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A RARE PALE GREEN JADE SLIT DISC, JUESpring and Autumn PeriodOf circular form, pierced with a hole in the centre with a slit through the edge, one side incised with a stylised dragon, the stone of pale green tone. 3.5cm (1 3/8in) diam.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價春秋 玉龍紋玦Published, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2011, no.60.展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2011年，編號60See a pair of jade slit discs, Eastern Zhou dynasty, in the National Palace Museum, Taipei, illustrated in Art in Quest of Heaven and Truth – Chinese Jades through the Ages, Taipei, 2011, pl.5-5-6. See also a similar jade slit disc, Spring and Autumn period, illustrated by R.Keverne, Jade, London, 1995, p.343, fig.3; see also a pair, Eastern Zhou dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.243, no.14:9.For further information on this lot please visit Bonhams.com

A BURNISHED POTTERY JARNeolithic Period, Siwa CultureWith an ovoid body rising from a small flat base, widening at the shoulder, applied with a pair of loop handled.32.5cm (12 3/4in) high.Footnotes:新石器時期，寺窪文化 馬鞍形口雙耳陶罐Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2013, no.23.展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2013年，編號23For a similar example of a Neolithic pottery jar, see Catalogue of the International Exhibition of Chinese Art, London, 1935, no.5. See also R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.3(I), 1994, London, no.1081.For further information on this lot please visit Bonhams.com

A RARE GREY POTTERY BASKET-SHAPED VESSELNeolithic PeriodPotted with straight tapering sides rising to a wide mouth, incised around the exterior with a cross-hatched basket weave pattern beneath bands of rope-twist pattern. 24.5cm (9 5/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價新石器時代 灰陶筒形罐The result of Oxford Authentication Ltd. thermoluminescence test no.C112n17 dated 11 December 2012, is consistent with the dating of this lot.Oxford Authentication Ltd公司熱釋光檢測結果（2012年12月11日，編號C112n17）顯示年代與本拍品年代一致。See a related pottery vessel, Neolithic period, illustrated in Treasures from a Swallow Garden: Inaugural Exhibit of the Arthur M. Sackler Museum of Art and Archaeology at Peking University, Beijing, 1992, no.40.For further information on this lot please visit Bonhams.com

BRONZE AGE SPIRAL RING EUROPE, 1500 - 1200 B.C. bronze, worked from a single wire forming two opposing spirals connected by a ringed shank, with impressed decoration throughout(8cm diameter)Footnote: Provenance: Private collection, acquired 1990s, United Kingdom The Jon Lawton Collection, United Kingdom Note: The conjoined spiral is one of the earliest symbols found in prehistoric Europe, with examples found in rock carvings as far back as the Neolithic. Whatever its true meaning, its continued prevalence well into the Bronze Age suggests a strong totemic value.

A polished axe head, the shaped body with two inverted sections, possibly Neolithic, reputed to have been dug up at Langtoft Fen, 9cm wide.

John Day, Neolithic cave painting, impasto incised oil/gesso on board, 1967, signed, 8" x 29", framedGood original condition

A stone arrowhead, Neolithic / early native American, together with a fossil urchin, former 5 cm

Art of the Americas Zemi, Taino (?)Caribbean area. . Cm 11,00 x 19,00. Hard stone sculpture with showy veins depicting an ancestral spirit Zemi (or Cemi) portrayed in a fetal position with her legs gathered and hands on her chest. This artifact is provided with a label relating to the collection of objects of Count Musari which partly merged into the collection of Pietro Felter.This label attributes its origin to the Chinese Neolithic period, an attribution in our opinion incorrect and we are therefore inclined to believe in an exchange of labels.Provenance: Pietro Felter Collection

Art of the Americas A green obsidian spear head Southern America, Neolithic period. . Cm 3,00 x 11,00.

CHINESE NEOLITHIC POTTERY JAR – MACHANG PHASE The jar unpainted with two looped handles and conical base decorated with a twisted rope band around the shoulder, another indented band below the neck leading into a gently fluted mouth. Machang phase (2300-2000BC). 30cm tall x 33cm wide Provenance: Private English collection in Buckinghamshire since the 1980’s

CHINESE NEOLITHIC POTTERY AMPHORA - QIJIA CULTURE – OXFORD TL TESTED Made in Gansu or Qinghai province. The lower part of the body decorated with carved lines with a single carved band to the bottom of the neck leading into a flaring lip. Two small, looped handles to each side of the waist. Qijia culture (2200-1600BC). 27.5cm tall Oxford TL Tested, Sample No: C200d92, 30th October 2000 – Result: Consistent with the suggested period of manufacture. Provenance: Private English collection in Buckinghamshire since the 1980’s

CHINESE NEOLITHIC PERIOD POTTERY POURING VESSEL - CAIYUAN CULTURE – OXFORD TL TESTED The vessel of conical form with slightly inverted rim and pouring spout on a flat base. Each side with small ‘handles’ possibly used for carrying. The interior painted with roundels of geometric patterns and ‘human-like’ figures in black and red pigment. Caiyuan culture (2600-2200BC). 21cm diam. x 14.3cm tall Oxford TL Tested, Sample No: C200e25, 2nd November 2000 – Result consistent with suggested period of manufacture. Provenance: Private English collection in Buckinghamshire since the 1980’s

LARGE CHINESE NEOLITHIC POTTERY JAR – CAIYUAN CULTURE The wide body with flared mouth decorated from the shoulder with repeated cord impressions spiralling downwards to the foot. The upper part of the jar has been painted in black pigment with geometric patterns and two roundels with deer figures. Caiyuan culture (2600-2200BC). 40cm tall x 36cm diam. Provenance: Private English collection in Buckinghamshire since the 1980’s

RARE CHINESE NEOLITHIC BLACK POTTERY JAR – SIWA CULTURE The body heavily-potted and with a smooth burnished surface. A small flat base, wide body leading up to the narrow neck with flared mouth and two wide handles. 22cm tall. Neolithic, Siwa Culture (c. 1350 BC).   Reference: a similar but smaller example is illustrated and described in the 2000 China Institute book “Dawn of the Yellow Earth”. Provenance: the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

CHINESE NEOLITHIC POTTERY TRIPOD – QIJIA CULTURE A cooking vessel with three hollow bulbous legs. The surface coated with thin cord impressions with “piecrust” decoration around the rim and to the lower body. Two loop handles at opposing sides of the body. Qijia culture (2200-1600BC). 14cm tall Provenance: the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

CHINESE NEOLITHIC PAINTED POTTERY JAR – MACHANG PHASE Of the Majiayao culture, also known as the Gansu-Yangshao culture, from present day Gansu or Qinghai province. The upper body painted with two roundels of geometric patterns above each handle, between hand like decoration. Machang phase (2300-2000BC). Approx. 30cm x 30cm

Large Neolithic Jade Carved Stone Chinese Cong Vase. Provenance: Important Private California collection. Size: 27.5 x 5.5 in.

Four Chinese Neolithic pottery vessels, each with twin loop handles to the shoulder and painted geometric banded decoration to the body, three bearing labels for Eskenazi London, tallest H13cm

Three Chinese Neolithic pottery vessels, each with twin loop handles to the shoulder and painted geometric banded decoration to the body, all bearing labels for Eskenazi London, tallest H14cm

Two printed ostrich eggs, one decorated with Zulu warriors and text 'Zulu War' and '1879', the other with soldiers in various uniforms and text 'Boer War' and '1899-1902', each mounted on a turned wooden stand, 23cm high, with a further ostrich egg decorated with neolithic style paintings (3)

*JACQUI NEWMAN (b.1960)Faux Neolithic arttwo interpretations of cave paintings, depicting horses and buffalo, both signed l.r., mixed media30 x 122cm and 42 x 122cm, one unframed (2)*Artist's Resale Right may apply to this lot.

A Chinese pale celadon and russet jade amulet in the Neolithic style, Qing Dynasty, of semi-figural form, the mask head with two horns above an open mouth with simple loop arms, length 6cm.Condition: No discernible damage.

A Neolithic axe head, purportedly from The New Forest, Hampshire, possibly originating from The Alps, 11cm wide.

NATURAL HISTORY - Neolithic period stone axe head, 6¼in. (15.9cm.) long. (missing tip)

A Chinese terracotta vessel, painted in earth pigments with geometric motifs, arched loop handle, upright spout, 18cm high, Yangshao Culture, Neolithic period, 5000 BC to 3000 BC

* Funerary Pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with black net decoration, 33cm highQty: (1)NOTESProvenance: Private Collection, South Wales.

* Funerary Pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with black net decoration and oval panel, 18cm highQty: (1)NOTESProvenance: Private Collection, South Wales. Christie's, 13 February 1997 (Lot 482).

* Funerary Pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with black geometric decoration and red rings, 30cm highQty: (1)NOTESProvenance: Private Collection, South Wales.

* Funerary Pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with black and red net decoration, 36cm highQty: (1)NOTESProvenance: Private Collection, South Wales.

* Funerary Pot. A Chinese Neolithic earthenware funerary pot, circa 2000 BC, the ovoid two handle pot painted with black geometric decoration, 34cm highQty: (1)NOTESProvenance: Private Collection, South Wales.

Neolithic flint knives and fragments etc. from Wimbledon & Merton, and a dolerite hand-axe, together with 17th/18th century tile fragments, 18th century plaster mouldings from Llwyn-y-Brain mansion near LLandovery, a pine Ionic capital' fragmentCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

A collection of various Neolithic and later stone implements, arrow and axeheadscollected from New Zealand, North America and other areas, with some annotations, including possibly a Maori Toki Pounamu, contained within a boxCondition report: Please see additional images

Caroline Millar Venus, 2021 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Caroline Millar (b. 1964) is an emerging artist from Glasgow, Scotland. Her mixed-media paintings come about through a multi-layered process of laying down and peeling back, sanding and scraping. Caroline is inspired by childhood memories, and the age-worn surfaces which hold the history of a land, cityscape or domestic setting.   Education   She has a BA (hons) in Interior Design from Chelsea College of Art and Design.   Gallery Representation   Caroline is represented by Brownsword Hepworth, London and is working towards a solo show there in July.   About the auction artworks   For the auction Caroline has created 'Salt Water'. ""The level of sodium in sea water is similar to the level within our body fluids. We came from the sea and ultimately we shall return to the sea. At the level of our cells - we are all connected."" And 'Venus'. ""The first gift my husband gave me was a replica of the Orkney Venus - a tiny stone carving from a Neolithic site. It was initially believed to depict a female but now they're not so sure. To me it's a symbol of humanity and a reminder that in the end - all there is is art."  

Caroline Millar Salt Water, 2021 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Caroline Millar (b. 1964) is an emerging artist from Glasgow, Scotland. Her mixed-media paintings come about through a multi-layered process of laying down and peeling back, sanding and scraping. Caroline is inspired by childhood memories, and the age-worn surfaces which hold the history of a land, cityscape or domestic setting.   Education   She has a BA (hons) in Interior Design from Chelsea College of Art and Design.   Gallery Representation   Caroline is represented by Brownsword Hepworth, London and is working towards a solo show there in July.   About the auction artworks   For the auction Caroline has created 'Salt Water'. ""The level of sodium in sea water is similar to the level within our body fluids. We came from the sea and ultimately we shall return to the sea. At the level of our cells - we are all connected."" And 'Venus'. ""The first gift my husband gave me was a replica of the Orkney Venus - a tiny stone carving from a Neolithic site. It was initially believed to depict a female but now they're not so sure. To me it's a symbol of humanity and a reminder that in the end - all there is is art."  

A Neolithic painted red earthenware vase, of flared form with two small handles, the interior painted with black stripes, 15.5cm wide; and a small pottery triple spouted vessel, possibly Han dynasty, 6cm high, (2). Condition Report Vase- Chip to rim, approx 1cm. length which extends into a haircrack approx. 1cm. length. Haircrack to rim, approx. 6.5cm. length. Some nibbles to rim. Some wear to interior.Vessel- some small rim chips.

A Neolithic Adze blade, carved and polished stone, circa 3000 BC, tapered form with rounded end and angled edges, 17cm long

A LARGE MOLDED AND ENAMELED PORCELAIN ‘LEAPING CARP’ SNUFF BOTTLE, QING DYNASTYChina, 19th century. Finely molded and painted in bright enamels as a large fish with raised scales emerging from crashing waves forming the oval base, its mouth forming the neck of the bottle.Provenance: French private collection. Condition: Excellent condition with minor wear and firing flaws.Stopper: Amber with black collar and metal spoon Weight: 58.5 gDimensions: Height including stopper 103 mm. Diameter neck 15 mm and mouth 7 mmFish appeared as decoration on Chinese ceramics as early as the Neolithic period, and have remained a popular theme in Chinese art, especially ceramics and paintings, ever since. Vessels made in the form of fish, especially two confronted fish, were popular during the Tang dynasty (AD 618-907) and again in the 18th century. Much of the popularity of fish as a decorative theme, especially in later dynasties, hinges on the fact that the word for fish (yu) is a homophone for the word for abundance, and the word for carp (li) a homophone for the word for profit.清代琺琅彩鯉魚形鼻烟壺 中國，十九世紀。精細塑造成一條大鯉魚，明亮的琺瑯彩，尾部是浪花，鱗片分明，其嘴部形成瓶子的頸部。 來源：法國私人收藏 品相：狀況極佳，有輕微磨損和燒傷缺陷 壺蓋：琥珀，黑色蓋托，金屬小壺匙 重量：58.5 克 尺寸：含蓋總高103 毫米，頸部直徑15 毫米，嘴部直徑7 毫米

AN IVORY JADE BANGLE, LIANGZHU CULTUREChina, Liangzhu Culture, c. 3300-2200 BC. Of circular form, the sides finely incised with taotie masks on three rectangular registers, the opaque stone of a grayish-white color with dark grayish-black and russet veins.Provenance: Formerly in the collection of Dr. Simon Kwan, Hong Kong. The collection of a member of the Rockefeller family, acquired from the above, circa 1990 (old collector’s label to base reading “Liangzhu, Ex. Coll. Kwan 18,000“). US private collection, acquired from the above in 2017. Dr. Simon Kwan (b. 1941) is a former Hong Kong architect, receiving many awards for his work over the years. He is also a painter and a dedicated researcher and scholar in the field of Chinese art and design. He has written many papers and delivered many lectures on Chinese art at universities and institutions in Hong Kong and abroad. In 1994, the Institute of Chinese Studies at the Chinese University of Hong Kong held an exhibition of 239 jades from Dr. Kwan’s private collection, Chinese Archaic Jades from the Kwan Collection.Condition: Naturally aged condition commensurate with age, possibly with alterations from the period. Extensive erosion, smaller losses with old fillings, minor nicks here and there, encrustations, natural fissures, some of which may have developed into small cracks over time. Good natural patina, unctuous feel. Inspected under strong blue light.Weight: 192.1 gDimensions: Height 3.8 cm, Inner Diameter 5.1 cm, Outer Diameter 7.2 cmAuction result comparison: Compare with a related jade bangle at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I - Neolithic Period on 27 November 2019, lot 2724, sold for HKD 2,375,000.良渚文化象牙色玉手鐲 中國，良渚文化，公元前 3300-2200 年。側面雕刻饕餮紋，灰白色的不透明石頭帶有深灰黑色和赤褐色的脈絡。 來源：原為香港関善明博士收藏。洛克菲勒家族成員大約在1990年從上述收藏購得，舊藏家的標籤上標有“ Liangzhu，Ex。Coll。Kwan 18,000”。 美國私人收藏，於2017年從上述收藏中獲得。関善明博士（生於1941年）是一位前香港建築師，多年來因其工作獲得許多獎項。 他還是一位畫家以及中國藝術和設計領域的專家和學者。 他在香港和國外的大學和機構中撰寫了許多論文，並發表了許多關於中國藝術的演講。 1994年，香港中文大學中文研究所舉辦了一場展覽，展示了關博士私人收藏的239件玉器包括中國高古玉。 圖片: 関善明博士於1999年12月2日在香港大學名譽大學獎學金頒獎典禮上 品相：自然老化的狀況與年齡相稱，可能與該時期的變化有關。 廣泛的侵蝕，舊時填充物修補，局部小刻痕，結殼，自然裂縫，隨著時間的流逝，其中一些可能會發展成小裂縫。 良好油潤的天然包漿。 在強烈的藍光下檢查過。 重量：192.1 克 尺寸：高 3.8 厘米, 內圈直徑5.1 厘米, 外圈直徑7.2 厘米 拍賣結果比較：一件相似玉鐲，售于香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I - Neolithic Period 拍場2019年11月 27日，lot 2724, 售價HKD 2,375,000。

A MOTTLED GREEN JADE CONG, LIANGZHU CULTUREChina, Late Neolithic, c. 3300-2200 BC. Of cylindrical form with square projections on four corners, each corner carved with two different registers of stylized mask, one comprising twin bands of narrow parallel grooves above incised circular ‘eyes’ and a short raised band with rounded ends for the ‘nose’, and the other with larger eyes and without the parallel bands.Provenance: Old French private collection. Note the old inventory number, neatly inscribed in red lacquer to the inner ring of the cong.Condition: Good condition commensurate with age, some nicks and nibbling to the edges, the stone with natural fissures, some of which may have developed into minor cracks over time. Fine patina.Weight: 814.8 gDimensions: Height 5.9 cm, Diameter 9.1 cmThe dark green jade mottled and streaked with cloudy off-white and black veins and inclusions. Cong are the most characteristic artifacts of the Liangzhu culture and are a kind of counterpart to the “cosmic” Bi discs, as well as possibly having a symbolic connection to the goddess of the earth.The majority of the comparable examples from controlled excavations have been discovered in the richly furnished tombs of two of the most important Liangzhu culture cemeteries, Yaoshan and Fanshan in Yuhang County, Zheiiang Province and in other sites: see the examples reproduced in Zhongguo meishu quanji, nos. 172, 175, 177, 180 and 181.Literature comparison: A Liangzhu jade cong of similar form, material and also carved with two registers of masks at the corners, with the top register representing a man, and the bottom register representing a monster mask, is currently in the Zhejiang Provincial Institute of Cultural Relics and Archaeology, and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, no. 18 (fig. 3). Another example similar to the present lot with linear designs, but with only one register of masks, is also in the Zhejiang Provincial Institute of Cultural Relics and Archaeology and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 30, no. 39. For additional examples of two-tiered Cong see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53 and 54.Auction result comparison: Compare with a related cong of similar form but slightly smaller size, also carved with two registers of masks at the corners, the stone of an ivory-white tone, at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2018, lot 3080, sold for HKD 3,700,000.良渚文化玉琮中國，新石器時代晚期，公元前約 3300-2200 年。内圓外方，雕刻人面紋。 來源：法國私人老收藏，内圈可見紅漆書寫的收藏編號。 品相：良好的狀態與年齡相稱，有一些缺口和邊緣磨損，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微的裂縫。 良好的包漿。 重量：814.8 克 尺寸：高5.9 厘米, 直徑9.1 厘米 拍賣結果比較：一件相似尺寸略小的琮，四角雕有人面紋，象牙白色調，售于香港佳士得Important Chinese Ceramics and Works of Art 拍場2018年5月30日，lot 3080, 售價HKD 3,700,000.

A BROWN JADE CONG, LIANGZHU CULTUREChina, Late Neolithic, c. 3300-2200 BC. Of cylindrical form with square projections on four corners, each corner carved with two different registers of stylized masks, one comprising twin bands of narrow parallel grooves above incised circular ‘eyes’ and a short raised band with rounded ends for the ‘nose’, and the other with larger eyes and without the parallel bands.Provenance: Myrna Myers, Paris, 1987, by repute. English private collection in Bournemouth, acquired from the above and thence by descent in the same family. When Sam Myers was sent to Paris by his law firm in the mid-1960s, he and his wife Myrna became so enamored with the city that they decided to make it their home. There, over the course of 50 years, they built an extraordinary art collection, and in 1976, Myrna opened a gallery in Paris specializing in Asian art.Condition: Good condition commensurate with age, some nicks and nibbling to the edges, the stone with natural fissures, some of which may have developed into minor cracks over time.Weight: 439.5 gDimensions: Height 5.9 cm, Diameter 7.6 cmLiterature comparison: For several examples of two-tiered Cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53 and 54.良渚文化玉琮 中國，新石器時代末期，公元前約 3300-2200 年。内圓外方，四角各有不同人面紋。 來源：一個英國Bournemouth私人收藏據説1987年購於巴黎Myrna Myer，自此保存在同一家族至今。1960年代中期，Sam Myers被他的律師事務所派往巴黎，他和妻子Myrna對這座城市非常著迷，以至於他們決定將其作為自己的家。 在之後的50年的時間裡，他們在那裡建立了非凡的藝術收藏。1976年，Myrna在巴黎開設了一家專門從事亞洲藝術的藝廊。圖片：Myrna 與 Sam Myers 品相：良好的狀態與年齡相稱，有一些缺口和邊緣磨損，玉石有天然裂縫，隨著時間的流逝，其中一些可能會發展成細微的裂縫。 重量：439.5 克 尺寸：高5.9 厘米, 直徑7.6 厘米

A MOTHER-OF-PEARL-INLAID BLACK LACQUER RECTANGULAR TRAY, JOSEON DYNASTYKorea, 16th-17th century. With a wide flaring rim, superbly decorated with stylized lotus flowers on scrolling vines, to the interior with stylized auspicious symbols topping each flower, the base lacquered cinnabar red.Provenance: Gerard Hawthorn LTD Oriental Art, London, UK, 24 April 2008. A noted private collection in Abcoude, Netherlands, acquired from the above. A copy of the invoice, erroneously describing the piece as Chinese and from the Ming dynasty, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, crackling, a small loss to one corner with associated touchup, the interior with four and the exterior with two replaced inlays (inspected under strong blue light) out of more than 200 inlays in total.Weight: 639 gDimensions: Size 4.3 x 31.7 x 19.2 cmAlthough they superficially resemble and, indeed, are often incorrectly termed as orchids, or even peony blossoms, the flowers depicted on this tray actually are stylized lotus blossoms, as indicated by the appearance of the associated buds. The stylized blossoms, which are known as byeonryeon in Korean, likely first appeared in the silk textiles of China’s Song dynasty (960– 1279). Popularized in Chinese porcelains of the Yuan (1279–1368) and Ming (1368–1644) dynasties, the foreign lotus design, or fanlianwen, spread to Korea early in the Joseon dynasty (1392–1910) and was incorporated into the decorative schemes of Korean blue-and-white porcelain, buncheong ware, and inlaid lacquers.Though little is known of the earliest history of lacquer-making in Korea, archaeological evidence indicates that Korean craftsmen were making lacquered objects at least two thousand years ago, in the late Neolithic and early historic periods. By the Goryeo dynasty (918–1392) Koreans were producing elegant lacquer vessels and sutra-storage chests in black lacquer embellished with small floral designs inlaid in mother of pearl, the designs occasionally augmented with small, twisted, metal wires inset as borders and as the stems in floral arabesques. The tradition of inlaid lacquers continued into the succeeding Joseon dynasty (1392–1910), usually in black lacquer with bold floral designs inlaid in mother of pearl.Auction result comparison: Compare with a related foliate-shaped tray, of larger size and dated to the 17th-18th century at Christie’s New York in Japanese and Korean Art on 18 April 2018, lot 141, sold for USD 137,500. Compare also with a related but larger stationery box at Christie’s New York in Japanese and Korean Art on 22 September 2020, lot 252, sold for USD 81,250, and another at Sotheby’s Hong Kong in Asian Lacquer on 27 May 2014, lot 902, sold for HKD 750,000.朝鮮王朝黑漆髹螺鈿托盤韓國，十六至十七世紀。托盤敞口，邊緣外翻。纏枝卷葉花卉紋以及吉祥符號。底部朱紅漆。 來源：倫敦Gerard Hawthorn LTD 東方藝術藝廊, 2008年4月24日。荷蘭Abcoude 知名私人收藏，購於上述藝廊。隨附發票複印件（錯誤描述該拍品來自中國明代）。 品相：良好的狀態與年齡相符，舊磨損，開裂，一角有小修，一共200多個鑲嵌螺鈿只有內部有四処以及外部有兩処螺鈿經過替換（在強藍光下檢查）。 重量：639 克 尺寸：4.3 x 31.7 x 19.2 厘米 拍賣結果比較：一件葉狀托盤，更大尺寸，十七至十八世紀，見紐約佳士得Japanese and Korean Art 拍場2018年4月18日 lot 141, 售價USD 137,500. ；一件更大尺寸的文具盒見紐約佳士得Japanese and Korean Art 拍場2020年9月on 22日 lot 252, 售價USD 81,250, ；還有一件見香港蘇富比Asian Lacquer 拍場2014年5月27日 lot 902, 售價HKD 750,000.

A DARK GREEN JADE HOOF-SHAPED ORNAMENT, HONGSHAN CULTUREChina, 4700-2900 BC. Of hollow cylindrical form with an oblique and gently curved rim. The opaque stone of a dark green tone, appearing almost black, with pale green veins and cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Old inventory number ‘C.17.4’ to the interior, indicating a prior museum deaccession.Condition: Very good condition with old wear, signs of weathering, particularly to the interior, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Minor traces of erosion and shallow surface scratches.Weight: 136.2 gDimensions: Height 9.8 cmLiterature comparison: For a related jade, see the ornament unearthed at a Hongshan site at Niuheiliang, Jianping, Liaoning Province included in Xiaoneng Yang (ed.), The Golden Age of Chinese Archeology, Yale University Press, 1999, cat. no. 11, pp. 83-85.Auction result comparison: Compare with a related hoof-shaped jade ornament at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2714, sold for HKD 112,500.紅山文化墨綠色馬蹄形玉件中國，公元前4700-2900 年。呈空心圓柱體，傾斜且柔和彎曲的邊緣。 深綠色調的不透明玉石，幾乎呈黑色，有淺綠色的脈絡和混濁的絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。内部有博物館收藏標簽“C.17.4”。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授圖片：内部博物館收藏標簽“C.17.4”品相：狀況良好，有舊磨損，風化，尤其是內部，石頭具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 輕微的腐蝕痕跡和表面淺划痕。重量：136.2 克尺寸：高 9.8 厘米拍賣結果比較：一件相近馬蹄形玉件，見香港佳士得 The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場，2019年11月27日，lot 2714, 售價HKD 112,500.

A DARK GREEN JADE OPENWORK ‘CLOUD-SCROLL’ PENDANT, GOUYUN, HONGSHAN CULTUREChina, c. 4500-3000 BC. The opaque stone of a dark green, almost black tone with paler green shadings as well as cloudy white and russet inclusions, the pendant with a prominent central scroll and protuberances at the corners reminiscent of phoenix heads. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.Condition: Very good condition with old wear, signs of weathering, some nibbling to edges, minor traces of use and shallow surface scratches, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 117.1 gDimensions: Length 13.5 cmLiterature comparison: Compare with a related jade excavated at the Sudalei archaeological site in Bairin Right Banner and now in the Museum of Chifeng city, Inner Mongolia Autonomous Region.Auction result comparison: Compare with a related cloud-scroll ornament of a paler green color at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2711, sold for HKD 175,000.紅山文化墨綠色玉勾云紋佩中國，公元前 4500-3000年。暗綠色的不透明玉石，幾乎呈黑色，帶有淡綠色的紋理，夾雜這白色和赤褐色。玉佩中央彎曲鏤空，在邊角處有突起，讓人聯想到鳳凰頭部。 穿孔懸掛。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能發展成細小的裂縫。重量：117.1 克尺寸：長13.5 厘米拍賣結果比較：一件相近雲紋青玉佩見香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場2019年11月27日 lot 2711, 售價HKD 175,000.

AN EXCEPTIONALLY LARGE PALE GREEN AND RUSSET JADE BI DISC, EARLY BRONZE AGEChina, c. 2200-1900 BC. Of somewhat irregular thickness and still retaining the cutting marks on the walls of the central hole drilled from both sides, the mostly translucent stone of variegated shades of green ranging from pale olive to sea-green with some russet-brown veining and shadings as well as cloudy white inclusions.Provenance: The Collection of Irene and Wolfgang Zacke. The couple have been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades.Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.Condition: Excellent condition with old wear, signs of weathering, nibbling and some losses to edges, the stone with natural fissures, some of which have developed into larger hairline cracks over time. Some traces of use and shallow surface scratches.Weight: 3,814 gDimensions: Diameter 43.5 cmBi discs are a type of jade which continued to be crafted in numbers by cultures located in central and northwest China during the transitional period between the Neolithic and Bronze Age. The majority of these discs range in size between ten and twenty centimeters: large ones, such as the present lot, are rare. Their size and weight, requiring both hands to hold them, suggest that these imposing discs were displayed and used in a ritual context. The hole is usually drilled from one side only: on larger discs, it is smoothed down and the traces of the tool marks are almost invisible.The whitened areas are mostly limited to the edges. This alteration, which is often seen on excavated jades, was probably created by the action of alkaline body fluids on the nephrite.Literature comparison: A related green jade bi of smaller size (22 cm diameter) is illustrated by J. Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 155, no. 7:6, where the author ascribes it to northwest China, c. 2000-1000 BC. One large disc which measures 32.5 cm in diameter is in the Victoria & Albert Museum, London, accession number A.42-1936.Auction result comparison: Compare with a related dark green jade bi, dated to circa 2000-1500 BC, of much smaller size (21.3 cm diameter), at Christie’s New York in Fine Chinese Ceramics and Works of Art on 20 September 2013, lot 1449, sold for USD 40,000. Compare also with a related jade from the same period, but still of considerably smaller size (34.1 cm diameter), from the A.W. Bahr Collection, at Christie’s New York in Fine Chinese Art from the Arthur M. Sackler Collections on 18 March 2009, lot 277, sold for USD 194,500.青銅時代大型青玉璧中國，公元前2200-1900 年。厚度不規則，保留著切割痕跡，主體半透明，夾雜著不同深淺的綠色，從淺橄欖色到海綠色，帶有紅褐色的紋理，以及絮狀物。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 96, no. 109.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：3,814 克尺寸：直徑43.5 厘米拍賣結果比較：一件相近墨綠玉璧，公元前 2000-1500年, 尺寸更小 (直徑21.3 厘米), 見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2013年9月20 日 lot 1449, 售價USD 40,000. 一件來自同一時期但尺寸更小（直徑34.1 厘米）的玉璧，來自A.W. Bahr 收藏, 見紐約佳士得Fine Chinese Art from the Arthur M. Sackler Collections 拍場2009年3月18日 lot 277, 售價USD 194,500.

Collection of Roman and Iron Age bronze objects to include terret ring, Roman bronze pin, bracelet, pair tweezersThis item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  

Neolithic polished greenstone axehead. A ground and polished Neolithic axehead c. 4000BC - 3000BC. The axe is trapezoidal in plan with a pointed oval profile. The axe is comprised of a grey-green fine-grained siliceous tuff, a sedimentary volcanic rock, and has faceted margins typical of the axeheads produced at Great Langdale, Cumbria. Very fine condition, a fieldwalking find from North Lincolnshire. 92mm x 52mm x 21mm, 130g.

Neolithic dew-ponds and cattle-ways by Arthur John Hubbard, Hoar-stones, Belcher Rambles and the Cotswolds by William Hamper and a photograph album. (4)

Chinese Art A bird shaped jade pendant China, Neolithic period . . Cm 5,00 x 5,20.

Chinese Art A Pi green jade discChina, Neolithic period. . Cm 5,50.

Chinese Art Biconical amphora in burnished earthenware China, Qijia Culture, Neolithic Period, 2200-1600 b. C. . Cm 12,00 x 12,00. Included in the Technical expertise by Dr. Rispoli, Senior Archaeologist and Board Member of the International Association of Meditarranean and Oriental Studies (ISMEO).Provenance: Private collection, Padua.

Chinese Art Two earthenware vases decorated with geometric motifsChina, Neolithic period, Majiayao Culture, Machang phase, ca. 2500-1800 b.C. . Cm 23,50 x 23,00. Included in the Technical expertise by Dr. Rispoli, Senior Archaeologist and Board Member of the International Association of Meditarranean and Oriental Studies (ISMEO).Provenance: Private collection, Padua.

Chinese Art A pottery jar decorated with geometric patternChina, Neolithic period, Mijiayao Culture, Banshan phase, ca. 2700-2000 b.C.. . Cm 32,00 x 26,00. Included in the Technical expertise by Dr. Rispoli, Senior Archaeologist and Board Member of the International Association of Meditarranean and Oriental Studies (ISMEO).Provenance: Private collection, Padua.

Chinese Art A stylized animal shaped jade pendant China, Neolithic period. . Cm 2,00 x 6,80 x 2,50.

Egyptian painted terracotta canopic jar with lid, representing one of the sons of Horus, circa 1st millennium BC, with label inscribed 'Mummy Jar and Cover, dedicated to Maesthi(?) (Man Headed God) son of Horus(?), held stomach and large intestines.  Hieroglyphics erased either for reuse or by enemy that occupier may not go to heaven 9-3-48', 25cm high approxThis item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissan hut.  Local finds of Roman and neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the LansdownMuseum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  Condition Reportsee images - some chips and losses. Inside of lid apears to have cracks. genreal wear and tear

Early Bronze Age Cypriot terracotta ewer with incised geometric decoration with everted rim, curved handle to the bulbous body, circa 2500BC, 13cm high approx, bearing label inscribed 'Leeds Exhibition 1875, Property of Yandurth?, NoC7 27' and with swing label inscribed 'Etruscan(?) bottle from Fry Collection, Somerdale, Bristol' and '10-12-52 Mrs Clarke Antique Shop, Yeovil'This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  Condition ReportThe ewer stands up without support

Greek South Italian lid from a Lekanis, with stylised anthemion decoration, circa 3rd century BC, 7cm diameter, having swing label inscribed 'Etruscan double vessel from Fry Collection, Somerdale, Near Bristol' and '10-12-52 Mrs Clarke Antique Shop, Yeovil'  and pottery Roman lamp, 8cm wide (2)  This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  

Early Roman/Etruscan-style mounted bronze male figure with arms outstretched, 6.5cm high approx overall, bearing old label to base inscribed 'Phallic figure dug from the ruins of Pompeii' This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  

Two Egyptian blue glazed faience Ushabti of typical mummified form, believed middle kingdom, circa 1000BC, one of an overseer and one with line of vertical hieroglyphic test, 10cm and 7cm (some damage) (2)This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.  

Two Egyptian blue glazed faience Ushabti of typical mummified form, believed middle kingdom, circa 1000BC, one with line of vertical hieroglyphical text, 10cm and 11.5cm (some damage) (2)  This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.    

Egyptian blue glazed faience Ushabti in typical mummified form, with three lines of hieroglyphical text, 26th Dynasty circa 300BC, 14cm high approx, on base This item is from the collection of Lionel Walrond.  Lionel was born in 1927, his parents were tenant farmers on a small dairy farm in Somerset. Sadly, both parents died before Lionel's 4th birthday and he was brought up by aunties and an uncle in Pitney, Somerset.  On leaving school he was not drawn to a life in farming but became interested in history and archaeology.  This interest lead to the discovery of three Roman mosaics in South Somerset before his 18th birthday!  The most famous is the Low Ham Villa (the mosaic has pride of place in the Museum of Somerset).  Lionel fervently collected local historical artefacts and set up his own museum on the farm in a converted WWII American Army Nissen hut.  Local finds of Roman and Neolithic origin were displayed alongside agricultural bygones.  Lionel moved to Stroud in 1955 to take up the post of curator at the Lansdown Museum, a post which he held for the following 37 years.  He was a member of a number of local and national historical societies and was an elected fellow of the Museum Association.