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Buddhist Zushi (portable altar) in carved and lacquered wood. Japan. 19th century.The interior contains a Tibetan silver lama.The mirror and the agate cabochons inlaid inside are posterior.Altar dimensions : 19 x 14 x 11,2 cm.

A rare pair of large Chinese coral ground blue and white enamel painted octagonal lobed jardinières, Shendetang Zhi marks, Daoguang period, Each finely painted to the exterior with alternating panels of lotus blooms issuing leafy scrolls and a bat in flight above a Buddhist chime amid leafy scrolls, painted in gilt to the rim, raised on four moulded ruyi-form feet, the base and interior in turquoise glaze, iron-red hallmark to base, 17cm high, 32cm diameter (2)  Provenance: Formerly in the collection of Alfred Morrison (1821-1897), Fonthill House (with paper labels to base Fonthill Heirlooms, no. 603).      Footnotes: Note: The Shendetang ('Hall of Prudent Virtue') was a residence within the Yuanmingyuan commissioned by the Daoguang Emperor, completed in 1831. Daoguang pieces bearing the Shendetang Zhi mark are therefore attributable to the two decades between 1831 and 1850. The presence of the label ‘Fonthill Heilooms’ is also significant. This refers to a collection assembled by Alfred Morrison MP. He acquired the most extraordinary collection of Chinese ceramics and works of art from Lord Loch of Drylaw in 1861, who had brought them to England from the Yuanmingyuan (Old Summer Palace) in 1860. Lord Loch had been Aide de Camp to the leader of the Allied Expeditionary Force, Lord Elgin. A pair of porcelain bowls bearing the same hallmark to the base were sold here at Roseberys for £67,000 (including buyer’s premium) on 9 November 2021, lot 42. Compare with a pair of famille rose jardinières of a similar size, bearing the same marks, sold at Christie’s New York for $62,500 (including buyer’s premium) on 13 September 2019, lot 1105.

A collection of Chinese jades and hardstones and a Japanese ginbari cloisonné-enamel box and cover,18th century - 20th century,Comprising: a silver and white jade hand mirror, with white jade dragon belt hook shaft, with silver mount decorated with bats and the Eight Buddhist Emblems, inset with jadeite cabochons and carved tourmalines, the centre with white jade plaque carved in shallow relief with a boy carrying a vase of flowers on a raft boat, 22cm long overall; a white jade figure of a handler with a monkey on his shoulder, carved from a pale even stone, the details finely fleshed out, 7.5cm high; a soapstone 'dragon' belt hook, 10.7cm long; a spinach jade box and cover carved with butterflies and orchids, 11.8cm long; an agate baluster vase and cover, 16cm high, with wood stand; a rock crystal figure of a sage and deer, 9cm wide; a soapstone screen carved with a dragon and phoenix, 16cm high; and a Japanese ginbari cloisonné-enamel box and cover with silver and gold wire, decorated with a butterfly amongst hydrangea, unmarked, 7.6cm diameter (9)

A Chinese enamelled paktong water pipe,Early 20th century,Decorated with cajoling Buddhist lions, 40cm high

A group of Oriental items,19th - early 20th century,Comprising: a pair of softwood carvings, 30cm high; a Japanese bronze champlevé enamel figure of Guanyin atop a Buddhist lion; a buffalo and boy carving, 19cm high; a bronze figure of Budai, 21cm high; two cloisonné vases, 19cm and 16cm high; and a domed box (8)

A Japanese bronze globular incense burner and cover, Meiji period,Standing on three short bracket feet, cast in relief to the body with birds in flight, the cover with clouds beneath a Buddhist lion finial, 24cm high

A Chinese wucai ewer, the pear-shaped body rising to a flared rim, painted with a Buddhist lion among scrolling florets and leaves, 25cm highCondition ReportFully restored.

A collection of Chinese and Japanese ceramics, comprising:a Chinese export blue and white spoon tray,18th century, of lobed form painted with a landscape,18.6cm long, a blue and white saucer,painted with a bok choy,12cm diameter, and and a Japanese kutani jar and cover,of cylindrical form, painted with flowers in shaped panels, the cover with a Buddhist lion knop, with a four-character Kutani zo mark to base,25cm high (4)Provenance: from the deceased estate of Rosemary and Theo Cutting in Suffolk.Condition ReportSpoon tray - chipped and cracked. Saucer - chipped.Kutani - cracked to jar and cover, small chips to foot rim.

Japan.- Printed Sutra Scroll, number 262 of a "Kasuga-ban" woodblock-printed version of the Daihannyaharamittakyo sutra, text in lines of 17 characters each, old worming and repairs, attached at end to a wooden roller, housed in a fitted wooden box, 27ft 9in. x 10 7/16 in. (8480 x 265mm.), [Japan], [Muromachi period / 14th century].  *** These woodblock-printed editions of Buddhist scriptures, produced in Nara from the eleventh to the seventeenth century, are popularly referred to as Kasuga-ban, from the name of the celebrated Shinto shrine located in that city. 

Tibet.- Sutra of Properly Arranged Establishment in Buddhahood or Confession Sutra, manuscript in Tibetan, on paper, 97 leaves, stained black and varnished, text in silver-coloured ink to recto and verso, in 6 lines except on opening leaves, which have text in one, two, three, four and five lines, some leaves frayed and chipped at edges, some portions of loss, mainly affecting peripheral leaves, occasional worming, dust-soiling (affecting legibility at points), leaves loose, housed in a modern cloth drop-back box, each leaf c.130 x 550mm., [Western Tibet, Ladakh], [c.14th-15th century]. *** A beautifully calligraphed and complete Buddhist Sutra manuscript from Tibet, dealing with the confession of moral downfalls. Provenance: Library of the Philosophical Research Society (founded 1934); Christie's New York, 18-19 September 2002, lot 215, purchased by a private UK collector. 

Tibet.- Perfection of Wisdom in a Hundred Thousand Lines, manuscript in Tibetan, on paper, c.209 leaves, lacks 7 leaves (1-3, 84-87), text in silver-coloured ink to recto and verso, on a black background, border treated with arsenic solution to prevent insect damage, text area polished with rice powder to stabilise ink, paper quite fragile with occasional chipping or fraying to edges, one leaf with more substantial loss (half remaining), occasional small insect damage or loss, leaves loose, housed in a modern cloth drop-back box, each leaf c.150 x 495mm., [Western Tibet, Ladakh], [15th-16th century].  *** Contains four chapters (62-64) of the multi-volume Satasahasrika Prainaparamita, belonging to the genre of Perfection of Wisdom texts composed sometime between 100 and 300 AD. Central to Mahayana Buddhist philosophy, the text was routinely broken up into smaller, more manageable parts for travel and in-depth study. Paper-flaws imply that the manuscript was prepared in a local setting, with high-quality paper in limited supply. 

Nepal.- Hymn in honour of Tara, manuscript in Sanskrit, on blue-black dyed paper, 7 leaves, of which one blank, Sanskrit in 4 lines of gold Ranjana script, each leaf with old binding-hole, chipping and fraying to edges, a few times affecting text, one leaf with more considerable portion of loss, some staining, leaves loose in wooden covers, stained and worn, [Nepal], [13th or 14th century].  *** These leaves, from a hymn in honour of the female Buddha Tara, are an early example of the Nepalese tradition of Buddhist sacred writings on blue-black paper. The measured, gold Ranjana script is indicative of a date in the 13th - 14th century.

Tibet.- Confession sutra manuscript, title with overlay flap that covers two illustrations of  Buddhist deities, another leaf with two illustrations of praying Buddhist monks, with over 200 leaves of manuscript text, each leaf approx. 175 x 520 mm (6 7/8 x 20 1/2 in), some surface dirt and rough edges throughout, heavy signs of use, cloth stitched backstrip detached and with losses, wrapped in linen and presented in decorative wooden sutra box, with metal tooled and painted cover, 145 x 220 x 570 mm (5 3/4 x 8 5/8 x 22 1/2 in), [probably 18th century]

Tibet.- Charm scroll with an apocryphal Buddhist text, manuscript in Tibetan, on paper scroll, text in red and black ink, coloured illustrations, some chips and fraying to edges, some scattered small wormholes or traces, a few tape repairs, browned, c.90 x 5660mm., [Tibet], [17th century]. *** A remarkable manuscript that claims to be terma, a hidden source of true Buddhist doctrine. The text begins with invocations to the deities of the ten directions and pays them homage. Intriguingly neither the names of the deities nor their sacred realms are familiar from Buddhist or Bonpo sources. The next section claims to be translated from the Sanskrit, containing a long litany of unfavourable circumstances (astrological, demonic, natural &tc) with a prayer that they may be removed. After this come mantra and further spells for warding off evil. The other side of the scroll contains a long chain of talismanic charms, all in roundel form. Most of these consist of some kind of seed syllable encircled with a prayer, each bearing the name of some specific type of demonic injury. 

Sri Lanka.- Waakyapota [The Book of Sentences], manuscript in Sinhala, Pali and Tamil, on 76 palm leaves, plus 2 blank palm leaves to front and rear, text to recto and verso, lengthwise in one column of ten lines to first 26 leaves, thereafter 2 columns of 10 lines, leaves loose, oblong polychrome painted wooden covers in red, yellow and green, covers and leaves strung together through twisted cotton cord in one of 2 small holes (present to each leaf and covers), covers slightly larger than leaves, small annotated leaf with title of text affixed to upper cover via cord, another label 'Wakkai-pota' pasted to lower cover, each leaf 56 x 167mm., covers 61 x 174mm., [Sri Lanka], [18th or 19th century]. *** This small palm leaf manuscript deals with non-religious topics such as astrology, grammar, and syntax. It was produced in the same manner and style as Buddhist manuscripts of the same period, which were typically made of the Ola leaf or talipot palm leaf. On the painted covers, the front of each beveled panel features scrolling floral and vegetal ornament with lotus flowers in yellow and green-black on a red ground, the interior covers not painted.  

A good box of items relating to Buddha, meditation and Buddhist philosophy. No shipping.

A Carved Wood North East Asian Printing Block, Possibly Tibet, circa 19th Century, of rectangular form, with ebonised patina, with repeating lines of script, probably Buddhist mantras, 39cm by 20cm

A Tibetan Thangka Buddhist Painting framed. 

Reference.- Walravens (Hartmut) Catalogue of Chinese Books and Manuscripts in the Library of the Welcome Institute for the History of Medicine, illustrations, some colour, original cloth, 1994 § Braarvig (Jens, editor) Buddhist Manuscripts in the Schøyen Collection, 2 vol., constituting vol. 1 & 3 from the Manuscripts in the Schøyen Collection series, colour illustrations, original cloth, a touch rubbed, Oslo, Hermes Publishing, 2000-2002; and others, reference, many in Chinese, including an 11 vol. history of Chinese printmaking, 4to & folio (c.30)

A TIBETAN BRONZE CEREMONIAL EWER 19th century, the tapered repousse work body decorated with foliate panels, the handle in the form of a Buddhist lion, 22.5cm highProvenance: Acquired in the 1970's on the Isle of Mull.

FIVE CHINESE BLUE AND WHITE ITEMSMING DYNASTY AND LATERComprising: an ovoid jar decorated with three Double Happiness shuangxi characters on a ground of scrolling flowers; two small ovoid jars painted with Buddhist lions alternating with trailing lotus,one with a paper label reading 'Christie's 05 Feb 1998' to the interior; and two bowls with birds perched on flowering branches, both with indistinct seal marks, and a paper label reading 'Christie's 15 Apr 1999 417/4' to the base, 21.5cm. (5)Provenance: from a British private collection, formed between 1970-2003; the two small ovoid jars purchased from Christie's South Kensington, 5th February 1998, lot 443; the two bowls purchased from Christie's South Kensington, 15th April 1999, lot 417.

THREE CHINESE JADE ITEMSQING DYNASTY OR LATERComprising: a celadon jade figure holding a vase of lingzhi, the stone with russet inclusions; a celadon jade 'Buddhist lion' group; the third a grey jade pendant carved with the sixi tongzi, 8cm, 6.5cm and 5cm. (3)

A CHINESE BLUE AND WHITE PLATEKANGXI 1662-1722Painted with a central Buddhist lion within wide floral bands, with a painted jewel mark, 24.5cm.

NO RESERVEA CHINESE FAMILLE ROSE BALUSTER VASE LATE QING DYNASTY/ REPUBLIC PERIOD Decorated with a lobed panel of waterbirds diving into a pond and another with precious objects issuing flowering branches, all reserved on a ground of floral sprays with iron-red chilong and Buddhist emblems, the base with a Qianlong mark, drilled, 29.3cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

NO RESERVEA COLLECTION OF CHINESE WHITE, PALE CELADON AND RUSSET JADE CARVINGS MING/QING DYNASTY Including an openwork carving of two Buddhist lions contesting a brocade ball; a badger amidst fruiting branches; a goose with a peach spray in its beak; a small rectangular seal; and others variously carved as figures, fish, insects and plants, five with Chinese antiques shop wax seals, 6.4cm max. (12) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: from a British collection, Kent.

NO RESERVEA CHINESE MARBLE FIGURE OF A BUDDHIST LION TANG/SONG DYNASTY Seated with a boy standing beside the front right leg and with a cub beneath the front left paw, all on a lotus throne above a rectangular plinth, 36.3cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: from an English private collection, Sussex. Cf. JM Addis, Chinese Ceramics from Datable Tombs and Some Other Dated Material: A handbook, pl.19a, for a pair of similar stone lions excavated from the tomb of Yan Deyuan, dated to 1189.

A PAIR OF CHINESE FAMILLE ROSE YELLOW-GROUND CYLINDRICAL VASES19TH CENTURYThe bodies rising from short straight feet to a waisted necks and flared rims, decorated with panels of battle scenes alternating with quatrefoils of Buddhist lions, the necks with further figurative panels, all reserved against trailing formal lotus, bats and shou characters on a yellow ground, 45cm. (2)

SEVEN CHINESE JADE AND JADEITE CARVINGSQING DYNASTY AND LATERComprising: a pair of celadon jadeite striding lions; a mottled white and grey jade 'buffalo and boy' group; a small celadon jadeite water buffalo; a pale celadon jade Buddhist lion; a pale celadon jade mythical beast; and a small olive-green jade horse, each together with a wood stand, 11cm. (14)Please note the jadeite has not been tested for colour treatment.Provenance: Mr Simon Vos, ex Chairman of Regent Oil Company Ltd.

THREE CHINESE PLATESREPUBLIC PERIODOne with a fruiting and flowering pomegranate tree among chrysanthemum and peony painted in the famille rose palette; another with an iron-red Buddhist lion and puppy beneath an inscription; the third with three iron-red fish, each with a stamped mark to the base, 23.8cm max. (3)Provenance: from the collection of Colonel William Edmund Pye (1872-1949). Commissioned into the British Army in 1892, he served with the Indian Army in Tirah between 1897-98, then in 1900 was sent to China as the leader of the British Section of the International Police. It was at this time he started his collection, which has passed by decent to the current owner. Other items from his collection were sold at Christie’s South Kensington, 13th May 2011.

THREE CHINESE EGG AND SPINACH-DECORATED ITEMSMING AND EARLY QINGOne a figure group with a horse and crane in a rocky landscape, together with a wood stand; another a leaf-shaped box and cover with the finial modelled as a Buddhist lion; the third a ewer and cover shaped as a crayfish above breaking waves with fish and a crab; together with a yellow-glazed tripod stand with lion-paw feet; all with labels for the Henning Collection, nos.1351, 1354, 1281 and 1475, 25cm max. (7)

A CHINESE GREY AND RUSSET JADE BUDDHIST LION QING DYNASTY OR LATER The crouching creature carved in a recumbent position, its head turned backwards, with its mane and tail incised with fine hairs, the stone with russet and paler inclusions, 5.8cm.

(Lai Afong, China, Canton, Hong Kong, Singapore, Asia.) Three large photograph albums containing 145+ albumen and other photographs c.1870's/1880's of Canton, China, Hong Kong, Singapore, Japan etc., the vast majority of the photographs mounted to card leaves of albums, many of the images larger format (approx. size 20 x 25cm), including approx. 24 mounted images of Canton (now Guangzhou, some attributed to Lai Afong (c.1838-1890), including 'Flower Pagoda, Canton.', albumen view c. 1870's of the Flower Pagoda, also known as the Flowery Pagoda, part of the Temple of Six Banyan Trees, the pagoda is in a state of disrepair, with wild plants growing from its different stories, three people can be seen sitting in the foreground, image approx size 21 x 27cm, with original printed caption/description (loose), and a contemporary small mounted manuscript description below; 'Canton. Pagoda.', albumen view c.1873, five story pagoda built on the walls of the city, Koon-yan-sum mountains in distance. The Zhenhai Tower, also known as the Five-Story Pagoda, now houses the Guangzhou Museum in the center of the megalopolis. It was built in 1380, in the early Ming Dynasty, by the marquis of Yongjia Zhu Liangzu. Image approx size 19 x 26cm, with original printed caption/description (loose), and a contemporary small mounted manuscript description below; 'Pazhou Pagoda.', albumen view c.1873, depicting Pazhou Pagoda, also known as Whampoa Pagoda, Canton. Work on the Whampoa Pagoda began in 1597 and construction was completed in 1600. The pagoda is located on a hill on the southern bank of the Pearl River. Although it was built as a Buddhist landmark, it was also a useful navigation point for merchant ships heading to Guangzhou. Image approx. size 19 x 27cm; 'Pleasure Boat, Canton.', albumen view c.1870's, with loose printed caption "No. 262.-Pleasure Boat, Canton. These are called flower Boats and are used by pleasure parties they derive their name of flower from their being decorated with them when used by picnic parties, the views was taken on the Canton river.", image approx size 17 x 25.5cm; 'Flower Pagoda, Canton.', another albumen view of the Flower Pagoda, or Flowery Pagoda, c.1880, depicting pagoda in recently restored state, with loose printed caption "No.288.-Flower Pagoda, Canton. The Pagoda that bears this Euphonious name is inside the city walls and has been recently restored from its former state of decay. These places of worship are not confined to towns and villages but are built broadcast throughout the Empire. Solitary fields and roadsides are provided with them, as well as wooded knolls and barren mountain peaks. Some of the ancient ones are very picturesque, and a Chinese landscape seems to be incomplete without one.", image approx size 18 x 26cm; 'The Examination Halls in Canton.', albumen view, c.1873, image approx size 16.5 x 25cm, with loose original printed caption; 'Interior of the Temple of Five Hundred Genii in Canton.', albumen view c.1880's, image approx size 19 x 26cm, with orig. loose printed caption; panorama of Canton from Shameen and depicting Smith, Archer & Co. premises, albumen view, c.1869, approx. size 21 x 52cm; other images of Canton (some possibly by Lai Afong), including steamer Kin-Shan in Canton, c.1870's, approx. 18 x 27.5cm; view of harbour with orig. loose printed caption "Canton. Another View of Whampoa. On both sides of the River is Whampoa-the buildings next to the Derrick are the Offices of the Whampoa Dock Co.-the small Boats are Floating Dwellings.", approx size 18 x 27cm; plus approx. 16 images Hong Kong, including albumen by Lai Afong "No 350 - Ting-Wong, or Guardians of the Portal", c.1880, depicting Doorkeepers (Dvrapla), Buddhist temple, Hong Kong, approx. 19 x 23.5cm, plus 16 others Hong Kong, all larger format, many captioned, 2 images Macao, 3 French Indochina (Vietnam), including View of European shipping on the Saigon river, by T. Child, F. Beato and Charles E. Watkins, albumen print, c.1870's, approx. 18.5 x 29.5cm, another Saigon from river + 1 other; 16 images Hong Kong, majority approx size 21 x 27cm including harbour, "Hong Kong or the Lyee Mun Pass from Victoria Gap"; "Hong Kong or the Kowloon Peninsula from Victoria Gap"; Victoria Peak; Mount Kellet; "Douglas Castle & Pok-fo-lum Reservoir"; "Aberdeen & Repulse Bay. Ladrone Islands in distance"; "Sir G. Philippo's bungalow. Military Sanatarium in distance"; "2nd Battn. "The Buffs" on parade Hong Kong 1885"; Happy Valley, etc; 2 images Macao, both approx 21 x 28cm, including ruins of cathedral wall; 4 images Singapore approx. 15 x 26cm-19.5 x 26cm, including Malay village nr. Tanjong Pagar, Singapore; Government House, Fort Canning; Officers Quarters, Fort Canning; view of Singapore from Fort Canning; 84 images in total of Japan, of which 39 images in one album being albumen views temples, pagoda's etc in Kyoto, Otsu, Katsuragawa Rapids, Dai Butsu, Kamakura, etc., these all approx. 20 x 27cm; 45 hand tinted images of Japan in another album, of which 14 larger format (approx. 19 x 26cm) including paddy fields, rice winnowing and grinding, Osaka castle moat, Kyoto, Nara etc, and 30 smaller format images (approx. 9 x 13cm) showing various trades/people studies, including wrestlers, Samurai, musicians, actors, clothes drying, weaving, tatooed Betto/Irezumi (groom), tobacco shredding, hairdressing, clerk, charcoal seller etc; plus remaining approx. 24 larger format (app. 20 x 27cm) albumen views Ceylon (Sri Lanka), including Colombo, Colombo Kandy railway mountain passes, Badulla, near Newera Ellia, Rambodde, Temple of the Tooth, Kandy, Adams Peak, Point de Galle, road near Galle, etc, Suez canal incl. Port Said, H.M.S. Serapus, curve near Chalouf, Khedives chalet near Ismailia etc, plus 2 images Aden; each album folio (37.5 x 26.5cm), contemporary half calf gilt (3)

Six diaries of Arthur Tosio Peppe (1873-1949) of Ranchi Bengal, India, for the years 1903-1908, all with manuscript entries throughout, all Traill's indian Pocket Diaries, limp leather gilt bindings; together with a copy book containing numerous carbon copy leaves of letters by William Peppe, 1887, of the Birdpore Estate, in Northern India on the border with Nepal, an inhospitable area known as the 'Gorakpur Tarai', notorious for malaria, that Peppe, despite the difficulties of the terrain & threat of disease, managed to cultivate and build up during the secord half of the 19th Century, eventually managing an estate of nearly 50 square miles, and the site of the Piprahwa Buddhist Stupa, where excavation commenced in 1897 on what turned out to be an extremely significant Buddhist archaeological & religious find of ashes and jewels; plus some other 20th Century Peppe family diaries, snapshot photo albums, postcard albums, etc

A victorian photograph album circa 1860's/ 70's containing approx 75 mounted albumen print photographs of India & Ceylon (Sri Lanka), some images of Ceylon by Skeen & Co, including waterfront/ harbour view, numbered 1219, plus portrait photo of lady captioned in pencil to mount 'Kandian Lady' numbered 1203, others portraits of people including 'Singhalese Man', 'Tamil Girl', etc, some topographical views including 'kandy from Lady Horton's Walk;, Grand Hotel Mt Lavinia, near Columbo, 'View from Mount Lavinia hotel' showing railway line hugging coastline, group photograph of local musicians in tribal / ceremonial dress, rural scenes depicting tea plantations and factories, several group photos depicting European colonial inhabitants, in Eastern India, large colonial Estate, Birdpore Estate, Piprahwa, India, Estate of William Peppe and family neat the Nepal Franker, on which a Buddhist Stupa was found containing Buddhist relics, possibly of the Buddha himself, or those of his Kingsmen, images include view villa with gentleman posied in tennis court, group photos depicting colonial and and indigenous inhabitants together, military etc, images approx 7 x 9cm- 22 x 27cm, mainly larger images, a few with pencil captions to mount, oblong folio album, contemporary decorative calf (a/f), some areas of insect damage causeing large losses to front cover

A CHINESE GILDED BRONZE FIGURE OF GUANYIN QING DYNASTY The bodhisattva raised high on a lotus throne, riding on the back of a Buddhist lion, 337g, 12.3cm.

NO RESERVEFOUR CHINESE SOAPSTONE FIGURES 19TH CENTURY AND 20TH CENTURY One depicting a seated luohan resting on a rocky outcrop; another a seated luohan leaning on a recumbent tiger; a third a Buddhist lion playing with two puppies and a ball; and a figure of Budai He Shang, together with three wood stands, 16.5cm, 12cm, 11.5cm and 9.5cm. (7) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。

NO RESERVEA CHINESE HARDWOOD AND LACQUER TABLE SCREEN THE PANEL DATED 1727, THE FRAME LATER Set with a circular black lacquer panel decorated with boys, a Buddhist lion, and lingzhi sprays in mother of pearl, soapstone and lapis lazuli, the reverse with a poem, dated to the seventh month of the fifth year of the Yongzheng reign and with two seals, the later frame decorated with dragons and further fungi, 61cm x 45cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。

NO RESERVEA LARGE CHINESE BRONZE 'BUDDHIST LION' INCENSE BURNER LATE MING DYNASTY Seated with its front left paw on an openwork brocade ball and a trailing tassel in its jaws, the head fixed to the body, all mounted on a wood stand, 9kg overall, 28.5cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: from a British collection, Kent.

NO RESERVEFIVE CHINESE SOAPSTONE FIGURE GROUPS LATE QING/REPUBLIC PERIOD One carved as Magu with a phoenix; another a reclining figure; one a Buddhist lion affixed to its soapstone stand; and two each carved as a luohan, one with a soapstone stand; together with a small soapstone boulder carving, a jade archer's ring, and three wood stands, 21cm max. (11) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。

NO RESERVEA PAIR OF CHINESE CINNABAR LACQUER 'BAJIXIANG' BOWLS QIANLONG 1736-95 Each decorated to the exterior with the Eight Buddhist Emblems among scrolling lotus on a low-relief diaper ground, the interiors lacquered black and the bases lacquered red, with the paper labels for the RW Lawrence Collection, no.15, together with two wood stands, 14cm. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: Henry Lawrence (1925-2016) and thence by descent, purchased in the 1980s.

λ NO RESERVEλ A SMALL COLLECTION OF HIMALAYAN ITEMS 19TH AND 20TH CENTURY Comprising: a white metal ritual dagger, phurbu, embellished with bone deity masks and cabochons of coral, turquoise and other semi-precious stones; an iron phurbu terminating in the head of Hayagriva, together with a gilt-copper stand; a gilt-copper fragment with a deity mask terminal, together with a modern metal stand; and a bronze baluster vase with traces of red pigment, decorated with Buddhist deities alternating with formal foliate lappets, 26cm max. (6) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: from a British collection, Kent.

NO RESERVETWO TIBETAN THANKAS LATE 19TH/ 20TH CENTURY One depicting the standing figure of White Tara wearing flowing robes and an elaborate headdress, raised on a lotus plinth above a landscape populated with precious objects, amidst lotus flowers, scrolling clouds and a host of Buddhist deities; the other depicting the Buddha Shakyamuni in dhyanasana with his right hand in bhumisparsa mudra and his left holding an alms bowl, seated on a lotus throne raised on a plinth decorated with two Buddhist lions, the canvas mounted to a wood rail carved with polychrome roundels of Tibetan characters and hung with fabric tassels, 66.5cm x 45cm, the latter 78cm x 66cm overall. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: from a British collection, Kent.

A LARGE CHINESE CLOISONNE ENAMEL 'BAJIXIANG' MOONFLASK, BIANHUQING DYNASTY OR LATEREach side with eight lotus petal-shaped panels formed of kui-dragons and stylised ruyi-heads, each enclosing one of the Eight Buddhist Emblems, radiating from a raised boss centred with a yin-yang symbol, the neck flanked with scrolling kui-dragon handles and decorated with bats above stylised lotus flowers, 5kg, 50cm.

A pair of Chinese blue and white vases and covers, Qing dynasty, 19th century, painted with flowerheads and scrolling foliage, with chilong applied to the neck and the domed covers with Buddhist lion finials, 45cm high (2) Provenance: From the estate of the late Bruce John Clayton 1930-2023清19世紀 青花螭龍鋪耳蓋瓶一對拍品來源：Bruce John Clayton（1930-2023）家族收藏 Condition Report: in good condition other than some firing faults and very slight glaze blistering to rims Condition Report Disclaimer

A Chinese Buddhist lion pottery ridge tile, Ming dynasty, with weathered luminous green glaze, with traces of green, white and orange glazes, 26cm high Provenance: Formerly from a family collection in Chelsea and to the present owner明 綠釉獅子立像瓦拍品來源：倫敦切爾西私人收藏 Condition Report: the glaze with losses and wear throughout and chip to left leg and base and tail and other minor chips throughout  Condition Report Disclaimer

A Chinese soapstone figure of Guanyin, Republican, seated holding a scroll with a Buddhist lion at her side, the stone a mottled tan with red inclusions, the figure 21cm high, fitted carved wood stand民國 壽山石雕觀音像 Condition Report: some natural flaws to the stone Condition Report Disclaimer

A Japanese painted and lacquered figure of an Oni, Meiji Period, dressed in the robes of a wandering Buddhist priest, he carries a gong and a hogacho, with attendant to one side, on shaped base, 33cm high Condition Report: attendant with toes missing to right foot and one foot off and glued one stag antler horn missing from head of oni and other small losses throughout  Condition Report Disclaimer

A pair of Chinese sancai-glazed Buddhist lion joss-stick holders, Kangxi, modelled on rectangular plinths, one now missing its cub, the other with a ball, decorated on the biscuit with splashes of yellow, green and aubergine, extending eyes, 19.5cm high (2)Provenance: Formerly from a family collection in Chelsea and to the current owner清康熙 三彩獅子香插一對拍品來源：倫敦切爾西私人收藏 Condition Report: one lion missing it cub and with top section of the holder replaced and with other chips and enamel wear and restoration to both eyes and retouching and restoration to eyes and star crack to base the other lion missing one eye and the other eye restored and with chip to tail and chip to top of separately modelled brocade ball and chip under base and chip to side of mouth ad chip to right ear  Condition Report Disclaimer

A SMALL COLLECTION OF TWELVE JAPANESE SAKAZUKI (SAKE CUPS) TAISHO/SHOWA, 20TH CENTURY Six cups decorated in gold and silver takamaki-e on a coral-red ground, comprising two sets of three cups, variously painted with chrysanthemum, butterflies and cranes by a lake; and six cups decorated in gold takamaki-e on a coral-red ground, two of larger size and four smaller, variously decorated with cranes and pine, fish, Buddhist emblems and other auspicious objects, 12.6cm max; contained in four tomobako wood boxes. (16) Provenance: an English private collection, Somerset, purchased in Japan.

A lot of various Thai Buddhist amulets etc Condition Report:Available upon request

A Thai Buddhist Wooden Takrut together with two yellow metal amulets, a pendant mounted Rama V coin etc Condition Report:Available upon request

A JAPANESE PARCEL-GILT BRONZE OKIMONO OF KANNON BY TAKAMURA KŌUN (1852-1934)TAISHO/SHOWA, 20TH CENTURYThe Bodhisattva of Mercy is depicted standing on a circular base and holding a tall lotus stalk; she wears long flowing robes and various jewels highlighted in gilt; signed at the back with an impressed seal reading Takamura Kōun, 38cm.Takamura Kōun, a member of the Imperial Art Academy and professor at the Tokyo School of Fine Arts, was an influential figure in the modernisation of Japanese sculpture around the turn of the 20th century and one of the first two sculptors to become Teishitsu Gigeiin (Artist to the Imperial Household), appointed in 1890. His most celebrated works are the large bronzes of Saigo Takamori and Kusunoki Masahige both on public display in Tokyo, yet he initially trained as a wood carver with the traditionalist Buddhist sculptor Takamura Tōun. It was thanks to a sandalwood figure of Kannon that he came to fame in 1877 at the first Naikoku Kangyo Hakurankai (Domestic Industrial Exhibition), and it was not until the 1880s that he began to create wood maquettes for casting in bronze. His specialism in Buddhist iconography remained throughout his career, and he is considered an influential revivalist of Buddhist art during the Meiji, Taisho and Showa eras, often melding traditional Japanese imagery with Western stylistic elements. The standing figure of Kannon often recurs in his work, as seen in the present lot and a similar bronze sold at Bonhams, London, 15th May 2014, lot 542.

A Chinese blue and white lobed plate, Kangxi, decorated in underglaze blue with floral motifs surrounded by a border of alternating panels, the exterior decorated with the Eight Buddhist Emblems, the base with Kangxi six-character mark in underglaze blue within double circle, 24cm diameter清康熙 青花"大清康熙年製"款葵口盤 Condition Report: minor firing blemishes oterhwise very good conditionCondition Report Disclaimer

A Tibetan incised red lacquer wood book cover, Tibet, Qing Dynasty, of rectangular form, the outer side incised with Buddhist emblems, 23cm x 80cmCompare with a similar one at the Palace Musem, Yongle period (museum accession number 新0020233)清 西藏紅漆戧金八寶經文夾板 Condition Report: loss to gilding and knocks to the raised ribs and edgesCondition Report Disclaimer

A Chinese Buddhist painting, 17th century, painted in watercolour with two buddhas in a pavilion and three standing buddhas next to a flaming lotus pond, ink and colour on paper, framed as album leaf, 28.3cm x 18.2cm 明十七世紀 佛教故事畫 設色紙本 Condition Report: with split edges and damaged topCondition Report Disclaimer

A small Thang-ka depicting Avalokitesvara, Tibet, 18th century, pigment with gold on cloth, the four-armed Buddhist deity seated in padmasana within a scrolling golden aureole on a lotus throne in a hilly landscape, his primary hands clasped over the wish-fulfilling jewel, his upper hands holding mala and padma, wearing elaborate jewellery, large earrings and tall crown, silk mount with geometric design, image size, 41cm x 28cm, framed  西藏十八世紀 彩繪布面觀自在菩薩唐卡 Condition Report: as seen in images unexamined out of fame Condition Report Disclaimer

Jin Chen (1878-1926), Buddhist lion, ink and colour on silk, signed and with one seal of the artist, picture size 34.5cm x 20.5cm; and another landscape painting, 19th century, ink and colour on paper, picture size 79cm x 38cm (2) 金城（款）《天竺受法》設色絹本 鏡心清匿名山水圖 Condition Report: foxing and fadingCondition Report Disclaimer

A large Chinese Famille Verte 'Buddhist lions' bottle vase, Kangxi, the large pear-shaped bottle raised on a short foot, the tall cylindrical neck with a slightly everted rim, decorated around the globular body with four Buddhist lions playing with a brocaded ball and ribbons, the shoulder with a band of floral scrolls and a ruyi border, the top of the neck with a diaper-pattern band and pendent tassels, 47.2cm highProvenance: Property of a Gentleman, purchased in the 1890s by repute and by family descent.A similar famille verte bottle vase, Kangxi, is illustrated by C.J.A.Jorg, Famille Verte: Chinese Porcelain in Green Enamels, Lier, 2011, p.43. See also a very similar famille verte vase, Kangxi, which was sold at Sotheby's New York, 15 March 2017, lot 696.清康熙 五彩獅子戲球大棒槌瓶拍品来源：绅士收藏，家族于 1890 年代购买 Condition Report: the rim restoredCondition Report Disclaimer

A Chinese Famille Rose bowl, Daoguang (1821-1850), the rounded sides sweeping up sharply to an everted mouth, delicately enamelled with lotus sprays issuing colourful leaves on a yellow ground, a border of the Eight Buddhist Emblems alternating with ruyi heads adorned on the rim, interior and base glazed exposing a four-character red xue zhu zhu ren mark, 11.6cm diameter清道光 "薛竹主人"款粉彩纏枝蓮紋盌 Condition Report: several cracks to the rimCondition Report Disclaimer

A Chinese bronze stele of Amitabha Buddha, Northern Wei Dynasty, finely cast in the form of Amitabha seated in padmasana with hands depicted in dhyanamudra, the Buddha of Infinite Light raised on a quadrangular base against a petal-shaped mandorla, tight and precisely etched with lines radiating from the outlines of the Buddha, reminiscent of light emitted by the deity, inscribed on the base with auspicious lines, 11.5cm highProvenance: Collected by the current owner on the UK market in the 1980's or early 1990's Buddhism flourished in China under the direct sponsorship of the Tuoba royal family, who founded the Northern Wei dynasty. They actively embraced Buddhism, funding the creation of Buddhist statues and temple grottoes as a means of establishing their claim to the Chinese throne. This bronze stele shares stylistic similarities with other examples of the Northern Wei period with inscriptions. The robes of the Buddhas and the flames of the mandorlas on these steles are similarly indicated by close parallel grooves. See Jen Shen, Hai wai ji Gang Yai can li dai fo xiangi: zhen pin ji nian tu jian (Catalogue of Treasures of Buddhist Sculpture in Overseas Collections including Hong Kong and Taiwan), Taiyuan, Shanxi, 2007, pp. 425-39, the dates ranging from 493 to 501. 北魏 銅阿彌陀佛坐像發願文："佛子于□□□製□□平安造像一軀"拍品來源：英國紳士私人收藏，現藏家於上世紀九十年代購自倫敦水晶宮 Condition Report: the mid section possibly restoredCondition Report Disclaimer