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Lot 564
THREE CHINESE FAMILLE ROSE WALL VASES 19TH CENTURY Comprising: a pair decorated with butterflies amongst finger citron and various blossoming flowers, the third painted with an official greeting a boy carrying a vase of flowers as a lady fans him, with flowerheads reserved on a blue ground to the edges, each with impressed seal wax to the reverse, 15.3cm max. (3) Provenance: from a European private collection.
Lot 626
A MASSIVE CHINESE FAMILLE VERTE POWDER BLUE-GROUND OVOID VASE 19TH CENTURY Painted with four large cartouches enclosing scenes of figures in gardens and pavilions, one with a seal mark in gilt, all reserved on a blue ground decorated in gilt with butterflies in flight amidst various floral sprays, together with a wood cover pierced with a shou medallion, with an old paper label to the side, 39cm dia. (2) Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent. Sir Thomas Jackson, 1st Baronet (1841-1915) was the third Chief Manager of the Hongkong and Shanghai Banking Corporation and his influence on the company was so notable that he became known as the bank's 'Great Architect'. He was also one of the founding members of the Hong Kong Jockey Club. Born in County Leitrim, Ireland, Jackson joined the Belfast branch of the Bank of Ireland at age nineteen before accepting a position in East Asia with Agra and Masterman's Bank five years later. In 1866, he joined HSBC, which had only been established the previous year. Jackson was quickly promoted to the position of an accountant in Shanghai, and he later spent several years working in Japan as the manager of the bank's Yokohama office. At the early age of 35, he was appointed as Chief Manager of HSBC and, under his direction, the company became the leading bank in Asia. After a successful career in Hong Kong, Jackson returned to the UK in 1891, taking charge of the company's office in London. He was knighted in 1899 and three years later he retired and received the additional title of Baronet. In 1906, a statue of Sir Thomas Jackson was unveiled in recognition of his services both to HSBC and Hong Kong. His statue still stands in Statue Square in front of the bank's Hong Kong headquarters. Jackson Road in Hong Kong was also named after him. His collection comes from Gilford Castle in County Down, Northern Ireland, which was purchased by James Wright, husband of Sir Thomas Jackson's niece Mary Menary.
Lot 631
A CHINESE BLUE AND WHITE FACETED BOTTLE VASE AND TWO PAIRS OF DISHES 18TH AND 19TH CENTURY The vase painted with scenes of a lady seated at a table, with potted flowers and precious objects to the other facets, the larger pair of dishes glazed yellow and with four character seal marks in black enamel to the bases, each of the smaller dishes decorated to the interior with floral sprays and roundels enclosing flowers against a ruby ground, with Ju Ren Tang hall marks to the bases, 29cm max. (5)
Lot 642
THREE CHINESE FAMILLE ROSE AND GILT-DECORATED WALL VASES 19TH CENTURY One gourd-shaped and painted with a scholar and boys beneath chrysanthemum, with a wax seal to the reverse, another decorated with an Immortal and a deer, the panels surrounded by simple red flowers and foliage in underglaze blue, the third painted with figures in a mountainous dwelling beneath a small landscape panel, all reserved on a blue chicken-skin ground, together with wood mounts, 19cm max. (6) Provenance: from a European private collection.
Lot 659
A SMALL CHINESE PORCELAIN 'LANDSCAPE' PLAQUE REPUBLIC PERIOD DATED 1919 Painted with figures boating down a river on sampans, with a solitary figure standing on a cliff above a waterfall looking over the mountainous landscape, the top left with a poem and a seal mark, dated winter of the jiwei year corresponding to 1919, all contained in a wood frame, 17cm x 11cm. To be offered without reserve.
Lot 682
A CHINESE BLUE AND WHITE MINIATURE SQUARE-SECTION SEAL PASTE BOX AND COVER LATE QING DYNASTY The cover finely painted with figures fishing, reading and engaged in agricultural work in a rocky landscape amidst pine and wutong trees, the sides of the cover and box decorated with diaper, together with a wood stand, 3.5cm. (3)
Lot 755
TWO CHINESE POLYCHROME FIGURES OF LUOHANS QIANLONG 1736-95 Each depicted seated holding an alms bowl in one hand upon his raised right knee, wearing gilt-decorated robes, each with a single shoe before him and one with a fly whisk by his side, their laughing faces detailed with wrinkles and teeth, the base of each impressed with a seal mark reading Hu Lian Xing ji, each raised on an ormolu base cast with lappets, 12cm high overall. (2) Provenance: formerly the collection of William Ward, 4th Earl of Dudley. Cf. W R Sargent, Treasures of Chinese Export Ceramics from the Peabody Essex Museum, pp.456-7, no.253 for a comparable pair.
Lot 330
A fine Chinese bronze and inlaid Gu-shaped Vessel, 17th Century, for the Islamic market, the flared rim with silver inlaid keyfret band, above a narrow waist with two ribbed collars, and flared base with raised foot, the body inlaid in gold with four registers of different arabic script (two on silver inlaid diaper cartouches) as follows:-La ilaha illa'l-lah (There is no god but God) and Yaumu'l-din (The day of Judgement)The base with crisp 12-character mark in square seal script reading Xuande Ernian Zhou Xijia Xinhuang Zhuren Zhi (Made in the Second year of Xuande, by Zhou Xijia, Master of Xinhaing). 11 7/8 in HFootnote: Compare to a 17th Century bronze Yi (water ewer) and bronze Kuei (censer) in the Victoria and Albert Museum (FE.109 - 1975 and FE.110 - 1975) similarly inlaid in gold and silver with inscriptions and with Xuande marks. The scripts are Kufic and possibly Sini.
Lot 253
A group of Chinese porcelain comprising a pair of flared vases decorated in over enamels with birds amongst flowering trees height 30cm & 31cm, two blue and white spill vases height 26cm & 30cm both bearing four character Kangxi marks, a crackle glaze vase with lion mask handles and decorated with terrace scene with archaic style seal to base height 24cm, another crackle glaze vase decorated with script and bearing double ring mark to base height 20.5cm, a Ming blanc de chine style vase height 15.5cm and two 19th century export dishes diam. 23cm. Condition - generally very good, things to note include hairline to one dish and the other with minor nibbles to glaze, hairline to side of smaller blue and white vase, no further damage, general wear to include imperfections.
Lot 308
A LARGE JAPANESE CLOISONNE ENAMEL PLAQUE IN THE STYLE OF ANDO JUBEI (1876-1953) MEIJI PERIOD, 19TH/20TH CENTURY Depicting a full moon on a dove-grey ground appearing from behind clouds, the scene subtly rendered in musen shippo (wireless) enamels, signed and with two red seal marks for Maruyama Okyo (1735-1795), the reverse with a pattern of V-shaped wires, 52cm x 36.6cm. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. This large plaque features the complex technique of musen shippo or wireless cloisonn? enamels. Developed by the artist Namikawa Sosuke and his Shippo Kaisha studio in the late 1870s, the wireless technique allowed artists to create soft pictorial effects such as this diaphanous night scene. Many other artists, including those of Ando Jubei's studio, copied this style of cloisonn? by using a variety of methods. One approach was to temporarily attach the wires and remove them once the enamel powders had been applied before firing. Another method was to hide wires under subsequent layers, and a third was to dissolve the wires with sulfuric acid and fill the gaps with a final layer. In all cases the enamels had to be ground flat several times to create a smooth surface for the next layer to be applied; this would have been a time-consuming and painstaking process. Cloisonn? makers only rarely created grey monochromatic pieces and even fewer featured designs from Edo-period painters. Although this plaque doesn't bear a mark for the cloisonn? maker, it features the signature of the famous painter Maruyama Okyo (1735-1795). Okyo is commonly regarded as one of the greatest artists of 18th century Japan. Coming from a humble farming background, he made his way to Kyoto where he found work painting faces on dolls. Okyo then discovered optical devices featuring pictures with a European perspective, and from there grew his interest for Western paintings. His style developed to offer a unique marriage of Japanese aesthetics, traditional Chinese influence and Western naturalism. Okyo founded the influential Maruyama School of painting, encouraging his students to sketch from life, himself drawing nude figures in varying poses and superimposing clothes afterwards. His art grew enormously popular with the public and the Imperial court from which he would get many important commissions.
Lot 1
ATTRIBUTED TO XU BEIHONG LANDSCAPE Three Chinese fan paintings, one attributed to Xu Beihong, inscribed and signed Beihong with one artist's seal, another attributed to Pan Tianshou, painted with an aquatic bird, dated and signed Pan Tianshou, the third inscribed, signed by Wang Yu, dated yi mao year, 52cm across. (3)徐悲鴻（傳）及潘天壽（傳）等三件 設色紙本 扇面
Lot 11
CHEN BANDING (1876-1970) CHRYSANTHEMUM AND DOUBLE GOURDS A Chinese scroll painting, ink and colour on paper, inscribed and signed by Chen Banding, with three artist's seals and one illegible seal, dated beginning of autumn of the din you year (1957), 93cm x 42cm. Provenance: an English private collection, presented by the Chinese Medical Association on 13th August 1957. A visit had previously been paid by the visiting medical party to the artist's studio.陳半丁 傲菊葫蘆 設色紙本 镜面 一九五七年作款識：菊花能傲霜，葫蘆賣何藥。丁酉立秋，半丁老人八十有二。鈐印：陳年之印、年八十後作、不執一法。來源：英國私人收藏，畫家本人交予中華醫學會，由其轉送於現藏家。
Lot 112
A CHINESE WHITE JADE SQUARE SEAL PROBABLY YUAN DYNASTY The plain base surmounted by a dragon, the mythical beast crouching as if ready to pounce, its face carved with its eyes bulging and teeth bared, with its finely incised mane trailing down its arched back, the stone an even tone with minor russet striations, the underside with a single large character, 6cm.元（可能） 白玉雕龍璽
Lot 170
A CHINESE FAMILLE ROSE 'ZHONG KUI JIA MEI' VASE YONGZHENG 1723-35 The exterior decorated in coloured enamels with Zhong Kui on horseback taking his sister through a rocky landscape to be married to his friend Du Ping, with attendants around them, the waisted neck painted with Shoulao holding a peach and two seal marks, 43.2cm. 清雍正 粉彩鐘馗嫁妹故事紋瓶
Lot 18
AFTER MA YUANYU (19TH CENTURY) LANDSCAPE A Chinese scroll painting, ink and colour on paper, inscribed and signed Ma Yuanyu, with one artist's seal and three collectors' seals, 112cm x 39cm.馬元馭（傳） 山水 水墨紙本 立軸署簽：馬元馭山水，姚江邵氏珍藏。款識：不做好景，不使雋筆。清微淡遠，幽香沉深。端畫品經畫學術，畫道余聞斯語，未見其人澁見陸日為立幅。偶一效之，終嫌生澀，愧愧。棲霞馬元馭寫。 鈐印：姚江邵氏珍藏、馬元馭印、見大堂、柏林歡喜。
Lot 20
HE CHONG (1807-1883) BIRDS PAYING HOMMAGE TO THEIR KING Three Chinese paintings, ink and colour on silk, one inscribed and signed Dan Shan, all bearing an artist's seal, 71cm x 34cm (3). Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915) and thence by descent. Sir Thomas Jackson, 1st Baronet (1841-1915) was the third Chief Manager of the Hongkong and Shanghai Banking Corporation and his influence on the company was so notable that he became known as the bank's 'Great Architect'. He was also one of the founding members of the Hong Kong Jockey Club. Born in County Leitrim, Ireland, Jackson joined the Belfast branch of the Bank of Ireland at age nineteen before accepting a position in East Asia with Agra and Masterman's Bank five years later. In 1866, he joined HSBC, which had only been established the previous year. Jackson was quickly promoted to the position of an accountant in Shanghai, and he later spent several years working in Japan as the manager of the bank's Yokohama office. At the early age of 35, he was appointed as Chief Manager of HSBC and, under his direction, the company became the leading bank in Asia. After a successful career in Hong Kong, Jackson returned to the UK in 1891, taking charge of the company's office in London. He was knighted in 1899 and three years later he retired and received the additional title of Baronet. In 1906, a statue of Sir Thomas Jackson was unveiled in recognition of his services both to HSBC and Hong Kong. His statue still stands in Statue Square in front of the bank's Hong Kong headquarters. Jackson Road in Hong Kong was also named after him. His collection comes from Gilford Castle in County Down, Northern Ireland, which was purchased by James Wright, husband of Sir Thomas Jackson's niece Mary Menary.何翀（1807-1883） 百鳥朝鳳 設色絹本 鏡框三件款識：百鳥朝鳳，仿新羅山人筆於竹清在壽雲齋，丹山。鈐印：何翀之印、元田。來源：Thomas Jackson（1841-1915）先生收藏。
Lot 34
A RARE CHINESE IMPERIAL INSCRIBED TWO-COLOUR LACQUER TEA BOWL SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The deep bowl flaring at the rim, carved to the exterior in cinnabar lacquer with the poem Sanqing Cha ('Three Purity Tea') composed by the Qianlong Emperor, the verse dated to the bingyin year corresponding to 1746 and followed by the seal marks Qian and Long, with bands of ruyi-heads encircling the rim and foot, all reserved on a black lacquer leiwen ground, the interior in black lacquer, 11.1cm. The Qianlong Emperor is believed to have written the poem Sanqing Cha in the bingyin year on his birthday whilst drinking tea on a cold day. During a visit to the sacred mountain Wutai Shan, the Qianlong Emperor drank tea brewed in snow water, which is believed to give the tea a unique flavour and purity. The poem describes this tea, which was made with prunus blossoms, finger citron and pine nut kernels. A translation of this poem by C F Shangraw is published in Chinese Lacquers in the Asian Art Museum of San Francisco, Orientations, April 1986, p.41. Provenance: purchased from Gerard Levy, Paris, c.2007, and by repute formerly the collection of Ernest Grandidier (1833-1912). Cf. The Victoria and Albert Museum, London, museum no.FE.63-1974 for another bowl of this type; see also Zhongguo qiqi quanji ('Complete series on Chinese lacquer'), vol.6, pl.211 for a pair of related bowls in the Tianjin Municipal Art Museum. See also Christie's Hong Kong, 2nd December 2015, lot 3163, Sotheby's Hong Kong, 9th October 2007, lot 1644, Sotheby's Hong Kong, 3rd April 2018, lot 3441, and Bonhams San Francisco, 21st June 2011, lot 8237 for further examples. This design is also found on blue and white and iron-red porcelain. See S Marchant & Son, Exhibition of Qing Mark and Period Blue and White, 1984, no.26 for a bowl inscribed with Sanqing Cha in underglaze blue.清乾隆 剔紅御題詩碗款識：梅花色不妖，佛手香且潔。松實味芳腴，三品殊清絕。煮以折腳鐺，沃之承筐雪。火候辨魚蟹，鼎煙叠聲滅。越甌潑仙乳，氈盧適禪悅。五蘊凈大半，可悟不可說。馥馥兜羅遞，活活雲漿澈。據佺遺可餐，林逋賞時別。懶舉趙州案，頗笑玉川譎。寒宵聽行漏，古月看懸玦。飲飽趁幾余，敲吟與無竭。乾隆丙寅小春禦題。此诗为乾隆皇帝于乾隆十一年（1746）秋巡五台山，回程至定兴遇雪，于毡帐中以雪水烹煮三清茶时所作。來源：2007年購於巴黎Gerard Levy，Earnest Grandidier（1833-1912傳）。
Lot 4
CHEN ZHI (20TH CENTURY) PINE TREE A Chinese spotted bamboo fan, painted to one side with a pine tree, signed and dated wu zi year (1948) with an artist's seal, the other side with an extensive inscription, also signed with an artist's seal, the markings of the bamboo used to depict blossoming trees, 64cm across.陳植（二十世紀） 青松 水墨紙本 湘妃竹扇面
Lot 9
ZHAO SHAO'ANG (1905-1998) MAGPIE AND PLUM BLOSSOM A Chinese painting, ink and colour on paper, singed Shao'ang with one artist's seal, framed and glazed, 38cm x 32cm. Provenance: from an English private collection acquired in the 1970s-80s.趙少昂（1905-1998） 喜上眉梢 設色紙本 鏡框款識：子昂。來源：英國私人收藏，購於1970年代至80年代。
Lot 433
A Large Bronze Vase, of cylindrical form resting on a splayed foot and rising to a waisted cylindrical neck with everted mouth, elaborately decorated in variously patinated relief with Kannon standing on an elephant, archaic Chinese vessels, a seal, incense burner and sundry other vases, signed to the base Mitsuhiro, height 48.6cms, Meiji Period
Lot 508
A 19th Century Chinese porcelain temple jar of bulbous form having crackle glaze white enamel ground with hand painted famille verte decoration depicting warriors, figures and mountains. Decorated floral borders and Greek key pattern complete with turned wooden finial cover.Brown incised character mark seal to base. Measures: 33cm tall. Firing fault to rim (not damage).
Lot 335
A Chinese blue and white stem cup, Qianlong seal mark and of the period, decoracted to the exterior below the flaring rim with eight lanca characters, each within a dense large-headed lotus scroll, the tall spreading foot witha continuous jewelled pearl string, 9.5cm high x 9.1cm diameter Provenance: private Italian collection, sold at Bonham's Lonodn, Knightsbridge on 5 September, 2012.清乾隆 青花梵文高足杯 拍品来源：2012年伦敦邦瀚斯所售意大利私人收藏
Lot 15
A Chinese celadon 'Dragon and Pheonix' vase, Yongzheng six-character mark, the cylindrical body supported on a slightly splayed base, the body delicately carved in relief with chilong confronting soaring phoenixes amid scrolling clouds, covered overall with a pale celadon glaze, the base with a six-character Yongzheng seal mark in underglaze-blue and possibly of the period, 27.5cm high, Japanese wood boxProvenance: Bought by Colonel W. R. Hodgson in Tokyo in the early 1950s on the advice of Professor Fujio Koyama (小山冨士夫) of Tokyo National Museum and by direct descent to the current owner. "大清雍正年制"款青釉龙凤纹灯笼尊拍品来源：W. R. Hodgson 上校于上世纪五十年代在日本知名的宋瓷学者、东洋陶瓷学会委员长小山富士夫教授指导下于东京所购
Lot 281
ϒA Chinese hardstone embellished huanghuali brushpot, 17-18th century, Qing Dynasty, of cylindrical form, finely inlaid with carvings of mother-of-pearl, stained ivory and soapstone to render a scene of a magpie perched upon a long gnarled bough bearing prunus in various stages of bloom, the reverse with a short poem inlaid with metal wire, following with a four-character seal, 14cm high x 11.2cm diameter Provenance: From a French collection 清17-18世纪 黄花梨嵌百宝题诗文喜上眉梢图笔筒 拍品来源：法国私人珍藏 ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 336
A Chinese archaistic Ge-type vase with ram handles, hu, underglaze-blue Qianlong seal mark and possibly of the period (1736-1795), sturdily and robustly potted after archaic bronze prototypes, of flattened lobed pear shape raised on a splayed base, the body decorated with pendent plantain leaves in low relief, the waisted neck applied with two ram-head handles, all under a pale grey crackled glaze with a lattice of larger rust crackles enclosing smaller regular crackles and stopping neatly around the foot, 26.6cm high While the shape of this piece is familiar, it is rare to find related vases with two ram-head handles and more common are those decorated with dragon handles or two zoomorphic ring handles. Compare with a similar vase of Qianlong period sold at Sotheby's London, Lot 247, 11 May 2011 清乾隆（可能） “大清乾隆年制”款仿哥釉蕉叶纹羊首壶
Lot 344
A Chinese 'Famille Rose' and 'Iron-red' bowl, late 19th century or Republican Period, the exterior painted with Buddhist lions at play with brocade balls and the interior with fruit and bats, with iron-red apocryphal Jiaqing seal mark, 19.7cm diameter Provenance: From an English Private Collection.粉彩矾红折腰“大清嘉庆年制”碗 拍品来源：英国私人收藏
Lot 53
Three Chinese paintings, 17th-19th century, comprising Birds in the snow scene, ink and colour on paper, signed Yi Yuanji (circa 11th century) and with three collectors' seals, picture size 121cm long x 52cm wide; Crane and pine tree, ink and colour on silk, signed Lu Zhi (1496-1576) and with two seals of the artist, 77cm long x 34cm wide; Landscape, ink and colour on paper, signed Yang Nianbo (19th century) and with one seal of the artist, picture size 120cm long x 51cm wide (3) Provenance: From the private collection of Rodney Pete and Marge Henricksen. The Henricksens formed their collection while living in Japan in the 1960s and early 1970s. 易元吉（款）《雪霁图轴》陆治（款）《松鹤图轴》 杨念伯（款）《山水图轴》 拍品来源：美国Henricksen家族书画旧藏，其收藏购于上世纪六七十年代的日本
Lot 125
FINE AND RARE FAMILLE ROSE YELLOW-GROUND BOWL, QIANLONG SEAL MARK AND OF THE PERIOD, the gently-rounded and flared body with an everted lip, the exterior finely enamelled with a continuous exotic flower meander, showing four larger flower heads amongst smaller blossoms and leafy tendrils, the interior painted with five bats in iron red, 15cm diam Provenance: Marchant & Son, London, November 1998. Note: this fine bowl belongs to a rare group of yellow-ground floral-decorated bowls, all painted with a very similar design to the exterior and five bats to the interior. They originated in the Qianlong period and continued being made in the Jiaqing and Daoguang reigns. A Qianlong example in the British Museum is illustrated in Moss, H., By Imperial Command, Hong Kong, 1976, pl.6. Another Qianlong bowl with a kaishu script mark was sold by Nagel Auctions, 3rd November 2011. Jiaqing examples include a bowl from the British Rail Pension Fund Collection, sold by Sotheby's, 16th May 1989, lot 83; and another illustrated in in Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures of the Palace Museum, p.205, no.181. For a Daoguang example see Ayers, J., Chinese Ceramics in the Baur Collection, vol.2, 1999, p.234, no.338.PLEASE NOTE: LIVE BIDDING IS NOT AVAILABLE FOR THIS LOT 很抱歉，该拍品不支持网上竟拍。谢谢合作。
Lot 157
PAIR OF KAKIEMON BLUE AND WHITE VAN FRYTOM STYLE DECAGONAL DISHES, EDO PERIOD, 18TH CENTURY each painted with a view of Scheveningen, the bases with fuku seal marks, 15cm wide Note: the view shown on this plate has traditionally been referred to as Deshima Island (near Nagasaki), which was the V.O.C. headquarters in Japan from 1641-1862. However, it is now thought that it depicts the Dutch coastal town Scheveningen, possibly inspired by a Delft plate by the well-known pottery painter Frederick van Frytom (1652-1702). For a comparable dish from the Groningen Museum, see Jorg, C., Fine & Curious, 2003, no.309. A smaller bowl was excavated at Deshima (Arita 2000, no.73). The Kyashu Ceramic Museum in Arita dates the fuku mark such as those on the present dishes to c.1680-1700. This decoration seems to appear both on contemporary and Japanese porcelain. It is widely published as being of the Deshima Island in the Nagasaki city - not the wet and grassy pasture as on this picture. It is highly likely though that the plate is made by Dutch order and even more likely is that a close previous pattern presented to the Japanese or Chinese might have been a Dutch tile - flies. For a background we need to remember that Japan was first visited by westerners in 1543 and in 1549 targeted by the Jesuit missionary Frans Xavier as the key to the Christening of the closed China. The small fishing village of Nagasaki soon grew to a city with 30,000 inhabitants thanks to the westerners activities. During the course of time the Japanese well founded doubts in the intents of the smelly foreigners insulted in the Dutch traders being confined to a small man made island - Deshima Island - in the Nagasaki harbor. From this the profitable trade with Japan was continued by the Dutch despite a massive distrust. Against this background it is understandable that the decoration of this plate have been supposed to be depicting this important trading station. Unfortunately this does not fit with the reality. One place in the world - also with strong Dutch connections - which does look like this is the city of Gothenburg on the Western coast of Sweden. Gothenburg was built as a trading station by the Dutch on much the same plan as "Batavia" or nowadays Jakarta and actually also "New Amsterdam" - today better known as New York. Everybody familiar with Erik Dahlbergs important Swedish prints collection Suecia Antiqua et Houdierna depicting all cities and building of importance in Sweden by the end of the 17th century, will recognize the central part of the print of the city of GOTHEBORG, published in 1709. Even the cow being lead on a leash by a farmer is present. The odd structure in the left top middle on the plate would then be the Kvarnberget wind mill and the gate in the middle match and explains the main city entrance - The Kings Gate - facing South to "Danska Vagen." The curious and unexplained "half houses" on the dish appears exactly the same on the print by the simple reason that on the print, they have their lower part hidden behind the city walls.
Lot 352
TEADUST-GLAZE DEEP BOWL, QIANLONG IMPRESSED SEAL MARK AND OF THE PERIOD, covered in an opaque glaze of finely mottled dark yellowish-green colour, 20cm diamProvenance: Bears a John C Bentz, Pasadena, California trade label and most likely acquired from the dealer. Private Surrey Collection Note: For a similar example see Christie's sale, Chinese Ceramics and Works of Art, Hong Kong, 4 October 2018, LOT 4PLEASE NOTE: LIVE BIDDING IS NOT AVAILABLE FOR THIS LOT 很抱歉，该拍品不支持网上竟拍。谢谢合作。
Lot 353
IRON-RED AND UNDERGLAZE BLUE 'MYTHICAL' BEAST BOWL, QIANLONG SEAL MARK AND OF THE PERIOD, the exterior decorated in underglaze blue with a band of nine sea creatures, amidst waves in iron-red, the rim and the foot with key fret bands, the interior with a central medallion of a winged dragon amongst further iron-red waves, 21cm diamNote: For a similar bowl see Selections of Chinese Ceramics and Bronzes from the Tsui Art Foundation, The Empress Palace Museum, Singapore, 1992, cat. no. 111; and another in the Roemer-Museum, Hildesheim, illustrated in Ulrich Wiesner, Chinesisches Porzellan. Die Ohlmer'sche Sammlung im Roemer-Museum, Hildesheim, Mainz, 1981, pl. 127.PLEASE NOTE: LIVE BIDDING IS NOT AVAILABLE FOR THIS LOT 很抱歉，该拍品不支持网上竟拍。谢谢合作。
Lot 371
YIXING STONEWARE SLIP-DECORATED 'LANDSCAPE' BRUSHPOT, LATE QING / REPUBLIC PERIOD, seal mark of Huang Yulin, the cylindrical sides decorated with a continuous landscape scene of pavilions amongst rocky mountains and trees, 17.5cm diam Note: For a similar brushpot see Sotheby's, Chinese Art, Hong Kong, 1st - 2nd June 2017, lot 513.
Lot 60
PAIR OF FINE DEHUA 'BUDDHISTIC LION' SEALS, QING DYNASTY, 17TH CENTURY, each creature seated on its hind legs with the head turned to the side, on seal face carved in relief with two characters huan hui, the other intaglio-carved with a four-character owner's mark Zong Yangdu yin, 5cm high Provenance: Christie's London November 26th 1979, lot 300; and April 16th 1980, lot 62; from the collection of Baroness Elie de Rothschild. Note: for comparable seals see Donnelly, P.J., Blanc de Chine, London 1969, pl.67c; and Bushell, S.W., Chinese Art, vol.2, London 1909, fig10. Also, for a similar pair of uncarved seals from the Collection of Peter and Nancy Thompson see Sotheby's London, 7th November 2012, lot 35. Marchant London also exhibited a pair of Dehua lion seals in their 2014 exhibition, no.79.
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