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2nd-4th century AD. A schist statue fragment with bust of Buddha with large aureole behind the head, emaciated face with hollow cheeks and sunken eye sockets, ushishna covered by wavy hair, urna flanked by raised veins; mounted on a custom-made stand. 8.4 kg total, 37cm including stand (14 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG010, p.94; accompanied by copies of the relevant exhibition catalogue pages. Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and a copy of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'The portrayal is intense; the Buddha has a small beard, the eyes are just sockets, the cheeks sunken, veins mark the forehead above the urna. The hair is pulled back from the brow, forming rivulet-like waves, piled onto the top of the head and forming a bun which covers the ushnisha (cranial sign of spirituality). A large circular aureole behind the Buddha's head... NOTE: Very few heads of Fasting Buddhas have survived to such a fine and complete degree. Several, in museum collections, are without an attached aureole. This is a particularly fine and important example of the moving subject.' Fine condition.

Kashmir, 6th century AD. A powerful schist figure of a bodhisattva, possibly bodhisattva Maitreya, standing on a rectangular base with lotus-flower aureole behind, wearing a dhoti, and artfully draped scarves, sumptuous necklaces and other jewellery decorating his nude upper body, carefully dressed and bejewelled hair with curls above the temples, curls to the ushnisha, raised right hand absent, originally most likely in the abhaya gesture; the base with seated Buddha in meditation with a devotee at either side in obeisance. 32.9 kg, 62cm (24 1/2"). Douglas, Nik., Out of Uddiyana. An exhibition at Tibet House New York, From the Buckingham collections, exhibit BG015, p.103; accompanied by copies of the relevant exhibition catalogue pages. Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost, Buddhist Art News, and copies of the relevant exhibition catalogue pages. Asian art expert Nik Douglas wrote: 'This unusual and powerful stone sculpture most likely depicts Bodhisattva Maitreya - the Future Buddha. He stands frontally, in sandals, upon a wide podium the front of which is decorated by columns and a central seated Buddha in meditation with a devotee at either side in obeisance. The Bodhisattva is portrayed as an extremely handsome idealized divine being, the head large, hair piled high and bejeweled, the body largely bare to the waist which is wrapped with an Indian-style dhoti cloth. He wears sumptuous necklaces, arm-bands, ear-rings and scarves which are draped artfully. The raised right arm is missing the hand, which most likely was in the abhaya 'fear not' gesture. The left hand, also missing must have been by the lower left side. Gandhara-culture in Kashmir, circa 6th century AD.' Fine condition.

Books: Seven reference books and literature on Chinese history and Asian Art. Titles1. Selected Masterpieces of Asian Art. Published by the Museum of Fine Arts Boston. 2. Journeys into the past, Life behind the Great Wall.3. Chinese Domestic Furniture in photographs and measured drawings, by Gustav Ecke.4. The decorative arts of The China Trade, Paintings, furnishings and exotic curiosities, by Carl L Crossman.5. Chinese Export Art and Design, Victoria and Albert Museum 6. Chinese Export Porcelain, Standard Patterns and Forms, 1780-1880, by Herbert, Peter and Nancy Schiffer7. The Chinese Potter, A practical History of Chinese Ceramics, by Margaret Medley. 

A Chinese 17th Century Dehua / Blanc de Chine Porcelain Flat Dish (Ex. Museum). Coated in a finely-crackled ivory coloured glaze apart from the wide foot ring that remains unglazed. Diameter 19.25 cm. Dehua kilns, Fujian province. 17th century (c. 1650 - 1700). Fine condition, no restoration or repair.Provenance: this dish bears a museum inventory number “B.R. 42-1944” and an old paper label stating “Chinese Ting Type - Ming AD 1368 – 1644”. It was part of The Brooke Robinson Collection of Asian Art formerly housed at Dudley Museum. Brooke Robinson (1836–1911) was a British Conservative Party politician, who was MP for Dudley and held a number of public posts including that of County Coroner for Dudley. He also was an art collector and benefactor whose legacy was the Town Hall and a museum in the town of Dudley. Brooke Robinson left a sum of money as well as his collection of art, furniture, ceramics, and other items for the benefit of the town of Dudley. The money was eventually used to construct the Town Hall, a Coroner's Court and a museum. The museum, known as the Brooke Robinson Museum, opened on 18 May 1931 with, as far as we can tell, the Trustees continuing to acquire pieces to add to the collection.Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.Note: This lot was bid on by a fraudulent buyer in our previous sale, the sale was cancelled.

A Fine Chinese Ming Dynasty Blue & White Porcelain Bowl – Jiajing reign. The outer wall is decorated with a scrolling peony pattern whilst the inner pattern features lotus flowers in "white on blue". Diameter 14.5 cm (5.75 inches). There is the usual "fritting" to the glaze at the rim edge seen on most porcelain of this period. Fine condition with a good ring when tapped and no repair or restoration. Ming Dynasty, Jiajing reign (1522 - 1566).For reference: an almost identical bowl is shown on page 155 of the 1978 Southeast Asian Ceramics Society book "Chinese Blue & White Ceramics" by S. T. Yeo & Jean Martin.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Fine Chinese Western Han Dynasty Painted Pottery Cocoon Jar. Made from a relatively highly-fired grey pottery and decorated with coloured pigments in a design featuring cloud patterns within vertical bands. Length of body 26cm, height 25cm. A fine and untouched example. Western Han Dynasty (206 BC - AD 8).Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

* Cup. A fine 19th century Tibetan silver cup and cover, the cover with hardstone finial, engraved and chiseled decoration with dragons and other mythical beasts richly gilded, the stemmed base with flared rim, collection-number '126' to base, 14cm high x 13cm diameterQty: (1)NOTESProvenance: Jonathan Tucker Antonia Tozer Asian Art and Private Collection, Cotswolds.

Michele da Verona (Italian, born circa 1470-died before 1536), and StudioThe Triumph of Chastity; and the Triumph of Love a pair, oil on panel28.2 x 45.7cm (11 1/8 x 18in). (2)Footnotes:ProvenanceWith Ludwig von Glenk (1886-1908), BerlinThe Collection of Edgar Worch, Berlin, by 1927 (according to literature) and thence by descent to the present ownerExhibitedOn loan to Seattle Art Museum, 1970-2018LiteratureP. Schubring, 'Zwei Bilder der Atalanta- Sage', in Der Cicerone. Halbmonatsschrift für Künstler, Kunstfreunde und Sammler, vol. XIX, 1927, pp. 559-561 (as Michele da Verona)M. Vinco, 'Gli inizi di Michele da Verona', in Proporzione, Annali dalla Fondazione di Roberto Longhi, vol. IX-X, 2008-2009, pp. 43-4, ill. fig. 55-56 (as Michele da Verona)M. Vinco, Cassoni Pittura profana del Rinascimento a Verona, Milan, 2018, cat. no. 78, pp. 250-1, ill (as Michele da Verona and studio)Pairs of cassoni were among the most popular wedding gifts in renaissance Italy from the late 14th century until well into the 16th century, serving both as storage chests for clothes and as seating. The most impressive examples included painted panels on the front and sides, the subjects of which were intended to provoke discussion. The theme of chastity (represented by the unicorn) and love (represented both by Cupid and by the boar, symbol of carnal love) illustrated in the present panels strongly suggests that they would have adorned just such a wedding chest. A cassone displaying two panels of similar subjects is in the collection of the Museo di Castelvecchio, Verona, inv. 48-1B838 and illustrated in P. Marini et al, Museo di Castelvecchio. Catalogo generale dei dipinti e delle miniature delle collezioni civiche veronesi. Dalla fine del X all'inizio del XVI secolo, 2010, pp. 227-229 (according to the Fondazione Zeri website). Henry (Heinz) Trubner (b.1920) was Curator of Asian Art at the Seattle Art Museum 1968-1987, and these panels were on loan to the Museum from 1970-2018, reference number T.L. 71.1-.4. He was the nephew of Edgar Worch (1880 - 1972), the renowned antiques dealer who specialised in oriental art.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 Fine Large Chinese / SE Asian Martaban Jar 13th – 15th Century. Heavily-potted with bands of decorative incised lines around the shoulder and four sturdy loop handles. The upper body coated in a dark olive-green glaze. Some kiln scars to the glaze (to be expected). Height 45.5cm. Late Song Dynasty to early Ming Dynasty period. Fine condition. No restoration or repair.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Chinese 17th Century Dehua / Blanc de Chine Porcelain Flat Dish (Ex. Museum). Coated in a finely-crackled ivory coloured glaze apart from the wide foot ring that remains unglazed. Diameter 19.25 cm. Dehua kilns, Fujian province. 17th century (c. 1650 - 1700). Fine condition, no restoration or repair.Provenance: this dish bears a museum inventory number “B.R. 42-1944” and an old paper label stating “Chinese Ting Type - Ming AD 1368 – 1644”. It was part of The Brooke Robinson Collection of Asian Art formerly housed at Dudley Museum. Brooke Robinson (1836–1911) was a British Conservative Party politician, who was MP for Dudley and held a number of public posts including that of County Coroner for Dudley. He also was an art collector and benefactor whose legacy was the Town Hall and a museum in the town of Dudley. Brooke Robinson left a sum of money as well as his collection of art, furniture, ceramics, and other items for the benefit of the town of Dudley. The money was eventually used to construct the Town Hall, a Coroner's Court and a museum. The museum, known as the Brooke Robinson Museum, opened on 18 May 1931 with, as far as we can tell, the Trustees continuing to acquire pieces to add to the collection.Also from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A Fine Chinese Western Han Dynasty Painted Pottery Cocoon Jar. Made from a relatively highly-fired grey pottery and decorated with a variety of different coloured pigments in a design featuring cloud patterns within vertical bands. Length of body 29cm, height 26cm. A fine and untouched example. Western Han Dynasty (206 BC - AD 8).Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.

A Fine Chinese Qin or Western Han Dynasty Burnished Pottery Cocoon Jar. The body decorated with twelve bands of vertically triple-incised bands and pronounced ridges surrounding the neck and base. The wide foot suggests this an early example of its type. Length of body 28.5cm, height 26.5cm. A fine and untouched example. Qin Dynasty (221 – 206 BC) or Early Western Han Dynasty (206 BC – AD 8).Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.

Artist: Mark Tobey (American, 1890 - 1976). Title: "Raindrop Prism #2". Medium: Oil and tempera on board. Date: Composed 1965. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed lower right. Fine condition with no issues noted. Provenance: Estate of a private collector, Basel, Switzerland. Comment(s): An oil on paper work with a similar composition but much smaller size sold for $3,750 at Christie's New York, July 16, 2012, lot #120. 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. [29807-2-4000]

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).Lot Note(s): Signed lower right. Painted on medium weight cream wove paper. Fine condition; as painted. Provenance: Estate of a private collector, Basel, Switzerland. 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]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Foret au printemps". Medium: Original vintage photogravure. Date: Composed c1936. Printed 1936. Dimensions: Image size: 11 1/2 x 9 1/16 in. (292 x 230 mm).Lot 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. [25082-2-800]

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Brouillard du matin". Medium: Original vintage photogravure. Date: Composed c1936. Printed 1936. Dimensions: Image size: 12 1/8 x 7 5/8 in. (308 x 194 mm).Lot 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. [25083-2-400]

Asian Art catalogues all Sothebys, ranging from 1985 to 1993 to include Fine Modern Chinese Paintings, Fine Chinese Ceramics and others, also included is a 1923 catalogue of a Choice collection of Chinese Enamelled porcelain (14)

4th century BC. A rhyolite idol with bulbous head and body, low-relief facial features, arms forming a horizontal chevron across the chest. See The Gloman Meritt private collection of ancient artefacts from the Philippines, for similar. 370 grams, 98mm (4"). Property of a South East Asian collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.

4th century BC. A rhyolite idol with bulbous head and body, low-relief facial features, arms forming a horizontal band across the chest. See The Gloman Meritt private collection of ancient artefacts from the Philippines, for similar. 778 grams, 11cm (4 1/4"). Property of a South East Asian collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.

4th century BC. A tall rhyolite idol with conical head and squat body, low-relief facial features, arms forming a horizontal band holding a disc to the chest. See The Gloman Meritt private collection of ancient artefacts from the Philippines, for similar. 647 grams, 14cm (5 1/2"). Property of a South East Asian collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.

4th century BC. A rhyolite idol, lentoid in plan with central boss and four radiating human faces, depicting a boat with travellers on its voyage to the afterlife, See The Gloman Meritt private collection of ancient artefacts from the Philippines, for similar. 595 grams, 11.7cm (4 1/2"). Property of a South East Asian collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition. Rare.

4th century BC. A rhyolite idol with bulbous head and body, low-relief facial features, arms forming a horizontal interrupted at the chest. See The Gloman Meritt private collection of ancient artefacts from the Philippines, for similar. 314 grams, 86mm (3 1/2"). Property of a South East Asian collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.

13th century AD. A sandstone standing figure of Shiva wearing ornately detailed collar and band to upper right arm, a simple cloth around the lower part of the body (sampot,) detailed diadem, hair dressed in a conical form (chignon;) mounted on a custom-made stand for display. See Sotheby’s, Indian and Southeast Asian Art, New York, 20 September 2002, for sculptures of similar style and date.44 kg total, 105cm including stand (41"). Property of a Cambridgeshire gentleman since 1990; previously in a private collection formed in the 1980s; accompanied by geological report No. TL3258 by geology consultant Dr R. L. Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.157942. Believed to have developed from Rudra, Shiva is one of three principal gods of Hinduism, forming the Trimurti of great gods together with Vishnu and Brahma. Shiva, a god of creation, can be benevolent and protective, but he is also the god of time and destruction, associated with fear death; hence he is also found on battlefields and in cremation contexts. The embodiment of contrasting qualities, Shiva embodies the reconciliation of opposites. Shiva is the father of the elephant god Ganesha and the warrior god Karttikeya. Fine condition.

10th-6th century BC. A bronze horse-bit with square-section shank and reverse-scrolled ends, matched outward facing openwork cheekpieces each formed as two opposed crouching ibexes on a baseline with a rampant mountain lion behind resting a rear paw on the extended leg of a winged double-headed demon with a claw around the lion's throat, loop above the end of each wing. Cf. similar piece in style in Los Angeles County Museum of Art (The Nasli M. Heeramaneck Collection of Near Eastern and Central Asian Art, gift of The Ahmanson Foundation, M.76.97.102). 910 grams, 22.5cm (9"). From the private collection of a North West London lady; previously with a central London gallery; formerly acquired before 1990.Fine condition, chipped. Rare.

Ca.1644-1911; Qing dynasty or later. A magnificent incense burner decorated with lotus blooms and leafy scrolls using light-blue and red and yellow glass inlays (cloisonne'). The slighty compressed globular form is footless embellished on the shoulder with three gilded ram's heads with very elaborate and fine details. Very Good Condition; Size:78mmx140mm;1200g; four character mark on the base. Provenance: Private Somerset Estate collection of Asian, Ancient and Oriental Art, acquired 1980-2010.

A LARGE FINELY CAST GILT-BRONZE FIGURE OF GUANYIN, AND A BRONZE STAND, MING DYNASTY, 16TH-17TH CENTURY; PRESENTED SEATED ON THE BACK OF A DRAGON WITH ELABORATE DECORATION AND REMAINS OF GODL GILDING. CONDITION: VERY FINE. Size:560mmx390mm;over 6kg. Provenance: Important London Estate collection of Asian and Oriental Art.

Ca.20th C AD or earlier / Qing style. A fantastic collection of ten Shoushan stone seals; carved with various Chinese mythical beasts including the "Fu-dog" and the "Pixiu". Since ancient times, the Chinese literati have been using these stones seals to stamp on various artworks. The seals do not only add value to the artworks, they are also frequently used to authenticate the genuineness and value of the art pieces Very fine details; Size:83mmx110mm;2210g; Provenance: Private Somerset Estate collection of Asian, Ancient and Oriental Art, acquired 1980-2010.

Ca.20th C or earlier; A fine Ming style blue and white pear-shaped vase; a globular body nicely painted in vivid blue tones depicting a five-clawed dragon; a band of upright leaves and demi-florette encircling the nect and foot and lotus scrolls adorning the neck and shoulder of the vase. Very Good Condition; Size:375mmx220mm;3205g; Xuande Six-character sealmark (1426-35), Provenance: Private Somerset Estate collection of Asian, Ancient and Oriental Art, acquired 1980-2010.

ca. 1700 AD or earlier; A fine Buddha seated in vajrasana on a lotus, his body in slight tribhanga, beautifully rendered fingers holding the vajra with his right hand in front of his breast, while his left rests on his lap and holds the ghanta, wearing pleated dhoti, scarf with both ends curled over the arms and falling on the pericarp of the lotus, many body ornaments, his face with serene expression, urna, smiling lips, elongated earlobes with circular ear rings, five-leaf crown in front with three-leaf similar shaped elements at the backside, pattras, the hairdress buttoned in a chignon. Size:150mmx100mm;586g. Base sealed and engraved. Condition: Very good with some wear. Provenance: From an established British collection of Asian art; formerly acquired in the 1990s on the UK art market.

NO RESERVE Oriental Art.- Wang (Shixiang) Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, 2 vol., Hong Kong, 1990; Classic Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1991 § Bruce (Grace Wu) The Dr. S.Y.Yip Collection of Classic Chinese Furniture, Hong Kong, 1991 § Gao (Minglu) The Wall: Reshaping Contemporary Chinese Art, New York & Beijing, 2005 § Sato (Kanzan) The Japanese Sword, Tokyo, 1983 § Levy (D.) & others. Kanban: Shop Signs of Japan, New York & Tokyo, 1983, illustrations, many colour, original cloth or boards, the first and third with slip-cases, the rest dust-jackets; and c.15 others on Asian art, mostly Chinese, 4to & 8vo (c.20)Provenance: The Partridge Fine Arts Research Library

2nd-4th century AD. A carved schist figurine of a standing nimbate male wearing a quilted corselet of soft material as well as armoured skirt and thigh defence, with a short sword suspended at his left hip, spear with ferrule in his right hand and supporting a bird in the crook of his left arm; mounted on a custom-made stand. See Hallade, M., The Ghandara Style and the evolution of the Buddist art, London, 1968; Joshi N.P., Sharma R.C., Catalogue of Ghandara sculptures in the State Museum Lucknow, Lucknow, 1969; Jaongevard D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018 for discussion; and for a parallel image and discussion on military equipment Nikonorov V.P., The armies of Bactria 750 BC-450 AD, 2 volumes, Stockport, 1997; for a parallel of our warrior preserved in the Freer Art Gallery of Art in Washington see Gorelik, M. V., 1982a. Kushanskii dospekh, in Dreoninia India, Istoriko-kul'turnye soiazz, (Moskva), 82-I1 2, pls.4,6,8,9. 6.4 kg total, 47cm with stand (18 1/2"). From a North West London collection; previously acquired in the 1980s. Depictions on sculpture of the Ghandaran school, which flourished in the North Western Indian Region under the Great Kushan Kings (late 1st to the mid-3rd century AD) is dealing with the local actuality of warfare in these regions. Much of the armour and equipment of Gandhara seems to have been inspired by the the neighbours Kushan warriors (Yuhe Chih), who in turn adopted much of it in the Central Asian Region, including Bactria. Fine condition. Rare.

2nd-3rd century AD. With practised skill the sculptor has achieved a majestic and finely carved schist frieze fragment depicting a female dancer in a beguiling, natural pose with the left hand raised and the left leg crossed before the right; adorned with an ornamental band to the dressed hair, the figure suggests voluptuous allure; the collar with its geometric ornament completes a loose draped robe extending to the ankles with finely executed folds and swags; anklets, bracelets and long drop earring add sumptuousness to the dancer's attire, while the thick necklace draped between the breasts emphasises this features; above, an arch of leafy foliage held playfully between her fingers, below a dais with rosettes and lotus-leaf border; mounted on a custom-made stand. Cf. Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 49. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release. 31.1 kg, 91.5cm including stand (36"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Accompanied by geologic report No. TL005262 by geologic consultant Dr R. L. Bonewitz. Dr Bonewitz notes: 'No definite source localities have been identified for the stones used by the Gandharan sculptors, but the predominant rock was an alumina-rich chloritoid-paragonite-muscovite-quartz schist, probably from Swat.' Very fine condition.

2nd-3rd century AD. Having been born into a noble family and lived a life of opulence and excess, Prince Siddhartha gained enlightenment at Bodhgaya, and then meditated and fasted for forty-nine days; this carved schist figure depicts the Buddha as an emaciated yogic ascetic who demonstrates ultimate control over his body through self-denial; standing nimbate and dressed only in a dhoti, Buddha nevertheless exudes authority and a serene peacefulness; mounted on a custom-made stand. See Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018 for discussion. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release. 41.8 kg, 96cm including stand (37 3/4"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Accompanied by geologic report No. TL005268 by geologic consultant Dr R. L. Bonewitz. Dr Bonewitz notes: 'No definite source localities have been identified for the stones used by the Gandharan sculptors, but the predominant rock was an alumina-rich chloritoid-paragonite-muscovite-quartz schist, probably from Swat.' Fine condition, some wear.

2nd-4th century AD. Depicted in meditation with a contemplative expression, seated above a figural pedestal, this schist sculpture may have formed the centrepiece of an ensemble depicting one of Buddha's miracles; the Buddha sits nimbate with his hands placed palm-upwards in his lap; his ushnisha bears a miniature seated figure above a decorative band; the loosely draped robe reveals his slender torso strung with beaded necklaces and other ornaments; a lozengiform censer hangs from his fingers in front of his crossed legs; the pedestal base displays a scene of worship between tiered pillars; mounted on a custom-made stand. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release which appeared in This Week in New York, featuring this piece as perhaps the single the most important item in the exhibition. 118 kg, 104cm including stand (41"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Accompanied by geologic report No. TL005263 by geologic consultant Dr R. L. Bonewitz. Dr Bonewitz notes: 'No definite source localities have been identified for the stones used by the Gandharan sculptors, but the predominant rock was an alumina-rich chloritoid-paragonite-muscovite-quartz schist, probably from Swat.' Very fine condition.

2nd-3rd century AD. The Buddha's experiences in the rural landscape are evinced in this carved schist frieze in which the teacher appears, facing a nimbate figure wearing a loosely draped robe hanging from his frame and with the long unwound end raised and looped around his right wrist; beside him a mahoot leads a team of two elephants, similarly simply dressed, while to his right a stocky bearded figures carries a sheaf on his left arm; a goat nibbles at the bark of a tree separating the first scene from the second in which three voluptuous females dote on the boyish nude Buddha; bands of undulating ornament above and below frame the imagery; mounted on a custom-made stand. Cf. Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 52 for similar decorative framing to a frieze. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release. 35.7 kg, 88cm wide including stand (34 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Fine condition.

2nd-3rd century AD. Of imposing size and presence while retaining Buddha's serenity, this carved larger than life-size schist head shows Gandharan sculpture's Graeco-Roman legacy; the naturalistic carving of the facial features from ridged eyebrows to rounded chin; the locks of hair flow in sinuous symmetrical waves from the widow's peak to the dome of his ushnisha; the ears are shown long with looped earrings drawing the lobes down towards the neck; the urna sits in low relief above the nasal ridge; mounted on a custom-made stand. Cf. Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 70. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release which shows an image of several of the most important items in the exhibition, including this piece which is first on the left. 32.3 kg, 60cm including stand (23 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Accompanied by geologic report No. TL005265 by geologic consultant Dr R. L. Bonewitz. Dr Bonewitz notes: 'No definite source localities have been identified for the stones used by the Gandharan sculptors, but the predominant rock was an alumina-rich chloritoid-paragonite-muscovite-quartz schist, probably from Swat.' Very fine condition, chipped.

2nd-3rd century AD. Finely modelled in schist, the Buddha appears before his following with a serene and compassionate facial expression; his benign and simple nature is expressed in the naturalistic treatment of his heavy monastic garment hanging loosely from the collar in thick layers and forming crescent folds on his torso, arms legs with a sense of fluidity and gravity; his facial features are youthful and perfectly smooth, his straight nose and his softly undulating wavy hair radiating from the centre of the hairline to the ushnisha above; the left hand holds a fold of cloth while the right is raised to display a mudra, probably the outward-facing palm of reassurance; the plain base supports his bare feet; mounted on a custom-made stand. Cf. Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 62. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release which shows an image of several of the most important items in the exhibition, including this piece which is fourth from the right. 102 kg, 113cm including stand (44 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$ 15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Accompanied by geologic report No. TL005264 by geologic consultant Dr R. L. Bonewitz. Dr Bonewitz notes: 'No definite source localities have been identified for the stones used by the Gandharan sculptors, but the predominant rock was an alumina-rich chloritoid-paragonite-muscovite-quartz schist, probably from Swat.' Fine condition.

2nd-3rd century AD. The serenity and quiet authority of the Buddha is captured perfectly in this carved life-size schist head, which contrasts the sharpness of the facial features with the soft undulating bands of hair sweeping towards the domed ushnisha; the ears are carved with looped earrings drawing the lobes down towards the neck; the urna sits in low relief above the nasal ridge; fragment of the original frieze background to the reverse; mounted on a custom-made stand. Cf. Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 71. Exhibited at ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; accompanied by a copy of the main Tibet House exhibition press release. 23.9 kg, 47cm including stand (18 1/2"). Acquired for the ‘Buckingham Collection’ by the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert; the collection formed from the early 1960s to early 1970s; displayed at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September-20 October 2010, extended to 16 November and again to 7 January 2011; where the collection of one hundred pieces was publicly valued at US$15M; this piece was scheduled to be included in an exhibition entitled ‘On the Silk Route; Birth of The Buddha’, to be held in London from November 2012, but sadly his death prevented this; accompanied by copies of several press releases and articles for the exhibition, including Artnet News, This Week in New York, Huffpost and Buddhist Art News. Fine condition.

Ca.300-200 BC. An interesting piece of Hellenistic jewelry, a matched pair of apron-shaped earrings each with filigree coils, beaded wire edges and spine, granules to the corners and bottom center; curved wire hook. Fine condition; wearable; W:36mm/L:25mm; 8.6g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

Ca. 1500 AD. Amazing Silver Tudor Period ring formed by a round hoop, hexagon-shaped bezel with initials; Fine Condition; wearable; D:18mm/L:23mm; UK P US 8;6.5g; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

A SMALL BROWN LONGQUAN DISH Song Dynasty, according to the inventory With a fine crackle glaze, on wood stand 12cm diameter / 250g Provenance: Purchased in 1969 Inventory: P260 Condition; One small section to the inside of the bowl with chipping of the glaze, but overall this dish is in very good condition _________________________ ABOUT MR QUEK KIOK LEE : Quek Kiok Lee (1921- 2018) arrived in Singapore in 1938. Despite not speaking English, he finished first in his school’s Cambridge exams. He was then appointed Assistant Secretary of the Chinese Chamber of Commerce. This was the start of his rapid ascension in business and society. Mr Quek proved himself to be a very successful businessman, banker, entrepreneur and investor. In his free time, he met with collectors and dealers of Chinese works of art from around the world. He also read and researched as much he could to build his knowledge. He became well known to the leading auction houses and authorities because of his encyclopaedic knowledge and his increasingly impressive collection of Chinese art. In 1970s, the Singaporean newspapers nicknamed him “the Jade King of Singapore”. Mr Quek loved to share his knowledge and experience and was one of the founding members of the Southeast Asian Ceramic Society (SEACS). In 1994, he was appointed by the Chancellor of Singapore University as the Acquisitions Advisor on Chinese antiquities, where he served for 6 years. Mr Quek was not just a collector; he meticulously researched every piece and collated detailed records. For the pieces which are documented, HotLotz is happy to share Mr Quek’s original records on request. Mr Quek’s inventory numbers are recorded in our catalogue. Following successful sales in Hong Kong and London, HotLotz is proud to offer the majority of this unique collection for sale in Singapore.

A SMALL CARVED HARDWOOD BRUSH POT, POSSIBLY ZITAN 17th century, according to the inventory Of naturalistic form carved with bamboo, with vertical inscription to body 10cm high 160g Provenance: Purchased from Imperial Fine Arts, China in 1994 Inventory: BW54 _________________________ ABOUT MR QUEK KIOK LEE : Quek Kiok Lee (1921- 2018) arrived in Singapore in 1938. Despite not speaking English, he finished first in his school’s Cambridge exams. He was then appointed Assistant Secretary of the Chinese Chamber of Commerce. This was the start of his rapid ascension in business and society. Mr Quek proved himself to be a very successful businessman, banker, entrepreneur and investor. In his free time, he met with collectors and dealers of Chinese works of art from around the world. He also read and researched as much he could to build his knowledge. He became well known to the leading auction houses and authorities because of his encyclopaedic knowledge and his increasingly impressive collection of Chinese art. In 1970s, the Singaporean newspapers nicknamed him “the Jade King of Singapore”. Mr Quek loved to share his knowledge and experience and was one of the founding members of the Southeast Asian Ceramic Society (SEACS). In 1994, he was appointed by the Chancellor of Singapore University as the Acquisitions Advisor on Chinese antiquities, where he served for 6 years. Mr Quek was not just a collector; he meticulously researched every piece and collated detailed records. For the pieces which are documented, HotLotz is happy to share Mr Quek’s original records on request. Mr Quek’s inventory numbers are recorded in our catalogue. Following successful sales in Hong Kong and London, HotLotz is proud to offer the majority of this unique collection for sale in Singapore. PUBLIC VIEWING All lots featured in this catalogue will be on view at the collector’s home,  43 Chiltern Drive, Singapore 359755, at the following times only: Saturday 16 November - 12.00pm and 4.00pm Tuesday 19 November - 4.00pm and 7.00pm Saturday 23 November - 12.00pm and 4.00pm

A FINE 'GOLDEN' CELADON TWIN FISH DISH Song Dynasty, according to the collector's inventory The centre relief decorated with two opposing scaled fish, in a golden crackle glaze 30cm diameter, 1.3kg Provenance: Purchased form Dr Jimmy Hoo and Mrs Lee in 1972. Exhibited: SEACS exhibition label for National Museum Singapore, 1978, no.227 Note from the Collector: This is a fine quality piece Inventory: P458 _________________________ ABOUT MR QUEK KIOK LEE : Quek Kiok Lee (1921- 2018) arrived in Singapore in 1938. Despite not speaking English, he finished first in his school’s Cambridge exams. He was then appointed Assistant Secretary of the Chinese Chamber of Commerce. This was the start of his rapid ascension in business and society. Mr Quek proved himself to be a very successful businessman, banker, entrepreneur and investor. In his free time, he met with collectors and dealers of Chinese works of art from around the world. He also read and researched as much he could to build his knowledge. He became well known to the leading auction houses and authorities because of his encyclopaedic knowledge and his increasingly impressive collection of Chinese art. In 1970s, the Singaporean newspapers nicknamed him “the Jade King of Singapore”. Mr Quek loved to share his knowledge and experience and was one of the founding members of the Southeast Asian Ceramic Society (SEACS). In 1994, he was appointed by the Chancellor of Singapore University as the Acquisitions Advisor on Chinese antiquities, where he served for 6 years. Mr Quek was not just a collector; he meticulously researched every piece and collated detailed records. For the pieces which are documented, HotLotz is happy to share Mr Quek’s original records on request. Mr Quek’s inventory numbers are recorded in our catalogue. Following successful sales in Hong Kong and London, HotLotz is proud to offer the majority of this unique collection for sale in Singapore.

A CHINESE SONG DYNASTY-STYLE QINGBAI MEIPING QING DYNASTY OR LATER The ovoid body incised with stylised flowerheads and foliage and with simple bands around the shoulder and neck, 34cm. Provenance: a Spanish private collection, Madrid, together with a copy of an authentication certificate from Dr Thomas Pilscheur, Pilscheur Fine Art, Asian and Western, London, November 1991. To be offered without reserve.

IRSAM (INDONESIAN, 1942-2007) - IBU DAN ANAK Oil on canvas, framed Signed 1978 99cm wide x 119cm high, with frame Condition: In a distressed look frame. Detailed condition report available on request Provenance: Christie's sale (label to the back of the frame); Purchased by architect Kerry Hill in the 1980s, remained in his collection until his death Biography of the artist: Born in Klaten, Central Java, 1942, he graduated from the Indonesian Fine Art Academy (ASRI) Yogyakarta. He had held his first exhibition in 1967 in Jakarta. He received an award from the Philippines, Singapore, and Thailand. In 1980 he also joined in the Contemporary Asian Art Exhibition in Fukuoka Art Museum Japan

EXCEPTIONAL CARVED HUANGHUALI, HARDWOOD, MOTHER OF PEARL, IVORY AND JADE INLAID CABINET, QING DYNASTY in the Japanese taste, with an arrangement of sliding panel doors, open tiers, drawers and doors, inlaid and mounted in ivory, mother of pearl and fine carved jade, the case finely carved with dragons, lions and simulated bamboo, the whole raised on a peony carved base with scroll feet. Provenance: From a private Scottish collection, acquired at Lyon & Turnbull, Edinburgh, Fine Asian Works of Art, 4th June, 2014, lot 487, part of the Symington Grieve Collection. Note: There is a gilt-decorated box in the Japanese taste, dating from the Yongzheng period in the Palace Collection, Beijing.PLEASE NOTE: LIVE BIDDING IS NOT AVAILABLE FOR THIS LOT 很抱歉，该拍品不支持网上竟拍。谢谢合作。

This incredibly moving piece was inspired by the artist’s late wife, Zheng Fu, who enjoyed the beauty of transience in nature. Featuring cherry and plum blossom as a visual metaphor for the transience of life; blossoming with great beauty then falling from the tree but living on in our memory. Also depicted are lotus flowers symbolising purity. This is an Asian elephant embracing cultural diversity.The ArtistColin Pethick is a fine art painter and freelance art tutor based in the Tamar valley. He was born in Gulworthy, Devon and studied Fine Art at BA degree level and PGCE Masters at the University of Plymouth building upon his self-taught roots.He experiments in many mediums and image making techniques investigating the notion of merging abstract themes with figurative painting methods whilst embracing cross cultural dialogue.  www.colinpethick.com

Mark Tobey (American, 1890 - 1976). "Raindrop Prism #3". Oil and tempera on paper. 1965. Signed lower right. Fine condition with no issues noted. Provenance: Estate of a private collector, Basel, Switzerland. Overall size: 11 5/8 x 8 3/16 in. (295 x 208 mm). An oil on paper work with a similar composition but much smaller size sold for $3,750 at Christie's New York, July 16, 2012, lot #120. 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. [29808-2-3000]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Brouillard du matin". Original vintage photogravure. c1936. Printed 1936. 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. Image size: 12 1/8 x 7 5/8 in. (308 x 194 mm). 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. [25083-2-400]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Foret au printemps". Original vintage photogravure. c1936. Printed 1936. 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. Image size: 11 1/2 x 9 1/16 in. (292 x 230 mm). 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. [25082-2-800]

Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). "Feuilles de bambou". Original vintage photogravure. c1935. Printed 1935. 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. Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm). 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]

South-Est Asian Art Pair of large fine lacquered offering container with inlays (hsun-ok) Burma, late 19th century . . Cm 46,00 x 92,00. Provenance: Luigi Armondi Collection, Brescia.

Full title: A fine Chinese famille rose cup and saucer with floral design, Yongzheng------- Description: H.: 4,5 cm - Dia.: 8,5 cm (the cup) -- Dia.: 13,3 cm (the saucer)Ê Ref.: The Museum of East Asian Art, Bath, England, for a closely related saucer, previously in the August the Strong collection.

Full title: A fine Chinese famille rose cup and saucer with floral design, Yongzheng------- Description: H.: 4,5 cm - Dia.: 8,5 cm (the cup) -- Dia.: 13,3 cm (the saucer)Ê Ref.: The Museum of East Asian Art, Bath, England, for a closely related saucer, previously in the August the Strong collection.

Full title: A fine Chinese famille rose cup and saucer with floral design, Yongzheng------- Description: H.: 4,5 cm - Dia.: 8,5 cm (the cup) -- Dia.: 13,3 cm (the saucer)Ê Ref.: The Museum of East Asian Art, Bath, England, for a somewhat related saucer, previously in the August the Strong collection.

2nd-4th century AD. A substantial carved schist figure of Atlas crouching with wings folded to the rear, the head raised with intense facial expression, neat moustache above a small pursed mouth; the body muscular with hands folded around the right leg and clasping the shin; D-shaped base with locating peg beneath; traces of gilding to the surface; mounted on a custom-made stand. [A video of this item is available to view on TimeLine Auctions website.] For a series of schist figures of Atlas in the British Museum, either free-standing or as fragments of reliefs, see nos.355-378 in Zwalf, W. A Catalogue of the Gandharan Sculpture in the British Museum, London, British Museum Press, 1996. Exhibited by Jonathan Tucker, Asian Art, 37 Bury Street, St James's, London, SW1Y 6AU: An Important Group of Sculptures from India, Southeast Asia and China, Thursday 1 November to Friday 23 November 2018, exhibit no.2. 32.7 kg total, 62cm including stand (24 1/2"). Property of a Middlesex gentleman; formerly with Jonathan Tucker, Asian Art, London, (£35,000); acquired on the London art market before 2000; formerly in an old English collection; accompanied by copies of the relevant catalogue pages. Fine condition. Rare with significant amounts of gilding intact.

Diana Pattenden Mother and Baby Elephants (Bronze Resin, 2 of 12) This mother and baby elephant are walking in the bamboo forests of Asia. Asian elephants, distributed throughout the Indian subcontinent and Southeast Asia, from India in the west, Nepal in the north, Sumatra in the south, and to Borneo in the east, are an endangered species. Similar works by this artist retail at: £750 Diana Pattenden: Diana enjoys the fact that all bronze sculpture was once hot molten metal. The plasticity of clay draws her to sculpt almost anything but she is principally skilled in sculpting animals. The clay is cast into bronze or bronze resin and you have something for posterity that although is inanimate yet has a life as art and even looks like it could breathe and walk away. Diana Pattenden studied fine art in Winchester and Cheltenham. She lives in Newbury with her husband and three children and works and teaches from her studio. She’s a member of the Surrey Sculpture Society, has exhibited widely, and has commissions privately owned.

Ca. 1500 AD. Large Amazing wearable silver Tudor period ring with open-work crown shaped bezel. Fine Condition; Inner diameter: 21mm; outer diameter: 28mm ring size UK W; US 11; 6.5gr; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Ca.100 AD. A tall amber-hued glass vessel, free-blown and tubular in form, with a small protruding bottom section and a bulb-shaped tip. An elongated conical body has thick walls and rounded. A tall cylindrical neck with a narrow mouth completes the flask. Most probably for medical use; Fine Condition; Intact; H:255mm (10.03in) ; 70gr ; Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market.

λBy Tiffany and Co, a 19th century silver and mixed metals mokume tea caddy, Edward Moore period 1873-1891, circular form, with silver, copper and oxidised silver wood-grain decoration, the pull-off cover with a carved ivory okimono finial of playful Japanese figures, mounted on a silver rug, with a turned up corner, the body with a plain silver band with chased foliate motifs, on four silver bracket feet, gilded interior, the underside of the base with a monogram, for Mary Jane Morgan, diameter 11.2cm, height 13cm, approx. weight 17oz. Provenance: Mary Jane Morgan 1823-1885, and then by family descent to the current owner. Mary Jane Morgan was a fine and decorative arts collector. She was the second wife of Charles Morgan, a shipping, railroad and iron magnate, and was the cousin of J. Pierpoint Morgan. After her death, her collection was auctioned in 1886 by Thomas E. Kirby, via the American Art Galleries at New York's Chickering Hall. The sale was a ten day event and totalled over $1,200,000. The paintings alone took three days, and the Asian Art took place over two days. A similar tea canister to this lot was sold in this auction, lot 710, described as 'Tea Canister, illustrating Japanese difficult workmanship in metals of 'Moku-me' or veins in wood, ivory Qilin surmounting cover, gold lined. Charles Moore introduced the Japanese metal work technique Mokume, of simulating wood grain, to Tiffany in the 1880's and in 1889 Tiffany produced a large vase for the Paris Exhibition, which is now in The Cooper Hewitt Smithsonian Design Museum.