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Edwardian Coal scuttle with Art Nouveau Copper Strapwork and Handle, Sankey copper jardiniere, coal helmet, teapot, Middle Eastern copper ware, brass candlestickno liner

TENG-HIOK CHIU 周廷旭 (Chou Ting-Hsu) (Chinese, 1903-1972) oil on board - Landscape with tree and pond to the fore, signed CHIU, the reverese painted with another landscape with pencil annotations, 22 x 31cmsProvenance: private collection Cardiff, purchased c. 1994 Arundel in West Sussex, UK.Auctioneers Notes: Born in Xiamen, Fujian Province in 1903 to a prestigious family, Teng-Hiok Chiu had the opportunity to study abroad from a young age. By 1924 he had enrolled in the University of London, and in 1925 studied Western painting under Sir George Clausen, Sir Walter Russell and Charles Sims at the RA Schools. He became the first foreigner to be granted membership of the Royal Society of British Artists. Chiu also trained at the School of the Museum of Fine Arts in Boston, and Paris, but he reached the turning point in his career when working alongside his mentor Laurence Binyon, a renowned Oriental scholar, in the British Museum in 1930. Working together they analysed many significant Chinese calligraphic works and paintings and it was from this point onwards that Chiu fused Eastern and Western artistic ideas and philosophy, to produce works with Chinese sensibilities and Western technique. From 1930 Chiu travelled extensively through Europe, Africa and Asia, including his homeland Xiamen in China. From 18 November to 4 December 1936 he exhibited a one-man show at The Fine Art Society in London. In the preface to the catalogue, Binyon wrote: “Mr. Chiu has travelled over many parts of the world, in the East and in the West, and has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift.” (See T. H. Chiu, An Exhibition of Paintings by Teng H. Chiu, A.R.B.A. (London: Fine Art Society, 1936).Comments: framed ready to hang

(Japan, History, Art, Travel.) Engelbert Kaempfer: 'The History of Japan. Together with a Description of the Kingdom of Siam 1690-92', Glasgow, 1906, 3 volumes, portrait frontis + 162 illustrations (including large folding map at end of vol. III) as called for, uniform original cloth gilt; S. Bing: 'Artistic Japan: A Monthly Illustrated Journal of Arts and Industries', London, Sampson Low, May 1888-February 1891, 12 assorted issues, comprising No.'s 1, 3, 5, 6, 8-12, 25, 26 & 33, numerous colour plates and b/w ills. throughout, each folio (34 x 25cm), original pictorial wraps (several with wraps detached but present, chipped/worn at edges), housed in original blue cloth portfolio, large mounted colour illustration to front cover, ribbon ties; Henri L. Joly: 'Legend in Japanese Art', London, John Lane the Bodley Head, 1908, 16 colour plates + numerous b/w plates as called for, large 4to, original pictorial cloth gilt, all edges gilt; Douglas Sladen: 'Queer Things about Japan', L, Anthony Treherne, 1904, 2nd impression, colour frontis + 6 pages of colour plates + 30 b/w plates + pictorial end papers as called for, all after Hokusai, orig. cloth gilt (rubbed), top edge gilt; F. Hadland Davis; Evelyn Paul (ill.): 'Myths & Legends of Japan', L, Harrap, 1912, 32 colour plates by Evelyn Paul as called for, orig. decorative leather gilt, top edge gilt; D.C. Angus: 'Japan: The Eastern Wonderland', Cassell, 1910, 4 colour plates + numerous b/w plates as called for, orig. pictorial cloth gilt; Gaston Cerfberr: 'Contes Japonais', Paris, 1893, b/w ills. throughout, orig. pictorial wraps, glassine d/w; R.M. Knutsen: 'Japanese Polearms', 1963, 1st edition, b/w ills. throughout, orig. cloth gilt, d/w; plus 8 others similar including the floating world/ukiyo-e etc (18)

A collection of eastern tribal art to include two Japanese masks.

1946 (English Edition) an unusual and rare group of three books titled 'CHOP SUEY' which illustrate atrocities by the Japanese during the three-and-a-half-year Second World War military occupation of Malaya/Singapore, illustrations by Liu Kang, Eastern Art Co., Singapore, printed at Ngai Seong Press, Singapore, three volumes of illustrations by the artist Liu Kang offer a rare insight into how people in Singapore were persecuted and tortured by the Japanese during the occupation years, only 2000 copies of each edition were ever published. (3). Scarce.* Each taped to the spine, many tissue sleeves creased etc, little foxing, fair to fine.

TWO KOREAN CELADON BOWLSPOSSIBLY GORYEO, 13TH CENTURY OR LATERThe largest with a wide mouth and a shallow body, the well delicately incised with two phoenix in flight, 18.5cm; the smaller bowl of conical form and raised on a short foot, moulded with two large leaves either side of a gardenia or lotus flower, the reverse with a paper collection label reading 'Cunliffe QP5', 11.4cm. (2) Provenance: from an English private collection, London. Previously in the collection of Lord Cunliffe (1899-1963). Considered one of the great collectors of Asian art in the mid-20th century, Lord Cunliffe was a prominent member of the Oriental Ceramic Society and the Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge. By the 1960s, his collection included over 600 pieces, featuring such prized works as his three Chinese 'Palace' bowls. His pieces were displayed in a number of OCS exhibitions in the 1940s and '50s, and a series of articles by Edgar Bluett on the Cunliffe collection were published in Apollo magazine in 1956. Alongside Chinese art, Lord Cunliffe also collected Japanese and Korean art. His taste for simple forms with minimal decoration, mentioned in R Davids and D Jellinek, Provenance, pp.132-133, must have been well suited to the aesthetics of Korean works, as seen in the present lot.

A JAPANESE BLUE AND WHITE ARITA BOTTLE VASEEDO PERIOD, C.1680The bulbous body with a short flared neck, decorated with pavilions in a mountainous river landscape, one side with a large weeping willow and another with fishing nets; with concentric bands of lappets to the shoulder, 21.5cm.Provenance: formerly in the collection of Oliver Impey (1936-2005). Impey was Senior Curator at the Ashmolean Museum, Reader in Eastern Art at Oxford University, and a leading authority on Japanese Art. Published: Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, pp.50-51 no.22, where the piece is discussed and illustrated.

GROUP OF THREE INK RUBBINGS 《關聖帝君像》 及 二菩薩立像圖 水墨紙本 拓片 立軸 （共三幅）關聖帝君像 款識: 康熙六十年嵗次辛丑孟春穀旦、白山弟子李進泰薰沐敬摹菩薩立像其一 款識: 興和元年己▢一月朔日羊宇▢義敬造佛像一軀comprising: one depicting Guan Yu, 98.4cm x 48.3cm; the other two each with a standing Bodhisattva, 157.5cm x 50.5cm and 123.5cm x 52.2cm, all mounted as scrolls (3) Private Scottish collection, Melrose; acquired in China in the 1940's when working for Shell, thence by descent. Guan Yu (160-220), also known as Guan Yunchang, was a Chinese military general during the late Eastern Han Dynasty. This rubbing is taken from a Qing engraving of Guan Yu by Li Jintai based on a Ming dynasty stone carving. A comparable example is at the Berkeley Library, University of California, accession no. Tsa 179. A comparable ink rubbing of the Bodhisattva without inscription is in the Shaanxi Province Art Museum, attributed to Avalokitesvara and the original work of the Sui dynasty. Also see a comparable example inscribed by Pu Xinyu, sold at Rongbaozhai, Nanjing, 8 July 2017, lot 310.The other ink rubbing of a standing Bodhisattva has inscriptions on the podium, dated to the first year of Xing He reign, during the Western Wei Dynasty, corresponding to 539AD. 

BRONZE 'DRAGON' BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 銅蟠龍紋瓶sturdily cast with slightly compressed globular body on splayed foot, raised to cylindrical long neck, a dynamic sinuous dragon coiled on the neck in high relief, the face, mane, spine, muscles rendered in detail, all elevated on an integrated openwork square base  33cm high; 3655g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This vase was on loan for decades, loan number ‘A.L.331.6’, with an associated museum label tied on the base inscribed ‘Loan 331/6’, deaccessioned in 2023, thence by direct descent. The old photograph of the vase (see illustration 1) was possibly taken next to the China Inland Mission Moongate in Dali, and another photograph shows Mr Forrest outside the same moon gate around 1905 (see illustration 2).We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photographs and their information.  See two related bronze vases with dragons on the neck, one dated to the late Ming dynasty, 17th century, sold at Christie's New York, 25 Sep 2020, lot 1606; and one dated Qing dynasty, 18th century, sold at Christie's Hong Kong, 6 Apr 2015, lot 164. 

(From the collection of George Forrest, lots 37-41)RARE INSCRIBED AND DATED ARCHAISTIC BRONZE VESSEL, FU YUAN DYNASTY, DATED TO THE XINYOU YEAR OF THE ZHIZHI REIGN, 1321AD 元 1321年 銅簠款識: 至治辛酉中慶路文廟禮器教敦趙善坤正錄孫彬杜餘慶記of rectangular form, with wide flared sides raised on a high gently splayed foot with cut-out aprons, both narrower sides set with a pair of loop handles issuing from mythical animal heads, decorated around the sides with bands of geometric motifs, wider sides with two small applied animal-mask plaques, the base with a panel reading Zhizhi xinyou Zhongqinglu wenmiao liqi jiaodun Zhao Shankun zhenglu Sun Bin Du Yuqing ji 35.5cm wide; 3278g From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This item was on loan for decades, loan number A.L.331.4, with an associated museum label tied to one handle inscribed ‘Loan 331/4’, further with a museum paperboard label with the information of the item, stated as an incense burner, obtained at Talifu, Yunnan, ‘Lent by Mr. George Forrest, Edinburgh, 1929. Loan 331.4’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information.  The inscriptions on the base record that this vessel was made in the year of Xinyou of the Zhizhi reign, corresponding to 1321AD during the Yuan dynasty. It was dedicated to the Confucious Temple located at Zhongqing Street, traceable to the still-standing Confucious Temple built in 1302AD in Anning county, Kunming city, Yunnan. While archaistic bronze ritual vessels are not uncommon, bronze ritual vessels documented to have been made for use in local academies and temples such as the present example are extremely rare. Compare to a highly similar rare inscribed and dated archaistic bronze vessel, fu, Yuan dynasty, dated to the Bingzi year of the Zhiyuan reign (1276 or 1336), formerly in the collection of Dr David Ho, sold at Sotheby's London, 3 November 2021, lot 121. Also see two documented bronze ritual vessels, fu, both dated to the Yuan dynasty, in the collection of Shanghai Museum. 

(From the collection of George Forrest, lots 37-41) LARGE BRONZE 'CHI DRAGON' TRIPOD CENSER QIANQING GONG MARK, QING DYNASTY, 18TH-19TH CENTURY 清 乾清宮款 銅螭龍耳三足大爐impressively cast with wide rounded body raising to a ridge underneath waisted neck and everted flattened mouth, all on three cabriole feet, both sides with theatrically arched chi-dragons clinging to the mouth and body as handles in high relief, the base cast with recessed medallion centred with a three-character ‘Qian Qing Gong’ mark enclosed by a band of dragon amongst crashing waves 34cm wide across handles; 5.56kg From the collection of George Forrest (13 March 1873 - 5 January 1932). George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This censer was on loan for decades, loan number ‘A.L.331.3’, with an associated museum tag label tied on one foot inscribed ‘Loan 331/3’, further with two associated museum cardboard labels with item details, loan number ‘L.331.3’ and ‘Lent by Mr. George Forrest, Edinburgh, 1929’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information.  Qianqing Gong, The Palace of Heavenly Purity, or Qianqing Palace (乾清宫) is a palace in the Forbidden City in Beijing, China. It is the largest of the three halls of the Inner Court, located at the northern end of the Forbidden City. During the Qing dynasty, the palace often served as the Emperor's audience hall, where he held council with the Grand Council. Objects, especially censers, bearing Qianqing Gong mark are deemed similar to ‘Neitan Jiaoshe’ mark (內壇郊社, refers to the altar to Heaven and Earth within the inner walls of the Temple of Heaven) as Imperial wares adorning or used in their specific rooms. Compare to an example of a bronze tripod censer with chilong handles, Qing dynasty Qianlong period, with a different treatment of the ‘Qian Qing Gong’ mark, sold at China's Guardian, 19 May 2021, lot 4634. Stylistically, a comparable large bronze tripod censer with chilong handles, dated to the late Ming dynasty, note the similar treatment of the waisted band with ridge on the mouth, sold at Sotheby's London, 22 February 2022, lot 50; Two other censers with similar design on the mouth, dated to Ming and late Ming dynasty, were sold at Christie's London, 18 Mar 2015, lot 686 and Sotheby's London, 10 November 2017, lot 366. 

NINGXIA RUG QING DYNASTY, 19TH CENTURY 清 寧夏團花紋毯an arrangement of eight floral roundels intermittent with butterflies, flowers, pomegranate and buddha-hand citrus sprays against a burnt orange field, enclosed by a beaded border further with a larger floral border 184.5cm x 124.5cm From the collection of George Forrest (13 March 1873 - 5 January 1932), Edinburgh. George Forrest was an important Scottish botanist born in Falkirk. In 1904, he was sponsored by a horticulturist and cotton broker- Arthur Kilpin Bulley (1861-1942), to embark on an expedition to China's then-remote southwestern province of Yunnan, in search of plants new to horticulture in Europe, particularly species of rhododendron. Altogether, Forrest made seven trips to the region, ranging as far afield as upper Burma, eastern Tibet and Sichuan province. In 1932, he passed away just outside of the town of Tengchong, previously known as Tengyue or Tengyueh.His Asian Art collection was partially donated to the National Museum of Scotland in Edinburgh. This rug was on loan for decades, loan number A.L.331.1, with an associated museum tag label inscribed ‘L331.1’, deaccessioned in 2023, thence by direct descent. The old photograph shows Mr Forrest outside the China Inland Mission Moongate in Dali, taken around 1905.We would like to express our gratitude to 'George Forrest / Royal Botanic Garden Edinburgh’ for providing the old photograph and its information.  Two comparable Ningxia rugs, similar in design, were in the collection of Arthur M. Sackler, sold at Sotheby's New York, 16 September 2009, lot 68 & 70

An antique Persian urn, an urn from the 19th century, made of brass and decorated with delicate hand-engraved decorations by an artist (extremely high-quality work) in scenes from 'Lila and Magenun' (a well-known love story in the Eastern countries, based on a tragic event that occurred in the 7th century. In 1192, the Persian poet Nazami composed a long poem about the love story, included in his "Khamsa" file and since then the motif has become a common decorative element in Persian art). Width: 15 cm, Height: 18.5 cm. Period: 19th century

A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏

A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script,18cm high, in pack-horse basket (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏  

A set of twenty-five Chinese bisque porcelain busts of Mao Zedongcirca 1966-67Each inscribed 'Long Live Chairman Mao' in cursive script, in pack-horse basket,18cm high (25)Provenance: Peter WainCf. A set from the same hoard was exhibited: Mao: Art For The Masses, Revolutionary Art of the Mao Zedong Era, 1950-1976, National Museum of Scotland, Edinburgh, May 2003 - March 2004, cat. no. 32.A hoard of 400 bisque porcelain busts of Chairman Mao were discovered on the Sino-Tibetan border in an area regarded as the inspiration for Shangri-La.Originally intended for distribution throughout the South Eastern corner of Tibet, they were packed into baskets and transported by horse to Zhong Dian on the Yunnan Tibet border. The baskets were stored awaiting distribution in a police station but never made it any further, languishing forgotten until 1998 when the building was destroyed by an earthquake. The busts miraculously survived, protected by their transit baskets and straw wadding.The design of the bust was officially sanctioned, being the only sculptural image of Mao made for distribution to official buildings in China. The majority of the hoard was bought by the late Peter Wain, before being shipped to the UK.二十世紀中期 毛主席瓷塑半身像一組二十五尊類似一組瓷塑像展覽於：大眾藝術：毛澤東期間的革命藝術"，蘇格蘭博物館，愛丁堡，2003年5月至2004年3月，圖錄編號32。來源：彼得·韋恩先生私人收藏。

Tribal Art. Ewe tribe, fertility figure with elaborate coiffure, collected from village in Eastern Highlands, Ghana, 32cm high.

A FOLK ART SCRATCH BUILT MODEL OF AN EASTERN SAILING VESSEL with original paint finish (losses,some repairs required) 60cm long

A pair of decorative art glass parrots in the manner of Murano or other Italian factories but most likely of Eastern origin 

An Eastern brass bowl, bridge indicator, trench art etc.

ABU SUBHI AL TINAWI (SYRIAN 1888-1973) ABLA & SHEIBOUBsigned in Arabic lower centremixed media on unstretched canvas pasted onto board60 x 69cm; 24 x 27 1/4in64.5 x 72.5cm; 25 3/4 x 28 1/2in (framed)executed circa 1950s/1960sProperty from a Private Collection, LondonProvenanceCollection of a Diplomat, DubaiAcquired from the above by the present ownerBorn in Damascus, Abu Subhi Al Tinawi is one of the most well-known Syrian folk artists of his time. Originally named Muhammad Harb, it was when he opened his shop in Damascus that he began signing all of his artworks Abu Subhi Al Tinawi, a familiar Arabic way of calling someone after their eldest son.Hailing from a family of reverse glass-painters and tapestry artisans, Al Tinawi made his own paint using the traditional technique of combining natural pigments with Arabic gum. He became known for reverse glass painting, a technique which, having originated in Europe and popularised in Central and Eastern Asia in the 17th century, was already fading in the Levant by Al Tinawi’s time. Continuing his work on glass and other media, such as metallic paper or cloth, he became known for his use of bright colours and simple representations of characters with straightforward expressions. Fascinated by traditional verses and stories, Al Tinawi’s oeuvre explores folk epics, historical events and religious themes. Over the decades, his prolific depictions made him a spectacular visual storyteller who was able to express the emotions of his community through popular concepts.By the time of his death, Al Tinawi had accumulated unexpected fame. Though he never left his shop to see the exhibitions of his work, pieces had travelled to Europe and beyond. Rumoured to be one of the first Arab artists to participate in an exhibition showing Picasso in Paris, his work was acquired internationally by individuals and art institutions, including the Louvre. Al Tinawi’s work has greatly influenced contemporary Arab artists and has also found its way into numerous publications and films.

Random (aka the Barnsley Banksy), street art, mixed media, portrait of a Middle Eastern man, painted on Arabic newspaper, 71cm x 54cm, signed 'RANDOM' to lower right, framed and glazed, 87.5cm x 67.5cm.

Random (aka the Barnsley Banksy), street art, mixed media, portrait of a Middle Eastern woman, painted on Arabic newspaper, 28cm x 40cm, signed 'RANDOM' to lower right, mounted on board, 40cm x 50cm.Note:- Unframed

Two 19th century Lornettes, silver model goose, 19th century Eastern cosmetic box and various other works of art

Hand painted and ornately decorated in vibrant colors. This intricate scene depicts a folkloric Russian warrior, the style is reminiscent of traditional Eastern European or Slavic folk art. Back stamped. Dimensions: 5.25''L x 4''W x 1.5''HCountry of Origin: RussiaCondition: Age related wear.

Ca. AD 900 - 1100.A 22 ct gold pendant with a lunate shape and a loop for suspension. The Viking culture, contrary to popular belief, was greatly influenced by the peoples with whom it came into contact in both cults and customs. But this is completely normal considering that they were possibly amongst the greatest travellers in history and consequently connoisseurs. In jewellery, the style and iconography of the late Viking period 10th and 11th centuries were strongly inspired by Byzantine productions, the only place in the world during that historical period capable of launching fashions, creating styles and crafting objects to be traded with the entire western area that was being raided precisely by the Vikings. We are therefore not surprised that a motif such as the moon motif from Roman fashion and then passed down through Constantinople could be found around the necks of prominent Viking warriors. We also know that seven thousand Vikings formed the Varangian Guard under the direct command of the emperor of Costantinople. The threads that bound the Vikings to the capital of the Eastern Roman Empire were many and well intertwined. For similar see: Viking Art. Thames and Hudson, pg. 67, n. 64. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: 24mm x 18mm; Weight: 2g Provenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Ca. AD 175 - 300.A Roman bronze brooch decorated with four heads of horses realised in naturalistic manner. It was used principally in the Northern and Eastern part of the Empire, inspired by Thracian art. Fibulae had a fundamental role in the Roman Empire, in fact, in addition to holding the cloak they also served as an object of social distinction. This one in particular, was widespread in the military sphere and inspired by the art of the Thracians, a population from or settled on the edge of the Steppes. In these populations, horses were undoubtedly fundamental for its speed of movement. This animal was useful for pulling chariots, cultivating but also, above all, for fighting. These warriors aroused so much admiration in Emperor Marcus Aurelius that he decided to annex the war cavalry of the Sarmatians (descendants from the Thracians) into the Roman army. This fibula was in fact made and became widespread after the end of the Marcomannic wars. For similar see: Nordeuropaische fibelformen, fig.132. Size: 34mm x 32mm; Weight: 16g Provenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 600 - 500 BC.A Neo - Babylonian stamp seal depicting a standing god facing left, with the tree of life and highly stylised details. The seal has a globular body with a horizontally drilled hole. For similar see: Berlin Museum, VA A1671. Size: 17mm x 13mm; Weight: 8g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 400.A Sasanian stamp seal depicting a stylised mythological winged lion. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 103. Size: 15mm x 15mm; Weight: 4g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 600 - 500 BC.An octagonal Neo - Babylonian stamp seal depicting a standing god with a horned tiara facing left, holding a sceptre and looking at a star in the sky. Behind the figure, there is a highly stylised goat. The seal has an octagonal body with horizontally drilled hole. For similar see: Berlin Museum, VA 10368. Size: 17mm x 12mm; Weight: 8g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 500.A Sasanian stamp seal depicting a stylised lamassu with high wings facing left. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 69. Size: 15mm x 11mm; Weight: 3g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 2300 - 1800 BC.A round Bactrian stamp seal depicting an eagle with its wings spread and a background of stars in the sky. The seal has a horizontally drilled hole. For similar see: Unpublished Stamp - seal from the north western Murgab Delta, Table 7.12. fig. 1. Size: 22mm x 22mm; Weight: 10g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 400.A Sasanian stamp seal depicting a stylised seated man on a throne holding a tablet. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 73. Size: 13mm x 13mm; Weight: 2g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 500.A Sasanian stamp seal depicting a stylised winged horse. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 69. Size: 13mm x 13mm; Weight: 2g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 400.A Sassanid carnelian stamp seal depicting two stags facing each other realised in a naturalistic manner. Under the stags is an inscription. The seal has a globular body and a horizontally drilled hole. For similar see: Christie's, Liva Auction 12239, Antiquities, Lot. 121. Size: 29mm x 19mm; Weight: 21g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 2500 - 2000 BC.A Sumerian hard stone seal depicting two gods. On the right there is a seated god dressed in a long robe and horned crown. On the left there is a standing god raising their arms to the seated god. On the reverse, there are four vertical lines of cuneiform script and a longitudinally drilled hole. For similar see: Christie's, Live auction 1091, Antiquities, Lot. 365. Size: 25mm x 23mm; Weight: 42g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Eastern Zhou Dynasty, Ca. 771 - 256 BC.A Chinese bronze bell, decorated with bronze pellets and an abstract depiction of a phoenix on the lower register. The bell also boasts a narrow, cylindrical handle, used to hang the bell on a large rack. It is traditionally known as a Yong bell. A group of Yong bells constitute as the percussion instrument Bian bells. Jenny F. So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Volume III, New York, 1995, pp. 378-381, no. 78. Size: 220mm x 120mm; Weight: 2.19kg Provenance: Property of an American collector, acquired from the US estate collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 500 - 700. An extraordinary cross-shaped pendant made of rock crystal in a conical shape, with the widest part facing outwards, joined by a 21 ct gold bezel enclosing a circular garnet. At the ends of the crystal arms are gold end pieces decorated with filigree arranged in circles. An object of great value that was made and used by a prominent figure in the capital of Constantinople. it could be a high prelate or even a person from the imperial family. The refined decorations and precious materials of this object came from specialised workshops that were almost certainly located in the capital at that time. The taste is strictly from the eastern part of the empire. This cross may also have been made as a gift between people of the highest social standing, perhaps even between emperors and kings. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This piece comes with an authentication report by Sami Fortune, ancient jewellery specialist. Size: 50mm x 33mm; Weight: 12g Provenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 1100 - 500 BC.A Near Eastern green faience cylinder seal depicting an archer in an hunting scene. The seal has a vertical hole. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. For similar see: MET Museum journal n. 43, Gina Kostantoupolos. Size: 28mm x 12mm; Weight: 6g Provenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.

Ca. AD 200 - 400.A Sasanian pink hard stone stamp seal depicting a bull facing right and a star in the sky with highly stylised details. The seal has a cylindrical body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 96. Size: 17mm x 17mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 1st millennium BC.A Bactrian green stone double stamp seal. On the front it depicts a naturalistic lion and on the reverse it has an antelope. The seal has a flat body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 174. Size: 21mm x 21mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 2300 - 1800 BC.A round Bactrian stamp seal depicting two horned animals facing each other in the forest. The reverse is decorated with linear geometric motifs. The stamp seal has a flat body with a horizontally drilled hole. For similar see: Unpublished Stamp - seal from the north western Murgab Delta, Table 7.12. fig. 1. Size: 27mm x 27mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 400.A Sasanian stamp seal depicting a dog facing right with highly stylised details. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 96. Size: 19mm x 19mm; Weight: 10g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 3nd - 2rd Millenium BC.A triangular Western Asiatic stamp seal depicting a standing god with a scepter. On the second side, there is a zig-zag snake with engraved scales. On the final side, there is a lion facing right. The seal has a horizontally drilled hole. For similar see: MET Museum Accession Number: 55.65.5. Size: 17mm x 11mm; Weight: 2g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 2100 - 2000 BC.A Sumerian black stone cylinder seal depicting offerings for a seated god. In the background there is a star and a crescent moon in the sky. For similar see: Christie's Live Auction 21709 antiquities, Lot. 10. Size: 19mm x 10mm; Weight: 6g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 600 - 500 BC.An octagonal Neo - Babylonian stamp seal depicting a dressed figure facing an alter with the emblems of Marduk and Nabu. The depiction has highly stylised details, including a crescent moon in the sky. The seal has a poligonal body with a horizontally drilled hole. For similar see: Berlin Museum, VA Bab 1651. Size: 21mm x 14mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. 2800 - 2400 BC.An extremely rare Near Eastern Lapis lazuli beard from an inlaid statuette of a god or priest. The beard is made with six curls closest to the face. For similar see: MEt Museum Accession Number: 40.156. Size: 45mm x 25mm; Weight: 20g Provenance: Prince collection, 1990s-2014, acquired in 2008 from a UK private collection formed in the 1970s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 2400 - 2000 BC.An engraved lapis lazuli stamp-seal. It depicts two figures, a human and a zebu bull facing each other. To the left, there is a third figure descending from the sky holding a bow. The seal has a rectangular cubed body with a horizontally drilled hole. For similar see: British museum Museum number 1992,1007.1. Size: 19mm x 14mm; Weight: 4g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 400.A Sasanian green stone stamp seal depicting a bearded man facing right with a highly stylised face and clothing. The seal has a flat body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 124. Size: 28mm x 24mm; Weight: 9g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Ca. AD 200 - 400.A Sasanian stamp seal depicting a stylised pegasus with high wings facing left. The seal has a globular body with a horizontally drilled hole. For similar see: Sasanian stamp seal in the Metropolitan Museum of Art, n. 152. Size: 15mm x 12mm; Weight: 3g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.

Edward Henry Potthast (1857–1927) was an American Impressionist painter known for his charming beach scenes, lively depictions of children playing, and vibrant outdoor scenes. Born in Cincinnati, Ohio, Potthast studied at the McMicken School of Design and later at the Royal Academy in Munich.Potthast's paintings often feature scenes of leisure and enjoyment, particularly along the beaches and waterfronts of the Eastern United States. His works capture the joy and innocence of everyday life, with lively brushwork and a keen sense of light and color.Potthast's style reflects the influence of the Impressionist movement, with its emphasis on capturing the fleeting effects of light and atmosphere. He was particularly skilled at creating scenes that evoke a sense of nostalgia and happiness, making his work popular among collectors and art enthusiasts.Throughout his career, Potthast remained dedicated to painting outdoor scenes and continued to refine his style, experimenting with different techniques and subjects. Today, his paintings are celebrated for their beauty, charm, and ability to transport viewers to a world of sunshine, sea, and summertime joy.Measures 20 x 24 (image), 28 x 32 x 2 (framed).Sold "after" Potthast.Oil on canvas.

Shanghai is a bustling metropolis and one of China's most dynamic and vibrant cities, situated on the eastern coast of the country. Renowned for its stunning skyline, modern architecture, and rich history, Shanghai is a melting pot of cultures and influences, offering visitors a unique blend of old-world charm and contemporary innovation.The city's iconic waterfront area, known as the Bund, features a striking collection of historic buildings from the early 20th century, including grand banks, trading houses, and consulates. Across the Huangpu River lies the futuristic skyline of Pudong, home to the Shanghai Tower, the Oriental Pearl Tower, and other iconic skyscrapers that illuminate the night sky with dazzling light shows.Shanghai's cultural scene is equally impressive, with a wealth of museums, galleries, and performing arts venues showcasing both traditional and contemporary Chinese art and culture. The Shanghai Museum, located in People's Square, houses a vast collection of ancient Chinese artifacts, while the Shanghai Grand Theatre hosts world-class opera, ballet, and theater performances.The city's historic neighborhoods, such as the French Concession and Old Town, offer a glimpse into Shanghai's storied past, with narrow alleyways, traditional tea houses, and ancient temples nestled among modern skyscrapers. Visitors can wander through bustling markets, sample street food delicacies, and explore hidden gems tucked away in the city's labyrinthine streets.Shanghai is also a culinary paradise, with a diverse array of dining options ranging from Michelin-starred restaurants to humble noodle shops. The city's cuisine reflects its cosmopolitan character, drawing inspiration from both traditional Chinese flavors and international influences. From mouthwatering dim sum and spicy Sichuan hot pot to delicate xiaolongbao (soup dumplings) and savory Shanghai-style braised pork, Shanghai offers a culinary adventure for every palate.In addition to its cultural and culinary attractions, Shanghai is a thriving center of commerce, finance, and innovation, with a rapidly growing technology sector and a vibrant startup ecosystem. The city's dynamic energy, entrepreneurial spirit, and forward-thinking mindset make it a magnet for ambitious professionals and creative minds from around the world.Overall, Shanghai's blend of old and new, East and West, makes it a captivating destination for travelers seeking to experience the pulse of modern China while immersing themselves in its rich cultural heritage. With its endless opportunities for exploration, discovery, and adventure, Shanghai offers a truly unforgettable experience that leaves a lasting impression on all who visit.Measures 33 x 24.Backed by linen.

Nikos Economopoulos is a Greek photographer known for his documentary and street photography. Born in Kozani, Greece, in 1953, Economopoulos has gained international recognition for his work capturing the everyday life, traditions, and cultural nuances of diverse communities around the world.Here are some key points about Nikos Economopoulos:1. **Magnum Photos:** Nikos Economopoulos became a full member of Magnum Photos, a renowned international photographic cooperative, in 1990. His association with Magnum has allowed him to collaborate with other esteemed photographers and work on a wide range of projects.2. **Documentary Photography:** Economopoulos is known for his documentary approach, capturing the essence of the places and people he photographs. His work often reflects a deep connection to the subjects and an understanding of the cultural contexts he explores.3. **Eastern Europe and the Balkans:** Much of Economopoulos's early work focused on Eastern Europe and the Balkans, documenting the social and political changes in the region during and after the collapse of communism.4. **Black and White Photography:** Economopoulos often works in black and white, utilizing this classic medium to convey a timeless and universal quality in his images. His compositions are known for their emotional resonance and storytelling.5. **Exhibitions:** His photographs have been exhibited in solo and group exhibitions worldwide, contributing to the appreciation of documentary photography as an art form.6. **Books:** Economopoulos has published several books showcasing his photography. These books often serve as visual narratives, offering viewers a deeper insight into the cultures and communities he has documented.7. **Recognition and Awards:** Nikos Economopoulos has received recognition and awards for his contributions to the field of photography. His images have been celebrated for their authenticity and the way they capture the human spirit.8. **Teaching and Workshops:** In addition to his photography, Economopoulos has been involved in teaching and conducting photography workshops. He has shared his expertise and insights with aspiring photographers, contributing to the education and development of the next generation.Nikos Economopoulos's work continues to be influential, and he remains an important figure in the world of documentary photography. His images offer a rich visual tapestry that reflects the diversity and commonalities of human experiences across different cultures.Verso is blank.

A substantial Scythian bronze terminal,circa 7th century B.C.,with openwork bell, surmounted by a griffin’s head, with side loop for attachment, 30cm high  Provenance: Private English collection, acquired in the 1990s; Dreweatts, Donnington Priory, Chinese Ceramics and Works of Art (part 1), 11 November 2020, lot 44.    Footnotes: For a similar bronze terminal, cf. St John Simpson and Svetlana Pankova, Scythians warriors of ancient Siberia (British Museum 2017), pp254-255, no.178. The function of these terminals or “pole tops” is unclear, but they appeared to play a role in funerary rituals and were probably attached to horses and carts.  While the designs vary, all other excavated examples contain small bells or balls within a hollow cage. The earliest type of such bells had their origins in the Western Zhou Dynasty in China (circa 1046-771 B.C.). The griffin heads share some features with examples from Eastern Greece. 

A bilingual Coptic-Arabic Psalter,Coptic Egypt, Eastern Desert Monastery of St. Anthony, dated 26th day of Bashans (the ninth month of the Coptic Calendar) in 1546/1830ADCoptic-Arabic manuscript on paper, 264ff. (plus one paper endleaf at front, and 2 at back), apparently complete, single column of 19 lines per page in a late medieval Coptic bookhand with Arabic in Naskh script (the Arabic sometimes in column-wide blocks, but most often in thin columns parallel to the Coptic text), red rubrics, capitals in red or red edged with black pen, a few large initials in iridescent yellow, major texts opening with headbands of geometric penwork touched in dark faded red, numerous stylised yellow birds opening significant text sections, some water damage, spots and stains, with later paper repairs to edge of first leaf, binding of red pasteboards with leather spine and corners, with scuffs and lower board water damaged at edge with one corner warped This volume bears witness to the state of the Copts in the sixteenth century, when like the Samaritans and Christian minorities in the East they become integrated with and greatly reliant on Arabic book culture. Thus, in this book, with its distinctively Coptic decoration, the scribe has furnished the reader with a parallel translation into Arabic, and given an Arabic colophon on the last leaf noting that the work was finished on the 26th day of Bashans (the ninth month of the Coptic Calendar) in 1546, ff. 21.1 by 15cmProvenance: Bloomsbury Book Auctions, December 6, 2017, lot 98 Footnotes: A similar bilingual Coptic-Arabic psalter can be found in the Metropolitan Museum of Art (Acc. No: 2019.297.3     

Manuscripts from the Private Collection of Prof. W.M Ballantyne (1922-2021) Lots 164-168A Qur’ancopied by Ali Uthman al-Hilmi, Ottoman Turkey, dated 1272AH/1855AD,Arabic manuscript on paper, 304ff., with 15ll. of black naskh script to the page within gold margins and gold and red rules, headers in white naskh script against gold within thin light red margins within double black rules, the suras' bismillah highlighted with a floral garland, gold verse roundels, marginal markers as polychrome and gold medallions, stellar motifs or trefoils issuing elegant rising blue foliate sprays, marginal hizb markers in gold, opening and closing bifolios decorated in gold and polychrome, in red morrocco and gilt decorated slip case, clean, very good conditionfolio 12.2 x 8.3cm. Provenance: Private Collection of Prof. W.M Ballantyne (1922-2021)Footnotes: An other qur'an signed by 'Uthman Hilmi similar in style and dated 1276AH/1859-60AD was sold at Christie's 27 April 2017, Lot 12.Professor W.M. Ballantyne (1922-2021) was a distinguished lawyer, prolific scholar, and avid collector of art. Moving to the Middle East to pursue his legal career, he was a prominent figure in high-profile and noteworthy cases regarding Middle Eastern law. Professor Ballantyne maintained strong ties with English law and cultural institutions, and was appointed as a Visiting Professor at SOAS, publishing numerous essays on Arab law. An avid collector of paintings an exhibition of his collection was held at the Fine Art Society in 2014, see "A Barrister's Collection. A Lifetime of Collecting by Professor W.M. Ballantyne," exhibition catalogue, The Fine Art Society, 5-21 March, 2014, London. 

Middle Eastern Art & Culture.- Spirit & Life. Masterpieces of Islamic Art from the Aga Khan Museum Collection, 2007 § Lentz (Thomas W.) and Glenn D. Lowry. Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Century, 1989 § Morewedge (Parviz) The Metaphysica of Avicenna (ibn Sina), 1973, the first two both with numerous colour illustrations, many whole-page, original pictorial wrappers, the last in original cloth and dust-jacket; and c.55 others Persian and Islamic art and religion, v.s. (c.60)   

A tribal art wooden mask from Cameroon and another depicting far eastern dragon mask. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

A small quantity of metalware including Oravit pewter Art Nouveau dish, antique hand form door knocker, a Middle Eastern copper jug, etc.

A varied collection of 55 Chinese art reference books mainly on lacquer work, jade and paintingsVarious dimensions Provenance: The collection of Galerie Beaute Chinoise, Paris, France Chinese lacquer (The Arts of the East) - Hardcover , Garner, Harry Mason - ISBN 0571112862Chinese Jade - From the Neolithic to the Qing - Softcover , Rawson, Jessica;Michaelson, Carol - ISBN 9780714124094Jade - Hardcover , Keverne, Roger - ISBN 9780442308476Chinese Jades Throughout the Ages - Connoisseurship of Chinese Jades (Chinese Jades Throughout the Ages - Connoisseurship of Chinese Jades)- Hardcover , Li Jiu-Fang - ISBN 1883662133La Maladie de Porcelaine ... East Asian Porcelain From The Collection of Augustus the Strong (English and German Edition) - Hardcover , Eva Strober - ISBN 9783361005303Pictures for Use and Pleasure – Vernacular Painting in High Qing China - Couverture rigide , Cahill, James - ISBN 9780520258570La ceramique Tang et Liao , William Watson - ISBN 2719102229East Asian Lacquer: The Florence and Herbert Irving Collection - Hardcover , Watt, James C. Y.;Ford, Barbara Brennan - ISBN 0810964066Taoism and the Arts of China - Softcover , Little, Stephen;Schipper, Kristofer;Hung, Wu;Steinhardt, Nancy - ISBN 9780520227859Chinese Ceramics: Porcelain of the Qing Dynasty, 1644-1911 (V and A Far Eastern) - Softcover , Rose Kerr - ISBN 9781851772643Chinese Jades (Victoria and Albert Museum Far Eastern Series) - Hardcover , Wilson, Ming - ISBN 9781851774418Three Decades of Acquisition at the Art Museum, The Chinese University at Hong Kong - Hardcover , Peter Y.K. (ed.) Lam - ISBN 9789627101581Masterworks of Chinese Art: The Nelson-Atkins Museum of Art - Hardcover , Mackenzie, Colin - ISBN 9780615488820LA CITE INTERDITE A MONACO (ANGLAIS / FRANCAIS): VIE DE COUR DES EMPEREURS ET DES IMPERATRICES DE CHINE - Hardcover , DEROCHES JEAN-PAUL/ELISSEEFF DANIELLE/YUEGONG WANG/LIU LIYONG/GRIMALDI FORUM - ISBN 9782370740564Chinese Art and Design - Victoria and Albert Museum - Softcover , Wilson, Verity; Clunas, Craig - ISBN 9781851770175Jade Artifact Collection in the Palace Museum (Chinese and English) , Shousha Zhang Guangwen - ISBN 9787800472169Beauty Revealed: Images of Women in Qing Dynasty Chinese Painting - Hardcover , - ISBN 9780971939714Later Chinese Jades: Ming Dynasty to Early Twentieth Century - Hardcover , Bartholomew, Terese Tse;Knight, Michael;Li, He - ISBN 9780939117413CHINE. Tresors et splendeurs , AA. VV. - ISBN 2700030585xThe Art Book of Chinese Paintings - Couverture souple , Deng, Ming - ISBN 1592650511The Odyssey of China's Imperial Art Treasures , Jeannette Shambaugh Elliot,David Shambaugh - ISBN 9780295986883L'ECOLE DE LIGNAN(1870-1950): L'EVEIL DE LA CHINE MODERNE - Softcover , Sous La Direction De Bellec Mael, Mael - ISBN 9782759602827Chinese Jades from the Collection of Alan and Simone Hartman , Kleiner, Robert - ISBN 9627287296Jade : From Emperors to Art Deco , Rey Marie-Catherine - ISBN 9782757211779Masterworks of Chinese Lacquer from the Mike Healy Collection - ISBN 9780937426661Far Eastern Lacquer - Softcover , Kuwayama - ISBN 0875871089Asian Art , Michael Kerrigan - ISBN 9781844512638LA SAGESSE DU BOUDDHA - Softcover , Boisselier, Jean - ISBN 9782070532629Jade selections from Yuan, Ming and Qing Dynasties in the Tibet Museum (English and Chinese) - ISBN 9787501017782Chinese Ceramics: The Koger Collection - Softcover , Ayers, John - ISBN 9781570030109La vie des Chinois au temps des Ming (L'Histoire au quotidien) - Hardcover , Collectif - ISBN 9782035053763TRES RICHES HEURES COUR CHINE: CHEFS D'OEUVRE DE LA PEINTURE IMPERIALE DES QING 1662-1796 (RMN ARTS ASIATIQUES EXPOSITIONS) - Softcover , Collectif - ISBN 9782711850648Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers , Hang Jing Pei - ISBN 9781580085519Earth Transformed: Chinese Ceramics In The Museum Of Fine Arts, Boston - Hardcover , Tung, Wu - ISBN 9780878464777Chinese Carving , Craig Lunas - ISBN 9789813066120Chinese Collection: Selected Works from the Norton Museum of Art. - Hardcover , FINLAY, John R., Colin Mackenzie And Jenny F. So. - ISBN 9780943411415Chinese Jades Throughout the Ages: Connoisseurship of Chinese Jades - Hardcover , Po-ta-yang - ISBN 1883662141L'ombre des pins.chefs-d'oeuvre d'art chinois du musee de shanghai (A) (COEDITION ET MUSEE SOMOGY) - Softcover , Mus-ee-rath-geneva-switzerland - ISBN 9782850567810Asian Art: Inlcuding the Arts of Islam - Hardcover , Mason, Lark E. - ISBN 9781851494156The Emperor's Private Paradise: Treasures from the Forbidden City - Hardcover , Berliner, Nancy - ISBN 9780300163896Symbols on Chinese Porcelain: 10,000 x Happiness - Hardcover , Strober, Eva - ISBN 9783897903500Virtuous Treasures Chinese Jades for the Scholar's Table , University Museum and Art Gallery the Univeristy of Hong Kong - ISBN 9789628038831Tresors de la Chine imperiale - Softcover , Maxwell Hearn - ISBN 9782733502686The Asian Collections (THE ART GALLERY) - Softcover , Jackie Menzies - ISBN 9780734763518LES CARNETS SECRETS DE LI YU - Softcover , DARS, Jacques - ISBN 9782877306645JADE - PROMESSES D'eTERNITe , COLLECTIF - ISBN 9782359061307The British Museum Book of Chinese Art /anglais - Softcover - ISBN 9780000026705 Collections Baur Geneve From Innovation to Conformity - Chinese Lacquer from the 13th to 16th Centuries - Bluett and Sons Sublimes Matieres - A travers 5000 ans de Creation en Chine Clay and Brush: The Ceramic Art of China - The Collection of the Lowe Art Museum University of Miami The Magnificent Ivories of China - Art Gallery of Greater Victoria Collection Alexis Rouart (Deuxieme Vent) - Objets d'Art de la Chine et du Japon The Baur Collection Geneva - Chinese Jqdes and Other Hardstones by Pierre - F. Schneeberger (Keeper of the Baur Collection) Art Chinois - Neolithique Dynastie Song - Collection Umbert Draghi