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Lot 201

Ceramics - a Carlton Ware Art Deco style study, of an Oriental bridge with figure crossing and pagoda, royal blue ground, printed mark, possibly a hat pin stand; an Art Deco style Poole coffee pot; an Art Deco powder pot, modelled as a clown; a set four Carlton Ware novelty golfing figures; etc

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Lot 145

A VICTORIAN FIGURAL OIL LAMP, vintage metalware ETC to include a Continental Art Nouveau dish depicting a stylised maiden, an Eastern Champleve type enamel bowl, an Oriental trumpet neck vase ETC

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Lot 499

BOOKS ON CHINESE, JAPANESE AND OTHER ORIENTAL ART (one shelf)

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Lot 701

An Oriental teapot, Art pottery vases etc

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Lot 154

A LARGE QUANTITY OF COLLECTOR'S TEAPOTS vintage and modern including Majolica style, Chintz, Oriental and Art Deco ETC

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Lot 238

Chinese Jade Throughout the Ages, Stanley Charles Nott, 1973 edition, Chinese porcelain, A Du Boulay, Ceramic Art of Southeast Asia, Oriental blue & White, Sur Harry Garner and Oriental Ceramics discovered in the Philippines, Leandro and Celcilia Locsin, (5)

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Lot 171

An oriental resin figurine; and a pewter tray with Art Nouveau style decoration

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Lot 1523

Art Deco Beaded Envelope Clutch Bag Heavily beaded silk clutch with flapover fastening, internal pocket and beaded hand strap to back; the whole in ivory, gold, pink and peach bugle and seed beads. Together with a vintage French silk chemise, spaghetti strap chemise with intricate palm tree design and deep lace trim. Label to interior 'Made In France - Olga Hikovo, 21 Rue Saint Augustin - Paris' UK approx size 2-4 - please see image. Also an art deco beaded evening bag of oriental influence with top clasp and fringe design, two mid- century clasp bags and a boxed set of Harrods lace handkerchiefs.

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Lot 74

Art Deco Austrian bronze twin candlestick modelled as an Oriental figure on an inverted coronet base, circa 1900, signed with monogram ‘EH’ and ‘22’ to rear tip of base, 36cm .

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Lot 567

ALBUMS, SCRAPBOOKS AND ANCILLARY MATERIAL RELATING TO ADMIRAL LORD CHARLES BERESFORD (1846-1919)This Year, 2019, Celebrates the Centenary of the Admiral's DeathLord Charles Beresford (1846-1919) was the second son of the 4th Marquis of Waterford. Joining the Royal Navy at the age of 13, he had a long, varied and spectacular naval career. He achieved fame in 1882 when, as captain of the gunboat Condor during the Egyptian campaign, he sailed his ship inshore to bombard the gun-batteries of Alexandria at close range. Three years later, when in command of the Safie, he dramatically rescued the expeditionary force that had been sent to relieve General Gordon at Khartoum. These exploits made him a national hero; "Charlie B" was a great favourite of the future King Edward VII and he was adored by the public. In later life he campaigned vigorously to have the navy modernised and made ready for a future war. However, he clashed bitterly with Admiral of the Fleet Sir John Fisher, never achieving his ambition to become First Sea Lord. However, in 1916 he was awarded the title Baron Beresford of Metemmeh and Curraghmore. At his death three years later he was given a ceremonial funeral in St Paul's Cathedral.Photograph AlbumsVolume One, entitled: "British Isles - Malta - Egypt. K.B." 40 x 42 cm. 28 ff. The first half consists of amateur photos taken in Britain and Malta - perhaps by "K.B.", i.e. Beresford's daughter Kathleen. Also some loose photos of the Admiral.The second half comprises commercial photos of ancient Egyptian monuments, especially the temple of Karnak and the Philae temple complex. The latter stood on an island in the Nile which was flooded by the building of the Aswan Low Dam, at that time the world's largest masonry dam. It was built in 1898-1902 which may help to date the photographs. Some of the captions are quaintly phrased: "Philae on flood", "Philae during the creasing Nile" etc.Volume Two, entitled "America". 40 x 42 cm. 28 ff. (the rest blank). Photos of a voyage to America, c 1912, aboard RMS Campania. The company included Kathleen Beresford and the Hon. Claud Anson. These amateur photos are frankly of rather poor quality. Also views of New York and of a range of localities from Florida to Niagara. Volume Three,entitled "Continent - France - Italy - Sicily - Germany. K.B." 40 x 42 cm. 96 ff.Mainly commercial photos but also some amateur ones (without captions) depicting buildings, monuments, and works of art. (Michelangelo's fresco of the Creation of Man is so badly cracked it looks as if it could come down any time).Volume Four, entitled "Photographs", disbound. 36 x 30 cm. 21 ff + blanks. Contains photos taken between 1899 and 1913, mostly of France and America. Some are commercial photos, some amateur ones of varying quality. Places and dates are identified, but not people. Subjects include family, peasants, houses, pretty girl with spaniel, Mardi Gras in New Orleans (1902), and - incongruously - a black man hanging from a tree, simply captioned "Lynching North Carolina".Volume Five, of photographs. 29 x 37 cm. 57 ff. Family photographs including Lord Charles Beresford and the wedding of an oriental couple (Chinese? Japanese?). Photos taken on board ship (pretty girl at the wheel), on arrival in New York, and participants in a parade.The album has the imprint of Jessie Tarbox Beals, Photographer, New York. Beals (1870-1942) was the first American female photojournalist and female night photographer and some of the photos appear to be her work.Albums of Newspaper CuttingsAlbum entitled "Incidents in the Life of Col. Lord William Beresford, V.C." 43 x 33 cm. 38 ff. Consists of cuttings from newspapers that appeared after Lord William's death and funeral (1900-1901). Dedication at the front to Nurse Jordan, signed by [Lord] Marcus Beresford, younger brother of Charles and William.Lord William Beresford (1847-1900) was the third son of the 5th Marquis of Waterford. At the age of 20 he joined the 9th Queen's Royal Lancers, of which he became eventually Lieutenant Colonel. He served mainly in India, where he was ADC to several viceroys, and where he was renowned for his equestrian expertise. In 1879 he took part in the Zulu War, and was awarded the Victoria Cross for his bravery in rescuing a wounded sergeant at the battle of Ulundi.Album containing news cuttings commemorating Admiral Lord Charles Beresford (died 1919). 38 x 29 cm. 30 ff. Several loose photos (mounted), one dedicated to "Josephine" by Charles Beresford, 1909.PhotographMounted photograph of Admiral Lord Charles Beresford. 37 x 32 including mount.As a collection, w.a.f.

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Lot 32

A collection of art deco tea wares with floral detail comprising milk jug, ten tea cups, twelve saucers and ten tea plates, together with further rose decorated tea wares, a trefoil shaped dish and three graduated oriental pots and covers with figure detail (over 50)

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Lot 150

An oriental white metal ring; together with a gold plated brooch; an Art Deco style brooch etc.

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Lot 534

* CLAIRE HARKESS RSW (SCOTTISH b 1970), KINGFISHER watercolour on paper, signed and dated '96 23cm x 16cm Mounted, framed and under glass. Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Six hundred miles due west of Ecuador surrounded by the Pacific Ocean lie the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through the paintings. Painting in watercolour offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery and at other prestigious galleries around the UK.

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Lot 1777

Good Chinese antique hand painted vase hand painted dragon, butterfly and blossom decoration, character marks to base, together with Ray Tregaskis Oriental Art label, circa 1870s, (height 39cm approx).

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Lot 321

THREE AIKIDO MARTIAL ART BOOKS BY MORIHIRO SAITO PRINTED IN JAPAN - VOLUMES 3, 4 AND 5 TOGETHER WITH FOUR CLIP FRAMED ORIENTAL PRINTS

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Lot 568

An Art Deco green glass scent bottle with oversized stopper decorated with a semi clad maiden, a scent bottle formed as a knight, an amber flash bottle and two Oriental carved bone scent bottles.

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Lot 115

An Art Deco olive wood and bakelite figural tobacco jar, modelled as an Oriental man with Rickshaw, 38cm long

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Lot 116

Demetre Chiparus, Oriental Dancer, an Art Deco patinated bronze and ivory figure, circa 1925, on onyx and agate angled pyramidal plinth, signed, 31cm high

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Lot 257

Two Oriental wirework and embroidery panels, 5ins x 5insFrom the collection of Charles Carter OBE (for services to art) former Director of Aberdeen Art Gallery and Liverpool Art Gallery and thence by family descent

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Lot 1023

A small Library of Chinese Art Reference Books and Saleroom Catalogues, including: Christie's New York/21.3.2012/20.3.2001; Sotheby's catalogue of The Mr and Mrs Eugene Bernat Collection; Christie's London 21.4.1986/15.7.1981/18.4.1977/15.12.1980; Christie's Hong Kong catalogues 8.10.1990/20.3.1990; Christie's catalogue of The Hardy Collection of Early Chinese Ceramics and Works of Art from the Sze Yuan Tang; Sotheby's Hong Kong catalogue of 'An Important Private Collection of Chinese Celadons and Other Ceramics'/5.11.1996; 'Chinese Ceramics/The New Standard Guide' by He Li; 'Later Chinese Porcelain' by Soame Jenyns; 'The Art of The Tang Potter' by Mario Prodan (1960); and 'Oriental Ceramics/The World's Great Collections-The Percival David Foundation' with introduction by Margaret Medley (lot)Provenance: The Property of a Gentleman. From a Private English Library.. Please note that this is a group lot of books where the extent of wear, soiling, deterioration may vary from book to book, and catalogue to catalogue. Some areas of damage extant.. Please note that this is a group lot of books where the extent of wear, soiling, deterioration may vary from book to book, and catalogue to catalogue. Some areas of damage extant.

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Lot 1076

A reference library of Asian Ceramic and Works of Art Books, including: 'Later Chinese Porcelain' by Soame Jenyns; 'Hiroshige/Birds and Flowers' by Israel Goldman and Alfred H. Marks; the famous three Edward T. Chow Collection, Sotheby's catalogues (19.5.1981/25.11.1980/16.12.1980); two Sotheby's Chinese Art catalogues (27.11.1973 and the Mrs Alfred Clark Collection, 25.3.1975); 23 volumes of Oriental C.S. transactions (years included :1967-1968-1973-1975-1977-1978-1979-1980-1981-1982-1983-1984-1985-1986-1987-1988-1989-1990-1991-1992-1993-1994-1995-1996); 'Early Chinese Pottery and Porcelain' by Basil Grey; 'Early Islamic Pottery' by Arthur Lane; 'Persian Lustre Ware' by Oliver Watson; 'Japanese Pottery' by Soame Jenyns; 'The Ceramic Art of Korea' by Chewon Kim and G.St.G.M. Gompertz; 'Inside Japanese Ceramics' by Richard L. Wilson; 'The Dawn of The Floating World' by Timothy Clark, Anne Nishimura Morse and other contributors; 'Tamba Pottery' by Daniel Rhodes; Nagel Auctions 'Tek Sing Treasures' catalogue (17-25.11.2000); 'World Ceramic Heritages/The East' by Yang-Mo Chung; 'Japan's Golden Age/Momoyama' by Money L. Hickman and other contributors; 'Hiroshige' Royal Academy of Arts 1997 Exhibition guide; 'Mingei/Japanese Folk Art from the Brooklyn Museum Collection'; and 'Chinese Ceramics' by Michel and Cecile Beurdeley. Together with five Faber monographs on Ceramics, including: 'Ancient American Pottery' by G.H.S Bushnell and Adrian Digby; 'Greek Pottery' by Arthur Lane; '19th Century English Pottery and Porcelain' by Geoffrey Bemrose; and 'English Cream-Coloured Earthenware' by Donald C. Towner (qty)The Sotheby's catalogues here for Mrs Alfred Clark, and for E.T. Chow, recall two of the most celebrated collections of Chinese Ceramics from the 20th Century. The E.T. Chow catalogues include the monumental Xuande mark and period, blue and white, brushwasher that was subsequently sold at Bonhams Knightsbridge on 9.12.1992 (Lot 78). . Please note that this is a group lot where the extent of damage, wear or soiling may vary from volume to volume. Areas of damage and deterioration, include: soiled bindings and paper; withdrawn Library stamps; lost and/or damaged dust covers; foxing and other age deterioration.. Please note that this is a group lot where the extent of damage, wear or soiling may vary from volume to volume. Areas of damage and deterioration, include: soiled bindings and paper; withdrawn Library stamps; lost and/or damaged dust covers; foxing and other age deterioration.

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Lot 16

K. Herberts Oriental Lacquer, Art and Technique 1962 and many other reference books etc mainly on Japanese lacquer including The Art of Shibata Zeshin.

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Lot 689

ORIENTAL ART, set of 3 x 19th Century paintings on rice paper, "Courtiers", 8" x 5"

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Lot 766

ORIENTAL ART, Oriental scroll painting signed panel "Swimming Carp", 52" x 26"

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Lot 543

An Art Deco French Vaseline glass bowl signed Barolac and an oriental cloisonne plate, the glass dish has a dimeter of 28cm

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Lot 534

* CLAIRE HARKESS RSW (SCOTTISH b 1970), KINGFISHER watercolour on paper, signed and dated '96 23cm x 16cm Mounted, framed and under glass. Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Six hundred miles due west of Ecuador surrounded by the Pacific Ocean lie the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through the paintings. Painting in watercolour offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery and at other prestigious galleries around the UK.

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Lot 1317

Military Interest Signed Trench Art Shell Case With Etched Oriental Decoration Brass shell case with impressed signature and etched dragon detail to body, diameter, 8 1/2 inches, dated 1917 to base and signed with three oriental marks to base. Together with one other - undecorated, marked to base

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Lot 411

An oriental style vase; a pair of Art Deco vases; commemorative jug; teapot etc.

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Lot 147

Vassili Yacovlevitch Grachev, (Russian 1831 - 1905), the Returning Cossack, a patinated bronze group of a horseman, mounted and holding a maiden off the ground in his arms to his left, the pair embraced in a kiss; the naturalistically cast oval base inscribed with Cyrillic signature and FABR C.F. WOERFFEL for the Saint Petersburg foundry house in the maquette 24cm high, 21cm long Cf: New Orleans Auction Galleries: Major Estates Auction Day 2, 14th October 2018, lot 650 Christophe Joron-Derem, Arts Graphiques Peintures et Sculptures Anciennes et Modernes Art Oriental Art D‘asie Faience & Orfevrerie Meubles et Objets d‘Art du XVIeme au Xxeme Siecle, 22nd June 2016, lot 96 Shapiro Auctions, Online Auction Including European, Russian, and Asian Art & Antiques, 12th March 2016, lot 174

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Lot 627

§ Alfred Robert Hayward (1875-1971)oil on canvas'Oriental Poppies'signed, 1945 Fine Art Society label verso20 x 14in.

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Lot 280

A Japanese wood block print entitled 'Shibaraku' (stop a minute) by S.Hasegawa 40 x 26cm supplied by Ucida Art Co Ltd, Japan, three other wood block prints of Oriental scenes on mounts each 16 x 24cm and a smaller wood block print Kambara in snow one of 53 stages of Tokido by Hirosigi (5)

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Lot 294

Small white metal Vesta with Oriental style Kingfisher design, approx 4.5 x 2.5 x 1cm, an Art Nouveau design Hallmarked Silver top Matchbox, approx 4.25 x 2.75 x 1.5cm plus a Miniature Hallmarked Silver model of a Figure pushing a Barrow with Wood burner on it

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Lot 696

Oriental school folder of art works of various subjects, some on silk and signed

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Lot 769

Collection of Treen Items including Pair of Carved Oriental Figures plus an Art Deco Plated Figure and a Bird Cigarette Dispenser

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Lot 751

Various Oriental items, to include a pair of carved wooden and lacquer floral panels, a similar wooden temple carving, labelled to reverse from the Antiques Art Association from Hong Kong, etc.Provenance: The property of Joan Stephenson, Kirkwood, North Church Walk, Newark, Nottinghamshire.

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Lot 65

A box of gilt and onyx candle holders, vases, table box together with a pair of brass and marble table lamps, Oriental table lamp, leaded glass Art Deco shade etc.

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Lot 260

A pair of Cyples Embosa ware two handled vases decorated with oriental figures, Art Deco figurine, Royal Doulton Southern Belle HN2229, carnival glass Art Deco dressing table part set.

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Lot 81

An Art Deco oriental design biscuit tin, with hinged lid, 17cm high

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Lot 98

A pair of Art Nouveau design brass easel frames, containing oriental design printed material panels

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Lot 1317

Military Interest Signed Trench Art Shell Case With Etched Oriental Decoration Brass shell case with impressed signature and etched dragon detail to body, diameter, 8 1/2 inches, dated 1917 to base and signed with three oriental marks to base. Together with one other - undecorated, marked to base

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Lot 1229

Oriental Marutomo ware Satsuma, Art Deco, Japanese 1920s ashtrays, lamp base etc

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Lot 30

A 20th Century 1930's Art Deco Oriental ceramic cylindrical stick stand having lotus flowers, blue water lilies and swans throughout, with blue geometric borders. Impressed marks to base. Measures 50 cm x 23 cm.      

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Lot 650

An Art Deco French vaseline glass bowl signed Barolac and an oriental cloisonne plate, the glass dish has a dimeter of 28cm

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Lot 56

Selection of books on Japanese art and oriental gardens

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Lot 678

A Booths eight piece part dessert service, printed and painted with an oriental pattern, six Chinese rice bowls, stands and five covers, six pieces of cut glass including a heavy baluster vase and set of six Booths Ribstone ware Art Deco dishes on a rectangular wooden tray (qty).

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Lot 1569

A quantity of cabinet cups and saucers, part art deco teaset, souvenir teapot, oriental style trinket pot, Portmeirion mug, small canister, etc.

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Lot 12

* KUSTODIEV, BORIS (1878–1927) Bakhchisarai, signed and dated 1917.Oil on canvas, 80.5 by 94 cm.Provenance: Collection of N.D. Andersen, Leningrad.Acquired by the grandfather of a previous owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: Mir Iskusstva, Petrograd, 1918.Boris Mikhailovich Kustodiev, State Russian Museum, Leningrad, 1959.Literature: Exhibition catalogue Mir Iskusstva, St Petersburg, 1918, p. 9, No. 174, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatelstvo, 1925, p. 84, listed under the works from 1917.Exhibition catalogue, Kustodiev, Leningrad, 1959, p. 37, listed under the works from 1917.M. Etkind, Boris Mikhailovich Kustodiev, Leningrad, Iskusstvo, 1960, p. 197, listed under the works from 1915, marked as completed in 1917.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 178, listed under the works from 1917.Related literature: For a study for the present work, see Gosudarstvennaia kartinnaia galereia Armenii. Zhivopis. Skulptura. Risunok. Teatr. Katalog, Yerevan, Aiastan, 1965, p. 502, listed as Prodavtsy fruktov. Bakhchisarai.Boris Kustodiev’s painting Bakhchisarai, offered here for auction, is a unique work in the artist’s legacy. Among his classic easel works, it stands out because of its unexpected Oriental subject, which is more reminiscent of a stage set than the canvasses typically associated with the artist; and also because of the precise geographical siting of the motif and the vibrant range of colours in the night landscape — a palette that is unusual even for Kustodiev.In 1915, the artist spent two months in the Crimea, but, through a combination of circumstances, Bakhchisarai is now the only reminder of this trip. Perhaps this is because the journey to the Crimea was something that the artist needed, rather than wanted, to do. Kustodiev’s spinal illness was growing progressively worse, and he urgently required a change of climate; he also wanted to try a medicinal mud treatment. In a letter to the art historian and collector Fyodor Notgaft dated 2 September 1915, he complained: “I came to Moscow, and soon I have to leave it again — the doctors insist, and I feel it myself, since my health is very, very poor.... I’m going to Simferopol on the 11th, and from there on to Yalta. I’ll be in a clinic there for 2 weeks, and then I’ll be living near Yalta for about a month and a half...” (B.M. Kustodiev. Pisma, statii, zametki, interviu, Leningrad, Khudozhnik RSFSR, 1967, p. 151).We know very little about the artist’s stay in the Crimea. More precisely, we know only the scant details that he revealed to his relatives and friends in letters. At the beginning of October, Kustodiev writes from Yalta to his daughter Irina: “Mum and I have a large, very bright room facing south — there are poplars, palm trees, roses and pines in front of the windows — there are mountains in the distance. The windows are wide open all day, it’s very warm. At 4 o’clock, they treat me with black, rather foul-smelling mud, then I take a bath, after that I lie down for a while on the bed till dinner, which is at 7 o’clock in the evening. It is really rather boring here, and we can’t wait to leave...”The same sort of despondency — albeit even more acute due to the change in weather — can also be seen in a letter that Kustodiev sent a few days later to the actor Vasily Luzhsky: “I’m listless and depressed. I don’t want to do anything. Despite even the muchhyped warmth and sunshine here, it’s very dreary and boring. Now we barely see either of them, it’s cold, the sun comes out for about two hours in the morning, and almost the whole sky is covered in rain clouds.” Because of his bad mood and poor state of health, Kustodiev does little work in Yalta. He is dispirited because the mud therapy, on which the doctors had pinned their hopes, has not brought about any positive changes, and a week before his departure, planned for 22 October, he, seemingly reluctantly, blurts out in a letter to Luzhsky: “I won’t write about myself — everything’s the same or even seems worse....”It is likely, therefore, that the only artistic impression associated with the artist’s stay in the Crimea was a trip to Bakhchisarai. It is from there that he brought one small watercolour study. Today, this sheet, which has preserved the original composition showing the small square near the old palace of the Crimean Khan, where the fruit vendors have taken up their positions, is housed in the National Gallery of Armenia in Yerevan. The drawing was made from real life in the morning, when there was still no bright sunlight, and the sellers were just laying out their wares in the square among the small buildings of the ancient capital of the Crimean Khanate, surrounded by mountains. This study was used for the big picture, dated 1917, which Kustodiev executed when back in his studio in Petrograd.During work on the canvas, Kustodiev altered the sketch quite substantially. The central emphasis in the figural and dynamic structure of the picture is now not so much on the landscape but rather on the conveying of light and colours of an evening street in the little Tatar town. The composition boasts an abundance of characters and eloquent details that reveal the subject because of their convincingly realistic and authentic rendering. However, the groundwork for the structural design of the composition was undoubtedly laid by the watercolour sketch. The mountains encircle the space in the distance, so that the main action, devoid of any centre, takes place in what looks like a narrow stage setting, bounded by a backdrop of characteristic Oriental structures.The repeated horizontal divisions — the outlines of the gently sloping mountains and oblong roofs — contrast with the vertical forms of the minaret and the rising smoke from a furnace and, combined with the bustling crowd in the foreground, constitute the basis of a rhythm, the vibrant waves of which run through the market square, the diagonally diverging streets and the picture as a whole. The artist eschews any literal handling of real life and daringly creates the provocatively gaudy colour combination of an orange sunset sky, dark-blue shadows and the thin sickle of a moon, the cold light of which is offset by the blindingly hot light of the windows.As Kustodiev creates a universal image of “the east”, he is looking for a generalisation that is convincing because of specifically recognisable details and literal quotations from what he has seen in reality. He chooses to combine the impressions of what he has seen at different times of the day and in different places; yet it is not a chaotic, random and arbitrary mishmash, but a strictly organised whole. Unusual though it may be, Bakhchisarai undoubtedly fits into Kustodiev’s artistic system of the 1910s, in which the theme of the colourful street fair and street trading is prominent. From Village Bazaar (1903) and The Fair (1906) onwards, the persistent theme in Kustodiev’s work comes to be that of crowded and plentiful shopping squares, market days and Volga vegetable displays, which symbolise the inherent, natural wealth of the land and the fruitfulness of farm labour.

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Lot 531

A Chinese blue and white porcelain dishCentrally worked with rockwork issuing floral sprays within an insect border, the exterior painted with lotus strapwork, blue painted four character Longquing mark to base and collection label for R & V Tregaskis Oriental Art, numbered 3206. 13 cm wide. CONDITION REPORTS: Generally in good condition, expected wear.

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Lot 1315

Military Interest Signed Trench Art Shell Case With Etched Oriental Decoration Brass shell case with impressed signature and etched dragon detail to body, diameter, 8 1/2 inches, dated 1917 to base and signed with three oriental marks to base. Together with one other - undecorated, marked to base

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Lot 67

Antique - Oriental Bronze seven inch Stork standing over a Turtle, in the style of Anton Louis Barge, with snake or eels around the feet and half and eel in the beak, another in the turtle's mouth. Chinese and Japanese Art symbolizing fabulous longevity

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Lot 555

TWO LARGE CHINESE FLAMBE GLAZED SNUFF BOTTLES 18TH/19TH CENTURY Each with an ovoid body rising to a short neck, with a deep purple-red and lavender glaze draining from the rim, 11.2cm. (2) Provenance: formerly in the collection of Lieutenant-Colonel W B R Neave-Hill (1912-2000) and thence by descent. Neave-Hill was a client of Bluett's from 1953 until the 1970s and he published Chinese Ceramics in 1975. He was secretary of the Oriental Ceramic Society for many years and lent six pieces to the Society's exhibition The Ceramic Art of China in 1971.

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Lot 556

TWO CHINESE FLAMBE GLAZED VASES 18TH CENTURY One a bottle vase, the other a meiping, each coated in a rich maroon glaze with streaks and flecks of lavender and orange, the glaze thinning to a pale brown at the mouth rims, 20.6cm. (2) Provenance: formerly in the collection of Lieutenant-Colonel W B R Neave-Hill (1912-2000) and thence by descent. Neave-Hill was a client of Bluett's from 1953 until the 1970s and he published Chinese Ceramics in 1975. He was secretary of the Oriental Ceramic Society for many years and lent six pieces to the Society's exhibition The Ceramic Art of China in 1971.

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Lot 706

A CHINESE IVORY CARVING OF A MONKEY ON A GOURD EARLY 19TH CENTURY Formed as the primate climbing on a large fruit, it clings to a leafy vine whilst reaching out for an insect, the top of the gourd a removable cover which lifts off to reveal a chain and a further monkey, 5.3cm. Provenance: purchased from Hua Shi Oriental Art Pte Ltd, Singapore, on 26th March 1988. The original invoice is available. Cf. the collection of the Victoria and Albert Museum, museum no.A.926-1910 for a similar piece.

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Lot 216

TWO JAPANESE BRONZE IKEBANA VASES MEIJI/TAISHO PERIODS Both with tall slender bodies, one with with a rough surface imitating Bizen pottery ware, with two small frogs clambering up the side, an oval mark above the foot and with a two character seal mark to the base, the other decorated in mixed metals with scrolling tendrils, warabi (edible ferns), a small butterfly above, both 30cm.(2) Provenance: both from a Spanish private collection, Madrid. The vase with frogs purchased from the Kyoto Gallery, Brussels, on 15th December 2000. The other vase from Katie Jones Oriental Art, London, in the 1990s.

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Lot 380

A JAPANESE KO-IMARI BLUE AND WHITE JAR C.1680 The bulbous body decorated in dark underglaze blue with a continuous design of a mountainous river landscape, with sailboats to the fore and houses in the distance, the shoulder and neck with bands of lappets and formal clouds, with three concentric lines above the foot, 26.5cm. Cf. B Davies Oriental Art, Ko-Imari porcelain from the collection of Oliver Impey, p.48 no.21, for another jar with similar decoration.

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Lot 340

A tray containing eighteen pieces of Westly Art Deco tea china together with a cabinet plate, oriental lidded sugar basin, fruit pattern sugar basin on stand

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Lot 124

A CHINESE IMPERIAL YELLOW-GROUND 'DRAGON' SAUCER DISH SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The centre incised and enamelled with two dragons contesting a sacred pearl amidst stylised flames, one dragon painted in green enamels and the other in aubergine, all contained within a double ring, the reverse decorated with alternating cranes and ruyi-clouds, 14.3cm. Provenance: formerly a Japanese private collection. Cf. M Medley, The World's Great Collections: Oriental Ceramics, vol.6, Percival David Foundation of Chinese Art, London, monochrome pl.281 for a similar dish; see also S Marchant & Son, Exhibition of Qing Mark and Period Monochromes and Enamelled Wares, no.28 for another related example.清乾隆 御製黃地褐綠彩雙龍戲珠紋小碟《大清乾隆年製》篆书款來源:日本私人收藏。

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Lot 135

A RARE CHINESE UNDERGLAZE RED 'DRAGON' BOWL 1ST HALF 16TH CENTURY The gently flared body decorated with two scaly dragons chasing flaming pearls of wisdom against an incised wave ground, the centre with a slight recess and painted with two further dragons in pursuit of sacred jewels, with simple red bands to the rim and tapering foot, the slightly convex base with a six character Xuande mark and labels for R H R Palmer, The Oriental Ceramic Society 1950 Exhibition, and F O S & M M Dobell, 21cm. Provenance: Bluett & Sons, 29th September 1944, purchased by R H R Palmer for £30, collection no.584; sold at Sotheby's London, 27th November 1962, lot 21, and again on 24th March 1964, lot 86, purchased by Bluett & Sons for £220 on behalf of F O S and M M Dobell, no.48, and thence by descent. Exhibited: The Oriental Ceramic Society Ming Polychrome Exhibition, 1950, no.133. Illustrated: S Jenyns, Ming Pottery and Porcelain, 1953, pl.49A, and p.55, where this bowl is discussed. Also illustrated in The Transactions of the Oriental Ceramic Society, vol.20, pl.24, and p.49 where it is discussed.. Cf. The Fitzwilliam Museum, Cambridge, museum accession no.C.27-1978 for an almost identical bowl dated to the Ming dynasty donated by Dr Sydney Smith; see also the Asian Art Museum of San Francisco, object no.B60P1220 for another Ming bowl of the same design from the Avery Brundage Collection; another identical bowl sold at Christie's London, 21st March 1966, lot 68 to Sydney L Moss, it sold again at Christie's New York, 16th September 2010, lot 1405, ex Dr William L Corbin Collection, and at Beijing Poly in 2013, lot 1435, where it was catalogued as Ming.   THE PALMER DRAGON BOWL This rare, elegantly shaped bowl is striking for is lively painting of striding dragons pursuing flaming pearls amidst anhua waves and above rocks. The designs were first incised, then the dragons were applied with copper colorant and, finally, the bowl was covered with a colourless glaze. The anhua designs are only faintly visible, shadowed by the deep red of the dragons, pearls and flames. The dating of these bowls has been long debated and remains controversial, with opinions differing between a mid Ming and Kangxi attribution. Two smaller bowls, with similar dragons and Kangxi marks but no anhua decoration are in the British Museum, one in the Percival David Collection, the other donated in 1926 by C T Loo. Another smaller bowl, with a typical Lang Tingji (Governor of Jiangxi province, 1705-1712) Kangxi mark, is in the Shanghai Museum. However the larger Xuande marked bowls, such as this Palmer/Dobell piece, differ in several important aspects from the Kangxi examples. All have gentle flared rims, with a single line drawn to the inside edge, central design (usually inward facing double dragons, chasing pearls), and a recessed base. The Kangxi pieces have straighter rims with plain, undecorated interiors, and no base recess. Elements of the dragon designs, such as the elbow hair, and body and tail fins, are executed differently  on the Xuande mark pieces when compared to the Kangxi examples. The foot is wide, the inside base is convex and, where the glaze meets the biscuit, the edges have burnt a strong orange. The Kangxi pieces have a narrower foot, the inside bases are usually flat, and the burning to the glaze edges are less pronounced. The Xuande mark was first copied in the Chenghua period and is seen again in the Zhengde period. The style and calligraphic strokes used, size and spacing of the Xuande mark on this bowl is very similar to that seen Imperial Zhengde pieces such as those in the Gugong Museum, Beijing. See for examples ‘Mingdai Hongzhi Zhengde Yuyao Cigi. Jingdezhen Yuyao Yizhi Chutu Yu Gugong Bowuyuan Cang Chuanshi Ciqi Dubiai’ - ‘Imperial Porcelain from the Reign of Hongzhi and Zhengde in the Ming Dynasty. A Comparison of Porcelain from the Imperial Kiln Site at Jingdezhen and the Imperial Collection of the Palace Museum’, Beijing, 2017, vol.2, catalogue numbers 222/223 and 248/249, together with a partiality reconstructed dish with incised dragon amongst waves in green and red glaze, excavated at the Imperial kiln site, Zhushan, in 2014, catalogue numbers 271. The drawing of the mark is very different to that seen on Kangxi period Xuande copies. For examples see two Kangxi period monochrome stem bowls, both with very well written Xuande marks, along with a Kangxi period bowl copying Xuande lotus scrolls in underglazed red, with an apocryphal Xuande mark, all in the Shanghai Museum. Prior to the Dobell Collection, this bowl belonged to a highly important English collector of Chinese art: R H R Palmer (1898-1970), chairmen of Huntley and Palmers who started collecting in 1924, and along with his wife built an outstanding collection consisting Ming and Qing porcelain, jade, ivory and lacquer.  十六世紀 釉里紅趕珠龍紋碗《大明宣德年製》青花楷書款來源:1944年9月29日由R H R Palmer以£30的價格購於Bluett & Son,收藏編號584。蘇富比倫敦1962年11月27日·編號21, 1964年3月24日·編號86 由Bluett & Son代F O S 及M M Dobell以£220,編號48。

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Lot 892

An oval Tole ware box and cover on stand, painted with flowers on a red ground, 22 cm wide to/w a Regency turned wood snuff box painted with an interior scene of an elegant drawing room, the underside depicting an imposing tester bed, 9.5 cm diam, a portrait on ivory of a clerical gentleman, various collectables including glass rolling ruler with multicolour twist core, Bristol blue glass double-ended scent bottle with gilt metal caps, Chinese carved mother-of-pearl pendant, Oriental white metal letter knife, Art Deco enamel two-piece buckle, a Coptic miniature Madonna & Child painted on oval plaque, in brass frame and shagreen-covered cigarette case (10)

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