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‘CAT AND BUTTERFLY’, LINGMAO XIDIE, BY XU BEIHONG (1895-1953)Ink and watercolors on paper. Depicting a cat perched on a rocky outpost trying to catch a butterfly with its right forepaw, blades of grass in the background.Inscriptions: Signed Beihong. Dated renwu year (corresponding to 1942). Inscribed for Mr. Yukui and Ms. Qianru. One seal, Donghai wangsun (by Xu Beihong). One collector’s seal to lower right, Bojiao suo cang (Collection of Bojiao).Superscriptions: Poetry hall signed Guan Zhenmin and inscribed Lingmao xidie (cat playing with butterflies), dated to the spring of the year of Bingxu (corresponding to 1947). Two seals, Zhenmin zhi bo and Lütian luzhu.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘25’ to the back.Condition: Excellent condition with minor wear, little soiling and creasing, some foxing.Dimensions: Size 98.4 x 40.8 cm (the painting) and 29.6 x 40.8 cm (the poetry hall)Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings and in the end became a well-known figure in the world due to his contributions in the art industry. After the founding of the People's Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the China Artists Association.Xu Beihong was a master of both oils and Chinese ink. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasizes the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one painter most responsible for the direction taken in the modern Chinese Art World.Auction result comparison: Compare with a closely related work by the same artist at China Guardian on 18 December 2017, lot 65, sold for EUR 64,045 (CNY 500,000), and another at Christie’s Hong Kong in Fine Modern Chinese Paintings on 28 May 2007, lot 1107, sold for HKD 504,000.徐悲鴻(1895-1953)《靈貓戯蝶》 紙本設色。一隻貓於山石之上戲蝶的情景，將貓的頑皮活潑和機警的表情表達得淋漓盡致。 款識：玉魁先生，倩如女士共賞，悲鴻壬午。鈐印：東海王孫詩堂：靈貓戲蝶。丙戌小春月，玉魁先生雅屬並正，管震民時年六十又七同客檳榔嶼。鈐印：震民之缽，綠天廬主 來源：知名繪畫私人收藏，背面藏品標簽上可見 ‘25’ 。 品相：狀況極佳，磨損少，些微和起皺。 尺寸：畫98.4 x 40.8 厘米；詩堂29.6 x 40.8 厘米 拍賣結果比較：同一位藝術家相似作品，售于中國嘉德2017年12月18日, lot 65, 售價EUR 64,045 (CNY 500,000)；另一件相似作品，售于香港佳士得Fine Modern Chinese Paintings 拍場2007年5月28日，lot 1107, 售價HKD 504,000.

‘MOUNTAIN LANDSCAPE’ AND CALLIGRAPHY BY PU TONG (1877-1952)Ink, gold foil, and watercolors on paper. The painting depicting a house with three figures, a family of husband, wife, and child, beside a cluster of large trees in front of a vast mountain landscape. The calligraphy with a poem originally written by Zhao Mengfu (1254-1322).Inscriptions: To the left of the poem, signed ‘Pu Tong’ and square seal ‘Pu Tong He yin’. Top right of the painting, signed ‘Pu Tong’ and square seal ‘Pu Tong He yin’.Provenance: Italian private collection. Condition: Excellent condition with minor wear, creasing, and little soiling.Dimensions: Size 116 x 57 cmAuction result comparison: For a fan painting by the same artist, see Sotheby’s Hong Kong in Fine Chinese Paintings on 8 October 2020, lot 3011, sold for HKD 52,920.溥侗(1877-1952)《山水》紙本設色，金箔。這幅畫描繪了溪邊一座小屋，屋裏有三個人物，一對夫妻和一個孩子。旁邊是一棵大樹，周圍是廣闊的山水景觀。上方的文字原出于趙孟頫 (1254-1322)。 款識：鏡心 溥侗；鈴印：溥侗和印。書法 溥侗；鈴印：溥侗和印 來源：意大利私人收藏 品相：狀況極佳，小磨損，小壓痕，輕微污漬。 尺寸：116 x 57 厘米 拍賣結果比較：一幅溥侗的扇面見香港蘇富比Fine Chinese Paintings on 8 October 2020拍場 lot 3011, 售價HKD 52,920.

AN ALBUM OF ‘QI BAISHI’ WOODBLOCK PRINTS BY RONGBAOZHAI, DATED 1955China, Beijing. Two volumes, containing approximately 40 leaves each, with a brocade silk case. The case and each volume with a label bearing a seal and inscription, splashed with gold foil.Inscriptions: To the case and each volume on the cover, Beijing Rongbaozhai xinjishi jianpu (‘Beijing Rongbaozhai’s New Letter Paper Album’) and Jiushiyisui Baishi laoren ti (‘Written by Qi Baishi at the age of 91’), dated 1955. One seal.Provenance: French private collection. Old paper label with typewritten English inscription, ’80-2 A Collection of Jung Pao Chai’s Shihchien’. Condition: One of the fasteners has come apart, otherwise in excellent condition with minor wear, soiling, and creasing, the case cover slightly bent.Dimensions: Size 31.5 x 22.3 x 3 cmAuction result comparison: Compare with a closely related album, with the same dating and inscription on the cover, at Bonhams Sydney in Chinese Paintings on 2 December 2020, lot 46, sold for AUD 3,936.1955年《北京榮寶齋新記詩箋譜》中國，北京。兩冊，木版水印，灑金，每卷含40頁，緞面函裝。 封面：北京榮寶齋新記詩箋譜，九十一嵗白石老人題；鈴印：白石翁 來源：法國私人收藏。紙標簽上英語書寫“80-2 A Collection of Jung Pao Chai’s Shihchien”。 品相：其中一本裝幀鬆開，除此之外處於極佳狀態，輕微磨損，污漬和摺痕，緞面封面蓋略微彎曲。 尺寸：31.5 x 22.3 x 3 厘米 拍賣結果比較：一件同年箋譜見悉尼邦瀚斯Chinese Paintings 拍場2020年12月2日lot 46, 售價AUD $3,936.

‘PEONIES AND BIRDS’ BY ZHAO SHAO’ANG (1905-1988)Ink and watercolors on paper. Superbly painted with two small birds, one with the beak open as it caws, perched on a branch next to flowering peonies, executed with bold and vivid brushstrokes and an expressive composition of warm colors. Matted and framed behind glass.Inscriptions: Lower right, signed ‘Shao’ang’. One seal, ‘Zhao Shao’ang xi’.Provenance: Collection of Dr. Lubor Hájek (1921-2000) and thence by descent in the same family. A Czech private collection, acquired from the above in 2010. Dr. Lubor Hájek was a Czech art historian. In 1952 he founded the Oriental Art collection of the National Gallery Prague, which he ran until 1986.Condition: Excellent condition with minor wear and traces of use.Dimensions: Size incl. frame 56.2 x 75.3 cm, Image size 45 x 64 cmZhao Shao'ang (1905-1988) is considered one of the Four Great Masters of the Lingnan School. In the late 19th century, scholars in China broke through entrenched conservative thought schools and began to create and promote new styles of art. This not only cultivated ideological progress within social elites but also gave birth to the eclectic fusion of the Han Chinese and Western styles, as advocated by the Lingnan School, which today is considered - along with the Beijing and Shanghai schools - as one of the three pillars of modern Chinese painting.Auction result comparison: Compare with a related hanging scroll of the same subject by the same artist (45 x 96 cm) at Christie’s Hong Kong in Fine Chinese Modern and Contemporary Ink Paintings on 1 December 2020, lot 1058, sold for HKD 275,000, and a closely related painting of the same subject by the same artist (58.5 x 93.8 cm) at Sotheby’s Hong Kong in Fine Chinese Paintings on 3 April 2012, lot 1175, sold for HKD 860,000.趙少昂 (1905-1988) 《 牡丹富貴》鏡心紙本設色。富貴牡丹圖，一對小鳥站于枝頭，大胆生动的笔触，色彩純净艷麗卻不俗，鏡心。装在玻璃后面。 款識：右下角落款 “少昂“；一枚鈴印”趙少昂鉩“ 來源：Lubor Hájek博士（1921-2000）收藏，自此在同一家族收藏。捷克的私人收藏，于2010年从上述收藏購得。Lubor Hájek博士是捷克艺术史学家。 1952年，他创立了布拉格国家美术馆的东方艺术收藏，一直到1986年。 圖片：Dr. Lubor Hájek (1921-2000) 1978年在捷克布拉斯拉夫 品相：状况极佳，有轻微磨损和使用痕迹。 尺寸：含框 56.2 x 75.3 厘米, 畫面45 x 64 厘米 拍賣結果：一件趙少昂同一主題的挂軸 (45 x 96 厘米) 見香港佳士得Fine Chinese Modern and Contemporary Ink Paintings拍場2020年12月1日 lot 1058, 售價HKD 275,000, ；另一幅 (58.5 x 93.8 厘米) 見香港蘇富比Fine Chinese Paintings 拍場2012年4月3 日 lot 1175, 售價HKD 860,000.

AN INSCRIBED WHITE JADE PLAQUE, LATE QING TO REPUBLICChina, 1850-1950. Of flattened rectangular form with rounded corners, neatly carved and incised to each side in shallow relief with an oval cartouche enclosing a two-character seal surrounded by a sinuously coiled chilong with multifurcated tail and archaistic designs.Inscriptions: Within oval cartouches, one side, ‘Shen Pin (Superb Rank)’, the other, ‘Wen Wan (Scholarly Plaything)’.Provenance: A Spanish private collection, acquired between 1998 and 2002. The previous owners have been collecting Chinese works of art for more than 30 years, via their family business in Asia.Condition: Excellent condition with minor wear.Weight: 116.2 gDimensions: Size 9.7 x 5.8 cm清末民初神獸紋白玉佩中國，1850-1950年。圓角的扁平長方形，精美浮雕盤旋螭龍紋，多叉的尾巴，古樸的造型。兩面開光内分別可見“神品”與“文玩”。 來源：西班牙的私人收藏，於1998至2002年之間購得。之前的藏家通過其在亞洲的家族生來收藏中國藝術品已超過30多年。 品相：狀況極佳，小磨損。 重量：116.2 克 尺寸：9.7 x 5.8 厘米

AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。

A WHITE JADE ‘FUGUI’ PLAQUE, MID-QING TO REPUBLICChina, 1750-1949. Of rectangular form, finely carved to one side in relief with two sinuously coiled chilong with bifurcated tails chasing a flaming pearl, the other side inscribed with a two-character seal mark, all between a ruyi-scroll design. The translucent and almost transparent stone of an even white color.Inscription: To one side, ‘Fugui (Wealth and Fame)’.Provenance: From a private collection in Southwestern France.Condition: Excellent condition with minor wear.Weight: 57.3 gDimensions: Size 6.6 x 4.6 cmPierced at the top for suspension as a pendant, with black string and a glass bead in imitation of coral.Auction result comparison: Compare with a related plaque, dated to the 18th century, also with a seal mark to one side, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1162, sold for GBP 16,250.清中至民國白玉富貴佩飾中國，1750-1949年。折角長方形，一面浮雕兩隻盤旋螭龍，分叉的尾巴，追逐著一顆火珠，另一面刻著“富貴”二字。幾乎透明的白色玉石。來源：法國南部私人收藏 品相：狀況極佳，小磨損。重量：57.3 克 尺寸：6.6 x 4.6 厘米 頂部中央穿孔，黑色絡子，挂著仿珊瑚玻璃珠。拍賣結果比較：一件相近玉佩，十八世紀, 見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2012年5月18日 lot 1162, 售價GBP 16,250.

Antique Chinese bronze censer, seal mark to underside. 1320 grams. 17 cm diameter x 11 cm high. UK Postage £20.

Chinese carved soapstone figural seal. 52 mm high. UK Postage £10.

A GOOD PAIR OF CHINESE REPUBLIC FAMILLE ROSE PORCELAIN PLATES, each decorated with figures upon horseback in landscapes, with ruyi borders, the base with an iron red seal mark to base, 33cm.

A GOOD CHINESE PAINTED SCROLL OF TWO LADIES, both seated in a landscape scene playing musical instrument, the lower section with a signature and seal mark,

A VERY LARGE CHINESE PAINTED SCROLL OF BIRDS AND FLORA, with an upper let band of calligraphy and seal to the right section.

A CHINESE PAINTED SCROLL OF EAGLES UPON ROCKY OUTCROPS, the birds seated upon rocks in a landscape, seal stamp to the lower left section, the right side with calligraphy,

A PAIR OF CHINESE DOUCAI DECORATED PORCELAIN BOWLS, with roundel decoration depicting formal floral motif, the bases with seal marks, 8.5cm.

A CHINESE FAMIILE ROSE PORCELAIN HU SHAPED TWIN HANDLE IMMORTAL VASE, decorated with scene of immortal figures in landscapes, upon deer, holding funghi of immortality, peach branches, ruyi and scrolls, with surrounding cloud decoration, with twin rectangular form handles, the base with an iron red qianlong seal mark, 26cm x 17cm

A CHINESE BRONZE CARP FORMED TEA POT, in the form of a flipping fish, with a cover and small carp finial, the base impressed with a six character seal mark, 23cm.

A CHINESE BLUE, WHITE & IRON RED PORCELAIN PLATE, decorated with native waterside landscape views and mountains, with butterfly borders, the underside with a seal mark, 23cm.

A CHINESE 19TH / 20TH CENTURY CELADON METAL MOUNTED BOWL AND COVER, the bowl with a celadon ground with decoration depicting butterflies and flora, with metal mounts, seal marks, later gilt mounted, (AF) 12cm high x 13cm wide

A CHINESE METAL & JADE TEAPOT, the teapot body formed from white metal and carved with scenes of shou lao and deer, with a jade handle, finial and spout, the underside with a seal mark, 8cm high x 14cm wide.

A CHINESE BLUE & WHITE PORCELAIN SCHOLARS WAX SEAL, the body decorated with landscape views and calligraphy, the underside with characters, 12cm high.

A CHINESE TURQUOISE GROUND PORCELAIN GINGER JAR, with raised relief decoration of a crane amongst lotus sprays, the base with a pressed seal mark, 16cm high x 18cm wide.

A 19TH / 20TH CENTURY CHINESE KANGXI STYLE PORCELAIN RIBBED VASE AND COVER, With underglaze blue decoration and areas of later painted fruits and foliage, the bottom with iron red seal mark, 25cm high.

A CHINESE FAMILLE VERTE PORCELAIN BOWL & COVER, decorated with peach fruits, and figures and children seated, surrounded with precious object decoration,, with four moulded handles to the side, the cover with the finial of a spider, the base with a blue seal mark to base, 19cm diameter.

4 X 19TH CENTURY CHINESE CELADON FAMILLE ROSE PORCELAIN PLATES, one larger decorated with birds and butterfly amongst native flora (AF) 26cm, the three smaller decorated in similar design but two with figures, with borders of precious objects, each with a blue seal mark, 19cm.

A Chinese blue and white charger, geometric reticulated frieze, decorated with a mountainous river landscape with fishing boats, Qianlong blue seal mark, diameter 31cmCondition: good overall original condition

A Chinese blue and white charger, Greek key border containing scrolling foliage, blue seal Qianlong seal mark, diameter 32cmCondition: good overall original condition 

A pair of Chinese Republic 20thC porcelain vases, famille rose decorated with reserves of Ho Ho birds and flowers, moulded with lizards and lion dogs, against a turquoise ground sgraffito decorated with flowers, red six character seal mark, 26cm high.

A Chinese Republic Cantonese famille rose oval porcelain dish, painted with flowers, butterflies, and Buddhistic symbols, red four character seal mark, 29cm wide.

An antique Chinese seal of large size, mounted with Dog of Fo, a miniature Antique Chinese brass censor and a green Chinese hardstone frog (3)Condition report: seal - numerous chips to edgesfrog - worn and scratchedcensor - one arm extremely bent, areas of oxidisation and pitting

A Vintage Fitted Jewellery Box Containing Carved Chinese Stone Seal Decorated with Blossom, Gold Plated Watch C.1940 by Tempo, Blue Leather Ring Box, Sugar Tongs etc

A Pair of 20th Century Chinese Porcelain Wucai Tea Bowls Decorated with Baskets of Flowers, Fruit and Precious Items Among Swags and Inner Bowl Bases with Bats Amongst Clouds, Red Seal Mark to Base, 10cm Diameter and 4.5cm high

Depicting two Chinese ladies in garden holding fan and flowers with Chinese text and seal marks, 40 cm. in diameter.

Chinese text decor, marked with incised seal mark on bottom and inside cover, 12 cm. tall, chip on cover.

Depicting Chinese figures in garden, 13 cm. tall, marked with seal marks and remnants of wax seal.

Floral decor with Chinese text and seal mark, 26 cm. long.

Depicting landscape scene with Chinese text and seal mark, 55 x 32 cm.

Brush pot decorated with Chinese text and seal marks with Qianlong mark 11 cm. tall, cup decorated with bird of paradise.

Depicting gathering of Chinese figures in garden, marked with seal mark, 16 cm. in diameter.

Polychrome and gilt enamels, 2 sides decorated with Chinese figures and Chinese text with seal mark, 33 cm. tall.

Depicting landscape with Chinese text and seal marks, 25 cm. wide x 38 cm. tall.

A decorative pair of antique 19th Century Chinese Oriental heavy bronze vases with each having flared rims with cast dragon chasing the flaming pearl decoration to the waisted necks. Bulbous bodies below with further engraved and repousse decoration depicting cranes and deers amongst woodlands. Each raised lozenges shaped base. Six character Zhaunshu Seal Script mark to bases. Each measures approx 25cm x 14cm x 12cm. Repair to rim.  

Two 19th century Chinese dishes, seal marks and another Chinese blue and white dish (3)

A pair of 18th century Chinese wine ewers with covers and similar hexagonal jar and cover, originally blue and white with later clobbered decoration, seal marks in red, jar 26.5cm (3) . Vase re glued around the neck and missing the knop on the cover. Knops on the ewers with repair. Fritting throughout.

Paar Famille-Rose-Vasen, China, 20.Jh. Porzellan, polychrom bemalt, Gegenstücke, kugelförmiger Korpus mit hohem Hals und ausgestelltem Rand, auf der Wandung umlaufende, felsige Seenlandschaft sowie Schriftzeichen mit Siegelmarken, begrenzt von Ornamentfriesen und Floraldekor in rosafarbenem Fond, im Boden Siegelmarke, H 43,5cm Pair of famile-rose-vases, China, 20th C. porcelain, painted in colours, decorated with lake landscape and chinese characters, seal mark to base, H 43,5cm

Chinese Republic porcelain cup decorated with figures in garden, red seal to base H7.5cm and a pair of 18th century Chinese famille verte hexagonal vases (a/f) (3) - Condition Report

A Chinese Bottleneck Large Vase decorated with Exotic Birds amongst Foliage, red seal mark to base, 54 cms tall

A Chinese Underglaze Blue Decorated Bottleneck Vase, blue seal mark to base, 55 cms tall

A Pair of Chinese Large Bottleneck Vases decorated in polychrome enamels with figures amongst landscapes and script, red seal marks to bases, 54 cms tall

A 19th Century Chinese Porcelain Gourd Vase of Triform decorated in underglaze blue with serpents, blue seal mark to base 28cm tall

A Chinese, Peking yellow glass, circular incense box. Carved with a five claw dragon and pearl amidst stylized clouds. Bearing a four-character Qianlong seal mark to the base. 9cm diamCondition report: No apparent major defects.

A Chinese scroll, wall hanging, painted with a white-headed sea eagle scrutinizing something that is out of our view, from its vantage point in an oriental pine tree. Bearing a signature for Huang Tie Cheng and mark in red seal. 187cm x 62cmCondition report: A small puncture to the fabric of the scroll within the painted area.

A pair of Chinese celadon mallet shape vases, each with a slightly flared rim on a slender neck terminating to a raised ring on the shoulders of the waisted and tapering body, pseudo six character underglaze Qianlong seal mark, 24cm & 24.5cm highCondition report: One vase has a small anomaly on the shoulder but, being glazed, this is a fault caused at production firing. Otherwise both vases are in good condition with no obvious post production faults visible.

A large Chinese blanc de Chine figure of Guanyin, 20th century, modelled seated in lalitasana, dressed in long robes and holding a rui sceptre, her left hand close to shuni mudra, her left foot resting upon a carp amongst waves and pearls, impressed pseudo seal marks to the rear, a gourd incised 'Dehua' and a seal mark for 'Ho Yin Chao Tsung', 37.5cmCondition report: No obvious faults.

A Chinese monochrome vase, 20th century, with low relief flowers growing from leafy branches over the ovoid body and neck, the foot with gadroons, pseudo six character Qianlong seal mark,43cmCondition report: No chips, cracks or repair. Some surface pitting visible in places.

A Chinese Qing dynasty copper blue glazed circular porcelain bowl with shaped and raised barbed rim and raised on stylized elephant head supports. Bearing an apocryphal mark for impressed mark in seal for Qianlong to the underside. 19.5cm diam.Condition report: No apparent major defects.

A Chinese porcelain bottle vase, decorated in coloured enamels with flowers and butterflies, four character Qianlong seal mark to base, 20thC. 19cm high.

A Chinese blue and white plate, profusely decorated with figures before trees, with a double line border, Xangxi style seal mark beneath, but later, 31cm diameter.

A Chinese Yi Xing teapot with figural decorated handle and script decorated main body, raised on a circular foot, bearing script seal mark to base, 18 cm high, on a carved wooden base, together with a pewter mounted pottery teapot inscribed to base "Tung King Shun Factory Weihaiwei", 9.5 cm high, on a carved hardwood stand and a chocolate patinated bronze miniature teapot, 7.5 cm high

A Chinese carved horn scholars seal mounted with a bird resting on the back of a lion dog, H. 7cm. Condition good.

A Chinese oval porcelain dish with a panel of text in enamel floral surround, length 18cm, a porcelain plate with design of a European huntsman, diameter 23cm, and a small porcelain brush pot with painted seal mark, height 8.5cm (3) Oval dish is perfect, huntsman design plate has a star crack under the base, brush pot is perfect