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Lot 3
Three stone diamond and platinum ring. The ring being set with three round old cut diamonds in prong settings with pierced heart shaped details. Marked plat to band. Size S. Central diamond measures approx 6mm diameter, the two other diamonds approx 5mm diameter. Estimated 1.6ct - 1.8ct in total.
Lot 149
Three Chinese tourmalinated-quartz snuff bottles, Qing dynasty (1644-1911), each of compressed elongated form, the stone densely packed with black tourmaline 'needles', two with ivory spoons,overall 6.5 to 8.5cm high (3)清 发晶鼻烟壶 一组三件IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018.Condition ReportAll with small chips and knocks.One missing spoon from stopper.
Lot 236
Two Chinese snuff bottles, 20th century, comprising:one jade, the compressed tapering body carved with a rabbit and the moon to one side, the reverse with bamboo, 5.8cm high, andthe other hardstone, carved with lotus, with a mask and ring handle to each side of the shoulder, the stone of spinach tone,7cm high (2)Condition ReportJade with minute chips to rim.
Lot 154
Two Chinese smoky quartz snuff bottles, Qing dynasty (1644-1911), each of compressed form, the stone of an even, smoky-grey colour, the stopper with a coral or a rose quartz cabochon,5.5 and 7.5cm high (2)清 素烟晶鼻烟壶 一组两件Condition ReportThe smaller with minute chips to foot rim, stopper chipped and cracked, with spoon missing.The larger with cracks and chips to stopper.
Lot 250
A Chinese famille rose porcelain plaque, Tongzhi period (1862-1874), painted with a literati seated in a garden, with boys playing beside him, 29 x 27cmProvenance: Presented to Dr T G Rewcastle-Woods on leaving his position in a hospital in Yunnan province in 1936. He was a medical Methodist missionary, working as a doctor for the Miao people at the leper colony at Stone Gateway, some seven days journey from Hong Kong by train and on horseback.Condition ReportSmall chips to edges. Some enamel losses.
Lot 112
A Chinese jade carving, early Qing dynasty, of a Buddhist lion playing with a pup, the stone of a greyish-white tone,7cm long, wood stand (2)Provenance: Purchased by the grandparents of the present owner from John Sparks Ltd. by repute and thence by descent.清早期 玉太狮少狮摆件 连木底座Condition ReportThe stone with hairline cracks to base.Wood stand with general wear.
Lot 136
A Chinese agate snuff bottle, Qing dynasty (1644-1911), carved accordingly to the inclusion of the stone, with butterflies to one side and a literatus to the reverse, inscribed with a poem and signature of Lansheng, the stopper with an amethyst cabochon and an ivory spoon, 7.5cm high清 玛瑙巧雕诗题鼻烟壶IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018.Condition ReportStopper chipped and cracked.Snuff bottle with surface scratches.
Lot 138
Two Chinese agate snuff bottles, Qing dynasty (1644-1911), plain, the stone well hollowed with horizontal bands, one stopper with a jadeite cabochon and an ivory spoon, 5.4 and 6.3cm high (2)清 素玛瑙鼻烟壶 一组两件IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding. This item has been registered as exempt from the UK Ivory Act 2018.Condition ReportBoth with minute chips to edges.Stopper with a hairline crack.
Lot 278
Two Chinese jade carvings, 20th century, comprising:a Budai, seated wearing a long robe exposing his bare belly, a rosary in his left hand, a sack bag in his right,8.5cm long, wood stand, and the other, of a boy holding a vase, seated on the back of an elephant,8cm long, wood stand (3)Provenance: From the deceased estate of Rosemary and Theo Cutting in Suffolk.Condition ReportElephant - chipped to rim of vase and the tip of the right tusk, stone with hairline cracks. Wood stand - one foot damaged with chips and cracks. Budai - cracks to stone, wood stand chipped. Fixed to wood stand.
Lot 104
GROUP OF THREE INK RUBBINGS 《關聖帝君像》 及 二菩薩立像圖 水墨紙本 拓片 立軸 （共三幅）關聖帝君像 款識: 康熙六十年嵗次辛丑孟春穀旦、白山弟子李進泰薰沐敬摹菩薩立像其一 款識: 興和元年己▢一月朔日羊宇▢義敬造佛像一軀comprising: one depicting Guan Yu, 98.4cm x 48.3cm; the other two each with a standing Bodhisattva, 157.5cm x 50.5cm and 123.5cm x 52.2cm, all mounted as scrolls (3) Private Scottish collection, Melrose; acquired in China in the 1940's when working for Shell, thence by descent. Guan Yu (160-220), also known as Guan Yunchang, was a Chinese military general during the late Eastern Han Dynasty. This rubbing is taken from a Qing engraving of Guan Yu by Li Jintai based on a Ming dynasty stone carving. A comparable example is at the Berkeley Library, University of California, accession no. Tsa 179. A comparable ink rubbing of the Bodhisattva without inscription is in the Shaanxi Province Art Museum, attributed to Avalokitesvara and the original work of the Sui dynasty. Also see a comparable example inscribed by Pu Xinyu, sold at Rongbaozhai, Nanjing, 8 July 2017, lot 310.The other ink rubbing of a standing Bodhisattva has inscriptions on the podium, dated to the first year of Xing He reign, during the Western Wei Dynasty, corresponding to 539AD.
Lot 154
PALE CELADON JADE WITH RUSSET INLUSIONS 'DRAGON' DISC, HUAN MING DYNASTY 明 青白玉帶沁雕雙螭龍環of circular form, carved in high relief on one side with two chi-dragons crawling around, whilst the other side carved in low relief with stylised curve motif, the pale celadon stone with russet inclusions overall 7cm diameter
Lot 174
LARGE PALE CELADON JADE CARVING OF A DUCK QING DYNASTY, 18TH CENTURY 清 青白玉雕鴨銜蓮花大擺件naturalistically carved in the form of a standing duck grasping blossoming lotus flowers and lotus pod on stalks in its beak, the feathers on their closed wings delicately carved in low relief, the stone of even pale celadon tone 16.5cm wide Formerly in a private English collection, acquired from Mr M. H. Antoinette who purchased this piece from Hong Kong in 1960s (by repute); with an old family photo.
Lot 180
LARGE PALE CELADON JADE 'CHILONG AND BAT' RUYI SCEPTRE QING DYNASTY, 18TH CENTURY 清 青白玉雕螭龍福壽大如意擺件the thick and elegantly curved shaft carved in high relief on top with a sinuous chilong dragon clambering atop meandering scrollwork, the ruyi head carved at the top with a bat with outstretched wings embracing a stylised shou-longevity character in low relief, the pale celadon stone with some opaque white inclusions, the terminus of the sceptre pierced to thread a tassel 41.2cm long Formerly in a private English collection, Edinburgh, acquired in 1950s (by repute) Ruyi sceptres of this magnificent size are rarely fashioned in jade, given the scarcity of boulders large enough to make objects of such impressive dimensions. The present sceptre is also exceptional for the fine quality of the jade which is of even tone enhanced by minor russet staining providing a naturalistic look to the stone. The high level of artistry and craftsmanship is evident in the fine quality of the carving and the decoration that has been carefully chosen for its auspicious connotations. Ruyi sceptres, by definition, are highly auspicious objects favoured for their shape and ornamentation which represent the propitious expression ‘as you wish’. Their origin remains a matter of speculation, with the popular belief being that their shape evolved from back-scratchers commonly made in bamboo or bone. However, their function is likely to have derived from hu tablets which were items of authority and social rank held in the hands of officials in ancient China. This theory is supported by the mention of a ruyi sceptre being used as a tool of command in Fang Xuanling’s (579-648), Jin Shu (The Book of the Jin Dynasty), the official history of the Jin Dynasty (265-420). For more information on the origins of sceptres, see Yuan Te-hsing’s article in Masterpieces of Chinese Ju-I Scepters in the National Palace Museum, Taipei, 1974, pp. 86-90.During the Tang and Song dynasties, sceptres took on a new role as ritual implements in Buddhist and Daoist ceremonies. However, with the decline of Buddhism and a renewed interest in Confucian ideology from the Song period, sceptres became closely associated with Daoism with the head increasingly rendered in the form of the longevity lingzhi fungus. They also became highly ornamented and were designed in any shape and material that was considered suitable for use as a secular good-luck charm. By the Ming period, sceptres were often presented as gifts among the official gentry class, while under the Qing, especially from Yongzheng’s reign, they became imperial objects that were bestowed by the emperor to his worthy officers and loyal subjects as rewards. Even foreign kings and ambassadors were presented with ruyi, such as the famous jade example given to King George III and senior members of the first British embassy to China by the Qianlong emperor in 1793. Both Yongzheng and Qianlong had themselves painted holding sceptres, but the latter was particularly fond of them and owned an extensive collection, a number of which were included in the exhibition China, The Three Emperors, 1662-1795, Royal Academy of Arts, London, 2006, cat. nos. 273-282.The decoration of the bat and the shou character on the head of the present sceptre together is a pun for Fu Shou, meaning ‘Prosperous and Happy Life’. While all sceptres are unique and no two identical pieces are recorded, this sceptre is comparable to two Qing dynasty jade sceptres in the collection of the National Palace Museum, Taipei, both decorated on the ruyi-head with a large bat with outstretched wings embracing a stylised shou character in low relief, museum no. Gu Yu 故玉2302 and 1438. A further comparable example with ruyi-shaped terminal carved in low-relief with five bats around a stylised shou character and dated to the Qianlong period, was in the collection of His Highness Maharaja Sir Padma Shumshere Jung Bahadur Rana and gifted from Chiang Kai-shek (1887-1975) in 1945, then sold at Sotheby's London, 15 May 2013, lot 57. Another comparable white jade sceptre with stylised shou character roundel encircled by four beribboned bajixiang emblems, from the collection of Edward T. Chow, sold in Sotheby's London, 11th April 2008, lot 2835.
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