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A Chinese jadeite carving of a young woman, standing wearing long flowing robes, and holding a pipe in both hands, beside her a fruiting peach branch rises from pierced rockwork, 18th/19th century, 21.5cm, raised on a pierced hardwood stand. Provenance: collection of Professor R C Cookson, (1922-2008). Purchased from Louis Joseph, London, for £120, 13th October 1959. Cf. J. Hartman, Chinese Jade of Five Centuries, pl.49 for a related figure in the University Museum of Pennsylvania.

A Chinese oval jade plaque, mounted as a buckle, deeply carved with an aquatic bird hiding in a lotus pond, probably late Ming dynasty, wear to the gilt mount, 5.5cm.

A Chinese celadon coloured jade libation cup, richly carved with fabulous beasts and scrolls beneath a key fret border, 11.5cm. Raised on a hardwood stand. (2)

A Chinese pale celadon jade circular box and cover, carved in shallow relief with stylized flower and leafy tendrils, unmarked, 19th century, 8cm. (2) Cf. Jessica Rawson, Chinese Jade from Neolithic to the Qing, p. 398 for a box and cover of a similar form

A Chinese pale celadon jade belt buckle, carved with a Buddhistic lion dog with a brocade ball and its puppy, the reverse carved with a cicada, probably 17th century, 8.5cm.

A massive Chinese white jade ruyi sceptre, carved with sages and attendants in a mountainous landscape, the stone with traces of brown skin, probably 18th century, well restored through the stem, 42cm.

A fine Chinese Moghul-style jade vase and cover, the square-section body carved in shallow relief with flowers and foliage, the shoulders with serrated leaves, 20th century, 19.5cm. (2)

A Chinese pale celadon jade bowl, carved as an open lotus flower, the exterior with the eight auspicious objects in petal-shaped cartouches, Qianlong 1736-95, wood stand, 13cm. (2) Provenance: collection of Professor R C Cookson, (1922-2008).

A fine Chinese white jade carving, of a monkey clambering upon an enormous gourd which issues from a leafy stem and with a secondary smaller gourd and a small flying bug, 18th/19th century, together with a carved wood stand, 4.5cm. (2) Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980).

A fine rare Chinese white jade carving of a bat, crisply carved with its wings wrapped around a large coin, decorated with a central flyfot or swasticka, 18th/19th century, raised on a hardwood stand, 5.5cm. (2) Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980). Bats (fu) and coins (quian) in Chinese art represent blessings before your eyes, cf. Bartholomew, Hidden Meanings in Chinese Art, 1.1.11. and the swastika (wan) together with the bat mean: may you have ten thousand blessings (wanfu), as `bat` is a pun for blessings, and the word for swasticka and ten thousand, are both pronounced `wan`. See also Knapton Rasti, The Property of Mr Philip Cardeiro, no. 119 for another 18th century white jade carving of a bat.

A fine Chinese white jade model of a rolling horse, lying with its head turned and with one of its rear legs raised, the mane and tail finely incised, 18th century, together with a later wood stand, 6.5cm long. (2) Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980). Cf. Watt, Chinese Jades from Han to Ch`ing, no.64, p.8, where he illustrates a Tang dynasty jade depicting the same theme and notes that the coiled position `is similar to stone or pottery lions of the Tang period with one of the hind paws at the mouth or scratching one ear`.

A Chinese white jade belt hook, crisply carved with a bifid dragon crawling towards the dragon`s head terminal, 18th/19th century, 12cm. Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980).

A small Chinese celadon jade carving of the Hehe Erxian, the twin spirits of Mirth and Harmony sit together wearing loose robes, one holding a lotus spray, the other with a box, the stone with a brown skin defining the details, 18th/19th century, 6.4cm wide. Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980).

A Chinese white jade sword slide, carved with stylized scroll designs, Ming dynasty, 8.5cm.

A two-coloured jade rectangular plaque, each side carved with auspicious objects resting on a white scroll, 4.5cm.

A Chinese white jade carving of a bi disc, covered with four writhing kylins, the stone flecked with russet, 7cm.

A jade plaque, mounted as a small table screen, carved with a central shou character amidst auspicious flowers, fungi and symbols, 16th/17th century, 15.9cm. Together with a wood stand. (2)

A Chinese pale celadon jade carving of a figure, he stands wearing flowing robes with his right hand raised, 18th/early 19th century, together with a wood stand, chips to one sleeve of his robe, 10.5cm. (2) Provenance: collection of Professor R C Cookson, (1922-2008).

A Chinese celadon jade vase, rising from the back of a seated phoenix, the vase carved with a band of stylized fungus and with a bifid kylin dragon to the reverse, all crisply carved and well defined, 18th century, raised on a reticulated wood stand, 11cm. (2) Provenance: collection of Professor R C Cookson, (1922-2008).

A Chinese pale celadon jade carving, of two bitter cucumbers issuing from a leafy stalk, 18th century, 7cm.

A Chinese pale celadon jade vase, of archaic bronze form, with a straight neck and flanges to the rectangular section body, crisply carved with debased taotie, 18th century, 8.1cm.

A good Chinese jade carving of a recumbent horse, stretching its head around to gnaw at its rear hoof and with its tail curled beneath it, the greyish celadon stone flecked with darker striations, 17th/18th century, together with a later wood stand, 6cm long and 3.8cm high. (2) Provenance: purchased in Hong Kong in 1973. Cf. Watt, Chinese Jades from Han to Ch`ing, no.64, p.8, where he illustrates a Tang dynasty jade depicting the same theme and notes that the coiled position `is similar to stone or pottery lions of the Tang period with one of the hind paws at the mouth or scratching one ear`.

A small pair of Chinese jade libation cups, the handles carved as mythical beasts, 18th/19th century, raised on carved wood stands, 8.5cm. (4)

A Chinese celadon jade brush washer, carved as a large lotus leaf, around which are tied further flower heads, leaves and a lingzhi fungus, 18th/19th century, together with an elaborate hardwood stand carved with lotus leaves and flowers on a base inlaid with silver wire, 10cm. (2)

A Chinese jade brush washer, of flattened form with kylin waves and a sacred pearl carved to the rim, the base with a whorl design, 11cm. Raised on a carved hardwood stand. (2)

A Chinese pale celadon jade carving of a cicada, with a coral stopper, probably 19th century, together with a hard wood stand formed as a leaf with serrated edges, 6.4cm. (2)

A small Chinese jade mallow-shaped bowl, the five petals rising from a short foot, probably early 19th century, 6.6cm. Provenance: property of a Lady of title.

A large and imposing Chinese spinach-green jade vase and cover, of archaistic form, the flattened body carved to each side with an elaborate design of hibiscus flower heads and foliage around central bianqing or sonorous stone motifs, the handles carved as elaborate fungus like scrolls, 18th/early 19th century, 32cm. (2)

A Chinese celadon jade two handled cup, with a rounded bowl carved on one side in shallow relief with a single figure amidst bamboo and rockwork, the reverse with four lines of calligraphy and raised on a short straight footrim. The two handles pierced and worked in the form of gnarled prunus branches, each with a single blossom, Ming dynasty, 16th/17th century, 14cm. Cf. Jadeware (II): The Complete Collection of Treasures of the Palace Museum, no.203, p.264 for a similar example.

A Chinese pale yellowish-green jade carving of an elephant, the pachyderm standing four square with his head turned to sinister and his trunk curving towards his right ear, the stone with a central drill hole from his back to his belly, 18th/19th century, 7cm. Provenance: christie`s, 15th June 1998.

A Chinese yellow jade carving of a phoenix, with a ruyi fungus in its beak, a bifid dragon clambering upon its back, the stone with flecks of brown skin, 19th/20th century, 8cm.

A Chinese celadon jade snuff bottle, with a coral stopper, the body carved as bamboo stems, 19th century, 7.6cm.

A Chinese pale celadon or white jade small cylindrical brush pot, with straight sides and an inset base raised on five short panel feet, late 18th/early 19th century, 8.2cm. Provenance: Christie`s, 16th December 1981, lot 422.

A fine Chinese white jade snuff bottle, in the form of a crouching hare or rabbit, with a coral stopper, 19th century, together with a wood stand, 8cm. (2)

A Chinese jade snuff bottle, with a rose quartz stopper, the stone ranging from brown to celadon, one side carved with two figures, a bat and a bird beside rockwork beneath a flowering tree, 18th/19th century, 7cm.

A Chinese white jade carving of two bean pods, issuing from a leafy stem and with a small cicada hidden amidst the foliage, 18th/19th century, 6.4cm.

Two Chinese pale celadon jade snuff bottles, one of flattened baluster form carved with a band of roundels between ruyi heads, the other rectangular and with a jadeite stopper, 18th/early 19th century, 7cm and 6cm. (2)

A Chinese pale celadon jade snuff bottle, carved as an aubergine issuing from a leafy branch and upon which a flying bug crawls, 18th century, 6cm.

A small Chinese pale celadon jade ovoid snuff bottle, the body carved in relief with a single scrolling tendril issuing flowerheads, unmarked, c.1800, 4.5cm.

Two Chinese snuff bottles, one in spinach-green jade, carved on each side with flowering prunus, the other agate, carved with a boy riding a buffalo, 18th/19th century, 6.8cm. (2)

A Fine and Large Chinese Spinach-Green Jade Brush Pot, Bitong. Qing Dynasty, Qianlong period, 1736-95, 16cm high, 16.9cm dia. The cylindrical body with straight sides crisply carved in deep relief with a continuous scene depicting three Immortals with a single acolyte in a landscape. A pavilion set amongst trees is visible in the distance and a river crossed by a balustraded bridge is in the foreground. The stone is an even colour, and the base slightly recessed. Provenance; A private collection in Monaco, purchased at Spink & Son Ltd., 5th December 1986. Catalogue Note; Another jade brush pot in the National Palace Museum, dating from the Qianlong period has similar dense carving and is illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch`ing Court, Taipei, 1997, pp. 172-3, no. 55. See also Christie`s London 13th May 2008, lot 54 for a larger green jade brush pot dated to the Qianlong period decorated with a rare scene of foreigners and a caparisoned elephant. In a discussion of the large green jade brush pot dated to the 18th century in the collection of Sir Joseph Hotung, Chinese Jade: From the Neolithic to the Qing, British Museum, London, 1995, p.407, no. 29.18, the author, Jessica Rawson, notes that jade workshops sometimes used conventional painting and printing themes as the basis for their designs. The carver treated the surface of the jade almost like a sheet of paper and used his `techniques to produce the effects of a painting`. See also the superb brush pot sold in these rooms from the collection of Sir John William Buchanan-Jardine Bt. 20th May 2010, lot 386.

A Massive Chinese Spinach-Green Jade Mountain Carving, Qing Dynasty, Qianlong period, 1736-95, 19.5cm high, 28cm wide, with a reticulated wood stand. Well carved, depicting three figures riding mules with a single attendant, all on a mountain pass beneath a large gnarled pine tree. Two further mules can be seen resting beneath trees and in the rocks above, castle fortifications are visible below cloud cover. The reverse shows two figures, one carrying a burden on a pole all amongst further rocks and trees. Bears a paper label for Spink & Son Ltd. Provenance; A private collection in Monaco, purchased at Spink & Son Ltd., before 1982. Catalogue Note; Cf. J. C. S. Lin, The Immortal Stone, The Fitzwilliam Museum, cat. no.89 for a smaller related spinach-green jade mountain carving, the catalogue note states `Spinach-coloured jade pebbles as boulders were found on the riverbeds in the Xinjiang area and were carved with landscape scenes`. Another, from the collection of Miss H. E. Ionides was exhibited at The International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935/6 catalogue no. 2785.

A Rare Chinese Jade Inscribed Boulder Carving, Qing Dynasty, Qianlong period 1736-95, incised with a poem, and with five seal marks including Qianlong Chenhan, 18.5cm high, 15.3cm wide. Worked from a pale celadon coloured stone with honey brown striations, and carved with a solitary Luohan, sitting in a rocky outcrop and wearing loose flowing robes decorated with a geometric pattern. The Luohan, is about to open a hand-scroll, he has left his shoes at the front of the base. The rocks are inscribed with six columns of calligraphy including one rectangular, and four square seal marks, the calligraphy with traces of gilding. The poem reads: `Liao Yi Qie Fa, Can Ru Shi Jing, Shui Liu Shi Leng, Feng Guo Hua Xin, Shi Hu Lun Di, Shi Guang Ming Zang, Li Yi Sao Chu, Shi Wei Li Zhang`. The lower section is inscribed: `Di Shi San Wei Ba Na Ta Ga Zun Zhe` (the thirteenth Luohan Banata) The seals read: `Ta Ge (the chamber of Ta), `Ying Chu Lan Xiang`, `Hui Yue Se ? You Sheng, `Wei Jing Wei Yi`, `Qian Long Chen Han`. Provenance A private collection in Monaco, purchased at Spink & Son Ltd., before 1982. With thanks to Ching-Yi Huang of SOAS for her help in cataloguing this lot.

A Chinese Pale Celadon Jade Shallow Dish, Qing Dynasty, 18th/19th century, 19.5cm. Carved as one large and one small lotus leaf with a single seed head and with a small frog resting on the smaller leaf. The reverse with four elegant curving stems. Provenance A private collection in Monaco, purchased prior to 1961.

A Fine Chinese Imperial, Lapis Lazuli Small Mountain Carving Inscribed with a Poem by the Qianlong Emperor, Qing Dynasty, Qianlong period, 1736-95, and incised with a poem, 9.8cm high, 13cm wide, (14cm including the stand). Exquisitely carved with a single hut beneath two trees all beneath a mountain, and with six columns of calligraphy above a solitary figure on a flat stone ledge, which crosses a gushing river. The poem reads: `Yu Zhi Xu Ting Na Cui n, Xu Ting Ruo Yi Ju Chui Yi Ceng Bu Chuang Ling, Mian Mian Shi Zuo Zhe Ying Zhi You Bie Jie Tu Ta Feng Cui Na Wu Yi`. This poem, by the Qianlong Emperor is listed in his poetry collection Yu Zhi Shi Ji, Volumn III, no.99. The term `Xu Ting` is a certain type of pavilion often seen in Chinese gardens. In the Imperial gardens there must have been many `Xu Ting`, as this is not the only time that the Qianlong Emperor mentions `Xu Ting` in his poems. Provenance A private collection in Monaco, purchased at Spink & Son Ltd., 31st July 1967 for £540. Catalogue Note; Cf. Chinese Jade Throughout the Ages, an Exhibition organised by the Arts Council of Great Britain and the Oriental Ceramic Society, 1975, p.20, no,494, for another lapis lazuli mountain carving from the Avery Brundage Collection in the Asian Art Museum of San Francisco. See also Zhongguo yuqi quanji, vol. 6, Shijiazhuang, for another lapis lazuli carved boulder in the Palace Museum, Beijing, 1993, pls. 262 and 263 and another in the Le Shou Tan, (Hall of Joyful Longevity). See also the catalogue note to lot 342. With thanks to Ching-Yi Huang of SOAS for her help in cataloguing this lot.

A Fine and Rare Chinese Imperial Lapis Lazuli Vase, Qing dynasty, Qianlong period, 1736-95, with a later gilt bronze stand,19.2cm (23.5cm including the stand). The body diamond-shaped, crisply carved with a wide band of taotie around the middle. From one corner luscious boldly sculptured Rhodea japonica leaves rise covering two sides of the vase. The ormolu stand well cast as a leafy pomegranate branch growing from rocks and issuing a single ripe fruit. Exhibited; The International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935/6 catalogue no. 2906. Chinese Jade Throughout The Ages, an exhibition organised by the Arts Council of Great Britian and the Oriental Ceramic Society, May-June 1975, Victoria and Albert Museum, no. 495. Provenance Prince Henry, the 1st Duke of Gloucester. The collection of Miss H. E. Ionides, London. The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953. Illustrated; Chinese Art: The Minor Arts II, Soame Jenyns, p.238, no.162, where it is described as of `superlative colour and important size`, and also Chinese Jade Throughout The Ages, The Arts Council of Great Britain and The Oriental Ceramic Society, July 1975, catalogue number 495. Catalogue Note; In China, lapis lazuli is known as qing jin shi (blue-gold stone). Although lapis beads have been excavated which date to the Han dynasty, there are no records of the use of lapis before the Qing dynasty. Cf. Ming Wilson, The Colour of Stones, Transactions of the Oriental Ceramic Society 1997-98, vol.62. p.34. Soame Jenyns notes that the stone was imported from Tibet, and that the Emperor officiating at the Temple of Heaven wore a rosary of lapis lazuli beads. In reference to the use of Rhodea japonica, Terese Tse Bartholomew, in her book, Hidden Meanings in Chinese Art, writes: "The Chinese name for this sturdy evergreen is `ten thousand year green` (wannianqing). It is thus a pun for `ten thousand years` or `ten thousand`. Another name for this plant is `auspicious grass` (jixiang cao). The bright green leaves symbolize continued growth and happiness, while the clusters of berries - which are red, an auspicious colour - stand for numerous descendants. All these qualities make Rhodea japonica an auspicious plant for the household, especially during the Chinese New Year. It is still a favourite houseplant, and a welcome gift for house-warmings, birthdays, weddings and new business ventures." Ionides Family; The Ionides were a Greek merchant family who lived in London. They were generous patrons of artists. The father Alexander Constantine Ionides (1810-1890) and his children Constantine (1833-1900), Aglaia Coronio (1834-1906), Lucas (`Luke`) Ionides (1837-1924) and Alexander (1840-1898) were all art collectors.

An Extremely Rare Chinese Jade Carving of a Crouching Cat, Qing Dynasty, 18th/19th century, 18cm long, 10.8cm high. Poised with his eyes to the front, intently watching and with his front paws tucked beneath his chest. The pale celadon coloured stone finely incised to simulate fur. The yellow glass eyes later additions. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased by Lieutenant-Commander George Gosselin Marten from John Sparks Ltd., 128 Mount Street, on 16th March 1959 for £1,300. Catalogue Note; The Chinese name for `cat`, mao, is homophonous with the word for `age eighty to ninety`. The cat is thus a symbol of longevity.

A Fine Chinese White Jade Brush, Qing Dynasty, 18th century, 17cm. The cylindrical handle encircled by a single sinuous scaly dragon with a long moustache. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953.Catalogue Note;The Chinese writing brush, along with the ink stick, inkstone and paper are considered the Four Treasures of the Scholar`s Studio. The brush, bi, is a pun for the adverb certainly or surely. Brush handles are more usually made from bamboo, but porcelain and lacquer examples are also known.

A Fine Chinese Jade Large Oval Bowl, Qing Dynasty, 18th/early 19th century, 23.8cm long, 16.1cm wide, 6cm high. The pale celadon coloured stone crisply carved with a single band at the rim and with two crisp lion mask handles. The base with four simple curved panel feet. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953.

An Exceptional and Extremely Rare Chinese Imperial White Jade Ghanta, Qing Dynasty, the stem inscribed with a four character Qianlong reign mark, and of the period 1736-95. 18.2cm high 10.2cm diameter. The dome delicately carved with lotus petals and Tibetan bija syllables, vajra and dharmachakra motifs. The handle carved as a half-vajra surmount above a Buddha`s head. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953. Catalogue Note;The bell or ghanta, represents the female aspect of wisdom and supreme knowledge and combined with the thunderbolt or vajra, they form the most important symbols in Tibetan Buddhism. Together they represent the perfect union of wisdom and compassion, the two principles necessary for attaining enlightenment. Other ritual objects include the dagger or phurba, skull-cup, and thigh-bone trumpet. An almost identical white jade ghanta in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware (III), Volume 42, p.134, no. 112. Another of a slightly different design, in the collection of the Potala Palace in Lhasa, is illustrated in Treasures from Snow Mountains, Gems of Tibetan Cultural Relics, by Chen Xiejun, & Wang Qingzheng, p.31, no.5, Shanghai Museum. A third example, again of a slightly differing form, was sold at Beaussant Lefevre, Paris 18th November 2005, lot 37, cf. Orientations, Volume 36, no.7, October 2005, p.29. refer to department

The Son of Heaven`s Jade Elephants. An Exceptional and Highly Important pair of Chinese Imperial Jade Elephants from a Throne-room group of the Emperor Qianlong. Each with a Qianlong four character reign mark and of the period 1736ð95, each 19cm long, 17cm high (total weight 12kg approx.) Each beast stands four square and with its head turned slightly to the side, the ears incised with veining, the eyes crisply incised above trunks which extend about their feet. The grey-green stone flecked with golden-brown striations. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Catalogue Note; An almost identical pair of Qianlong jade elephants from the Forbidden City, but with cloisonne saddle fittings and carrying vases, were exhibited at the Art Gallery of New South Wales, Sydney Australia in 2007 and are illustrated by Liu Yang in the exhibition catalogue Translucent World, no.109. These examples are also illustrated by Ho & Bronson, cf. Splendors of China`s Forbidden City, the Glorious Reign of the Emperor Qianlong, p.51, where Hu Desheng, describing Qianlong`s thrones, states: `The set usually consists of a throne in the centre, a screen at the back; and on either side of the throne, an elephant statue with a vase on its back (symbolizing peace), a standing fan, a luduan unicorn statue, and a vertical censer. This assemblage is commonly referred to as the `throne-room group.` See also: China, The Three Emperors 1662ð1795, p.391, where throne furniture and settings are also discussed. In China, the elephant is a symbol of strength, astuteness and happiness. They existed in China during the bronze age, but like the rhinoceros, soon were hunted to extinction. In the Ming dynasty, there were stables in the Forbidden City for the elephants that were given as gifts to the Ming emperors from the rulers of Burma. During the Qing Dynasty elephants carrying vases on their backs appeared in processions to celebrate the Emperor Qianlong`s birthday, and so these massive quadrupeds continued to be a popular subject for portrayal in the decorative arts. The Qing rulers commissioned jade elephants in formal standing poses, which were paired and placed flanking the Imperial thrones. For other examples of jade elephants, cf. Chinese Jade, Spink & Son Ltd., London, 1998, no. 23 for a spinach-green jade elephant, from the Estate of Empress Friedrich, Schloss Friedrichshof, and Alex Kerr, Immortal Images. The Jade Collection of Margaret and Trammell Crow, Dallas, 1989, p. 41. For another elephant from The Concordia House Collection, cf. Sotheby`s New York, 19th March 2007 lot 9, and Stanley Nott illustrates a grey elephant dated to the Qianlong period in the collection of Oscar Raphael Esq. pl. LXX. Stanley Charles Nott, in his Chinese Jade Throughout the Ages, records: `an exceptional pair of such carvings in the private collection of Her Majesty Queen Mary` and comments: `These specimens are obviously the work of the Imperial workshops of the Ch`ien Lung period`. Cf. The International Exhibition of Chinese Art, The Royal Academy of Arts, London 1935/6 catalogue no. 2328, where these elephants were illustrated.

A large collection of Chinese seals, comprising; thirty-one in bronze and other metals, seventeen in jade and other stones, eleven in ivory, six in other materials and a bronze prunus spray together with a collection of sixteen ink blocks. (a lot)

A Chinese snuff bottle, formed from a jade pebble, the stone with traces of brown skin, probably 19th century, 6.5cm.

A Chinese celadon jade belt hook, carved with a bifid dragon, a jade finial carved with a mandarin duck amidst flowers, a small ivory okimono netsuke carved with three monkeys on a rock and a small bronze scroll weight formed as a mythical winged creature, various dates, 12cm max. (4)

Three Chinese jade reticulated plaques, one carved with a bird and a dragon, another with a mother and child, and a phoenix and deer, the third carved with bamboo, prunus and lingzhi fungus, 10.8cm max. (3)

A Chinese celadon jade carving, of a boy climbing on the back of a kylin while holding a lingzhi branch, the stone with flecks of brown skin, 6.8cm.

A Chinese pale celadon jade rectangular plaque, probably a knife fitting, carved with two stylized dragons and a central shou character and a yellow soapstone four character seal with a lion dog and puppy surmount, probably both 19th century, the former with a wood stand, 5.5cm. (3)

A string of jade beads, the stone untested for colour enhancement, 44cm.

Four similar Chinese jade horses, standing four square facing forwards, their manes and tails finely incised, the stone a dark greyish green, late 19th/20th century, together with hardwood stands, minor damages, 16.5cm long. (8)

A Chinese celadon jade carving of a Buddhist lion, crouching with its head turned upon a lotus leaf, 7.5cm.