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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.

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’.

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

A green-glazed vase, huHan dynastyThe compressed globular body flanked by a pair of moulded handles each in form of mythical beasts with bulging eyes and a loop ring issued from the bottom of the nose, covered overall in a green glaze with fine crackles, the interior with light brown glaze, 35cm high. 漢 綠釉壺Provenance: Ben Janssens Oriental Art (receipt).來源: Ben Janssens Oriental Art（收據）。Footnotes: W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.

A GROUP ASIAN ART REFERENCE BOOKS, MAGAZINES AND CATALOGUES Including: A Collection of Techniques of Famous Chinese Artists of All Dynasties : Figure Drawings, Shandong Fine Arts Publishing House, 2000 Jade, Roger Keverne, Lorenz Books, 1995 Chinese Ceramics - The New Standard Guide, He Li, Thames and Hudson, 1996 The Hidden Treasures of Nanzhao & Dali Kingdoms - with other artefacts from Yunnan, Woon Wee Teng, Woon Brothers Foundation Publication (sealed) Three Thousand Years of Chinese Painting, Yang Xin, Lian Jing Publishing, 1999 Chinese Cloisonne Enamel, Art Sous Les Arcades, Asian Art Singapore Pte, 2009 Duan She Inkstones, Tsing's Books & Art, 1991 (2 copies) Living with Ink : The Collection of Dr Tan Tsze Chor, Conan Cheong, Asian Civilization Museum, 2019 Splendors of China's Forbidden City : The Glorious Reign of Emperor Qianlong, Chumei Ho, Merrell, 2004 2004 Beijing Hanhai Autumn Auction : Classical Paintings and Calligraphy, Artron, 2004 A catalogue on Yixing teapots by Fan Ying Orientations Magazine, September 200, December 2000 China Guardian 2004 Autumn Auction Classical Paintings and Calligraphy, China Guardian 2004 Autumn Auction, 2004 Chinese Ceramics : Ching Dynasty, Artist Press, 1996 (16 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

ATTRIBUTED TO CHRISTOPHER DRESSER (1834-1904) RARE AESTHETIC MOVEMENT PITCHER, 1881 silver, engraved with initials under base E.C.S., stamped maker's mark for William Hunter & Son, London, hallmarked London 1881 24cm high Literature: Rudoe J. Decorative Arts 1850-1950; A Catalogue of the British Museum Collection, British Museum Press 1991, p. 42 and p. 183 (illus.)British Museum Collection. no. 1983,1010.1London, The Fine Art Society, Truth Beauty Power: The Designs of Christopher Dresser: The John Scott Collection, exhibition catalogue, p. 66, no. 126, where an Ault Pottery vase of the same design is illustrated.Whiteway, M. Christopher Dresser 1834-1904, Skira 2001, p. 110, pl. 101Note: This silver pitcher is derived from designs created by Christopher Dresser during his tenure as 'Art Superintendent' at Linthorpe Art Pottery. Known for their bold forms and rich glazes, Dresser’s designs for Linthorpe, where he served as director from 1879 to 1882, are highly distinctive. The shape of the current piece is likely influenced by Minoan or Cycladic pottery, which were frequent sources of inspiration for Dresser's work at Linthorpe and later at Ault Pottery. His designs also drew on a wide range of cultural motifs, including Asian, Mexican, Peruvian, Fijian pottery, and prehistoric artifacts discovered in Yorkshire. This reflects Dresser's broader interest in integrating diverse cultural elements into his work.A related silver artifact based on one of Dresser's designs for Linthorpe is held in the British Museum Collection. Produced in 1881, this tray or figural dish was featured in advertisements for Linthorpe Pottery in the Furniture Gazette in May 1880. The tray is shaped like a Fijian drinking vessel, with a head modelled directly from a Japanese stoneware figure of the monk-poet Saigyō—both of these items are part of the British Museum Collection (museum numbers Franks 1838 and 1842. 12-10.127). A rare silver version of the tray was produced by Thomas Johnson, a London firm known for manufacturing traditional small wares, similar to the work of William Hunter & Son, London, who made the present lot. It remains uncertain whether other Dresser designs were also produced in silver during this period, suggesting that these rare pieces may have been specially commissioned.

A varied collection of 37 art books on European and Asian arts1. Jean Cocteau poesie graphique2. Toulouse Lautrec au cirque - Jean Sagne3. Hippolyte Daeye - Genese d'une peinture - Bernadette De Visscher D'Haeye4. Arts Visioneries Getlin - Howard 5. Hockney - The joy of nature Van Gogh Hans den Hartog6. Desmond Morris Analytical Catalogue Raisonne - S.LEVY 7. Berrocal - Jean-Louis Ferrier8. Fernando Botero peintures 1959-2015 - Chiappini9. Artistes pompiers: French Academic Art in the 19th Century - Harding10. Toulouse-Lautrec galeries nationale 199211. Kubisme - P. Cabanne12. Otto Howen - Biografie en catalogus - Een generaal tekent Nederland13. Van Dyck - Brown/Vlieghe14. L'Adoration de l'agneau mystique de J.Van Eyck - Valentin Denis, Ricordi Milano, 196315. Emile Claus en het landleven Johan De Smet Museum schone kunsten Gent16. Octave Landuyt - Emile Langui17. Permeke - Willy Van Den Bussche18. Maurice Vlaminck - Verzeichnis des graphisches Werkes - Katalin Von Walterskirchen19. Maurice Vlaminck - Genevoix (Fr)20. Rik Wouters - Willy Van Den Bussche21. De Dendermondse schildersschool - Jean-Pierre De Bruyn22. Pierre Alechinsky - Pierre Abadie and Willy Van Den Bussche23. Ensor - Robert Delevoy24. Michel Folon - Vandenbroecke and Van Nieuwenhove25. Dictionnaire de la peinture26. Sam Dillemans - Michel Laclotte, J. Thompson China and Japan:1. Fumihiko Otsuki - Daigonkai2. Samurai - Kozyreff 19843. Yuh Yu Etemble Erotisme dans la Chine l'ancienne, 19694 .L'empire interdit Tuymans - Hui5. Fine Japonese art, Bonhams, 20156. L'Estampe japonaise - FAHR - Taschen7. Netsuke, Bushell Collection, L.A. County museum of art8. Noritake A to Z - David Spain9. Noritake A to Z - David Spain10. Obras Primas de Ceramica Japonese - Museu Nacional de Soares de Reis (Port-Eng)11. The Silk Road Art and History - J.Tucker, A.Tozer

Artist: Mark Tobey (American, 1890 - 1976). Title: "Composition #5". Medium: Mixed Media on Paper. Date: Composed c1967. Dimensions: Overall size: 12 3/4 x 9 3/4 in. (324 x 248 mm).Pricing:   Starting Price: $3,000  Reserve Price: N.A.  Auction Sale Price Estimate: $5,000/6,000Lot Note(s): Signed lower right. Painted on medium weight cream wove paper. Fine condition; as painted. Comment(s): Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29861-2-3000-NA]

Artist: Mark Tobey (American, 1890 - 1976). Title: "Composition #4". Medium: Original color pencil drawing on paper. Date: Composed 1971. Dimensions: Overall size: 8 1/2 x 13 3/8 in. (216 x 340 mm).Pricing:   Starting Price: $800  Reserve Price: N.A.  Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Signed and dated, lower right. White wove paper. Very good to fine condition; lower edge unevenly trimmed, else fine. Comment(s): Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29805-2-800-NA]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Pricing:   Starting Price: $300  Reserve Price: N.A.  Auction Sale Price Estimate: $400/500Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300-NA]

AD 253-268.. IMP GALLIENVS AVG, radiate and cuirassed bust to right / [VIC]TORIA GERMAN, Victory, on the left, standing to right, holding wreath in right hand and palm frond in left, facing Gallienus, on the right, standing to left, holding globe in right hand and spear in left; in field above, star. RIC V.1 452 (joint reign; uncertain Asian mint); Cohen 1173; MIR 1607b. 3.82gr, 20mm, 12h (). Acquired on the UK art market; Property of an Essex, UK, gentleman. Good Very Fine. Much silvering remaining. [No Reserve]

Mid-Century Chinese Wall Hanging with Mother of Pearl Inlay This exquisite mid-century Chinese wall hanging is a captivating depiction of a mountainous scene with a sailing ship. Encased within a sophisticated black frame, the artwork employs vibrant colours and features a distinctive three-dimensional effect, likely achieved through the intricate use of Mother of Pearl inlay. Prominently displayed in the scene are stylized nautical elements, including a boat with billowing sails crafted from Mother of Pearl, set against a backdrop of mountains and clouds that echo traditional Chinese artistic motifs. The left side of the artwork showcases detailed vegetation, including a tree, contributing to the piece's naturalistic charm. Adding to the authenticity and cultural significance, Chinese characters are inscribed at the top right section, accompanied by a red seal below which indicates the artist’s signature or workshop mark. The wall hanging is framed with distinction, featuring a dual-colour scheme: a delicate green inner frame complemented by a robust black outer frame. Though exact dimensions are not specified, this piece represents a harmonious blend of traditional craftsmanship and mid-century aesthetic, making it an exceptional addition to any collection of fine Asian art.

Unusually large Chinese Han dynasty green-glazed pottery boshan lu hill-form incense burner or lian. The lid molded in the shape of hills or mountains, depicting five sacred mountains between earth and paradise. The exterior molded with a landscape filled with beasts, likely big cats, birds, and monkeys. Resting on a tripod of three bear-form legs.Provenance: Tai Sing Fine Antiques Ltd., Hong Kong, 2000; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota; Private Minnesota Collection.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection.Height: 12 in x diameter: 9 1/2 in.Condition: There is calcifications throughout consistent with burial. Small losses to the glaze throughout; crazing to the glaze. There is a large chip the underside of the rim of the lid. One of the descending prongs along the underside is chipped off. Small chips to the rims. There is a series of cracks to one side of the vessel, possibly original to the firing.

λ&nbspAHMED PARVEZ (BRITISH/PAKISTANI 1926-1979) ABSTRACT Oil on canvas Signed and dated '62 (lower left) 76 x 51cm (29¾ x 20 in.)Provenance: Private Collection, Denis BowenExhibited: London, New Vision Centre Gallery, 1962 Nottingham, Commonwealth Festival Exhibition, 1966 London, Hayward Gallery, The Other Story, 1989, no. 4 Belgrave Gallery, British Abstract Artists of the 50s and 60s, 1992 (illustrated in exhibition catalogue p. 40)The present work was notably exhibited in the ground breaking exhibition The Other Story: Afro-Asian Artists in Post-War Britain, at The Hayward Gallery, London in 1989. This exhibition brought together works from Asian, African and Caribbean artists working in Post-War Britain, celebrating and promoting these artists to the mainstream that had otherwise been side-lined by critics and established institutions.  Victor Musgrave from Gallery One called Parvez "Without question the outstanding artist from Pakistan who has made a very strong impact upon the English art world. His extension into the West of the ideals implicit in Muslim art has been an effort of unique importance." (S. Ali, Homage: Remembering the Maestro, Dawn, 15 September 2013.)   Condition Report: Very fine craquelure to the extreme edges and corners. Light surface dirt throughout. Inspection under UV reveals retouching to the upper left quadrant in the shape of a right angle. Condition Report Disclaimer

A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Delhi School, Mughal Northern India, first half 19th centuryOpaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame. These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over. Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'. Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture. The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them. each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame Qty: 8

Sukhothai period, Ca. AD 1238 - 1438.A Thai walking Buddha depicted in the characteristic walking stance seen in South Asian buddhist sculptures. His right hand is in the Abhaya mudra, meaning "fear not", and he is wearing a long flowing sanghati robe over his left shoulder. His face is shown in a serene expression, with downcast eyes and arched brows flanked by pendulous ears. His hair arranged in the ushnisha knot topped by cintamani flame. For similar see, Museum of Fine Arts St Peter 1967.137.Size: 710mm x 240mm; Weight: 19.54kgProvenance: 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.

ASIAN ART & MISCELLANEOUS. Catalogue of a collection of objects of Chinese Art, London: Privately printed for the Burlington Fine Arts Club 1915, monochrome plates, original cloth, lge 4to; KEVERNE, Roger. Jade, London: Anness Publishing 1991, AUTHOR SIGNED & dedicated, cloth in dustjacket, large 4to; a few others related, mainly dealers catalogues; and others unrelated (27)

A GROUP OF ASIAN ART CATALOGUES AND REFERENCE BOOKS -Jade, by Roger Keverne -A Survey of Chinese Ceramics: Ming Official Wares, Aries Gemini Publishing -Beauty of Ceramics 3: Blue & White Porcelain -Beauty of Ceramics 4: Folk Blue & White -Sotheby's Hong Kong Fine Chinese Ceramics, 1989 -The World of Jade: The Great Masterpieces of Chinese Art, Fossati -China Porcelain & Earthen Wares (Swatow), China National Arts & Crafts Import & Export Corporation -Ihsing Violet-Sand Earthenware, Catalogue of Shanghai Ceramics 4 and several other Christie's catalogues Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A BLUE AND WHITE TWIN DUCK WATER DROPPER AND COVER Ming Dynasty, circa 16th Century, formed as a pair of conjoined swimming mandarin ducks, decorated in underglaze blue, an opening to their backs, the cover with wavy rim, their heads turned to the left and one with pierced beak to form the spout, base unglazed Provenance: The collection of Adrian Zecha, acquired prior to 1977, listed as No.45 in Sotheby's inventory of April 1977 Notes: For comparable examples see: Sotheby's New York, Asian Art, 19 March 2016, Lot 1461; and Christie's London, The van Daalen Collection of Chinese Art, 6 Nov 2019, Lot 58 12cm long, 9.5cm high Condition: Fine condition with no visible damage or restoration. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

TWO THAI TWIN DUCK WATER DROPPERS Sawankhalok, 15th Century, modelled as two ducks with stylised feathers incised and painted in underglaze brown, one example shows signs of a bluish-white transparent overglaze, the same piece is inscribed 'D.T.A.' to base Provenance: The collection of Adrian Zecha, acquired prior to 1977, listed as No.23 in Sotheby's inventory of April 1977 Notes: For a similar example see Southeast Asian Ceramics: Ninth Through Seventeenth Centuries, Frasche. D. F., The Asia Society, 1976, p.60, n.20, Virginia Museum of Fine Arts, East-Asian Art Collection, object no.76.27.3 9.5cm length Condition: Condition Report Both have been extensively restored. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A LARGE VIETNAMESE BLUE AND WHITE PEONY DISH 15th Century, well decorated in rich underglaze blue, the central peony within a wreath of leaves, a wave border, and a broad band of scrolling eight-petalled flowers, the exterior with a large lappet border, base with chocolate brown wash Provenance: The collection of Adrian Zecha, acquired before 1977, listed as No.63 in Sotheby's inventory of April 1977 Notes: For similarly decorated examples see: Southeast Asian Ceramics, Frasche D.F., 1976, p.115, No.77; Ceramic Art of Southeast Asia, SEACS Singapore, Willetts W., 1971, p.95, No.32; and The Ceramics of South-East Asia, Brown R.M., 1978, Pl.14, No.51 37.5cm diameter, 7.4cm high Condition: Condition ReportThere are ten small hairlines to the foot rim. Five very fine and small hairlines to the rim. A firing crack to the exterior near the foot. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

NAKAJIMA RAISHŌ (1796-1871)COCKEREL, HEN, AND CHICKSEDO PERIOD, 19TH CENTURYA Japanese two-fold byōbu (paper screen), painted in ink and colour on silk, the left panel depicting the cockerel with his plumage and long tail feathers meticulously portrayed, standing proud with his chick in the foreground, the right panel with the hen also carefully rendered with her two offsprings at her feet, signed and sealed Raisho, 155.5cm x 143cm.Nakajima Raishō was born in Kyoto, and studied under two pupils of the master Maruyama Ōkyo (1733-95), Watanabe Nangaku (1767-1813) and Ōkyo's son Maruyama Ōzui (1766-1829). Raishō was celebrated for his realist Shijō style of painting, and excelled at Kachō-ga (bird-and-flower) scenes. His artworks can be found in collections around the word, including at the British Museum, London; the Museum of Fine Arts, Boston, and the Smithsonian's National Museum of Asian Art, Washington.

A painting from a Baramasa series, depicting Radha and Krishna celebrating the Tej festival during the month of Sravan, with female devotees carrying statues of Parvati Bundi, circa 1780gouache and gold on paper, red border 287 x 210 mm.Footnotes:ProvenanceSotheby's, Fine Oriental Manuscripts and Miniatures, 15th October 1984, lot 77 (illustrated).For a Bundi painting of the same subject, with a very similar composition, see Sotheby's, Arts of the Islamic World and India, 30th March 2022, lot 59 (which had previously appeared at Sotheby's, Fine Oriental Manuscripts and Miniatures, 15th-16th April 1985, lot 463). There Radha and Krishna are seen twice, embracing amongst the trees in the background, and then in the upper floor of the pavilion, as in our painting. At the base of the pavilion a group of women are carrying a statue of Parvati as part of the celebrations for the festival of Tej, which is dedicated to the goddess and her union with Shiva, and it also ushers in the monsoon season, in the month of Sravan (late July-late August).Such paintings derive from the text of the Baramasa (songs of the seasons, or twelve months) written by the 16th Century poet, Keshavdas. A slightly earlier Bundi painting of 1680-1700 depicting the month of Sravan, is in the British Museum (see R. Ahluwalia, Rajput Painting, London 2008, p. 69, no. 35). For a painting depicting Asadh (the month prior to Sravan), attributed to Bundi or Kotah, mid-18th Century, and formerly in the collection of Dr Claus Virch, see Sotheby's New York, Indian, Himalayan and Southeast Asian Works of Art, 16th March 2016, lot 812.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A large painting depicting Old Court House Street, Calcutta, after the print by Thomas Daniell Chinese School, probably Canton, 19th Centurygouache on paper, Chinese patterned silk border, framed 137.5 x 210 cm.; with frame 150 x 225 cm.Footnotes:ProvenanceA private San Francisco collection, assembled in the 1960s and 70s.Bonhams, San Francisco, Fine Asian Works of Art, 29th June 2009, lot 8281.In the collection of Ed Hardy, San Francisco.Abell Auction Company, Los Angeles, USA, March 2023.Our painting was probably executed between 1820 and 1860, on the basis of comparison with the development of Chinese oil paintings depicting Canton. From the late 18th Century views of the waterfront there were produced by local artists for western merchants and ship owners visiting the port. At first they were painted in bodycolour on paper, fine linens or silk, but canvas and oil paints appear to have been introduced to the Cantonese artists' studios in the last quarter of the 18th century.William Sargent notes: 'Exactly how Chinese artists learned western techniques and what their attitudes were towards their customers is not known [...] There are no records of East Asian artists studying under western teachers, other than in schools established in Asia by the Church specifically for the production of religious art. However, European artists did visit Asia, and their presence in coastal trading ports eventually influenced local imitators. It is more likely, however, that Asian artists learned western techniques from copying prints, book illustrations or other secondary sources'. A watercolour from a series of one hundred, in the Victoria and Albert Museum, depicting trades, produced in Canton, circa 1790, shows a Chinese artist painting on to glass with a European engraving propped up in front of him (see William R. Sargent, 'Asia in Europe: Chinese Paintings for the West', in A. Jackson, A. Jaffer (edd.), Encounters: the Meeting of Asia and Europe, 1500-1800, London 2004, pp. 274-275, and plate 21.2). For another example, circa 1800, see P. Conner, Paintings of the China Trade: the Sze Yuan Tang Collection of Historic Paintings, Hong Kong 2013, p. 118, no. 103.A Chinese porcelain dish of circa 1795 bears a design derived from an English engraving of 1794 of Fort William (the Company settlement which became Calcutta); the service of which the dish was part was probably produced for export to India for the use of Company employees (see P. Conner, The China Trade, 1600-1860, Brighton 1986, pp. 100-101, nos. 135 and 136). A second example is a painting on linen or silk by a Chinese artist of the late 18th Century, after a print depicting Stockholm harbour by the Swedish artist Olaf Jacobsson Arre (1731-1809). Conner notes that 'while following the original engraving in most respects, the Cantonese export artist has lent a decidedly Chinese quality to some of the ships in the harbour' (see P. Conner, op. cit. (2013), p. 85, no. 74).The copying of a Daniell print here represents an interesting complication of the direction of influence, for the Daniells were amongst the first British artists to visit China (in their case, on their homeward journey from India in 1793-94 as part of a convoy including Lord Macartney, himself returning from an embassy). Thomas Daniell produced views of the waterfront at Canton (from which prints were derived): see P. Conner, The Hongs of Canton: Western Merchants in South China, 1700-1900, as seen in Chinese Export Paintings, London 2009, pp. 61-63, and figs. 2.33 and 2.34. However, as Sargent and Conner note, prints and illustrations seem to have been the main source for the Asian artists.The Cantonese artists, in their frequent depictions of the Hongs (waterfront offices and warehouses) at Canton and the European 'factories' there, were used to portraying streets and buildings, as well as the population filling them: see, most strikingly in relation to our painting, an 1807 work showing a street scene with officials arriving outside the hongs before the trial of European seamen in Canton (see P. Conner, 2013, p. 142, no. 127). Here then, in our painting, they combine their source in a European print with the sort of scenes they were already painting of their home background - while doubtless being aware of the commercial possibilities of producing a view of Calcutta for British consumption. While our painting is still in gouache on paper, its scale is clearly related to a new familiarity with Western oil paintings of the late 18th Century.The view in our painting is a close copy of the print (coloured etching with aquatint) depicting Old Court House Street from the north, no. 9 from Thomas Daniell's Views of Calcutta, 1788 (illustrated in, for example, M. Archer, Early Views of India: the Picturesque Journeys of Thomas and William Daniell 1786-1794, London 1980, fig. 12; or J. P. Losty, Calcutta: City of Palaces, London 1990, p. 57, fig. 27).Archer writes in his caption:Old Court House Street ran north-south from the Old Court House in Tank Square along the eastern side of Government House to the Maidan. Its comfortable mansions of many different designs are set in compounds on either side of the road. The street is busy with varying forms of Indian and British transport - an elephant, a canopied bullock carriage, sedan chairs, palanquins and carriages. People of many types, including an ascetic, mingle in the road.For further information on this lot please visit Bonhams.com

A Mughal prince standing in a landscape, holding a musket, sword and shield, formerly from an album made for William Fraser Mughal, Delhi, circa 1800pencil and gouache on paper, blue and orange gold-decorated inner borders, fine floral outer border painting 187 x 105 mm.; album page 312 x 208 mm.Footnotes:ProvenanceMalcolm R. Fraser, descendant of William and James Fraser.Sotheby's, Fine Oriental Manuscripts, Miniatures and Qajar Lacquer, 13th-14th October 1980, lot 211 (not illustrated).Formerly in the collection of Saeed Motamed (1925-2013).Christie's South Kensington, The Saeed Motamed Collection: Part II, 7th October 2013, lot 271.Private UK collection, 2013-present.Five pages from the same album, all but one with the same distinctive floral borders as the present lot, were sold at Sotheby's, Arts of the Islamic World, 3rd October 2012, lots 85-89, amongst a section (lots 81-102) of works formerly in his possession. The borders of lots 82 and 84-87 are particularly close to that of our painting, and imitate 'high' Mughal 17th Century album pages.All were formerly possessed by William Fraser (1784-1835), and remained in the Fraser family until the album was dispersed (as lots 183-211) in the 1980 Sotheby's sale mentioned above.For another example of such a painting, a portrait of Sayyid Abu'l Muzaffar Khan, an early 19th Century copy of a 17th Century original by Lalchand (in the Metropolitan Museum of Art, New York), and with the same fine floral borders, see Sotheby's New York, Indian, Himalayan and Southeast Asian Art, 6th October 1990, lot 74.For further information on this lot please visit Bonhams.com

A Chinese 'longquan' guan-type celadon washer, xi, Southern Song Dynasty, 13th century, with pale translucent celadon glaze suffused with a network of fine crackles, burnt red foot, exhibition labels for Cape Town 1953, Radcliffe collection and BADA, 12.3cm diameterCompare with a dish of related type in the Museum of East Asian Art, Bath, p. 154, pl.108Provenance: Walter Burchard Collection purchased from him by Bluetts, March 8th, 1944Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive, 'A13', as purchased from Bluett & Sons, in 1943, for £12-0s-0d, but listed in the Bluett archive as sold to Major Radcliffe September 20th, 1944, for £25.00Exhibited: National Gallery of South Africa, Chinese Exhibition, Cape Town, 1953, no. 77南宋 龍泉窯冰裂青釉折沿洗拍品來源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族編號A13），其在家族檔案中記載為"1943年購自英國著名古董商Bluett & Sons"，然而在Bluett的檔案中記載為" 1944年3月8日購自Walter Burchard 收藏，同年9月20日以25英鎊售於Radcliffe少校" 展覽資訊：南非國家畫廊，中​​國藝術展覽，開普敦，1953年，編號77號 Condition Report: chip to unglazed foot and cracksguan type glaze not evenly spread over the entire surface Condition Report Disclaimer

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.

A YAOZHOU DEEP BOWLSong DynastyElegantly potted with deep curving sides, rising from a straight short foot to a slightly everted rim, moulded to the interior with six fine moulded vertical ribs, covered in an even olive-green glaze, Japanese wood box. 10cm (4in) diam. (3).Footnotes:宋 耀州窯青釉碗Provenance: Hans Popper (1904-1971), San Francisco, and thence by descentEskenazi Ltd., London, 26 November 2005 (invoice)John E. Bodie OBE (1930-2023), London, collection no.64Published, Illustrated, Exhibited and on Loan: R-Y. L. d'Argencé, The Hans Popper Collection of Oriental Art, Japan, 1973, no.83 (Published)Centre of Asian Art and Culture, San Francisco (4 October - 18 November 1973) (Exhibited; and on Loan 1985-1990)Worcester Art Museum, Worcester, Massachusetts (10 December 1973 - 20 January 1974) (Exhibited)The Baltimore Museum of Art (16 April - 26 May 1974) (Exhibited)Cleveland Museum of Art, Ohio (10 July - 3 September 1974), (label) (Exhibited)Seattle Museum of Art, Washington, (20 September - 3 November 1974) (Exhibited)The Dallas Museum of Art, Dallas (on Loan 1991-2005)Eskenazi Ltd., London, Song Ceramics from the Hans Popper Collection, London, 3-26 November 2005, pp.32-33, no.4 (Published, Illustrated and Exhibited)來源： Hans Popper (1904-1971)，舊金山，並由後人保存迄今倫敦古董商Eskenazi Ltd.，2005年11月26日（據收據）大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號64展覽著錄及租借： R-Y. L. d'Argencé，《The Hans Popper Collection of Oriental Art》，日本，1973年，編號83（著錄）亞洲藝術文化中心，舊金山（1973年10月4日至11月18日）（展覽，並於1985年-1990年租借）伍斯特藝術博物館，伍斯特，馬薩諸撒州（1973年12月10日-1974年1月20日）（展覽）巴爾的摩藝術博物館（1974年4月16日至5月26日）（展覽）卡夫蘭藝術博物館，俄亥俄州（1974年7月10日至9月3日）（標籤）（展覽）西雅圖藝術博物館，華盛頓（1974年9月20日至11月3日）（展覽）達拉斯藝術博物館，達拉斯（1991年至2005年租借）倫敦古董商Eskenazi Ltd.，《Song Ceramics from the Hans Popper Collection》，倫敦，2005年11月3至26日，第32-33頁，編號4（著錄和展覽）Hans Popper was born in Vienna in 1904. In 1939 the family moved to the US, eventually settling in San Francisco. On business trips to Japan in the 1940s and 1950s he was exposed to Japanese, Chinese and Korean art, and through his mentor Dr Fujio Koyama, Tokyo, he formed an important collection of Japanese prints and ceramics, followed by Chinese and Korean art. From 1969 Giuseppe Eskenazi became an agent for Popper, who now also acquired archaic bronzes as well as Song ceramics. Hans Popper's wife Gretel was key in the final decision making and after his death was involved in the museum traveling exhibitions. For more information please see the Eskenazi Ltd., 2005 catalogue.Compare with a similar Yaozhou bowl, Northern Song dynasty, illustrated by R.L.Hobson, The George Eumorfopoulos Collection Catalogue of the Chinese, Corean and Persian Pottery and Porcelain, vol.2, London, 1926, pl.L.B184. See a related slip-decorated Yaozhou celadon bowl, Northern Song dynasty, which was sold at Christie's New York, 22 September 2023, lot 1013.For further information on this lot please visit Bonhams.com

Two Japanese lac burgauté snuff bottlesMeiji/Taisho period, 1854-1930The first, of pear-shape, finely inlaid in gilt foil and mother-of-pearl throughout with bands of brocaded patterns, the main band centred around a chrysanthemum flowerhead to verso and recto, the original stopper decorated en suite and with ivory spoon, the base with apocryphal Qian Li seal 6.7cm high without and 7.2cm high with stopper; the second, of flattened bell shape, inlaid in mother-of-pearl and gilt with floral motifs, 5.5cm high (2).日本一八五四 - 一九三零 黑漆嵌螺鈿鼻煙壺兩件Cf. The art of Chinese lac burgauté reached its peak in the 17th century, with the work of famous artist Jiang Qianli 江千里 of Yangzhou, whose surviving work mostly consists of exquisitely inlaid small vessels, like wine cups and trays. His fame was such that his name became almost synonymous with the style and technique, and his seal was applied to a large number of work executed in the technique.Besides the original 17th century work, there is a group of very fine Japanese wares from the Meiji period bearing his seal, often decorated with fine and dense brocaded designs, as pointed out by Hugh Moss in the explanatory note for Treasury 7., no. 1710,  from the Mary and George Bloch Collection IX, sold at Sotheby's, Hong Kong, 23 November 2014 lot 107, which is a related bottle of this group, of different shape and finer decoration, but bearing a similar chrysanthemum roundel to the cover. Another, also finer, bottle, was in the Mary and George Bloch Collection, VII, Sold by Sotheby's Hong Kong, 25 November 2013, lot 158, also illustrated by H. Moss, Treasury 7, no. 1714.Ivory Exemption Number: EU9H495ASnuff 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: Both with expected minor wear including a couple of insignificant losses to inlay. The bell-shaped bottle with a spot of surface residue/ingrained dirt to one side.

Two Chinese black enamelled snuff bottlesLate Qing dynasty, one with Daoguang minyao mark and periodThe first enamelled with the scene of a lady climbing a tree, handing flowers that she has picked to a young scholar, beside three lady attendants, in a fenced garden, the base with Daoguang four-character seal mark in iron red, associated stopper, 6.7cm high;  the other with scholar travelling on horseback, his boy attendant afoot and carrying a flowering branch of prunus, four-character seal mark in iron-red to base, associated coral stopper, 8.3cm high without stopper (2).清晚期 墨彩鼻煙壺兩件，其中一件礬紅篆書「道光年製」款Cf. an identical Daoguang mark and period snuff bottle in the Gerry P. Mack collection, sold by Sotheby's New York, 25 October 1997, lot 299.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 yearsCondition Report: Daoguang bottle: fine hairline to body, approx. 25mm long. a few insignificant nibbles to foot. Light surface wear with some rubbing to enamels. The other bottle with a very fine glaze line to the edge of the mouth of under 5mm, also with light wear otherwise good.

Two Chinese underglaze red and blue cylindrical snuff bottleLate Qing dynastyThe first finely painted with a warrior and two attendants on a boat by a lakeshore, the base with a carp amongst algae, 8cm high without stopper; the second with a fisherman on a boat sailing by a pine issuing from a rocky shore, under the poem 獨釣寒江雪 孤舟簑笠翁, fishing in solitude on the wintry river wearing a straw hat, 8cm high without stopper (2).清晚期 青花釉裡紅人物故事圖紋鼻煙壺，其中一件題詩「獨釣寒江雪，孤舟簑笠翁」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 yearsCondition Report: Fisherman bottle: fine firing crack to interior of neck showing as fine line under the glaze to the exterior; fritting to edge of shoulder and lower edge of cylindrical body. Warrior bottle generally good. Both with light wear and expected firing imperfections.

A Chinese carved hediao snuff bottle and two lacquered wood snuff bottlesQing dynasty, 18th century - 19th centuryThe first, carved from a peach stone with a magpie perching on blossoming prunus branches, associated resin stopper, 18th century, 4.7cm high without stopper; the lacquered bottles, one of cylindrical form, the wood lacquered to a dark, almost black patina, associated stopper, 7.4cm high without stopper; the second of baluster form, the bamboo with translucent lacquer of a rich dark brown hue, associated stopper, 5.4cm high without stopper (3).清十八 - 十九世紀 核雕鼻煙壺一件及木雕漆器鼻煙壺兩件Cf. for a similar peach stone bottle with matching stand, see H. Moss, Chinese Snuff Bottles: 5, Published by Hugh M. Moss Ltd, May 1969, fig. 5,p. 18.A similar cylindrical lacquer bottle in The Mary and George Bloch Collection: Part VII, Sotheby's, Hong Kong, 26 November 2013, Lot 23, al;so published by H. Moss, Treasury7, no.1521.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: Fine hairline to one side of the hediao bottle, approx.13mm long, a further shorter hairline to rim and around neck and one running around shoulder. Black lacquer bottle with some rim nibbling and expected light wear. One shallow age crack to side of body, approx. 20mm long. Baluster bottle also with light nibbling and expected wear.

A Chinese lapis lazuli 'gourds' snuff bottle and a stained hardstone snuff bottleLate Qing dynastyThe lapis lazuli bottle carved as a double gourd flanked by leaves and smaller fruits, 5.1cm high without stopper; the hardstone bottle of roughly spade shape, stained a bright blue in imitation of lapis lazuli, 5.5cm high without stopper (2).清晚期 青金石雕葫蘆式鼻煙壺及硬石雕鼻煙壺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 inclusions and fissure to stone of both and nibbling to edges. The Spade-shaped bottle is likely to have been stained blue. The double gourd bottle has a number of fine fissures to surface particularly to the short side, and some greenish surface residue just underneath the mouth.

Two Chinese cattle bone snuff bottles and one Japanese cattle bone 'crabs' snuff bottleLate Qing dynasty-Republic period and Meiji periodThe first Chinese bottle carved throughout in shallow relief with a pair of writhing dragons chasing a flaming pearl amidst tumultuous foaming waves, 7cm high; the second of cylindrical form, incised with boys at play and a poem, 6.2cm high; the Japanese bottle carved throughout in shallow relieve, with a crab resting over a basket, the stopper also carved as a crab, the base signed Ishidama, 7.2cm high to the rim, 8.3cm high with stopper (3).晚清/民國及明治時期 牛角雕鼻煙兩件及日本牛角雕蟹紋鼻煙壺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 yearsCondition Report: Scattered tiny nibbles, expected wear, and a few fine incipient age cracks.

A Chinese famille rose and iron-red 'dragon' cylindrical snuff bottleQing dynasty, Guangxu mark and periodTypically enamelled with an iron-red dragon writhing and chasing a flaming pearl amongst yellow, blue pink and white billowing clouds and above breaking waves, the base with iron-red kaishu six-character mark, associated stopper, 7.5cm high without stopper.清光緒 礬紅粉彩繪龍紋鼻煙壺，礬紅楷書「大清光緒年製」款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 yearsCondition Report: A few fine firing lines to glaze around the mouth and the edge of the mouth rim. Light surface wear. Some restoration to the foot and overpainting to the base.

One Chinese copper red and one blue and white 'dragon' snuff bottleQing dynasty, 19th century, the red with apocryphal Qianlong markThe first finely painted under the glaze in a copper pigment fired a bright red with green accents, with two writhing dragons chasing a flaming pearl above waves, the base with underglaze blue six-character mark, stopper,  8.2cm high, the second painted with a pair of confronting dragons chasing a flaming pearl amongst billowing clouds, the base with a further dragon, stopper, 7.6cm high (2).清十九世紀 釉裡紅龍紋鼻煙壺及青花龍紋鼻煙壺，青花楷書「大清乾隆年製」寄托款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 yearsCondition Report: The iron red bottle with surface wear  to glaze which is highlighted by UV inspection although it does not appear to be damage or restoration. One fine/tiny rim hairline going down neck that is only visible under UV inspection and two tiny rim frits nearby.The underglaze blue bottle with some traces of old tape glue to the side. Both feet may have been slightly ground down.

A fine Chinese copper-red 'dragon' cylindrical snuff bottleQing dynasty, Imperial workshops, 1810-1860With wide mouth with gently convex lip and slightly concave base surrounded by a wide, flat foot, the cylindrical body finely painted in a bright underglaze red with a pair of sinuous dragons emerging from tumultuous waves to chase a flaming pearl, the shoulder and neck with further clouds, the copper fired to a lively red with a few spots of greyish-green under the slightly bluish, transparent glaze, associated stopper, 7.9cm high without stopper.一八一零 - 一八六零 御製釉裡紅龍紋鼻煙壺Cf. the painting on the present bottle is extremely precise and fired to an ideal colour; see a slightly earlier bottle of slightly different shape but comparable decoration in the Meriem collection, part II,19 March 2008, lot 201.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 yearsCondition Report: Some overpainting to base and edge of foot, approx. 30mm long.Expected mild firing imperfections and surface wear.

Six Chinese enamelled snuff bottlesLate Qing dynasty-first half of 20th centuryComprising: a yellow-enamelled bottle moulded as a cob of corn, associated stopper, 7.4cm high without; a green-enamelled snuff bottle, carved in reticulation with bats around shou medallions on each side, associated stopper, 6.4cm high without stopper; a moulded bottle enamelled with aubergine and green dragons on a mustard yellow ground, associates stopper, 6.1cm high without stopper; a bottle moulded and enamelled as s lotus leaf flanked with two budding flowers, associated stopper, 7cm high without stopper; a green bottle moulded and enamelled with a dragon and a phoenix, 7.2cm high without stopper; and a light blue ground bottle moulded and enamelled on either side with a lotus leaf and blossom, associated stopper, 5.3cm high (6).清晚期/二十世紀上半業 鼻煙壺六件Cf. for an enamelled bottle in the shape of an ear of corn, and one in the shape of a lotus pod, see Hou Yi-Li, Lifting the Spirit and Body: The Art and Culture of Snuff Bottles, National Palace Museum, Taiwan, 2021, pl. III-104 and III-101, pp.218-219.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 yearsCondition Report: From left to right in catalogue photo: 1 (phoenix) & 2 (cob of corn) with expected surface wear, especially along the edges of the relief design, and a couple of tiny nibbles to foot; a small unglazed patch to side to bottle 1. 3 (blue with lotus) some light scratches and expected firing imperfections. 4. (dragons bottle): one fine glaze line running horizontally to one side, probably occurred in firing; one small infilled flake to the exterior of the rim, and one small hairline running along the rim (approx. 3mm long); foot slightly ground down. 5. (lime green reticulated) at least one very tiny nibble to reticulated design. Glaze rubbed off foot in places. Light surface wear and a few light firing imperfections including some shallow firing cracks around the neck. Possibly a hairline to the inner core, evinced through the reticulation. 6 (lotus pod) a few small patches of light scratching and two tiny flakes to enamels.

Four Chinese famille rose moulded snuff bottlesLate Qing dynasty/Republic period, apocryphal Qianlong marksThe first typically decorated with the eighteen luohans, the other three each with lively narrative scenes, the bases all with iron-red four-character seal marks, stoppers, 7cm, 7.2cm, 7.5cm and 8.4cm high. (4).晚清/民國 粉彩鼻煙壺四件，礬紅篆書「乾隆年製」寄托款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 yearsCondition Report: The ladies snuff bottle with small infilled chip just beneath the mouth rim.The 'weaving and tilling' bottle with fine firing cracks to the base, the mouth slightly ground down and re-gilded.The luohan bottle with a fine hairline running from shoulder to above the foot, possibly stemming from a firing flaw due to its irregular nature. A small nibble above the foot and some fritting to rim.Shipwreck bottle with fine firing flaw under the glaze across the base along the moulding line.All with expected surface wear and firing imperfections.

Five Chinese famille rose snuff bottlesQing dynasty, 19th century - 20th centuryComprising: a 'Canton' famille rose snuff bottle, 6.2cm high without stopper; a tapering cylindrical bottle enamelled with two lady Immortals on a raft boat, 7cm high without stopper; a cylindrical bottle enamelled with peaches, 6.8cm high without stopper; a pear-shaped bottle enamelled on each side with a scrolling gourd medallion, 6.8cm high without stopper; and a bottle enamelled with a landscape, 5.7cm high without stopper, all with associated stoppers (5)清十九 - 二十世紀 粉彩繪鼻煙壺五件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 yearsCondition Report: General expected wear and firing imperfections, including pitting and a few very fine firing cracks, otherwise good.

A Chinese pale green and russet jade snuff bottleQing dynasty, 19th centuryThe mottled pale stone of a pale green/whitish hue, very well hollowed and standing on a slightly concave, oval foot, the gently rounded shoulders carved with mock-embossed animal-mask-and-loop handles, one of the flat sides with traces of the original skin, coral stopper, 5cm high without stopper.清十九世紀 帶皮玉雕鼻煙壺連珊瑚蓋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 natural inclusions and at least one fine tiny fissure.

A Chinese 'monkeys' smoky quartz snuff bottleQing dynasty, 19th centuryFinely carved as a seated monkey holding a peach in her lap, her infant clambering over her shoulder the details well-formed and finely proportioned, green jadeite stopper, 4.6cm high without stopper.清十九世紀 煙晶雕猴式鼻煙壺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 light wear including some tiny nibbles to the edge of the mouth; expected natural inclusions and a few fine natural fissures to stone.

A Chinese 'silhouette' agate pebble-form snuff bottleQing dynasty, 19th centuryThe small pebble well-hollowed from a white-greyish stone, one side with banded inclusions, the other with dark brown inclusions variously resembling an insect, fruits, leaves and a crab, the natural forms skillfully and subtly enhanced by the carver, agate stopper, 4.6cm high without stopper.清十九世紀 瑪瑙雕瓜果蟹紋鼻煙壺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 inclusions and general fine natural fissures to stone. Tiny nibbles to edge of mouth.

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.A fine Chinese white and russet jade snuff bottleQing dynasty, second half of 19th century, seal mark of Tie'AnThe even, white stone carved in a baluster shape with tall cylindrical neck and straight, wide mouth, one side preserving the original russet skin, the flat base finely carved in shallow relief with the seal mark, 銕庵 Tie'An, green hardstone stopper, 5.3cm high without stopper.清十九世紀 帶皮白玉雕鼻煙壺，「銕庵」款Ivory Exemption Number: 2DKDE13ZSnuff 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: Mouth not perfectly circular. A few very tiny nibbles to edges of mouth. Natural inclusions and a few almost invisible natural fissures.

A LARGE CELADON-GLAZED SLIP-DECORATED BOWLKorea, Koryo Dynasty, 12th/13th centuryRobustly potted with sides rising steeply from a short straight foot, finely decorated around the body with a wide band containing four floral medallions on a leafy scroll background below a band containing flying birds, the interior with four clusters of fruit and flower heads, the raised centre with an incised flower, covered all over with a rich greyish-green celadon glaze.19cm (7 1/2in) diam.Footnotes:韓國 高麗王朝 十二/十三世紀 青釉鑲嵌盌Provenance: Bonhams London, Fine Asian Art, 14 May 2007, lot 208Collection of Nicolas de la Mare Thompson (1928-2010) and thence by descent.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Collection of catalogues on Asian ArtBonhams, to include Clouds of Heavenly Blessings: A Pair of Exceptionally Rare Imperial Doucai Waterpots, 2 June 2016, Hong Kong; Fine Chinese Art, 6 November 2014, London, catalogue no. 21355; The Roy Davids Collection of Chinese Ceramics, 6 November 2014, London, catalogue no. 22659; Fine Chinese Art, 16 May 2013, London, catalogue no. 20579; Fine Chinese Ceramics and Works of Art, 30 May 2017, Hong Kong, catalogue no. 24017; Fine Chinese Art, 17 May 2012, London, catalogue no. 20108 (12) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

A SUPERB IVORY NETSUKE OF A RECUMBENT OX, ATTRIBUTED TO OKATOMOAttributed to Yamaguchi Okatomo, signed Tomotada 友忠Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)A fine and powerfully crafted ivory netsuke of a recumbent ox with his head turned to the left, the eyes carefully inlaid in dark horn giving life to the expression. The bulky animal has a pronounced spine, a finely incised fur coat, and a rope halter passes through the nose ring, over the horns and all the way around to its tail, ending in a little loop. The underside is beautifully carved as well, showing the hooves tucked beneath the body. Generously excavated and asymmetrical himotoshi through the underside. Signed within a rectangular reserve between the himotoshi TOMOTADA – however much more likely a work by his star pupil Okatomo.LENGTH 6 cmCondition: Very good condition with only minor wear and expected age cracks. Beautiful, deep patina.Provenance: Old Viennese private collection.Literature comparison:Compare a closely related, albeit more worn, ivory netsuke of a recumbent ox, signed Okatomo, illustrated in Ducros, Alain (1987) Netsuke & Sagemono 2, p. 52, no. 24.Auction comparison:Compare a closely related ivory netsuke of a cow, signed Tomotada, also probably by Okatomo, dated late 18th to early 19th century, at Zacke, Asian Art Discovers, 21 January 2021, Vienna, lot 346 (sold for EUR 8,848).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0096).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

TEIJI: A MASTERFUL LACQUERED AND CERAMIC-INLAID MANJU OF DARUMA BEHIND IRON BARSBy Teiji, signed Teiji 貞二Japan, Nagoya, mid-19th century, Edo period (1615-1868)The netsuke of manju shape and lacquered in roiro with iro-e hiramaki-e, as well as inlaid with mother-of-pearl and horn, depicting a moveable ceramic Daruma seated behind iron bars — an allusion to a brothel, which the Bodhidharma reputedly frequented. The ceramic Daruma dressed in an red robe with a cowl covering his head, his face carved with an impish expression, caught red-handed, peering through the confines of a brothel with ishime bars, overgrown with leafy vines. The reverse with two himotoshi and signed TEIJI.DIAMETER 4.3 cmCondition: Very good condition with minor wear.Provenance: Ex-collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. From the 1970s onward, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.Teiji, pupil of Seiji, was originally a potter and made unique netsuke with ceramic inlays. The quality of his ceramic inlay is arguably unequaled in netsuke. Teiji made several netsuke depicting octopi, most like the one cited in the literature comparison. The present model appears to be unique.Auction comparison:Compare a related lacquered and ceramic-inlaid manju of an octopus in a pot, by Teiji, at Galerie Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 318 (sold for EUR 6,100). Compare a related lacquered and pottery-inlaid manju netsuke of Daruma inside a cave, by Kan, at Galerie Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 108 (sold for EUR 2,860).

A WOOD NETSUKE OF BENKEI SLEEPING ON A CONCH (HORAGAI)UnsignedJapan, late 18th to early 19th century, Edo period (1612-1868)The oversized conch (horagai) naturalistically rendered with fine stippling and smooth and rough sections, bearing the weight of the exhausted Benkei who rests his tired head on his folded hands. Benkei is depicted in a typical manner, clothed in the robes of a yamabushi monk and wearing a tokin cap surmounted with a gilt metal stud. The conch is fitted with an antler and ebony wood mouthpiece. A well-hollowed himotoshi to the side exiting the mouth of the conch.LENGTH 6.2 cm Condition: Very good condition with minor wear and natural age cracks.Provenance: Collection Gabor Orszagh, Budapest, Hungary.Horagai are large conch shells, usually from Charonia tritonis, that have been used as trumpets in Japan for many centuries. The instrument has served a number of purposes throughout Japanese history and special schools still teach students to play the traditional music associated with the conch. Unlike most shell trumpets from other parts of the world which produce only one pitch, the Japanese horagai can produce three or five different notes. The different pitches are achieved using a bronze or wooden mouthpiece attached to the apex of the shell's spire. At freezing temperatures (often encountered in the mountainous regions of Japan) the lips may freeze to the metal surface, so wooden or bamboo mouthpieces are used.The yamabushi were renegade mountain priests of the Shingon Tantric Buddhist sect, who used the conch to communicate their movements in the mountain wilderness.Auction comparison:Compare a related wood netsuke of Benkei on a horagai, dated early 19th century, at Lempertz, Asian Art, 9 December 2022, Cologne, lot 462 (sold for EUR 3,276).

TADAKAZU: A FINE WOOD NETSUKE OF A WASP NEST WITH MOVABLE LARVAEBy Tadakazu (Chuichi), signed Tadakazu 忠一Japan, late 19th century, Meiji period (1868-1912)Naturalistically carved with four full-grown wasps tending to the hatching larvae, the nest finely textured with individual combs, some closed and others opened to reveal the bone-inlaid larvae, two of the larvae movable. The eyes of the grown wasps inlaid in dark horn, and two generously excavated himotoshi to the side, the larger hole generously excavated to accommodate the knot. Signed TADAKAZU on the side within a recessed oval reserve.LENGTH 4.9 cmCondition: Very good condition with minor wear, one inlaid eye replaced.Provenance: Private collection in Germany, assembled between 1985 and 2007. Lempertz, Asian Art, 25 June 2021, Cologne, lot 864. German private collection, acquired from the above.Auction comparison:Compare a closely related ivory netsuke depicting the same subject, by Tadakazu (Chuichi), at Zacke, Fine Netsuke, Sagemono & Okimono, 24 November 2018, Vienna, lot 123 (sold for EUR 3,792).

A FINE IVORY NETSUKE OF A SKULL WITH A SNAKEUnsignedJapan, 19th centuryThe morbid subject finely carved, the twisting body of the snake slithering on top of the static skull detailed with cavernous eye sockets and parietal lines, the body of the serpent naturalistically carved, varying in thickness with finely detailed scales, its eyes inlaid in dark horn. Natural himotoshi.LENGTH 4.1 cmCondition: A few age cracks with associated repairs and fills. Otherwise good condition with minor wear and traces of use.The combination of skull and snake represents the Buddhist philosophy of the impermanence of life, which can be summarized as 'Memento Mori' (latin for 'remember that you die').In Japanese Samurai culture, the influence of Zen Buddhist contemplation of death on indigenous culture can be gauged by the following quotation from the classic treatise on samurai ethics, the Hagakure:“The Way of the Samurai is, morning after morning, the practice of death, considering whether it will be here or be there, imagining the most sightly way of dying, and putting one's mind firmly in death. Although this may be a most difficult thing, if one will do it, it can be done. There is nothing that one should suppose cannot be done.”In the annual appreciation of cherry blossom and fall colors, hanami and momijigari, it was philosophized that things are most splendid at the very moment just before their fall, and to aim to live and die in a similar fashion.Museum comparison:Compare a related ivory netsuke of two snakes on a skull, unsigned, in the Asian Art Museum of San Francisco, accession number B70Y199.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2301000017-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

RAKUMIN: A FINE WOOD NETSUKE OF A DRAGON EMERGING FROM AN ASH POTBy Ho Rakumin (1804-1877), signed Rakumin 樂民Japan, Edo/Tokyo, second half of 19th centuryFinely carved to depict a fierce three-clawed dragon with a sinuous body emerging from a small ash pot, the beast well detailed with neatly incised scales, long whiskers and horns, and eyes inlaid in pale horn. Natural himotoshi. Signed to the base on an inlaid bone tablet RAKUMIN.LENGTH 4.5 cmCondition: Very good condition with only minor wear.Provenance: Lempertz, Asian Art, 25 June 2021, Cologne, lot 879. German private collection, acquired from the above.Fuld's Netsuke and Ojime Index quotes only one netsuke of a dragon by Rakumin, formerly in the W. L. Behrens collection, published in Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 3079 (unillustrated). The catalog entry reads: “Wood, a slender smooth dragon coiled in a knot, signed Rakumin”. This may very well be the same piece as the present lot.The present netsuke illustrates the proverb haifuki kara ryu ('a dragon issuing from an ash container'), which is analogous to the expression hyotan kara koma ('a horse out of a gourd'), both conveying the idea of something unexpected happening.

KAIGYOKUSAI MASATSUGU: A MASTERFUL AND IMPORTANT IVORY NETSUKE OF A RECUMBENT OXBy Kaigyokusai Masatsugu (1813-1892), signed Kaigyokusai 懐玉齋 with seal Masatsugu 正次Japan, Osaka, second half of 19th centuryThe ox (ushi) with its head turned backwards, the resulting skin folds on the neck are masterfully worked. The bulky stature of the animal is executed with a superior sense of realism, note the ridged spine, subtly incised rib cage, the tail which points downwards and swings over to the side, and the individual muscles and bones. The eyes are inlaid in pure amber with dark horn pupils. The rope halter which is attached to the ox's muzzle is very finely carved and extends into a rope which moves in sinuous lines over the body ending in a loop. The hairwork is slightly worn, revealing the beautifully gleaming, marbleized ivory underneath (Kaigyokusai only chose the best pieces of ivory for his carvings, this being pure white tokata ivory), however what remains of the hairwork is truly a spectacular sight, especially when viewed under a magnifying glass – not a single stroke is misplaced, each minutely incised line complements the other perfectly, adding to the sublime color, gleam, and overall feel of the material. The netsuke is truly a joy to handle, much owed to the compact design of the netsuke, which is ideally shaped. The legs are neatly tucked underneath the body, again extremely well-carved, and the 'natural himotoshi' is underneath the right haunch which also houses the perfectly incised signature KAIGYOKUSAI and seal MASATSUGU, both within a polished reserve.LENGTH 4.2 cmCondition: Superb condition, with associated wear to inked details.Provenance: Important Italian private collection, sold at Van Ham, Asian Art, 7 December 2017, Cologne, lot 2260 (sold for EUR 64,500). Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 82 (sold for EUR 73,200). A private collection, acquired from the above.Literature comparison:Kaigyokusai carved several of this type, however each one differently. The one in the Walters Art Museum, accession no. 71.961, depicts the ox in the classic, somewhat static posture. Nevertheless, it provides an excellent comparison to the color of the ivory, carving quality, and the yellowish underside. However, the present netsuke is probably best compared to the ox in the Baur collection, Marie-Therese Coullery and Martin S. Newstead (1977) The Baur Collection, pp. 368-369, C 1175. Note the two legs folded underneath the body like in the netsuke here on offer. Also compare to the one featured on the back cover of INCS 8/4, which is stained yellow (because the material was not perfect tokata ivory, as in our example). Auction comparison:Compare to an ivory netsuke of an ox and a goat by Kaigokyusai Masatsugu, sold at Sotheby's, The Katchen Collection of Netsuke, 8 November 2005, London, lot 31 (sold for GBP 42,000).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B0083).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

ISSHINSAI: A HUMOROUS WOOD NETSUKE OF TANUKI WITH A MAGICAL DARUMA DOLL SCROTUM By Isshinsai Masanao, signed Isshinsai 一心齋Japan, Yamada, Ise province, early 19th century, Edo period (1615-1868)Published: Joly, Henri L. (1966) W.L. Behrens Collection: Netsuke and Japanese Carvings, Part 1, no. 3143, illustrated on pl. XXXVI.Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 200, no. 608.The shapeshifting creature sitting on its hindquarters and sensitively leaning on its magical scrotum which has, rather amusingly, transformed into an expressively carved Daruma doll detailed with minutely incised hair. The eyes of Daruma looking down beneath furrowed brows, appearing to question its existence, its mouth open revealing a movable tongue. The tanuki's fur is minutely incised and Daruma's eyes are inlaid with dark horn pupils. Two himotoshi to the side of the tanuki, and signed ISSHINSAI.HEIGHT 4 cmCondition: Good condition with typical wear, a few tiny nicks here and there, and a small chip to the ear and foot of the tanuki.Provenance: Collection of W. L. Behrens (1861-1913). Ex-collection W. Guest, acquired from the above. Collection of M.T. Hindson, acquired from the above. Sotheby's London, 9 July 1969, lot 643. Christie's New York, 29 June 1981, lot 326. Collection of Richard R. Silverman, acquired from the above. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. From the 1970s onward, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial, but also dangerous, as they have been known to suffocate hunters with their enormous scrotums. The present netsuke showing the tanuki with a Daruma doll scrotum appears to be a unique creation by the Masanao family and only one other netsuke of this type is known so far, signed Masanao, now in a German private collection.

A FINE TSUISHU (CARVED RED LACQUER) MANJU NETSUKE WITH CHINESE LITERATI AND SHISHIUnsignedJapan, 18th century, Edo period (1615-1868)An early tsuishu lacquer two-part manju netsuke, the front decorated in relief with a Chinese literati attempting to tame a shishi below a gnarled tree, the ground bearing a fine asanoha and hanabishi design. The verso shows a karako running in a rocky landscape, sheltered by a large pine tree. Central ringed metal himotoshi through the back, the looped cord attachment to the interior which is lacquered black.DIAMETER 4.1 cmCondition: Very good condition with minor expected wear. The looped cord attachment to the interior is likely a replacement.Auction comparison:Compare a closely related tsuishu manju netsuke with Chinese scholars and a mule, at Galerie Zacke, Asian Art Discoveries, 17 January 2024, Vienna, lot 461 (sold for 1,300).

A FINE IVORY NETSUKE DEPICTING A PAIR OF SNAILSUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved as two snails, the smaller crawling along the larger snail's shell, both with slimy bodies naturalistically rendered with crosshatch incision work, the shells subtly incised and stained. Generously excavated, asymmetrical himotoshi foot of the larger snail. Beautiful, deep honey-yellow patina to the underside.LENGTH 4.4 cmCondition: One tentacle of the smaller snail restored. Otherwise good condition with minor wear and age cracks.Provenance: Lempertz, Asian Art, 25 June 2021, Cologne, lot 906. German private collection, acquired from the above.Trade Certificate:  The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0053). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A FINE WOOD NETSUKE OF INO HAYATA AND MINAMOTO YORIMASA KILLING THE NUEUnsignedJapan, Edo (Tokyo), early 19th century, Edo period (1615-1868)Finely carved with the two figures standing over the wild nue, Hayata placing his knee on the back of the monster and dealing the killing blow with his sword as the creature's snake tail deals a final vengeful bite to the hat of the hero. Yorimasa, the archer who struck down the beast in the Emperor's palace, stands proudly next to Hayata with his bow by his side, having already fetched his arrow from the felled monster. Good, asymmetrical himotoshi through the back of Yorimasa.HEIGHT 4.6 cmCondition: Very good condition with only minor wear.Provenance: Collection of ambassador Joseph Raymond Baylin de Monbel, and thence by descent in the same family. Joseph Raymond Baylin de Monbel (1846-1917) was the French ambassador to Tangier, London, and the Netherlands in the late 19th century.This netsuke illustrates a popular legend of the nue monster that had terrorized the building in which the Emperor slept until it was killed one night by the noted archer Minamoto Yorimasa (1106–1180) and Ino Hayata (dates unknown). Emperor Konoe (1139-1155) had become ill due to a strange presence heralded by a black cloud over the palace. The warrior Minamoto Yorimasa was sent to investigate and discovered a peculiar creature, called a nue. The monster had the face of a monkey, body of a tiger, and the tail of a snake. The poet warrior wounded the creature which was subsequently killed by Hayata. Yorimasa's actions won him the court lady Ayame no Mae, who the Emperor gave him in marriage for ridding the capital of the menacing beast.Auction comparison:Compare a related ivory netsuke of Yorimasa and Hataya killing the nue, at Lempertz, Asian Art, 11 December 2021, Cologne, lot 318 (sold for EUR 2,750).

A FINE AND LARGE LACQUERED GOURD NETSUKE WITH A CHUBBY HARE AMONGST AUTUMN GRASSESUnsignedJapan, late 19th centuryA dual function netsuke serving both as a toggle and a container for powdered ink. The lacquerer has chosen a remarkably large and attractively shaped natural gourd bearing a beautiful grain. The design is lacquered in mostly gold takamaki-e and hiramaki-e with a chubby rabbit in a field of tall grasses and blossoming kiku (chrysanthemum). Banded at the waist with a silver twisted cord with a loose ring cord attachment serving as the himotoshi and finished with a silver chrysanthemum fitting and screwed stopper.HEIGHT 7.5 cmCondition: Very good condition with minor surface wear.Provenance: Ex-collection Charles Greenfield. Helmut Laudenbach, Munich, 1985. Private collection of Heidi Haupt-Battaglia (1921-2019), Switzerland, acquired from the above on 8 February 1985. A copy of the collector's notes, confirming the provenance above, and stating a purchase price of CHF 3,300 (or approx. EUR 5,400 converted and adjusted for inflation at the time of writing), accompanies this lot. The original label from Helmut Laudenbach, Munich, is attached to the collector's notes.Museum comparison:Compare a closely related lacquered gourd netsuke, formerly in the Avery Brundage collection, in the San Francisco Asian Art Museum, accession no. B70Y156.Auction comparison:Compare a closely related lacquered gourd netsuke, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 313 (sold for EUR 2,102).

ANRAKU: A FINE AND HUMOROUS WOOD NETSUKE OF TANUKI DISGUISED AS A PRIESTBy Shukosai Anraku(sai), signed Anraku 安乐Japan, Osaka, second half of the 19th centuryThe mythical creature seated in meditation with its hands folded in its lap, almost completely enveloped in its loosely fitted robe secured by a ring to the shoulder, the amusingly carved expression detailed with glaring eyes double inlaid in bone and dark horn. The hairwork of the tanuki is minutely incised. Two horn-ringed himotoshi to the underside and signed on an inlaid signature tablet ANRAKU.LENGTH 4.2 cmCondition: Very good condition with minor wear and a small nick to his robe by the left knee.Provenance: From a private collection in France. With an old collector's label to the underside, 'I(1994).'The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial and love drinking sake, but are also dangerous, as they have been known to suffocate hunters with their enormous scrotums.Museum comparison:Compare a closely related wood netsuke of a standing tanuki disguised as a priest, apparently unsigned but likely by the same artist, in the Asian Art Museum of San Francisco, accession number B70Y352.Auction comparison:Compare a related wood netsuke of stretching daruma by the same artist with similar inlays, signed Anraku, at Zacke, Fine Netsuke & Sagemono, 3 November 2023, Vienna, lot 167 (EUR 5,850). Also compare a wood netsuke of Okame by Kokeisai Sansho at Bonhams, Myth, Mirth and Magic - Important Netsuke and Sagemono from the Guy de Lasteyrie Collection, 14 June 2023, Paris, lot 4 (sold for EUR 40,960).

IN THE MOOD FOR LOVEArt Print (24" x 36"); 14/275Very Fine+ Rolled; Artwork by Greg Ruth Mondo, 2021Celebrated AMP artist Greg Ruth, reflecting his enamorement with the film, has created the strikingly detailed artwork of Cheung and Leung. He also completed this poster (and the cover for the North American debut of the film's soundtrack and score, also released by Mondo). Ruth's work comes with approval from Kar-Wai Wong himself and will surely please any fan of the director's sumptuously romantic film. This near-mint poster has been hand numbered 14/275 in the lower right.There is a slight crease in the bottom left corner. In the Mood for Love is a 2000 romantic drama film written, produced and directed by Wong Kar-wai. It is often listed as one of the greatest films of all time and one of the major works of Asian cinema. In a 2016 survey by the BBC, it was voted the second greatest film of the 21st century by 177 film critics from around the world, saying, "Never before has a film spoken so fluently in the universal language of loss and desire.This lot will be auctioned on Friday, April 19th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 18th.