two oils on canvas, signed, titled verso framed together image size 35cm x 63cm, overall size 42cm x 70cm Note: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.
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Ca. 3000 - 2000 BC. A North Mesopotamian or central Asian, black stone stamp seal, a hemi-spheroid pierced horizontally. Design: an elaborate Greek cross with triangles filling the space. Size: 40.6mm x 40.5mm; Weight: 38.4g 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 - 300. A Gandharan schist, depicting the seated figure of Maitreya, exuding an aura of profound spirituality and grace. The figure assumes a tranquil posture, with hands placed in the dhyana mudra. In his lap, he holds a delicately shaped, pear-like flask. Maitreya sits in the lotus position atop a clothed plinth with two enigmatic beasts, each positioned on opposing corners, serving as emblematic guardians. Behind his head, a halo emanates. For similar see, Christie's LIVE AUCTION 1265 INDIAN AND SOUTHEAST ASIAN ART, lot 15. Size: 470mm x 350mm; Weight: 23.45kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 9th - 10th century AD.An exceptional gilded bronze bodhisattva. Seated in the padmasana lotus position, the figure is shown wearing a crown adorned with delicate details; the excellent metalwork displayed through necklaces, armlets and earrings. This is an outstanding example of early Nepalese Buddhist sculpture. Buddhist art during the Licchavi period displays strong Gupta style, with works made mainly in bronze and stone, displaying advanced metal casting techniques. The influence of this period marks a significant era for the development of Himalayan Buddhist art.Size: 220mm x 155mm; Weight: 3.63kg Provenance: Private UK collection, purchased in 2024 from a collection of Kensington Church Street gentleman who acquired the piece on the Asian art market in the early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
CHINA, BEIJING RONG BAO ZHAI SHI JIANPU, PUBLISHED 1957. Four volumes of woodblock prints, ink and colour on paper of works from famous artist to include Qi Baishi. Each in a clothbound slipcase. Slipcase size 32 x 22.5 x 5.5cm. (4) Ref: For an identical set see Bonhams Asian Art Sale, 30th October, Lot 215. In good condition.
* BLAIR THOMSON, AT THE FIRTH OF FORTH oil on board, signed and titled versoframedimage size 19cm x 14cm, overall size 28cm x 23cmNote: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.
* BLAIR THOMSON, DRIFTING (DIPTYCH) two oils on canvas, signed, titled versoframed togetherimage size 35cm x 63cm, overall size 42cm x 70cm Note: Blair Thomson is a full-time artist inspired by Scotland and Japan. Exhibiting since age 18 and graduating from GSA in 2002, his practice has widened from landscape/figurative to abstraction, photography and installation encompassing a poetic approach and interests from Scotland beyond. Regular visits to Japan began in 2002, when he began studying Sho with calligrapher Shujo Wakabayashi, then in his eighties. Thomson exhibited with him and other Asian artists in 09 and the next year represented the UK at the ART/X/TOYAMA International Exhibition. He had been on the committee of the Royal Glasgow Institute arts organisation and is a meditator, trustee and sometimes Tenzo at Glasgow Zen Group. Thomson is a multiple award winner and his work has been widely exhibited in London, Japan and Scotland. He has consistently attracted critical praise resulting in extensive media coverage, especially in Scotland. His paintings are in prestigious collections in the UK, Japan, USA, France and Holland. Known corporate collectors include McKinsey & Co. and Scottish Widows.
A GARNET, PEARL AND TURQUOISE INSET CROSS PENDANT 19th century, possibly Chinese export, in a silver gilt setting, remnants of white enamel to the back, the reverse with tooled scroll decoration, 9cm high x 5cm wide, in an associated tooled leather caseProvenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. The box labelled '253'.
A CHINESE JADEITE SNUFF BOTTLE late 19th century, the apple green and lavender stone carved to one side with two confronting fish and a line of ascending bubbles, 6.5cm high overallProvenance: Bonhams, Fine Asian Works of Art, Property from the Linda Riddell Hoffman Collection, 20th December 2011, lot 8007.The Dick Hardy Collection.
Pleistocene Period, 2.6 million-11,700 years B.P. A high quality pair displaying beautiful brown, green and cream colouring, from a young female Mammuthus primigenius; accompanied by custom-made display stands; some restoration. See Guide to the Elephants (Recent and Fossil) in the British Museum (Natural History), BM, 1922, pp.35-47, for discussion. 24.85 kg total including stands, 151-159 cm long (outer edge) (59 1/2 - 62 5/8 in.). [2]From the Siberian Tundra. Ex Arctic Antiques, Germany. From the private collection of Commander Michael J Norman OBE AFC RN, Somerset, UK. Accompanied by a copy of a certificate of origin from Germany. Accompanied by a copy of the original purchase invoice (17,838.00 Euros). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate no. 12353-225019.Both tusks were recovered from the same place in the Siberian permafrost in 2016. The left tusk weighs an impressive 6.2 kg and the right tusk 6.02 kg. The mammoth lineage branched from the Asian elephant around 6 million years ago, and later on the Woolly Mammoth, Mammuthus primigenius, evolved in eastern Siberia. Woolly mammoths, being slightly smaller than living African elephants, were foragers and ate grass, as well as small, nutritious flowering plants that flourished in the environment where they lived. They may also have used their curved tusks to dig through snow and eat plants that other foragers couldn't get to.
4th-3rd century B.C. or later. Comprising bulbous head and body, low-relief facial features, arms forming a horizontal band; traces of red pigment. See the Gloman Meritt private collection of ancient artefacts from the Philippines for similar. 1.35 kg, 15 cm (6 in.). [No Reserve]Acquired on the Asian art market. Ex property of a gentleman collector since before 2017.
4th-3rd century B.C. or later. Slightly curved trapezoid shape with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. 228 grams, 17.7 cm (7 in.). [No Reserve]Acquired on the Asian art market. Ex property of a gentleman collector since before 2017.
Ilbery, London. An exceptionally fine, very rare & important gold and enamel centre seconds duplex pocket watch, made for the Chinese market, No.6068, made circa 1820. Enamel scene attributable to Jean-Louis Richter Highly decorated gilt movement with duplex escapement, three-arm steel balance with diamond end-stone, blued steel balance-spring and blued steel compensation weights. White enamel dial with black Roman numerals, outer minutes, outermost 15 minute numerals, gilt hands with centre seconds, large gold case with decorated sprung cuvette, hinged reverse with central finely enamelled scene featuring period (Georgian) dressed sisters picking fruit within a country manor estate, the outer and bezel with matching blue, white, turquoise and red enamel decoration, the bow similarly decorated with pale blue enamel. Inner case back additionally numbered 44. Diameter 59mm. The identical watch in all aspects, movement number 6067 and similarly numbered 44 to the inner reverse, was sold by Christie's London in 2005. Although Chinese market watches were sometimes created as a ‘mirror pair’, identical examples are especially rare.Jean-Louis Richter (1766-1841) is considered a master-enameller with examples of his work found, amongst other places, in the Metropolitan Museum of Art. Specialising in landscapes and marine scenes for snuff boxes and watches for the Asian markets, this example is particularly notable for the original undamaged condition of the principle enamel scene.William Ilbery (1760-1839) is one of the highest regarded and best known London makers of watches for the Asian market, adopting the decorated style of movement with duplex escapement with raised barrel, as found on this example. The cases Ilbery used for his Asian market watches were always of the highest quality and he worked with some of the best Genevan enamellers of the period such as Jean-Francois-Victor Dupont and Jean-Louis Richter. In researching this lot, examples of Chinese market watches by Ilbery that have previously appeared at auction, numbered 60XX, are of similar size, style featuring European characters, and usually described as ‘exceptional’.
Peter Layton - A beautiful Spirale stoneform vase, featuring swirls of purple, pink and yellow, intersected by striking waves of blue and encased in clear glass. Signed Peter Layton 21cm high x 24cm across. Highly collected Artist Peter Layton is one of the founding fathers of British studio glass. He discovered the art form while teaching ceramics in the US in the mid- 1960s, and has played a major part in elevating glass from an industrial medium to a highly collectable art form. He has always taken inspiration from his environment, natural or manmade: a stone wall on a snowy day, the London skyline, or works by great painters. From a mere detail, a flash of a Klimt orange or a slick of oil on the Thames, he creates painterly works with a masterly use of colour.P
A collection of Asian Art reference books and catalogues to include Imperial Porcelain Recent Discoveries of Jingdezhen Ware, three S. Marchant & Son books on Chinese Jade, Blue and White Porcelain, and Recent Acquisitions 2002, and a 1989 Christie's Fine Japanese Works of Art Catalgue (qty.)Provenance: The Estate of the Late Jackie Mann
AN EXQUISITE SILVER NAVAL BATTLESHIPVietnam, early 20th centurysilver, a filigree three-mast ship with intrecciato-woven pattern sails, ten navy sailors on board, the ship is equipped with cannons and long spears, and the navy is prepared for battle. With a carved wood wave-shaped standSize: 50 x 66.5cmTested for silver by Asian Art department, with some elements white metal (ranging from 68 - 96%)Condition Report:Tested for silver by Asian Art department, with some elements white metal (ranging from 68 - 96%)
FOUR BOXES AND LOOSE MIXED VINTAGE CERAMICS to include a large quantity of art deco hand-painted square side plates, a gilded Shelley ashtray and trinket dish, a group of Alfred Meakin coffee cups and saucers, a Wedgwood Queens Ware cup, a box of vintage blue and white tableware to include a lidded tureen, assorted plates, bowls, etc, a Carlton Ware novelty fruit cruet set, a set of geometric patterned coffee cups with a milk jug and sugar bowl, assorted art deco patterned bowls, a box of mostly Asian and continental tea and coffee wares, a boxed set of mid-century coffee bean spoons, a group of three Radford 'Village' items comprising a teapot, sugar pot, and a sauce boat, etc (4 boxes and loose) (s.d)
Japan, a pair of large blue and white porcelain jardinières on ebonised stands, Edo/Meiji period, 19th century, each decorated with phoenixes in flight above moulded geometrical panels. With two hardwood carved stands in Chinese taste, but European. h. 60 x diam. 56 cm (excl. stands) Provenance: Sotheby's New York, Ariane Dandois: European Furniture, Paintings & Asian Art, 26 October 2007, lot 532 [2]
China, hardhouten gueridon, 19e eeuw; Uitgevoerd met gestoken archaïsche decoratie. De poten verbonden met vier stijlen. h. 81 cm, b. 42 cm Sotheby's New York, Ariane Dardois: European Furniture, Paintings & Asian Art, 25 october 2007, lot 352. [1] A Chinese carved hardwood stand; 19th century
Ca. AD 300.A schist carving depicting a standing couple, most probably Hariti and Panchika, respectively the Goddess of Fertility and the God of Wealth. Cf. Christie's, Live Auction 2271, Indian and South East Asian Art: Including Highlights from The Star Collection, 20 Mar 2009, Lot 1232.Size: L:335mm / W:200mm ; 6.41kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 1400 - 1600. A Javanese gold ring with a round hoop and a twisted section. The bezel is decorated with the moon. For similar see: Sotheby's magnificent lustre south asian gold jewellery and ornaments from an Asian private collection, 01-08.09.2022, Lot. 31. Size: D:15.49mm / US: 4 3/4 / UK: J; Weight: 3g Provenance: Property of a London Islamic art specialist collector; previously in a family London collection formed since the 1980s.
Indian School (2nd half 19th century): Miniature Portrait of a Rajah, sitting on a chair beside a tripod table holding a talwar on a carpet 15.5cm by 10.5cm, in an ivory-mounted frameFor a related portriat of Gambhir, the Maharajah of Rhapipla, dated to circa 1860 see Smithsonian National Museum of Asian Art, accession number S1994.10.1With Non-Transferable Standard Ivory Exemption Declaration Number V9NC77PV
A Chinese Peking glass twin-handled cup, Qing Dynasty, the oval body flanked with two chilong handles, 12.5cm long x 5.7cm highSee the Asian Art Museum of San Francisco, A Chorus of Colors: Chinese Glass from Three American Collections, p.43, no.17 for a comparable white glass twin-handled cup; see also Treasures of Chinese Glass Work Shops, p.21, no.6 for another related example.Provenance: The Property of a Lady清 白料螭龍耳杯拍品來源：英國女士珍藏 Condition Report: in good conditionCondition Report Disclaimer
A large Chinese painted Cizhou jar, Ming Dynasty, 14th/15th century, the broad-shouldered jar decorated in brown and reddish-rust on a white slip with three shaped panels enclosing a scholar in a garden, a crane standing amidst grasses bird, and a floral display, all above a band of upright lappets and beneath a band of leafy floral scroll, 34cm highProvenance: From the Collection of a Lady and Gentleman in Buckinghamshire, no. 4.13 A jar of this shape with a similar style of painting, including lozenge-shaped panels of scholars, was excavated in 1976 from a tomb in Yuncheng county, Shandong province, and is illustrated in Wenwu, 1988:6, pl. 7, no. 6. Compare with a similar jar sold at Christie's, 24 July 2020, Lot 59. See another example of very similar size and shape in the Asian Art Museum, San Francisco (no.390, He Li, Chinese Ceramics 1996), which shows three scenes of the poet Li Bai enjoying wine in a garden. 明 磁州窯開光高士圖罐拍品來源：英國白金漢郡伉儷私人收藏，編號4.13 Condition Report: Body crack repair mainly on the shoulder and minor kiln flawCondition Report Disclaimer
ASIAN AND INDIAN ART INTEREST: 5 Titles: MULK RAJ ANAND, LOTIKA VARADARAJAN ET AL: HOMAGE TO KALAMKARI (WITH REFERENCE TO THE PAINTED CLOTHS OF INDIA, Bombay, Marg publications, 1979 reprint, with decorative cloth boards; CHEWON KIM AND G ST G M GOMPERTZ: THE CERAMIC ART OF KOREA, london, faber and Faber, 1961; W ZALF (Ed): BUDDHISM - ART AND FAITH, London, British Museum Publications, 1985; THE ART OF THE CH'ING DYNASTY FURNITURE, Taipei, national Museum of History, ND. Held within original slipcase; T C LAI: CHINESE PAINTING - ITS MYSTIC ESSENCE, Kowloon, Swindon Book Company, 1974. inscribed to half title by author (5)
A MOTTLED PINK SANDSTONE FRAGMENT DEPICTING THE MATRIKA SHASHTHI, MATHURA, INDIA, 2ND/3RD CENTURY her head with earrings and a flower emblem in her hair, framed by an arched canopy fringed with five female figures, mounted, 28 x 36 x 11cmProvenance: Private collection, USA 1985-2000Published: Siudmak 2017, no.5Sashthi, 'the sixth', is a goddess thought to have originated in Bengal. She is particularly associated with children and is worshipped by women wanting to conceive. She is often depicted with six heads. Joshi (1986, p.11) noted that eleven figures of this iconography were recorded as being found in Mathura, including two kept in the Indian Art Museum (now the Asian Art Museum), Berlin. The most impressive example to survive, albeit fragmentary, is the sculpture in the Mathura Museum that Vogel (1930 pl. 40) incorrectly identified as Queen of the Nagas.
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: rim groundfilled exterior rim chip approximately 1.2cm long x 6mm hightwo small hair cracks to rim approximately 1cm long and 5mm longCondition Report Disclaimer
A SMALL CHINESE WHITE STONEWARE HANDLED CUPTANG DYNASTYThe globular body set with a circular ring handle over a moulded palmetto-shaped boss, with a gently everted rim, the greyish white body covered with a creamy translucent glaze, 9cm wide.Cf. Freer Gallery of Art, National Museum of Asian Art, no.F1984.8a-c, for a comparable 8th century white-glazed cup with ring handle.
Philip LaVerne (Amercan, 1907-1987) and Kelvin LaVerne (American, b. 1937). Acid-etched patinated bronze, enamel, and pewter model "#142" coffee or cocktail table from the LaVerne's iconic "Chan" series, ca. 1960. The central tabletop image depicts a lively Chan dynasty era village scene. Peasants mill around the landscape carrying sacred gifts, possibly for an Emperor’s child, evoking themes of reverence and celebration. The harmonious blend of delicately wrought foliage and figures, enhanced by a rich palette of multicolored patinas, embody the essence of Chinoiserie design. Incised signatures along the lower right of the tabletop; "Philip LaVerne Galleries Ltd." label along the underside of the tabletop.Lot Essay:Philip and Kelvin LaVerne, a father-and-son duo from New York, emerged as pivotal figures in mid-20th century American design, renowned for their transformative approach to furniture and decorative arts. Philip LaVerne, initially a skilled craftsman, began his career in the early 1940s, creating bespoke pieces that combined traditional techniques with modern sensibilities. His collaboration with his son Kelvin, who brought fresh perspectives and innovative techniques, marked a significant evolution in their design philosophy. Together, they pioneered the use of complex metal alloys and intricate etching processes, crafting furniture that was both functional and highly artistic. Their work, characterized by its rich textures and dynamic patterns, drew inspiration from a range of influences including classical art, Asian aesthetics, and abstract modernism.The "Chan" Series, Model #142 coffee table featured in this lot, a prime example of the LaVerne's legendary craftsmanship, reflects their dedication to integrating art with utility. The table's design embodies their signature style, featuring hand-etched bronze with elaborate patterns that evoke both elegance and intrigue. This piece not only highlights their technical skill but also their ability to imbue everyday objects with a sense of artistry and cultural depth. The work of the LaVerne's remains a testament to their innovative spirit and enduring influence in the world of decorative arts, bridging the gap between high art and functional design.Height: 17 in x diameter: 47 1/4 in.Condition: There are no major splits, cracks, or losses to the wood or the inlay. Some light scratches along the surface of the table. Some patination throughout, possibly original to the artistic process. Marker inscription along the top surface of the table base, only visible when the tabletop is lifted off of the base.
A CHINESE KO-SOMETSUKE WUCAI PLATE FOR THE JAPANESE MARKETCHONGZHENG 1628-44Painted to the centre with a monkey resting amongst lingzhi beneath a fruiting tree; with a deer beside it and a bird and two insects flying above; decorated with a foliate and diaper border to the rim, the base with a six-character Chenghua mark, 20.2cm.OFFERED WITHOUT RESERVEProvenance: purchased in these rooms, Asian Art I, 20 May 2015, lot 264.Cf. R Kilburn, Transitional Wares and Their Forerunners, p.139, no.162; see also T Canepa and K Butler, Leaping the Dragon Gate, The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, p.127, III.1.97 for another similar dish.
TWO CHINESE KO-SOMETSUKE DISHES FOR THE JAPANESE MARKETTIANQI 1621-27One shaped as a fish and raised on three short trefoil feet; the other modelled as a shell, painted with a carp rising from waves amongst aquatic plants and also raised on three short feet, 20cm max. (2)OFFERED WITHOUT RESERVE Provenance: both purchased in these rooms, Asian Art I, 22 May 2013, lots 305 and 306.Cf. T Canepa and K Butler, Leaping the Dragon Gate, The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, p.98, no.III.1.46, for another ko-sometsuke fish-shaped dish.
A CHINESE BLACK JADE CARVING OF A HORSEMING DYNASTYThe recumbent horse looking over its back, finely incised with hair on its mane and tail, the dark stone with areas of beige and grey, 7cm. Provenance: from an English private collection; purchased from Knapton Rasti Asian Art Ltd. on 9th February 2006, a copy of the invoice is available.明 黑玉卧馬把件來源：英國私人收藏，2006年2月9日購於倫敦Knapton Rasti Asian Art Ltd.（附發票複印件）。
A LARGE CHINESE WHITE JADE SHALLOW BOWLQIANLONG 1736-95The rounded sides rising to a gently flared rim above a short straight foot, the translucent stone of an even colour with a few natural veins, 22cm.Provenance: Hinton Daniell Stewart (1835-1926) of Strathgarry, Perthshire, founder of the firm of Stewart Thompson and Sons (Manchester Cotton Merchants), and thence by descent.For a similar 18th-century pale celadon shallow bowl, see M Knight, H Lee and T Bartholomew, Later Chinese Jades from the Asian Art Museum of San Francisco, p.125, no.109.清乾隆 白玉素身撇口盤來源：英國蘇格蘭佩斯郡斯特拉斯加里， Hinton Daniell Stewart（1835-1926）收藏，Hinton是曼徹斯特棉業公司Stewart Thompson的創始人，之後由其後人繼承。
A CHINESE CREAMY WHITE AND GREY JADE CARVING OF A RECUMBENT GOAT 17TH CENTURY The bearded animal sits with his head turned to dexter, and his legs folded beneath the body, the opaque stone with grey inclusions and russet veins, 6cm. Provenance: formerly from a German private collection, purchased in Berlin from Ernest Fritzsche; later an English private collection, purchased from Knapton Rasti Asian Art Ltd. on 4th November 2011, a copy of the invoice is available. 十七世紀 灰白玉卧羊把件 來源：德國私人舊藏，購於柏林Ernest Fritzsche，其後成為英國私人收藏，2011年11月4日購於倫敦Knapton Rasti Asian Art Ltd.（附發票複印件）。
QIAN SHUN JU (attributed to, 1239 — 1299)Portraits of Periodical OfferingsChina, 18th century or earlierA handscroll containing two sections of painting in ink and colour on silk, each sealed, depicting foreign emissaries parading gifts of jade, coral and beautifully caparisonned horses, a title slip reading Yuan, Qianshun Ju, Zhígòngtú, and a section of calligraphy on paper with a title reading Zhígòngtú, dated December 11th 1385, stamped with five seals and signed with the name of Zhang Shen, a collector, scholar and calligrapher active at the turn of Yuan and Ming dynasties, explaining he appraised a Zhígòngtú and provided it with an introduction.31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm Provenance: an English private collection, acquired in the 1990s.A very closely related painting dated to the Ming Dynasty is housed in the collection of the Smithsonian's National Museum of Asian Art, Washington DC, accession no F1915.16. The Smythsonian scroll is traditionally attributed to Han Gan (715 — 781), the Tang Dynasty painter renowned for his vivid and spirited depiction of horses from the Imperial stables. Throughout the history of the Chinese empire, the vassal states and tribes were obliged to deliver diplomatic gifts to the court on regular basis. Portraits of Periodical Offerings, Zhígòngtú, (職貢圖 / 职贡图) was a popular theme and a way of recording those foreign tributes arriving at the court and ambassadors delivering them. Each depiction was accompanied by a short description of the diplomat and their country of origin. Examples were commissioned since the Liang Dynasty (526 - 539) and copies made for circulation among the court officials. Horses played a crucial role in these tributary ceremonies as an important commodity and a symbol of status. In Tang dynasty they were imported from great distances as gifts to the Chinese emperors: there was a belief that the steeds form the Sogdian valeys in Central Asia (area roughly covering today's Kyrgyzstan, Tajikistan, Turkmenistan and Kazakhstan) have descended form dragons and have been called Tianma - Heavenly Horses. Some were said to sweat blood, a condition most likely due to a parasitic infection. Both horses and their foreign grooms were in high demand at the subsequent Chinese courts. 《元钱舜举职贡图》18世纪或更早 这幅画卷包含两部分，画布为丝绸，设色，分别有印章，画卷描绘外国使者向朝廷进贡玉器、珊瑚和装饰华丽的马匹。其中一部分为书法，带有简短的题词“洪武乙丑冬至前二日获观钱玉谭职贡图因书其首 ”和五个印章，题签上书有“职贡图”。来源：来自英国私人收藏，购于1990年代。 31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm
A Rare White-glazed 'trefoil-form' Box and Cover, Five Dynasties, moulded in trefoil shape, a flower applied on the top of the cover, surrounded by two bands of continuous beading, and covered in a delicate white glaze; closely related to a moulded example in the Museum of East Asian Art, Bath(accession no. BATEA:38). Compare also two related examples, one in the Sir Alan Barlow Collection, housed in the Ashmolean Museum, Oxford (accession no. LI1301.314), and another exhibited in The Hans Popper Collection of Oriental Art, Center of Asian Art and Culture, San Francisco, 1973, cat. no. 96 Fair condition, small broken restored at the edge of box L:6cm, H:3.3cm
CHINESE BLUE AND WHITE 'LOTUS SCROLL' JAR TRANSITIONAL PERIOD 過渡期 青花纏枝蓮紋罐of tapered ovoid form, painted around the exterior with lotus flowers borne on scrolling foliage, the slightly concave base unglazed 20.7cm high Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242. Acquired from Denis Young Antiques, 18 May 1996, with a photocopied receipt. 蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。購自Denis Young Antiques，1996年5月18日，含收據副本。
CHINESE ARCHAIC JADE RITUAL BLADE SHANG DYNASTY 商 玉鉞of tapered rectangular shape, narrow side with rounded edges, the cutting edge cut slightly obliquely, with a larger circular aperture on the off centre of the narrow end, further with two smaller apertures on a longer end, all drilled from one side, the stone a mottled greyish-green colour with yellow, russet brown, and black flecks, with a bespoke display stand 15.3cm wide Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242. Acquired from Knapton Rasti Asian Art, 7 Nov 2005, with an original receipt.Illustrated in Knapton Rasti Asian Art Works of Art Catalogue 2005, no. 1. Online pdf catalogue: https://rastifineart.com/wp-content/uploads/2018/03/Asian-Art-KNAPTONRASTI-Jadereduced.pdf蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。本品購自Knapton Rasti Asian Art，2005年11月7日，含收據原件。著錄：Knapton Rasti Asian Art Works of Art 2005年圖錄，圖版一，線上圖錄參 https://rastifineart.com/wp-content/uploads/2018/03/Asian-Art-KNAPTONRASTI-Jadereduced.pdf
CHINESE BLUE AND WHITE RECTANGULAR SEAL LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 青花山水紋題李白、張繼詩長方印印文: 藏書寳印two longer sides each painted with a shanshui landscape, one side inscribed with a poem by Li Bai, the opposite a poem by Zhang Ji, the seal read ‘Cang Shu Bao Yin’ (book collection treasure seal) 13.1cm high Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242. Acquired from Capital Gallery （長安美術）, Hong Kong, 5 Feb 1996, with an original receipt. 蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。購自香港長安美術，1996年2月5日，含收據原件。
CHINESE BLACK POTTERY BEAKER NEOLITHIC PERIOD OR LATER 新石器時代或以後 仿青銅磨光黑陶觚thinly potted, of flared cylindrical form with a raised ridge near the foot 17.6cm high Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242. Gifted about 10 years ago by a good friend, the late C. Roger Moss OBE, a fellow avid Chinese Art collector. 蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。本品約十數年前獲贈自已故亞洲藝術藏友C. Roger Moss OBE。 A highly comparable black pottery beaker, also decorated with a raised ring above the foot, dated to the Xia dynasty, excavated at Yanshi Erlitou Relic Site, Henan, is now in the Henan Museum. Also compare to a much more sophisticated ‘gu’ vessel, excavated and dated same as the above, see https://www.chnmus.net/sitesources/hnsbwy/page_pc/bwzl/yyhxzzjd/cpsx/article2a35acdb504f4100a5576317d3095af2.htmlA rare black pottery wine vessel, jue, dated to the Shang dynasty, from the same private Scottish collection, North Berwick, was sold at this saleroom, 3 November 23, lot 234.
RARE CHINESE GREEN 'JUN' BOWL NORTHERN SONG TO JIN DYNASTY 北宋至金 鈞窰綠釉碗potted in conical form rising from a short straight foot inverted to straight mouth, covered overall in a thick crackled green glaze save for the foot rim revealing the brown buff body 23.2cm 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. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. The bowl offered here was gifted by Dr Kenneth Lawley, 28 Sep 2002, with an original letter, who acquired from Sotheby’s, lot 15, 14 Feb 1966, via Bluett & Sons Ltd., with an original receipt. Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 23. Illustrated in the exhibition photograph (circled). 蘇格蘭私人收藏，蘇格蘭邊區。藏家與已故Kenneth P. Lawley博士（1937-2023）為摯友。Lawley 博士一生為東方藝術癡迷，其大部分藏品在2023年11月3日售於禮昂騰博，拍品1-95。其對東方高古及中古瓷器的熱忱深深感染藏家，他們在書信往來中互換收藏心得、藏品研究及筆記，可見其深厚友誼。本品由Lawley博士於2002年9月28日贈予藏家，含信函原件；Lawley博士透過著名古董商Bluett & Sons Ltd於蘇富比購得，1966年2月14日，拍品15，含收據原件。展覽：《早期東方陶瓷》（Early Oriental Ceramics），蘇格蘭斯特靈大學麥克羅伯特中心（MacRobert Centre），1973年7月5日至25日，編號23（附圖，紅框），展出老照片（附圖，紅框）。 Compare to a rare large green ‘Jun’ bowl, Song-Jin dynasty, sold at Christie's Hong Kong, 30 Nov 2023, lot 2868; Another rare Junyao green bowl, Song/Yuan Dynasty, sold at Bonhams London, 5 November 2020, lot 19; Also see a related rare large green 'Jun' bowl, Northern Song / Jin dynasty, in more bulbous form, was in the collection of Dr Kenneth Lawley, sold at Sotheby's 1 November 2023, lot 49. See a comparable green-glazed bowl, Song / Jin dynasty, illustrated in Feng Xiaoqi Eds., 2013, The Specimens of Ancient Chinese Kilns in the Collection of the Palace Museum, Henan Volumn II, Beijing: The Forbidden City Publishing House, pt. 652, pg. 625.
CHINESE EXPORT FAMILLE ROSE FIVE-PIECE GARNITURE QING DYNASTY, QIANLONG PERIOD 清乾隆 外銷粉彩人物紋瓶（一組五件）comprising: three baluster vases, one cover, and two beaker vases, each finely and similarly decorated with idyll figures within leafy cartouches reserved on gilded ground (5) heights: 40.4cm to 52.3cm From Penicuik House, Midlothian, Scotland. Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands, has been owned by the Clerk family since the middle of the 17th century. Sits at the heart of this designed landscape is Penicuik House, the finest and most influential example of Palladian architecture in Scotland. The 18th-century Palladian mansion was built by Sir James Clerk, 3rd Baronet, in 1761. It was devastated by fire in 1899. During the fire, a great deal of effort was channelled into salvaging the furnishings. The once magnificent building has stood as a roofless shell for over 100 years. The stables and coach house of the original Penicuik House, converted after the fire into the ‘new’ Penicuik House where the Clerk family reside to this day. A significant selection of property from Penicuik House was sold in this saleroom, 27 March 2024, lot 1-69; A smaller selection of Asian Art from Penicuik House was also sold in this saleroom, 13 March 2024, lot 189-198. The most famous interior feature of the house was the Ossian Hall. A watercolour by G. Carelli, dated 1878, depicts the lavish interior of the Ossian Hall furnished by this garniture set on the fireplace (see illustration 1, circled). A Victorian photograph of the Ossian Hall also shows this garniture set features in the centre of the hall on the fireplace (see illustration 2, circled). One of the covered vases from this garniture set is shown displayed in the drawing room of the ‘new’ Penicuik House (see illustration 3, circled). 佩尼庫克莊園，蘇格蘭中洛錫安。佩尼庫克莊園是蘇格蘭帕拉第奧建築最精美、最有影響力的典範。這座18世紀的帕拉第奧宅邸由第三代男爵Sir James Clerk於1765年建造。1899 年，佩尼庫克莊園被大火摧毀。火災期間，人們投入大量精力搶救其家具及内容，這些家具後來被搬入附近改建的馬厩，Clerk家族後嗣居住於此。佩尼庫克莊園一大部分歐洲藏品於2024年3月27日售於禮昂騰博，拍品1-69；另一部分亞洲藝術藏品於2024年3月13日售出，拍品189-198。佩尼庫克莊園最具代表性的其奧西安大廳（Ossian Hall）。一幅由G. Carelli 1878年繪製的水彩畫描繪了富麗堂皇的奧西安大廳，其中壁爐上陳設的正是此清乾隆外銷粉彩人物紋瓶（附圖，紅圈）；另一幅維多利亞時期拍攝的老照片也顯示Clerk家族成員安坐於奧西安大廳，壁爐上亦擺設本組拍品（附圖，紅圈）；最後一幅照片乃新佩尼庫克莊園客廳，角落一隅可見本品其中一支帶蓋瓶（附圖，紅圈）。
CHINESE BLUE AND WHITE 'WINGED DRAGON' BOTTLE VASE MING DYNASTY 明 青花雙翼龍紋膽瓶of pear form, painted around the body with two sinuous winged dragons amongst scrolling flames, the base inscribed with a mark within a double-square 24.1cm high Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242. Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, 5 Feb 1997. With an original receipt no. 634 and a declaration of antiquity, dated 7 Feb 1997. The receipt stated that this vase was an 'Ex Winkworth collection. See Sotheby's 25 April 1933, lot 156.' A circular paper label from Solveig and Anita Gray attached on the base of the vase, inscribed with the gallery's inventory number 'S7', corresponding to the receipt. The receipt, certificate and label dated this piece to the ‘Jiajing / Longqing (1522-72)’ period. 蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。購自倫敦古董商Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery，1997年2月5日，含收據（收據號634）及古董證明書原件。收據顯示本品「乃Winkworth collection舊藏，參蘇富比，1933年4月25日，拍品156。」瓶底貼一藝廊標籤，書藝廊收藏編號「S7」，與收據相符。收據、古董證明書及標籤顯示此瓶定年為嘉靖/隆慶（1522-72）。 See J. Ayers, R. Krahl, & N. Erbahar, Chinese Ceramics in the Topkapi Saray Museum, London, 1986, no. 1037, for half a bottle vase with similar treatment of the subject matter. Also compare to dragons of a jar and a dish, dated to Ming dynasty, Jiajing period, both sold at Christie's Paris, 20 Jun 2023, lot 636 and 637. See another example of a bottle vase, with similar pear-shaped form but slightly different winged-dragon, dated to the Wanli period, sold at Christie's London, 5 Apr 2011, lot 228. 一件截口青花瓶，龍紋與本品相似，見J. Ayers, R. Krahl及N. Erbahar：《Chinese Ceramics in the Topkapi Saray Museum》，1986年，圖版1037。比較兩件相近龍紋器物，其一明嘉靖款及年代，青花飛龍紋盤，2023年6月20日售於巴黎佳士得，拍品636；另一明嘉靖青花飛龍紋小罐，同上拍場，拍品637；亦參一明嘉靖款及年代，青花龍紋瓶，瓶身與本拍品雷同，但龍紋稍有出入，2011年4月5日售於倫敦佳士得，拍品228，皆可資比較。
Oostenrijk, paar kersenhouten jardinières, Biedermeier; Uitgevoerd met langwerpige zinken binnenbak gedragen door twee zuilen waartussen deels geëboniseerde houten traliewerk in drie patronen. h. 87,5 cm, b. 113,5 cm, d. 16,5 cm Sotheby's New York, Ariane Dandois: European Furniture, Paintings & Asian Art, 26 October 2007, lot 552 [2] A Austrian pair of neoclassical fruitwood and ebonized jardiniéres
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