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Beautiful Early 1900S Glass Table Lamp Small Chip To Finial

An Arts and Crafts silver pot and cover of circular tapering form, embossed with grotesque masks, ribbons and set with four oval cabochons, planished decoration and finial to lid, on four bracket feet by Omar Ramsden and Alwyn Carr, London, 1912, engraved 'OMAR RAMSDEN ET ALWYN CARR ME FECERUNT MXII' to underside, 9.5cm H, 223g. Condition: lid with conforming hallmarks, dedication inscribed and dated, one foot pushed in, other slightly, rim uneven, tarnished (see photos)

An Edwardian silver sugar shaker with spiral embossed decoration, shaped finial by Atkin Brothers, Sheffield, 1905, 20.5 cm H, 221g

A pair of painted steel floor-standing candelabra, each turned shaft with ball finial and projecting arms with scroll terminals and circular drip trays, raise on a tripod base. 161cm by 51cm

A silver teapot, C.J. Vander Ltd, London 1964, of squat baluster form, the stepped domed cover with urn finial, wooden handle. Length across spout 26cm, 26 troy ounces

An early 20th century Japanese Satsuma ewer and cover with kylin finial, entwined dragon handle and spout, the body decorated with figures, clouds and pagodas, signed to base. 28cmCONDITION:Chip to tail of cover finial and to collar of cover, chip to underside of spout and 3 small rim chips

A late 19th century Japanese Imari baluster vase and cover, with kylin finial, decorated with reserves of flowering basket and blossoming trees on a busy geometric and floral ground. Signed to base, 33cm. Chips to inside of neck rimCONDITION:Chips to inside of neck rim

An early 19th Century Chinese famille rose bowl, finely decorated with reserves of figures in landscapes, a 20th Century Chinese baluster vase and cover with kylin finial, two spice jars and other wares (each with faults)

A 19th century black slate and veined marble mantle clock with urn finial and ivorine Arabic dial, 38 x 17cm, together with another with wood case and German gong striking movement (each lacking pendulum)

A 20th Century Japanese bronze censer fashioned as a buffalo with figural cover, 20cm, a carved stone censer with kylin finial and a Japanese lacquer panel with bone floral and bird decoration

A group of metalware, including a pair of brass candlesticks, a brass ejector candlestick, a microscope, a cast iron doorstop with lion finial, and a retro stainless steel breakfast set. (20)

A Picquot ware tea service and tray, wooden finial missing from teapot

A Jugendstil Kayserzinn Pewter Tureen and Cover, the base cast with a school of fish, the cover with a frog finial sat on a lily pad, stamped KAYSERZINN 4265 36, 19cm .Does not have a stand. The cover is not sitting flush. Small spit in spoon aperture. Small dent around the base.

SILVER PLATED EGG HOLDER WITH COCKEREL FINIAL, along with a collection of silver plated ware including lidded entree dishes, wine slides, toast racks, candlestick, pierced dish and other items

Nathan and Hayes, Chester 1905, an Edwardian silver mustard pot, ogee moulded oval form, bright cut engraved, with reeded loop handle, urn finial, glass liner, 9cm high, 4.11ozt

Charles Perry and Co., Chester 1930, a George V silver mustard pot, straight sided ogee fluted rectangular section, with flat lid and acanthus finial, 6cm high, 4.91ozt

Zachariah Barraclough and Sons, Chester 1919, a George V silver mustard pot, straight sided oval form, reeded strap handle and ogee lid with urn finial, glass liner, 8cm high, 3.16ozt

Paul Storr, a George III silver gilt wine cooler and cover, Rundell Bridge and Rundell, London 1809, twin handled Campana urn form, cast and embossed with a central group of horses in low relief, between beaded guilloche and egg and dart borders, the handles fluted and modelled as bearded masks, the beaded and petal moulded socle above a splayed foot with berry and ribbon laurel wreath to the border, the reverse with cast roundel and inscription for Newcastle Upon Tyne Stewards 1817, the shallow ogee lid with central rosette chased with honeysuckle and lapped ring, the finial in the form of a wrythen fluted flower seed with everted petals, 38cm high, 119.6ozt

An Edwardian novelty silver plated and glass sardine pot or ice bucket, Walker and Hall, circa 1910, the cylindrical drum body within a cast icicle and coral moulded basket, the flat lid with a polar bear and ice sheet finial, 16cm high

A George III silver teapot on stand, J E Terrey and Co., London 1817, squat ovoid form, half reeded, with everted rim, cast foliate and gadrooned rim, fruitwood handle and finial, the oval stand similarly decorated, on four winged lions paw bracket feet, 31cm long, 35.61ozt

A George II silver gilt sugar box, Samuel Taylor, London 1751, pedestal ogee form, embossed and chased with Rococo scrolls, flowers and feathered bands, the finial in the form of a closed bud, 16cm high, 13.23ozt

Paul Storr, a William IV silver teapot, Storr and Mortimer, London 1831, melon form, realistically moulded and cast with oak branch and leaf spout, lobed spherical form, on a leafy vine base, the lid as a foliate pad with bud finial, 23cm long, 18.19ozt

A Japanese Meiji silver twin handled bowl and cover, Chiyodaya, circa 1900, hexagonal conical form, planished and embossed with bamboo, the finial cast as a leafy bamboo stork, loop handles, 10cm high, 4.50ozt

An 18th century Baltic silver sugar box, WM, probably Tallinn circa 1750, oval ogee bombe form, embossed and chased with foliate scroll cartouches and floral sprigs, cast bud finial, 13cm high

Arthur Stanfield Dixon for Birmingham Guild of Handicraft, an Arts and Crafts silver inkwell, Birmingham 1900, splayed cuboid form, planished with ogee domed and ball knopped finial, glass liner, double hook pen rest, 7.5cm square, 7cm high, 5.82ozt

Edward Spencer for the Artificers Guild, an Arts and Crafts silver plated tea caddy, circa 1915, planished, twin handled barrel form, with stylised laurel and bead borders, the handles and finial cast and reticulated with grape vine and rose tree motifs, stamped marks 2022, 18.5cm high

A Dutch Biedermeier silver tea caddy, VG, Netherlands 1825, rounded rectangular section, the ogee ovoid body with reeded banding, on four ball feet, the lockable domed lid with knop finial, 13.5cm high, 10.10ozt

A Victorian walnut and ormolu mounted quarter striking bracket clock, Payne and Co., London circa 1880, the eight inch silvered dial with Roman numerals, flanked by gilt capital Corinthian columns, supporting a blind fret carved foliate frieze and curved pediment, embossed in relief with floral garland, surmounted by a flared pedestal dome with flaming urn finial, each corner with a similar finial, all on a stepped base with cast scrolling bracket feet, gilt side handles, the dial signed and numbered 4245, also to the movement, 45cm wide, 72cm high, 30cm deep

A Chinese blue and white vase and cover, Kangxi mark, inverse baluster form with dog finial lid, painted with two quatrefoil cartouches of scholars interiors, within a prunus and cracked ice ground, 27cm high

Dagobert Peche, an Art Deco gilt metal box, circa 1920s, rectangular section, fluted and embossed to the sides with stylised floral sprigs, the serpentine stepped lid with ball finial, on four spherical feet, 12cm wide, 7cm high, 9cm deep

Bruno Paul (attributed) for F W Quist, a Jugendstil silver plated five branch candelabrum, circa 1905, the tapered and splayed stem incised with concentric ring decoration, the conical finial with central disc supporting five scrolled tubular arms with conical sconces, and beaded terminal, 46cm high

SMALL MID-CENTURY PAIR OF SCANDINAVIAN TEAK & GLASS SCISSOR WALL LIGHTS, colour-cased teardrop shades, cork plugs stamped 'Made in Denmark', 27cms high (2) Condition Report: one with wall bracket, other missing its teak finial.

GEORG JENSEN A DANISH STERLING SILVER GRAPEVINE LIDDED VEGETABLE TUREEN, no. 408B, of oval form on a small stepped base, with fruiting grapevine drop ring handles, the detachable cover with grapevine finial, stamped marks. 52 troy ounces, 26.5cm wideThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.A few minute dings to rim of cover.  Some surface wear and scratches but generally in good condition.

OMAR RAMSDEN (1873-1939)AN ARTS AND CRAFTS SILVER TEAPOT, London 1931, boat-shaped, the hinged lid with pineapple finial, spot-hammered decoration, raised on a stepped oval base. 23 troy ounces, 26cm  from handle to tip of spoutThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Clear marks to underside. Lid with three clear marks. Hinge in good order and lid closes flush.  A few tiny dings and some surface wear commensurate with age. In generally good condition.

A Georgian style brass and copper fire fender with fluted finial decoration

Circa 1840 a walnut stool the concave edged seat over turned legs joined by an 'X' stretcher with turned central finial, 50cm tall

A late 19th Century French clock garniture by A D Moudin, the brass mounted clock case on four turned supports with finials, with painted dial and side panels and bell shaped top with finial, the pair of vases again with brass mounted and painted porcelain bodies with finials

AN OPENWORK PALE CELADON JADE ‘CHILONG’ WATER POT AND COVER, QINGChina, 18th century. The rounded sides rising from the circular, slightly concave-recessed base. The exterior of the hollowed vessel carved with three chilong with furcated tails and ruyi scepters in their mouths, the circular domed cover with a lotus bud finial above a band of stiff leaves, the translucent stone of an even celadon tone with white inclusions.Provenance: G. Malina Oriental Art, New York, c. 1987. Collection of Isidore Cohn, Jr., M.O., according to the estate acquired from the above, and thence by descent in the same family. Isidore Cohn (1921-2015) was a prominent surgeon in New Orleans. Dr. Cohn served as the first Vice President of the American College of Surgeons (1993). He was also a passionate collector of art, with several exhibitions of pieces from his collection conducted by The New Orleans Museum of Art, including Chinese Jades from the Collection of Marianne and Isidore Cohn, Jr. in 2013-2014. Condition: Excellent condition with minor wear and microscopic nibbles here and there. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 327.6 gDimensions: Height 8.4 cmAuction result comparison: Compare with a related water pot, missing the cover, at Christie’s London in Fine Chinese Ceramics and Works of Art on 15 May 2012, lot 27, sold for GBP 18,750.清代青白玉雕螭龍紋水丞中國，十八世紀。圓形側面，圓形底座微凹。水丞雕刻著三只螭龍，尾巴分叉，嘴中啣著如意。圓頂蓋上帶有蓮花鈕。半透明的石頭具有均勻的青色調和白色絮狀物。 來源： 紐約G. Malina Oriental Art藝廊, 約1987。Isidore Cohn，M.D收藏，根據他的遺產説明是從上述藝廊購得，自此保存在同一家族中。 Isidore Cohn（1921-2015）是新奧爾良的著名外科醫師。 Cohn醫生（1993）擔任美國外科醫生學院第一任副校長。 他還是一位熱情的藝術收藏家，在新奧爾良藝術博物館舉辦的展覽中多次展出他的藏品，包括2013-2014年Marianne and Isidore Cohn, Jr.收藏的中國玉器。 圖片：Isidore Cohn, Jr., M.D 品相：狀況極佳，磨損小，局部有微小的磕損。 具有天然裂縫的石頭，隨著時間的流逝，其中一些可能會發展成細小的髮絲裂縫。 重量： 327.6 克 尺寸： 高 8.4 厘米 拍賣結果比較：一件相近的水丞，無蓋，售于倫敦佳士得 Fine Chinese Ceramics and Works of Art拍場，2012年5月15日， lot 2，售價GBP 18,750。

A SILVER ‘BIXI’ SEAL, DATED TO THE YEAR 1905China. The base of the seal in the form of a Bixi (or Bi Xi) decorated with neatly incised flames and other details, surmounted by a commemorative stele with manifold inscriptions and a finial carved in relief with two dragons with a flaming pearl in the center.Provenance: French private collection. Condition: Very good condition with minor wear and casting flaws, light scratches, few small nicks and dents.Inscriptions: The handle to one side with ‘Guangxu’, ‘Yiji’ (corresponding to 1905), ‘Yong Cheng Lou’ (the maker), and ‘Gaomi’ (city of manufacture), to the other side with ‘Fu lu shou xi’ (‘Luck, income, longevity, and joy’).Weight: 334.6 gDimensions: Height 11.8 cmThe seal face left blank save for a key-fret band to the edges, further key-fret bands finely incised to the finial, one side of the handle, around the carapace, and to the lower rim above the seal face.1905年贔屃“福祿壽喜”銀印 中國，1905年。贔屃身負“福祿壽喜”立碑，碑頂飾刻有浮雕，中間有雙龍戲珠，之間刻著“欽命”二字。碑上可見福祿壽喜四字。四周雷紋。 來源：法國私人收藏 品相：狀況極佳，有輕微磨損和鑄造缺陷，輕微划痕，少量小刻痕和凹痕。刻字: 光緒，乙己年，永盛樓，高密縣 重量：334.6 克 尺寸：高11.8 厘米

A MASSIVE CLOISONNE ENAMEL BELL, QING DYNASTYChina, 18th-19th century. Of flared form with a lobed bottom edge, an upper register of elaborate taotie masks on a key fret ground above stylized chilong, and a lower register of taotie masks and archaistic elements, separated by a raised bow-string band at the midsection. Suspended from two conjoined dragons at the top, with an apocryphal four-character mark Jingtai nianzhi above the edge.Provenance: From the private collection of a southern French military family, who stayed in Indochina during the first half of the 20th century, and thence by descent in the same family.Condition: Some wear, dings, dents, pitting, minor losses and manufacturing flaws. Two losses at bottom lobes with old fillings. The dragon finial slightly loose. Overall, fine condition and commensurate with age.Weight: 6.2 kgDimensions: Height 42 cmAuction result comparison: Compare with a closely related but considerably smaller cloisonne bell at Christie’s New York in Fine Chinese Ceramics and Works of Art on 16-17 September 2010, lot 1038, sold for USD 15,000.清代銅胎掐絲琺琅鈡 中國，十八至十九世紀。呈喇叭形，中空，撇口，底邊緣呈凸起狀，頂飾交龍鈕，龍背供起成孔。器身以藍色琺瑯釉為地，局部鎏金。銅鈡上部可見饕餮紋，其下部是螭龍紋，之後是神獸紋。 頂部懸掛著兩條相連的龍，邊緣上方有一個寄託款標記“景泰年制”。 來源：法國南部軍人家庭的私人收藏，該軍人20世紀上半葉住在印度支那，從那以後就在同一家庭中世代相傳。 品相：一些磨損、划痕、凹痕、麻點、輕微損失和製造缺陷。 底部裂片已修。 龍頭略松。 總體而言，狀況良好，與年齡相稱。 重量：6.2 公斤 尺寸：高42 厘米 拍賣結果比較：一件相近但小些的掐絲琺琅鈡見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2010年9月 16-17日 lot 1038, 售價USD 15,000.

A LOT OF FOUR SEALS, QING DYNASTY TO REPUBLIC PERIODChina, 17th century (the ivory seal) and late 18th to early 20th century (the other seals). An ivory seal of lobed oval form carved as an eggplant with a curved stem. A bone netsuke of columnal-cylindrical shape carved as a parasol with a ruyi-head finial. A rectangular carnelian seal surmounted by a luduan. A small cylindrical Beijing glass seal with a handle on top. All with piercings or ‘natural’ loops for attachment as a pendant. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Good condition with minor wear, occasional light scratches, some small nicks here and there, the ivory with natural age cracks. The bone and ivory seals with fine natural patina.Weight: 64.6 g (total)Dimensions: Height 5.5 cm (the largest)This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清至民國一組四枚印章 中國，十七世紀（象牙印)，十八世紀末至二十世紀初（其他三枚印)。橢圓形的象牙印，雕刻成帶有彎曲莖梗的茄子。 圓柱狀的骨質印雕刻成帶有如意頭飾的陽傘。 長方形的紅瑪瑙印章，上面有一個甪端印鈕。 一個小圓柱形的北京玻璃料印，頂部有鈕。 均帶有穿孔，可作為挂飾。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：品相良好輕微磨損, 局部輕微的划痕，局部小磕損。象牙有天然年代裂紋。骨印和象牙印天然包漿。 重量：縂64.6 克 尺寸：最高的為5.5 厘米

FOUR TIBETAN-CHINESE METAL SEALS, MID-QING TO REPUBLICTibetan-Chinese, late 18th to early 20th century. Each of cylindrical form, two carved with scrolling vines and with lotus finials, one carved as a lotus-lappet column with leaves at the top and surmounted by a stupa finial, the fourth with a seal face to either side, each end with eight notches forming a lobed design. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Good condition with minor wear, occasional light scratches, small dents, tiny losses, few minuscule nicks to edges.Weight: 282.5 g (total)Dimensions: Height 7.2 cm (the largest)清中期至民國四枚漢藏金屬印章漢藏，十八世紀末至二十世紀初。圓柱體，兩個雕刻有纏枝蓮紋；一個雕刻成蓮座式，佛塔形鈕；第四個枚底上下兩面花口卷葉紋。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：品相良好，輕微磨損，局部輕微的划痕，小凹痕，輕微缺損，邊緣處輕微磕損。重量：縂282.5 克 尺寸：最大的高7.2 厘米

FOUR TIBETAN-CHINESE METAL ‘LOTUS’ SEALS, MID-QING TO REPUBLICTibetan-Chinese, late 18th to early 20th century. Each of columnal-cylindrical form with a shaped lotus finial, carved with scrolling vines and flowers, one in openwork. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Good condition with minor wear, occasional light scratches, small dents, tiny losses, few minuscule nicks to edges.Weight: 327.1 g (total)Dimensions: Height 6.2 cm (the largest)清中期至民國四枚漢藏蓮紋金屬印章漢藏，十八世紀末至二十世紀初。圓柱形，蓮花形鈕，整體雕刻勾蓮纏枝紋。其中一個是鏤空雕刻。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：品相良好，輕微磨損, 局部輕微的划痕，小凹痕，輕微缺損，邊緣處輕微磕損。 重量：縂327.1 克 尺寸：最大的高6.2 厘米

A LARGE TIBETAN-CHINESE COPPER REPOUSSE SEAL, MID-QING TO REPUBLICLate 18th to early 20th century. Of square shape with a slightly flattened spherical finial, executed in fine repousse with scrolling leafy vines, lotus lappets, key fret, and geometric designs.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Very good condition with minor wear, small dents, minuscule nicks.Weight: 154.9 gDimensions: Height 12 cm清中期至民國大型漢藏銅印章十八世紀末至二十世紀初。方形，略微扁平的球形鈕，精美鎚鑿，纏枝藤蔓，肩部荷葉紋，脚緣処雷紋。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極好，輕微磨損, 小凹痕，微小的刻痕。 重量：154.9 克 尺寸：高12 厘米

A YUE ‘LOTUS’ JAR AND COVER, FIVE DYNASTIESChina, 907-960. The ovoid body rising from a tall and slightly tapered ring foot, carved with seven lotus petals, the shoulder applied with four knobs below the cylindrical neck, the domed and lobed floral cover with a lotus stem finial. Overall covered in a finely crackled pale sea-green glaze pooling in the recesses, stopping irregularly at the foot and at the interior of the neck, the base left unglazed.Provenance: E. Pranger Oriental Arts, Amsterdam. Dr. Koos de Jong, acquired from the above at PAN Amsterdam in 2004 (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good condition with minor wear and firing irregularities, such as small firing cracks and minor kiln grit, one small chip to the cover, a nick to one of the lotus leaves with an old repair.Weight: 265.5 gDimensions: Height 14.5 cmThe Yue stoneware kilns, originally located in Northern Zhejiang Province, produced wares with green glazes which were highly valued and used as tribute for the Imperial court. The ware was also exported to foreign markets in the Middle East and in South East Asia. During the Five Dynasties period, despite the civil unrest and turbulence, production of high-quality Yue wares flourished and peaked.The present lot is a fine example of the high quality translucent soft olive-green glaze which the Yue potters achieved. Lotus-petal designs became increasingly popular on ceramics with the spread of Buddhism. This form of decoration was popular and used at various kilns, including also Longquan.Literature comparison: Compare a Five Dynasties dated Yueyao bowl and stand, with similar lotus-petal decoration, excavated from the pagoda in the Yunyan Temple, Huqiu Hill, Suzhou, Jiangsu province, in the Suzhou Museum, illustrated in Zhongguo mei shu fen lei quan ji: The Complete Works of Chinese Ceramics Vol. 6, Shanghai, 2000, no. 209. A Longquan funerary vessel with similar lotus petals and incised details, in the Victoria and Albert Museum, is illustrated by Rose Kerr, Song Dynasty Ceramics, London, 2004, p. 21, no. 13. See also Inaugural Exhibition, Vol. 1. Chinese Ceramics, The Museum of East Asian Art, Bath 1993, no. 41, p. 79, and R. Krahl, Chinese Ceramics from the Meiyingtang Collection, London 1994, Vol. 1, no. 319, p. 186.Auction result comparison: Compare with a related but smaller jar and cover at Bonhams Hong Kong in The Feng Wen Tang Collection of Early Chinese Ceramics on 9 October 2014, lot 125, bought-in at an estimate of HKD 200,000-300,000. Compare also with a jar and cover of closely related size and similar form at Christie’s Hong Kong in Chinese Ceramics From The Yangdetang Collection on 30 November 2016, lot 3101, sold for HKD 125,000.五代越窯蓮葉蓋罐 中國，907-960年。卵圓形罐體，圈足高且外撇，七個蓮花花瓣，在圓柱狀頸下方肩上四個旋鈕。罐蓋呈蓮葉狀上有蓮花莖形鈕。整體覆蓋海綠色釉中，底部未上釉。 來源：阿姆斯特丹E. Pranger Oriental Arts藝廊。Dr. Koos de Jong收藏，2004年購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 圖片: Edward Pranger 和他的妻子Franny 品相：狀況良好，有輕微的磨損和燒制不規則的現象，例如釉面開片和較小的窯渣、蓋上有一個小碎屑，其中一個荷葉上有一個缺口，已修過。 重量：265.5 g 尺寸：高14.5 厘米 拍賣結果比較：一件相近但更小的蓋罐，見香港邦翰斯The Feng Wen Tang Collection of Early Chinese Ceramics 拍場，2014年10月9日 lot 125, 估價HKD 200,000-300,000. 一個尺寸與形狀相近的蓋罐見香港佳士得Chinese Ceramics From The Yangdetang Collection 拍場，2016年11月30日 lot 3101, 售價HKD 125,000.

A LARGE QINGBAI SHRINE, SOUTHERN SONG DYNASTYChina, 1127-1279. The thick-walled body supported on a slightly splayed foot, the exterior covered entirely with a pale bluish-white glaze. An opening cut into one side has a protruding shelf at the bottom, with applied scroll decoration above, and loops at either side to fasten a door, all surmounted by a domed roof decorated with further applied scrolls and with a bud-shaped finial.Provenance: Parthenon Gallery, London, 2003. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Superb condition with minor wear and firing flaws, such as glaze pooling, glaze recesses, and fritting, minimal chipping to the step below the frontal aperture, some nibbling to foot.Weight: 1,735 gDimension: Height 29.5 cmLiterature comparison: Chinese Ceramics Song-Yuan, Taipei 1997, p. 388. Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong 1994, no. 96, p. 229.Auction result comparison: Compare with a closely related Longquan shrine at Christies New York on March 22, 2019, in Fine Chinese Ceramics & Works of Art, lot 1618, sold for USD 18,750.南宋白釉龕中國，1127-1279年。圈足外撇，外壁上下稍小中間鼓，分爲三節，中間有一個矩形孔，在上方和兩側各有一個應用的建築元素，頂部成屋頂形，外部覆蓋著淡青白色釉。來源：倫敦Parthenon Gallery藝廊, 2003年。Dr. Koos de Jong收藏，購於上述收藏（發票已丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片：Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)圖片：倫敦Parthenon Gallery藝廊 品相：狀況極佳，有輕微的磨損和燒制缺陷，例如釉堆積，凹痕和熔結，在正面孔下方的邊緣上有輕微碎屑，足部有輕微缺損。重量：1,735克尺寸：總高29.5厘米

A HARDWOOD OPIUM PIPE WITH IVORY, HARDSTONE AND SILVERED COPPER FITTINGS, LATE QING TO REPUBLICChina, late 19th to early 20th century. The hardwood stem ingeniously carved as a segment of bamboo, the ivory mouthpiece with an amber finial, the ivory saddle carved as a hand grasping the hardstone pipe bowl carved as a chrysanthemum, each with silvered copper fittings as well.Provenance: German private collection.Condition: Good condition with wear, natural age cracks, light scratches, few minor dents, traces of use.Weight: 93.4 gDimensions: Length 30 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清末民初竹節形鑲象牙硬木烟槍 中國，十九世紀末至二十世紀初。硬木巧妙地雕刻成一段竹節，象牙煙嘴配琥珀頂，石煙葫蘆與烟桿之間是如手狀的象牙鞍，鍍銀的銅配件。 來源：德國私人收藏 品相：狀況良好，有磨損，自然裂縫，輕微划痕，少量凹痕，使用痕跡。 重量：93.4 克 尺寸：長30 厘米

A WATERMELON-SHAPED WUCAI TEAPOT AND COVER, KANGXI PERIODChina, 1662-1722. The lobed ovoid body rising from a short straight foot to a short straight rim, set with a loop handle and a curved spout, enameled around the exterior to each lobe with an elongated floral spray, between a floral band below the rim and scrolling vines above the foot, the domed cover with a band of flowers and surmounted by a lotus bud finial.Provenance: Holzapfel collection, Geneva, Switzerland. The greater part of the Holzapfel Oriental Ceramics collection was formed in England and Ireland in the late 1950s and 1960s. After the death of Mr. Holzapfel, most of his pieces went to his children, ten in all. Two of Mr. Holzapfel's eldest sons then started their own collections in the early 1970s, both by adding significantly to their shares of the inheritance. Collecting was eventually continued by one of Mr. Holzapfel’s grandsons, who lives in Switzerland and is a member of the Oriental Ceramic Society. This lot was acquired by the grandfather of Mr. Holzapfel before 1970 and has been in the Holzapfel family ever since.Condition: Several old repairs and hairlines. Manufacturing flaws, such as fritting, pitting, dark spots, glaze recesses, and firing cracks.Weight: 588.2 gDimensions: Height 15.2 cmAuction result comparison: Compare with a near-identical teapot and cover at Sotheby’s London in Chinese Art on 10 November 2017, lot 455, sold for GBP 1,875.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.康熙五彩瓜棱式蓋壺中國，1662-1722年。瓜棱式茶壺，短足，環形手柄和彎曲的壺嘴。壺身開光描繪藤曼花卉紋，壺蓋上纏枝蓮花紋。來源：瑞士日內瓦Holzapfel收藏。 Holzapfel 東方陶瓷收藏的大部分藏品是在1950年至1960年代在英國和愛爾蘭成立的。Holzapfel老先生去世後，他的大部分藏品都交給了他的十個孩子。Holzapfel先生年長的兩個孩子隨後於1970年代初開始了自己的收藏，都擴大了從遺產得到的收藏。Holzapfel先生的孫子之一他目前居住在瑞士，是東方陶瓷協會的成員，他最終延續了收藏工作。此拍品是Holzapfel老先生1970前收藏的，在家族相傳至今。圖片：Holzapfel老先生品相：幾個舊時小修和髮絲線裂紋。 製造缺陷，例如熔結，點蝕，黑斑，釉面凹陷和燒制裂紋。重量：588.2 克尺寸：高15.2 厘米 拍賣結果比較：一件幾乎一模一樣的茶壺見倫敦蘇富比 Chinese Art 拍場2017年11月10日 lot 455, 售價GBP 1,875.

A TURQUOISE GLAZED POTTERY CENSER, FANGDING, 17TH – 18TH CENTURYChina, 1670-1730. The archaistic vessel raised on four legs issuing from mythical beasts’ mouths and with two upright loop handles, taotie mask panels and flanges on each side above sinuously coiled chilong, all covered in a finely crackled turquoise glaze. The wooden cover pierced with ruyi heads and fitted with a pale celadon jade finial.Provenance: French private collection.Condition: Good condition with minor wear, small losses, minuscule nicks and scratches, all consistent with age. Remnants of old polychrome painting.Weight: 1,119 gDimensions: Height 22.3 cmSkillfully crafted with a smooth glaze that pools at the horizontal bands to accentuate the form, the present vessel is quite rare. In the late 17th to early 18th century, antiques were used as the standard for quality, models for archaistic designs and inspiration for innovation. Simplicity of form was a stylistic trend endorsed by the Emperor. The fresh modernity of this vessel, with its allusion to an archaic bronze, is an example of the minimalism that demanded a solid level of aesthetic conception and technical ability from the potter.Auction result comparison: Compare with a Dehua fangding censer, sold by Christie’s New York in Fine Chinese Ceramics and Works of Art (Parts I & II) on 22-23 March 2012, lot 2067, for USD 7,500.十七至十八世紀綠松石色釉方鼎香爐 中國，1670-1730。仿古方鼎四蹄足，神獸形四腿，兩個直立附耳。方鼎飾饕餮紋與螭龍紋，施綠松石色釉。木蓋鏤空裝飾如意紋，鑲嵌青玉飾。 來源：法國私人收藏 品相：狀況良好，輕微磨損，小缺損，輕微刻痕和划痕，均與年代相符。舊彩繪餘留。重量：1,119 克 尺寸：高22.3 厘米 拍賣結果比較：一件德化方鼎爐售于紐約佳士得Fine Chinese Ceramics and Works of Art (Parts I & II) 拍場，2012年3月22-23日，lot 2067，售價USD 7,500。

A HEXAGONAL PEWTER-ENCASED AND JADE-INSET YIXING TEAPOT AND COVER, QINGChina, 19th century. Of hexagonal form, supported on four short feet, the sides incised with floral and foliate designs as well as two poems, inset with jade pieces forming the tapering spout, loop handle, and the square finial of the cover, the translucent stones of celadon tone with cloudy white and russet inclusions.Provenance: Old Dutch private collection. Acquired from the above by the present owner in 2017.Condition: Excellent condition with minor wear and casting flaws, light scratches, minuscule nibbling to the edges.Weight: 544.3 gDimensions: Height 10 cm, Width 17 cm (handle to handle)Inscribed: ‘Take autumnal orchids and tie them as a pendant’. Excerpt from the Li Sao (‘Encountering Sorrow’), a poem from the Chuci anthology, dating from the Warring States period of ancient China, attributed to Qu Yuan.Auction result comparison: Compare with a related teapot of slightly larger size and signed Yang Pengnian, sold by Sotheby’s Hong Kong in Chinese Art on 31 May to 1 June 2018, lot 403, for HKD 125,000 and another, dated to the year 1849, sold by Bonhams London in Fine Chinese Art on 12 May 2016, lot 69, for GBP 8,125.清代宜興胎包錫鑲玉詩文茶壺中國，十九世紀。六邊形，直身，上大、下略小，底端六較有折角形足；六邊形蓋，方紐，方直流，方把，與壺身相稱。壺嘴、把以及蓋紐鑲嵌白玉，質地溫潤，灰白相間。壺身每面可見詩文花卉。 來源：荷蘭私人收藏。2017年現藏家購於上述收藏。 品相：狀況極佳，有輕微的磨損和鑄造缺陷，輕微的刮擦，細微的邊緣磨損。 重量：544.3 克 尺寸：高 10 厘米, 柄至壺嘴17 厘米 拍賣結果對比：一件尺寸稍大並有楊彭年簽名的茶壺，於2018年5月31日至6月1日在香港蘇富比Chinese Art拍場，拍號403，售價HKD 125,000；另一件斷代1849年，於2016年5月12日在倫敦邦瀚斯Fine Chinese Art拍場，拍號69，售價GBP 8,125。

A SAPPHIRE SNUFF BOTTLE, POSSIBLY IMPERIAL, QING DYNASTYChina, 1750-1850. Well hollowed with a small mouth, finely carved in relief to one side with a monkey seated next to a craggy rock, pointing with one raised hand towards a butterfly flying above, and to the other with a grazing horse.Provenance: From the private collection of Dr. Mary Kaufman, New York, USA. Thence by descent within the same family. Dr. Kaufman (1927-2013) was a well known NYC snuff bottle collector.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Coral stopper carved as a clambering chilong, gilt metal collar.Weight: 102.0 gDimensions: Height including stopper 63 mm. Diameter neck 19 mm and mouth 6 mmMonkeys are a popular subject partly because of their meaning in various rebuses, but also because of their longevity symbolism. The depiction of a monkey on a horse’s back for example represents the rebus ‘Ma shang feng hou’, which may be translated as ‘May you receive a swift promotion to a high rank of office’. The butterfly is likewise a symbol of longevity and appears in rebuses because the character ‘die’ is homophonous to another character meaning ’70 to 80 years of age’.This is one of the best from a group of early sapphire snuff bottles, several of which are of related form (see literature comparison). The color of the stone is extraordinary for so large a piece, deep, dense and vibrant, all equally spread throughout the bottle. Even the pattern of matrix and paler clouds, which inevitably run through a sapphire pebble of this size, are attractive and fascinating as texture.Harder than jadeite to work, and being a precious material and translucent, sapphire is almost never extensively hollowed, although this particular bottle is reasonably well hollowed, even by jadeite standards for the range of bottles of this general shape. A test reveals a Mohs hardness of 7-8 for the matrix areas and clearly above 8 (and some even above 9) for the purer areas. The hollowing is also achieved through a relatively small mouth, a common feature of the oval bottles in sapphire, ruby or jadeite which may offer a further clue to dating. In 1888, Zhang Yishu wrote some supplementary remarks to Zhao Zhiqian's Yonglu xianjie (see Richard John Lynn's translation, JICSBS Summer, 1995, p. 18). He comments that originally the size of a snuff bottle mouth might exceed 12 mm, but that later this changed so they would not exceed 6 mm. He puts no date on this change, but if we look to hardstone bottles with mouths of 6 mm or less for further information, it would seem that by the Qianlong period, and particularly the second half, the smaller mouth was already well established.Sapphire and ruby were among the stones classified by the court as 'precious' along with pearls, jadeite, cat's eye and diamonds, while the 'semi-precious' materials were tourmaline, nephrite, amethyst, amber, turquoise, lapis lazuli, coral, quartz, agate, seashells, and others (according to Guoli Gugong bowuyuan 1986, p. 30). The same source informs us that on court belts, the use of ruby and sapphire was reserved for the emperor (p. 31). However, this does not mean that the materials were generally restricted to the emperor, since the hat-finial of the first rank of civil or military officials was also of ruby.Both sapphire and ruby are of the corundum family and consist of crystals of aluminum oxide. If chromium ions replace the original crystal's aluminum, the result is ruby. The Chinese might have had supplies from Kashmir, famous for its deep cornflower-blue sapphires, but the most likely source on a regular basis would have been Magok in Burma, where mining for both sapphire and ruby had been carried out since the late sixteenth century. This source would certainly have supplied the court after the normalization of relations in 1784 ended a protracted period of hostilities between the two countries, although illicit trade would have been sporadic before that date. This event played a large role in the subsequent massive popularity of jadeite, which became well established as a precious stone only in the last decades of the eighteenth century (see Moss, Graham, and Tsang 1993, no. 60) and it seems likely that this group of early sapphire and ruby bottles, which so resemble their many jadeite counterparts, date from the same mid-Qing period and were probably made for the court. Burmese sapphire is characteristically quite heavily flawed, as is the ruby, but this is of little help in a snuff-bottle context where all material large enough to form a snuff bottle is going to be flawed. Another possible source was Thailand, where darker blue sapphires were found in quantity.There is, of course, no such thing as a gem-quality sapphire snuff bottle. Any stone imported to the Qing court that was of sufficient size for a snuff bottle would never have been hollowed out if it was flawless enough to be valuable as a gemstone, for hollowing would have recklessly destroyed its depth of color. The ruby or sapphire material used for larger-scale carvings in China – and snuff bottles were 'larger scale' for gem materials – was always heavily flawed. What is unusual here is that the flaws are pleasingly even and consist mostly of a fabric of thin grayish-white and distinct iron-red lines. Additionally, the inclusions and shadings to the stone have been skillfully incorporated into the depiction of the craggy rockwork and surely also played a role in determining the horse’s pose.Literature comparison: For the Count Blucher ruby, see Moss, 1971a, no. 103, and for the Beatty example, Chapman 1988 p. 61, fig. 9, where fig. 10 is a related plain sapphire. Another plain, early sapphire bottle similar to this is illustrated in Hamilton 1977, p. 55 no. S–58, and one of a different shape in Ford 1982, no. 58. Another, with mask handles and a band of lappets around the base, was offered by Sotheby's, Hong Kong, 28 October 1992, lot 422, while an old, fruit-form sapphire bottle is illustrated by Stevens 1976, no. 632, where a range of green jadeite bottles of an ovoid form similar to that of the majority of sapphire and ruby examples is also shown (nos. 438–441 and 449).Auction result comparison: Compare with a related but smaller sapphire snuff bottle with a gold collar, dated to 1700-1820, at Bonhams Hong Kong, in Fine Chinese Art, on 28 November 2011, lot 48, sold for HKD 524,000, and a closely related sapphire snuff bottle, dated 1770-1850, at Bonhams Hong Kong, in Snuff Bottles from the Mary and George Bloch Collection Part I, on 28 May 2010, lot 13, sold for HKD 780,000.清代藍寶石鼻烟壺, 或爲御制中國，1750-1850年。掏膛良好，小嘴，一面雕刻一隻猴子站在岩石上手指蝴蝶，另一面雕刻著一匹馬。來源：美國紐約Mary Kaufman博士私人收藏，之後傳承於同一家族。Kaufman博士(1927-2013)是一位紐約知名鼻烟壺收藏家。品相：狀況極好，輕微磨損。藍寶石内天然裂紋，一些可能會隨著時間的流逝發展成細髮絲綫裂紋壺蓋：螭龍紋珊瑚蓋，鎏金金屬蓋托 重量：102.0 克尺寸：總高63 毫米；頸部直徑19 毫米；嘴部直徑6 毫米

A FAMILLE ROSE MOLDED PORCELAIN ‘BUDDHIST LIONS’ SNUFF BOTTLE AND MATCHING STOPPERChina, 18th-19th century. Molded and painted in bright enamels with five Buddhist lions, the two in the center with brocade balls, surrounded by ribbons and scrolling clouds, with a lappet band above the foot, a ruyi-head collar at the shoulder, and a key-fret band at the neck. The concave base with a four-character Qianlong nianzhi seal mark in iron red.Provenance: From the private collection of Dr. Mary Kaufman, New York, USA. Thence by descent within the same family. Dr. Kaufman (1927-2013) was a well known NYC snuff bottle collector.Condition: Superb condition with minor wear and firing irregularities.Stopper: The matching stopper is made of molded porcelain with a gilt floral finial, finely carved old spoonWeight: 47.1 gDimensions: Height including stopper 74 mm. Diameter neck 12 mm and mouth 8 mmAuction result comparison: Compare with a related snuff bottle, Jiaqing mark and period, depicting nine Buddhist lions, at Bonhams Hong Kong, in Snuff Bottles from the Mary and George Bloch Collection Part 1, on 28 May 2010, lot 83, sold for HKD 72,000.清代粉彩佛獅鼻烟壺，配套壺蓋中國，十八至十九世紀。在明亮的琺瑯彩堆塑五隻佛教獅子，中間的兩只嬉戲錦緞球，被彩帶和滾動的雲朵環繞，腳上有飄帶。肩部上有如意紋，頸部雷紋。底部内凹，礬紅釉四字“乾隆年製”款。來源：美國紐約Mary Kaufman博士私人收藏，之後傳承於同一家族。Kaufman博士(1927-2013)是一位紐約知名鼻烟壺收藏家。品相：品相極好，輕微磨損和燒製缺陷。 壺蓋：塑形陶瓷相配套的壺蓋， 頂部鎏金花卉紋，精美雕刻小壺匙 重量：47.1 克尺寸：總高74 毫米；頸部直徑12 毫米；嘴部直徑8 毫米 拍賣結果比較：一件相似鼻烟壺，嘉靖款及年代，九隻佛獅，見香港邦瀚斯Snuff Bottles from the Mary and George Bloch Collection Part 1拍場2010年5月28日lot 83, 售價HKD 72,000.

A LARGE AND MASSIVE ‘FOUR BUDDHA’ DIRECTIONAL BRONZE STUPA, QINGTibetan-Chinese, 18th-19th century. Supported on an octagonal double-lotus stepped base, rising to a gallery with vajras and upright flame motifs, the domed mid-section with finely arranged beads and surmounted by images of the four directional Buddhas in arched niches.Provenance: British private collection.Condition: Very good condition with old wear, some minor casting flaws, scattered small nicks, occasional light scratches, all consistent with age.Weight: 6.9 kgDimensions: Height 48.5 cmThe conical harmika with bands of swastika motifs, surmounted by a crescent moon and sun finial with a flaming pearl motif.The set of icons that appears most conspicuously on the exterior of this stupa is known as the Buddhas of the Four Directions. These four Buddhas refer to the Ratnasaṃbhava (Baosheng) Buddha in the south, the Amitabha (Amituo) Buddha in the west, the Amoghasiddhi (Bukong chengjiu) Buddha in the north, and the Akṣobhya (Achu) Buddha in the east, all as seen for example on the four exterior walls of the North Pagoda in Chaoyang, Liaoning, dated to 1043–44. The image of each Buddha is located on the side of the shaft facing the cardinal direction with which the Buddha is associated. Together with the Vairocana Buddha, the group comprises the Five Wisdom Buddhas (wuzhi rulai) that constitute the Diamond World Mandala in the tantric tradition.清代大型四佛青銅佛塔 漢藏，十八至十九世紀。八角形的雙蓮花階梯式底座，佛塔四方分別立著一位佛尊。金剛火焰紋，拱頂的中間部分立有寶珠。 來源：英國私人收藏 品相：狀況良好，有舊磨損，一些輕微的鑄造缺陷，散落的小刻痕，偶有的輕微划痕，均與年代一致。 重量：6.9 公斤 尺寸：高48.5 厘米

AN ARCHAISTIC BRONZE GUI-FORM CENSER, QING DYNASTYChina, 18th-19th century. The interior with an inscription of two lines of seal script characters. With a pierced hardwood cover, possibly huanghuali, decorated with three ruyi heads and surmounted by a celadon jade bi disk finial carved to one side with a chilong and a trigram, as well as an old zitan wood base finely carved in openwork, the ensemble altogether of the period. (3)Provenance: English private collection in Hampshire.Condition: Good condition with old wear and casting flaws, light scratches, dents and nicks here and there, old fills. A fine, naturally grown patina. The wood with natural age cracks and old repairs.Weight: 6.3 kg (the censer)Dimensions: Height 34 cm (incl. base and cover) and 20.8 cm (the censer), width 34 cm (handle to handle)Heavily cast with a compressed globular body rising from a splayed foot to a wide everted rim. Flanked by C-shaped handles surmounted by animal heads and set with pendant rectangular tabs below. The exterior with two bands on the body and one on the foot with taotie masks and other archaistic motifs against a leiwen ground.Auction result comparison: Compare with a related gui censer, of smaller size and lacking the fittings, at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1605, sold for USD 8,125.清代簋形爐中國，十八至十九世紀。內部印有兩行銘文。 硬木蓋，可能是黃花梨，上面飾有三個如意紋。爐身飾螭龍紋。還有一個刻有鏤空的老紫檀木底座，都是來自同一時期。來源：英國漢普郡私人收藏 品相：狀況良好，有舊磨損和燒鑄缺陷，輕微划痕，到處有凹痕和缺口，舊填補。自然包漿。 木材具有自然年齡的裂縫和舊的修復。重量：爐6.3 公斤 尺寸：縂高 34 厘米；爐高 20.8 厘米，寬 34 厘米 (執柄至執柄) 拍賣結果比較：一件相似但尺寸較小且缺少配件的簋形爐，售于紐約佳士得Important Chinese Ceramics and Works of Art 拍場，2020年9月 25日，lot 1605, 售價USD 8,125

A PARCEL-GILT SILVER REPOUSSE STEM-BOWL AND COVER, QINGTibetan-Chinese, 18th-19th century. The lobed floral tray and tiered circular cover each applied with auspicious symbols, flowers, and scrolling vines in gilt-bronze on a repousse ground of scrolling vines, the cover with a coral finial.Provenance: Henry Harrison Getty (1838-1919), by repute. Courtenay Morgan, the Viscount Tredegar (1867-1934), by repute. Mark Dineley (1901-1975). Peter Dineley (1938-2018), inherited from the above, and thence by descent in the same family. Father and son Dineley were British arms designers and art connoisseurs, who built a substantial collection of Buddhist art over many decades. Their firm was the largest theatrical armory in the world, supplying to legendary films such as Star Wars or Indiana Jones.Condition: Excellent condition with minor wear, few small dents, minuscule nicks here and there.Weight: 210.2 gDimensions: Height 11.5 cm清代葵瓣式鎏金捶揲銀蓋盞 漢藏，十八至十九世紀。葉狀花托和分層圓蓋，纏枝紋地，開光中有不同吉祥圖案，局部鎏金，蓋子上有珊瑚鈕。 來源：知名的Henry Harrison Getty（1838-1919）收藏。著名的Courtenay Morgan子爵（1867-1934）。 Mark Dineley（1901-1975）。Peter Dineley，1938-2018年。從上述繼承而來，並因此在同一個家族中世系傳承。Dineley父子是英國武器設計師和藝術鑑賞家，他們數十年來積累了大量佛教藝術收藏。 他們的公司是世界上最大的戲劇軍械庫，供應《星球大戰》或《印第安納·瓊斯》等傳奇電影。 品相：狀況極佳，少量磨損，少量凹痕，到處都有微小的刻痕。 重量：210.2 克 尺寸：高 11.5 厘米

A COPPER EWER AND COVER, QING DYNASTYTibetan-Chinese, 18th-19th century. The copper body embellished with a gilt bronze handle in the form of a makara, the elegantly curved spout with an inlaid turquoise on the silver end and issuing from a repousse lotus scroll application, the shoulder and neck with silver applications showing the bajixiang and phoenixes surrounded by scrolling vines.Provenance: English private collection. Condition: Excellent condition with minor wear and casting irregularities, occasional light scratches, and few minuscule nicks.Weight: 2,628 gDimensions: Height 29.6 cmThe stepped circular cover with a lotus bud finial above scrolling vines and a band of shiva lingams, all executed in the finest silver repousse.Auction result comparison: Compare with a related ewer and cover of slightly different form at Bonhams London in Fine Chinese Art on 10 November 2011, lot 528, bought-in at an estimate of GBP 3,000-5,000. Compare also with a related, but smaller ewer and cover at Koller Auctions in Zurich, Switzerland, in Asian Art: Himalaya, China (A195as), lot 238, sold for CHF 8,125.清代鑲銀銅蓋壺 漢藏，十八至十九世紀。銅壺，執柄鎏金成神獸摩迦儸形。優雅的弧形壺嘴，銀質嘴鑲嵌綠松石色，蓮葉紋。肩部和頸部鑲銀，八吉祥紋與鳳凰穿花紋。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕微刮擦，機輕微划痕。 重量：2,628 克 尺寸：高29.6 厘米 拍賣結果比較：一件相近但形狀不同的蓋壺見倫敦邦翰斯Fine Chinese Art 拍場，2011年11月10日 lot 528, 估價GBP 3,000-5,000。比較另一件相近但是較小的蓋壺，售於瑞士蘇黎世Koller拍賣行Asian Art: Himalaya, China (A195as)拍場，lot 238，售價CHF 8,125。

A GILT BRONZE FIGURE OF AMITAYUS, KANGXIChina, 1661-1722. Cast seated in dhyanasana on a double lotus base, a billowing shawl falling neatly over the base, the hands lowered in dhyanamudra, richly adorned in beaded jewelry with turquoise and coral inlays, wearing a long flowing robe, the hems finely incised with scrolling vines.Provenance: Art of the Past, New York, 8 November 1998. Collection Mr. and Mrs. J. L. Sharpe, Strasbourg, France, acquired from the above. A copy of the original invoice, stating the land of origin as ‘Sino-Tibet’ and erroneously dating the piece to the 19th century, accompanies this lot.Condition: Good condition with minor wear and casting irregularities, occasional light scratches, minuscule nicks here and there, few losses, wear to gilt. The base has been resealed at some point after casting.Weight: 658.4 gDimensions: Height 19.2 cmThe deity is skillfully portrayed with a serene expression below an urna and framed by an elaborate headdress and a pair of pendulous earlobes adorned with ornamental earrings. The hair is arranged in an elaborately knotted chignon surmounted by a lotus bud finial, several locks of hair gently falling over the shoulders.This finely cast figure of Amitayus belongs to a small group of sculptures produced during the reign of the Kangxi Emperor who was a devout follower of Tibetan Buddhism. Figures in this group are of varying sizes and depict Amitayus seated on a double-lotus petal pedestal with a serene facial expression and draped in jewelry embellished with colorful semi-precious stones. Such portrayals are characteristic of imagery used by Tibetans.Amitayus, the Buddha of Infinite Life, is the deity associated with the rites that ensure long life. He is especially worshipped by Tibetans, who believe that life can be extended through long lineages, faith, and compassion. It is also believed that one can achieve self-enlightenment and cater to the welfare of others with the help of Amitayus.Literature comparison: Compare with a Kangxi figure of Amitayus from the Qing court collection, preserved in the Palace Museum, Beijing, illustrated in Buddhist Statues of Tibet: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, p. 238, cat. no. 227. Compare also with a figure of Avalokiteshvara from the Yuan dynasty, which served as the model for the present type of Kangxi figure, at Bonhams Hong Kong in Images of Devotion on 5 October 2020, lot 117.Auction result comparison: Compare with a related figure at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3415, bought-in at an estimate of HKD 500,000-800,000.康熙銅鎏金嵌寳無量壽佛坐像 中國，1661-1722年。無量壽佛手結禪定印平行曡放在雙膝上，趺坐於雙層蓮座上，頭戴寶冠，髮髻高聳，項戴纓絡項鍊，鑲嵌綠松石與珊瑚，飄帶陰刻團花，裝飾華麗 。雙層蓮花座，大蓮瓣。其銅質緻密，鎏金厚重。來源：紐約Art of the Past, 1998年11月8日。 法國斯特拉斯堡J. L. Sharpe夫婦收藏, 購於上述出處。隨附原始發票複印件，顯示“漢藏”來源並注明十九世紀。品相：狀況良好，磨損小，鑄件不規則，偶爾有輕微的划痕，到處都有微小的刻痕，幾乎沒有損失，鎏金磨損。 鑄造後底座被重新密封。重量：658.4 克 尺寸：高19.2 厘米 無量佛表情寧靜安詳，頭戴枝葉繁密的寶冠。髮髻上方作頂嚴，耳垂圓璫，繒帶於耳後揚起，精緻的頭飾，兩束頭髮垂于兩肩。 這座精美的阿彌陀佛雕像，屬於康熙皇帝（他是虔誠的藏傳佛教徒）在位期間所製的一系列造像之一。這一組中的造像大小各異，塑造的是蓮座上的無量壽佛，表情寧靜，身披華麗珠寶。這種刻畫是藏族使用的圖像的特徵。無量壽佛是藏傳佛教信仰中極為重要的神明，他能滿足現世人間眾生對於福壽綿長的追求，特別受到藏人的崇拜，因爲他們相信生命可以通過血統、信仰和惻隱之心而延長。人們還相信，在無量佛的幫助下，在死後超脫輪迴之苦，前往美好的西方極樂世界。 文獻比較：一件康熙無量壽佛造像可見於北京故宮博物院，Buddhist Statues of Tibet: The Complete Collection of Treasures of the Palace Museum, 香港, 2003, p. 238, cat. no. 227. 一件元代觀音造像可見於香港邦翰思 Images of Devotion，2020年10月5日，lot 117。 拍賣結果比較：一件相近造像見於香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場，2018年10月 3日，lot 3415, 估價HKD 500,000-800,000。

A GILT BRONZE FIGURE OF PADMAPANI, 17TH-18TH CENTURYTibetan-Chinese. Cast standing on a rectangular lotus base, richly adorned in jewelry and wearing a pleated dhoti, flanked by lotus flowers, the face showing a serene expression with downcast eyes and full lips forming a subtle smile, the hair surmounted by a lotus bud finial behind the five-leaf crown.Provenance: Austrian private collection.Condition: Excellent condition with minor wear and casting flaws, few small nicks, occasional light scratches.Weight: 86.3 gDimensions: Height 9 cmThis figure probably was once part of a triad, together with Manjushri and Vajrapani, the earliest bodhisattvas of the Buddhist pantheon, referred to as the Three Lords. Manjushri stands center with his standard book and sword, Vajrapani flanking his right and Padmapani his left. The triad became a standard in the nascent years of Mahayana Buddhism and integrated into the expanded Vajrayana Buddhist pantheon.十七至十八世紀銅鎏金蓮花手菩薩像 漢藏。造像站在方形蓮花座上，珠寶華麗豐富，穿著百褶褲，身側有蓮花，表情寧靜，低垂的眼睛和豐滿的嘴唇形成微妙的笑容，頭髮被五葉冠固定。來源：奧地利私人收藏 品相：狀況極佳，有輕微磨損和鑄件瑕疵，有小刻痕，偶有輕微划痕。 重量：86.3 克 尺寸：高9 厘米

AN ORIGINALLY SEALED GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SHADAKSHARI, 15TH-16TH CENTURYTibet. Cast seated in dhyanasana on a sealed double lotus base, the principal hands in anjalimudra in front of the chest, the other right hand in vitarkamudra and the other left hand holding a lotus blossom, wearing a luxurious dhoti neatly incised with floral patterns, and richly adorned in beaded jewelry inlaid with turquoises.Provenance: Galerie Peter Hardt, Radevormwald, Germany, 1 December 1994. A Hungarian private collection, acquired from the above. A copy of the original certificate for this piece from Galerie Peter Haardt, stating the origin as Tibet, but erroneously dating the piece to the 17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, occasional light scratches, traces of pigment, minor wear to gilt, some losses to inlays. Original sealing!Weight: 553.7 gDimensions: Height 16.1 cmThe face shows a serene expression below the urna with heavy-lidded eyes under gently arched eyebrows, and slender lips forming a subtle smile, flanked by long earlobes with lotus-form earrings. The hair is surmounted by an ushnisha with a finial in the form of the head of Buddha Amithaba, all behind an elaborate crown.Shadakshari Lokeshvara is the embodiment of the mystic Buddhist mantra, Ohm Mani Padme Hum. The six syllables are the seeds of the six realms in the great cosmic wheel. Om stands for the god realm, Ma for the demigod or asura realm, Ni for the human realm, Pad for the animal realms, Me for the hungry ghost realm, and Hum stands for the hell realm. Shadakshari Lokeshvara helps to bring all beings from the six realms into enlightenment. The present bronze therefore is a cheerful reminder of the spiritual quest for nirvana.The statue has extensively been screened with x-ray, revealing various contents, at least one being a consecrated miniature statue, probably made of gold. Several videos shot during the x-ray screening will be handed over to the winning bidder.Literature comparison: For an interesting article about Tibetan-Chinese gilt sculptures of the early Ming dynasty in the Museum Rietberg, particularly about CT (X-ray Computed Tomography) scans of the interior of such sculptures and their contents, see Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91).Auction result comparison: Compare with a related copper alloy figure, but without any contents, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 44, sold for USD 27,500.十五至十六世紀銅鎏金四臂觀音坐蓮像 西藏。觀音金剛坐姿坐於雙層蓮座上，前兩臂合掌當胸並持如意寶珠，後兩臂高舉至肩，左手持一白蓮。身著綢緞及纓絡，鑲嵌綠松石。 來源：德國Radevormwald 的Peter Hardt 藝廊。一個匈牙利私人收藏家于1994年12月1 日購買。一份藝廊出具的原始證書注明此造像來自西藏，但是證書上把時間錯誤寫成十七世紀。隨附證書原件。 品相：狀況極佳，有輕微磨損和鑄件不規則現象，到處都有微小的刻痕，偶爾有輕微的划痕，輕微的鎏金磨損，鑲嵌物有所損失。 原始密封！重量：553.7 克 尺寸：高 16.1 厘米 觀音低目慈視莊嚴，嘴角微露笑容，頭戴五葉寶冠，頭頂束高髮髻，餘發垂肩，頭頂上的五方佛冠代表五方的智慧。觀自在菩薩六字大明王陀羅尼，知名佛教普傳密咒漢語中又被寫作嗡，嘛，呢，唄，咩，吽，是觀世音菩薩的微妙本心，也被認為是四臂白觀音的心咒。六個音節是宇宙飛輪中六個領域的種子。 嗡代表天道，嘛代表阿修羅道，呢代表人間道，唄代表旁生道，咩代表餓鬼道，吽代表地獄道。 四臂觀音幫助將六個領域的眾生得到圓滿功德。觀音的慈悲與智慧能化現為不同形象，其中四臂觀音是常見且具代表性的種類之一，其心咒可助眾生脫離六道輪回的痛苦，培養幸福安樂。對該造像進行了X射線檢查，發現了造像内部還有其他內容，其中一個是奉獻的微型造像，可能是金制的。X射線檢查過程中拍攝的幾段視頻將在拍賣后交給中標人。文獻比較：一篇很有意思的關於一件Museum Rietberg裏明初漢藏銅鎏金造像通過X光照射檢查内部的文章可參考Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91). 拍賣結果比較：一個相似銅鎏金但沒有任何填充物的雕像，售于紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場，2016年3月14日，lot 44, 售價USD 27,500.

A SINO-TIBETAN GILT BRONZE FIGURE OF AMITAYUS, QINGSino-Tibetan, 18th century. Cast seated in dhyanasana on a sealed double lotus base with the hands lowered in dhyanamudra, richly adorned in beaded jewelry with turquoise inlays, wearing a long flowing robe, the hems finely incised with scrolling leafy vines.Provenance: English private collection. Condition: Good condition with minor wear and casting irregularities, occasional light scratches, small nicks and dents, some losses, wear to gilt.Weight: 625.7 gDimensions: Height 17.9 cmThe face showing a benign expression with downcast eyes under arched eyebrows, a broad nose, and full lips forming a benevolent smile, flanked by long earlobes with large earrings, the hair surmounted by a double ushnisha with a lotus bud finial, several locks of hair gently falling over the shoulders.Auction result comparison: Compare with a related figure at Sotheby’s Hong Kong, although with extensive damage to gilding, in Chinese Art on 29-30 November 2018, lot 556, bought-in at an estimate of HKD 100,000-120,000.清代漢藏銅鎏金觀音像 漢藏，十八世紀。觀音結迦趺座坐於密封的雙層蓮座上，手施禪定印，上半身披通肩天衣，頸胸垂掛瓔珞，鑲嵌綠松石，衣褶流暢自然，褶襬鐫刻纏枝花卉紋，並飾連珠紋。 來源：英國私人收藏 品相：狀況良好，有輕微磨損和鑄造不規則現象，局部有輕微划痕，小刻痕和凹痕，有些缺損，鎏金磨損。 重量：625.7 克 尺寸：高 17.9 厘米拍賣結果比較：一件相似的銅像，但銅鎏金磨損嚴重，售于香港蘇富比Chinese Art 拍場2018年11月29-30日，lot 556, 估價 HKD 100,000-120,000。