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Collectors Books, including Jackson's Silver and Gold Marks. W. Buckley 'The Art of Glass', Oriental Carpet Deisgn. Denning and Kane wallet, Regent binoculars, etc:- One Box

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

THREE SMALL CHINESE MONOCHROME VASES18TH/19TH CENTURYOne a flambé double-gourd vase; another a white-glazed ribbed-neck vase; the third a caramel-glazed vase with loop handles, all with paper labels for Ben Janssens Oriental Art London, 13.5cm, 14.5cm and 14.2cm. (3)

Eric SLATER (1896-1963) Tregenna Castle Tregenna Castle Hotel, coloured woodcut, signed and titled, 30x40cm.Eric Slater was an artist who produced more than 30 colour woodcuts between 1926 and the outbreak of the Second World War.Many depict scenes near his home in Seaford, East Sussex, where he lived for most of his adult life. Eric moved with his mother and grandmother to Sussex where he studied at The Hastings School of Art. He was probably taught how to make woodcuts by Arthur Rigden Read (1879-1955) who had been to Japan to study oriental woodcut techniques used by European printmakers from the 1890s. European woodcuts, less formal than Japanese woodcuts, were marketed as affordable art for ordinary homes.Eric died in obscurity with no mention of his artistic talents within the solicitor's notice, but is highly collected and appreciated since.

A NEPALESE GILT-COPPER REPOUSSE PLAQUE DEPICTING KAUMARI 17TH CENTURY The four-armed Goddess Kaumari stands on her vahana holding peacock feathers, mayurapattra, in the upper right hand, a kapala in her lower right hand and the left in varada mudra, a gesture of charity, mounted on a wooden panel, 15cm. Provenance: from the collection of Norman Blount (1875-1930). Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.

A TIBETAN GILT-COPPER EWER, PENBA HU 18TH/19TH CENTURY The twelve-sided pear-shaped body embossed with floral cartouches, with a flared neck and foot, 1.4kg, 29cm. Provenance: from the collection of Norman Blount, 1875-1930. Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President. Cf. Christie’s London, 25th June 1998, lot 161 for an almost identical example.

NO RESERVEA JAPANESE BLUE AND WHITE KAKIEMON FOLIATE DISH EDO PERIOD, LATE 17TH CENTURY The ai-Kakiemon dish decorated to the well with two scholars beneath a pine tree standing on a riverbank, the rim with a continuous scene of two confronting tigers amidst bamboo and prunus, below a brown-enamelled rim; the underside with karakusa scrolls, the base with various paper labels including one reading 'Marchant London' and a fuku mark, 27.4cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: Henry Lawrence (1925-2016) and thence by descent; purchased from S Marchant & Son, London, 21st October 1983; formerly in the collections of the Duke of Portland and of Dr Carew-Shaw. A copy of the invoice is available. Cf. Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, pp.96-97 no.47, for another closely related dish from the collection of Margaret, Duchess of Portland, Welbeck Abbey. See also S Jenyns, Japanese Porcelain, p.21B for a similar dish, and H Garner, Oriental Blue and White, pl.92B for another example.

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.

NO RESERVETWO JAPANESE ARITA POLYCHROME DISHES EDO PERIOD, 17TH AND 18TH CENTURY Both decorated in underglaze blue and polychrome enamels; the first an early-enamelled dish painted with a spray of prunus and insects, the reverse with underglaze-blue floral scrolls and an iron-red fuku mark; the other, a decagonal Imari dish decorated with iris, chrysanthemum and camelia within a border of floral panels, the underside with flowering prunus sprays; both 21cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, Sussex. Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, pp.180-181 no.103, for a piece closely related to the prunus and butterfly dish, dated c.1655 by the author.

NO RESERVEA COLLECTION OF JAPANESE PORCELAIN PIECES EDO PERIOD, 18TH CENTURY Comprising: a teacup and three bowls, one with a lid; all decorated in underglaze blue and polychrome enamels, variously painted with mythological beasts, flowers, chrysanthemum mon, brocade patterns and geometrical designs, one piece with a mark reading Da Ming Chenghua nian zhi; two bowls and the lid with the same four-character signature, 15.9cm max. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, London. Cf. B Davies, Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, pp.208-209, no.125 for a bowl similar to the one on the right in the catalogue picture, exhibited at the British Museum, Porcelain for Palaces, 1990.

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.

AN ORIENTAL SILK HAND EMBROIDERED ART PIECE IN A BAMBOO FRAME

AN ORIENTAL SILK HAND EMBROIDERED ART PIECE IN BAMBOO FRAME

AN ORIENTAL BRASS ART NOUVEAU LONG NECKED VASE MARKED TO THE BASE

A JAPANESE PARCEL-GILT BRONZE OKIMONO BY AKASOFU GYOKKŌ (ACT. LATE 19TH CENTURY)MEIJI ERA, 19TH CENTURYModelled as two figures wrestling, one standing and twisting the other's arm behind his back, the crouching man biting his lips and contorting with pain; the victor wearing lose garments decorated with cartwheels amongst waves, the other with butterfly roundels; rendered in two shades of warm chocolate-brown bronze and with details highlighted in gilt; signed in a rectangular cartouche Gyokkō, and with remnants of a paper label for Kevin Page Oriental Art underneath, 34cm.Akasofu Gyokkō was a bronze sculptor and a prominent member of the Tōkyō Chōkinkay (Tokyo Cast Metalworkers' Association). He was particularly renowned for his depictions of birds of prey, felines and samurai warriors. See lot 311 of this sale for a large model of a tiger by Gyokkō.

A Chinese scholar's yellow wax rock and stand, Qing Dynasty, with smooth edges, overall height 41.5cm high Provenance: From a Private Collection Purchased from Vanderven Oriental Art, 23 June 2004清 黃蠟清供石拍品來源：英國私人收藏，2004年6月23號購自荷蘭古董商Venderven Oriental Art Condition Report: one chip to the standCondition Report Disclaimer

A Chinese Sancai-glazed 'Lotus and Crab' water pot, Kangxi, potted in the form of an upturned lotus leaf containing a crab and snails, while a large pod forms the receptacle, is covered overall in green and amber glazes, the with Vanderven label and also with old collector's label inscribed in ink and numbered '40', 11cm wide, wood stand Provenance: From a Private Collection Vanderven Oriental Art, no. 407, 2017 Private French Collection 清康熙 素三彩荷葉蟹趣水呈拍品來源：英國私人收藏，2017年購自荷蘭古董商Venderven Oriental Art，編號407號，此前來自紐約古董商Chait Galleries Condition Report: all the leaves around the lotus pod restored and further restoration to flower stem Condition Report Disclaimer

Two Sancai-glazed biscuit 'duck and lotus' form water droppers, Qing dynasty, Kangxi period, both bases with Vanderven and Chait Galleries labels, 9cm wide x 6.5cm high (2) Provenance: From a Private Collection Vanderven Oriental Art, no. 482, 2016 Chait Galleries, New York 清 素三彩鴨形水註一對拍品來源：英國私人收藏，2016年購自荷蘭古董商Venderven Oriental Art，編號482號，此前來自紐約古董商Chait Galleries Condition Report: one of the birds heads restored Condition Report Disclaimer

A Chinese Langyao red monochrome bowl, Qing Dynasty, Kangxi, with finely veined glaze pooling to white at the rim, the foot interior glazed in white with brown veining, 15.4cm diameterProvenance:By descent to the present ownerCollection of Lieutenant Colonel Kenneth Dingwall DSO (1869-1946)Born in Caterham, England, Kenneth Dingwall was a highly-decorated officer and collector of East-Asian ceramics. He was made a Lieutenant in the Gordon Highlanders in 1894 before serving in the North West Frontier from 1895 to 1898. Sent to South Africa in 1899 he was in action throughout the Boer War, for which he received the DSO in 1901. After a short retirement from the army in 1904, he re-joined in 1914 and was frequently employed as a Deputy Judge-Advocate during the Great War. An active collector of Chinese ceramics, Dingwall was one of the founding members of the Oriental Ceramic Society which formed in 1921. He belonged to the National Art Collections Fund and was the single largest donor to the Victoria and Albert Museum between 1910 and 1937, leaving a further bequest in 1948, and donating four items to the British Museum. Part of his collection was sold at Sotheby's London on 10th March 1933, consisting of 90 lots of mostly Tang to Ming ceramics. 清康熙 郎紅釉盌 拍品來源：英國東方陶瓷創始人之一及英國傑出服務勛章持有人Kenneth Dingwall 中校（1869-1946）收藏，其在1910-1937年間為維多利亞和阿爾伯特博物館最大的捐贈人。 Condition Report: filled exterior rim chip approximately 1.2cm long x 6mm hightwo small hair cracks to rim approximately 1cm long and 5mm longCondition Report Disclaimer

A Chinese Terracotta model of a moated tower, Han dynasty (206 BC-220 AD), the interior with two standing archers and animals including fish, turtles and geese all in the moat, the tower with a tiled roof decorated with small birds, 31cm highProvenance: From a Private Collection Vanderven Oriental Art, June 25th, 2001漢 陶塔模型拍品來源：英國私人收藏，2001年購自荷蘭古董商 Venderven Oriental Art Condition Report: some restoration Condition Report Disclaimer

A Chinese glazed terracotta model of an owl and cover, Hany dynasty (206 BC -220 AD), with a brown glaze on the head and body and oxidised green glaze on the beak and wings, 16.5cm highProvenance: From a Private Collection Vanderven Oriental Art, 2009漢 鴟鴞形帶蓋陶罐拍品來源：英國私人收藏，2009年購自荷蘭古董商Venderven Oriental Art Condition Report: restored Condition Report Disclaimer

A Chinese pottery model of a bell, Yong Zhong, Warring States Period (475-221 BC), sometimes called proto-porcelain, of ancient bronze yong zhong form, of lenticular section, each side decorated with a central panel flanked by bands of truncated conical bosses alternating with ring-punched bands, below a tapering columnar handle with a loop projecting from one side, 26cm high, with stand, with Oxford Authentication Thermoluminescence analysis certificate C101s66 Provenance: From a Private Collection Vanderven Oriental Art, 2005戰國青銅甬鐘（附熱釋光報告）拍品來源：英國私人收藏，2005年購自荷蘭古董商Venderven Oriental Art Condition Report: in good condition other than the top drilled for TL testing and other minor chips throughout Condition Report Disclaimer

A large pair of Chinese painted pottery models of soldiers, Tang dynasty (618-907), each modelled wearing armour, their hands as clenched fists, standing on canted rectangular bases 59cm high, with Oxford Authentication Thermoluminescence analysis certificates 866e45 and 866e46 (2) Provenance: From a Private Collection Venderven Oriental Art, 1999 唐 彩繪武士俑一對（附熱釋光報告）拍品來源：英國私人收藏，1999年購自荷蘭古董商Venderven Oriental Art Condition Report: wear to pigments  Condition Report Disclaimer

A Chinese bronze ritual tripod food vessel, li, Western Zhou Dynasty, supported on three hollow cabriole legs rising to three round lobes, decorated with stylised chilong dragons against leiwen ground underneath the rim, 13.5cm high, with TL test report from the Brussels Art Laboratory, no. EXP/Smol/1999 (268)Provenance: From a Private Collection Vanderven Oriental Art, no. 150 西周 青銅鬲拍品來源：英國私人收藏，購自荷蘭古董商Venderven Oriental Art，號碼150號 Condition Report: wear and encrustation to the surface commensurate with age, small knocks to the rimCondition Report Disclaimer

A small Chinese aubergine yellow and green enamelled foliate dish, Kangxi, with lobed border, the yellow ground painted with a flower issuing from rockwork, with Vanderven label, 11cm diameter Provenance: From a Private Collection Vanderven Oriental Art, no. 153, 2007 By repute The Hon. Mrs Nellie Ionides清康熙 素三彩荷塘圖葵口碟拍品來源：英國私人收藏 Condition Report: good conditionCondition Report Disclaimer

Art Deco Carltonware Phoenix pattern baluster jug, printed and painted in a bright palette with a phoenix, its wings outswept before stylised oriental flowers, printed black factory marks, pattern no.19665/4017, 20cm high (foot rim chip), a 19th century ironstone china baluster jug, a Mintons limited edition Edward VIII coronation beaker dated 12th May 1937, no.391/2000 with gilt marks and a Copeland Reynolds pattern circular tray (4)  Condition Report The Carltonware jug has a largish chip to the foot rim, approximately 2cm in length. There is also a shallow chip on the foot itself. There are also a few surface scratches to the main body.The ironstone jug has a chip to the foot.

Collection of English porcelain and bone china cups and saucers including an early 19th century Imari coffee cup and saucer, iron red pattern no.2/578, decorated with blue and gilt key-pattern within scrolling oriental flowerspray borders, a Spode Regent green ground pattern coffee cup, an ivory ground coffee cup and saucer, a Warwick pattern example, a yellow ground Ruskin pattern example, another with Maple London mark, a Minton's hunting pattern coffee cup and saucer with Davis Collamore retailers marks of New York, a Royal Albert Art Deco trio, a Royal Doulton Glamis thistle pattern side plate signed by P Curnock, a Vienna-style coffee cup and saucer with ribbon gilt borders and other items 

A CHINESE ARCHAIC BRONZE RITUAL WINE VESSEL, ZUNLATE SHANG/EARLY WESTERN ZHOU DYNASTYThe tapering body and spreading foot centred with a bulbous mid-section decorated in relief with taotie masks between pairs of kui-dragons against a leiwen background. The surface with a green patina mottled with reddish areas and showing a few thin malachite encrustations,1.6kg, 22.8cm.Provenance: from an English private collection, Sussex.Cf. Asian Art Museum of San Francisco, The Hans Popper Collection of Oriental Art, p.18, pl.4, and Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M Sackler Collections, vol.IIB, p.555, pl.81, for two examples of zun with similar taotie-and-dragon decoration also dated to the Late Shang or early Western Zhou dynasty. For a further group of similar vessels, see also, Sueji Umehara, Nihon Shucho Shina Kodo Seikwa, Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol.II, pls.149, 150 and 151.商晚期/西周早期 銅饕餮紋尊來源：英國薩克塞斯郡私人收藏。

A RARE CHINESE CREAMY-WHITE JADE CHIMERASONG-MING DYNASTYThe chimera is strongly carved and seated on rockwork with its body turned, the mythical beast looking backwards with bulging eyes and curling eyebrows, with a ridged backbone and a finely delineated long bushy tail, with a paper label for Dr and Mrs P H Plesch Collections, no.Hm10A, 10cm.Provenance: from the collection of Professor Peter Hariolf Plesch (14th February 1918 - 5th March 2013) and Gerta Regina ‘Traudi’ Plesch OBE (4th December 1921 - 10th August 2013), purchased from Spink & Son London, 8th June 1960 for £350.Exhibited: Manchester Art Gallery, 1964; The Oriental Ceramic Society, Loan Exhibition of 'The Animal in Chinese Art', London, 1968, no.169; The Oriental Ceramic Society, The Victoria and Albert Museum, London, 'Chinese Jade Throughout the Ages', 1975, no.263. 宋至明 白玉獅擺件來源：Peter Hariolf Plesch教授（1918年2月14日-2013年3月5日）和Gerta Regina ‘Traudi’ Plesch OBE （1921年12月4日-2013年8月10日）收藏，編號Hm10A（附標籤），1960年以£350的價格購於倫敦Spink & Son。展覽：Manchester Art Gallery, 1964年; 東方陶瓷學會, Loan Exhibition of 'The Animal in Chinese Art', 倫敦，1968年, 編號169; 東方陶瓷學會, 倫敦維多利亞與阿爾伯特博物館, 'Chinese Jade Throughout the Ages', 1975年, 編號263.

A CHINESE CINNABAR LACQUER 'FLOWERS' DISHYUAN/EARLY MING DYNASTYThe interior boldly carved through layers of red lacquer to an ochre ground with a naturalistic decoration of flowers, comprising peony, chrysanthemum, camelia, hibiscus and prunus, the exterior with a conforming floral motif above a geometric band to the straight foot, the base with an incised three-character Zhang Cheng mark and a painted red lacquer four-character inscription Eisen or Egawa tobo, 15cm.Provenance: an English private collection, Surrey, UK, purchased from Ben Janssens Oriental Art, 15th September 2010; sold on behalf of Parkinson's UK.Cf. Karamono: Imported lacquerware - Chinese, Korean and Ryukuan (Okinawa), Selections from the Tokugawa Art Museum, vol.2, p.36, no.46, and p.21, no.20, for a similar floral dish with the signature of Zhang Cheng and the collector's mark Eisen or Egawa tobo, and a larger similarly marked dish decorated with birds and flowers, both in the Tokugawa Art Museum, Nagoya. Signatures on Chinese lacquerware are scarce, but that of Zhang Cheng is known on a number of high quality pieces from the Yuan and early Ming period. Zhang Cheng is recorded to have been active as a lacquer carver in the mid to late 14th century, with some of his pieces mentioned in the Gegu Yaolun (The Essential Studies of Antiquities), originally published in 1388 by the connoisseur Cao Zhao. A number of lacquer pieces with his signature also bear the later Japanese mark Eisen or Egawa tobo, possibly referencing the collection of an individual or a temple. Another example with this combination of marks is found on a dish, also with a decoration of birds and flowers, in The Metropolitan Museum of Art, New York, illustrated in J Watt and B Brennan Ford, East Asian Lacquer: The Florence and Herbert Irving Collection, pp.68-69, no.19.元末/明初期 剔紅花卉紋碟《穎川東房》及《張成造》款來源：英國薩里郡私人收藏，2010年9月15日購於倫敦古董商Ben Janssens Oriental Art。成交金額將全數捐贈英國帕金森基金會。

A RARE CHINESE WUCAI SILVER-GILT MOUNTED BOWL JIAJING 1522-66 The exterior painted with iron-red, green and turquoise panels of pheasants and foliage reserved on an iron-red ground, the interior decorated with an underglaze-blue medallion of a waterbird among lotus to the well and a band of diaper to the rim, the sides with two paper labels, 'Oriental Ceramic Socy., 1950 Exhib'n., 119' and 'Oriental Ceramic Socy., 1957 Exhib'n., 219', the base with a further paper label, 'AC 516', the silver-gilt mounts late 16th/early 17th century, possibly Augsburg or Nuremberg, 14.6cm. Provenance: formerly the collection of RW Brandt by 1923; then the collection of Mr and Mrs Alfred Clark; sold by Sotheby's London, 24th March 1953, lot 60, to Bluett & Sons, London; purchased by Mr Charles J Aron, 19th May 1953; sold by Mrs Charles Aron, 24th April 1963, to Bluett & Sons, London; purchased by Mrs Irene Dreyfus, 5th July 1963; with Ralph M Chait Galleries Inc, New York, 1980s; later the property of an important Charleston collection. Exhibited: Oriental Ceramic Society, Polychrome Porcelain of the Ming and Manchu Dynasties, 1950, no.119; Oriental Ceramic Society, The Arts of the Ming Dynasty, 15th November - 14th December 1957, no.219. Published: RL Hobson, The Wares of the Ming Dynasty, pp.116-117, pl.6, fig.2; Warren E Cox, The Book of Pottery and Porcelain, vol.1, p.485, and pl.140; Roy Davids and Dominic Jellinek, Provenance, p.50. The extensive provenance, exhibition history and publication of the wucai bowl offered here give a clear illustration of the artistic and historical importance of this piece. Dated to the 16th century, it is a testament to the early phase of economic and cultural exchange between China and the West, before the consolidation of the trade routes that would emerge over the course of the following centuries. After the founding of the Dutch East India Company in 1602, the volume of pieces exported from China would increase significantly, but at this date porcelain reaching Europe was extremely rare. The principal conduits were the Portuguese, who had established a trading base in Macau in 1557, and the Spanish, with their Central American colonies providing an ideal mid-point for their alternative shipping route, as well as the historic overland route via Central Asia to Turkey. Through them, a limited number of wares made in Jingdezhen were able to reach the West, so highly priced that they were only available to the very richest echelons of society. Consequently, porcelain was treated with the same reverence as other exotica displayed in the fashionable kunstkabinetts, or 'cabinet of curiosities', of the day. In much the same way as nautilus, coconuts and ostrich eggs, porcelain was applied with metal mounts that adapted it to Western taste and signalled its value to contemporary viewers. Thus when displayed in an effort to expand knowledge even as Europe embarked on its first explorations of Africa, Asia and the Americas, it took its place amongst the many forms of naturalia and artificialia collected at the time. Similarly mounted porcelain bowls of the Jiajing period can be seen in The Victoria and Albert Museum, such as the 'Trenchard' bowl, accession no.M.945-1983, and a contemporary kinrande-type bowl, accession no.M.16-1970, the latter illustrated in Stacey Pierson, From Object to Concept: Global Consumption and the Transformation of Ming Porcelain, fig.2.7. Two further mounted kinrande-type bowls are also in The Metropolitan Museum of Art, accession nos.79.2.1122 and 68.141.125a, b, the former illustrated in Suzanne G Valenstein, A Handbook of Chinese Ceramics, p.178, no.174. 明嘉靖 五彩錦上添花紋盌鑲銀鎏金耳 來源：RW Brandt舊藏（1923年前）；Alfred Clark伉儷舊藏；Bluett & Sons於1953年3月24日在倫敦蘇富比購入，拍品編號60；Charles J Aron先生於1953年5月19日購入，其後Bluett & Sons於1963年4月24日從Charles J Aron太太購回；Irene Dreyfus女士於1963年7月5日購入；Ralph M Chait Galleries Inc於1980年代購入，其後成為美國南卡羅來納州查爾斯頓市重要收藏。 展覽： 東方陶瓷學會，Polychrome Porcelain of the Ming and Manchu Dynasties, 1950年, 編號119。 東方陶瓷學會，The Arts of the Ming Dynasty, 1957年11月15日至12月14日, 編號219。出版：R L Hobson, The Wares of the Ming Dynasty, 頁116-117, 圖版6, 圖2; Warren E Cox, The Book of Pottery and Porcelain, 第 1 卷, 頁485, 及圖版140; Roy Davids and Dominic Jellinek, Provenance, 頁50。

A RARE CHINESE THREE-COLOURED LACQUER 'DRAGON' TRAYQIANLONG 1736-95The square dish decorated to the interior with a panel depicting a stylised shou medallion between two five-clawed dragons among ruyi-clouds above rockwork and cresting waves, the cavetto with four floral panels depicting flowering stems of peony, camelia, chrysanthemum and rose, alternating with cranes to the corners, the exterior decorated with panels depicting the babao among foliate lingzhi scrolls, the corners with medallions enclosing the bagua, all carved through layers of red, green and ochre lacquer against a diaper ground, the base with plain black lacquer, 22cm.Provenance: an English private collection, Surrey, UK, purchased from Ben Janssens Oriental Art, 14th May 2002; sold on behalf of Parkinson's UK.The iconography of the shou character being contested by two dragons, or alternatively phoenix, originated on lacquer during the reigns of the emperors Jiajing (1522-1566) and Wanli (1573-1620). This carved decoration features on a Jiajing casket and a Wanli scroll container, both in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, vol.45, p.178, pl.136, and p.222, pl.175. The elements of this decoration are closely related to the Daoist belief system. This is true not only of its main compositional elements such as the two dragons and symbols of yin and yang forces, but also in its smaller decorative elements around them, such as the clouds in the form of lingzhi, with their reference to immortality. The babao, or Eight Precious Things, and the bagua, or Eight Trigrams, are also auspicious symbols closely related to Daoist practices.The design of the dish offered here emulates these earlier Ming motifs, as was typical of Qianlong production. The decoration is closely related to the Jiajing and Wanli period lacquerware mentioned above, but its shape and composition is also of Ming derivation, as exemplified by a similar square tray with indented corners and upturned edges of Wanli period also in the Palace Museum, Beijing, illustrated in, op. cit., p.206, pl.163. A closely related tray of Qianlong mark and period can be seen in the National Palace Museum, Taipei, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, p.135, pl.136. Another of Qianlong mark and period is in the Palace Museum, Beijing, illustrated in Gugong Bowuyuan Cang Diaqi (Chinese Lacquer in the Palace Museum), pl.331. A further example of this date from the Edward Krolik collection is illustrated in B St J M Morgan, Carved Lacquer in the Krolik Collection, Oriental Art, vol.11, no.4, fig.7.清乾隆 剔彩八吉祥雲龍捧壽方盤來源：英國薩里郡私人收藏，2002年5月14日購於倫敦古董商Ben Janssens Oriental Art。成交金額將全數捐贈英國帕金森基金會。

NO RESERVEA CHINESE CLOISONNE ENAMEL 'PHOENIX AND DRAGON' DISH WANLI 1573-1620 Decorated to the well with a phoenix and a four-clawed dragon among scrolling clouds, the cavetto with a band of scrolling lotus and the rim with a geometric pattern, the exterior also with a band of scrolling lotus, all raised on a high foot, the base centred with a yin and yang symbol among scrolling blossom, 35.5cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, Sussex. Cf. Christie's London, Chinese Ceramics, Works of Art and Textiles, 12th May 2017, lot 513, for a related Wanli cloisonné enamel 'Dragon and Phoenix' dish. See also another dish of the period with a similar decoration, illustrated in Transactions of the Oriental Ceramic Society: 1955-56 1956-57, pl.85 and p.77, no.315. 明萬曆 銅胎掐絲琺瑯龍鳳呈祥碟 來源：英國薩克塞斯郡私人收藏。 注：本拍品不設底價。

Oriental works of art including Chinese bronze censer trays etc

The figure wearing long robes that fall over his knees, and holding a scroll in his right hand, covered overall in a greyish-green glaze that pools in the recesses H:8.7cm Good condition, minor glaze peeling off With Ben Janssens Oriental Art, London, 3 April 2014.

A set of three Oriental cast iron Art Deco style figures - depicting female dancers, with black finish, one mounted as a table lamp, the figures 17.5 cm high, the lamp 31 cm high inc. fitting.

WHITE-GLAZED BOTTLE VASE TANG DYNASTY 唐 白釉長頸瓶of ovoid form with a tall, slender neck and trumpet mouth, a greyish creamy glaze covered the body thinning and stopping above the foot 22.3cm high  Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. By repute acquired from Dr Kenneth Lawley. Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 6, illustrated on the cover.  Compare to a similar bottle vase, Sui/Tang Dynasty, sold at Bonhams Hong Kong, 6-20 September 2023, lot 10; and an extremely rare white-glazed pear-shaped vase, Sui / Tang dynasty, sold at Sotheby's New York, 23 March 2022, lot 296.

BLACK-GLAZED RUSSET-SPLASHED BOTTLE VASE, YUHUCHUN PING NORTHERN SONG TO JIN DYNASTY 北宋至金 黑釉鐵鏽花玉壺春瓶elegantly potted with a pear-form body supported on a short flared foot rising to everted mouth, covered in a thick black glaze painted freely with stylised foliage in splashes of russet 26cm high Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. Acquired from Dr Kenneth Lawley, 20 June 2003, with an original invoice, receipt, and correspondence. Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 28. Illustrated in the exhibition photograph (circled).  For the discussion on similar long-necked, pear-shaped bottles with russet-splash decorations, see Robert D. Mowry, Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Cambridge, 1995, pp. 159-160. In which a related yuhuchun vase painted with two stylised birds in flight, Jin dynasty, is illustrated on pt. 52.

BLUE-GLAZED 'JUN' DISH SONG DYNASTY 宋 鈞窯天藍釉斂口碟sturdily potted with shallow sides rising from a short foot inverted to straight rim, covered overall in a lavender-blue glaze with some mushroom tone, save for the foot revealing the buff-brown body  15.7cm diameter  Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. Acquired from Antik West Oriental Art & Antiques, Sweden, 27 June 2005, with an original receipt and labels on the body. 

(A Private Scottish Collection of Early Chinese, Southeast Asian and Korean Ceramics from Sottish Borders, lots 193-209) BLACK-GLAZED RUSSET-SPLASHED BOWL JIN DYNASTY 金 黑釉褐斑碗thickly potted with widely flared sides rising to the upturned rim, glazed to the interior and exterior with a black glaze ending on the exterior in an irregular line above the foot, the interior with five concentric russet splashes and four spur marks  19cm diameter  Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. Acquired from Dr Kenneth Lawley, 9 Feb 2005, with an original invoice, who bought from Bluett & Sons Ltd., 14 June 1972, with an original receipt and label. Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 30, with an associated label on the body adjacent to the aforementioned label. Illustrated in the exhibition photograph (circled).  Though attributed to Henan kiln and dated to Song dynasty in the original receipt issued by Bluett & Sons, compare to a Jizhou russet-decorated black-glazed bowl, Jin or Yuan Dynasty, also with three unglazed round marks in the interior, sold at Bonhams Sydney, 18 November 2012, lot 74. Also see a Henan black-glazed russet-splashed bowl, Song dynasty, previously in the collection of Dr Kenneth Lawley, sold at Sotheby's London, 8 Nov 2024, lot 308. 

WHITE-GLAZED BOTTLE TANG DYNASTY 唐 白釉盤口瓶of slightly compressed globular form surmounted with a flared galleried rim on the short cylindrical neck, covered with a creamy white glaze thinning and stopping irregularly above foot 14cm high  Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. Dr Lawley was close to the collection offered in this sale, indeed some of the items came directly from him. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. Acquired from Dr Kenneth Lawley, 28 Sep 2002, with an original invoice, who bought from John Sparks, 2 Dec 1964, with an original receipt and label on the base. Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 8. Illustrated in the exhibition photograph (circled).  A white-glazed bottle vase, highly similar in shape but with cover and different treatment to the foot, sold at Sotheby's New York, 28 March 2023, lot 864. 

OVOIDE VASE MIT BLUMENORNAMENT. Herkunft: China. Dynastie: Nördliche Song Dynastie. Datierung: Um 1000/1020 n.Chr. Technik: Steinzeug mit Schlickerdekoration. Beschreibung: Ovoider Korpus mit kurzem, stark eingezogenem Hals, der Rand ausgestellt. Die Wandung mit cremefarbener Schlickerdekoration, bei welcher das verschlungene Dekor mit Päonien und Blattranken in drei großen ovalen Kartuschen vor dem Brand weggeschnitten wurde. Maße: Höhe 32,5cm. Restauriert. Provenienz:- Victor Hauge collection, Falls Church, Virginia.- Privatsammlung Nordrhein-Westfalen, erworben Eskenazi Ltd., Oriental Art, London 2009.Ausstellung:London, Eskenazi, November 2003.Gutachten:Thermoluminescence Report Nr. 02B180324, Laboratory Kotalla aus dem Jahr 2024 im Original vorliegend. Die Datierung entspricht dem Ergebnis des Thermolumineszenz-Test.Publiziert:- Fujio Koyama: 'Hsiu Wu Ceramic Kilns in the Northern Sung Dynasty, China', The Bijutsu-Kenkyu (The Journal of Art Studies), Bd.VI, Nr.CLXI, The Institute of Art Research, Tokyo, 1950, S.1-2 und Tafel V (links).- Fujio Koyama (Hrsg.): Sekai toji zenshu (Ceramic Art of the World), Bd.10, Tokyo, 1955, Tafel 110.- Eskenazi: Song: Chinese Ceramics, 10th to 13th Century, London, 2003 Nr.15. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Asiatika - China Porzellan, Keramik

A RARE JAPANESE ILLUSTRATED NOH POEM ALBUM, 18TH CENTURY. Containing six different images made up of a variety of techniques including wood, gold and silver appliqués. Each image includes a Noh poem written in exceptionally fine calligraphy. Dimensions: 39cm (15.25 inches) x 30.5cm (12 inches). Provenance: From the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton. Fairly extensive worm damage to pages.

A VERY FINE CHINESE ALOESWOOD 'CHENXIANGMU' CARVING OF GUANYIN, 18TH CENTURY. The Bodhisattva seated dressed in long flowing robes wearing a jewelled necklace, with her hair tired up seated with a serene expression leaning to one side with her arms on a lion masked arm rest. 18cm tall. Provenance: From the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton. Sold previously in Ma San, The Brian Page Asian Art Collection, June 2020. Two small nicks to a rim of the robe at the front. Some minor nicks around the base. No major damages and no repairs.

EIGHT JAPANESE WOODBLOCK PRINTS, CIRCA 1920S, VARIOUS ARTISTS. Various subject matters by different artists, each print signed and sealed. All of a similar size. Widths 28 – 29.5cm, heights 45 – 46cm. Provenance: From the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Chinese painted pottery figure of a caparisoned horseTang dynastyStanding four-square with a slightly curved neck turned to the ley, fitted wood stand, 31cm high.Provenance: Miko Oriental Art Gallery, Honolulu, 4 January 1999唐 彩繪陶馬來源：Miko Oriental Art Gallery, 火奴魯魯, 1999年1月4日（收據）

A Chinese pottery figure of a veiled brideTang dynastyWearing a long robe ending a long train covering the feet, the hands held in front of the body concealed by voluminous sleeves, her head covered with a veil exposing only her face, traces of white and red pigment throughout, 31.5cm high.Provenance: Vanderven Oriental Art 18th April 2013. Oxford thermoluminescence test, C113c25, is consistent with the dating of this figure.唐 彩陶仕女俑來源： Vanderven Oriental Art，2013年4月18日。（收據）此拍品年份與牛津熱釋光檢測報告第C113c25號一致。

A Chinese painted pottery figure of a horseTang dynastyStanding four-square, his back caparisoned with a saddle, traces of red pigment, 42cm high.Provenance: Miko Oriental Art Gallery, Honolulu, 4 January 1999.唐 彩繪陶馬來源：Miko Oriental Art Gallery, 火奴魯魯, 1999年1月4日。

A massive Chinese pottery figure of a court ladyTang dynastyModelled standing with her hands held in front of her chest concealed within the voluminous sleeves of her robe, her hair dressed in an elaborate coiffure, traces of pigment to the upper part of her robe, 102cm high.   Provenance: Antik West Oriental Art & Antiques, 15 June 2007.The dating of this figure is consistent with the results of an Oxford Thermoluminescence test, C206d49, 23 November 2006.唐 彩陶仕女俑來源：Antik West Oriental Art & Antiques, 2007年6月15日。此拍品年份與牛津熱釋光檢測報告第C206d49號一致。報告日期2006年11月23日。

Two rare Chinese painted pottery figures of eunuchsTang dynastyWearing black court hats, their hands hidden by the thickly-folded, voluminous sleeves, their faces finely painted, with traces of pigment throughout, 35.5cm high (2).Provenance: Gerard Hawthorn Ltd Oriental Art, 24 May 2005.Illustrated: Gerard Hawthorn, Oriental Works of Art, Summer 2005, no. 1.The dating of this lot is consistent with Oxford Thermoluminescensce report no.666u24 dated 17 February 1994.唐 彩繪陶俑兩尊來源：Gerard Hawthorn Ltd Oriental Art, 2005年5月24日。出版：Gerard Hawthorn, Oriental Works of Art, 2005年夏季第一刊。此拍品年份與牛津熱釋光檢測報告第666u24號一致。報告日期1994年2月17日。Gerard Hawthorn suggests these figures may be rare representations of eunuchs, or that they may reflect a fashionable male response to the court ladies figures which were so popular for a time. Cf. a single pottery figure of this type in the collection of Anthony Solomon, illustrated in From Court to Caravan, no. 35.

A collection of seventy-seven Oriental art reference books and cataloguesTo include Masterpieces of Chinese Enamel Ware in the National Palace Museum, Sotheby's, Bonham's, Marchant, and Christie's (77).亞洲藝術品書籍及拍賣圖錄七十七本

Two Chinese silver and gold inlaid lacquered wood snuff bottlesQing dynastyEach inlaid to one side with flowers, one with oriental lily, the other with camellias, the reverse with stylised leafy scrolls, both 6.7cm high without stopper (2).清 紅木漆彩錯金銀鼻煙壺兩件Cf. For a similarly inlaid bottle, dated by inscription to 1895, see Bob C. Stevens, The Collector's Book of snuff Bottles, Weatherhill, New York/Tokyo, 1976, pl. 746.Snuff bottles from a Private Collection (Lots 95-238), mostly formed by Frederick George Ruddle (1886-1960), from Carshalton, Surrey, and Lily Beatrice Ruddle (neé Etherington) 1887-1972, from Sutton, Surrey.The Ruddle family were owners of a large bakery in Sutton, and property developers in Sutton and Carshalton, SurreyFrederick was by trade, a sign writer; Frederick and Lily left England initially for South Africa and subsequently for Australia, where they settled shortly before the first world war. They had eight children.Frederick then took up an executive role for an Australia, Southeast Asia and South Sea Island trading company, Burns Philp, which took him to travel extensively in East Asia; it is presumably during the course of these travels that he had the opportunity to discover Chinese and East Asian Art, and start amassing his collection of snuff bottles, amongst other things. He was a passionate collector of many things beside snuff bottles, including Oceanic Art and Orientalia.In 1978, the current vendor, a grandchild of Frederick, came to England to attend Cambridge university. At the time he was given power of attorney from the executors of the estate to assist in and arrange the sale of Frederick and Lily’s remaining real estate and properties in Sutton and Carshalton.As thanks for his assistance, the executors, Molly and Hilda Ruddle, gave him the collection of snuff bottles, in 1980, which he lovingly preserved, researched, and added to over the years.Condition Report: Expected old wear including some light tarnishing to metal and some light surface residue to neck.

Yoshiko Manabu Saito The Franklin Mint figurines, Border Fine Art figures, Oriental wares, etc.

An Oriental brass quill stand and wipe, two brass 'Benares' trays on stands, an Art Nouveau-style coppered-metal wall plaque and other items.

A papier-mâché circular box and cover, the top painted with a scene of possibly Leda and the swan, 9.5cm diameter, an Oriental compass in wood box, a reproduction Art Nouveau small mirror and other miscellaneous cabinet items.

Uschebti für den Kommandanten der königlichen Flotte, 26. Dynastie (664 - 525 v. Chr.) Uschebti in Mumiengestalt aus türkis glasierter Fayence. Kopf mit Perücke und Bart, die vor der Brust gekreuzten Arme Dreschflegel und Feldhacke haltend. Unterhalb der Arme neunzeilige Inschrift, die Zeilen durch Linien begrenzt. Die Inschrift im April 1981 gelesen von Professor Kamploni vom orientalischen Seminar der Universität Zürich, Ägyptologische Abteilung. Der Lesung zufolge handelt es sich um ein Uschebti für Tan he bou (andere Lesart: Tha en hab), was "Sohn des Ibis" (bzw. des Gottes Thot) heißt. Als Mutter wird "Ta Nofretete" genannt. Der Tote war Kommandant der königlichen Flotte in der Saitenzeit. Höhe 18,2 cm. Perfekt erhaltenes Uschebti, modern auf quadratischem Bronzesockel montiert. Provenienz: Berliner Privatsammlung. Übernommen aus dem Besitz der Eltern, erworben in den 70er Jahren vom Vater von einem renommierten Sammler ägyptischer Kunst in der Schweiz. An ushabti for the commander of the royal fleet, 26th Dynasty (664 - 525 B.C.) An ushabti for the commander of the royal fleet, 26th Dynasty (664 - 525 B.C.) Ushabti in mummy shape made of turquoise glazed faience. Head with wig and beard, arms crossed over chest holding flail and field hoe. Below the arms there is a nine-line inscription, the lines delimited by lines. The inscription read in April 1981 by Professor Kamploni of the Oriental Seminar of the University of Zurich, Department of Egyptology. According to the reading, it is an ushabti for Tan he bou (other reading: Tha en hab), which means "son of the Ibis" (or the god Thoth). The mother is named “Ta Nefertiti”. The dead person was commander of the royal fleet in the Saiten period. Height 18.2 cm. Perfectly preserved ushabti, modernly mounted on a square bronze base.Provenance: Berlin private collection. Taken over from the parents' possessions, acquired by the father in the 1970s from a renowned collector of Egyptian art in Switzerland.Condition: I

FOUR BOXES OF CERAMICS, GLASS AND METALWARE, to include a fifteen piece Midwinter Stonehenge 'Blue Dahlia' tea set, various glass lustre drops, Royal Scot cranberry glass vase and candlesticks, two large art glass multicoloured vases, tallest 36.5cm, a boxed Pyrex rolling pin, a decorative copper pan, a plated tray, a Davenport 'Nile' pattern plate (crazing and staining), TC canisters, oriental tea ware, vases and other giftware, etc (4 boxes) (sd)

A mixed collection of items to include Wooden Wooden Display Cabinet with Wedgwood panels, art glass vase, boxed oriental miniature tea set etc (2 trays)

Ceramics - West German Fat lava vases, Ruscha art pottery bowl; tri-colour glass bowl; others; Oriental style table lamp etc qty

AN ORIENTAL SILK HAND EMBROIDERED ART PIECE IN BAMBOO FRAME