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AN EXCEPTIONAL PAIR OF FINE CHINESE IMPERIAL WHITE JADE JARS AND COVERS QIANLONG 1736-95 Each with a fluted body surmounted by a short wide neck, the rounded bodies tapering towards the feet, the domed covers pierced with scrolling leafy branches and flowers set beneath stylised concave petals, each surmounted by a knop decorated with a central shou medallion surrounded by eight ruyi-heads, the pale stone of a fine white tone and with a lustrous polish, 11.4cm dia. (4) Provenance: formerly the collection of HM Queen Maria of Yugoslavia (1900-61); and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. HM Queen Maria of Yugoslavia (1900-61) was Queen Consort to King Alexander I of Yugoslavia. Her titles included HM Queen Maria of Yugoslavia (1929-45), HM The Queen of Serbs, Croats, and Slovenes (1922-29), and HRH Princess Maria of Romania (1900-22). Maria was born in Gotha, Thuringia, Germany during the reigns of her maternal grandfather Duke Alfred of Saxe-Coburg and Gotha and her great uncle King Carol I of Romania. Her father was Crown Prince Ferdinand of Romania and her mother was Princess Marie, a daughter of Prince Albert, Duke of Edinburgh, who was one of Queen Victoria's sons. She was also the great-granddaughter of Tsar Alexander II of Russia on her mother's side. Maria married King Alexander I of the Kingdom of Serbs, Croats and Slovenes on 8th June 1922. Following the assassination of King Alexander in Marseille in 1934, her eldest son became Peter II of Yugoslavia, the last Yugoslav king, and she later became the Queen Mother of Yugoslavia. Maria's citizenship was revoked by the Yugoslav Communist regime in 1947 and she died in exile in London on 22nd June 1961. She is interred at the Royal Burial Ground at Frogmore. Queen Maria of Yugoslavia is known to have been a keen collector of Oriental art, and her collection was dispersed in the 1930s and 1940s. Cf. C T Loo, Exhibition of Chinese Arts, no.341 for a pair of related bowls; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), p.82, no.70 for an incense set decorated with comparable ribbed sides.清乾隆 御製白玉雕如意壽紋花瓣蓋罐 一對來源：南斯拉夫王后瑪利亞（1900-61）舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

AN EXCEPTIONAL AND FINE CHINESE IMPERIAL WHITE JADE INCENSE BURNER AND COVER QIANLONG 1736-95 Based on the form of an archaic bronze gui, the low rounded body supported on a broad flared foot, subtly decorated in low relief to the shoulder with a narrow band of ruyi-heads, with two slender S-shaped handles rising from the sides, the domed cover surmounted by a compressed circular knop, the finial carved with narrow petals radiating from a central medallion incised with swirling petals, the translucent stone of a superb even white tone, 13.1cm wide. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The beauty of this object lies essentially in the quality of the stone. The Chinese rank jades according to their colour tones, with the most prized jades being the yangzhiyu, 'mutton fat' nephrite that is sourced from the rivers in Khotan. The jade carver used nephrite of the highest quality, and kept a simplicity in its design. The collector's appreciation derives from the creamy-tone of the jade and its simple form. Cf. J Li, Chinese Jades Throughout the Ages - Connoisseurship of Chinese Jades, vol.12, pp.186-187, no.93 for a related incense burner and cover in the collection of the Palace Museum carved in jade of a comparable high quality; see also Asian Art I, 18th May 2011, lot 471 for an Imperial Qianlong period white jade teapot and cover previously sold in these rooms, which was worked in similarly high quality stone.清乾隆 御製白玉雕如意紋香爐來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE CHINESE PALE CELADON AND SPINACH-GREEN JADE 'LANDSCAPE' BRUSHPOTS, BITONG QIANLONG 1736-95 The tall cylindrical bodies carved in pale celadon jade with mountainous landscapes, the continuous scenes depicting figures engaged in various activities, including travellers on horseback crossing bridges and woodcutters returning from the forest, with thatched pavilions and temples dispersed through the rocky setting, with far-off peaks emerging from swirls of mist in the distance, the rims applied with spinach-green jade, each together with a spinach-green jade stand carved with five feet shaped as ruyi-heads, the stands pierced with floral medallions, 14cm. (4) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major Western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. Cf. T T Bartholomew & H Li, The Tata Collection of Chinese Antiquities in the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly the Prince of Wales Museum of Western India), p.86, no.57 for a similar single spinach-green example.清乾隆 青白玉及碧玉雕山水紋筆筒及底座 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A GOOD CHINESE IMPERIAL ARCHAISTIC SPINACH-GREEN JADE INCENSE BURNER AND COVER 18TH CENTURY Carved in low relief to the exterior with archaistic masks, the stylised design divided by notched high-relief flanges with incised decoration, the squat body flanked by two handles worked as two-horned dragons suspending loose rings, the domed cover surmounted by a flared circular knop surrounded by three recumbent goats, the animals well-depicted with incised details to their spines and beards, all raised on three short feet shaped as animal paws issuing from the mouths of mythical beasts, taotie, the mottled spinach-green stone with a lustrous polish, 24.8cm across. (2) Provenance: formerly the collection of Sir John Buchanan-Jardine Bt; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Sir John William Buchanan-Jardine, 3rd Baronet (1900-69) was Chairman of Jardine, Matheson & Co. Eighty-one Chinese works of art from his collection were exhibited at the Royal Academy Exhibition of 1935-36. Sotheby's held sales of his superb collection in the late 1940s. This incense burner was inspired by the prototype of the archaic bronze gui vessels of the Shang and Zhou periods. The bronze gui was a food container used for ancestral worship. It first appeared in ceramic form in the Neolithic period, and came to have an important role in traditional rituals. In the Ming and Qing periods, the archaic forms of early bronze ritual vessels were recreated in various materials, such as ceramic, lacquer and jade. The present jade censer is smaller in size than the original archaic bronze vessels. It was also used in a very different context, as an incense burner rather than a food container. The taotie refers to a two-eyed mask that appears on almost every Shang ritual bronze. The ancient belief was that the taotie mask represented a wanton spirit. However, modern scholars are divided in their opinions of what the motif really meant, or whether it had any meaning. To employ such a motif from antiquity indicated the revival fashions of the later periods. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.83-84, no.71 for a related incense burner, which is part of a set.十八世紀 碧玉雕仿古三陽開泰紋蓋爐來源：John Buchanan-Jardine Bt紳士舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE AND RARE CHINESE IMPERIAL WHITE JADE BOWLS FOUR-CHARACTER JIAQING MARKS AND OF THE PERIOD 1796-1820 Each with an elegant U-shaped body gently flaring at the rim, raised on short spread feet, with the reign marks incised to the bases in clerical script, lishu, the stone of an even white tone and with a good polish, 12.4cm dia. (2) Provenance: formerly the Cottreau Collection, sold at Galerie Georges Petit, Paris, on 29th April 1910, lot 119; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Ltd on 25th October 2009. A copy of the invoice is available. Published: R Keverne, Winter Exhibition 2009, pp.122-123, no.105. Both their perfect form and the quality of the stone from which they are carved make these bowls exceedingly rare. The few known comparable examples occasionally bear Qianlong reign marks, but they are more often unmarked. In Chinese Jade from the Neolithic to the Qing, Jessica Rawson illustrates a pair of similar unmarked bowls, p.400, no.29:13. Here, it is noted that "Undecorated jade vessels in porcelain shapes, as here, probably represented the highest quality of eating and drinking vessels. Both the sumptuary laws, which restricted the use of jade vessels, and passages in novels that mention the use of jade cups and bowls for eating and drinking, make it evident that jade was highly valued and used for these purposes." Cf. F Dunand, The Baur Collection Geneva, p.43, B38 for one of a pair of similar Qianlong mark and period bowls; see also J Rawson & J Ayers, Chinese Jade Throughout the Ages, no.436 and B Yang, A Romance with Jade: From the De An Tang Collection, p.178, no.115 for further Qianlong mark and period examples; for other comparable bowls without reign marks, see also J C Y Watt, Chinese Jades from Han to Ch'ing, p.178, no.152 and B Yang, A Romance with Jade: From the De An Tang Collection, p.176, no.113 and p.179, no.116.清嘉慶 御製白玉雕素身碗 一對《嘉慶年製》款來源：Cottreau舊藏，購於巴黎Galerie Georges Petit1910年4月29日·編號119，勞倫斯珍藏玉石，2009年10月25日購於Roger Keverne古董商（附發票複印件）。出版：R Keverne, Winter Exhibition 2009, 頁122-123, 編號105.

A CHINESE WHITE AND SPINACH-GREEN JADE RUYI SCEPTRE 18TH CENTURY The mottled dark green sceptre inset with three oval white jade plaques to the head, stem and terminal, the largest worked in relief with two butterflies fluttering above blossoming peony and aster in a mountainous landscape, the central panel carved with a flowering chrysanthemum branch growing amidst rockwork, the smallest plaque depicting a gnarled prunus tree, with twin-fish and a small bat surrounding a fylfot and qing to the upper section of the curved stem, the lower section of the shaft decorated with a pair of bats encircling a shou character and beribboned cash, the undecorated underside with a ribbed edge, 42.5cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whilst ruyi sceptres hold great significance in Chinese culture, their exact origins are unknown. It is commonly believed that the form derives from that of a lingzhi fungus, but it has also been argued that the shape developed from that of a rod used by ancient diviners, or even from a constellation. The word ruyi literally translates to 'as you wish', and it conveys the meaning of good wishes and blessings. Ruyi sceptres were used as ritual objects in both Buddhism and Daoism. According to an early 20th century account by Stephen W Bushell (1844-1908), these treasured objects were placed on a table before the throne in every reception room of the Emperor's palace. Bushell also writes that ruyi sceptres were included amongst the Imperial gifts presented to dignitaries as a mark of special distinction. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), p.36, no.28 for a spinach-green jade sceptre inlaid with celadon plaques.十八世紀 碧玉嵌白玉雕花卉紋如意來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE AND RARE CHINESE WHITE JADE 'BAMBOO' VASE QIANLONG 1736-95 Naturalistically formed as a section of bamboo culm gently tapering towards the top, each segment separated by a raised and incised node, with fluted lower sections, carved in relief with two smaller leafy bamboo branches issuing from the base and extending over the exterior, the pale stone with areas of russet and light grey, 18.4cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. This jade vase is carved from a white nephrite of exceptional quality, which was sourced from Khotan in Xinjiang. It represents the best of the jade craftsmanship of the early Qing dynasty. Bamboo grows widely in East Asia and has culinary, medicinal, textile and construction uses, as well as being admired as an artistic material. It has an important symbolism in Chinese culture, where it is associated with a gentleman's virtue and endurance. There is an old Chinese saying: "A gentleman's residence cannot be without bamboo". A vase in bamboo-form was usually for holding flowers, but could also be used as brush pot on the scholar's desk. Similar objects were made for the Imperial household.清乾隆 白玉雕翠竹紋瓶來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE CHINESE IMPERIAL SPINACH-GREEN JADE 'DRAGON' SEALS 18TH/19TH CENTURY Each with a square-section body surmounted by a crouching dragon in pursuit of a flaming pearl, the mythical beasts depicted with long whiskers and finely incised beards and manes, their scaly coiled bodies partially concealed by billowing clouds, each seal with four characters to the underside, one worked in intaglio, yinwen with the characters jian lan bo zhao, the other marked zhi cheng yu ling in relief, yangwen, the mottled green stone with dark specks and pale inclusions, 6.4cm wide. (2) Provenance: formerly the collection of Major-General Charles Gordon (1833-85); and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Major-General Charles Gordon was in China from 1860 to 1864. In 1863, he was placed in command of the Ever Victorious Army, a force of Chinese soldiers directed and trained by European officers which was instrumental in putting down the Taiping Rebellion. The Emperor conferred on him the highest rank in the Chinese army and awarded him with the Imperial yellow jacket in recognition of his services in China. Gordon soon gained the popular nickname 'Chinese Gordon'. The inscription jian lan bo zhao may be translated as 'observe all varieties, be enlightened by their depth'. The phrase first appears in the Hou Hanshu, or the 'History of the Later Han', by Fan Ye (398-445). When the Han government decided to reform the civil service examination system, making it a requirement to study the classic texts, several ministers wrote in criticising the policy. They argued that the ruler's virtue was based on his ability to 'observe all varieties and be enlightened by their depth', and that a minister's loyalty hinged on his readiness to correct ill-founded policies. The phrase later acted as a reminder to emperors of the importance of observance and enlightenment in good governance. The inscription on the other seal, zhi cheng yu ling, translates as 'be a close neighbour with the utmost sincerity.' This originally comes from a traditional temple hymn that was recorded in the Quan Tang Shi, or 'The Complete Collection of Tang Poems', which was commissioned by the Kangxi Emperor in 1705. The full verse reads: 'The Way of Heaven is not personal, be a close neighbour with the utmost sincerity; worship spreads over mountains and rivers, the court music refreshed; the offerings of jades and silks are not rich, meet the truth with wisdom and enlightenment; verify this unique virtue, then communication is enabled with one hundred gods.' Seals played an important role in Chinese Imperial life. The famous story goes that when the First Emperor Qin Shi Huangdi united China, he made a jade seal with the inscription: 'Having received the mandate from heaven, may the Emperor enjoy a long life and eternal prosperity.' Traditionally, the Imperial seals represented not only the order and identity of the ruler, but also the universal principles. During the Qing dynasty, many jade seals were made under Imperial orders. They usually have a standard form and decoration. The present two seals were probably made during the Qianlong reign or slightly later.十八/十九世紀 御製碧玉蛟龍鈕璽印文：兼覽博照（陰文）、至誠與鄰（陽文）來源：Charles Gordon（1833-85）大將軍舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE CHINESE PALE CELADON JADE INCENSE HOLDERS QIANLONG 1736-95 Each with a square-section body, worked in relief and openwork with figures in continuous mountain landscapes, the depicted scenes including two young boys walking along a path, three scholars looking at a painting, an old man and his young attendant beneath a pine tree, and Shoulao accompanied by his deer, with dark speckles dispersed through the pale stone, the waisted spinach-green tops and bases carved with bands of lappets, the ends pierced with flowers surrounded by scrolling foliage, 28.2cm. (2) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The incense holder is also known as a perfumier. The incense is placed inside the perfumier and the smoke emerges through the holes while the lighted incense fragrances the room. Perfumiers were popular in the Ming and Qing dynasties, when they were usually made of carved bamboo. They were sought after by the literati class who liked to place them on their desks. Incense holders made of more expensive materials such as jade were usually created for the Imperial Palace. Such pictorial representations are clearly based on traditional landscape paintings in ink. The subjects express belief in longevity and immortality. In Chinese religion, Immortals are always associated with mountains and hills. The carving is of exceptional quality. One can imagine the incense smoke wafting through the pierced holes, like clouds moving through high mountains, bringing these scenes to life. In the early Qing period, such landscape art was practised by literati artists and was much favoured at the Imperial Court, in particular by the Yongzheng and Qianlong Emperors. Here, the jade carver successfully crafted scenes from two-dimensional landscape paintings into this three-dimensional incense burner, creating a masterpiece that can equal any other great works of art. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.239, no.198, p.242, no.201 and p.243, no.202 for comparable pairs of incense holders in pale celadon jade; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.46-49, nos.36-38 for single cylindrical perfumiers with similar decoration; see also R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p.118, no.98 for a related example; see also Asian Art I, 17th November 2010, lot 335 for a comparable incense holder with spinach-green jade fittings previously sold in these rooms. 清乾隆 青灰玉鏤雕香薰 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A RARE AND LARGE CHINESE SPINACH-GREEN JADE FIGURE OF A LUOHAN 18TH CENTURY Carved seated in dhyanasana wearing a shawl and long robes, his garments held by a clasp at his left shoulder, he holds a stupa in his left hand whilst raising his right hand behind the precious object in a variation of abhaya mudra, his serene face detailed with a small finely incised moustache and beard, the green stone with brown flecks and inclusions, 23.5cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. In prehistoric times, jade was carved into human form. Such pieces are usually identified as religious worshippers and priests, sometimes as Immortals. The mysterious quality of the jade itself lent a special meaning to the figure it represented. This particular figure is carved from a large boulder of spinach-green nephrite. He has been conventionally identified as a Chinese sage, but his long, flowing robe is closer to the attire of Buddhist monks. The name Luohan comes from the Sanskrit arhan or arhat, referring to the Buddhist ascetics. They are disciples of Sakyamuni Buddha, who have passed the eight-fold path (right belief, resolve, speech, work, livelihood, training, mindfulness, abstract, meditation), and reached Nirvana or Enlightenment. They are essentially associated with the Hinayana School of Buddhism, and each has the title Samantha prabhasa or general wisdom; they can teach or train others to attain perfection. Luohans are very popular in China, as it is believed they can protect patrons and believers by expelling ignorance and defeating robbers. In the Buddhist legend, there are normally 500 Luohans, but the most famous ones usually appear together in groups of 16 or 18. Luohans are represented in painted portraits as well as in sculpture. All have distinctive attributes: for instance, Pindola the Bharadvaja has elongated eyebrows, Vajraputra is lean, ribbed and hairy; Nakula is always shown with a mongoose. However, it is quite difficult to identify the present figure with a particular Luohan. Many Luohans have a book or staff in their hands, but in this case the figure holds a stupa, perhaps suggesting that he has entered Nirvana. Cf. Catalogue of the International Exhibition of Chinese Art, 1935-6, no.2860 for a similar figure lent to the exhibition by Mr and Mrs Edward Sonnenschein; see also G Wills, Jade of the East, p.104, nos.63-64 and N Zhou, Ancient Jades in Man, Immortal and Buddha, p.309, nos.360-361 for further related examples; see also Asian Art I, 17th November 2010, lot 337 for a comparable spinach-green jade figure of Buddha of the same size previously sold in these rooms. 十八世紀碧玉雕托塔羅漢來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE AND RARE CHINESE SPINACH-GREEN JADE 'LOTUS' INCENSE BURNER AND COVER QIANLONG 1736-95 The well-rounded sides rising to an inverted mouth, worked to the exterior with ten large petals enclosing stylised lotus sprays, the tips of the petals resting on the rim, with similar decoration to the domed cover, surmounted by a finial formed as a lotus flowerhead detailed with seven seeds, all raised on a short waisted foot, the stone of a dark green tone, 13.4cm dia. (2) Provenance: formerly the collection of Mrs Christian R Holmes; then sold at the Parke-Bernet Galleries on 16th April 1942, lot 278; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 25th October 2007. A copy of the Roger Keverne invoice is available. Mrs Christian R Holmes was a noted American collector and philanthropist who died in 1941. Published: R Keverne, Winter Exhibition 2009, pp.120-121, no.104. Cf. J Li, Chinese Jades Throughout the Ages: Connoisseurship of Chinese Jades, vol.11, pp.164-165, no.82 and vol 12, pp.178-179, no.89, and also pp.212-215, nos.106 and 107 for comparable white lotus-shaped vessels in the collection of the Palace Museum.清乾隆 碧玉雕折枝蓮紋蓋爐來源：Christian R Holmes女士收藏，1942年4月15日於Parke-Bernet 畫廊售出，編號278，Holmes女士（逝於1941年）0曾是美國著名收藏家及慈善家。勞倫斯珍藏玉石， 2007年10月25日購於Roger Keverne古董店（附發票複印件）。

A CHINESE PALE CELADON JADE 'DRAGON' SCROLL WEIGHT 18TH CENTURY The long rectangular slab worked with curved ends, carved in relief with two scaly dragons contesting a flaming pearl, one beast emerges dramatically from crashing waves whilst the other descends from the sky above, each sinuous creature depicted with two horns and long whiskers, the pale creamy stone with a fine polish, 23.8cm. Provenance: formerly the collection of Vice-Admiral Sir George John Scott Warrender of Lochend 7th Bt (1860-1917), who fought in the Boxer Rebellion in 1900 and when by repute acquired this jade; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The imagery of two dragons contesting a pearl is known in Chinese as er long xi zhu. An interpretation of this motif is that one dragon is male whilst the other is female, and the jewel is their egg. The symbolism is thus associated with harmony and reproduction. During the Ming and Qing dynasties, this image was frequently used as decoration on objects belonging to ladies of the court, and so it is possible this scroll weight previously belonged to an Imperial concubine. Cf. B Bronson & C Ho, Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong, p.86, no.88 for a similar piece; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), p.213, no.173 for a comparable item; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (II), p.240, no.200 for another related example.十八世紀 青白玉浮雕趕珠龍紋鎮紙來源：George John Scott Warrender of Lochend上將(1860-1917)， 曾經在1900年參加過太平天國戰爭。勞倫斯珍藏玉石，1959年前購於Spink & Son。

A CHINESE WHITE JADE CARVING OF SHOULAO 18TH CENTURY The God of Longevity stands dressed in loose layered robes, he holds a large openwork flowering prunus branch over his right shoulder and stems of lingzhi in his left hand, the deity typically depicted with a high cranium and a long incised beard, his finely detailed face bearing a cheerful expression, with a crane perched on one leg standing at his feet, the pale stone with russet markings, 12.1cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from the Oriental Art Gallery Ltd., 1994. Published: the Oriental Art Gallery Exhibition Catalogue, 7th June 1994, no.42. The attributes identify the old man as Shoulao, the God of Longevity. Shoulao the Immortal was originally a Daoist deity. The legend is probably based on an actual person who lived during the Song dynasty, but also came to be considered as the personification of the southern polar star. In folk religion, Shoulao is a very popular God of Good Luck and Longevity. In pictorial art, he is represented as an old man with a wide forehead, holding a lingzhi fungus in his hand, and accompanied by a crane, sometimes a black deer or a tortoise.十八世紀 白玉雕壽老來源：勞倫斯珍藏玉石，1994年購於Oriental Art Gallery Ltd。出版：Oriental Art Gallery 展覽圖錄，1994年6月7日，編號42。

A PAIR OF CHINESE WHITE JADEITE 'BAJIXIANG' BOWLS AND COVERS 19TH CENTURY The U-shaped vessels gently flaring at the rims, each decorated in low relief with the Eight Daoist Emblems to the bowl and cover, the precious objects tied with ribbons, with finely incised bands of key fret bordering the edges, each raised on a short circular foot, the thinly-worked jade of a translucent icy-white tone, with a few minor apple-green and russet flecks in the stone, 11.2cm dia. (4) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Exhibited: Burlington Fine Arts Club, 1915, case no.2, illustrated pl.30. Published: E Gorer & J F Blacker, Chinese Porcelain and Hardstones, London, 1911, vol.2, pl.244; also Burlington Fine Arts Club, 1915, case no.2, illustrated pl.30. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The Bajixiang, or Eight Daoist Emblems, are the attributes of the Eight Daoist Immortals. They consist of the sword of Lu Dongbin, the fan of Zhong Liquan, the flower basket of Lan Caihe, the lotus of He Xiangu, the flute of Han Xiangzi, the gourd of Li Tieguai, the castanets of Cao Guojiu, and the drum of Zhang Guolao. They represent difficult conditions in life: poverty, wealth, aristocracy, plebeianism, age, youth, masculinity and femininity. The eight Daoist emblems should not be confused with the eight Buddhist emblems. Although the Qing emperors were not enthusiastic Daoists, the practise of Daoism was popular in society. The Yongzheng Emperor to a degree encouraged the belief in immortality and the practice of some Daoist rituals. Cf. Pearl of the Orient: Treasures of the Hong Kong Museum of Art, p.104, no.131 for a pair of similar bowls decorated with dragons and phoenix; see also Catalogue of a Special Exhibition of Hindustan Jade in the National Palace Museum, pp.276-277, pl.75 for another comparable pair; see also J R Finlay, The Chinese Collection: Selected Works from the Norton Museum of Art, pp.244-245, no.108 for another related bowl. 十九世紀 翡翠雕八吉祥紋蓋碗 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。展出：伯靈頓藝術俱樂部，1915年，展櫃編號2，圖30。

A FINE AND RARE SMALL CHINESE CELADON JADE BOULDER 17TH/18TH CENTURY Depicting a lone scholar gazing up towards a steep cliff face, the elderly gentleman contentedly enjoying the scenery, with pine trees and smaller shrubs growing in the rocky landscape, the reverse carved with a waterfall crashing down the cliff, the russet markings in the greenish stone cleverly used within the design, 12.7cm. Provenance: formerly a western private collection; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 18th December 2008. A copy of the invoice is available. Published: R Keverne, Winter Exhibition 2008, pp.96-97, no.76. The subject on this carving is inspired by traditional Chinese landscape painting. The Chinese word for 'landscape painting' is shanshui, literally translating as 'mountains and water'. Landscape painting has long held an important position in Chinese art, but its principles were not applied to three-dimensional jade carvings until the early Qing dynasty. Landscape painting was not only valued as a means of expressing an admiration of nature, but also as a way of representing the philosophical relationship between man and the natural world. As is typical in landscape painting, the figure on this jade boulder is presented as a passive spectator within the free and undomesticated vastness of the natural setting. Cf. L Chang, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, pp.158-159, no.48 for a similar example in the collection of the National Palace Museum; see also Schätze Chinas aus Museen der DDR, pp.242-243, no.138 and Tianjin Shi Yishu Bowuguan Cang Yu, no.226 for further comparable pieces; see also R Keverne, Jade, p.352, fig.3 for another related item. 十七/十八世紀 青白玉雕高士圖山子來源：西方私人舊藏，勞倫斯珍藏玉石，2008年12月18日購於Roger Keverne古董店（附發票複印件）。出版：R Keverne, Winter Exhibition 2008, 頁96-97, 編號76.

A CHINESE BROWN AND CELADON JADE CARVING OF A HORSE MING DYNASTY Depicted in a recumbent pose with its legs neatly tucked under its body, the horse turns its head back towards its tail which is flicked up over its haunches, its body rendered with details of its ribs and muscles, with finely incised hairs to its forelock, mane and tail, the mottled stone with inclusions, varying in tone from a pale greenish-grey to a dark brown, 7.8cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Jade animal carvings have a long history in China. They are thought to have first appeared in prehistoric times when they were probably used for religious or ritual purposes. By the Tang dynasty, miniature jade animals were used as decorative objects and playthings, and they remained popular throughout the following dynasties. Of the twelve Chinese zodiac animals, the horse represents wealth and prosperity. This jade horse was probably made as a 'handling piece', but could also have been used as a paper weight. The mottled nephrite with dark brown inclusions gives this miniature sculpture an archaic feel. This aligns with tastes of the Song, Yuan and Ming dynasties when the archaic style was highly prized by the literati class and many jades were worked to simulate those of antiquity.明 褐玉臥馬來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE CHINESE CHALCEDONY 'MANDARIN DUCK' WATERPOT AND COVER 18TH CENTURY Formed as a Mandarin duck standing upon a large lotus leaf finely detailed with incised veins, the aquatic bird depicted with a short crest and long wing and tail feathers, it turns its head whilst holding a reed in its beak, decorated in high relief with a shell, lotus and other plants trailing over the body of the duck, with a circular aperture to its back, the cover doubling as a water dropper, the stone cleverly worked with the duck picked out in white and the plants in dark orange, together with a wood stand carved and pierced with lotus motifs, 10.8cm. (3) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The Chinese call mandarin ducks yuanyang. The bird is a metaphor for conjugal affection and fidelity, and designs featuring mandarin ducks are commonly used at weddings. In Chinese pictorial art, mandarin ducks are frequently depicted in pairs swimming in a lotus pond. This water pot was probably made as a desk piece, for painting and calligraphy, perhaps given as a present at a special occasion such as a wedding. This form was popular in jade carving of the early Qing period, in particular the Qianlong reign.十八世紀 南紅瑪瑙雕鴛鴦銜蓮水盂來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE SMALL CHINESE WHITE JADE FIGURE OF A BOY 18TH CENTURY The crouching child holds a large leafy branch of fruiting peaches in both hands, his finely detailed face bearing a joyful expression, with his incised hair tied up in two buns, depicted wearing bracelets and a loose robe, the pale stone of a fine white tone, with a russet area to one of the peaches, together with a wood stand, 6.9cm. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 15th June 2010. A copy of the invoice is available. Published: R Keverne, Summer Exhibition 2010, pp.116-117, no.90. Children are one of the most popular subjects in Chinese art, and they are often portrayed holding plants. Representations of young boys holding leafy branches appeared in jade carvings as early as the Song dynasty and, whilst the subject matter varies, they are often depicted with branches of lotus rather than peaches. As peaches are believed to be the food of the Immortals, and thus a symbol of longevity, this may suggest that the present figure was intended as a birthday gift. Cf. R Kleiner, Chinese Jades from The Collection of Alan and Simone Hartman, pp.230-231, no.181 for a comparable jade; see also J Rawson, Chinese Jade from the Neolithic to the Qing, no.27:3 for another similar example; see also Symposium on Chinese Jades from Sui and Tang to Qing Dynasties, p.205, figs.31 and 32 for related items in the collection of the Shanghai Museum; see also G Xue, Zhongguo Yuqi Shangjian, p.215, no.408 for another comparable piece; see also G Zhang, Mingdai Yuqi, p.189, fig.129 for a related carving dated as Ming in the collection of the Palace Museum, Beijing.十八世紀 白玉雕執桃童子擺件來源：勞倫斯珍藏玉石，2010年6月15日購於Roger Keverne古董店（附發票複印件）。出版：R Keverne, Summer Exhibition 2010, 頁116-117, 編號90。

A FINE AND RARE CHINESE WHITE JADE DISC 18TH CENTURY The circular disc delicately pierced to the centre with intertwined petals forming an elegant flowerhead, carved to one side in low relief with The Eight Trigrams, Bagua, with the names of The Ten Heavenly Stems, Tiangan, in seal script beneath a continuous band of ruyi-heads to the reverse, the stone of an even white tone, 9.2cm. Provenance: formerly a western private collection; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 23rd October 2007. A copy of the invoice is available. Published: R Keverne, Winter Exhibition 2007, pp.124-125, no.111. The Eight Trigrams consist of broken and solid lines, which represent yin and yang respectively. They were probably first used by ancient diviners and later developed into a system of philosophy. Each Trigram represents a natural force: heaven, marsh, fire, thunder, wind, water, mountain and earth. They also symbolise movement, emotions and human relationships and have been used in China to predict patterns and cycles in nature and humanity. From the Eight Trigrams developed sixty-four hexagrams that are the foundation of one of the most important Chinese classics, the Yijing or The Book of Changes. Each of the Ten Heavenly Stems is associated with one of the Five Elements (wood, fire, earth, metal and water) and they combine with the Twelve Earthly Branches to form the sexagenary cycle, which is the traditional Chinese calendar based on sixty-day and sixty-year cycles. Cf. K R Tsiang, Radiance and Virtue: The R Norris Shreve Collection of Chinese Jade and Other Oriental Works of Art, p.19, pl.4 for a disc with spiral decoration made from a material of similarly high quality; Schätze Chinas aus Museen der DDR, p.244, no.139 for a related pendant; see also another closely related example with same motifs in the National Palace Museum, Taipei.十八世紀 白玉雕天干八卦璧來源：勞倫斯珍藏玉石，2007年10月23日Roger Keverne古董店（附發票複印件）。出版：R Keverne, Winter Exhibition 2007, 頁124-125, 編號111。

A FINE CHINESE PALE CELADON JADE PEAR-SHAPED EWER AND COVER, ZHIHU QIANLONG 1736-95 The flattened body rising to a waisted neck and upright rim, worked in low relief to each principal side with a fylfot and a qing tied with flowing ribbons, the archaic chime decorated with simple scrolls and a shou character, with large ruyi motifs below the design, the body set with a curved handle formed as a split branch and a slender spout terminating in an animal mask, with a simple loop knop to the top of the domed cover, the pale stone with a russet and cloudy white marking to one side, 18.4cm. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 25th June 2007. A copy of the invoice is available. Published: R Keverne, Jade, p.170, fig.106; and also R Keverne, Summer Exhibition 2007, p.126, no.110. The fylfot is a sacred symbol in many religions; in China it is usually associated with Buddhism, and is one of the 65 auspicious signs on the footprint of Buddha. It is also regarded as the impression of the Buddha, and is often seen on the chest of Sakyamuni Buddha. The name swastika is derived from Sanskrit, meaning 'so be it'. The Chinese, however, read it as the character 'wan' ten thousand, which is descended from heaven. In popular belief, it represents auspiciousness. The symbolism in the decoration of this ewer suggests that it was probably made as a birthday present for an important member of the Imperial Palace. Cf. R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, pp.58-59, no.52 for a related ewer; see also Zhongguo Yuqi Quanji, vol.6, pp.2-3, nos.2 and 3 for further ewers in the collection of the Palace Museum.清乾隆 青白玉雕萬壽吉慶執壺來源：勞倫斯珍藏玉石，2007年6月25日Roger Keverne古董店（附發票複印件）。出版：R Keverne, Jade, 頁170, 圖.106; and also R Keverne, Summer Exhibition 2007, 頁126, 編號110。

A FINE AND RARE CHINESE WHITE JADE MUGHAL-STYLE DECAFOIL BOX AND COVER QIANLONG 1736-95 Formed as a simple ten-petalled flowerhead, finely decorated with a stylised blossom to the centre of the shallow domed cover, the box with a well-hollowed interior, the pale translucent stone with a lustrous polish, 14.2cm dia. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. There are a number of similar pieces found in the Old Imperial Collection, now housed in Beijing and Taipei.清乾隆 白玉雕痕都斯坦花瓣盒來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A SET OF THREE FINE CHINESE SPINACH-GREEN JADE ALTAR VESSELSQIANLONG 1736-95 Comprising: a tall tripod incense burner and cover of archaic ding form with butterflies to the neck suspending loose rings and two upright handles formed as leaves, a slender gourd-shaped incense tool vase rising from a short flared foot to an inverted rim, and an oval box with a domed cover, each decorated in relief with stylised floral scrolls and sprays, the deep green stone of each vessel with black specks and dark inclusions, each item raised on an elaborate openwork gilt-bronze base, all supported on a unified wood stand carved and pierced with scrolls and ruyi motifs, 22.9cm max. (6) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The incense burner, vase and covered box together form a three-piece incense set, and each item has its own function. The covered box contains incense, usually as powder or in small cakes. The vase holds incense tools such as sticks and spoons, and the large tripod is for burning the incense. The incense burner would be placed in the centre with the vase to its left and the box to its right. One would open the box and then use the sticks to take out the incense and place it into the burner, which would already contain a layer of ash or sand. The incense would then be lit, and the spoon would be used to pull ash around the burning incense, allowing the burning to proceed at a slow pace. After the incense burning, the tools would be put back inside the vase and the incense burner would be covered with its lid. The gourd-shaped vase and round box both have ceramic prototypes, but their decoration shows influences from the Islamic world. The dominant motifs are floral patterns: lotus, poppy, lily, and acanthus leaf, which are also popular on Mughal jades. As in other societies, burning incense is an important part of worship in traditional China. It is performed regularly in front of ancestral tablets and portraits, as well as to Buddhist or Daoist images. In addition to the religious meaning, burning incense also has many health benefits. In the Ming and Qing periods, burning incense became almost a daily activity in royal and scholar-official households. The elaborate design and the very high quality material all suggest that the incense set was likely commissioned by the Imperial Palace, possibly by the Qianlong Emperor who is known to have admired Mughal jades so much that he ordered his court artisans to copy them. Cf. The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.83-84, no.71 for another Qianlong period altar set in spinach-green jade; see also p.82, no.70 for a related white jade set. 清乾隆 碧玉雕爐瓶盒三事及底座來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A CHINESE GREY JADE 'THREE FRIENDS OF WINTER' VASE 18TH CENTURY Formed as a section of the trunk of a hollowed pine tree, finely detailed with knots and scales to the wood, the exterior pierced and carved in high relief with gnarled branches of pine, prunus and bamboo, the base incised with tree rings, with speckles and natural pale areas in the dark stone, 15.9cm. Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.227, no.186 for a comparable black and pale celadon jade vase carved with a phoenix amidst bamboo and lingzhi. Pine, prunus and bamboo together are collectively called the 'Three Friends of Winter', or Suihan sanyou. As these three plants are particularly durable in winter, they have long been admired for their natural ability to withstand and even thrive in adversity. Objects bearing these motifs are often made for someone considered to be a valued friend. The origin of this notion is found in literature as early as the Song dynasty. Pine, bamboo and prunus were the favourite plants for any scholar's residence. In Chinese thought, the pine is always green and upright, symbolising a gentleman who stands for his principles. As for bamboo, whilst it may not be as imposing or as sturdy as the pine, it too remains mostly green through the winter. Moreover, the stalk of the bamboo is hollow, and has come to symbolise tolerance and open-mindedness. The flexibility and strength of bamboo also represents cultivation and integrity in which one may yield but not break. Prunus is renowned for its gnarled hardiness during winter that bursts into fragile blossom at the first breath of spring. The fragrance of the prunus also serves as a reminder of a person's inner beauty. 十八世紀 灰白玉雕歲寒三友瓶來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE CHINESE SPINACH-GREEN JADE PRICKET CANDLESTICKS QIANLONG 1736-95 The bell-shaped bases carved in low relief with overlapping pendent leaves enclosing geometric scrolls, the tall stems worked with bands of lappets and prunus blossoms reserved on leiwen to the raised bulbous sections, each rising to a central broad drip pan and surmounted by a smaller drip pan set with a metal pin, the flared trays decorated with ruyi motifs, carved with six notched flanges to each principal section, the rims incised with borders of key fret, with black specks dispersed throughout the dark green stone, 32.3cm. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Candlestick prototypes can be found in China as early as the Han dynasty, usually in ceramic, bronze and lacquer. Jade candlesticks became especially popular during the Qing dynasty, when they were used together with jade incense burners and vases to perform ceremonies at altars. The design and decoration of these pieces show an interesting use of traditional elements, but with several innovations. For instance, in addition to the cicada blades, the rims of the pans and base are incised with fine angular spirals, leiwen. While these motifs appeared as early as on the ritual bronze vessels of the Shang and Zhou periods, the lotus and prunus are clearly much later being more common features of Ming and Qing decorative art. In traditional Chinese symbolism the lotus is a sacred flower held in high esteem by both Buddhists and Daoists; it symbolizes purity, perfection, summer and fruitfulness. The seat of the Buddha is usually decorated with lotus. The Daoist Immortals carry lotus-stems in their hands. Prunus is also well known for its symbolism of seasonality (Winter) and the implication of purity and friendship. By employing these ornamental motifs, the Qing Emperors expressed their desire to be the heirs of ancient Chinese tradition and at the same time, that the objects had to be understood by later generations. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.261, no.224 for a comparable single candlestick; see also pp.262-264, nos.225 and 227 for related pairs of candlesticks in spinach-green jade; see also G Wills, Jade of the East, p.132, no.124 for another similar pair.清乾隆 碧玉雕花卉紋出戟燭臺 一對來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE CHINESE IMPERIAL SPINACH-GREEN JADE QUATREFOIL 'WUFU' STAND FOUR-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 Decorated to the centre with a bat resting upon an openwork shou medallion, the roundel surrounded by four stylised heads of lingzhi, each fungus carved upon a large ruyi-shaped leaf enclosing a small bat, the underside worked with four smaller pointed leaves, all supported on a flared quatre-lobed base raised on four ruyi-head shaped feet, incised with the reign mark to the interior of the foot, the green stone with some black specks, 21.6cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The five bats on this jade stand are symbolic of the Five Blessings of longevity, wealth, health, love of virtue and a peaceful death. The Chinese for 'five bats', wufu, is homophonous with that for the 'Five Blessings'. 清乾隆 碧玉雕五福捧壽海棠座《乾隆年製》款來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A cased set of gemstones, also another cased set of semi-precious stones, and a Chinese style white and green jade type necklace.

12cm watered steel blade decorated with calligraphy at the forte in gold, faceted green jade hilt, together with a worn Turkish Jambiya with gold decorated forte and retaining some of its stone decoration to the hilt and scabbard, and a Sudanese arm dagger. (3)

A 9ct gold and jade pendant and chain ,approx 4.84 grams

A malachite necklaces with a jade and coral necklace and two amethyst cut necklaces.

A pair of high grade gold clip on earrings set with green jade cabochon weight approximately 4g unmarked.

Art nouveau style jade, tourquoise and pearl pendant with a silver mount and chain. Approx 18.9 grams.

A Chinese Jade Pendant in the Form of a Coiled Dragon

A Small Collection of Various Items to Comprise Chinese Jade Items, Polished Stone Eggs, Amber Piece, Dzi Type Beads etc

A yellow stone cabochon ring, the oval cabouchon possibly golden jade, in gold mount and shank, stamped '15', ring size P, 4.6g gross.

JADE PENDANT WITH 9CT TOP WITH A 14CT ELEPHANT MULTI GEMSTONE PENDANT

Collection of jewellery comprising a pair of green chatoyant drop earrings with 9ct hooks, a 9ct Mizpah brooch (replacement pin), a silver deer tooth pendant necklace with oak leaf decoration, four loose coral beads and a 1970s silver and cabochon spinach jade bracelet

A collection of assorted items, including Oriental jade coloured grapes, reverse painted snuff bottle and eighteenth century ceramic Derby figure. One ear and one foot chipped on the derby figure (lamb).

A Chinese? yellow metal mounted jade brooch, the mount with three birds, 29mm, gross weight 7.6 grams.

A 14k yellow metal and curved jade link necklace, 42cm, gross weight 25 grams.

JADE WARRIOR - VERTIGO SWIRL LP PACK. A fantastic pack of 2 original pressed LPs by prog-rock group Jade Warrior, both released on Vertigo. Titles include Jade Warrior (6360 033, 1971 UK pressing on Vertigo. Large swirl labels are bright and clean. Comes with original swirl inner sleeve. Record is superb Ex+/ sleeve is strong VG+, has a large stain to the covers that may clean off. Only visible when held at a certain angle to the light) & Last Autumn's Dream (VEL-1012, 1972 US pressing on Vertigo. Large swirl labels are bright and clean. Includes small Mercury compliments/ return insert. Record is strong VG+, includes a small number of light/ hairline paper marks. The gatefold sleeve is in clean, strong VG+ condition, has some minor edge storage wear).

Konvolut von zwei Jade - SchmuckstückenJeweils chinesische Jade geschnitzt, a) Anhänger, rechteckige Platte mit durchbrochen gearbeitetem Kürbisdekor, bewegliche, aus Rocaillen gebildete Öse Gelbgold 14kt., auf der Öse Feingehaltsmarke "585" im Perlkranz, Platte 39 x 28 mm, H gesamt 52 mm, Gewicht 8.7 gr. und b) Brosche, nadelförmige Montierung Silber 900, besetzt mit zwei ovalen, geschnittenen Jadecabouchons (jeweils 19 x 13 mm) mit Floraldekor, rückseitig originale Broschierung mit Hülse, rückseitig unleserliche Teilmarke, B 59 mm, Gewicht 11.5 gr., guter Zustand mit geringen Gebrauchsspuren, beide China 1930er Jahre 0307

pair of earrings in yellow gold (18 carat) each with a green stone (maybe Jade) cabochon || Paar oorbellen (clipsmodel) in geelgoud (18 karaat) telkens bezet met een groene cabochon, mogelijk jade

A Chinese yellow metal and jade disc brooch, the centre set with a Chinese symbol, with safety chain, steel pin, tests as approx. 18ct gold, 6.3g, 28mm

A small collection of silver and other costume jewellery, to include; sundry brooches, earrings, Jade tiki pendant etc

A jade bracelet

A Georg Jensen silver brooch approx 6cm, a silver gilt filigree and jade brooch - approx 4cm x 3.5cm with other silver jewellery, brooches, earrings etc

A Chinese jade brush pot. 11.5 cm high.

A 14 ct gold jade and multi-coloured disc pendant. 3.25 cm diameter.

A string of jade beads. 82 cm long.

A large jade pendant. 9.5 cm high.

A small Chinese russet jade coloured fish, Shang Dynasty. 7.5 cm long.Provenance: The Larkin/Minney Collection.

A Chinese jade axe head. 6 cm long.Provenance: The Larkin/Minney Collection.

A Chinese jade carved pendant of Ganesh. 7.5 cm high.Provenance: The Larkin/Minney Collection.

A Chinese off white and brown jade duck belt hook, Ming Dynasty. 5.5 cm high.Provenance: The Larkin/Minney Collection.

A small Chinese white jade fish, Yuan Dynasty. 12.5 cm long.Provenance: The Larkin/Minney Collection.

A large Chinese white jade fish, Yuan Dynasty. 19 cm long.Provenance: The Larkin/Minney Collection.

A Chinese brown, red and black jade pig, together with a modern oval wooden stand. 8.5 cm long.Provenance: The Larkin/Minney Collection.

A Chinese green jade pendant necklace and four pendants. The largest pendant 5 cm diameter.Provenance: The Larkin/Minney Collection.

A Chinese jade bowl on stand, a hardstone frog, a small pot and two other jade items. The former 9.5 cm diameter.

A Chinese 14 K gold and jade bracelet. 17.5 cm long.