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The lot comprising of a soapstone seal surmounted by a coiled snake and a 19th century soapstone dog of fo; a Chinese mop box with mother of pearl inlay of a figural scene; and a lacquered box with a painted and gilt highlighted top.Slight chips out of the top of the dog of fo and scuffing to the extremities. The seal in generally good condition with light abrasions to the top of the snake. The mop box with losses around the edges of the top and the sides. The lacquered box with rubbing to the decoration.

A Chinese millefleur enamelled porcelain dish, six character Qianlong seal mark, but late 19th/early 20th century, 38cm diameter and a Korean celadon vase

An early 20th century Chinese white metal mounted green glass bowl, of dished circular form with geometric/serrated and stylised petal decorated rims linked by dragon ornamented straps, unidentified seal mark to base 11.5cm x 6cm glass doesnt fluoresce under black/UV light, this isnt uranium glass.

A Chinese porcelain vase, enamel decorated with phoenix, red enamel seal mark to the underside, h.37cm

A Chinese bronze seal and an Indian bronze figure of a deity together with miscellaneous items (qty)

A Chinese white metal pierced swivel banded archers ring, impressed character marks to band interior, external diameter 3cm, together with a Chinese variegated hardstone seal, with mythical beast to top, red stained carved character marks, height 4.2cm. (2)

A 19th century Chinese lacquered cabinet - decorated with butterflies and cherry blossom, the pair of panel doors enclosing a shelf incoporating a drawer, on stile legs and bearing a wax export seal, 107 x 51 x 150cm.

A late 19th century Chinese rectangular oriental hardwood table - the cleated panel top on turned legs joined by high peripheral stretchers, with wax export seal, 46 x 34 x 52cm, together with a pair of square tables 43 x 43 x 42cm. (3)

A late 19th century Chinese oriental hardwood low table - the square panelled top above cluster column legs, with wax export seal 96 x 96 x 50cm.

A pair of 19th century Chinese oriental hardwood horseshoe back chairs - with pierced and carved contoured splats above a panel seat on turned legs joined by peripheral stretchers, with wax export seal. (2)

A pair of late 19th century Chinese oriental hardwood horseshoe back chairs - with carved contoured splats above a panel seat, on turned legs joined by peripheral stretchers, with wax export seal. (2)

A PAIR OF CHINESE BLUE AND WHITE CRACKLEWARE PORCELAIN VASES early 20th Century, decorated with kylins and cloud bands, the covers with kylin finials, each 31cm high, brown impressed seal marks to bases

A Chinese trick cup, or Gong Dao Bei, of tapering form, famille rose decorated in depiction of scholars, the interior having a chamber, the open top of which allows a porcelain figure to rise and fall, the base having a hand-painted seal mark, 8.5 x 6.5 cm, (a/f)

4 x Oriental / Chinese ceramics - hexagonal pot with script around and seal marks, brown teapot with script & bird detail to side with seal on base, crackle green glazed dish with flare design (35.5cm diameter & has small chip to edge) & green vase with embossed floral detail ~ in good used condition

Two Chinese Yixing zisha stoneware teapots, 20th century, each rounded body imitating strips of bamboo, with a four-character seal mark to base,12.5 and 17.5cm long (2)Provenance: Maurice 'Dick' Turpin, Barons Keep, London W14.Condition ReportThe large one with a small chip to rim of the cover. The small one with no obvious faults.

A 19th century carved Chinese soapstone seal with relief lotus leaf, pod and bird decoration. The carved carnelian seal to the base with an intaglio coat of arms. H.7.5cm

Document from Chinese last emperor Puyi, a part of the Puyi dossier, regarding the edicts including the famous Dong-ling theft in 1927. The book bears the seal of the Republican Period National Palace Museum.Height: 10 in x width: 7 1/4 in.Condition:There are no major losses. There is creasing to the items covers.There are minute tears and creases along the edges of the pages. There is toning, foxing and discoloration throughout. There is a line of discoloration across the entire back cover, measuring approximately 7 inches. There is heavy wear throughout, as expected from age and use.

A 20th century Chinese painting on fabric depicting birds and flowers in a grassy landscape, red seal mark above calligraphy to the left side Location:

CHINESE SCHOOL IN THE MANNER OF XU BEIHONG "Galloping horse" watercolour heightened with white with script and seal marks, 25 cm x 37 cm together with a similar black and white print and a print of two pandas feeding, in the manner of Wu Xouren, 41 cm x 55 cm and another depicting a bathing water buffalo with script, 25 cm x 37 cm

MODERN CHINESE PAIR OF POTTERY GINGER JARS AND COVERS, each of square form with knopped, slightly domed cover, painted in colours with figures between stylised lappet and stiff leaf borders, 13 ¼” (33.7cm) high, printed red seal type marks, (2)

A Chinese slender baluster vase, painted in polychrome with a monumental landscape, 31.5cm high, seal mark, hardwood stand, boxed

A Chinese calligraphy banner, black ink, red seal mark, mounted, 163cm x 53cm overall

A Chinese celadon ovoid vase, incise moulded with a crane and chrysanthemums, 19.5cm high, blue seal mark, 19th century

A Chinese circular charger, painted in the famille rose palette with layered flowers, 33.5cm diam, red seal mark

A Chinese celadon jade seal, carved with an archaic ox, 3.5cm high

A Chinese circular bowl, decorated in polychrome enamels with flowers and symbol on an apple green ground, 12.5cm diam, red four character seal mark, hardwood stand

Collection of Chinese and Japanese porcelain and other items comprising a baluster blue and white vase adapted as a lamp, four-character Kangxi mark, probably 19th century, painted with figures and animals within flower borders, three 18th century Chinese export plates painted with figures in landscapes, two small Chinese blue and white vases, one with four-character mark to base, painted with dragons, a Japanese Satsuma saucer, seal mark to reverse, the border painted with figures, the well with pavilions in landscape and a Royal Worcester miniature jug, painted with birds, signed 'G.Dank' with printed black factory marks, mid-20th century (some damages and repairs)  Condition Report Vase/lamp - Chip to rim, crack to body, accretions and gluue around the rim.Small dragon vase - chip to rim, hairline crack to rim/neck.All plates with chips, two with cracks.Satsuma dish- surface marks, small cip to the rim, wear ato gilt and decoration.All with general wear and tear.

Pair of Japanese Satsuma Meiji period (1868-1912) square-section tea caddies with covers and liners, on a tray, each piece signed, painted with flowering prunus and butterflies within green line border, a pair of Chinese 20th century Yixing red stoneware faceted tapering oviform vases, enamelled in the famille rose palette with cranes, iris and Chinese characters, impressed seal marks, and a pair of 20th century Chinese cloisonne vases, each decorated with flowers, on blue fret pattern ground, 23.5cm high 

Chinese 20th century blanc-de-chine figure group, modelled as a musician and two companions on rockwork base, incised character marks and numerals, together with a 20th century Chinese small blue and white oviform vase printed and painted with figures and pine trees, a boxed set of Japanese Meiji period (1868-1912) calligraphic and pictorial ink blocks comprising six pieces, a comb signed with a four character mark stained and engraved with a landscape, an early 20th century Japanese inlaid metal cigarette case marked with seal and K24 to reverse and a carved wooden cigarette case with quatrefoil foliate medallion (6)

A Chinese soapstone seal, decorated with a mythical creature perched on a pierced sphere, stamped for "Collins" to the base, 11.5cms high.

A Chinese famille rose Republic period vase (1912-1949), decorated with maidens in a fenced garden within yellow and turquoise ground formal floral borders, the reverse with a poem and red seal signature, four character Qianlong mark in red, 50cms (badly damaged).

A Chinese eggshell porcelain bowl, 20th entury, the exterior decorated with boys at play in a temple garden, seal mark in iron-red, 26.5cms, boxed.

Two hand painted Chinese green famille plates. With a makers seal on the base (faint) and evidence of past repairs. Early twentieth century. Dia.30cm. (each)

A CHINESE RED LACQUER AND GILT PANEL WITH TWO FIGURES, Along with another similar, a soapstone seal with stallion and carved figure of a Chinese lion (4)

A CHINESE GE WARE POT 19TH CENTURY WITH SEAL MARK TO BOTTOM, 10cm diameterHas been cracked in half in the past and repaired.

Two Chinese lion dog seals, a carved jade disc, a hard stone disc with partial wax seal and carved figure,

A Chinese jade plaque and a Chinese soapstone seal, 8.5cm

An Eastern bone snuff bottle, a Chinese carved stone seal 'Michael' an alabaster ash tray, a Persian brass bowl with embossed decoration etc.

CHINESE SCROLL, watercolour on silk depicting a pair of ducks beneath lotus blooms and butterflied with seal and character marks, 58cm largest x 41cm.

Four various Chinese carved stone seal chops including: seal with carved water buffalo finial, (height 10cm approx); and group 3 seals with various carved finials, comprising temple dogs and a figure, (height 8cm approx, each, average).

19th Century Chinese Famille Rose cylindrical vase, enamel decorated with a bird amongst flowers, with character marks, gilt upper rim, faint mark to base (approx 28.5cm tall); together with a smaller cylindrical vase / brush pot depicting a seated elder in traditional dress, seal mark to base

Chinese ovoid vase, hand decorated in black with warriors in traditional dress and trees beyond, on a cream ground, with character marks, seal mark to base

Chinese School, three paintings depicting Chinese figures, comprising: Shao Si Ming, watercolour, six character signature and red character seal, Yun Zhong Jun, character signature and red character seal, 32 x 60.5cm and a musician with a monkey, possibly Tao Kan, 31.5 x 59cm, 31.5 x 60cm, each framed and glazed

Chinese blue & white plate decorated with floral, foliate & figural panels on a geometric ground (24.5cm diameter), together with a Famille Rose cylindrical vase / brush pot decorated with a chicken & flower, seal mark to base, approx 12cm tall

20th Century Chinese Famille Jaune tea set, with Chrysanthemum floral decoration on a black & gilt scrolling ground, seal mark to bases, to include teapot, 6 cups & saucers, 6 tea plates, milk jug, twin-handled sugar jar & sandwich plate

A Chinese stained hardwood sideboard, late 20th century, the panelled top over three short and two long drawers, raised on square section and moulded supports, with wax seal verso. H85cm, W96cm, D32cm.

A Chines brass cast brass Fu incense burner with open mouth and hinged head  H x 20cm  D x 11cm, a Chinese cast brass Pinyin three legged lucky toad with horned mounted open mouth with coin H x 13cm L x 17cm and two Chinese cast brass Gu shaped vases of cylinder form with archaic style decorated panels, larger has cast brass seal mark verso H x 28cm and 17cm (4) 

A Chinese porcelain bowl of petal shape, the pink ground decorated with flowers, 18cm diameter, Chinese seal mark to base with iron red coloured bat decoration to underside

A Chinese porcelain teapot and cover, decorated with foliage and flying insects to one side and swallows to the other. Seal mark to base. 4¾" high excluding handle. Repair to spout lip.

An early 20th century Chinese crackle glazed blue and white vase decorated with a four claw dragon, impressed seal mark to either side, height 28cm.Condition Report: Good condition with light wear.

A Chinese carved hardstone seal, decorated with a dragon and Pearl of Wisdom to the top, height 9cm, and a Chinese cast bronze ritual wine vessel in the form of a ram, a carved horn box and cover and a bronze model of ram (4).

A large Chinese cloisonne and brass vase with applied cabochons and molded seal mark to base

A small antique Chinese bronze censer of square form with four mask feet, the body moulded with mythical creatures, the cover with lion finial - moulded character seal mark to base

A Chinese porcelain ovoid vase, Qianlong seal mark but probably Republic or later, with Rouge De Fer Dragon roundels, the foliate neck with everted rim, mark in red, 34.5cm high. Condition: 10cm vertical hairline crack to side wall of vase, small enamel flake of base rim.

A FORMATION OF ROCKS BY YEQING 冶青《巨石》China, first half of the 20th century. Ink on paper. The fan-shaped painting depicts a formation of rocks with sparsely sprouting grass. Calligraphy and two seal marks on the top right and left side.Inscriptions: The two texts describe the sketch of rocks, signed 'Yeqing' and 'Daye', and two seals 'Daye' and 'Yeqing.'Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with material loss at the center fold and some discoloration.Dimensions: Image size 52.5 x 23.1 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING 韡慶《山水畫》，王原祈款China, first half of the 20th century. Ink and watercolor on segmented paper. The fan-shaped painting depicts a landscape with a river and mountains in the background and two cabins hidden behind trees and rocks in the foreground. A fisherman waiting on a boat nearby to catch a fish. Calligraphy and a seal mark on the left. A seal mark on each bottom corner.Inscriptions: Text (translated): 'Wei Qing imitated Wang Lutai's work' (pseudonym for Wang Yuanqi, 1642-1715) and 'Painted in Shenjiang'. One seal mark on the upper left, and one seal on the bottom left. Another seal on the bottom right (translated): 'Wei Ting learns drawing at 57 years old.'Fan paintings by Wang Yuanqi are highly sought after. For a landscape fan shaped painting by the master artist see Fine Chinese Classical Paintings and Calligraphy in Christie's Hong Kong on 01 June 2015, lot 1117, sold for HKD 3,200,000.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with some abrasions along the folds, minor material loss to the lower left corner.Dimensions: Image size 50.4 x 21.5 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

HOSAI MASAHIRO: A FINE ANABORI IVORY NETSUKE REFERENCING THE LEGEND OF CHORYO AND KOSEKIKOBy Hosai Masahiro, signed Masahiro 正廣 with seal Hosai 芳齋Japan, Tokyo, c. 1860A remarkable and intricately carved ivory netsuke, the manju-type netsuke fitted with a 'faux lid' carved in relief with a ferocious sinuous dragon forming a circle, one side pierce-carved in anabori with a design of Choryo handing back the shoe to Kosekiko after having defeated the water dragon. Two himotoshi and signed MASAHIRO with red seal HOSAI underneath. The artist was known for his meticulous anabori carvings and was a pupil of Adachi Masanobu.DIAMETER 3.7 cmCondition: Very good condition with few natural age cracks.Provenance: Sold at Sotheby's, 13 March 1987, London, lot 39. German private collection, acquired from the above.Zhang Liang (known as Choryo in Japanese) was a Chinese military strategist and politician who lived in the early Western Han dynasty. The present netsuke depicts the legend of when Choryo met the old man Kosekiko (Huang Shigong) on a bridge. The old man began to teach the art of war to Choryo and one day Kosekiko wanted to test Choryo and threw a shoe into the river where a powerful water dragon lived. The dragon seized the shoe and Choryo defeated it and gave the shoe back to Kosekiko. The present netsuke shows exactly this scene - the proud Choryo, with one foot on the dragon's head, is presenting the shoe to Kosekiko who is mounted on a horse atop a bridge. According to legend, Choryo used the teachings of Kosekiko as a military adviser to Liu Bang, the founder of the Han dynasty.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DE-K-230523-303). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

ZOKOKU: AN UNUSUAL TWO-CASE TSUISHU LACQUER INRO WITH PEONY, LILIES, AND REISHIBy Tamakaji Zokoku (1806-1869), signed Zokoku象谷Japan, Kagawa, c. 1850, Edo period (1615-1868)Of unusual form and oval section, containing one large and one smaller case for medicine, finely carved in low relief with a large peony blossom extending from the right side, borne on a leafy stem against a neatly incised wave ground. The reverse carved with a spray of lilies with one reishi rising from behind. Each frame is set with a quadrilobed border and flanked above and below by a rinzu band. The top and bottom are finely decorated with a large floral medallion surrounded by curling leaves, the bottom bearing the seal signature of the artist, ZOKOKU, within the center of the medallion. With a faux coral ojime.HEIGHT 10 cm, LENGTH 5.8 cmCondition: Very good condition with only minor wear and traces of use.Provenance: Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. The upper case with an old collector's label, 'L 619.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').The production of lacquerware in Kagawa (Shikoku) was encouraged by daimyo Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. Zokoku Tamakaji was born in Takamatsu in 1806, but at the age of 20 he moved to Kyoto to study with various painters and lacquerers and had the opportunity to research Chinese lacquer techniques, then bringing his knowledge to Kagawa and helping to seal its reputation as a major lacquerware producing area.

TAMECHIKA REIZEI (1823-1864) : 'MINAMOTO TOSHIYORI GAZING AT A WATERFALL'By Tamechika Reizei (1823-1864), signed Kuroudo tokoro no shu jugoi-ge shikibu shojo Sugawara Ason Tamechika no zu with sealJapan, 19th century, Edo period (1615-1868)Ink on paper. Mounted as a hanging scroll on a silk brocade frame, with antler handles. Finely painted with Minamoto Toshiyori admiring a gushing waterfall accompanied by his attendants.Signed and inscribed lower right, 'Kuroudo tokoro no shu jugoi-ge shikibu shojo Sugawara Ason TAMECHIKA no zu' [Painted by the high-ranking official Sugawara Ason Tamechika]. One seal. One inscription to the back, 'Gazing at a Waterfall, painted by Sugawara Ason Tamechika'.SIZE 28.5 x 105.5 cm (image), 30.5 x 186.5 cm (including mounting)Condition: Good condition with minor wear and creasing. The brocade frame with usual traces of wear and age.Tamechika Reizei (1823-1864) was a painter of the late Tokugawa period whose talent and efforts contributed a great deal to the revival of the traditional Yamato-e (paintings stressing Japanese themes and techniques as against the Kara-e, a style under strong Chinese influence). He was born into the Kano family of painters. He was drawn, however, to the Yamato-e style and improved his artistry by copying old Yamato-e masterpieces. Under the name Reizei, he produced numerous works on traditional themes, using ancient techniques. Later, he was adopted by the court nobleman, Okada Dewa no Kami, after which he signed his name as Okada or Sugawara. He became a courtier of the imperial court in Kyoto in order to study firsthand the traditional practices of the court, which he considered important subject matter.Minamoto Toshiyori (1055-1129) was an important and innovative Japanese poet, who compiled the Gosen Wakashu. He was the son of Minamoto no Tsunenobu (1016-1097); holder of the second rank in court and of the position of Grand Counsellor). Shunrai was favored by Emperor Go-Sanjo and to a lesser degree Emperor Shirakawa.

OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.