examined out of the frame, stain to upper left, the scroll has previously been rolled and there is significant associated creases and partial horizontal splits. Minor time stains.

Near pair of Chinese hardwood brass mounted cabinets with an arrangement of drawers and cupboards, butterfly formed hinges, raised on scroll supports, 86.5cm wide x 41cm deep x 74cm highProvenance: removed from Basts, Grundisburgh

Antique Chinese altar table, with burr wood inset top and scroll ends over pierced knotwork frieze raised on moulded supports, 101cm wide x 38cm deep x 101cm high

Unusual George V silver table tobacco box in the form of a Chinese low table with engine turned decoration and applied scroll decoration, raised on four scroll feet, (London 1910), maker Percy Edwards LtdProvenance: property from the 6th Earl Howe of Gopsall Park and Penn House, thence by descent to a Lady of title

A CHINESE BRONZE CENSER IN THE FORM OF SHOU LAO ON A DEER, the seated figure forming the cover & holding a scroll in his right hand, the deer with front leg raised standing on a pierced rocky base, 11½” wide x 15” high x 7” deep (repair to one antler, tail detached).

A Chinese bronze figure of an Immortal, perhaps Lü Dongbin, possibly Yuan or Ming, the bearded figure holding a scroll, on a wooden base, height 22cm.

Early 20th Century cast brass Chinese elder, standing holding a staff in one hand, and scroll in the other, 28cm.

A Chinese scroll painting on paper of a female immortal and a male immortal riding a Buffalo amid clouds and birds, early 20th century, inscribed with seal marks upper left, image 77cm x 34.5cm**CONDITION REPORT**Minor spotting to the paper in places a few small creases to the paper otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese scroll painting on paper of a sage and a boy in a hut, early 20th century, inscribed and with seal mark upper right, image 31.5cm x 42.5cm**CONDITION REPORT**Some spotting to the paper all over a slight crease to the paper on the image, the brocade board is also with some spotting and occasional creasing otherwise in good conditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese scroll painting on silk of birds, rockwork and plants overhanging a pond, 19th century, inscribed and with seal marks upper left, image 164.5cm x 50.5cm**CONDITION REPORT**Image laid on paper and trimmed. Silk discoloured and with occasional patches of staining and some creasing to the surface, some slight chipping to the very edge, some patch repairs and repainting in areas, please see additional photos.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese scroll painting on silk of blackbirds perched on a blossoming branch, 19th century, inscribed and with two seals upper left, image 79cm x 35cm**CONDITION REPORT**Numerous surface losses to the paint, discolouration and occasional areas of staining, creasing to the silk in a number of areas, remounted with brocade borders.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Chinese School, early 21st century, scroll painting on paper of two tigers, inscribed upper left and with various seal marks to the image. image 92 cm x 173 cm**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese scroll painting on silk of a mother watching her children play in a garden, 19th century, inscribed and with a seal mark upper right, image 95cm x 21cm**CONDITION REPORT**Some occasional staining and discolouration to the silk ground, some creasing to the silk and lining paper of the painting, mounted with brocade borders which are a little worn and discolouredPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese scroll painting on paper of cranes perched in a pine tree, 19th century, inscribed upper left and with two seal marks, image 163.5cm x 44cm**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese scroll painting on silk of a sage in a mountainous river landscape, 18th/19th century, inscribed and with a seal mark to the sky, image 69.5cm x 44cm**CONDITION REPORT**Discolouration to the silk ground with some patch losses around the edge and in other small areas, some occasional staining noticeably to the upper part of the sky. later mounted on brown paper and with later brocade bordersPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A PAIR OF CHINESE HORSESHOE-BACK ARMCHAIRS The top rail with scroll carved terminals, the splat carved in shallow relief with panels of figures and butterflies, the rounded supports with further carved and pierced spandrels 97cm high x 58cm wide x 54cm deep Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A Chinese Archaic style two-handled bronze vessel, the rounded body with fluting between friezes decorated with stylised animals and fret, the handles as elephant heads, the bold square base decorated wave scroll, , 7.5" across handles.

Chinese Cloisonne Enamel Scroll Weights. Copper / Bronze metal with white enamel ground. A Bird perched on a rocky outcrop with various Flowers above. Box is in poor shape, bone fasteners, remnants of label - Peoples Republic of china. Box is 29cm long.中国景泰蓝珐琅卷轴。铜/青铜金属，白色珐琅地面。一只鸟栖息在岩石露头上，上面有各种花朵。盒子形状很差，有骨扣，标签残留 - 中华人民共和国。盒子长29厘米

A Chinese scroll painting, 48 x 220 cm

4 Chinese signed watercolours, scroll style wall hangings. Image 33cm x 129 cm, total 174 cm x 39.5cm.

Chinese hardwood set of quartetto tables, the panelled tops on square section supports with stretchers and square scroll brackets, largest H67 W48 D31 cm

Chinese School, ink scroll painting, mountain mists, signed with chop, image 89cm x 48cmSlight paper discolouration, a couple of very tiny fox marks and a few very light creases, generally good

A LATE 18th/EARLY 19th C. CHINESE SOUP TUREEN (BROKEN), COVER AND STAND PAINTED WITH SPRYS OF FLOWERS WITHIN IRON RED C-SCROLL RIM BANDS

THREE VARIOUS CHINESE PADLOCKS WITH KEYS, ONE WITH GILT SCROLL WORK, ANOTHER IN THE FORM OF A FISH AND THE LARGEST INSCRIBED. W 16cms.

A WOODEN BOXED 20th C. CHINESE SCROLL DEPICTING CRANES FLYING ABOVE A TEMPLE ROOF, AFTER THE ORIGINAL BY THE SONG EMPEROR HUIZHONG. 50 x 73cms.

A CHINESE SCROLL DEPICTING LINGZHIH FUNGUS GROWING AMONGST ROCKS BELOW A TREE. 35 x 37cms. TOGETHER WITH A CALLIGRAPHY SCROLL. 136 x 34cms.

Ten assorted vintage handbags, to include a 1920s pink floral velvet pouch with mirror to the base, a 1920s Chinese embroidered bag, a 1930s small bag with floral and scroll lamé pattern in brown, orange and gold and diamanté frame, a 1950s clear beaded bag, a 1930s fabric bag in an Art Deco pattern with tortoise shell type handle, a 1950s black and silver beaded clutch, and Edwardian beaded pouch, a 1920s woodland brocade, a Victorian black leather bag with key lock and a lizard skin bag. (10)

ORIENTAL CERAMICS, Chinese underglaze blue lidded ginger jar, ornate foliate scroll and water lily design, 4 character base mark, 22 cm height

A pair of rare 18th Century Chinese Queen Charlotte pattern tea bowls, Kangxi period, Qing dynasty, spirally gardrooned with alternating panels of scrolling foliate garlands in underglaze blue, iron red and puce enamels with gilt highlights, with iron red floral scroll around the rims, each bowl with pseudo cross-swords Meissen mark and 'S' in underglaze blue, probably Chinese replacement copies of English examples, copied in turn by Meissen, 6.5 cm diameter (2)

An 18th century Chinese famille rose plate painted in puce enamels with peonies within an iron red and gilt ring and conforming floral scroll border, Qianlong period (1736-95) Qing dynasty, 23 cm diameter to/w an 18th century Chinese famille rose floral painted tea bowl, 8.5 cm diameter (2) The plate with hairline extending from the rim, both items with wear to gilding and/or enamels

A pair of 18th century Chinese famille rose plates, Qianlong period (1736-95) Qing dynasty, painted in fencai polychrome enamels with a central montage within an iron red and gilt scroll octagonal frame draped with flowers, floral spray borders overlapping the yellow band around the rim, the reverse of each plate with three red lingzhi motif, 26 cm diameter (2)The first plate with hairline extending towards the centre from the rim, approx 6 cm, with stapled repair, the second plate with large areas or old restoration and rim chips, both with wear to enamels 

Three 18th century Chinese blue and white miniature vases, Kangxi period 1662-1722, Qing dynasty, comprising a lobed baluster vase painted in underglaze blue with elegant ladies and flower filled jardinieres within lotus leaf panels, geometric and scroll banding around the spreading foot and single character 'yu' mark to the base, 10 cm high, a square baluster vase painted with alternating landscape and floral designs 10.5 cm high and a baluster vase and domed cover painted with a continuous idyllic landscape, also in underglaze blue, 10.5 cm high (3)The lobed vase has restored  neck, baluster vase and cover with large rim chip and chip to cover, all with small chips/frits and other superficial surface wear commensurate with age 

A 19th century Chinese cloisonne 'longevity' bowl, the interior decorated in polychrome enamels with a spotted deer, crane, pine trees and prunus around a central roundel with a Koi carp amongst waves, the exterior with a continuous floral scroll design and the base with four-character Jing Tai Nian Zhi mark but late Qing dynasty, 22 cm diameter x 11 cm high Areas of the rim and footrim misshapen, the interior with heavy wear, fading and rust marks  

A Chinese qingbai scroll-handled vase in the Song dynasty style with everted flori-form rim, globular body and spreading foot, incised decoration with floral and foliate designs under the  icy-blue glaze, 20 cm high

A CARVED WOOD PEDESTAL OR JARDINIERE STAND Of square baluster form, the four sides decorated with butterflies, a phoenix, birds and other beasts, and a scroll with Chinese characters, on detachable square plinth base 98cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Chinese cloisonné panel, possibly Jiaqing, of rectangular form with shaped corners, decorated with a flock of geese, a number in flight against a blue ground sky detailed with crescent moon, others stood upon a grassy outcrop detailed with flowering vines, set within a foliate border with black ground, the underside with scroll design, H35cm W50cm

Yuan Yunyi (袁韻宜) (1920-2004) - Chrysanthemums, Republic of China scroll painting dated 1944, ink on paper attached to fabric-covered wooden rollers, a loose translation of the script indicates that this was gifted by Army Lieutenant General Du Yuming of the Kunming Defense Command to a member of the British Embassy as a gesture of loyalty and commemorates the annual Double Ninth / Chong Yang Festival, bearing four seal stamps and inscription label verso, image dimensions 94 x 39.5cm, full dimensions 223 x 51cmNotes: Tu Xi-ming (Du Yuming) (1905-1981) was a Kuomintang field commander controlling Nationalist forces against the Communists and Japanese. He won several important battles, but was relieved of command in 1947 and later captured and held as a POW by the Communists for a decade. His successful ‘re-education’ led him to live out the rest of his life with a position as an official historian in the Communist Government until his death in 1981.Mr Martin ran the Kunming branch of the Press Attache’s office of the British Embassy in China. This ostensibly focused on translating pieces from the Chinese press involving economics and politics, but was also part of a wider Allied network collecting intelligence and organising supplies through the region.Yuan Yunyi was a female painter and playwright for the Peking Opera. She was the second wife of artist Pang Xunqin, founding member of the Storm Society who aimed to bring a Parisian-style art world to China, and published a biography of him in 1995. Mid-20th century China was in a state of flux. The end of monarchical rule in 1912 was followed by the establishment of the Republic of China. However the power struggles continued between Nationalists and Communists, which led to civil war, and were exacerbated by the Japanese invasion and World War II. The British and Americans worked alongside the Nationalist (KMT) government under Chiang Kai-shek against the Communists and Japanese.The Chong Yang Festival (Double Ninth Festival) takes place on the auspicious date of the 9th day of the 9th month. Celebrations involve drinking chrysanthemum liqueur and exhibiting chrysanthemums.Numerous creases but no tears.Some staining but largely only to borders.

A quantity of assorted Chinese scroll paintings, various sizes, unframed.

A Chinese scroll picture.

An Ormolu mounted Chinese pink monochrome porcelain vase, 19th Century, the baluster vase with blue seal mark of Qianlong but a later, with open scroll neck and foot Rococo ormolu mounts, 41cm(H) Condition: Vase with rim reduced.  Damage to foot rim with ormolu pin mounts otherwise good.

A Chinese Porcelain Plate, Yongzheng/Qianlong, painted in famille rose enamels with flowering branches within a foliate and scroll border23cm diameterA Similar Plate, painted with birds amongst peony within panelled, diaper and foliate borders23cm diameterA Similar Plate, painted with peony and bamboo within panelled, diaper and foliate borders23cm diameterA Pair of Moulded Saucers, Kangxi, painted in underglaze blue with foliageA Similar Saucer (6)2nd plate with star crack to base. 3rd plate broken in half and restored. All with typical minor flakes, wear and scratching.