LI JIN (b.1958)Health, 2005Ink on paper, with calligraphic inscription and seal of the artist, glazed and framed. 45cm wide x 38cm high (17 3/4in wide x 15in high). Footnotes:李津（1958年生） 中華有神功 水墨紙本 鏡框 2005年作Li Jin and his work belongs to the 'New Literati' movement of Chinese ink painting but are more quirky than most, exuding a hedonistic and charming appreciation for the simple things in life, notably food, wine and sex, but also bathing and sleeping etc. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li Studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and colour. His aunt was Zhou Sicong (1939-1996), an important ink painter who often made use of bleeding colour or ink. This technique can often be seen in Li's own paintings which hint at insouciance but, like all good literati painting, could not be created without mastery of the brush. Li Jin gradually formed his uniquely playful style in the early 1990s, and is now famous for his humour and seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati paintings - often derived from famous texts, pictures by earlier masters, or both - food and wine and the simple things in today's life are Li's subject matter. The Falstaffian figure that appears repeatedly in his work is modelled on himself. For more on Li Jin, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.148-150.The present lot is typical of the artist's humour. The inscription reads: 中华有神功, which may be translated as 'Amazing Kungfu in China' and is actually taken from a popular song by Tu Honggang. It depicts an ailing figure with pain in his expression as the skin on his back is pulled by the heated glass bulbs for moxibustion, exhibiting Li Jin's unique mix of tradition, modernity and humour.Li Jin's paintings are in several important institutions and collections globally, including the National Arts Museum, Beijing; Hong Kong Museum of Art; Olenska Collection, Geneva; Seattle Art Museum; and the Berkeley Art Museum.For further information on this lot please visit Bonhams.com
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LI JIN (b.1958)Reading at Night, 2005Ink on paper, signed and dated, with calligraphic inscription and seal of the artist, glazed and framed. 38.1cm wide x 44.5cm high (15in wide x 17 1/2 high).Footnotes:李津（1958年生） 夜讀圖卷 水墨紙本 鏡框 2005年作The inscription on the present lot reads: 夜讀圖卷, which may be translated as 'Scroll of Night Reading'. It depicts a man sitting before an open book, but his mind wanders as he gazes up. A cat sleeps beneath the table echoing the figures' idleness and leisure.Li Jin and his work belongs to the 'New Literati' movement of Chinese ink painting but are more quirky than most, exuding a hedonistic and charming appreciation for the simple things in life, notably food, wine and sex, but also bathing and sleeping etc. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li Studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and colour. His aunt was Zhou Sicong (1939-1996), an important ink painter who often made use of bleeding colour or ink. This technique can often be seen in Li's own paintings which hint at insouciance but, like all good literati painting, could not be created without mastery of the brush. Li Jin gradually formed his uniquely playful style in the early 1990s, and is now famous for his humour and seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati paintings - often derived from famous texts, pictures by earlier masters, or both - food and wine and the simple things in today's life are Li's subject matter. The Falstaffian figure that appears repeatedly in his work is modelled on himself. For more on Li Jin, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.148-150.Li Jin's paintings are in several important institutions and collections globally, including the National Arts Museum, Beijing; Hong Kong Museum of Art; Olenska Collection, Geneva; Seattle Art Museum; and the Berkeley Art Museum.For further information on this lot please visit Bonhams.com
LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A BRONZE INCENSE BURNER, GUIHu Wenming seal mark, late Ming DynastyOf archaistic form with a compressed globular body raised on a high foot cast with a band of lingzhi fugus growing on leafy tendrils, the body decorated with continuous foliate lotus scrolls and a band of the 'Eight Buddhist Emblems' bajixiang below the slightly everted rim, all on diaper ground, flanked by a pair of loop handles with key-fret pattern issuing from dragon heads, the base with an intaglio cast four-character 'Hu Wenming zhi' seal mark within a cartouche. 14cm (5 1/2in) wide.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價明晚期 八吉祥蓮花紋簋式爐「胡文明製」篆書刻款The present lot has a Hu Wenming seal mark. Hu Wenming is considered to be amongst the most accomplished bronze casters of the late Ming dynasty, however pieces with his name continued to be made well into the Qing dynasty. The shape of the incense burner is based on archaic prototypes from the Shang and Zhou dynasties. See a similar bronze incense burner, with similar Hu Wenming mark, illustrated by Sydney L.Moss, Ltd., The Second Bronze Age: Later Chinese Metalwork, Hong Kong, 1991, no.86. Compare with a related parcel-gilt bronze incense burner, Hu Wenming four-character mark, 17th century, which was sold at Christie's London, 8 November 2013, lot 1282.For further information on this lot please visit Bonhams.com
QIU DESHU (b.1948)Self Portrait (Spirit), 1997Ink and acrylic on xuan paper and mounted on canvas, signed and dated 1997 in Chinese. 180cm high x 360cm wide (70 3/4in high x 141 1/2in wide) Footnotes:仇德樹(1948年生) 自畫像（靈魂） 水墨丙烯宣紙 裱於畫布 1997年作 Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.232-233. Chinese Ink Painting Now, New York, 2010, p.82.Michael Goedhuis, Qiu Deshu, London, 2012, pp.40-41.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.168-169. 展覽著錄：路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第232-233頁。《當代中國水墨畫》，紐約，2010年，第82頁。Michael Goedhuis編, 《仇德樹》，倫敦，2012年，第40-41頁。Michael Goedhuis編, 《Ink: The Art of China》, 薩奇美術館, 倫敦, 2012年, 第168-169頁. Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then sticking selected pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper on top of colours, produces additional effects: the final work is a sophisticated combination of painting and collage.The present lot, his self-portrait, is merged with a rocky landscape, not only reflecting the fissures and dramatic disruptions fragmenting his life, but also his unity with the ever-changing universe. As an expression of his place within this ongoing cosmos in flux, Qiu created his unique Self-Portrait (Spirit), a landscape in which facial features emerge from the mountain formations to suggest the presence of the artist's human spirit.Qiu Deshu's works are in numerous museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
LUI SHOU-KWAN (1919-1975)Journey/Boats, 1963Ink and colours on paper, signature and seal of the artist, hanging scroll. 46cm long x 43.5cm wide (18 1/8in long x 17 1/8in wide). Footnotes:呂壽琨 旅程/船 設色紙本 立軸 1963年Lui Shou-Kwan (Lü Shoukun) was born in Guangzhou in 1919. His father was a painter and scholar. He majored in economics at Guangzhou University and in 1948 moved to Hong Kong, where he was a leader in the New Ink Painting movement that emerged in the 1960s and 1970s. In 1949, he joined the Hong Kong Yaumati Ferry Company as an inspector and worked there until 1966. He also taught ink painting at the University of Hong Kong and the Chinese University of Hong Kong. His work falls primarily into two categories, described as Hong Kong landscapes and Chan paintings. Stylistically, he adopted abstract forms and is credited for fusing Western styles with Hong Kong ink paintings. See Ink: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.188-189.Compare with a related Lui Shou-Kwan painting, Journey, ink and colour on paper, which was sold at Sotheby's Hong Kong, 4 April 2017, lot 517.For further information on this lot please visit Bonhams.com
QIU DESHU (b.1948)Mountainscape (Red), 2005Ink, acrylic and xuan paper on canvas. 200cm high x 360cm wide (78 3/4 high x 141 3/4in wide).Footnotes:仇德樹 山景（紅） 水墨丙烯宣紙 裱於畫布 2005年作Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then adhering select pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper atop colours, produces additional effects: the final work is a sophisticated combination of painting and collage. The present lot, combines the traditional notions of Chinese landscape painting, but combined with innovative 'fissuring' technique, reflecting a world in flux.Qiu Deshu's works are in many museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.Compare with a similar mountainscape in red, but mounted as a set of five panels, 2005, by Qiu Deshu, which was sold at Sotheby's Hong Kong, 3 April 2016, lot 515.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Chinese apple-green monochrome brush pot, Qianlong mark and of the Period, of rectangular section, standing on four feet, the base with Qianlong underglaze blue six-character seal mark, with labels for Sidney L. Moss, 81 Davies St, London, Radcliffe Collection 'C7' and collector's label 'K.W.W-B', 9.5cm high Provenance: Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive as purchased, circa 1969, and noted that Sidney Moss said 'K.W.W-B' label references the K. W. Woollcombe-Boyce Collection清乾隆 豆青釉"乾隆年制"款笔筒拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族档案编号C7），原来自英国K. W Woollcombe-Boyce收藏Condition Report: no damage or restoration showing under UV light except small area of minor glaze loss or circular glaze scratch 2mmx 2mm and surface scratches commensurate with age and typical firing blemishes Condition Report Disclaimer
A Chinese black-ground green-enamelled 'Lotus' bowl, 18th century, with minyao square seal mark in underglaze blue, gilt rim, 17.5cm diameterProvenance: Major Edward Copleston Radcliffe (1898-1967) collection and by family descent 清乾隆 墨地绿彩缠枝莲纹碗拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏Condition Report: Two small hair cracks to rim 1cm and 4mmCondition Report Disclaimer
A large Chinese Famille Rose 'peony tree' dish, 19th century, brightly painted with a flowering tree, the reverse with wave design and flowers, apocryphal Qianlong six-character seal mark in underglaze blue, Radcliffe collection label 'W1', 40.5cm diameterProvenance: Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive as purchased in Norway in 1938 ,for £4-0s-0d清19世纪 "大清乾隆年制"款粉彩蝶恋花大盘拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族档案编号W1），1938年以4英镑购自挪威奥斯陆Condition Report: in good condition other than some firing blemishes Condition Report Disclaimer
A Chinese Famille Rose 'millefleur' vase, circa 1900, brightly and profusely enamelled with flowers enclosing two painted oval panels, applied at the shoulder with iron-red and gilt archaistic-style dragon handles, apocryphal Qianlong six-character seal mark in iron-red, 40cm highProvenance: Major Edward Copleston Radcliffe (1898-1967) collection and by family descent晚清民国 万花不落地瓶拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏Condition Report: Good conditionCondition Report Disclaimer
A Chinese bronze 'Mandarin Duck' censer, Ming Dynasty, Radcliffe collection label 'J4', 10.5cm high x 11cm long, 238 grams; a Chinese bronze model of a duck, Ming Dynasty or earlier, Radcliffe collection label 'J4A', 8cm high x 85cm long, 198 grams and a Chinese small bronze seal, 18th or 19th century, 3.8cm high x 3cm square, 90 grams and a small gilt-bronze cup, Qing Dynasty, 4.5cm wide, 65 grams (4) Provenance: Major Edward Copleston Radcliffe (1898-1967) collection and the two bronze birds, 'J4', are listed in the family archive as purchased 'Camberly' in 1942, for £1-0s-0dExhibited: The mandarin duck censer exhibited, National Gallery of South Africa, Chinese Exhibition, Cape Town, 1953, no. 214明代铜鸳鸯香炉及鎏金小杯等一组共四件(克重分别为:238g,198g,90g以及65g)拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族档案编号J4，J4A）展览信息：铜鸳鸯香炉于1953年展览于南非国家画廊，中国艺术展览，编号214号Condition Report: Good other than typical wear and casting flaws and some old azurite encrustation and corrosion and wear to gilding on small bowl Condition Report Disclaimer
A Large Chinese bronze 'Dragon' tripod censer, Qing Dynasty, heavily cast, the compressed globular body resting on three cabriole legs and surmounted by a short neck, flanked by a pair of scaly dragons clambering along the rim and forming the handles, the exterior patinated to a warm copper-brown colour, the base cast with an apocryphal four-character Xuande seal mark within a recessed cartouche, 38cm diameter handle to handle and 20cm high, 9.2 kg Provenance: From a Middlesex private collection 清 "宣德年制"款双龙耳三足大铜炉（克重9.2kg）拍品来源：英国米德尔赛克斯地区家族私人收藏Condition Report: the interior with water stains and some green corrosionthe patriation with some typical marks and minor corrosion spots Condition Report Disclaimer
A Chinese heavily cast bronze incense burner, Qing Dynasty, 17th or 18th century, modelled after the archaic bronze vessel, liding, the bombé body rising from three short tapering legs to a wide mouth flanked by a pair of loop handles each set with a small tab, a four character Xuande seal to the underside in a recessed cartouche, 25cm wide x 10.5cm high, 4378 grams Provenance: By repute in the same family since the 1930's. 清17-18世纪 "宣德年制"款铜压经炉（克重4378g）拍品来源：北欧私人收藏，购自上世纪三十年代Condition Report: polishedCondition Report Disclaimer
A Chinese bronze censer, 17th or 18th century, the vessel of bombé-form, resting on a slightly splayed foot with an everted rim, set with two thick plain loop handles, the base cast with an apocryphal six-character Xuande seal mark, 18cm diameter x 6cm high, 1,107 grams17世纪至18世纪 "大明宣德年制"款双耳铜炉（克重1107g)Condition Report: some marks to surface but minor corrosion and marks consistent with use and age Condition Report Disclaimer
A Chinese carved bamboo wrist rest, early 20th century, the convex side carved in shallow relief reserving the skin of the bamboo with a riverscape scene and pavilions, with inscription to the top and one seal of the artist, 31cm long x 9.5cm wideProvenance: From the private collection of a Gentleman, by descent from his father民国 竹雕江南水乡图臂搁拍品来源：英国绅士私人收藏，其父亲早年所购，并由家族传承Condition Report: minor stains to the surfaceCondition Report Disclaimer
A large Chinese celadon 'Dragon' seal, 17th or 18th century, the seal face uncarved, the finial carved as a recumbent dragon, 7.5cm wide x 6.7cm highProvenance: Previously from a French private collection17/18世纪 青白玉龙钮印拍品来源：法国私人收藏Condition Report: jade with natural flaws and cracksCondition Report Disclaimer
A group of ten Chinese soapstone seals and one horn seal, including one rectangular seal signed Chen Sui (1607-1692) and carved with chilong dragon, 7cm high; one large square seal signed Dong Xun (1740-1812), 8cm high, with hardwood box (11)程邃（款）及董洵（款）寿山石印等一组11件Condition Report: some old knocks and chips to many of them but mainly the largest seal see additional images for visual reference to condition Condition Report Disclaimer
A large Chinese soaptone seal signed Chen Hongshou (1768-1822), the finial carved as a four-clawed dragon chasing a flaming pearl, incised on one side and the seal face carved with the poem by Sikong Tu (837-908), 10cm long x 8cm wide x 7.8cm high陈鸿寿（款）"素处以默"龙钮印Condition Report: in good condition other than one surface scratch and other very minor wear Condition Report Disclaimer
A rare Chinese Dehua model of seated Guanyin, 17th century, seated in dhyanasana, the bodhisattva dressed in long flowing robes that enfold her hands and falling open at the chest to reveal a beaded necklace, modelled with downcast eyes, the elaborate chignon covered by a gently cascading cowl, with impressed seal mark He Chaozong yin, 24cm highA closely related example is illustrated by P.J. Donnelly, Blanc de Chine, New York, 1969, no. 155a.Provenance: Edward T. Chow, Hong Kong, 1st March 1959 and by family descent明17世纪 德化"何朝宗制"款白釉观音拍品来源：现藏家于1959年3月1日购自仇焱之 Condition Report: several firing cracks mainly to underside and filled with white plaster in several areas presumably prior to 1959one hair crack extending to the exterior on the rear from base upwards into robe approximately 7.5cm long mirroring the firing crack on the insidesome firing variations to the white glaze see additional images for visual reference to condition Condition Report Disclaimer
A Chinese Dehua figure of Guanyin, Late Ming or Qing Dynasty, seated on a rockwork throne, draped in a long cowled robe obscuring the high ornamented coiffure, the soft, serene face with delicate features and a pointed chin, a lotus necklace set against the bare chest, a sutra text resting on an integral rock pedestal just behind the figure, the white body covered in a transparent, creamy-ivory glaze pooling in the recesses of the modelling and folds, with indistinct impressed seal mark, 24.5cm high, wood stand 明末清初 德化观音像Condition Report: in good condition other than firing blemishes and some crazing to the glazefiring crack to underside of big two on top foot Condition Report Disclaimer
A Chinese blue and white stem cup, Qianlong seal mark and of the period, supported on a splayed hollow stem foot angled to the cup with steep sides rising from a flat base to a flared mouth rim, the exterior painted in bright cobalt tones with eight lança characters surrounded by an undulating stem of lotus issuing large flower-heads and curled acanthus leaves, the underside with petal lappets above bands of halved florets divided by a raised rib picked out with arrowheads, the stem skirted by ruyi-heads suspending interlinked tassels, the interior with a stylized peony medallion within a double-line border repeated at the rim, the interior of the foot inscribed in underglaze blue with a horizontal six-character seal mark, 13.4cm high Provenance: By repute Reginald Muspratt-Williams (b. 1906) and by descent Reginald (Tony) Muspratt-Williams joined the Border Regiment and was posted to the China, Peking, Tietsin and Hong Kong from 1927-29, as part of the Shanghai Defence Force. He then resigned from the Army and joined Imperial Chemical Industries (ICI) in Hong Kong for 5 years and learned to speak Mandarin. In 1934 he returned home to become the Duke of Hamilton and Brandon's private secretary, where he also learned to fly. During the Second World War he volunteered for the Auxiliary Air Force and became attached to Chinese forces in Burma as a pilot. 清乾隆 "大清乾隆年制"款青花缠枝莲托梵文高足盌拍品来源：Reginald (Tony) Muspratt-Williams先生旧藏, 后由家族继承。其于1927至1929期间被派往中国并加入上海国防军队。后辞去了军队的职务，加入了香港的帝国化学工业公司（ICI）并且工作了五年，期间学会了说普通话。1934年,他回到英国,成为了汉密尔顿公爵的私人秘书，后在二战期间作为飞行员与缅甸的中国军队共同抗战。Condition Report: shallow rim chip approximately 1cm x 3mm one firing star crack approximately 5.5cm x 2cm and another firing crack 3cm long other minor firing blemishes Condition Report Disclaimer
A Chinese blue and white 'lanca' stem cup, Qianlong seal mark and of the period, supported on a splayed hollow stem foot with flared mouth rim, the exterior painted in bright cobalt tones with eight lança characters surrounded by an undulating stem of lotus issuing large flower-heads and curled acanthus leaves, the underside with petal lappets above bands of halved florets divided by a raised rib picked out with arrowheads, the stem skirted by ruyi-heads suspending interlinked tassels, the interior with a stylized peony medallion within a double-line border repeated at the rim, the interior of the foot inscribed in underglaze blue with a horizontal six-character seal mark, 13.6cm high Provenance: By repute Reginald Muspratt-Williams (b. 1906) and by descent Reginald (Tony) Muspratt-Williams joined the Border Regiment and was posted to the China, Peking, Tietsin and Hong Kong from 1927-29, as part of the Shanghai Defence Force. He then resigned from the Army and joined Imperial Chemical Industries (ICI) in Hong Kong for 5 years and learned to speak Mandarin. In 1934 he returned home to become the Duke of Hamilton and Brandon's private secretary, where he also learned to fly. During the Second World War he volunteered for the Auxiliary Air Force and became attached to Chinese forces in Burma as a pilot. 清乾隆 "大清乾隆年制"款青花缠枝莲托梵文高足盌拍品来源：Reginald (Tony) Muspratt-Williams先生旧藏, 后由家族继承。其于1927至1929期间被派往中国并加入上海国防军队。后辞去了军队的职务，加入了香港的帝国化学工业公司（ICI）并且工作了五年，期间学会了说普通话。1934年,他回到英国,成为了汉密尔顿公爵的私人秘书，后在二战期间作为飞行员与缅甸的中国军队共同抗战。 Condition Report: the rim with several rim chips 5mm x 7mm and smallerfour hair cracks fritting to glaze on exteriorfiring faults to stem small glaze flakes to foot rim Condition Report Disclaimer
A Chinese copper-red vase, Yuhuchun ping, Qianlong seal mark and of the period, the baluster body tapering to a flared neck, now a silver metal replacement, supported on a short flared foot, the exterior covered with an even copper-red glaze suffused with crushed raspberry, stopping evenly at the foot, the interior and recessed base glazed white, with Qianlong underglaze blue six-character seal mark, 22.5cm high 清乾隆 "大清乾隆年制"款 祭红釉玉壶春瓶Condition Report: the flared rim a silver metal replacement Condition Report Disclaimer
A rare Chinese iron-red 'bat' saucer dish, Jiaqing mark and of the Period, the surface with many bats symbolising long life, the underside rim with three bats, the centre with minyao six-character seal mark in iron-red within square line border, 23cm diameterProvenance: By repute formerly in the collection of Marion Denison Pender who died in the 1950s and was the daughter of John Pender清嘉庆 "大清嘉庆年制"款洪福齐天纹盘拍品来源： 前英国港督John Pender之女Marion Denison Pender私人收藏Condition Report: slight wear to gilding on rim and minor scathes and typical small firing blemishes Condition Report Disclaimer
A Chinese Dehua censer, 17th century, gui, with two elephant head handles, indistinct potter's square seal mark to base, with labels for Radcliffe collection 'X1' and Bluett & Sons London, approximately 14cm wide x 7.5cm high Provenance: Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive, 'X1' as purchased from Sotheby's, June 23, 1959, on commission by Bluett & Sons, for £27-10s-0dCompare with a similar incense burners, with various impressed seal marks, illustrated in S. Marchant and Son, Blanc de Chine, 1994, p. 63 no. 95; S. Marchant and Son, Blanc de Chine, 2006, p. 440-41, pl. 72 and 72a and Brian McElney, Chinese Ceramics & The Maritime Trade pre 1700, p. 178, pl. 10217世纪至18世纪 德化双耳炉拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族档案编号X1），1959年6月23日由英国著名古董商Bluett& Sons代理，购自苏富比，购入价27.1英镑Condition Report: approximately 20cm horizontal glaze crack to body with three vertical glaze cracks extending with the crack appearing on the glaze surface but appears not going through to the interior side Condition Report Disclaimer
A Chinese 'goose and peony' waterpotRepublic period, apocryphal Qianlong seal markOf globular form, enamelled to the exterior with two geese flying towards two other geese resting on stylised rocks amid leafy peony branches, the recessed base with mark in iron red, 7cm high, 8cm across.民國 粉彩繪大雁牡丹紋水盂Condition Report: 品相報告Good condition with minor firing flaws to the interior of the jar.
AMENDMENT: Please note there is an updated condition report for this lot.A Chinese blue and yellow 'dragon' dishRepublic period, apocryphal Daoguang seal markPainted in cobalt blue and enamelled in yellow to the centre, cavetto and exterior with nine scaly dragons chasing flaming pearls amidst billowing clouds, the base with a six-character seal mark in underglaze blue, box, 25cm diameter.Provenance: the Collection of Mengbi (1888-1970).民國 藍地留白加彩雲龍紋盤，青花篆書「大清道光年製」寄托款來源：夢弼(1888-1970)先生舊藏。夢弼先生（1888-1970）乃現藏家祖父。廣東順德人，一九〇六年南下馬來西亞，一九二一年創立大馬首個集成橡膠廠，至今仍由其家族經營。夢弼性耽藝術，好收藏。喜交文人雅士，於藝術家溫永琛，徐悲鴻及劉海粟相交。
A small Chinese enamelled and gilt moulded 'cats' melon-shaped vaseRepublic period, impressed Qianlong seal markThe ribbed vessel moulded to the shoulder with ladybirds on large melon leaves and enamelled on the gilt ground with three playful kittens reaching up to the insects, the based with impressed seal mark, 10cm high.民國 描金加彩繪貓紋瓜棱式壁掛瓶，模印篆書「乾隆年製」寄托款Condition Report: 品相報告Light surface wear, a couple of large pits and the foot very slightly ground down, otherwise generally good.
A Chinese famille rose standing figure of Shoulao20th century, apocryphal Tongzhi impressed seal markThe standing figure clad in bright robes and holding a gnarled staff suspending two peaches, the unglazed base with an impressed 'Tongzhi nianzhi' seal mark within a double square, 44cm high.二十世紀 粉彩繪壽佬像，模印篆書「同治年製」款Condition Report: 品相報告Extensive ingrained dirt to crevices and surface. A few tiny nibbles to edges and a 2cm surface chip to one of the peaches. Some expected crazing to enamels and some rubbing to enamels.
Two Chinese famille rose waresRepublic period, one with apocryphal Qianlong seal markComprising a brushpot, bitong, brightly enamelled with a flowering garden, the bi-shaped base with underglaze blue six-character seal mark, 11.3cm high; and a small baluster vase, also enamelled with a flowering garden, beneath a cloud collar at the shoulder and a green-ground scrolling lotus to the slender neck, 12cm high (2).民國 粉彩繪花卉園景圖紋筆筒及折枝花卉圖紋瓶，青花篆書「大清乾隆年製」寄托款Condition Report: 品相報告Brushpot: some rubbing to enamels and some light firing imperfections, including some suspended dark dust in the glaze. Small vase also with some rubbing to enamels and firing imperfections, but also has lots its base.
A Chinese famille rose rectangular teapotRepublic periodDensely decorated with flowering leafy lotus scrolls on a lime green ground, iron red manufacturer's seal mark to base, 14cm high民國 粉彩繪纏枝蓮紋蓋壺，Condition Report: Small chip to spout. Wear and minor loss to enamels in places. Generally good.
A pair of Chinese enamelled 'quails' vasesMid-20th century, Han Qing seal marksEach of the lantern-shaped bodies enamelled with quails under a bush of nandina berries, the base with an iron-red two-character seal mark, the side bearing signature and a red seal, each 23cm high (2).二十世紀中期 粉彩繪鵪鶉對瓶，礬紅篆書「翰青」款Condition Report: 品相報告Minor surface wear otherwise generally good.
A Chinese famille rose bowl,Republic period, apocryphal Jiaqing markPainted to the exterior with four figures holding fans in an interior scene with a horse approaching, iron red seal mark to base, 23cm diameter x 8cm high.民國 粉彩繪人物故事圖紋盌，礬紅篆書「嘉慶年製」寄托款Condition Report: Light surface wear throughout, generally good.
A Chinese famille rose 'lotus' bottle vaseRepublic period, apocryphal Qianlong seal markThe lower body brightly enamelled with a double row of upright lotus petals in pink and yellow, all below formal scrolling lotus on lime green ground to the slender, tubular neck, the base with a six-character seal mark in iron red, 15cm high.民國 粉彩繪蓮紋長頸瓶，青花篆書「大清乾隆年製」寄托款Condition Report: 品相報告Some rubbing to enamels and some mild firing imperfections including a few scattered pits and some crazing to the green and turquoise enamels.
A Chinese famille rose 'dragons' vase20th century, apocryphal Daoguang six-character seal markEnamelled on the oviform body and slender bamboo-shaped neck with nine dragons of various colours dipping in and out of tumultuous waves, the trumpet neck and base enamelled turquoise, the seal mark in iron red over a reserved white square 21.5cm high.二十世紀 鬆石綠地粉彩繪雲龍紋瓶，礬紅篆書「大清道光年製」寄托款Condition Report: 品相報告Expected minor surface wear and firing imperfections, otherwise generally good.
A pair of Chinese famille rose 'lychee and butterfly' saucersRepublic period, apocryphal six-character Daoguang seal marksEach with shallow sides rising from a short tapered foot to the foliate rim, painted to the interior with a butterfly above leafy lychee vines adorned with flowers and bamboo, the exterior decorated with a similar scene, the recessed base with six-character seal mark in iron red, 19.2cm diameter. (2)民國 粉彩繪荔枝蝶紋盤兩件，礬紅篆書「大清道光年製」寄託款Condition Report: 品相報告Minor wear to the enamel, otherwise good condition.
A Chinese olive green-glazed square box and coverEarly 20th century, apocryphal Wang Bingrong impressed seal markThe interior glazed turquoise, Wang Bingrong impressed seal mark to base, 9.5cm square. (VAT Charged on Hammer Price)二十世紀早期 綠釉龍紋蓋盒 ，陽文「王炳榮」款Condition Report: 品相報告General expected wear and firing imperfections, otherwise good.
A Chinese faux-bois trompe l'oeil basin20th century, apocryphal Qianlong impressed seal markThickly potted and naturalistically enamelled as a wooden basin with age splits, bound with two basket weave bands to the exterior, the interior with appliquéd with a natura morta of fruit and a crab, 21cm diameter.民國 象生瓷盤 「大清乾隆年製」寄託款Condition Report: 品相報告：light surface wear and rubbing to enamels; ingrained dirt; otherwise good. Some patches of waxy surface residue visible to the legs of the crab under UV, which do not however appear to be restoration.
A Chinese jade bangle, a turquoise, coral and silver necklace, and various hardstone carvingsLate Qing dynasty and laterComprising: a flat green and brown jade bangle with shallow-relief archaistic designs, 8.5cm diameter; a necklace of turquoise, coral and silver beads; a grey jade 'horse' seal, 4cm high; a greenish/brown jade recumbent ram, 4.7cm long; two archaistic jade pendants, 7.7cm and 6.2cm long; a nut carving suspended from a silver musical stone, 3cm wide; a gilt metal necklace and a separate pendant with a spiral design; and two small carnelian agate spherical beads (12).清晚期及以後 硬石雕及首飾一組Condition Report: 品相報告A few small nibbles to the extremities of the jade bangle and of the jade carvings. All with expected natural inclusions and a few fissures in the stone. The silver pendant suspending the carved nut slightly tarnished, and possibly missing some further pendants which would have hung from the metal rings. The silver in the turquoise necklace slightly tarnished, and some losses to the coral beads. Some rough casting to the spiral necklace and some possible losses to the tip.
A large Chinese painted silk four-panel screen with paintings in the manner of Zhou Zhimian (Circa 16th century)Qing Dynasty, 18th/19th centurydecorated with birds amid a pine tree with peonies at it's base, inscribed with colophon and one red seal, 216cm x 188cm.周之冕（傳）清十八/十九世紀花鳥圖設色絹本，四扇屏款識：吳郡周之冕鈴印：「周之冕」印
A Chinese Huanghuali seal chest Qing Dynasty, 18th/19th centuryOf rectangular form flanked by a pair of handles in the form of ruyi head, the hinged cover fitted with cloud-shaped hasp, lifting to reveal the interior with single tray above four rows of drawers in two columns, the doors fitted with rectangular hinge and oval handles to the centre, raised on bracket foot, 33.5 x 25 x 35cm.清十八/十九世紀 黃花梨官皮箱
A set of four Chinese café-au-lait-ground famille rose saucersQing dynasty, Tongzhi seal marks and of the periodEach of foliate form, enamelled with insects and floral sprays, the base left white and with an iron-red four-character seal mark, 10.7cm diameter (4).清同治 黃地粉彩碟 一組四件 礬紅「同治年製」款Condition Report: 品相報告：one dish with 15mm rim hairline. Another with 4mm diam. surface flake to exterior of rim. All with light rubbing to enamels and expected firing imperfections including some pitting and one short firing crack.
An unusual pair of Chinese 'Canton' famille rose brush pots, bitongQing dynasty, Xianfeng minyao seal marks and of the periodEach enamelled with the scene of a lady holding a ruyi in a garden with two young scholars and an elderly gentleman with his boy attendant, all between gilt-ground decorative bands at the foot and rim, each 11cm high (2).清咸豐 廣彩繪持蓮童子仕女圖紋筆筒一對，「」款Condition Report: 品相報告Expected light surface wear and firing imperfections consistent with type, including pitting, iron spots and firing cracks. The base of one brush pot with some fine lines in the glaze which do not appear to go through to the body.
A Chinese underglaze blue and copper-red 'wufu' dishQing dynasty, Qianlong seal mark and of the periodRaised from a short tapered foot to shallow sides and everted rim, painted to the interior with five bats amid scrolling ruyi clouds, 20.5cm diameter.清十八世紀 青花釉裡紅繪五蝠紋碟Condition Report: 品相報告A hairline from the mouth rim of approx. 4cm, chips along the mouth rim, tiny nibbles to the foot rim, wear and scratches to the glaze, pitting to the base.
A Chinese 'pink Fitzhugh' style saucer dishQing dynasty, Tongzhi seal mark and of the periodThe initialled central roundel further decorated with a band of flowers and antique objects, the six-character seal mark in iron red to base, 10.7cm diameter.Provenance: collection of the late documentary maker John Armstrong (1928-2004).清同治 胭脂紅彩仿費茨休紋樣小盤，礬紅「大清同治年製」篆書款來源：紀錄片導演 John Armstrong (1928-2004) 收藏。Condition Report: 品項報告There's expected wear to the glaze and enamel, a chip and nibbling to the foot rim.
A pair of Chinese famille rose export plates and a blue and white plateQing dynasty, Yongzheng periodThe famille rose plates brightly enamelled with a bird perched on a flowering prunus branch amidst peonies and chrysanthemums, 21.5cm diameters; the blue and white plate with herons in a lotus pond, the recessed base with a seal mark, 21.8cm diameter (3).清雍正 粉彩繪花鳥圖紋盤一對連青花繪蓮池圖紋盤Condition Report: 品相報告Blu and white plate: nibbling to edges, 22mm wide chip to rim, 5cm long rim hairline.Famille rose plates: first with 6mm wide rim chip and 8.5x3.5cm wide broken off rim section; the other one with three rim hairlines, one of which with associated rim chip (approx. 15x3mm).
A Chinese famille rose sgraffiato yellow-ground 'Sanyang' wall vaseRepublic period, apocryphal Qianlong six-character seal markThe sgraffiato yellow ground with typical scrolling motifs framing a cartouche of three rams, the base with iron red apocryphal seal mark in a line on white glaze surrounded by turquoise, 18.5cm high.民國 黃地扎軋道彩繪三陽開泰圖紋壁掛瓶，礬紅篆書「大清乾隆年製」寄托款
Three Chinese famille rose dishesLate Qing dynasty, 19th century, Tongzhi and four-character seal marksComprising: a large 'insects and flowers' dish, Tongzhi six-character seal mark in iron red to base, wood stand, 34.5cm diameter, and a pair of 'peony and phoenix' plates, four-character seal marks in iron red to bases, wood stands, each 19cm diameter (3).清晚期 粉彩盤一組三件Condition Report: 品相報告Large plate with expected scratching and rubbing to enamels, iron spots, scattered pits and expected firing imperfections. Smaller plates also with some surface wear and firing imperfections, including rubbing to enamels, nibbling and fritting to rims, pitting, iron spots, and a few firing cracks.
A pair of Chinese famille rose lobed bowls and a similar larger bowlQing dynasty, Tongzhi periodThe pair painted with scholars playing weiqi to one side and a scholar playing a qin to the other, each with apocryphal Yongzheng seal mark to base, 18.5cm wide, the larger bowl painted with a ceremonial garden scene, 28cm wide (3)清同治 粉彩繪士大夫圖紋花口盌一對
A pair of Chinese famille verte cylindrical tapering vasesQing Dynasty, 19th century, apocryphal Chenghua seal marksWith flat shoulders and square flaring necks, finely enamelled with shaped medallions of court scenes on busy scrolling floral grounds, the bases with underglaze blue four-character seal marks within double lines, each 37cm high (2).清十九世紀 五彩人物圖瓶一對 青花「成化年制」款Condition Report: 品相報告： Some restoration: both vases restored at the base of the necks, and one vase with three corner edges of mouth restored, the other with two, a few further small areas of touching up to enamels. One vase with body hairline. A few scattered surface flakes to glaze. Some expected rubbing and flaking to enamels.
A Chinese famille rose 'millefleurs' octagonal bowlLate Qing dynasty, early 20th century, apocryphal Qianlong six-character seal markThe exterior brightly enamelled with a profusion of flowers on gilt ground, the interior and base covered in turquoise, 19.5cm wide.晚清/民國 粉彩繪百花不落地紋八方盌，礬紅篆書「大清乾隆年製」寄託款Condition Report: 品相報告 A small rim nibble (2mm wide approx.), general expected scratching and wear to enamels.
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