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CONTEMPORARY ART DECO DESIGN SILK RUNNER, 500cm x 80cm, geometric sky blue field.

Pretty Heart coloured pencil drawing on chocolate wrapper 30 x 24cm Footnote: This work is from an ongoing series of same size mounted drawings titled 'Art Car Boot Series', which involves many different themes often including heart drawings. Contemporary and Country (C&C) present contemporary art and the handmade by artists and makers holding pop-up exhibitions in non-gallery spaces, by both new and established creatives based in rural locations. C&C display new work by contemporary artists and makers who don’t conform to assumptions about creativity being a metropolitan activity. Through their chosen subject matter these artists raise questions about our landscape, highlighting issues away from the romantic, toward a variety of more engaging concerns shared by creative practitioners working in geographically isolated communities today. https://contemporaryandcountry.com/pages/exhibition-curators

Was it all a Dream? digital print using permanent inks on acid free archival paper 38.5 x 48.5cm Footnote: Contemporary and Country (C&C) present contemporary art and the handmade by artists and makers holding pop-up exhibitions in non-gallery spaces, by both new and established creatives based in rural locations. C&C display new work by contemporary artists and makers who don’t conform to assumptions about creativity being a metropolitan activity. Through their chosen subject matter these artists raise questions about our landscape, highlighting issues away from the romantic, toward a variety of more engaging concerns shared by creative practitioners working in geographically isolated communities today. https://contemporaryandcountry.com/pages/exhibition-curators

Untitled monoprint, Shackle and Edwards ink on Somerset paper, with acrylic 65 x 85cm Footnote: This is a very rare collaboration between Katarzyna Coleman and John Kiki made especially for this auction, where John Kiki has added his unique imagery (horse and rider in acrylic) to one of Katarzyna's signature industrial landscapes. Contemporary and Country (C&C) present contemporary art and the handmade by artists and makers holding pop-up exhibitions in non-gallery spaces, by both new and established creatives based in rural locations. C&C display new work by contemporary artists and makers who don’t conform to assumptions about creativity being a metropolitan activity. Through their chosen subject matter these artists raise questions about our landscape, highlighting issues away from the romantic, toward a variety of more engaging concerns shared by creative practitioners working in geographically isolated communities today. https://contemporaryandcountry.com/pages/exhibition-curators

Houghton Desire Lines framed, float mounted on paper cut of Houghton Hall's floor plan 50 x 50cm Footnote: Contemporary and Country (C&C) present contemporary art and the handmade by artists and makers holding pop-up exhibitions in non-gallery spaces, by both new and established creatives based in rural locations. C&C display new work by contemporary artists and makers who don’t conform to assumptions about creativity being a metropolitan activity. Through their chosen subject matter these artists raise questions about our landscape, highlighting issues away from the romantic, toward a variety of more engaging concerns shared by creative practitioners working in geographically isolated communities today. https://contemporaryandcountry.com/pages/exhibition-curators

Good Timing, 2009 metalwork 28 x 50cm Footnote: Contemporary and Country (C&C) present contemporary art and the handmade by artists and makers holding pop-up exhibitions in non-gallery spaces, by both new and established creatives based in rural locations. C&C display new work by contemporary artists and makers who don’t conform to assumptions about creativity being a metropolitan activity. Through their chosen subject matter these artists raise questions about our landscape, highlighting issues away from the romantic, toward a variety of more engaging concerns shared by creative practitioners working in geographically isolated communities today. https://contemporaryandcountry.com/pages/exhibition-curators

Small Creek and Oak Tree, 2020 Acrylic on 300gsm paper 48 x 48cm Footnote: One of a sequence of small paintings originating from a regular walk, and the changing of the seasons, between Beaumont and Landermere on the Essex coast. Simon Carter is an artist and curator who was born in Chelmsford, Essex in 1961. He studied at Colchester Institute (1980–81) and then North East London Polytechnic (1981–84). In 2013 he co-founded the artist led group Contemporary British Painting and also the ‘East Contemporary Art’, a collection dedicated to contemporary art of the East of England which is housed at the University of Suffolk, Ipswich. Carter is President of Colchester Art Society and a trustee of the Victor Batte-Lay Foundation. He has work in many public collections in the UK and abroad.

William Scott (1913-1989) ''Grapes'' Signed and dated (19)79, numbered 50/150, lithograph, 49.5cm by 64cm Sold together with the Christie's Contemporary Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

William Scott (1913-1989) ''Pears'' Signed and dated (19)79, numbered 63/150, lithograph, 50cm by 65cm Sold together with the Christie's Contemporary Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Stephen Cox (b.1946) ''Crucifixion V'' Signed, titled and dated (19)86 on the reverse of one part, two parts of travertine marble with black cement and oxides, from a series produced for St Pauls Church at Haringey, 88cm by 46.5cm overallProvenance: Sotheby's Olympia, 23rd June, 2005, Contemporary Art Reverend Dr Richard Davey See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

•Michael Greenlaw (Scottish, Contemporary), Big Sand, Ross & Cromarty, titled and dated May 1975, signed verso and further inscribed "4th Year", oil on board. 106cm by 128cm. Note: Greenlaw is a graduate of the Edinburgh College of Art and spent 40 years working as a community artist in Edinburgh before moving to the south of Ireland where he works with Arts for Health groups, other community organisations and continues with his own work which he exhibits locally. The subject work was presumably a student piece from his time at the Edinburgh College of Art. Note: this lot may be subject to Artist's Resale Right.

A large collection of Asian contemporary and 20th century art auction catalogues, Chinese art, Christies Hong Kong and Sothebys

A LONGQUAN ‘TOBI SEIIJI’ EWER, YUAN DYNASTYChina, 1279-1368. The ovoid body rising from a short ring foot, the shoulder applied with a pair of small loop handled set between the short spout and strap handle, covered overall in a milky white ‘tobi seiiji’ glaze with dark iron-brown splashes, the foot and base left unglazed.Provenance: British private collection and thence by descent in the same family. Four collector’s labels to base, one reading “W. Burchard” with a collector’s number and one reading “Qingbai iron-splash ewer YUAN ₤3,850”, the others with collector’s numbers. Probably the “W. Burchard” label relates to the family of Dr. Otto Buchard (1892-1965), a specialist on Chinese Song dynasty ceramics, and owner of a famous gallery in Berlin, who underwrote the First International Dada Fair in Berlin in 1920. His collection was sold at auction on May 19-21, 1928, with the catalog “Die Sammlung des Herrn Dr. Otto Burchard, Berlin”, edited by William Cohn (published by P. Cassirer and H. Helbing, Berlin, 1928). See also Otto Burchard “Chinesische Kleinplastik” (E. Wasmuth, Berlin, 1922).Condition: Very good condition with minor wear and firing irregularities, one minuscule chip to the spout, the glaze with kiln dust and old wear.Weight: 164.7 gDimensions: Height 10 cmTobi seiiji is a Japanese term meaning "flying celadon" referring to celadon ware made at the Longquan kilns in Zhejiang province during the Yuan dynasty, which was decorated with iron-brown spots, a decorative feature much admired by contemporary Japanese patrons. This type of vessel is extremely rare, and most of the extant examples are either kept in Japan or have arrived overseas by way of Japan. Kobayashi suggested that this group of Longquan wares was in fact made for the Japanese market. During the Yuan dynasty, Qingbai wares with brown spots were also produced for export, but they are generally less refined than their Longquan counterparts. See Ye Peilan, Yuandai ciqi [Porcelain of the Yuan dynasty], Beijing, 1998, pp. 247-8, pls 428-437.Auction result comparison: Compare with a related ‘tobi seiiji’ bottle vase at Sotheby’s Hong Kong in Chinese Art on 2-3 June 2016, lot 639, sold for HKD 250,000.元代龍泉青釉褐斑執壺 中國，1279-1368年。卵圓形壺身，短圈足，短壺嘴，頸部一對小環，整體覆蓋著青釉，局部褐斑，足部和底座未上釉。 來源：英國私人收藏，自此保存在同一家族。 底部四個藏家標籤，其中一個為“ W. Burchard”與藏家編號，一個為“Qingbai Iron-spray Ewer YUAN，₤3,850”，其他帶有收藏家編號。 可能是“W. Burchard”與中國宋代陶瓷專家Otto Buchard博士（1892-1965）的家族有關，他是柏林一家著名藝廊的所有者，該藝廊承辦了1920年在柏林舉行的第一屆國際達達博覽會。他的藏品被出售 于1928年5月19日至21日舉行的拍賣會上，畫冊由威廉·科恩（William Cohn）編輯（柏林P. Cassirer和H. Helbing於1928年出版），畫冊名為“Die Sammlung des Herrn Dr. Otto Burchard, Berlin”。 另見奧托·布爾查德（Otto Burchard）的“Chinesische Kleinplastik“（E. Wasmuth，柏林，1922年）。 品相：狀況極佳，有輕微磨損和燒製瑕疵，壺嘴処有一小塊碎屑，釉面有窯灰和舊磨損。 重量：164.7 克 尺寸：高 10 厘米 拍賣結果比較：一件相近褐斑瓶售于香港蘇富比Chinese Art 拍場，2016年6月2-3 日，lot 639, 售價 HKD 250,000。

A LARGE PAINTED GRAY POTTERY EQUESTRIAN GROUP, CHINA, EARLY WESTERN HAN DYNASTY, 2ND CENTURY BCThe rider well modeled separately, wearing an implied tunic and neatly incised hair, his expressive face painted in fine detail with various pigments, upright positioned to rein in his spirited horse, its neck arched and ears laid back, the powerful body left unadorned to focalize the observer’s view exclusively towards the beauty of the majestic animal itself. (2) Provenance: A Swiss private estate. Galerie Zacke, Vienna, 16 March 2000. Dr. Mons Fischer, acquired from the above for ATS 120,000 [Austrian Schilling]. A copy of the payment receipt from 16 March 2000 will be given to the winning bidder of this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair as generally expected from Han dynasty excavations. Losses, fissures, wear, weathering, some dents, and encrustations. Drilled holes from sample-taking. Overall, good condition and fully commensurate with the age of this ensemble.Scientific Report: A thermoluminescence analysis report issued by Oxford Authentication on February 11th, 2020, based on sample number C120a61, sets the firing date of three samples taken at 1500 – 2400 years ago. A copy of the report, issued by Oxford Authentication, is accompanying this lot.Weight: 15.2 kg (the horse) and 2.8 kg (the rider) Dimensions: Height 76.5 cm (the complete set)Literature comparison: The unusually large model of this type of equestrian figure is related to three others of slightly smaller size unearthed in 1965 from a tomb at Yangjiawan, Xianyang City, now in the Shaanxi Historical Museum, and included in the exhibition, Treasure of Chang, Hong Kong Museum of Art, 15 October 1993 - 2 January 1994, number 2, page 52. The tomb is an attendant tomb of Changling, the tomb of Emperor Gaozu and consisted of eleven pits. The equestrian figures here were grouped together in square formations. See, also, the similarly modeled large figure painted with related decoration on both horse and rider, where the horse's head is raised, illustrated in Zhongguo taoci daxi, Gudai taoci daquan (Chinese Ceramics Series, The Ancient Ceramics), Taipei, 1989, page 247. Another model with raised cantle and saddle bow on which a figure related to the present lot sits, Zhongguo gudai bingqi tuji (Ancient Chinese Weapons - A Collection of Pictures), Beijing, 1990, page 154, figures 6-96 and 6-97.Auction result comparison: Compare with a related but smaller equestrian group at Christies New York in Fine Chinese Ceramics, Paintings and Works of Art on 21st March 2000, lot 253, sold for USD 34,500. 西漢早期大型彩繪陶人陶馬，公元前2世紀騎手與馬獨立製作，穿著束腰外衣，頭髮整齊。他的臉上用各種顔料描繪，身姿筆挺，形象生動。馬生氣勃勃，脖子呈弧形，耳朵向後傾，身體强壯，讓人感受到動物雄壯的美。 來源：瑞士私人財產。維也納 Zacke藝廊, 2000年3月16日。 Mons Fischer博士購於上述藝廊，120.000，-奧地利先令。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：如漢代出土物品預期的一些修補。 缺損失、裂縫、磨損、風化、一些凹痕和結垢。 因檢測所需樣品採集鑽孔。 總體而言，狀況良好，與其年代相符。 科學檢測報告: 隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a61。檢測結果表明拍品為1500-2400年前所制。 重量：馬15.2 公斤；騎士 2.8 公斤 尺寸：縂高76.5 厘米 拍賣結果比較：一件相近但更小的陶人陶馬見紐約佳士得 Fine Chinese Ceramics, Paintings and Works of Art 拍場2000年3月21日 lot 253, 售價USD 34,500.

A LARGE PAINTED POTTERY BACTRIAN CAMEL WITH RIDER, TANG DYNASTYChina, 618-907. The two-hump camel standing foursquare on a rectangular base, neck raised and mouth slightly open to reveal tongue and teeth above the hairy beard, the bearded Turk or Sogdian rider wearing a distinctive pointed hat and seated in a relaxed posture with his right arm raised to goad the camel, the other hand originally holding the reins.Provenance: German private collection. Galerie Zacke, Vienna, 3 December 2002. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 December 2002, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Extensive wear to pigments. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 11 February 2020, based on sample no. C120a58, sets the firing date of all three samples taken at 1000 – 1600 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 5.0 kgDimensions: Height 59.5 cmThe Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, cosmopolitan nature of their design, and by the high technical skill employed in their manufacture as the present pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality. China prospered as a result of trade with the west along the famous Silk Road, and camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as ‘the ships of the desert’. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan, and Mongolia, and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services. It seems that no pottery examples showing Chinese riders have yet been excavated. Perhaps only these Central Asian foreigners were able to tame and guide the camels.Handsome, imposing and exotic camels such as the present lot are of great scholarly importance as well as being highly decorative. Much of the evidence of Tang dynasty life comes from archaeological pieces from tomb excavations which bear witness to fear of death as well as a desire to recreate the lifestyle and comforts experienced in this life. Impressive beasts such as this camel, as well as horses and other figures including attendants, officials and servants, were therefore required to accompany the deceased on his journey in the afterlife. Examples of Tang dynasty camels, both unglazed and with sancai glaze, are in important museum collections including the British Museum, Musee Guimet, and the Metropolitan Museum of Art.Literature comparison: For a comparable figure of a camel with Central Asian rider see Hao Qian, et al., Out of China's Earth: Archaeological Discoveries in the People's Republic of China, Beijing 1981, fig.241. For another related group of gray pottery camels excavated from the tomb of Dugu Sijing, dated AD 709, see Tang Chang'an chengjiao Sui Tang mu (Excavation of the Sui and Tang Tombs at Xi'an), Bejing, 1980, pls.65, 70-71.Auction result comparison: A closely related but slightly larger (68 cm high) camel and rider were sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 255, sold for EUR 24,940. Compare also with a related but slightly larger (66 cm high) camel and rider at Christie’s New York in The Art of China on 20-27 September 2017, lot 38, sold for USD 25,000.唐代大型彩繪胡人騎駝陶俑中國, 618-907年。雙峰四足前後錯落站立在菱形托板上，昂首引頸，作嘶鳴狀。駝背上坐一胡人，深目高鼻，絡腮鬍。頭戴尖帽，身著翻領、窄袖、開胯、過膝的胡服。手扶駱駝前肉峰。 來源：德國私人收藏。維也納 Zacke藝廊, 2002年12月3日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐朝出土物品預期的一些維修。缺損、裂縫和結殼。顏料大量磨損。 因檢測樣品採集鑽孔。 總體而言，狀況良好。 科學檢測報告: 隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a58。檢測結果表明拍品為1000-1600年前所制。 重量：5.0 公斤 尺寸：高59.5 厘米 唐朝無疑是中國歷史長河上最令人激動的藝術時期之一。如本拍品實例充分表現的那樣，藝術的特徵在於多樣性、設計的國際化以及其製造中採用的高技術。從唐初到756年的安祿山叛亂，宮廷和唐朝精英階層享有的富裕水平確保了各種最高品質商品的生產。絲綢之路更是擴大了與西方的貿易，中國繁榮了，駱駝在商品運輸中變得越來越重要，因為這動物可以長途搬運重物，無水生存數天。由於它們大而寬的腳不易沉入沙灘，因此被稱為“沙漠之船”。許多駱駝是從塔里木盆地、土庫曼斯坦東部和蒙古進口的，被稱為雙峰駝。唐代甚至建立了一個專門官署，監督其繁殖和運作。目前似乎還沒有發掘出顯示中國駝俑的實例。也許只有這些中亞人才能馴服和引導駱駝。 像現在這樣雄壯的、充滿異國情調的例如此拍品中的駱駝不但在學術上舉足輕重，裝飾性也很高。 重現唐朝生活需要很多來自出土的物品，這些出土物見證了古時人們對死亡的恐懼以及渴望重塑這一生所經歷的舒適的生活的願望。 因此，像這樣令人印象深刻的野獸比如駱駝，以及包括侍者以及官員、馬等都陶器都會用來陪葬。 重要的博物館收藏了很多上釉、位上釉和三彩的唐朝駱駝，比如大英博物館、吉梅博物館和大都會博物館。 文獻比較：一件胡人駱駝陶俑見 Hao Qian, et al., Out of China's Earth: Archaeological Discoveries in the People's Republic of China, Beijing 1981, fig.241.；另一組灰陶駱駝見獨孤思敬墓（公元709年），《唐長安城郊隋唐墓》，北京1980年，圖65, 70-71。 拍賣結果比較：一件非常相似但更大 (高68 厘米)的胡人駱駝見本拍賣行Fine Chinese Art, Buddhism and Hinduism 拍場2020年4月25日 lot 255, 售價EUR 24,940. ；一件相近但更大 (高66 厘米)的胡人駱駝見紐約佳士得The Art of China 拍場2017年9月20-27日 lot 38, 售價USD 25,000.

A BLACK POTTERY AMPHORA WITH APPLIED BRONZE BOSSES, HAN DYNASTYChina, 202 BC to 220 AD. With waisted, incised neck and everted, pinched mouth emanating two bold wide strap handles joining the ovoid, tapering body centered by spiral designs; applied overall with conical metal bosses.Provenance: Austrian private collection. Galerie Zacke, Vienna, exhibition from 1 April to 29 May 2004. Dr. Mons Fischer, acquired from the above. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Good condition with old wear and casting flaws, small nicks here and there, the bosses with malachite-green and copper-red encrustations, drilled holes from sample-taking, some losses and minor repairs, all exactly as expected from an authentic piece with this age.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 9 September 2003, based on sample no. C103r67, sets the firing date of both samples taken at 1500 – 2400 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 4,573 gDimensions: Height 33 cmAuction result comparison: Compare with a near-identical amphora at Bonhams San Francisco in The Ed Hardy San Francisco Collection on 5 May 2009, lot 1321, sold for USD 3,050.漢代黑陶嵌銅泡釘雙耳壺中國, 公元前202 BC至公元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年4月1日至5月29日展覽。 Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，有舊磨損和鑄造缺陷，到處都有小缺口，銅綠與結殼。因爲檢測進行樣品採集而鑽孔，一些缺損和小修，與其年代相符。科學檢測報告：隨附牛津熱釋光檢測報告副本，根據樣本C103r67，2003年9月9日測試結果，該拍品應爲1500-2400年前所制。 重量：4,573 克 尺寸：高33 厘米 拍賣結果比較：一件幾乎一模一樣的雙耳壺見舊金山邦瀚斯 The Ed Hardy San Francisco Collection 拍場2009年5月5日 lot 1321, 售價USD 3,050.

A LARGE PAINTED POTTERY FIGURE OF A PRANCING HORSE, TANG DYNASTYChina, 618-907. The spirited horse is shown standing with its left foreleg raised, the mouth open and the ears pricked, the saddle is covered with a cloth gathered on the sides atop the mud guard, and the chest strap and crupper are hung with tassels.Provenance: Austrian private collection. Galerie Zacke, Vienna, 22 January 2004. Dr. Mons Fischer, acquired from the above for EUR 17,000. A copy of the original invoice from Galerie Zacke, Vienna, dated to 22 January 2004, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Extensive wear to pigments. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 6 February 2020, based on sample no. C120a55, sets the firing date of all three samples taken at 1000 – 1600 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 9.3 kgDimensions: Height 54 cm, Length 58 cmAuction result comparison: Compare with a closely related but smaller (37.5 cm high, 40.7 cm long) painted pottery horse at Christie’s New York in Fine Chinese Ceramics and Works of Art on 22 March 2013, lot 1161, sold for USD 40,000, and another (44.3 cm high) at Christie’s New York in Fine Chinese Ceramics and Works of Art on 19 September 2014, lot 719, sold for USD 40,000.唐代大型彩繪奔馬陶俑中國, 618-907年。英姿颯爽的駿馬，左前肢抬起，嘴巴張開，耳朵穿孔，馬鞍上覆蓋著馬袱，佩戴著攀胸和杏葉。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年1月22日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐朝出土物品預期的一些維修。缺損，裂縫和結殼。顏料大量磨損。因爲樣品採集鑽孔。 總體而言，狀況良好。 科學檢測報告：隨附一份2020年2月6日出具的牛津熱釋光檢測報告副本， 采樣編號C120a55。檢測結果表明拍品為1000-1600年前所制。 重量：9.3 公斤 尺寸：高54 厘米, 高 58 厘米 拍賣結果比較：一件相近但稍小 (高37.5 厘米 ，長 40.7 厘米) 的彩繪陶馬見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年3月22日lot 1161, 售價USD 40,000, ；另一件 (高44.3 厘米) 見紐約佳士得 Fine Chinese Ceramics and Works of Art 拍場2014年9月19日 lot 719, 售價USD 40,000.

A SANCAI-GLAZED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare on a mostly unglazed square base, with its head raised upwards as if braying, the body covered in a transparent ochre glaze, the back with a molded caparison and glazed with green, cream and ochre.Provenance: Austrian private collection. Galerie Zacke, Vienna, 3 October 1998. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 October 1998, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Minor firing flaws, such as firing cracks, glaze flakes, glaze recesses, and dark spots. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 11 February 2020, based on sample no. C120a60, sets the firing date of both two samples taken at 900 – 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 6.0 kgDimensions: Height 58 cmLiterature comparison: A closely related but smaller sancai pottery camel in the collection of the Metropolitan Museum of Art, accession number 67.43.1. A related sancai camel is also in the collection of the British Museum, museum number 1915,0409.2.Auction result comparison: Compare with a closely related sancai pottery camel at Bonhams London in Asian Art on 6 November 2017, lot 326, sold for GBP 10,625.唐代三彩駱駝俑中國, 618-907年。雙峰駝俑，引頸翹首，四肢挺拔，體態昂揚。周身以黃釉為主，局部間以綠、白色釉。 來源：奧地利私人收藏。維也納 Zacke藝廊, 1998年10月3日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐代出土物品中普遍預期的一些維修和修整。 缺損，裂縫和結殼。輕微的燒製缺陷，例如燒製裂紋，釉面開片，釉面内凹和黑斑。 因樣品採集鑽孔。總體而言，狀況良好。 科學檢測報告：隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a60。檢測結果表明拍品為900-1500年前所制。 重量：6.0 公斤 尺寸：高58 厘米

A STRAW GLAZED POTTERY AMPHORA, LONGBINGHU, TANGChina, 618-907. The body of baluster form rising from the flat base to a slightly concave neck and a cup-shaped mouth with an everted lip, with two strap handles on the shoulder terminating in dragon heads in the mouth, giving the appearance that the mythical beasts are drinking from the amphora.Provenance: French private collection. Japanese collector’s inscription to base.Condition: Fair condition with significant old wear, pitting, the glaze with some flakes, recesses, and signs of weathering and erosion, all absolutely consistent with age.Weight: 2,475 gDimensions: Height 38 cmCovered overall in a translucent and finely crackled glaze of pale yellowish tint stopping unevenly around the center of the body to reveal the buff ware.Vases of this elegant form, with full rounded shoulders and a pair of sweeping handles in the form of sinuous dragons, illustrate the international spirit of the Tang dynasty. Known in Chinese as longbinghu, “dragon-handled jars”, their form was inspired by silver and glass vases made in the Roman Empire and brought to China through the Silk Route. The Tang potters cleverly adapted Western forms to suit contemporary taste by modelling the handles in the form of dragons biting the vessel’s rim.Literature comparison: Examples of dragon-handled amphoras, both with white and amber-brown glazes, have been found in Gongyi city, Henan province, not far from the Gongyi kiln site, one of the foremost producers of Tang pottery. A reconstructed example, unearthed from a Tang dynasty tomb at Beiyaowan, near Gongyi, was included in the exhibition Ceramic Finds from Henan, University Museum and Art Gallery, Hong Kong, 1997, cat. no. 12. A similar amphora from the collection of Robert W. de Forest, now in the Newark Museum, was included in the exhibition Chinese Art from the Newark Museum, China Institute in America, New York, 1980, cat. no. 9.Auction result comparison: Compare with a related but slightly larger Tang amphora sold by Sotheby’s New York in A Noble Pursuit: Important Chinese And Korean Art from A Japanese Private Collection on 11 September 2019, lot 526, for USD 50,000.唐代白釉雙龍耳瓶中國，618-907。卷沿，盤口，細長頸，豐肩鼓腹，平底。雙龍耳高聳於口沿，垂至肩部。頸和肩部劃雙弦紋，精細絕倫。 來源：法國私人收藏Japanese collector’s inscription to base. 品相：狀況良好，有舊磨損。細微點蝕，釉面輕微開片、些許凹陷以及風化侵蝕痕跡。品相與年代絕對相符。 重量：2,475 克 尺寸：高 38 厘米 施白釉不到底，白釉稍泛青色，有極細的紋片。灰白胎。 拍賣結果比較：一件相近但更大些的唐代雙龍耳瓶售于紐約蘇富比A Noble Pursuit: Important Chinese And Korean Art from A Japanese Private Collection 拍場，2019年9月11日，lot 526, 售價 USD 50,000。

A JIZHOU TORTOISESHELL-GLAZED BOWL, SOUTHERN SONG DYNASTYChina, 1127-1279. The deep rounded sides flaring out from a narrow flat foot and rising to an indentured rim, covered overall with a glossy rust brown glaze irregularly splashed with a caramel tone in imitation of tortoiseshell, all finishing just above the foot, the base left unglazed revealing the buff body.Provenance: German private collection.Condition: Very good condition with minor wear, firing irregularities, and small chips to the foot.Weight: 198.2 gDimensions: Diameter 12.4 cmAuction result comparison: Compare with a related bowl at Sotheby’s New York in Important Chinese Art on 16 March 2016, lot 217, sold for USD 10,625, and another at Sotheby’s Hong Kong in Contemporary Literati – A Gathering on 7 April 2014, lot 3624, sold for HKD 162,500.南宋吉州窯玳瑁釉碗 中國，1127-1279年。外壁飾玳瑁釉。圈足無釉，露出黃白色胎。碗釉面黃釉色在黑釉底色襯托下蜿蜒蜿蜒現，似行雲流水。 來源：德國私人收藏. 品相：狀況極佳，有輕微磨損，燒製不規則，圈足上有小碎屑。 重量：198.2 克 尺寸：直徑12.4 厘米 拍賣結果比較：一件相近的碗見紐約蘇富比Important Chinese Art 拍場，2016年3月16日，lot 217, 售價USD 10,625, 另一件見香港蘇富比Contemporary Literati – A Gathering拍場，2014年4月7日，lot 3624, 售價HKD 162,500.

AN YIXING ‘FROG AND LOTUS’ TEAPOT AND COVER BY WANG YINCHUN (1897-1977)China. Finely and naturalistically modeled, the body in the form of overlapping lotus leaves, forming five round feet to the base. The spout also in the form of a lotus leaf while the handle is modeled as a gnarled branch, the circular cover in the form of a lotus pod with partly movable seeds and surmounted by a central knop in the form of a frog.Inscriptions: To the interior of the cover, oval seal ‘Yinchun’. To the base, square seal ‘Made for the Imperial Court of the Great Qing Dynasty’.Provenance: Old private villa estate in Bonn, Germany. German private collection, acquired from the above.Condition: Good condition with extensive wear and some firing irregularities, occasional light scratches, microscopic nibbling to edges. Some of the movable seeds are stuck.Weight: 418.2 gDimensions: Height 10.5 cm, Width 18.5 cmWang Yinchun (1897-1977), one of the Six Old Masters chosen to teach in the main factory when Yixing ware was revived in the 1950s, is well-known for his efficient yet high standard production of teapots in various forms. It is said that Wang used to make more than ten pieces each day without any compromise on the quality of a single teapot.Auction result comparison: For a teapot and cover by the same artist, see Sotheby’s New York in Important Chinese Art on 15 March 2017, lot 725, sold for USD 13,750. Compare a related teapot by Jiang Rong, another of the Six Old Masters, at Christie’s New York in Contemporary Clay: Yixing Pottery from the Irving Collection on 19-26 March 2019, lot 15, sold for USD 37,500.王寅春宜興青蛙蓮蓬茶壺 中國。壺身以重疊的荷葉形式出現，底部形成五足。壺嘴也呈荷葉形，而手柄則為樹枝狀。壺蓋呈蓮蓬狀，蓮子可活動，上面蓋鈕為青蛙。 款識：壺蓋内見“寅春“二字。壺底有四方印一枚”大清宮廷監造“。 來源：德國波恩私人別墅遺產。德國私人收藏，購於上述收藏。 品相：狀況良好，有大量磨損，並有一些燒製不規則現象，偶有輕微划痕，微小的邊緣磨損。 一些可活動的蓮子有點卡住。 重量： 418.2 克 尺寸：高10.5 厘米, 寬18.5 厘米 拍賣結果比較：同一藝術家的另一件茶壺見紐約蘇富比Important Chinese Art 拍場2017年3月15日 lot 725, 售價USD 13,750. 一件蔣蓉六字款蓮蓬茶壺見紐約佳士得Contemporary Clay: Yixing Pottery from the Irving Collection拍場2019年3月19-26日lot 15, 售價USD 37,500.

A GILT BRONZE WINE VESSEL, BIANHU, HAN DYNASTYChina, 206 BC to AD 220. The flattened oval body raised on a spreading rectangular foot and incised on each broad side with four deer-like mythical beasts around a central cross-shaped ruyi symbol, the narrow sides incised with geometric designs interrupted by a pair of taotie mask and loose ring handles, the waisted neck incised with a band of stiff leaves.Provenance: Austrian private collection. Galerie Zacke, 3 June 2004. Dr. Mons Fischer, acquired from the above. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria. A copy of the original receipt from Galerie Zacke and an expertise written and signed by Mag. Ludwig Widauer, ruling out recent manufacture of this piece, accompany this lot.Condition: Good condition, commensurate with age, extensive wear, soiling, malachite-green encrustations, scratches, minuscule nicks here and there.Weight: 487.2 gDimensions: Height 13.2 cm, Width 14.2 cmThe bianhu was an innovation of the Eastern Zhou, introduced around 400 BC, with production continuing into the Han dynasty.Literature comparison: A related but larger gilt bianhu is illustrated by C. Deydier, The Art of the Warring States and Han Periods, London, 1991, pp. 86-7, no. 25, while a smaller version, no. 19, has a similar incised decoration. Another bianhu of similar shape, without cover, and with a plain body that may be gilt, is illustrated in Chugoku Sengoku jidai no bijutsu (The Art of the Warring States Period), Osaka Municipal Museum of Fine Art, 1991, p. 55, no. 49.Auction result comparison: Compare with a related but larger gilt bronze bianhu at Christie’s New York in Fine Chinese Ceramics, Jades and Works of Art on 19 September 2007, lot 214, sold for USD 37,000.漢代鎏金扁壺中國, 公元前206 至公元 220年。扁圓形，直筒頸，口外撇。肩部有對稱的銜環，底為長方形足。扁壺每面各有鹿般神獸圖案，中心如意交錯紋。頸部仿古葉狀蟬紋。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年6月3日。 Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。隨附Zacke 藝廊發票副本以及Ludwig Wildauer 先生寫的相關説明。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，與年齡相稱，廣泛磨損，污跡，銅綠結殼，划痕，到處都是微小的缺口。 重量： 487.2 克 尺寸：高13.2 厘米, 寬 14.2 厘米 拍賣結果比較：一件相近但更大且鎏金扁壺見紐約佳士得Fine Chinese Ceramics, Jades and Works of Art 拍場2007年9月19日 lot 214, 售價USD 37,000.

A CARVED AND PAINTED WOOD FIGURE OF A HORSE, YUAN TO EARLY MING DYNASTYChina, late 14th to early 15th century. Standing foursquare with the head facing forward, the body carved from a single section with separately attached head, neck, legs, and tail, the narrow head carved with bulging eyes, pricked ears, and mouth open in a whinny.Provenance: Austrian private collection. Galerie Zacke, Vienna, 20 November 2003. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 20 November 2003, erroneously dating the piece to the Han dynasty, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Very good condition with old wear, natural age cracks, minor nicks and scratches, smaller losses here and there, wear to ancient pigments, drilling from sample-taking.Scientific Analysis Report: An AMS 14C (radiocarbon age) Analysis Report issued by Laboratoire M.S.M.A.P. SARL, Sciences des Materiaux Anciens et du Patrimoine - Etude des objets d’art, Nr. MS20-039, dated 21 February 2020 states a calibrated calendar age for the present lot of AD 1335-1435. A copy of the report, including an addendum with dating results and calibration graph, accompanies this lot.Weight: 3,595 gDimensions: Height 68.5 cm, Length 72 cm元至明初彩繪木馬像中國, 十四世紀末至十五世紀初。木馬雙眼鼓鼓，昂首注視前方，四足著地，嘴巴張開，耳朵穿孔。身體獨立雕刻，頭部、脖子、腿和尾巴分別連接在一起。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2003年11月20日。隨附一份發票副本。Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，舊磨損，天然裂紋，輕微缺口和划痕，到處有小缺損，原始顔料磨損。因爲檢測而鑽孔採樣。 科學檢測報告：隨附一份法國Laboratoire M.S.M.A.P 研究所放射性碳定年法檢測報告副本，MS20-039號，2020年2月21日，結果表明馬像應為1335-1435年間而做。 重量： 3,595 克 尺寸：高 68.5 厘米, 長 72 厘米

A LARGE PAINTED STUCCO HEAD OF A GUARDIAN KING, SONG TO MING DYNASTYChina, 12th-16th century. Wearing an elaborate headdress, centered by a scrolling and floral design, the mouth closed, the bulging eyes with black glass pupils within the deep sockets below furrowed brows, the full lips painted in pale pink, the brows, mustache, and beard are detailed in black against the beige-brown skin.Provenance: Austrian private collection. Galerie Zacke, Vienna, 12 October 2007. Dr. Mons Fischer, acquired from the above. A copy of the original invoice, dated to 12 October 2007, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups with modern polychromes, all exactly as expected from a piece of this age and size. Old wear, natural age cracks, minor nicks and scratches, small losses here and there, wear to pigments, minor touchups, drilled holes from sample-taking. Overall still outstanding condition.Scientific analysis report: A detailed pigment and gilding analysis report, issued by Laboratoire M.S.M.A.P. SARL, Sciences des Materiaux Anciens et du Patrimoine - Etude des objets d’art, Nr. MSMAP 20-038 OA, dated 13 March 2020, is accompanying this object (please also see detailed scans of the report). The study reveals the presence of an ancient gilding and remains of an ancient polychromy on the sculpture. Repaints of a modern polychromy have been detected as well, see condition report.Weight: 30 kg Dimensions: Height 68.5 cmWith an associated base. (2)Literature comparison: Compare to a guardian figure retaining the original body, similarly modeled in stucco and painted in red, preserved in the Guangsheng Temple in Hongdong county, Shanxi province, illustrated in Zhongguo siguan diaosu quanji – 3 – Lioa Jin Yuan siguan zaoxiang, Heilongjiang, 2005, no. 186. Compare also to a number of large stone guardian figures carved with similar grimace and bulging eyes below a furrowed brow, dating to either the Northern Song or Southern Song dynasty, illustrated in Dazu shike diaosu quanji-Nanshan, Shimenshan, Shizhuanshan den shiku juan (The Complete Collection of the Stone of Sculpture of Dazu), Chongqing, 1999, pp. 19, 69-72, and 98, pls. 20, 72-75, and 104.Auction result comparison: Compare with two closely related stucco heads, offered in one lot, one dated to the Northern Song dynasty (50 cm high) and the other dated Ming dynasty or earlier (56 cm high), at Christie’s Hong Kong, in Buddhist Art Under the Empire, on 9 July 2020, lot 2701, sold for HKD 812,500.宋至明彩繪灰泥護法神頭像中國, 十二至十六世紀。頭戴著精緻的冠盔，雙唇緊閉，眉毛下黑色玻璃瞳孔。精細彩繪眉毛、鬍鬚和嘴唇，生動形象。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2007年10月12日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：使用現代彩色塗料進行了一些修飾，完全符合其年齡。舊磨損，自然裂紋，輕微的划痕和缺口，局部小缺損，顏料磨損，少量補漆，因取樣產生的鑽孔。 總體而言，比較出色的。 科學檢測報告：隨附一份法國Laboratoire M.S.M.A.P 研究所顔料和金彩檢測報告副本，MS20-038號（請看報告細節），2020年3月13日，研究發現雕塑上存在古代金彩和古代顔料遺留， 還可以檢測到現代多色塗料的重塗，請參閱品相報告。重量：30 公斤 尺寸：高68.5 厘米 底座。拍賣結果比較：一組兩件非常相近的北宋 (高50 厘米)和明代或更早（高56厘米）的灰泥頭像見香港佳士得 Buddhist Art Under the Empire拍場2020年7月9日 lot 2701, 售價HKD 812,500.

‘LADY JIN YIYI’, BY ZHANG DAQIAN (1899-1983)Ink, watercolors, and gilt on paper. Portrait of the young Jin Yiyi, masterfully executed by the artist in the style of mural paintings from the Tang period, with elaborately coiffured hair, wearing long flowing robes with finely decorated yet somewhat ‘worn’ hems.Inscriptions: Signed Zhang Yuan. Dated yiyou year (corresponding to 1945). Inscribed “Lady Jin Yiyi, in the style of paintings from the Tang period, of the Mogao Caves”. Two seals: Zhang Yuan zhi yin and Daqian. Note that “Lady Jin Yiyi” was in fact Jin Ce (1882-1948), spouse of calligraph and poet Quan Tigan.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘38’ to one of the wooden scroll pegs.Condition: Excellent condition with very minor wear and microscopic foxing. The mounting at the upper edge with extensive wear, several tears, and partially repaired with old tape, the painting itself not affected at all.Dimensions: Image size 86.9 x 35.6 cmMounted as a hanging scroll with finely carved and lacquered wooden handles.Expert’s note: The ‘wear’ on the hems and on the less elaborately decorated ribbon is clearly intended by the artist, as the present ‘abrasions’ are limited entirely to them and not seen elsewhere in the painting. The neatly painted floral borders, though at first glance barely visible below the layer of ‘abrasions’, create a striking contrast that reminds us of the inherent yet often overlooked contradictions in nostalgia for a long-lost age.Zhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang’s first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.The Mogao Caves, also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, form a system of 500 temples 25 km southeast of the center of Dunhuang, an oasis located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years, with the very first caves built in AD 366 as places of Buddhist meditation and worship. They are the best known of the Chinese Buddhist grottoes and, along with Longmen and Yungang Grottoes, are one of the three famous ancient Buddhist sculptural sites of China.Auction result comparison: Compare with a closely related work by the same artist at Christie’s Hong Kong in Fine Chinese Modern Paintings on 1 December 2015, lot 1554, sold for HKD 687,500, and another at Christie’s Hong Kong in Fine Modern and Contemporary Chinese Paintings on 29 May 2005, lot 812, sold for HKD 504,000.張大千 (1899-1983)《仿莫高窟初唐人衣飾金怡怡夫人》 紙本設色。年輕的金怡怡夫人肖像，如初唐仕女衣飾，頭髮精心修飾，穿著長袍飄逸，裝飾精美，下擺処看上去略有“破舊”感。 款識：乙酉（1945）五月，仿莫高窟初唐人衣飾，似怡怡金夫人清鑑，蜀郡張爰。 鈴印：張爰之印，大千專家注釋：畫家顯然打算在下擺和裝飾不太精美的緞帶上再增加些“裝飾”，因為目前的“擦傷”完全限於它們，在畫中的其他地方看不到。 整潔的花卉飾紋雖然乍看之下幾乎看不到“擦傷”層，但卻形成了鮮明的對比，使我們想起了一個失散已久的懷舊內在矛盾，但它經常被人們忽略。 來源：知名繪畫私人收藏，背面藏品標簽上可見“38”品相：狀況極佳，磨損極小，並經過微觀拋光處理。 上邊緣的裝裱磨損嚴重，有幾處撕裂，並用舊膠帶部分修復，繪畫本身完全沒有受到影響。尺寸：畫面 86.9 x 35.6 厘米 天地杆雕刻精美。 拍賣結果比較：同一位藝術家相似的作品，售于香港佳士得 Fine Chinese Modern Paintings拍場 2015年12月1日，lot 1554, 售價HKD 687,500；另一件相似作品，售于香港佳士得 Fine Modern and Contemporary Chinese Paintings 拍場2005年5月 29日，lot 812, 售價HKD 504,000.

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

A HIGHLY IMPORTANT AND LARGE SCHIST STATUE OF HARITI, GANDHARA, 2ND-3RD CENTURYDepicted seated in European fashion with each foot on a small lotus pedestal, one hand holding a child on her lap motioning towards her breast, the other hand holding a bunch of grapes, richly adorned in beaded jewelry, wearing a loose robe with voluminous folds, the face with a softly smiling expression and almond shaped eyes, her hair arranged into an elaborate chignon with a scaled headdress, a second child standing by her side.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Un Gandhara en schiste – dit: Hariti – Haut: 95,5 cm.” (A schist Gandhara – called: Hariti – Height: 95.5 cm). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks with associated old repairs. Some breaks, losses, nicks, dents and erosions. Remnants of old varnish coating above remnants natural soiling from excavation.French Export License: Certificat d’exportation pour un bien culturel Nr. 185430 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 90 kg (total)Dimensions: Height 95.5 cm (excl. base)With an associated wood base. (2)Hariti was the principal female Buddhist deity of ancient Gandhara with widespread popularity throughout Central Asia and China for at least the first three quarters of the first millennium CE. When the Chinese pilgrim, Yi Jing, visited Gandhara in 671, he saw sculptures of Hariti commonly installed near the dining halls of Buddhist monasteries (see Takakusu (trans.), Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896). Yet only about a half dozen large sculptures of Hariti have survived to this day. Among these, the present sculpture is one of the best carved examples in private hands.The story of Hariti’s conversion to Buddhism survives in many ancient Indian and Chinese sources. Despite being a mother to 10,000 children, the ogress Hariti routinely terrorized the Northern Indian city of Rajagrha, devouring its children. After failing to appease, Rajagrha's inhabitants beseeched the Buddha to pacify her. Underneath his alms bowl, Buddha hides Hariti's most beloved child from her. This sends Hariti into a frenzy, searching for her missing son. When Buddha finally returns her child, he prompts Hariti to consider the pain she has caused other mothers. Struck by empathy, Hariti converts to Buddhism and, in exchange for food offerings, promises to protect its monastic communities and Rajagrha's children.Auction result comparison: Compare with a closely related schist Hariti at Bonhams London in Islamic and Indian Art including Modern and Contemporary South Asian Art on 22 October 2019, lot 144, sold for GBP 187,562.二至三世紀健陀羅重要大型片岩鬼子母像鬼子母神以歐洲風格坐在蓮座上，一隻手抱著個孩子擱在膝蓋上似乎正往胸前送，另一隻手拿著一串葡萄。她佩戴著精美珠寶，穿著寬鬆的長跑，綫條流暢，表情溫柔，杏仁狀眼睛，高髻。一側站著另一個孩子。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在此目錄裏，對本拍品有如下描述：片岩健陀羅鬼子母 高95，5厘米）。隨附目錄與其封面。品相：廣泛的風化和磨損。些微裂縫與舊修補。一些斷裂、缺損、划痕、凹痕和腐蝕。還保留著舊時的清漆塗層。 法國出口證書：隨附2017年7月3日出具的Certificat d’exportation pour un bien culturel 出口證書，編號 185430 。重量：總重 90 公斤 尺寸：高95.5 厘米 (不含底座) 木底座。 鬼子母神是古健陀羅地區主要佛教女護法神。當年，來自大唐的求法高僧義净671年來到健陀羅時，在寺院食堂附近發現了鬼子母雕塑 (見高楠順次郎的 Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896)。到目前爲止，只發現了六件鬼子母神像。其中，這件雕塑是私人收藏中雕刻得最好的作品之一。在佛教故事裏都記載了關於鬼子母的傳説。據説夜叉鬼子母有一萬個孩子。爲了養育他們，她不停的去印度拉價格哈吞噬其他孩子。居民們不勝其擾，請釋迦牟尼來收服她。釋迦牟尼把她最寵愛的一個孩子藏在了他的食缽中。鬼子母找不到自己的孩子，只好找釋迦牟尼求助。佛陀說她現在也體會到了失去孩子的痛苦。於是，鬼子母收到慈悲的教化，成爲護法神之一。而與此同時，佛教僧人開始養育其孩子。 拍賣結果比較：一件相近片岩鬼子母像見倫敦邦瀚斯Islamic and Indian Art including Modern and Contemporary South Asian Art 拍場2019年10月22日lot 144, 售價GBP 187,562.

‘LADY PLAYING THE SAUNG’ BY U LUN GYWE (BORN 1930)Oil on canvas. An early work by perhaps the greatest living Burmese painter. Finely painted with a young lady richly adorned in beaded jewelry and wearing fine colorful garments, kneeling on the ground, and playing the saung (Burmese harp) with a cheerful yet focused expression. Framed.Provenance: Collection of Ludvík Doležal, acquired in Burma during his stay there as an attache between 1970 and 1973, and thence by descent in the same family.Condition: Excellent condition with minor wear.Dimensions: Size incl. frame ca. 62 x 53 cm, Image size 46.5 x 38.5 cmLun Gywe (born 1930) is a Burmese painter who works in oil and watercolor. Outside of Myanmar his work has been exhibited, often in solo shows, in Japan, Korea, China, Australia, the USA and Singapore. He studied under Thet Win and graduated from the Art Institute of Teacher's Training in 1954. He was an instructor at the School of Fine Arts, Yangon, between 1958 and 1979, and principal of the same school from 1977 to 1979. He began painting in a realistic vein, influenced by the major painters of the Rangoon School, Ba Nyan and Thein Han, who was his painting master. Over time, his work became more expressive and today some of it might even be seen as expressionist.Auction result comparison: Compare with a later work by the same artist, depicting a dancing lady, dated 1999, at Sotheby’s Hong Kong in Modern and Contemporary Southeast Asian Art on 6 October 2019, lot 316, sold for HKD 85,000."A noted collector of the work of U LUN GYWE has advised us that the present painting could also be from the hand of U CHIT SWE, who is about 10 years younger than U LUN GYWE. It is therefore sold as the work of either one of these two artists."

A BLUE AND WHITE BOTTLE, BINH TY BA, LE DYNASTYVietnam, 15th-16th century. Of pear form with a flared rim to the neck, painted in underglaze cobalt with successive bands of plantain leaves, descending jeweled lappets and birds alternating with bamboo above a jeweled lappet band rising along the foot, the foot area unglazed and brown wash applied across the recessed base.Provenance: Collection of Jean-Michel Beurdeley. Paul Renaud, Drouot, Paris, Art d'Asie - Collection Beurdeley & Cie, 11-12 December 1997. LP Collection, Paris, acquired from the above. Jean-Michel Beurdeley is a retired French art dealer, running Galerie Beurdeley in Paris for over three decades before moving to Thailand in 2001. He is a co-founder of MAIIAM Contemporary Art Museum in Chiang Mai and sponsor of the Patsri Bunnag Foundation. He was honored with the French title Chevalier de l’Ordre des Arts et des Lettres in 2007 and promoted to Officier in 2018.Condition: Old wear, traces of use, several repairs. For a detailed condition report, please contact the department.Weight: 1,070 gDimensions: Height 31 cmLiterature comparison: Bottles with identical or very similar decorations were part of the cargo sold in Butterfields sale, Treasures from the Hoi An Hoard, 11-13 October, 2000, lots 289 to 309. For another example with the bird facing to the left, see John Stevenson and John Guy, Vietnamese Ceramics: A Separate Tradition, 1997, p. 335, no. 291. For an example excavated at the kiln site, see the front cover illustration on Tang Ba Huanh (editor), Gom Chu Dao [Chu Dao Ceramics], 1999, also illustrated on p. 133, A150.黎朝青花鳥紋瓶越南，十五至十六世紀。梨形，長頸，口外撇。頸部青花車前草紋與螺旋雲紋。中心部位青花描繪鳥與竹子，底足向上簡潔的葉紋。底足露胎，内凹。來源：Jean-Michel Beurdeley收藏。Paul Renaud, 巴黎Drouot, Art d'Asie - Collection Beurdeley & Cie拍場, 1997年12月11-12日。巴黎LP Collection收藏，購於上述收藏。Jean-Michel Beurdeley是一位退休的法國藝術品經銷商，在巴黎經營Beurdeley藝廊已有三十多年。2001年移居泰國。他是清邁MAIIAM當代美術館的創始人之一，也是Patsri Bunnag基金會的讚助人。他於2007年獲得法國文學藝術勛騎士勛章，並於2018年晉升為軍官勛章。 圖片：Jean-Michel Beurdeley 品相：舊磨損，使用痕跡，多次維修。 有關詳細的品相報告，請與我們聯繫。 重量：1,070 克 尺寸：高31 厘米

Savage (Henry) Balliofergus, or A commentary upon the foundation, founders and affaires, of Balliol Colledge..., presentation inscription from Martin Routh, president of Magdalen College, folding plate, near contemporary calf, a little rubbed, upper cover detached, [Wing S759], Oxford, by A. & L. Lichfield, 1668 § Breval (John Durant) The Art of Dress. A Poem., first edition, lacking half-title, dedication ff. and plate, for R. Burleigh, 1717 ; and 35 others, mostly 18th and 19th century, v.s. (37)⁂ The first mentioned with presentation inscription reading: "This copy of the Balliofergus was given to Charles A. Ogilvie, Fellow of Balliol College, by the Revd. Dr Routh, President of Magdalene College on the 21st Day of March 1827".

Hopkins (Charles) Epistolary Poems; on Several Occasions: with several of the Choicest Stories of Ovid's Metamporphoses and Tibullus's Elegies, first & only edition, half-title, lightly browned, B3 lacking lower outer corner, small hole to head of D4 and small portion lacking from lower margin of F8 (none affecting text), contemporary ink inscription "Elisa Gregor her Book 1694" to front free endpaper and "read in 1694" to preceding endpaper, later bookplate of G.W.F. Gregor [of Trewarthenick House, Cornwall], contemporary speckled sheep, a little worn, split to upper joint, [Wing H2721], 8vo, by R.E[veringham] for Jacob Tonson, 1694.⁂ The first publication by Charles Hopkins, Anglo-Irish poet and playwright (1671?-1700), who was described by Dryden as "a poet who writes good verses without knowing how, or why; I mean he writes naturally well, without art or learning, or good sence". Elizabeth Gregor, née Moyle, wife of John '"the Giant" Gregor, a distinguished Cornish landowning family with mercantile roots in Truro, who acquired an extensive estate in and about Trewarthenick, Tregony, in 1640, and built the grand house there (remodelled in 1792 by Humphry Repton, and still formidably preserved) in 1686. Elisa was the sister of Walter Moyle of Bake, Charles Hopkins's close friend and recipient of the second poetical epistle in the book.

Hopkins (Charles) The History of Love. A Poem: in a Letter to a Lady, first edition, half-title, ink manuscript corrections (?by the author) to pp. 6 & 82, browned, one or two leaves with head-lines shaved, contemporary calf, rubbed, rebacked preserving old red morocco label, [Wing H2724], 8vo, by J.Dawks, for Jacob Tonson, 1695.⁂ The author's second book of poems, dedicated somewhat flirtingly to Isabella FitzRoy, Duchess of Grafton. The contents, admired by Dryden and later reprinted alongside Dryden, Congreve, and others in Ovid's Art of Love (1709), are largely more adaptations of Ovid's Metamorphoses and Heroides.

NO RESERVE Harris (James) Three Treatises. The First concerning Art. The Second concerning Music, Painting, and Poetry. The Third concerning Happiness, first edition, occasional marginal spotting, contemporary calf, sympathetically rebacked, a little rubbed, 8vo, 1744.

Female strangler.- Modern propensities; or, an essay on the art of strangling...With Memoirs of Susannah Hill, and a summary of her trial at the Old-Bailey, on Friday, September 16, 1791, on the charge of hanging Francis Kotzwarra, At her Lodgings in Vine Street, on September 2, lacking frontispiece, Printed for the author; and sold by J. Dawson, [?1791] bound with Towers (Joseph) Thoughts on the commencement of a new parliament. With an appendix, containing remarks on the letter of the Right Hon. Edmund Burke, on the revolution in France, half-title, final advertisement f., Printed for Charles Dilly, 1790 and 2 other defective 18th century works, together 4 works in 1 vol., occasional spotting and light staining, contemporary half calf, head of spine little worn, rubbed, 8vo ⁂ The first mentioned is rare, with ESTC recording only two copies (BL and Yale).

NO RESERVE Good (John) The Art of shadows: or, universal dialling, third edition, 11 folding engraved plates, trimmed at head, just touching headlines or page numbers, occasional spotting, a few stains, lightly browned throughout, contemporary ink inscription to title 'James Milbourn', label of Erwin Tomash, contemporary sheep, lower cover detached, modern leather label to spine, [Tomash & Williams G60], Printed and sold by Thomas Page, and William Mount, 1721 § Sauri (l'Abbé) Institutions Mathématiques, 5 folding engraved plates, a few ff. with pencil markings, occasional spotting, lightly browned throughout, contemporary calf, rather worn, but holding firm, Paris, Chez Valade, 1770; and 7 others, Mathematics & Science, v.s. (9)

Lardner (Dionysius) & others. [Cabinet Cyclopaedia], 16 vol. from the series, engraved vignette titles, 7 vol. contemporary half dark blue calf, 9 vol. contemporary half tan calf, Longman, Rees, Orme, Brown & Green, [1830s]; The Museum of Science & Art, 12 vol. in 6, contemporary half brown morocco, spines gilt, Walton & Maberly, 1859, wood-engraved illustrations, some slightly rubbed; and 9 vol. of Orr's Circle of the Sciences, 8vo (31)⁂ The first comprises volumes on Silk Manufacture; Domestic Economy, 2 vol.; Manufacture in Metal, 3 vol.; Manufacture of Porcelain & Glass; Hydrostatics & Pneumatics; Heat; Mechanics; Natural Philosophy, 2 vol.; Arithmetic; Astronomy; Chemistry; Optics.

Richardson, [Jonathan]: Two Discourses: 1. An Essay on the Whole Art of Criticism as it relates to Painting, Showing how to Judge (1) o the Goodness of a Picture; 2. Of the Hand of the Master; and 3. Whether 'tis an Original or a Copy. 2. An Argument in behalf of the Science of a Connoisseur. London, for W. Churchill 1719, 8vo contemporary panelled calf, lacking label. First Edn.. (1)

Contemporary Continental School : Children Playing Ice Hockey on a Frozen Lake with a Building Beyond, glazed art tile, indistinctly signed, 10 cm x 15 cm, together with seventeen miscellaneous paintings and prints by a variety of hands, all parts framed. (18)

Orla May (Irish Contemporary) : Abstract Study in Brown and White, acrylic/mixed media, signed, with De Montfort Fine Art label verso 44 cm x 44 cm, framed.

NAVAL BOOKS: A large collection, including: Chatterton, E: Old sea painting. 1928, 1st. 4to; Old Ship prints. 1927, 1st. 4to. Vg; Robinson: A pageant of the sea. 1950, 1st; Heckstall-Smith: Yachts and yachting in contemporary art. 1925, Limited edn. #487/1000; Roe: Sea painters of Britain, Vol. 1 only. 1947, Limited edn. #148/500; ETC. (qty.)

JOHN G. BOYD (SCOTTISH, 1940-2001), "BREAKFAST TIME", signed lower right, The Contemporary Fine Art Gallery label verso, oil on canvas, framed under glass. 49cm by 59cm ARR applies to this lot.

* CAROLINE LEBURN, HAUTE PROVENCE acrylic on gesso and canvas, signed 40cm x 50cm Framed and under glass Note: Caroline was born in London in 1952 and due to European family connections, spent much of her childhood in France & Belgium. She studied at High Wycombe College of Art and Design, where she specialised in painting, sculpture & pottery. She has been living and working in Scotland since 1974 with frequent trips back to the Provence of her childhood. In the tradition of the Scottish Colourists, the quality of light and the vibrant colours of the Mediterranean are found in all her work, be it still life or landscape, Scottish or Mediterranean. There is a resulting peace and serenity to her work. She has exhibited at galleries in London, Munich, Scotland, and was voted “Public Favourite” at the Edinburgh Festival. She also has collections in the UK, France, Portugal, the USA & Mcgrigor Donald in Glasgow. The most recent acrylic painting by Caroline Leburn we offered was in The Scottish Contemporary Art Auction on 3rd March 2019 lot 719 "Pres De La Mer" a 36 x 36cm picture which sold for £440 (hammer).

* MICHAEL SCOTT (SCOTTISH 1946 - 2006), RIVER SIGHTING oil on canvas, signed 50.5cm x 50.5cm Framed and under glass Label verso: Fosse Gallery. Note: Michael Scott's larger pictures rarely appear at auction but "The Bathers" sold at Christie's, London on 28th October 2004 (lot 299) for £7170 (premium) and "At The Riverbank", a smaller example, was sold by McTear's for £4000 (hammer) - lot 1720, 26th August 2014. More recently, "Come Sail Your Ships Around Me" sold for £4400 (hammer) in The Scottish Contemporary Art Auction 19th August 2018 lot 35 and "The Tryst" sold in The Scottish Contemporary Art Auction 8th November 2020 lot 569 for £3000 (hammer). Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include: The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include: 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include: Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged a major exhibition of his work 1st April - 30th April 2016.

* JOHN G BOYD RP RGI (1940 - 2001), FLOWER PIECE oil on canvas, signed; further signed and titled verso 50cm x 50cm Framed and under glass. Provenance: Exhibited and acquired in 1996 at The Contemporary Fine Art Gallery, Eton. Labels verso and original sale ticket with price (£2000). Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.

* GERARD M BURNS, RED COAT IN THE CITY (GLASGOW) oil on canvas, signed 60cm x 60cm Framed. Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Surgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* JOHN LOWRIE MORRISON OBE (JOLOMO), GLORIOSA oil on canvas, signed; further signed and titled verso 60cm x 60cm (approximately 24 x 24 inches, image size) Framed. Note: Jolomo's large floral still life paintings relatively rarely appear at auction but are enthusiastically sought after by Jolomo collectors. We've never offered a Jolomo still life of this size but "Cornflowers" a 40 x 40cm oil on canvas was sold for £3300 (hammer) - lot 1814 in our auction of 8th April 2014. "Gloriosa" is more than double the size of "Cornflowers" and is a stunning example of the artist's work. Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammrer), one of numerous recent prices which reflect the still growing collector demand from both the UK and abroad in the vibrant work of John Lowrie Morrison.

* MOIRA BEATY (SCOTTISH 1922 - 2015), BIG SISTERS oil on board, signed 26.5cm x 36.5cm Framed and under glass Artist's label verso. Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell-out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages. The information this provided to the Allies in such major operations as the desert campaign, the D-Day landings and the sinking of the battleship Tirpitz proved vital to the war effort. Her first solo exhibition was at the Open Eye Gallery in Edinburgh in 1979 and at the Collins Gallery in Glasgow. Her works were also seen at the Cadogan Contemporary Gallery in London and around Dumfries - notably at the Gracefield Arts Centre. In 2001 Gracefield held a major retrospective exhibition of both Moira and Stuart Beaty's works, entitled Full Circle. In 2014 Beaty officially opened the Kirkcudbright Summer Art Exhibition: Glasgow Girls 1920 - 1960, and held a solo exhibition in the town's Harbour Cottage Gallery. Both exhibitions were hugely popular and, at 92, Moira Beaty was still making a strong impression and gaining new collectors.

* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), FOREVER mixed media on board, signed, further signed and titled verso 75cm x 75cm Framed Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* HELEN MACALISTER (SCOTTISH b. 1969), HOODIT oil on canvas, titled and dated 1995 label verso 40cm x 30cm Unframed, as intended Label verso: Art First Contemporary Art Handwritten artist's label verso

* JOHN HASKINS (BRITISH b 1938), THE BEACHCOMBERS oil on canvas, signed 51cm x 60cm Framed Note: John Haskins is a contemporary painter with vibrant flair and an impressionist style and remains a firm favourite among collectors. With a successful career spanning decades, Haskins has firmly established himself among some of the country’s most popular and collectible artists of today. He began his artistic career in illustration. After gaining his City and Guilds Diploma in illustration at art school, Haskins had a successful early career as a Chief Technical Illustrator with British Aerospace, Rolls Royce and NASA. Today, from his home studio in the heart of the English countryside, Haskins continues to create paintings that reflect all the atmosphere and colour of his surroundings. His life-long attention to detail lends an authenticity to the rural scenes he depicts in his landscapes. His figurative work too remains equally authentic; occasionally using his daughters and grandchildren as models, his figurative paintings vividly evoke intimate memory and nostalgia. John Haskins’ long and established career as an artist has seen great success. The universal popularity of his work has yielded successful exhibitions and one-man shows over the years in London, Frankfurt, Paris, Edinburgh, Los Angeles, Melbourne and Sydney, among others. His paintings can be found in major galleries and private collections around the world, and continue to be sought-after by a wide range of collectors. His published work also continues to thrive, with many international publishers specially commissioning his work for prints, limited editions and greeting cards.

* JOHN WOODMAN, JACOB'S DREAM AT BETHEL oil on canvas 250cm x 142cm (approximately 98 x 56 inches) Unframed, as intended. Note: John Woodman graduated from Glasgow School of Art in 2006. He has exhibited at the Mall Galleries (London), the Royal Scottish Academy, across the UK and in the USA. In 2010 he was Artist in Residence at The McGuffey Art Centre in Virginia (USA) and in 2015 his massive triptych was hung beside The Tomb of the Unknown Warrior in Westminster Abbey. Woodman has collaborated with the poet Ben Jasnow. John Woodman is that rare breed of contemporary artist who is not primarily motivated by commercial "trends". He often works in a monumental scale and "Jacob's Dream at Bethel" is, by any standard, a very large painting. Local delivery (central belt of Scotland) can be arranged at a modest charge and Aardvark Art Services Ltd will deliver this painting to all but the remotest of mainland UK addresses for a charge of approximately £110.

* AVRIL PATON (SCOTTISH b 1941), THE ALLOTMENT watercolour on paper, signed 45cm x 90cm Mounted, framed and under glass Provenance: acquired by the vendor from Gatehouse Gallery, Rouken Glen Road, Giffnock. Label verso: Gatehouse Gallery, Rouken Glen Road, Giffnock. Inscribed with title, artist's name and dated 1995. Note: a remarkably rare work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by the Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1990's explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her watercolours from the 1990's are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000. The Allotment has been consigned from the same collection. Avril Paton's work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.

* PETER GRAHAM ROI (SCOTTISH b 1959), HONFLEUR, FRANCE oil on canvas, signed 60cm x 65cm Framed Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brush work combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Impressive recent auction prices include a slightly smaller example "Decorations with Flowers" which was sold at McTear's in The Scottish Contemporary Art Auction for £2800 (lot 580, 26th May 2019).

CONTEMPORARY ART DECO DESIGN SILK RUNNER, 400cm x 80cm, geometric silver field.

Toby Hunt (born 1979), oil on canvas, youth emerging from the waves, 48" x 44", unframedVery good condition, Toby Hunt is a contemporary artist represented by the Mall Galleries and Saatchi Art

CONTEMPORARY KIENINGER MANTEL CLOCK, with three train eight day movement striking on eight gongs, the silvered dial with black Arabic numeral chapter ring, subsidiary seconds dial, contained in a bevelled five glass and black lacqeuered and silvered case of Art Deco design, 29.2cm high

The Ritva ManDavid Hockney Jumper, circa 1970Purple acrylic jumper with 'Pico BVD' patch to front, numbered '106' to the label and embroidered to the necklineLabelled size 34, chest approx. 30'/76cmFootnotes:The 'Ritva Man' label was launched in 1969 by Mike and Ritva Ross whose knitwear was a fusion of fashion with pop culture, their aim being to turn fashion into wearable art. They collaborated with contemporary artists such as David Hockney, Elisabeth Frink, Patrick Hughes and Allen Jones.For further information on this lot please visit Bonhams.com

Damien Hirst for Manolo BlahnikSpot Boots, circa 2002White canvas with multi-colour spot designSize 39, Includes original boxFootnotes:In 2002 seven artists were matched with seven top shoe designers who produced 20 pairs of shoes each. Damien Hirst & Manolo Blahnik were 'matched' and produced 10 pairs of 'spot boots' and 10 pairs of 'spin boots'. Bergdorf Goodman sold them for $650 to $1,200 a pair, using the occasion to launch its renovated shoe salon. The New Museum of Contemporary Art benefited from the sales.For further information on this lot please visit Bonhams.com

Damien Hirst for Manolo BlahnikSpin Boots, circa 2002Leather spun with household glossSize 39, Includes original boxFootnotes:In 2002 seven artists were matched with seven top shoe designers who produced 20 pairs of shoes each. Damien Hirst & Manolo Blahnik were 'matched' and produced 10 pairs of 'spot boots' and 10 pairs of 'spin boots'. Bergdorf Goodman sold them for $650 to $1,200 a pair, using the occasion to launch its renovated shoe salon. The New Museum of Contemporary Art benefited from the sales.The vendor of this pair worked as the liaison between Manolo and Damien and organised collection of the leather from Manolo Blahnik, which Damien put on the spin machine & spun with household gloss. 'Damien insisted I wore the spin boots to the opening of his exhibition at the new Saatchi Gallery in September 2003 - so they have been worn once! The spot boots have never been worn.'For further information on this lot please visit Bonhams.com

BIMAL DASGUPTA (INDIAN 1917-1995), LOTUS FLOWER oil on canvas, signed and dated 1980 verso 80cm x 80cm Framed. Note; Bimal Dasgupta was an Indian painter who was born in 1917. Bimal Dasgupta has had several gallery and museum exhibitions, including at the DAG Modern, New Delhi. Many works by the artist have been sold at auction, including 'Untitled' sold at Asta Guru Auction House 'Modern & Contemporary Indian Art' in 2011 for $12,754. There have been many articles about Bimal Dasgupta, including 'Lasting impressions' written by Shailaja Tripathi for The Hindu in 2014. The artist died in 1995.