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Victorian school - Still Life of Flowers and Shells - watercolour, indistinctly signed and dated 1885 lower right, framed & glazed, 22 by 15cms.

G Crisp (19th century school) - Still life of Fruit - signed & dated '79 lower left, oil on canvas, framed, 49 by 39cms.Condition ReportRe-lined.

Early 20th century English school - Still Life of Fruit on a Table - watercolour, initialled 'HWS' lower left, framed & glazed, 25 by 17cms.

Marie D Clayton (19th century school) - Still Life of Roses in a Bowl - signed lower right, oil on canvas, framed, 37 by 30cms.

20th century school - Still Life of a Hydrangea in a Pot - initialled 'LOC' and dated '71 lower right, textured oil on board, framed & glazed, 43 by 56cms.

Modern British - Still Life of Cherry Blossom in a Vase - signed 'Tom W' and dated '01 lower right, gouache on board, framed, 39 by 79cms.

G Crisp (19th century school) - Still Life of Fruit - signed & dated 1889 lower right, oil on canvas, framed, 45 by 35cms.Condition ReportRe-lined.

Robin Noscoe - From the Gables Window - a still life of a glass and bottle, watercolour on paper laid down on board, signed and titled to verso, framed, 28 by 19cms.

Sally Barclay - Still Life - watercolour, signed & dated '65 lower right, framed & glazed, 47 by 34cms.

English school - Still Life of Wisteria - oil on board, framed, 32 by 24cms.

Hilario Roberto, still life of fruit, signed, oil on canvas, 59 x 98cm; together with another similar smaller example. (2)

European School, still life of a teapot and other objects, unsigned, oil on canvas, 59 x 74cm. 

W Hopwood, still life of fruit, signed and dated 1925, oil on board, 37 x 47cm. 

F.C.W., still life of shells, initialled, watercolour, 31 x 42.5cm.

Edith Grace Wheatley, still life of dahlias in a jug, signed, watercolour, 43 x 26.5cm.

J W Parkinson, still life of a dead cockerel and other items, signed and dated 1876, oil on canvas, 39.5 x 47cm. 

Martina Thomas, still life of flowers in a jug, signed, oil on canvas, 55 x 45cm.  The artist was the wife of Eric James Mellon.  

Enid *..., still life of poppies, indistinctly signed, oil on board, 39.5 x 32cm.  

Carlo Magno, still life, signed, extensively inscribed verso, oil on canvas, 99 x 79cm. 

D.M., still life of flowers in a vase, a set of six, oil on canvas, 21.5cm diameter. (6)

Miss M Dickinson (20th century)Still life of pink roses arranged in a vase and fruit in a bowlSigned, oil on canvas,32.5cm by 39cm

Dutch School (20th century)Still life of assorted fruit, glasses and ceramics on a red table cloth Oil on canvas, 59cm by 90cm

E* E* Brogden (20th Century) Still life of flowersSigned and dated 1922, oil on board, together with a companion and a further still life of pansies by Rachel Lee, 61cm by 22.5cm and 27cm by 49cm (3)

BRITISH SCHOOL STILL LIFE WITH FRUIT oil on canvasframedoverall size 74cm x 104cm

BRITISH SCHOOL, FLORAL STILL LIFE oil on canvasframedimage size 49cm x 59cm, overall size 68cm x 78cm

E VOLZ STILL LIFE OF CHRYSANTHEMUMS oil on canvas, signedframedimage size 59cm x 79cm, overall size 69cm x 89cm

Still life of flowers in gilt frame together with seven other prints to include Chinese watercolours (8)

A LARGE AND IMPORTANT GRAY SCHIST FIGURE OF MAITREYA, ANCIENT REGION OF GANDHARA2nd-3rd century. Superbly carved standing on a square base depicting donor figures venerating a Buddhist reliquary that rests on a low throne under a canopy. Wearing a dhoti with elaborate cascading folds and secured with a finely detailed sash at the waist, a further cloak draped across his shoulder in an elegant sweeping curve, richly adorned with beaded necklaces and armlets. His serene face with crisply delineated features, such as the full lips, wavy mustache, and heavy-lidded eyes. The hair tied in a looped topknot. The head backed by a round halo.Provenance: From an old Belgian private collection. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, possibly old fills and small pieces reattached, signs of weathering and erosion, encrustations. The fragment of one hand still present, which was broken in two and reassembled some time ago, and possibly associated. Fine, naturally grown, smooth patina.Dimensions: 115 cm (incl. stand) and 112 cm (excl. stand)Mounted on an associated stand. (2)The present schist figure of Maitreya is of exceptional sculptural quality. The statue's refinement and elegant restraint place it in the 2nd-3rd centuries, often considered the high period of Gandharan art. Maitreya is considered the Buddha of the future. When the dharma is forgotten on Earth, he will descend from the Tushita Heaven, where he resides, to be born in our realm as the next Buddha. When he is born on Earth, Maitreya is depicted in rich robes similar to that of the historical Gautama Buddha, prior to his renunciation of worldly goods. In the Gandharan period, Maitreya is considered the most important Bodhisattva.It is likely he would have held a water vessel in the left hand, which is found in many different contexts within Indian sculpture, but is almost always a symbol of fertility and life. It is an apt visual icon, therefore, for Maitreya's role as a progenitor of future peace and order.Literature comparison: Compare a closely related gray schist figure of Maitreya, 163.2 cm high, dated ca. 3rd century, in the Metropolitan Museum of Art, accession number 1991.75.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 140 Price: USD 80,500 or approx. EUR 100,000 converted and adjusted for inflation at the time of writing Description: A gray schist figure of a standing Maitreya, Gandhara, 2nd/3rd centuryExpert remark: Compare the closely related pose, robes, jewelry, and base. Note the slightly smaller size (102.9 cm). Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 2008, lot 327 Price: USD 146,500 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A large gray schist figure of Maitreya, Gandhara, 2nd/3rd centuryExpert remark: Compare the closely related pose, robes, jewelry, and base. Note the slightly larger size (127 cm).犍陀羅大型灰色片岩彌勒佛立像二至三世紀。菩薩「蝶結式」束髮型，用連珠髮帶扎束，髮型捲曲，梳理有序垂於兩肩。額部較寬，眉間白毫，深目、高鼻、薄唇，上唇有髭鬚，顏貌端正無比，柔和圓潤的形制；上身袒露，肩披天衣，下著腰衣、繫腰帶，戴耳璫、項圈、聖線、飾線、臂釧、腕釧等瓔珞飾物，右手施無畏印，左手殘缺，足下著綴珠涼鞋。 來源：比利時私人收藏。 品相：品相良好，大面積磨損、缺損、刻痕、劃痕、小填充物和小修、風化和侵蝕、結殼。一隻手的殘片還在，斷成兩半，重新組裝過。細膩自然的包漿。 尺寸：115 厘米 (含底座)，112 厘米 (不含底座) 配置支架。(2)

'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。

'ROSE', BY FANG ZHAOLIN (1914-2006)Expert's note: This work dates from the time when Fang Zhaolin studied at Oxford University in the United Kingdom. The artist entered Oxford University in 1956 to conduct research on Odes of the Chu Kingdom for two years and left for the United States in 1958.China. Ink and watercolors on paper. Finely painted with a blossoming pink rose above a smaller bud, both borne on a leafy thorned stem.Inscriptions: Upper left, signed 'Zhaolin in Oxford'Provenance: English trade. Condition: Excellent condition with minor wear.Dimensions: Image size 38 x 28 cmMatted and framed. (2)Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then at Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes. Well into her 80s, Fang Zhaolin continued to rise early and paint for six to eight hours each day. Staying busy, she says, is the secret to long life. “If you are engaged and occupied with your work, you don't bother worrying about small problems. You don't dwell on things or let them bother you.”方召麐《玫瑰圖》中國，紙本水墨設色。設色清雅，一朵盛開的粉紅色玫瑰，花色嬌嫩。 專家註釋：此畫為方召麐就讀英國牛津大學時期所作。她曾於1956年在牛津進行兩年楚詩研究，1958年赴美。 款識：窗明几净病愈后，見玫瑰盛開寫此以遣興，召麐于牛津 ；鈴印：方召麐 來源：英國古玩交易。 品相：狀況極佳，輕微磨損。 尺寸：畫面38 x 28 厘米 裝裱成鏡片。 (2)

A POLYCHROME STUCCO FRESCO FRAGMENT DEPICTING A FLYING APSARA, YUAN TO MING DYNASTYExpert's note: This painting belongs to an important group of Buddhist stucco works dating from the Late Yuan to Early Ming dynasties, featuring 'Court' and 'Paradise' scenes from monasteries that date from the 12th to 13th centuries, containing a painting repertoire favored during the Tang dynasty. The style of painting in this fresco is reminiscent of the Tang dynasty painter Wu Daozi (c. 685-758) and was ideal for painting religious figures. Unlike earlier modes stressing precise contours, the whirling spiritual energy of this brushwork gives the impression of qi, or inner life.China, 13th-14th century. The rectangular panel painted with a winged apsara, adorned in a phoenix headdress, wearing a flowing robe with an elaborate necklace of coral and jade beads, bearing wings, and holding a long-handled ritual censer issuing clouds, all painted in polychrome pigments highlighted in finely applied gesso relief.Provenance: Boston trade. By repute acquired from an old private estate, where it was mounted in a fitted Perspex case to serve as tabletop. The table was subsequently disposed of, whereas the Perspex case is still present.Condition: An intact section of a larger wall painting in overall good condition with faint cracks, losses and fading to the pigments, showing evidence of various periods of minor retouching. The edges minimally frayed.Dimensions: 81 x 54 x 0.8 cmLiterature comparison: For a discussion on the creation of Yuan and Ming wall frescos, and their context in monasteries, see Ka Bo Tsang, Further Observations on the Yuan Wall Painter Zhu Haogu and the Relationship of the Chunyang Hall Wall Paintings to 'The Maitreya Paradise' at the ROM.” Artibus Asiae, vol. 52, no. 1/2, 1992, pp. 94-118.Auction result comparison:Type: Closely relatedAuction: Sotheby's, New York, 15 September 2010, lot 293.Price: USD 15,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A large polychrome fragment of a Buddhist fresco, Yuan / Ming dynastyExpert remark: Compare the closely related manner of painting with similar wings and round faces. Note the size (135.3 x 104.1 cm).Auction result comparison:Type: Closely relatedAuction: Christie's, New York, 16 September 2008, lot 378.Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A rare painted Buddhist wall fresco, Yuan/Ming dynastyExpert remark: Compare the closely related manner of depicting the clouds, with a multitude of flowing lines and the use of peach for shading, as well as the figure, with a similar fleshy appearance and abundant trailing draperies. Note the size (77.5 x 45.5 cm).元至明代彩繪飛天灰泥壁畫中國，十三至十四世紀。長方形，精美描繪飛天神女，頭戴鳳冠，身穿飄逸長袍，配以精美的珊瑚和玉珠項鍊，長有翅膀，手持長柄香爐，彩繪突出細節，石膏浮雕。專家注釋：此畫屬於元末明初一系列重要的佛教灰泥壁畫，描繪十二至十三世紀寺院的“宮廷”和“極樂世界”場景，包含唐代流行的曲目。這幅壁畫的繪畫風格讓人想起唐代畫家吳道子（約 685-758 年），描繪宗教人物。 與強調精確輪廓的早期風格不同，這種流暢筆法更突出了人物的生動。 來源：波士頓古玩交易，據説購於一個私人老收藏，它曾被安裝在一個有機玻璃盒中作為桌面。這桌子後來被處理掉，而有機玻璃盒仍然存在。品相：一幅較大的壁畫的部分，整體狀況良好，有輕微裂縫、缺損和褪色，不同時期的輕微小修補，邊緣極少磨損。尺寸：81 x 54 x 0.8 厘米 文獻比較：討論元明壁畫的創作及其在寺院的語境，見Ka Bo Tsang，〈Further Observations on the Yuan Wall Painter Zhu Haogu and the Relationship of the Chunyang Hall Wall Paintings to 'The Maitreya Paradise' at the ROM〉，Artibus Asiae，卷52，編號1/2，1992年，頁94-118。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2010年9月15日，lot 293 價格：USD 15,000（相當於今日EUR 18,500） 描述：元 / 明代彩繪佛教壁畫 專家評論：比較非常相近有翅膀的繪畫風格和圓臉。請注意尺寸(135.3 x 104.1 厘米)。

AN INSIDE-PAINTED GLASS SNUFF BOTTLE, BY BI RONGJIU (1874-1925), DATED 1893With a landscape to one side, the reverse with a still life of a spray of plum blossoms in a guan ware vase, with a scholar's rock and potted plants.Inscriptions: To one side, signed 'Rongjiu', and dated 'In Autumn of the Year of Guisi (corresponding to 1893)'. One painted seal.Provenance: Hugh M. Moss Ltd., London, United Kingdom, 1973. A private collector in the United Kingdom, acquired from the above, and thence by descent. The base with an old label, '1', and lacquered with an old inventory number, '8429'. A copy of the original invoice from Hugh M. Moss Ltd., dated 28 February 1973, noting the inventory number '8429' for the present lot, and confirming the attribution and dating above, accompanies this lot. The invoice also notes that 1893 was the artist's “first recorded year of this medium.” Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Condition: Very good condition with minor wear and manufacturing irregularities. The stopper with a small chip.Stopper: Amber Weight: 28.9 g Dimensions: Height incl. stopper 67 mm. Diameter neck 15 mm and mouth 7 mmBi Rongjiu (1874-1925) established the Shandong School of inside-painted snuff bottles after substantial training in Beijing. His early work is mostly inspired by Zhou Leyuan and Ma Shaoxuan. After 1897, his personal style became more distinct.Auction result comparison: Type: Closely related Auction: Bonhams New York, 16 September 2013, lot 8048 Price: USD 5,000 or approx. EUR 6,100 converted and adjusted for inflation at the time of writing Description: An inside painted glass snuff bottle, Bi RongjiuExpert remark: Compare the closely related depiction to both sides of the snuff bottle.畢榮九(1874-1925)款内畫鼻煙壺，1893年一面為山水風景，另一面為文房擺設，花瓶中有一枝梅花以及文石和盆栽。 款識：癸巳仲秋，榮九作 來源：英國倫敦Hugh M. Moss Ltd.藝廊，1973年；一個英國私人收藏，購於上述藝廊，保存至今。底座有標籤 '1'以及一個漆寫收藏編號 '8429'。隨附Hugh M. Moss Ltd. 1973年2月28日出具的原始發票複印本，上面也注明了編號 '8429'，並確認時間。在發票上也注明，1893年是藝術家第一個有記錄的時間。Hugh Moss (出生於 1943年) 是一位作者、經銷商、藝術家、終身收藏家、中國藝術愛好者，中國鼻煙壺研究界的權威。 品相：狀況極好，有輕微磨損和製造不規範，壺蓋有小開片。 壺蓋：琥珀 重量：28.9 克 尺寸：含壺蓋高67 毫米. 頸部直徑15 毫米 ，壺口直徑7 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年9月16日，lot 8048 價格：USD 5,000（相當於今日EUR 6,100） 描述：畢榮九款内畫鼻煙壺 專家評論：比較非常相近的兩面繪畫。

'PEONY AND BEES', BY FANG ZHAOLIN (1914-2006), DATED 1954China. Ink and watercolors on paper. Finely painted with a blossoming white peony borne on a leafy stem beside a rosebud borne on a thorned stem, all below three buzzing bees.Inscriptions: Lower left, signed 'Zhaolin', dated 'in the Summer of the Year of Jiawu' (corresponding to 1954), and inscribed 'the first flower of the spring breeze'.Provenance: English trade. The back with an old label from Ryman & Co, which was founded in 1893 when Henry J Ryman opened his first store as a book printer on Great Portland Street, London, that is still open today. Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 55.3 x 35.2 cmMatted and framed. (2)Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then at Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes. Well into her 80s, Fang Zhaolin continued to rise early and paint for six to eight hours each day. Staying busy, she says, is the secret to long life. “If you are engaged and occupied with your work, you don't bother worrying about small problems. You don't dwell on things or let them bother you.”Expert's note: The present painting is an early work by this artist before she had developed her own distinct style, and clearly shows the influence of Zhao Shao'ang, much like lot no. 200 in this sale. Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 June 2018, lot 41 Price: EUR 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: Fang Zhaolin (1914-2006), Bees and Roses Expert remark: Note the size (47 x 34 cm)方召麐《牡丹圖》，1954年中國，紙本水墨設色。精緻地繪有一朵盛開的白牡丹，它長在多葉的莖上，旁邊是一朵玫瑰花蕾，長在帶刺的莖上，下面是三隻嗡嗡作響的蜜蜂。 款識：管領春風第一花，甲午仲夏之月召麐；鈴印：召麐 來源：英國古玩交易，背面有Ryman & Co標籤。該藝廊成立於1893年，Henry J Ryman 在倫敦大波特蘭街開設了他的第一家印書店，該店至今仍在營業。 品相：狀況極佳，輕微磨損與污漬。 尺寸：畫面55.3 x 35.2 厘米 鏡片。(2) 方召麐(1914-2006)出生於中國江蘇省無錫市，曾跟隨多位國畫大師學習書畫，如嶺南派錢松喦、大師趙少昂以及張大千。四十多歲時，她先後在香港和牛津就讀。五十年代至七十年代，方在歐美遊歷旅居，了解西方現代繪畫潮流。然而，她深愛民族歷史和文化與傳統中國風格。她畫的風景和靜物經常是對家的描繪。她著迷於漢族壁畫的簡潔，並在人物畫和山水畫中形成了自己獨特的風格，從 20 世紀 70 年代開始，她經常結合書法線條和形式來描繪山石，而不是使用傳統的繪畫方法。她的作品保留老師的風格，作品色彩濃烈，用筆豪放。 專家注釋：這件拍品是方召麐早期作品，還未形成自己的風格以及沒有受到趙少昂的影響，很像本此拍賣拍品編號 200。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2018年6月13日 ，lot 41 價格：EUR 5,000（相當於今日EUR 5,600） 描述：方召麐《蜜蜂與花》設色紙本 專家評論：請注意尺寸(47 x 34釐米)。

AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。

'CATS AT PLAY', MING DYNASTY, 1368-1644China, c. 15th-16th century. Ink and watercolors on very fine silk. Exquisitely painted with two cats in a landscape with leafy wild chrysanthemums and grasses, one mischievously grinning as it mounts the other from behind and places one of its paws on the other cat's head, who shows a rather disgruntled expression. Their mostly white fur is superbly rendered, their bushy tails in black and reddish-brown, respectively.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with some wear, soiling, few tiny losses. The old mounting with small chips to edges, wear and traces of use. Dimensions: Image size 32.6 x 25 cm, Size incl. mounting 43.7 x 49.5 cmThe ancient Chinese referred to cats as 'li-nu', which means a wild cat that has been tamed and domesticated. Since antiquity, cats have been employed by people in their familiar roles as pets and mouse catchers, but they sometimes have also served as models for artists, leaping into the world of art for all to see.Throughout much of its history, China has been an agricultural-based country, planting and raising grains and animals. Although the cat does not traditionally figure as one of these animals, The Book of Rites, written at the time of Confucius nearly 3,000 years ago, mentions a sacrificial offering to the cat made by the emperor at the end of every year in gratitude to the cats that protect the fields of grain by catching the hordes of rats and mice. Although the ancient Chinese did not venerate the cat as a deity like the ancient Egyptians, the rat-catching cat protecting grains was the annual recipient of a special ceremony of gratitude and thus enjoyed a status that indeed was higher than other household fowl or domesticated animals.It is commonly said that 'dogs bring wealth' and 'cats bring position'. The character for 'cat' in Chinese is also a homonym for “octogenarian”, so it is an auspicious metaphor blessing for long life and therefore an appropriate subject in painting. Several painters of cats have been mentioned in art historical texts, from the Tang to the Qing dynasties and beyond.Among all the Chinese emperors, Emperor Huizong of Song (1082-1135; reigned 1100-1125) is the most famous cat lover. There are multiple cat paintings that are thought to be original works by Huizong, including one which is considered to be an exceptionally detailed piece, handed down by the Mito branch of the Tokugawa clan.Expert's note: This work exemplifies a popular style of Ming painting developed from techniques established in the Song dynasty by imperial court artist Li Di (active 12th century). The plump contours of the cats' bodies are evoked with diffuse color washes, and their soft-textured fur is then meticulously rendered in painstaking brushwork.Literature comparison: Compare two related Ming-dynasty paintings of cats in the National Palace Museum, Taipei, one with similar wild chrysanthemums painted by the Xuande Emperor, image number K2A000421N000000000PAA, and the other by Shang Xi (fl. ca. 1430-1440), image number K2A002125N000000000PAA.Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 160 Price: GBP 25,000 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: Anonymous, Ming (1368-1644), Cats and Butterflies Expert remark: Compare the closely related subject, style, and technique. Note the larger size (60.4 x 96.5 cm).明代《貓戲圖》中國，約十五至十六世紀，絹本水墨設色。精美繪有兩隻貓在花草叢中戲耍，一隻惡作劇地咧嘴笑著從後面騎上另一隻貓，一隻爪子放在另一隻貓的頭上，另一隻貓的表情頗為不悅。工筆細細描畫，濃密的尾巴分別是黑色和紅棕色。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、汙漬，微小缺損。木框邊緣有磕損、磨損和使用痕跡。 尺寸：畫面32.6 x 25 釐米，總43.7 x 49.5 釐米

AN EXTREMELY RARE GILT-BRONZE FIGURE OF AVALOKITESHVARA IN ROYAL EASE, YONGLE INCISED SIX-CHARACTER MARK AND OF THE PERIODChina, 1402-1424. Superbly cast seated in rajalilasana, with swaying torso and head inclined, the left leg drawn up and the right folded in front, the left hand raised and held in vitarka mudra and the right elegantly resting on the rear of the double-lotus pedestal base with beaded rims. The front left corner at the top of the base is neatly incised with the six-character mark Da Ming Yongle nianzhi and of the period.Provenance: From the private collection of a gentleman in the United Kingdom. Condition: Superb condition with only minor wear, minimal casting flaws, minuscule nicks, and remnants of old varnish. The base retains the original sealing.X-Ray Images: Available upon request.Weight: 1,441 g Dimensions: Height 17 cmExpert's remark: The present figure was in private ownership for a long time. Until just recently, it was covered entirely by a thick layer of old varnish, which had blackened completely over the years. The six-character mark was unrecognizably hidden under this coating, and the owner was unaware of its presence. A significant portion of the varnish has now been removed to reveal the magnificent original gilding hidden below. Needless to say, this was done in a most sensitive manner, without scratching the gilding, using only pure alcohol and cotton. There are still some remains of varnish, mostly in the many corners and recesses, which may also be removed if one wishes. Prospective bidders are encouraged to study our high-resolution images in full detail. These will confirm that most of the black areas remaining are ancient varnish, under which the gilding is well preserved.The bodhisattva is wearing a finely detailed foliate tiara, a profusion of beaded jewels around the neck, arms, waist and ankles, a diaphanous scarf billowing at either side, and a voluminous lower garment gathered at the waist with a jeweled girdle and spreading onto the lotus pedestal. The face is exquisitely modeled to provide a benevolent expression with downcast eyes, gently arched brows, circular urna, and smiling lips. The neatly incised hair is drawn up into a knotted jatamakuta topped by a cintamani jewel and elegantly falling in tresses over the shoulders.Bronzes in the Tibetan-Chinese style produced during the reign of Emperor Yongle in the first quarter of the 15th century and bearing his reign mark are highly distinguished for their unsurpassed craftsmanship, overall refinement and gracefulness. Executed by the Imperial ateliers, they display a highly consistent and uniform style, which evolved out of the influence of the Nepalese artist Anige (1244-1306) at the Yuan court and the close links with Tibet established by the Yongle Emperor. The distinct Imperial style includes double-lotus bases with beaded rims and characteristic facial features with broadened outline, gently arched brows above the lidded eyes and subtle smile, all finished with great attention to detail.The future Yongle Emperor was likely introduced to Tibetan Buddhism and became interested in it around 1380, when he was enfeoffed in Beijing, and of course he had strong ties to the Mongol military elite, who were also adherents of lamaist Buddhism, so it appears that he continued to practice this form of Buddhism for the rest of his life. Certainly more works of art depicting lamaist Buddhist deities and imagery were produced during his reign period than under any other Chinese emperor, with the exception of the Qing Emperor Qianlong. For further discussion of this topic see J.C.Y. Watt and D.P. Leidy, Defining Yongle: Imperial Art in Early Fifteenth-Century China, Yale University Press, 2005.In 1406, the Yongle Emperor sent a mission to Tibet inviting the famous hierarch of the Karmapa monastery, Halima, to Nanjing, to take part in the memorial services for the Hongwu Emperor and Empress Ma. Halima first sent a tribute mission, and then in the Spring of 1407 came to the Ming court in person. There he was received with great honor, given the title Dabao Fawang (Great Precious Religious Prince) and asked to perform religious ceremonies for the Emperor's deceased parents. After his return to Tibet, Halima continued to exchange gifts with the Emperor. The Yongle Emperor also invited the hierarch of the Sakyapa to the court at Nanjing in 1413 and treated him too with great honor. Thereafter missions were sent from Sakya abbots until the 1430s. A high-ranking representative of the Yellow Sect was invited to Nanjing in 1413 and was also greatly honored and returned to Tibet in 1416 with many gifts. Gifts and missions continued to be exchanged with the Yellow Sect until the 1430s.Literature comparison: Compare a closely related figure of Avalokiteshvara, also with the Yongle mark incised to the front left corner at the top of the base, below Avalokiteshvara's left knee, at exactly the same place where it is found on the present lot, in the Norbulingka Palace in Lhasa, recorded by von Schroeder in his survey of the holdings of Tibetan monastery collections, illustrated in von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, pp. 1270-1, pl. 353D, and in E. F. Lo Bue (ed.), Tesori del Tibet: Offetti d'arte dai Monasteri di Lhasa, 1994, p. 110, no. 70. Auction result comparison: Type: Closely related Auction: Sotheby's London, 7 November 2007, lot 362 Price: GBP 546,900 or approx. EUR 939,000 converted and adjusted for inflation at the time of writing Description: A rare and extremely fine gilt-bronze figure of Avalokiteshvara, erased mark of Yongle and of the period Expert remark: Compare the regal pose, bodhisattva jewelry, smiling expression, double-lotus pedestal base with beaded rims, and near identical size (18 cm). Note that this figure has an erased Yongle reign mark.永樂款罕見銅鎏金觀音中國，1402-1424年。蓮台座面上題刻“大明永樂年製”，為明宮廷風格的作品。 來源：英國一位紳士私人收藏。 品相：狀況極佳，只有輕微磨損、極小的鑄造缺陷、劃痕和舊清漆殘留。底座保留了原來的密封。X光檢測圖片:如有需可經詢問提供。 重量：1,441 克 尺寸：高17 厘米

Keaton (Diane) Reservations, first English edition, 1980; Mr. Salesman, one of 4000 copies, Santa Fe, NM, Twin Palms, 1993; Local News: Tabloid Pictures from the Los Angeles Herald Express 1936-1961, New York, 1999; Clown Paintings, New York, 2002 § Keaton (D.) & Marvin Heiferman, editors. Still Life, New York, 1983, photographic illustrations, some colour, original cloth or boards with dust-jackets, the first with slight fading to spine and upper edge, 4to (5)

Howard (Richard) Photographs of Sharon Tate by Walter Chappell, one of 1000 copies signed by Howard, original boards, slip-case, Los Angeles, 2001 § Moravia (Alberto) Claudia Cardinale: Dialogo e Fotografie, one of 999 copies signed by Cardinale, original ring-bound pictorial wrappers, board slip-case with transparent window to upper cover, Milan, 2003 § Schifferli (Christoph, editor) Paper Dreams: The Lost Art of Hollywood Still Photography, Paris, 2007 § Fuchs (Leo) Leo Fuchs: Special Photographer from the Golden Age of Hollywood...with an Essay by Bruce Weber, Brooklyn, NY, 2010 § Dherbier (Y.-B.) & Pierre-Henri Verlhac. Paul Newman: A Life in Pictures, San Francisco, 2006 § Bello (J.H. & Steve, editors) Philippe Halsman: A Retrospective, Boston, 1998, photographic illustrations, some colour, all but the first two original cloth or boards with dust-jackets; and c.20 others on cinema photography, mostly Hollywood, 4to & folio (c.25)

Izu (Kenro) Bhutan: Sacred Within, Tucson, AZ, Nazraeli Press, 2007; Still Life, Sante Fe, NM, Arena Editions, 1998; A Thirty Year Retrospective, one of 2000 copies, Portland, OR, Nazraeli Press, 2010, first editions, photographic illustrations, original cloth with illustration mounted on upper covers, folio & 4to (3)

DUTCH SCHOOL 19TH CENTURY, A still life with flowers in a blue and white delft vase, 50cm high x 38cm wide, in a giltwood frame

*BARBARA CLARK (20TH/21ST CENTURY) Abstract garden landscape signed and dated '77 verso, oil on board, 47cm x 33cm; together with another work by the same artist, a still life study of fruit in a bowl, signed verso, mixed media on paper, 29.5cm x 41.5cm (2)

FRENCH SCHOOL 20TH CENTURY, A still life of grapes oil on board, signed indistinctly upper right, 22cm high x 26cm wide

DUTCH SCHOOL IN 17TH CENTURY TASTE, A still life with flowers oil on canvas, signed lower right 'G Van Nees', 51cm x 42cm

H. Pourquit (Continental, early 20th Century) - Oil on canvas over board - Still life with oranges, signed lower right, 32cm x 52cm, in gilt frame

Leonard Campbell Taylor, RA, (1874-1969) - Oil on canvas - Still life with tea caddy, blue glass bottle and ceramic rabbit, label verso 'L. Campbell Taylor, Pampisford Mill, Cambridge. Still Life No. 1', 40.5cm x 49.5cm, in cloth slip and gilt frame, Alexander Gallery label (relined)

Oliver Clare (1853-1927) attr. - Oil on canvas - Still life with flowers, unsigned, 34cm x 24cm, gilt framed

Brian Leaman (Royal Worcester artist), a set of four fruit painted plates, each decorated with a different still life of fallen fruits, on mossy ground, including apples, pears, plums, grapes and berries, each signed, printed Leaman Worcestershire ceramics, 27.5cm diameter (4)

J..Clays (British, 19th Century), still life with a basket of spring flowers and a nest of bird eggs on a mossy bank, signed l.r., oil on canvas, 60 by 50cm, gilt frame

J..Clays (British, 19th Century), still life with an upturned basket of strawberries, apples, peaches, plums and grapes on a mossy bank, signed l.l., oil on canvas, 60 by 50cm, gilt frame

Dylan Waldron Three fruit and nut still life studiesinitialled 'DW' (lower right) watercolour on paperlargest 18 x 19cmProvenance:Purchased from the Piccadilly Gallery 1989

Mohammed DjazmiKing's College Cambridge rear gatewaysigned 'M. Djazmi' (lower right)oil on paper21 x 33cmtogether with a still life one other (2)

T. Johnston (late 19th century)Still life of fruit and a ewersigned and dated 'T. Johnston 95' (lower left)oil on canvas34 x 28.5cm

AFTER DOMY "Aerostat", a Modernist study, limited edition print, No'd. lower left "EHV1/V1", titled centre and indistinctly signed lower right, 53 cm x 47 cm, together with LÉONARD "Still life with jug of flowers on ledge", lithograph, limited edition No'd. 105/175 lower left, indistinctly signed lower right, 54 cm x 74 cm

Six various folios / folders of works by M M STOKES including nude portrait studies and still life studies, various other still life and figural studies, landscapes, country houses, etc, various mediums including watercolour, mixed media, pen and ink, pastel, charcoal, etc CONDITION REPORTS Approx 350 individual works

J CHAFFARD-LUGO "Roses in a vase", a still life study, oil on board, signed and dated 1951 lower right, 45 cm x 32 cm, together with a "Continental coastal landscape study with sailboat in foreground", oil on canvas, indistinctly signed lower right, another oil on canvas still life study, indistinctly signed and inscribed verso and five other paintings / prints various

A Chinese famille rose porcelain and hardwood framed table screen, 19th century. Decorated with a buddha, four sages and three female figures, height 59cm, width 38cm, size of plaque 37 x 24cm.Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.One foot requires regluing. Some signs of previous treated worm to the frame. Lower right hand-side showing frailty where the screen matches with the base, but still standing firm. Some natural pitting to the porcelain.

A Coalport fruits still life cabinet plate, richly decorated, hand painted and signed by Manfred Pinter. Measures 27cm in diameter.

Oil painting. A still life of cards, books etc. Oil painting 51 x 61 cm.

Jan Bond - still life vase of flowers, green background, monogrammed JB 85, 41cm x 32cm

An Oriental painted sideboard of four drawers over four cupboard doors with still-life decoration of vases and flowers, 90cm x 160cm x 46cm