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A very rare blue and white garlic-head vaseKangxi six-character mark and of the periodThe compressed globular body surmounted by a tall waisted neck terminating with a garlic-head mouth, finely painted in soft inky-blue tones with gnarled branches of prunus on a cracked-ice ground, between diaper-pattern bands and chilong on the neck, and fish amidst swirling waves on the body, the lowest register with sand and shells, all supported on a tapered foot. 22.5cm (8 7/8in) high. Footnotes:清康熙 青花魚龍紋蒜頭瓶Provenance: an English private collection來源：英國私人收藏A related vase with mythical beasts and waves, from the Qing Court Collection, Kangxi six character mark and period, is illustrated in Blue and White Porcelain with Underglazed Red (III): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2000, pl.19.See also a related blue and white vase, Kangxi six-character mark and of the period, which was sold at Christie's Hong Kong, 28 November 2006, lot 1536.For further information on this lot please visit Bonhams.com

A blue and white celadon and copper-red vase, MeipingKangxiDecorated around the exterior with a continuous scene of craggy mountains by water in cobalt-blue, some highlighted in celadon green, with various trees, some with copper-red leaves, a fisherman in a boat, with two scholars in discussion on the bank. 23m (9in) high.Footnotes:清康熙 青花豆青釉裏紅山中高士圖梅瓶For further information on this lot please visit Bonhams.com

A rare massive blue and white fish bowlLate Kangxi/YongzhengWell painted on the exterior in varying shades of blue with four rectangular cartouches framed by a sectional wan diaper ground interspersed with crane and auspicious character medallions reading Fu Lu Shou, the panels enclosing scholars in a mountainous river landscape with pagodas, a mounted rider, groom and attendant, and figures on a sampan with a tall pagoda in the distance, all below a whorl-pattern band below the lipped rim. 60.6cm (23 7/8in) diam.Footnotes:清康熙晚期/雍正 青花開光山水卷缸Provenance: Bonhams London, 10 November 2011, lot 118來源：倫敦邦瀚斯，2011年11月10日，拍品編號118Compare with a similar blue and white jardinière, 18th century, in the British Royal Collection, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2016, pp.198-199, no.405.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A famille verte 'Lotus Plucking' basinKangxiFinely enamelled with elegant palace ladies in boats plucking lotus flowers from the lake while the Emperor looks on with pleasure beside his favourite concubine beneath a covered pavilion, the flat everted lipped rim finely decorated with six cartouches containing the 'Hundred Antiques' on a diaper-pattern ground, metal rim. 42.5cm (16 3/4in) diam. Footnotes:清康熙 五彩採蓮圖大盆The theme of beautiful women picking lotus flowers from a lake was popular with poets, playwrights and artists in Imperial China as an activity representing hedonistic pleasure at court. This stems from the story of King Fuchai of Wu (r. 495-473 BC) and his infatuation with the legendary beauty and femme fatale Xi Shi who plucked lotus on the lake. The King was so bewitched by her beauty that he neglected affairs of state, and his kingdom collapsed. This motif would be employed again for the Tang emperor Xuanzong (685-762) who was also in love with another femme fatale, the Imperial Consort Yang Guifei, who bathed at the Huaqing pool reserved for emperors and where lotus were placed to recreate the scene. The emperor claimed that even the lotus was not as beautiful as his concubine Yang Guifei. Yang Guifei's influence in court eventually stirred the An Lushan rebellion, from which the Tang Imperial family would never completely recover. A basin painted with a similar subject, late Kangxi, is illustrated by C.J.A.Jorg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, no.174, p.159. A famille verte rouleau vase with a similar design described as 'The Emperor Xuanzong standing beside Yang Guifei, the most beautiful woman in China looking on at ladies picking lotus flowers' is illustrated by Wang Qingzheng in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, no.127, pp.196-7.For further information on this lot please visit Bonhams.com

An iron-red and green-enamelled 'dragon' dishChenghua six-character mark, KangxiFinely potted with deep curving sides, decorated in the centre of the well with a large writhing iron-red five-clawed dragon pursuing the flaming pearl amidst wispy flames, all within a green ruyi-head border, the exterior decorated with four striding dragons each pursuing a flaming pearl, wood stand, 28cm (11in) diam. (2).Footnotes:清康熙 礬紅施綠彩龍紋盤青花「大明成化年製」楷書款Provenance: an important European private collection, and thence by descent來源：重要歐洲私人收藏，並由後人保存迄今For further information on this lot please visit Bonhams.com

A rare wucai 'month' cupKangxi six-character mark and of the periodOne side delicately painted in blue and enamelled in shades of green, iron-red and aubergine with a cluster of tree peony and flowering bamboo issuing from a rocky grassy terrace, the reverse of the cup with a poem and one seal, box. 5.5cm (2½in) diam. (2).Footnotes:清康熙 五彩花神杯 青花「大清康熙年製」楷書款Provenance: formerly on loan to the Bristol MuseumBonhams, New Bond Street, 10 July 2006, lot 130Bonhams, New Bond Street, 17 May 2012, lot 339來源：曾借展於布里斯托博物館倫敦邦瀚斯，2006年7月10日，拍品編號130倫敦邦瀚斯，2012年5月17日，拍品編號339The couplet reads:不隨千種盡，獨放一年紅Which may be translated as:'The rose does not follow the masses and die away, but alone sets forth its crimson all year round.'The poem on the back identifies this cup as depicting the China Rose (Rosa Chinensis) which was apparently the appropriate flower to represent the eleventh month of the year. The poem has been loosely translated: 'unlike the thousand other species which blossom and wither (this flower) blossoms alone in red for an entire year'.Full sets of twelve 'month' cups can be found both in the Percival David Foundation, illustrated in R.Scott, For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, no.23, and in the Qing Court Collection, The Complete Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pl.140.For further information on this lot please visit Bonhams.com

A pair of very rare iron-red and green-enamelled ovoid jarsYongzheng six-character marks and of the periodEach jar finely potted with broad shoulders surmounted by a short upright neck, deftly and meticulously enamelled in rich and vivid iron-red tones depicting two front-facing and four further striding four-clawed dragons writhing with undulating scaly bodies and outstretched limbs amidst scattered flames above a turbulent sea of green-enamelled swirling waves, wood covers. 18.5cm (7 1/4in) high (4).Footnotes:清雍正 礬紅海水龍紋罐一對 青花「大清雍正年製」楷書款Provenance: acquired from Alfred Speelman Ltd, London, on 6 June 1968An important European private collection, and thence by descent來源: 於1968年6月6日購自倫敦古董商Alfred Speelman重要歐洲私人收藏，並由後人保存迄今The present pair of iron-red and green-enamelled 'dragon' jars, Yongzheng marks and period, is exceedingly rare and only a single example, in the Palace Museum, Beijing, appears to have been published; see The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains, Shanghai, 2009, pl.253.The decoration on the present jars was inspired by Chenghua Period design, but more closely, is a direct continuation of the Kangxi period, as demonstrated in the design of dragons on an iron-red cup and saucer, Kangxi, illustrated in Ceramics Gallery of the Palace Museum: Part II, Beijing, 2010, pl.320. The similarity to the Kangxi example and indeed the colour scheme, indicate an early Yongzheng period for the present lot. However, whilst probably near in date to the Kangxi period, the refined quality characteristic of Yongzheng period porcelains is apparent, both in the quality of the potting and the meticulous and delicate enamelling.For further information on this lot please visit Bonhams.com

An iron-red and blue and white 'sea creatures' bowlQianlong seal mark and of the periodThe deep rounded sides rising to a flared rim, the exterior with a continuous band of nine sea creatures, including winged dragon, horses and carp, leaping against vivid turbulent waves in iron-red, between a keyfret border at the rim and around the straight foot, the well with a winged dragon amongst iron-red waves within a central medallion. 21cm (8 1/4in) diam.Footnotes:清乾隆 青花礬紅海獸紋大盌 青花「大清乾隆年製」篆書款Provenance: Christie's Hong Kong, 2 December 2015, lot 3201來源：香港佳士得，2015年12月2日，拍品編號3201The present lot is decorated with an unusual design of sea creatures among waves which first appeared on blue and white Imperial porcelains of the Xuande and Chenghua reigns, see a related blue and white bowl decorated with sea-animals illustrated in Porcelain of the National Palace Museum, Blue-and-white ware of the Ming Dynasty, Book III, Taipei, 1963, pp.42-43, no.11, and enjoyed a revival in the late Ming and Qing periods.Compare a similar iron-red and blue bowl in the Art Gallery, The Chinese University of Hong Kong, illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, no.82. See also a similar bowl which was sold at Sotheby's London, 10 November 2017, lot 214.For further information on this lot please visit Bonhams.com

An Imperial gilt-lacquered wood figure of Buddha17th/18th centuryThe serene figure seated cross-legged in dhyanasana on a separate double-lotus pedestal with the hands held in dhyana mudra, attired with a long dhoti falling in elegant pleats and a celestial scarf billowing around the arms, the face with downcast eyes crowned by intricate jewellery on top of the hair. 21.5cm (8 1/2in) high. (2).Footnotes:十七/十八世紀 御製木漆金佛坐像Provenance: an English private collection, and thence by descent. The collection was formed by the grandfather of the former owner who was the Assistant Commissioner, Shanghai Municipal Police, 1919-1928. His father was a Protestant missionary in China. The family returned to England shortly after the Second World War.來源：英國私人收藏，並由後人保存迄今。本拍品前任藏家之祖父曾於1919至1928年任上海公共租界工部局警務處副官，其父為一名新教傳教士；第二次世界大戰爆發後，舉家回到英格蘭。Stylistically, the present work can be related to a corpus of Buddhist gilt-lacquer sculpture commissioned during the reigns of the Kangxi and Qianlong emperors at the Buddhist site of Rehol, near Chengde in Hebei Province. The Kangxi emperor ordered the construction of various Tibetan-style Buddhist temples. Under the reign of his grandson, the Qianlong emperor, the site was expanded massively. The central focus of worship for many of these temples were gilt-lacquered sculptures, including the 22-meter-high figure of Thousand-Armed Avalokiteshvara at the Puning Temple. Related to the present work are three massive figures of Buddha in the Zongyin Hall of the Pule Si, constructed in 1766 (illustrated by Du Jiang in Buddhist Art from Rehol: Tibetan Buddhist images and ritual objects from the Qing dynasty Summer Palace at Chengde, Taipei, 1999, p.29). Characteristic of many of these lacquered sculptures was the deeply coloured gilding, almost in imitation of patinated gilt-bronze, atop thick red or black lacquer. Although no records exist as to why lacquer was chosen for the majority of the sculptural ensemble, it is likely the use of the more plentiful and pliable material allowed for a more extensive building project.Compare with a larger gilt-lacquered wood figure of an enthroned Buddha, 17th/18th century, which was sold at Christie's New York, 22-23 March 2018, lot 1041.For further information on this lot please visit Bonhams.com

A rare huanghuali low-back armchair, meiguiyi17th century The armchair formed by members fitted together with characteristic pipe joints, the back formed by an open rectangular back frame decorated with beaded aprons carved with interlocking geometric designs and a gallery rail with narrow struts running around the enclosed rectangular mat seat on three sides, the back pillars and arms continuing to form the four legs, embraced by plain aprons below the seat and along the lower legs by a foot rest, two side stretchers and an ascending back stretcher. 85cm (33 1/2in) high x 56cm (22in) wide x 43cm (16 7/8in) deep Footnotes:十七世紀 黃花梨券口靠背玫瑰椅Provenance: an English private collection, and thence by descentThe collection was formed by the grandfather of the former owner who was the Assistant Commissioner, Shanghai Municipal Police, 1919-1928. His father was a Protestant missionary in China. The family returned to England shortly after the Second World War.來源：英國私人收藏，並由後人保存迄今。本拍品前任藏家之祖父曾於1919至1928年任上海公共租界工部局警務處副官，其父為一名新教傳教士；第二次世界大戰爆發後，舉家回到英格蘭。Notable for its elegant form and proportions, and the distinctive rich honey-brown tone of its wood displaying an attractive grain, this remarkable chair is one of the finest surviving examples of its type. Chairs displaying a low rectangular back were referred to as either 'rose chairs', meigui yi, or 'writing chairs', wenyi. These seats were the smallest of the standard chair designs in Chinese furniture, making them appropriate for both indoor and outdoor use. The straight back and arms gave a sense of austerity to the scholars sitting in them and would fit neatly under the window of a scholar's studio, without obstructing the view outside. The interlocking geometric designs and carved apron on the chairs are similar to a pair attributed to the early Kangxi period, illustrated by R.H.Ellsworth, Chinese Furniture: One Hundred and Three Examples from the Mimi and Raymond Hung Collection, Hong Kong, 2005, pl.17. A similar pair of huanghuali low-back armchairs, 1660-1720, from the collection of the Victoria and Albert Museum, London, are illustrated by C.Clunas, Chinese Furniture, London, p.30. A nearly identical pair of huanghuali low-back armchairs, Kangxi, was sold at Christie's Hong Kong, 27 November 2019, lot 3052.This lot is subject to the following lot symbols: TP YTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A rare eight-leaf double-sided 'coromandel' 'boys at play' lacquer screenKangxiExquisitely decorated on the front with a detailed scene of fifty boys at play within a garden setting, each engaged in various leisurely activities such as waving dragon banners, riding a hobby-horse, playing with dogs or playing kickball, all framed by a border of various floral sprays and the 'Hundred Antiques', the reverse with numerous cartouches containing typical subjects of literati painting such as birds and flowers and mountainous landscapes with figures. Each leaf 230cm (90 1/2in) high x 42cm (16 1/2in) wide (8).Footnotes:清康熙 款彩嬰戲圖雙面八開圍屏Provenance: a distinguished English private collection, acquired prior to the 1950s, and thence by descent來源：英國顯赫私人收藏，購於二十世紀五十年代，並由後人保存迄今Although the term 'Coromandel', referring to a section of the east coast of India, implies that these screens were typically made for the export market (European traders misunderstood the origin of these screens), the present lot was almost certainly made for the domestic market in China. The motif of 'One hundred boys' or 'boys at play' is a popular motif in Chinese art and encapsulates the good Confucian wish for numerous descendants to continue worshipping the ancestors. The 'one hundred boys' motif is perhaps based on the legend of King Wen of Zhou who supposedly fathered 99 sons from his 24 wives, and adopted an orphan boy to accomplish 100. The figure of 100 should not be taken literally, but indicates a large number. The motif was already found on stone carvings of the Han dynasty and in paintings of the Jin (265-420) and Tang (618-906) dynasties. It became popular in the Song dynasty with painters such as Su Hanchen (1127-1189) and Li Song (1166-1243) but it was most widely seen in the Ming and Qing periods, notably on ceramics, textiles or lacquer. Compare for example, the painting of children on a blue and white jar, Jiajing six-character mark and of the period, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (II), Hong Kong, 2000, no.101. The treatment of the boys in the present lot owes much to the Ming style of depicting boys, and would indicate a late 17th century date. Compare with two twelve-leaf coromandel screens, Kangxi, with similar motifs of 'boys at play' illustrated by W.De Kesel and G.Dhont, Coromandel Lacquer Screens, Ghent, 2002, pp.54, 56-57.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A very rare large court painting of ladies playing chessYongzheng/QianlongInk and pigment on silk depicting two Court ladies playing weiqi within a bamboo grove, each of the ladies with finely arched eyebrows and delicately painted strands of hair under ornate headdresses, clad in elegant loose flowing robes with exquisitely detailed hems, the black and gilt weiqi boxes and covers decorated with dense foliate scroll, the top right with a large apocryphal seal 'Jing ji shan zhuang' seal, glazed and framed. Including the frame: 155cm (61in) wide x 99cm (39in) high.Footnotes:清雍正/乾隆 宮廷繪畫 仕女對弈圖 絹本設色 鏡框裝裱Provenance: a distinguished Italian private collection formed circa 1930s-1940s, and thence by descentThe important Italian collector lived and worked in Shanghai between 1932 and 1936, as representative of his Italian company and in 1937, following the Sino-Japanese war, he was transferred to Dalian in Southern Manchuria. After a brief period spent in Italy in 1938, he returned to Shanghai where he lived between 1941 and 1946 and formed the vast majority of his collection of Chinese Art.來源：意大利顯赫私人收藏，約二十世紀三十至四十年代入藏，並由後人保存迄今該重要意大利收藏家曾於1932至1936年作為某意大利公司代表在上海工作生活，1937年日本侵華戰爭爆發後遷往大連，1938年在意大利短暫停留後又回到上海，此番在上海居住的1941至1946年間，他獲得了其絕大部分中國藝術品收藏。The most notable feature of the present lot is the remarkable similarity of the faces of the ladies with those in Yongzheng's famous Screen of Twelve Beauties in the Palace Museum, Beijing. Compare the faces and hems of the ladies with those in the Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor (hereafter abbreviated as Screen of Twelve Beauties), by anonymous court artists in the Late Kangxi period, illustrated in China: the Three Emperors 1662-1795, London, 2005, pp.258-259, no.173. The uncanny similarity of the faces painted in realistic style with neat outlines and generous colour, follows the custom of depicting ladies of the Court as women of elegance and natural grace, and strongly points to the courtly origin of this painting. The present lot closely follows the composition of another Imperial painted album, the Yue man qing you tu (月曼清遊圖) by Chen Mei 陳枚 (active in the early Qianlong reign), in the Palace Museum, Beijing. Painted in 1738, the album depicts the life of concubines over twelve months. One of the album leaves shows ladies playing chess in the exact same posture and position as the present lot, but within an interior. Therefore, one can see that the depiction of court ladies followed set models and precedents by court masters, which the present lot also follows. By examining further the Screen of Twelve Beauties, we may understand too the background of the present lot. While the Yongzheng emperor was still a prince, he commissioned the set of paintings of twelve beauties for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An Imperial garden to the northwest of Beijing, the Summer Palace, was presented to the young prince in 1709 by his father, the Kangxi emperor. However, an item found in the archives of the Imperial Household Department notes that in the eighth lunar month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.Like the Screen of the Twelve Beauties, the present painting was also probably part of a larger screen or wall painting meant to decorate a palace. The apocryphal seal in the top right of the painting Jing ji shan zhuang (靜寄山莊), refers to an Imperial retreat in Panshan near Tianjin. Although the seal is apocryphal, it could refer to the original location where the present lot was from. Furthermore, like the Screen of the Twelve Beauties, the present lot was also at some point detached from a wall or screen and later cut into a more convenient and smaller section and re-mounted onto a different background. The format of the present lot is in keeping with 19th century practices of display; see for example J.Cahill, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, 2010. The artist of this painting as well as the Screen of Twelve Beauties portrayed the imagined beauties enjoying traditional Han Chinese leisure activities such as playing chess or weiqi, sampling tea, watching butterflies, and reading, as well as showing them in quiet reflection. This view reflects the late Imperial Chinese model of femininity, where women could engage in the traditionally male 'Four Arts of the Scholar' (playing the guqin, calligraphy, painting, and chess) whilst still being refined, delicate and attractively feminine. See S.McCausland and Lizhong Ling, Telling Images of China: Narrative and Figure Paintings 15th-20th Century from the Shanghai Museum, London, 2010, pp.65-7. The Manchu rulers, seeking to define themselves as the proper heirs to the throne of China, could not have missed the support of female intellectuality that many found even within the conservative Confucian tradition. It would be tempting to suggest that the artist of the present lot also showcased the most popular costumes and hairstyles of Qing court women. However, it interesting to note that these ladies are dressed in the styles of the flourishing Chinese cultural centre of the Yangzi delta region, at a time when there were repeated Imperial efforts to block the growing Manchu tendency to take on Han Chinese folkways. The Qianlong emperor, like his predecessors an author of repeated prohibitions against Manchu adoption of Han dress - wrote that its appearance in one rendition of women attending the emperor was not to be taken seriously, dismissing it as 'painterly playfulness' (丹青遊戲); see J.Larsen, 'Women of the Imperial Household: Views of the Emperor's Consorts and their Female Attendants' in Proceedings of the Denver Museum of Natural History, no.15, November 1, 1998, p.24. One can surmise that the present lot and paintings like it, such as the Screen of Twelve Beauties and Yue man qing you tu, were following artistic conventions of the court rather than depicting the actual leisure garments of palace women. Indeed, one can argue that the present lot encapsulates a fantasy. Wu Hung presents evidence associating these paintings of imagined court ladies in Han dress with the feminised and sexualised landscape of China, now intimately known by the Manchu conquerors; see Wu Hung, 'Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber' in Ming and Qing Women and Literature, Stanf... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

A pair of very rare imperial gilt-lacquer and mother-of-pearl-inlaid display cabinetsYongzheng/Qianlong One cabinet with nine variously proportioned and positioned open compartments, the other with eight compartments, all framed within black and gold lacquer friezes superbly embellished with mother-of-pearl inlays with an elaborate decoration of lotus flowerheads amidst dense foliage, the interior coated with dark green lacquer, meticulously enriched with lotus blossoms borne on meandering foliate scrolls, all raised on four legs linked by a lower frieze. Each 168.1cm (66 1/4in) high x 70.1cm (27 5/8in) wide x 32.2cm (12 3/4in) deep. (2).Footnotes:清雍正/乾隆 御製黑漆描金嵌螺鈿花卉紋多寶格一對Provenance: Livio Borghese (1874-1939), 11th Prince of Sulmona, Prince of Rossano, Prince of Vivaro, Prince of Montecompatri, Duke of Palombara, Duke of Poggio Nativo and Castelchiodato, head of the House of Borghese, Italy, and thence by descent來源：意大利蘇爾莫納第十一任親王，羅薩諾親王，維瓦羅親王，蒙泰孔帕特里親王，帕隆巴拉公爵，波其奧納蒂沃及卡斯特爾基奧達托公爵，意大利博爾蓋塞眾議院議長，利維奧·博爾蓋塞（1874-1939）舊藏，並由後人保存迄今Prince Livio Borghese was an Italian diplomat from the end of the 19th century until his death in 1939, serving in China, the Ottoman Empire and other European countries. It is likely that the present lot was acquired during his service in China. His elder brother Prince Scipione Borghese (1871-1927), 10th Prince of Sulmona, was famous for winning the 'Peking to Paris' car race in 1907.The present pair of cabinets belongs to an exclusive group of lacquer furniture manufactured for Imperial consumption, decorated in the virtuoso technique of mother-of-pearl inlay, with the incorporation of gold and silver foil. While the use of the mother-of-pearl inlay on lacquer, employed throughout the Ming dynasty, became very popular during the Kangxi period, the gilt decoration on lacquer became more prevalent from the Yongzheng period. The spectacular visual effect, resulting from the combination of the brilliant gilding and the endless shades of pink, purple and green iridescences, reveals the exceptional dexterity of the imperial craftsmen. Compare the scrolling floral borders, executed in gilding and mother-of-pearl inlays, decorating an imperial black-lacquer throne and matching screen, both dated to the third quarter of the 17th century, from the Museum of Asian Art, Berlin, illustrated in Im Zeichen Des Drachen, Stuttgart, 2007, pp.202-204.Openwork display cabinets, known as duobaoge or 'curio cabinet of many treasures', developed and reached the height of popularity during the 18th century gracing the Imperial halls. The carefully designed asymmetrical and irregular compartments are characteristic of the duobaoge developed in the early Qing period. Such cabinets would have been used to display precious objects including ceramics, jade carvings, cloisonné enamel and archaic and later bronzes.A related double-pair of mother-of-pearl-inlaid red and green lacquer cabinets, mid Qing dynasty, from the Qing Court Collection, is in the Chuxiugong 'Hall of Gathered Elegance' in the Forbidden City. Each cabinet is placed side by side with another to make a pair, and each pair is placed in a different part of the Imperial hall. The present lot of one such pair of cabinets would almost certainly have formed part of the same suite of display cabinets; see Classics of the Forbidden City: Inlaid Furniture, Beijing, 2013, pl.24 (showing one such pair of cabinets); and Ming Qing Gongting Jia Zhu Da Guan, vol.II, Beijing, 2006, pp.696-697, pls.798-1 and 798-4 (showing the double pairs of cabinets in the Chuxiugong).Compare to a related pair of Imperial mother-of-pearl-inlaid red and gilt-green lacquer cabinets, Mid Qing dynasty, which was sold at Bonhams Hong Kong, 29 May 2018, lot 32.For further information on this lot please visit Bonhams.com

A magnificent gilt-lacquered zitan-veneered display cabinetQing DynastyThe cabinet of elegant proportions with the top section divided into open compartments of various form, sizes and heights, framed by friezes carved with reticulated designs depicting clusters of vaporous ruyi clouds, joined by a vertical pillar in the form of a writhing scaly dragon, all above a pair of double-door cabinets intricately carved in relief on each door with a mountainous landscape and figures, surmounted by a pair of single drawers and three compartments decorated with floral motifs and antiques, the sides decorated with further floral motifs, the interior lacquered black and gilt-decorated with a landscape, metal hinges and lock plates, standing on four straight feet. 194cm (76 1/2in) high x 43cm (17in) deep x 94cm (37in) wide.Footnotes:清 嵌紫檀博古紋描金繪山水人物圖多寶格Provenance: Dilys Mary Eaton and thence by descent來源：Dilys Mary Eaton夫人舊藏，並由後人保存迄今It is possible that the present cabinet may be the pair to an identical zitan and hardwood cabinet, 18th/19th century, which was sold at Christie's South Kensington, 2013, 11 May 2016, lot 369. Also compare with a related zitan and hardwood cabinet, 18th century, which was sold at Christie's Hong Kong, 29 May 2007, lot 1398.Duobao ge 多寶格 (literally meaning 'multiple treasure cabinets') began in the early Qing dynasty and may have evolved from the mid Ming period Liang'ge gui cabinets. Qing dynasty palace archives typically identify these types of cabinets 'bogu shuge' (literally meaning 'extensive antique and book cabinets'), because the upper section was used to display antiques, whilst the lower section was used to store books and scrolls. The Imperial Household Department archives frequently mention the Yongzheng and Qianlong emperors discussing the design of these type of zitan cabinets. Both the Kangxi and Yongzheng emperors greatly admired Japanese lacquer, and many pieces from the latter's reign are lacquered and decorated showing strong Japanese influence. Compare with two similar zitan display cabinets in the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.2, Beijing, 2002, p.254, no.216 and p.269, no. 28.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A rare set of three Suzhou printsQianlong, by Guan RuiyuOf arched form, each depicting 'mother and children' domestic scenes, later mounted on brocade covered back boards. Each panel, 123cm (48 1/2in) high x 60cm (23 5/8in) wide. (3).Footnotes:清乾隆 管瑞玉製 蘇州版畫「新年集慶圖」一組兩幅暨「四季圖」之一幅Provenance: Bonhams London, 23 Nov 2004, lot 193An English private collection來源：倫敦邦瀚斯，2004年11月23日，拍品編號193英國私人收藏It is extremely rare for Suzhou prints to emerge in the market. Produced in the 17th and 18th century, these rare surviving examples offer a compelling glimpse into the aesthetics of the period and are considered major landmarks in the history of Chinese printmaking. The city of Suzhou was China's wealthiest metropolis when the Qing dynasty was at its zenith. Urban affluence nurtured popular art and culture and resulted in the creation of new types of woodblock prints from the Kangxi through the Qianlong period. The commercial print studios of Suzhou produced innumerable works for the New Year celebrations and other festive events, as well as non-occasional prints, all of which are known today as Suzhou prints. Although originally Suzhou was one of many centres of woodblock printing, including Nanjing, Hangzhou and Xin'an, the banning of vernacular literature during sporadic periods of the early Qing dynasty forced many woodblock carvers and printers from other centres to move to wealthy Suzhou for new opportunities. No longer limiting themselves to book illustration, they extended their work to independent single-sheet pictures, and in much larger dimensions. Suzhou prints are stylistically unique and more artistically refined than the ordinary so-called 'New Year prints' (nianhua). Suzhou was not only the wealthiest city but had also been a cradle of both literati and professional artists, as well as an urban centre than had welcomed Western culture since the Ming dynasty, giving it everything it needed to facilitate the production of both unique and popular prints. The present lot encapsulates the influence of the West with single-point perspective and chiaroscuro shadows - elements at the time which would have been seen as completely foreign and exotic. During the Yongzheng and early Qianlong reigns, Suzhou print studios began to produce large monochrome prints to which bright colours were often applied by hand. Innovative artists in Suzhou printmaking chose new subjects and themes including cityscapes, popular scenic or tourist spots in Suzhou and other areas, imaginary sites with historical or cultural associations, and compositions reflecting the life and culture of the literati. See C.Von Spee, The Printed Image in China: from the 8th to the 21st centuries, London, 2010, pp.36-41. The three prints in the present lot in fact belong to two themed sets of prints: the print depicting a mother and scantily clad children in play represent a scene of Summer in a series about the 'four seasons'; the other pair depicts warmly clad children at play during New Year celebrations. The New Year print has an inscription: 姑蘓信德號麟兒集慶新年瑞Which may be translated as:Xinde Hao [Studio] of Gusu [Archaic name for Suzhou] The children of the Qilin coming together to celebrate the New Year.The other panel depicting the summer scene has the following inscription:鳳子歡呼樂歲終吳門管□寫Which may be translated as:The children of the phoenix call out in joy at the year's endGuan of Wumen [Archaic name for Suzhou]Examples of these prints produced by the same studio, Xinde Hao, including the three prints in the present lot, can also be seen in the Esterházy Palace, Hungary, and Château de Filières, France, where they were used as wallpaper or attached to folding screens; see Xu Wenqin, 'Chinese images in 18th century European wall decorations and wallpapers', Review of Culture, Issue 99, Macau, 2016, pls.169-171, figs.14-19. For recent scholarship on these uncommon prints see Gao Fumin, Kang Qian shengshi Suzhou ban, Shanghai, 2014 and Zhang Ye, The Study of Western-Influenced Gusu Prints 洋風姑蘇版研究, Beijing, 2012.For further information on this lot please visit Bonhams.com

A CHINESE PORCELAIN BLUE AND WHITE VASE decorated with figures in a landscape, bearing six figure Kangxi mark to base, 29.5cm high

Four early 20th century Chinese blue and white lidded jars to include an example decorated with Buddhist precious objects, each bearing four character Kangxi mark to base, height of largest example 22cm (af).Additional InformationEach cover is damaged with large cracks, breaks, losses etc. The largest piece has a large crack running down the neck, the white body example has general wear, minor chipping to the top. The pair of smaller examples one has large losses to areas at the top, the other with chipping to the rim - see additional images.

A Chinese Kangxi period porcelain charger painted in underglaze blue with floral decoration and with cafe-au-lait rim, with lingzhi mark within double ring to base, diameter 35.3cm.Additional InformationGood condition, inclusions to glaze and other manufacturing imperfections.

A collection of 18th century and later Chinese blue and white including teacup with floral detail with painted four character Kangxi mark to base, shell shaped bowl with floral detail, prunus jar, moon flask etc, (part af).Additional InformationThe shell dish has numerous chips to the edges and a large chip to the top right hand corner. The moon flask is missing one handle and has minor chips to the glaze.

A 20th century Chinese three piece garniture comprising large central ginger jar and cover, height 26cm, and a pair of temple jars and covers, height 22cm, each painted in enamels with warriors, the temple jars with double rings to bases, also a Chinese blue and white baluster vase painted with scholars, with four character Kangxi mark to base, height 20cm.Additional InformationThe large ginger jar has a crack to the foot rim, general wear throughout, tiny chipping to the rims of the temple jars. Blue and white vase with crack to rim and chip to neck.

An early 20th century Chinese blue and white porcelain vase of bulbous form painted with prunus flowers on a blue ground, four character Kangxi mark to base, height 27cm.Additional InformationFiring flaw to the foot rim, general wear, light scratches, glaze faults to body.

A late 19th century Chinese Famille Verte vase of bulbous form, painted with stylised birds in landscape setting, bears four character Kangxi mark to base, height 24cm.Additional InformationMinor wear, light scratches to glaze, but good condition.

A Chinese blue and white tapering cup, unmarked, height 7cm, and a smaller cup painted with figures on horseback and a standing figure with painted Kangxi yu (jade) mark to base, height 4.5cm, diameter 8.5cmAdditional InformationThe smaller cup has a fine crack tapering from the rim down, light fritting. The larger cup has some light fritting to the rim and also the foot rim with imperfections to the glaze.

Six pieces of 18th century and later Chinese blue and white porcelain to include bottle vase painted with objects, with Eastern white metal collar, height 21cm (af), blue and white footed bowl, diameter 18cm, cylindrical sleeve vase depicting figures in landscape setting, bearing Kangxi mark to base, height 30.5cm, clobbered vase, height 13cm (af).Additional InformationThe 18th century bottle vase with large crack running across the body and the Eastern top is a later addition. The footed bowl with large cracks, chips and losses, the sleeve vase with large chips/losses to the rim. The smaller sleeve vase with chipping to the rim and body. The clobbered vase with general wear, the smaller vase with firing faults. The Qianlong bowl is in appalling condition as can be seen.

Two Chinese 'rice inset' bowls both with painted four character Kangxi marks to base, diameter 10.5cm and 11.5cm (2).Additional InformationThe smaller bowl has a small ring chip and light fritting, a few imperfections in the glaze. The larger bowl has two hairline cracks running from the neck, one of which is from a tiny chip and also fritting throughout.

A late 19th/early 20th century Chinese baluster vase decorated with figures fishing in a mountainous landscape, painted four character Kangxi mark to base, height 18.5cm.Additional InformationThere is a small 8 x 3mm glaze chip to the foot rim, some minor fritting around the foot rim, imperfections to the glaze but otherwise ok.

A late 19th century Chinese blue and white temple jar and cover painted with prunus flowers on a blue ground, four character Kangxi mark to base, height 38cm, together with an early 20th century Chinese ginger jar with relief floral decoration, embossed seal mark to base, height 25cm (2).Additional InformationThe blue and white jar with numerous chips around the top rim, a couple of smaller chips around the foot rim, the cover with large chips to the underside. The ginger jar and cover with chipping to the relief decoration.

An early 20th century Chinese blue and white porcelain lidded jar, painted with four claw dragons, bearing four character Kangxi mark to base, height 38cm (af).Additional InformationLarge chip/losses to the lid, large v-shaped area which has been broken and re-glued in the main body of the vase. General wear throughout.

An early 20th century Chinese blue and white porcelain temple jar and cover, painted with a four claw dragon and clouds, bears four character Kangxi mark to base, height 26cm, and five further pieces of Chinese ceramics to include two crackle glazed vases and a lidded jar (af) (6).Additional InformationEach piece is af, the prunus sleeve vase has a drill hole through the foot rim, small chips to the foot rim. The lidded jar painted with dragons has a large area of repair to the top rim, also a large crack running through the body. There is also a large area of old repair to the body. The crackle glaze vase has been restored around the top rim, the smaller blue and white vase with floral scenes with poor repair to the top rim, also cracks to the body.  The larger example with a large area of old repair to the body and chips to the foot rim and the crackle glazed lidded jar is dirty, heavy crazing, stained etc.

A pair of early 20th century Chinese blue and white porcelain sleeve vases painted with four claw dragons, four character Kangxi marks to base, height 20.5cm, and four further pieces of Chinese blue and white porcelain to include two prunus jars and covers (6).Additional InformationThe sleeve vases with numerous chips to the top rim on each example, one example with a hairline crack running down the piece, a second example with glaze faults to the outside of the vase. The prunus bottle has a hairline to the top rim, the footed bowl with chip to the rim, the prunus vases seem fine.

An early 20th century Chinese blue and white porcelain double gourd vase painted with figures inside scrolling detail, four character Kangxi mark to base, height 19.5cm (af).Additional InformationThere is a V shaped piece which has been broken up from the top of the neck and crudely glued back together.

An 18th century Chinese porcelain blue and white vase, painted with phoenix on a ribbed body, the rim featuring Buddhist precious objects, with Kangxi double ring and artemisia leaf mark to base, height 21cm.Additional InformationVery minor nibbles to the inside of the top rim, the piece has a a rough neck so has possibly been ground down or should have had a cover, minor glaze faults to the body, small glaze chip approx 1 x 1mm inside of the top rim.

An early 20th century Chinese blue and white porcelain vase converted to a lamp base painted with exotic birds and floral sprays, with Kangxi double ring to base, overall height 38cm.Additional InformationTiny rim chip, general wear throughout, the metal fixing has been screwed into the inside of the vase so we can't give an accurate condition report on this lot - see additional images.

A Chinese 'rice inset' tea bowl painted with a floral spray to the centre and a shallow dish decorated with a dragon, both with painted character marks to base, the dish with Kangxi mark, height of cup 5.25cm, diameter of dish 9.5cm (2).Additional InformationLight fritting to the dish and a tiny rim chip, both with a few imperfections in the glaze but overall ok condition.

A Chinese Kangxi period porcelain charger painted in underglaze blue with floral decoration and with cafe-au-lait rim, with lingzhi mark within double ring to base, diameter 35.5cm.Additional InformationGood condition, inclusions and other manufacturing imperfections.

A Kangxi revival early 20th century Chinese famille rose vase with a blue background having scalloped rim with a waisted neck over a baluster body. The vase is finely decorated with cranes and flowers. Measures 31 cm tall.

Two Chinese biscuit porcelain sancai glaze figures, Kangxi,中国, 三彩素瓷像两件，康熙，18世纪初early 18th century, modelled as a seated nobleman holding a Hu, dressed in green robes, a small square aperture verso, and a female, modelled standing, holding a fan and a lotus bud and leaf, wearing an ochre jacket with brown skirt, 21cm & 24cm respectivelyCondition report: The male figure is missing the upper part of the Hu, but is otherwise in good order. The female is missing the tip of her left index finger, but is otherwise in good condition.

Three Chinese Kangxi period vases, early 18th century, one with a flared rim above a petal moulded neck and base, the body with spiral fluted panels, decorated throughout with flowers, the spreading foot with a band of25.5cm, together with two inverted baluster vases, with octagonal/octofoil bodies, with landscaped decoration of figures, pine & willow trees, and buildings, one with matched lid, each 21cm high (excluding lid)Condition report: The tallest vase has restoration around the rim four small chips and fritting, there is some light fritting around the foot rim. The octagonal vase with cover has some restored patches and large repaired cracks around the rim and shoulder, from the main point of the damage issues numerous cracks, one of which is 10cm long going down toward the base of the vase. The cover has had the base of the knop restored and a 1/4 of the rim restored, there is also a small rim chip. The octofoil vase has a very fine 11cm 'J' shape hairline crack to the body. see online images for details of damage and restoration.

A Kangxi blue & white pounce pot and salt, early 18th century, the pounce pot with pierced top decorated with a band of ruyi heads, the side with clouds and precious objects beneath a band of scrolls, an artemesia leaf to the underside, 6.5cm diameter, the salt with dished top and wan border above a bell shape body, decorated with females (Lange Leizen) amongst plants, on later silver plate on copper lion paw feet, 10cm high, and a pierced oval salt, late 18th century, on four claw & ball feet, 9cm diameterCondition report: Pounce pot has hairline cracks throughout and the top around the scroll border has been off and restored. The Kangxi salt has interior and exterior rim chips and fritting. Missing its original porcelain feet. The oval salt has been restored to the base around one foot.

A Chinese blue and white vase, late 17th/18th century, the shoulder with a band of ruyi heads, above three figures within a garden, the reverse with pine trees and mountains, with wood cover and stand, 16cm high excluding cover and stand, together with a 19th century blue and white vase and cover, with ruyi head cloud collar above performing figures, pseudo four character Kangxi mark, 30cmCondition report: The 17th century vase with a chip out of the rim, and small chips to the footrim, small interior hairline star and Y shape cracks, but otherwise good. The 19th century vase has glaze chips to the finial, a chip and fritting to the cover rim. The neck has two small chips. Glaze fritting around the footrim.

A rare Chinese porcelain water dropper modelled as Liu Hai riding upon the mythical three legged toad, Kangxi, 18th century, his face and torso left almost biscuit, wearing a long blue robe, 6cm highCondition report: Kiln dirt on his face and body. A small firing crack by his left hand. A very fine glaze/fifing crack to his back in the fold of his robe.

A Chinese Kraak dish, circa 1670, painted in the centre with a moth dropping from the sky to a dragonfly, the rim with asters and precious objects, 32cm diameter; and a dish with eight petal shape panels of flowers centred on another and with a further eight lotus petals on the rim, six character Kangxi mark, 36.7cm diameterCondition report: The smaller Kraak dish has three small restored rim chips, from two of which issue a 6/7cm hairline crack. There's a glazed rim chip produced in manufacture. There is a small amount of fritting to the rim but nothing too significant. The dish rings out nicely when lightly tapped.The larger dish has been broken into two or more pieces and extensively restored, at least 50% of the surface and the underside have been overpainted and oversprayed. The rim has the usual fritting but also signs of restoration all around. See further images.

Chinese blue and white porcelain, 17th/18th century, a good small hexagonal dish with spearheads, a Kraak type deep dish with landscape panels, lingzhi mark to the underside, a small 'Jumping Boy' pattern plate, four character Chenghua mark; a saucer with two women and ducks, after Cornelius Pronk; a heavily potted Transitional dish with two figures; and a bowl painted with ladies at a table within precious objects, the rim with wide floral lappets, conch mark to the underside, 9.8cm - 18cm diameterQty: 6Condition report: Hexagonal dish with tiny rim chip on one corner, otherwise good. Kraak dish has been broken in four places in a section approx 12cm x 4cm, there is also a surface rim chip and usual rim fritting. Jumping boy small dish has a 2cm fine hairline crack, a very small rim chip and a tiny rim frit. Pronk style dish has a small chip restored on the rim from which issues a fine 1cm hairline crack which is visible on the exterior and not visible on the upper surface. The transitional dish with two figures has lots of rim fritting, a 3cm and two 3.5cm hairline cracks, still rings out nicely. The Kangxi bowk with conch mark has been broken in half, there are vacant rivet repair holes, at each end of the break are glued sections, lots of rim fritting and small chips.

A small group of Chinese Kangxi vases, early 18th century, each decorated with either figures, flowers or birds, the tall trumpet vase with Artemesia leaf to the underside and the sectional cylindrical vase with a single mark for Jade, three reduced in height, three restored and one with obvious losses around the rim, 10.7cm - 13.9cmQty: 7Condition report: All with faults, three with restoration, three reduced in height, one of which with the females has large cracks throughout, and one with obvious losses around the rim. See on online images.

A Chinese Famille Verte dish, Kangxi, 18th century, painted in enamels with butterflies above peony, convolvulus and rockwork, within a floral spray border with barbed rim, the underside with blue artemesia leaf, 28cm diameter, together with an early 19thcentury Chinese Famille rose charger, finely painted in enamels with two Manchurian cranes above a fenced garden with peony, chrysanthemums, lingzhi and rockwork, 29cmCondition report: The Kangxi dish with a hairline crack from the rim to beyond opposing footrim leading to a broken section with rivet repairs. Some fritting to the rim. The 19th century charger has been broken in half and glued together, a small section at the end of the crack has been glued back on and restored. A small section of the rim glaze has been chipped.

A Chinese blue & white vase, Kangxi, early 18th century, the neck painted with a ruyi head band above the inverted bulbous body painted with shaped panels of antique treasures against a ground of prunus blossom and cracked ice, fitted for a table lamp. on carved wood stand, the vase 34cm high,39cm high including standCondition report: The base pierced to accommodate an electric cable. There are no visible faults on the neck or rim. Some small glaze blisters on the body and a small chip to the side of the footrim. See images for chips etc.

A Chinese Kangxi powder blue vase and cover, early 18th century, the domed cover with temple lion finial above the inverted baluster body, the cover rim and shoulder with gilt butterfly, cell and brocade decoration the body with gilt landscape decoration throughout, the cover and neck with lockable metal mounts, 45cmCondition report: Gilding partially rubbed.

A Chinese Kangxi period box and cover, early 18th century, of cylindrical form, decorated with peony amongst rockwork, the sides and base with floral sprays, possibly Hatcher cargo, 10cm diameterCondition report: No obvious faults visible.

A Chinese powder blue bowl and cover, Kangxi, early 18th century, in 19th century French gilt ormolu mounts, the cover and bowl with gilt landscape decoration, the handles cast as dragons and foliage, the square base raised on four dolphin legs flanking flying phoenix, the bowl 23cm diameter, overall height 27cmCondition report: No obvious faults.

A Zhang Zhou bowl, 18th/19th century, typically decorated with flowers and diaper; a famille rose bowl, finely enamelled and gilded with a boy herding an elephant, a maiden on an outcrop watched by the three heroes of the Han dynasty, Xianfeng six character seal mark; a Mandarin palette bowl; a provincial 'Jumping boy' bowl; a late 18th century export tea bowl; and a Kangxi period famille verte pickle dishQty: 6

A Chinese Kangxi period blue and white box and cover, early 18th century, of circular form, the cover decorated with flowers within a gadrooned border, with further floral sprigs to the side and base, possibly Hatcher Cargo, 10cm diameterCondition report: No obvious faults visible.

A Chinese sang de boeuf willow leaf vase, Liuyeping, Qing Dynasty, 19th century, of slender form, the white rim above a uniform glaze body, pseudo six character Kangxi mark within two blue concentric rings, 26.7cm

A Chinese porcelain blue and white dragon plate, of dished form, the cavetto with two further dragons amongst clouds, pseudo six character Kangxi mark, 24.5 cm diameterCondition report: A very fine surface scratch approximately 4cm long just to the left of the dragons body, otherwise no obvious faults. Of recent manufacture.

Three Chinese porcelain rosewater sprinklers, Kangxi, early 18th century, to include two European decorated examples, 16cm - 19.5cmQty: 3Condition report: The blue & white sprinkler has been poorly restored at the top of the neck around the rim. The smallest Western decorated sprinkler has a small restored section on the footrim. The largest sprinkler has some fritting to the rim, a small restored knock to the central knop and a 2.5cm long section of the footrim has been restored.

A Chinese blue & white wine pot and two teapots, Kangxi,中国，青花酒壶一件，康熙，18世纪初，及其他early 18th century, the wine pot of cylindrical form, decorated with figures and a building within a fenced enclosure, with later 18th century white metal spout and wood handle with white metal terminals, double comcentric rings to the underside, 17.5cm, together with a pear shape teapot and a bullet shaped teapot, each decorated with a figure on a balcony beneath a willow tree and two ladies in a garden, the pear shape example with later 18th century white metal spout and wood knop, 14.5cm, the bullet shape teapot with 19th century lid, 11cmCondition report: Wine pot has restored chips to lid rim. A fine 1cm hairline crack either side of the lower handle terminal and a small firing crack to the foot rim. The Pear shape teapot has a chip to the rim of the lid and an interior rim chip, some minor fritting to the foot rim. The bullet shape teapot has a hairline crack through the handle and a small 1cm firing crack just below the rim border, some small fritting chips to the rim of the spout.

A near pair of Chinese blue & white petal moulded tea bowls and matched saucers, Kangxi (1662 - 1722),中国, 青花模制茶碗茶碟两对，康熙（1662年至1722年）the octagonal teabowls decorated with panels of inky blue flowers, the undersides with either a Lingzhi or a Lotus flower within two concentric rings, the saucers of dodecagonal shape decorated with rockwork and flowers within a segmented floral border, each with a flower within two blue concentric rings to the underside, the bowls 8.5 & 9cm diameter, the saucers13.5cm diameterCondition report: One saucer with a small rim chip and a 1cm hairline crack. One tea bowl with a fine fracture crack to the foot rim. The other tea bowl with two small rim frit chips.

A Chinese mythical creatures vase, painted in underglaze blue and iron red, pseudo six character Kangxi marks, 23 cm high.Condition report: No obvious faults. Not of significant age.

A Chinese monochrome vase, 19th/20th century, with gently flaring rim and waisted neck above a banded shoulder and globular body, under a flockulated bottle green glaze, pseudo six character Kangxi mark,43cm high

A large Chinese famille verte charger, Kangxi, painted in enamels with a yellow Sika deer amongst lingzhi mushrooms and rockwork, a Manchurian crane overhead, all beneath a pine tree and clouds, the border with six Cranes within a cell border and gilt rim, the underside with red floral sprays, 38.8cm diameterCondition report: Approximately eight areas around the rim are showing signs of being restored. Hairline crack restorations and overspray around the rim also. A hairline crack restored. Some surface scratches to enamels on the deer, plants and rockwork. still rings out when lightly tapped.

A Chinese Kangxi blue and white porcelain ginger jar, with dragon and pearl design, turned wooden lid and carved pierced wooden stand, the underside of the jar with double blue circles, jar 19 cm high x 18 cm diameterCondition report: Overall good condition, some pitting to the glaze, small chip to the mouth, surface scratches commensurate with age, cracks visible from the inside (not exterior), no signs of breaks