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A collection of magic booklets and books, to include, THE PARLOR MAGICIAN OR 100 TRICKS FOR THE DRAWING ROOM, New York, Dick & Fitzgerald; GREAT CHINESE WIZARD'S HANDBOOK OF MAGIC; DAVENPORTS’ DEMON SERIES; THE MAGIC WORLD; THE MAGAZINE OF MAGIC, etc (qty).

A 19th century Chinese ink drawing of a Man riding a carp, 18cm x 23cm

A 19th century pen and ink drawing, 30cm x 30cm and an early Chinese embroidery, 29cm x 20cm

A plate, faience, blue and vinous «Small drawing» decoration "Chinese figure with cane", central band with «Baroque band decoration», back with handwritten inscription MATOS, back of the rim decorated in blue and vinous "Branches", Portuguese, 17th C. (4th quarter), faults on the edge, chips, faults and cracks on the glaze. Notes: for similar copies vd. MONCADA, Miguel Cabral de - "Faiança Portuguesa - séc. XVI a séc. XVIII". Lisbon: SCRIBE, 2008, pp. 64-70., Nos. 45 to 50., Dim. - 33 cm

CHINESE HISTORY: AN INK DRAWING ON PAPER TITLED 'APPEARANCE OF THE TOP OF THE GREAT WALL OF CHINA LOOKING NW FROM THE TOP OF THE TOWER, Signed indistinctly and dated 1950. 26cm x 11cm Framed and glazed. 33cm x 19cm

A large and interesting Victorian leather bound scrap book, with a variety of cut outs, drawings, cards and other items including Animals, Children, King William IV, pencil drawing of a Huntsman and hound, a painting of a Brigande, Robert Burns, James Watt, Chinese Borders engraving, watercolour of a flower, pencil drawing of a cat signed Frank Schoder, and many more. Album 38cms by 27cms. *CR See online images.

Cricket. An early 19th c drawing-room album, c. 1830, illustrated with a contemporary watercolour of a cricket match, within a fenced pitch and before a manor house, 10.6 x 15cm, mounted on a leaf with manuscript lines viz. the sport, loosely-inserted watercolour of a similar house from a different perspective, 13.5 x 23cm, the album further typically illustrated and inscribed over approx. [65]ff, with commonplace prose and verse from belles-lettres, and enclosing mixed media works on papers, including an earlier cartoon of Napoleon, [Triumph des Jahres 1813/ Den Teutschen zum Neuenjahr 1814], s.l., s.n., n.d. [1814], cut-out profile, etching, with contemporary watercolour hand-colouring, trimmed with loss of all lettering, 18 x 9cm, with a loosely-inserted contemporary 3pp MS poem on the same subject, India: a tipped-in ALS of 2pp, indistinctly inscribed by a contemporary Indian, in English, to a Master Surgster (?; presumably a member of the East India Company), addressed and dated Bombay/11th July 1829, viz. passage on a ship, an indistinct named-view pen-and-ink of an Indian landscape c. 1830, gouache still life on a petrified leaf, 11 x 11cm, four Chinese watercolour studies on pith paper, various states of condition and sizes, a small watercolour of British soldiers, full-page monochrome pen-and-ink study of a deer, named-view watercolour of Torquay, a satirical print by G. Davies after Charles Jameson Grant, [Frontispiece for The Penny Magazine] The March of the Intellect, lithograph, n.d. [1830-35], trimmed loss of primary title, 25.5 x 20cm, cut-out engravings and further mixed process prints, finely bound in a somewhat worn contemporary brown straight-grained morocco over boards, gilt, contemporary bookseller's ticket to pastedown: Wilson, 88, Royal Exchange, London, rubbed and worn binding, split and contents loose/loosening, all edges gilt, 4to

A mixed to include Japanese marquetry trinket box with tambour slide door, 15cmH; Chinese vase and ink drawing etc

Chinese School, Crabs, ink drawing.

TWO BOXES AND A CASE OF EPHEMERA AND MISCELLANEOUS ITEMS to include a boxed vintage collection of Soviet State theatre puppet matchboxes, assorted vintage engineers drawing tools, documents relating to the interwar and second world war years, a box of vintage needlecraft supplies, a box of books and magazines covering local interest, the RAF, Chinese history, etc, (2 boxes and loose) (s.d)

Two 20th Century Chinese ink on paper calligraphic equestrian pictures, including a framed drawing of a horse and three drawings framed together of Mongolian horsemen etc. The largest 67 cm by 58 cm (framed) (2), thank you for looking at this lot which is being sold on behalf of The Alexander Devine Children's Hospice. Due to the value of this lot although we will try and answer any questions, we would prefer that you come and view the item/s in person as we will not be providing condition reportsThank you for looking at this lot which is being sold on behalf of The Alexander Devine Children's Hospice. Due to the value of this lot although we will try and answer any questions, we would prefer that you come and view the item/s in person as we will not be providing condition reports

After Toshusai Sharaku - The Actor Morita Kanya, screen print, after the wood block, 36.5cm x 24cm, hinged to a mount and a Chinese drawing on silk of hydrangea and birds in branches (2) Print undamaged, drawing slightly stained and long undisturbed in the acidic wood-backed frame

A Chinese brush and ink drawing, boats and figures on a lake, signed, framed and glazed. H.46 W.56cm

ˑ A collection of four original catalogues from Christie's sales between 1986 and 1988 which were previously owned by Freddie Mercury. The lot consists of the following catalogues: Impressionist and Modern Watercolours and Drawings sale held on 2nd December 1986 and Modern Paintings, Drawing and Sculpture held on the 5th December 1986 Magnificent French Furniture and Sculpture sale held on the 17th June 1987 A Collection of Napoleonic Memorabilia sale held on the 18th June 1987 Chinese Porcelain and Works of Art sale held on the 9th May 1988 In the book 'Freddie Mercury: A World Of His Own' which was sold by Sotheby's to accompany their Freddie Mercury auction in September 2023, they note that 'Freddie did not make purchases haphazardly. The collections within Garden Lodge were meticulously assembled... Freddie's collecting was shaped by private visits to auction house exhibitions and an obsession with the auction catalogues that Peter (Peter Freestone, Freddie's assistant) would source for him. "I would always check what auctions were coming up and the things that would interest him. I would then get the catalogue so he could have a look - carpets, furniture, crystal, artworks, everything. He'd mark up the lots he wanted and send me to bid. On the morning of the auction, I would take his tea up at nine o'clock and his cheque book with me, for him to sign, so I could go later on and bid for him." The largest catalogue measures 20.5cm x 26cm (8 inches x 10.2 inches). The condition is very good. Provenance: previously sold as part of lot 666 from the Freddie Mercury: A World Of His Own, At Home sale held at Sotheby's, New Bond Street, London on the 8th September. This item is accompanied by a certificate of authenticity on Tracks Ltd. letterhead stating the above.

Two Chinese embroidered panels, map engraving, botanical prints, loose watercolours, prints etc and a sketchbook of accomplished drawing sketches (box)

Buckingham Palace Photographs of State Apartments (so titled within an original watercolour design mounted inside cover), a folder containing sixteen large black & white photographs from the late 19thC (including one by W & D. Downey) of rooms within Buckingham Palace to include the Throne Room, Picture Gallery, Royal Closet, Queen’s Luncheon Room, Ball & Concert Room, White Drawing Room, Prince Consorts Writing Room, The Queen’s Bedroom etc. Together with several pages of original luxurious silk patterned fabric (mounted), some headed 'Wall, Chair, Sofa' and 'Green Room Decorations', a letter in third person (probably facsimile) from Windsor Castle dated 1897, photographs of King George V and Queen Mary, other large photographs of exquisite jewellery, two small notebooks containing photographs of rare and precious objects including chairs, a letter-rack in mother of pearl, Italian salt cellar, Italian ink stand, scent bottles, Chinese game, silver presentation cup of 1704, Chinese vase, carved elephant tusk etc, several cuttings on card, printed photo of Queen Victoria by Downey and Diamond Jubilee Procession etc, in a folder of vellum with gilt decorated borders and central onlay of red silk fabric, water-silk patterned endpapers[Collection of Thomas Copperwheat, Master Guilder at Buckingham Palace during the reigns of Queen Victoria and George V]

A George III 'Gothick' mahogany open armchairAfter designs by Robert Manwaring and certainly influenced by a Thomas Chippendale design, with restorationsThe square back with re-entrant upper angles and blind fretwork rails of elongated double-sided cusped arches interspersed with quatrefoils, the open rose form splat comprised of a central rosette encompassed by eight radiating flared cusped arches, with matching arms and with associated gros and petit needlework seat upholstery, on cluster column front legs terminating in block feet, with splayed square section rear legs, largely re-railed, one original section of the railing remains, approximate depth of the seat: 52cm, 68cm wide x 94 cm high.Footnotes:In 1754, a 'Gothick' fretted parlour chair was invented for the author, antiquarian, academic, collector and connoisseur Horace Walpole for his castellated villa, Strawberry Hill, in Twickenham. In the same year Thomas Chippendale issued patterns for related 'Chinese' railed chairs in his seminal publication, The Gentleman and Cabinet-Maker's Director, pl. XXIII. Subsequently, the third edition of Chippendale's Director, published in 1762, features an engraving, itself dating to 1761, of a 'Gothick' chair with a similar cusped 'rose' splat to that on the present lot, pl. XXV. Alongside this design Chippendale notes that it would be 'proper for a library'. This same plate also appears in Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, p. 67. However, the offered example, with its distinctive rose window form splat and elegant cluster column legs, is arguably more closely related to a 'Gothick' design executed by Robert Manwaring. This Manwaring drawing is illustrated in the c.1765 second edition publication by the London based 'Society of Upholsterers' called Genteel Household Furniture in the Present Taste, pl. 15. Indeed, the latter is replicated in Pictorial Dictionary of British 18th Century Furniture Design, op. cit., pl. 15.Two further comparable models of 'Gothick' chair designs which originally appeared in Robert Manwaring's 1765 publication, The Cabinet and Chair-Maker's Real Friend and Companion, pl.'s 14 and 15, also again feature in the Pictorial Dictionary, op. cit., pl.'s 14 and 15, p. 79.An identical armchair to the offered lot sold Christie's, London, Important English Furniture, 14 June 2001, lot 29. A pair of very closely related chairs, of the same approximate date and likewise evidently after a Manwaring design, sold Christie's, New York, 16 April 2002, Important English Furniture, lot 3. Another chair of this general type sold Christie's, London, 26 February 1981, lot 60. Whilst a set of eight, including two armchairs, which have similar quatrefoil panelling to their frames sold Enniskerry, Co.Wicklow, Ireland, Christie's house sale, 23 January 1978, lot 97.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

20th century Chinese ink drawing of a horse, signed and titled lower right, 18x25.5cm

Chinesischer Pinselbecher mit Dekorzeichnung. Qing-Dynastie, Tongzhi-Ära 1862-1874. Höhe: 12 cm, Zeichnung: 15 x 25 cm. Porzellanbecher, umlaufend farbig bemalt, zwischen Ornamentbordüren Drachendekor, rote Bodenmarke. Dekorzeichnung, Feder und Aquarell auf dünnem Pergament. Ränder der Zeichnung zerknittert, eingerissen. * Partnerauktion Bergmann. Aufrufzeit 13. | Juni 2024 | voraussichtlich 11:44 Uhr (CET)Chinese brush cup with decorative drawing. Qing dynasty, Tongzhi era 1862-1874. Height: 12 cm, drawing: 15 x 25 cm. Porcelain mug, painted all around in color, dragon decoration between ornamental borders, red bottom mark. Decorative drawing, pen and watercolor on thin parchment. Edges of the drawing creased, torn. * Partner auction Bergmann. Call time 13 | June 2024 | presumably 11:44 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

MAGNIFIQUE ET TRÈS RARE GOURDE EN PORCELAINE ÉMAILLÉE REHAUSSÉE D'OR IMITANT LE BRONZEMarque et époque Qianlong (1736-1795)A MAGNIFICENT AND EXCEPTIONALLY RARE FAUX-BRONZE MOONFLASKQianlong seal mark and of the periodExpertly modelled of compressed globular form supported on a spreading foot and surmounted by a cylindrical neck with a galleried rim, the shoulders applied with a pair of lion-head handles issuing rings from their jaws, either side of the vase with a large medallion moulded in low-relief with two confronting chilong flanking a central stylised shou roundel, all against a dense leiwen ground, the foot and neck with a band of leaves, covered overall in a lustrous tea-dust glaze, with scattered turquoise splashes imitating bronze encrustation, with some areas picked out in gilt, wood stand 43cm (17in) high.Footnotes:清乾隆 仿古銅釉描金夔龍壽字紋雙獸耳抱月瓶 「大清乾隆年製」款Provenance:Collection of Octave du Sartel (1823-1894), prior to 1881 Sale of the collection of Octave du Sartel, Hôtel Drouot, Paris, 3 to 5 April 1882, lot 130A French private collectionCornette de Saint Cyr, Paris, 26 May 2018, lot 35Published and Illustrated: O. du Sartel, La Porcelaine Chinoise, 1881, pl.XXXII, no.157來源:Octave du Sartel珍藏， 1881年前購入「O. du Sartel珍藏」拍賣，德魯奧拍賣行，巴黎，1882年4月3至5日，編號130法國私人珍藏Cornette de Saint Cyr拍賣行， 巴黎，2018年5月26日，編號35出版及著錄：O. du Sartel著，《La Porcelaine Chinoise》，1881年，圖版XXXII，編號157This magnificent large vase is decorated with archaistic motifs and covered with a dusty dark teadust glaze enhanced with splashes of bright blue enamels and gold detailing simulating the aged patina of ancient bronze vessels. It embodies the spirit of the Qianlong era when archaic bronze vessels were collected and their shapes and designs copied and adapted in a variety of materials including porcelain. Much like his predecessors, the Qianlong Emperor held a profound appreciation for antiquities, surpassing them by personally adding to the Imperial collections an unprecedented number of artefacts. Emulating the legacy of Emperor Huizong of the Northern Song dynasty, Qianlong commissioned illustrated catalogues listing, reproducing and describing various segments of his vast collection. Yet, his interest in antiquities transcended mere acquisitions. He actively encouraged and commissioned contemporary artworks made in the style of ancient masterpieces. In the instance of this particular vase, the emperor's antiquarian pursuits intersect with a prevalent fascination of the time: the emulation of one material through another in trompe l'oeil ('trick of the eye'). Porcelain became a canvas for replicating the allure of lacquer, stone, wood, and bronze, seamlessly blending antiquarian interest with the artistic freedom.The Qianlong Emperor's fascination for works in the trompe l'oeil technique has been argued to reflect the Manchu Court's own numerous personas when ruling its multi-ethnic Qing empire, see John Hay, Sensuous Surfaces: The Decorative Object in Early Modern China, London, 2010, pp.232-235. The Qing emperors were Manchus from the North-east of present day China, however they presented themselves as universal rulers capable of being legitimate guardians of Han Chinese culture, Mongolian culture and Tibetan culture, cloaking themselves in various garbs to suit their political goals. This can be most clearly seen in a painted album of the Yongzheng Emperor dressed in various roles, including a European, a Tibetan lama, a Mongolian archer and Daoist priest, etc; see J.Rawson et al, China: The Three Emperors 1662-1795, London, 2006, no.167. The trompe l'oeil effect of simulating archaic bronze vessels moreover reflects the Qing Court's fascination with ancient China's history and the resulting trend of archaism. The Qianlong Emperor was keen to establish himself as an antiquarian to legitimise his role not only as the ruler of China, but as the chief examiner of the Imperial civil service examination system which recruited thousands of literati scholars, well versed in the Confucian classics and history. The moonflask shape originates from flasks carried by traders and herdsmen from Central Asia and the middle east. Flattened bronze vases, bianhu, appeared as early as the Warring States period (475-221 BC); see for example, a bronze bianhu illustrated by Marie-Thérèse Bobot, Chine connue et inconnue: Dix Années d'Acquisition au Musée Cernuschi, 1982-1992, Paris, 1992, pp.56-57, no.25. Such archaic bronzes were collected by the Song emperor Huizong and are recorded in the Xuanhe bogu tu and reproduced in the Qianlong era, also a line drawing of bronze bianhu vessel, see Chongxiu Xuanhe bogu tu, juan 13, no.12. The current moon flask thus mirrors the Qianlong Emperor's artistic tastes, blending China's past, Western trompe l'oeil techniques, and innovation into its design, reflecting the artistic landscape of its time.See an archaistic simulated bronze vase with an incised Qianlong seal mark, illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol.2, no.953, which was later sold in Sotheby's Hong Kong, 4 October 2011, lot 19. Other examples of Qianlong period porcelains decorated in imitation of archaic bronzes from the collection of the Palace Museum, Beijing, are illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pp.411-15, pls.92-96. Another Qianlong-marked faux bronze vase, in the collection of the Palace Museum, Taipei, is illustrated in Emperor Ch'ien-lungs Grand Cultural Enterprise, Taipei, 2002, p.173. See also a rare gilt-decorated teadust-glazed imitation bronze beaker vase, Qianlong mark and the period, which was sold in Christie's New York, 15 September 2011, lot 1602. A large Hu-shaped bronze-imitation vase was sold in Sotheby's Paris, 15 December 2011, lot 50.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE D'AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, VERS XVE SIÈCLE Himalayan Art Resources item no. 1813 44 cm (17 1/4 in.) high  Footnotes:A GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SAHASRABHUJA EKADASAMUKHA  CENTRAL TIBET, CIRCA 15TH CENTURY  Published  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 423, no. 184.  Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  This tall gilt bronze represents Avalokiteshvara Sahasrabhuja Ekadasamukha—the All Seeing, All Encompassing Lord with One Thousand Hands and Eleven Faces—whose compassionate gaze extends to every corner of the world. The figure's iconography traces as far back as to an Indian stone relief carved in the 5th or 6th century at the rock-cut Buddhist caves of Kanheri, India. Iconographic treatises translated from Sanskrit to Chinese around the 6th century indicate the early dissemination of this form into Kashmir, Central Asia, Tang China, and the Tibetan Empire. Since the reign of the first Dharma King of the Yarlung Dynasty, Songtsen Gampo (604-50), Avalokiteshvara has been the primary tutelary deity of Tibet. Drawing on an iconographic vocabulary of many heads and arms to confer cosmic supremacy on the Great Bodhisattva, this form of Avalokiteshvara was widely revered and further developed by the Palmo and Jowo traditions, modeling the deity with benign features except for the penultimate wrathful head. Retaining its original, gilded base plate, this image of Avalokiteshvara is executed in a refined 15th-century style emerging from a renaissance of Tibetan art, religion, and culture. Its facial modeling, together with the thin, incised lines of floral decoration with blackened silhouettes, nod to the work of Sonam Gyaltsen, a master artist active in Shigatse, c.1430, who contributed to, or perhaps created, one of Tibet's finest traditions in gilded sculpture. Also, the flowers gracing the lower garment, particularly the floral sprays gently floating in place, are nearly identical to the Chinese silk damasks gifted to Tibet during the early Ming dynasty. Rare examples include a Yongle period (1403-24) temple hanging of Shadakshari Lokeshvara in yellow silk that was sold at Bonhams, Hong Kong, 30 November 2022, lot 42, and another in red that was gifted by Sir Joseph Hotung to the Metropolitan Museum of Art, New York (fig.1; 2002.271). For examples of Tibetan gilt bronzes of similar quality depicting Avalokiteshvara with eleven faces, see a smaller figure published in, The Light of the Buddha: Buddhist Sculptures of the Palace Museum and Zhiguan Museum of Fine Art, 2019, pp. 402-3, no. 110. Also compare the Avalokiteshvara identified by inscription to have been made by Sonam Gyaltsen, sold at Bonhams, New York, 19 March 2018, lot 3033. For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金十一面千手觀音像藏中 約十五世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，第423頁，編號184展覽「Buddha：2000 Years of Buddhist Art, 232 Masterpieces 」, 弗爾克林根，2016年6月24日至2017年2月19日這尊頎長的銅鎏金造像呈現十一面千手觀音——梵文意為「十一面千手、全知全能的救主」，其慈悲目光視及世間每一角落。這一形象最早可追溯到印度甘赫裡岩窟之公元五或六世紀所刻石浮雕。圖像學文本於六世紀時期自梵文翻譯成中文，證明這種形象於喀什米爾、中亞、唐代漢地和西藏王朝的早期傳播。自雅礱王朝第一位法王松贊幹布（604-50年）統治以來，觀音一直是藏地主要的守護神。以多面以及多臂之形象彰顯此菩薩遍及宇宙之至高地位，十一面觀音之形象在帕爾莫和覺沃傳統中廣受敬拜，並進一步發展，塑造了這位神祇的慈愛特徵，唯有上數第二層之忿怒面表現其作為至高神明的無盡神通。此尊觀音像仍保留鎏金封底原作，以十五世紀西藏藝術、宗教以及文化之文藝復興時期間形成之精緻風格而造。其面部塑造，以及花卉裝飾的纖細雕刻線條和填黑處理，折射出索南堅贊之傳統。索南堅贊為一位約1430年前後活躍於日喀則地區的工匠大師，西藏最精美的鎏金造像傳統之一，便由其創立或推動。同樣，點綴衣物下擺的花卉，尤其是輕柔飄動的飛花，與明初賞賜藏地的漢地絲綢織錦幾乎完全相同。稀有珍品包括一幅永樂年間（1403-24年）黃底暗花緞織四臂觀音寺廟掛畫（邦瀚斯，香港，2022年11月30日，拍品42），以及由何鴻卿爵士贈予紐約大都會藝術博物館之紅暗花綾四臂觀音像（圖1；2002.271）。至於同樣品質的藏地十一面觀音鎏金銅像，請參見《佛陀之光：故宮博物院與止觀美術館佛教造像》，2019年，頁402-3，編號110。亦可參考另一尊銘文記載為索南堅贊製作的觀音造像，於2018年3月19日在紐約邦瀚斯售出，拍品3033。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

A CHINESE PALE CELADON JADE CARVING OF A 'BOY AND DRUM' QING DYNASTY, 18TH OR 19TH CENTURY The father depicted holding a chime and carrying a small boy on his arm who beats the drum 5.3cm high x 4cm wide x 2cm deep Provenance: The Palmer Family Collection. The jade figure was always kept in the mahogany bureau-cabinet, in the drawing room at Bussock Wood, in the central mirrored architectural interior cupboard, see lot 89 in this auction.  清十八/十九世紀 青白玉雕擊鼓童子擺件拍品來源：英國帕瑪家族顯赫私人收藏 Condition Report: in good condition Condition Report Disclaimer

A PAIR OF GEORGE III STYLE MAHOGANY LIBRARY ARMCHAIRS AFTER THE DESIGN ATTRIBUTED TO WILLIAM VILE, PROBABLY 19TH CENTURY The rectangular padded backs, arms and seats upholstered in machine-made floral needlework, the arm supports carved with florets and with incised hatched trellis decoration, on square legs carved with similar hatched panels and wrapped with carved foliage, fruit and acorns on guttae feet and headed by pierced 'Chinese' angle brackets, with metal castors, the backs unusually low and possibly reduced in height 89cm high, 66cm wide, 68cm deep Provenance: Acquired August 1919, `A pair of fine Chippendale stuffed back chairs with carved arms & straight legs with raised fruit & flowers £300' The chairs feature distinctive foliate-wrapped legs carved with oblong trellis panels and guttae feet derived from the pattern for the celebrated drawing-room suite commissioned by Anthony Ashley-Cooper, 4th Earl of Shaftesbury (d. 1771) for St. Giles's House, Dorset, which originally comprised four settees and at least twenty-five open armchairs. For many years the manufacture of the suite was credited to Thomas Chippendale who illustrated such chairs which he described as being in the 'Modern' style in his Director, indeed, the 7th Earl of Shaftesbury (d. 1885) described the St Giles' furniture as being 'very valuable and fine, being by Chippendale'.  However, the suite is now attributed to William Vile (d. 1767), who worked with William Hallett (d. 1773) before receiving his appointment as 'cabinet-maker' to George III. Vile adopted guttae feet for the stools which he and his partner John Cobb supplied in 1753 for the Vyne, Hampshire (A. Coleridge, Chippendale Furniture, London, 1968, p. 27, fig. 28). The attribution also derives from the superb and intricate carving of the suite corresponding to furnishings supplied by Vile and Cobb to George III and Queen Charlotte for Royal residences including St. James Palace and the Queen's House, now Buckingham Palace. A related suite of seat furniture in walnut, attributed to Vile, was at Harleyford Manor, Buckinghamshire, presumably supplied around 1760 to William Clayton (d.1783). The house was built from a design by the architect Sir Robert Taylor who pulled down an earlier house bought by Sir William Clayton, 1st Bt. (d.1744) and replaced it with the design that survives today. The Harleyford suite was sold from a private Eaton Square collection at Christie's, London, 2 May 2013, lots 79 (ten side chairs and a (pair of sofas), 80 (pair of stools) and 81 (single stool)  The ten chairs and sofas were sold again anonymously at Christie's, London, 17 March 2022, lots 11 and 13 respectively.  

Chinese school : A large watercolour drawing depicting figures working, 175cm x 43cm.

CHINESE BARGES OF THE EMBASSY AFTER WILLIAM ALEXANDER Engraving with hand colouring, published by G. Nicol after the drawing by William Alexander, from 'An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China' Plate mark 34 x 48cm, 56 x 70cm including frame 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.

After Xu Beihong （徐悲鸿款） Galloping horse - 20th century Ink colour on Xuan paper, mounted as a hanging scroll With artist's red seal Measures approx. 133cm x 66cm 徐悲鸿款 奔马 设色纸本 立轴 款识： 三十二年春日悲鸿 磐西中国美术学院  鈐印： 徐悲鸿 江南布衣 Xu Beihong (Chinese, b. 1895 - 1953) Born in Yixing, Jiangsu province; Painter, art educator. Xu studied painting and calligraphy from his father Xu Dazhang, moved to Shanghai in 1915, studied arts in Tokyo in 1917, taught at Peking University. He spent 1919-1921 in Paris & learnt oil painting and drawing at Ecole Nationale des Beaux-Arts, before moving to spend 1921-23 in Berlin, travelling Europe until 1927. He returned to China in 1927, teaching at institutions including National Central University (now Nanjing University); after 1949 he became President of the Central Academy of Fine Arts and Chairman of the China Artists Association.

A Chinese ink drawing of a noble couple with children flying banners, with red seal lower right, 33.5cm x 22.5cm, framed & glazed.

Pictorial of Ancient Chinese Painting, Drawing of Hunting of Emperor Sdhih-tzu, Yuan Dynasty Chinese publication English text

AN EXCEPTIONAL YIXING STONEWARE SLIP-DECORATED BRUSHPOT, BITONGYang Jichu three-character seal-mark, QianlongThe cylindrical vessel with straight sides finely decorated around the exterior with a thatched pavilion on stilts above a body of water, a bridge links the pavilion to the land with a large craggy rock and willow tree with moulded bark, the pavilion with a screen and jars, a scholar on a daybed gazing over the water with lilies and ducks tended to by a man on a sampan. 18.3cm (7 1/4in) diam.Footnotes:清乾隆 段泥彩繪羲之觀鵝圖筆筒「楊季初」篆書款Provenance: Hugh M. Moss Ltd., 1970sMr & Mrs Gerard Hawthorn, LondonBonhams Hong Kong, 28 November 2011, lot 208 A Princely collectionIllustrated: P.Moss, 'I-Hsing-Tea-Taste', Journal of the International Chinese Snuff Bottle Society, vol.10, no.3, September 1978, p.10, fig.17.來源:古董商Hugh M. Moss Ltd.，1970年代倫敦Gerard Hawthorn伉儷香港邦瀚斯，2011年11月28日，拍品編號208 王子藏品著錄：P.Moss，《I-Hsing-Tea-Taste》，《Journal of the International Chinese Snuff Bottle Society》，第10冊，編號3，1978年9月，第10頁，插圖17。It is extremely rare to see an Yixing stoneware brushpot adorned with coloured slip decoration, and the present lot stands out as one of the finest documented examples of its kind. A brushpot with nearly identical decoration is in the Palace Museum, Beijing, but with a six-character Qianlong seal mark rather than the Yang Jichu seal mark, illustrated in Yixing Zisha Wares in the Palace Museum, Beijing, 2009, p.184, pl.103. The Palace Museum brushpot is speculated to have been crafted as an Imperial tribute piece or commissioned personally by the Qianlong Emperor himself. Another Yixing stoneware brushpot bearing Yang Jichu's mark is also in the Palace Museum, Beijing, illustrated in Ibid., p.186, pl.104.Yang Jichu is recorded in the Chongkan jingxi xianzhi (重刊荊溪縣志), or The Republished Jingxi Gazetteer and gained renown for his exceptional craftsmanship in creating Yixing stoneware brushpots, particularly those adorned with slip decoration, during the Yongzheng and Qianlong reigns. The current brush pot, with its pale golden hue, provides an ideal canvas for landscape painting, drawing parallels between the stoneware vessel and traditional silk or paper artworks. The composition evokes a sense of tranquillity, accentuated by details like wine jars, a white screen, and a rattan curtain. Symbolic elements such as the thatched roof and overhanging willow and cypress trees add to the idyllic imagery, epitomising the literati's yearning for escape and communion with nature. The present lot depicting a scholar gazing out at geese could be a reference to Wang Xizhi (317-420 AD), revered as the 'Sage of Calligraphy' in Chinese culture. Legend has it that Wang observed the graceful movements of geese's necks, which inspired him to wield the brush in a similar way to create his calligraphy. However, the decoration on the present lot is close to that of a painted album leaf Landscape with Pavilion and Willows, attributed to Shen Zhou (1427-1509) in the Metropolitan Museum of Art, New York, although the geese are absent in the painted album.Further Yixing brushpots adorned with slip-painted landscapes on a dark background and stamped with Yang Jichu's seal are in both the Suzhou Museum and the Yangzhou Museum, illustrated in Zhongguo taoci quanji- 23-Yixing, Tokyo and Shanghai, nos. 24 and 70.See a similar Yixing stoneware slip-decorated brushpot, signed Yang Jichu, Qianlong period, which was sold at Christie's New York, 22 March 2012, lot 1246. And another also signed Yang Jichu, Qianlong, which was sold at Christie's Hong Kong, 1 June 2016, lot 3374.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 post-War B.E.M. group of four awarded to Acting Warrant Officer Class II T. J. Harris, Royal Regiment of Wales, late Welch Regiment, who was wounded in action in Korea on 10 December 1951 British Empire Medal, (Military) E.II.R. (22339963 Act. W/O. II. Terence J. Harris, R.R.W.) edge prepared prior to naming, with Royal Mint case of issue and outer named card box; Korea 1950-53, 1st issue (22359963 Pte. T J. Harris. Welch.); U.N. Korea 1950-54, unnamed as issued; General Service 1918-62, 1 clasp, Cyprus (22359963 Sgt. T. Harris. Welch.) mounted court-style for display; together with the related miniature awards (the Korea Medal a 2nd issue type), these mounted court-style for wear, light contact marks, generally good very fine (4) £700-£900 --- B.E.M. London Gazette 3 June 1972. The original Recommendation, dated 7 February 1972, states: ‘Sergeant (Acting Warrant Officer Class II) Harris has been a Permanent Staff Instructor with this Battalion since 20 June 1969. His first 21 months with the Battalion, at that time designated The Welsh Volunteers, were spent with B Company at Newport where he was the senior Permanent Staff Instructor and as such did exceptionally good work. In April 1971, however, when the Territorial Army Volunteer Reserve expanded, the Welsh Volunteers were disbanded and used to form a nucleus for two new Territorial Army Volunteer Reserve Battalions. At this stage Acting Warrant Officer Class II Harris was transferred to Abertillery where a completely new Company was to be formed as part of the new 3rd (Volunteer) Battalion, The Royal Regiment of Wales. Throughout his Army career Acting Warrant Officer Class II Harris has always been noted for his energy and drive. At no time, however, have these qualities been more apparent and more profitably directed that in the last ten months. As the only Permanent Staff Instructor and regular soldier in the new Company, the main burden and responsibility for recruiting men for this new sub-unit devolved on Acting Warrant Officer Class II Harris. He willingly and enthusiastically accepted the challenge. In the succeeding ten months, by his quiet determination, exceptional zeal and remarkable resourcefulness Acting Warrant Officer Class II Harris has raised over 60% of his full establishment and is still drawing in fresh recruits. In itself this is a commendable effort but is not rested there. Using his forceful personality and dynamic drive he has forged this raw material into a thoroughly effective and happy company. No man has or could have worked harder to make this new Company a success. Their keenness, efficiency and cheerful 'esprit de corps' reflect the inspired leadership high standards and dedication of Acting Warrant Officer Class II Harris. It is typical of his unassuming character that he disclaim all credit for this. Nevertheless he alone, by his tireless effort and selfless devotion - far above the normal call of duty - and his superb personal example has accomplished this notable success. Acting Warrant Officer Class II Harris is due to leave the Army in September 1972 and official recognition now of his many years of loyal service, and his recent magnificent contribution to the effectiveness, standing and sense of purpose of the Territorial Army Volunteer Reserve and this Battalion would be justly deserved and warmly welcomed by his regiment.’ Terence James Harris was born in 1931 and attested for the Welch Brigade at Brecon on 6 September 1950. He served with the 1st Battalion, Welch Regiment in Korea from 10 October 1951 to 28 January 1952, and again from 13 February to 8 November 1952; he was wounded in action on 10 December 1951, sustaining gun shot wounds to his left leg and right thigh. He saw further active service in Cyprus from 17 December 1957 to 12 December 1958. He was discharged on the completion of his engagement with the rank of Staff Sergeant (Acting Warrant Officer Class II) on 5 September 1972, after 22 years’ service. Sold with the recipient’s Certificate of Service Red Book; original Telegram to the recipient’s mother stating he was wounded in action on 10 December 1951, with original letter from his Platoon Commander to his mother stating her son was wounded by a Chinese ‘burp’ gun in the legs during a Chinese attack; original letter from the Infantry Record Office confirming the telegram stating he had been wounded but had no further details as yet; and original letter from the Infantry Record Office stating her son had sustained Gun Shot wounds to his left leg and right thigh; 4 original letters congratulating the recipient on the award of his BEM; three photographs; an ‘Images of Wales’ history of the Welch Regiment book; and a Welch Regiment cap badge and Welch Regiment medallion.

A framed drawing and print, to include: Malcolm (British, Late 20th Century) - Study of a female nude standing, charcoal on paper, signed lower right, 73 x 50.5 cm; together with a colour print of a Chinese watercolour study of a female nude seated, with signature and red seal in print lower right, both framed and glazed (2)

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

Napoleon.- Anglo-Chinese School (19th century) The Briars St. Helena/ Emperor Napoleon: first residence; Emperor Napoleon expired in this House, two works, watercolour on pith, ruled black ink borderlines, lettering in margins above and below, each image approx. 115 x 180 mm (4 1/2 x 7 1/8 in), tears and small nicks, unframed, [circa 1825]; together with Swifts' engraved 'View of James Town, St. Helena', after Craig, a photographic reproduction of a drawing of Napoleon, dated '1817', and a rather damaged copy of Lieut. Reads' 'This Geographical Plan of The Islands & Forts of Saint Helena...', all unframed, 19th century (5)   

A Schuco patent auto 4001 clockwork car (playworn condition) together with a Vanguards Morris Minor Traveller (boxed), a Hornby 00 4401 TPO mail van (boxed), a Japanese painted tin clockwork motorcyclist, an Oxford die cast vintage model New Zealand Lamb 75 years delivery van, a circa 1900 rosewood cased precision drawing set inscribed to lid "Chas F Hansom Architect" together with a modern Chinese Bofa drawing kit, a Gillette safety razor in simulated jade box, a vintage skean dhu with carved handle, a miniature polo mallet with bamboo handle 50 cm long and a vintage leather bound two drawer brass telescope 60 cm long max

MSP Coastal scene with beach coves, pencil drawing, artists monogram to lower right corner, 31x39.5cm mounted in glazed frame, and a late Victorian / early 20th century still life watercolour of an 18th century Chinese meat platter, tumbler vase of yellow flowers and a knife, unsigned 28x20cm, mounted in a glazed frame.Location:

Henri Cartier-Bresson (1908–2004) was a French photographer widely regarded as one of the pioneers of modern photojournalism. Born on August 22, 1908, in Chanteloup-en-Brie, France, Cartier-Bresson played a crucial role in shaping the field of documentary photography and the art of capturing "the decisive moment."Here are some key points about Henri Cartier-Bresson:1. **Founding Member of Magnum Photos:** Henri Cartier-Bresson co-founded Magnum Photos in 1947 along with Robert Capa, David Seymour, George Rodger, and William Vandivert. Magnum is a renowned international photographic cooperative.2. **"Decisive Moment":** Cartier-Bresson is famous for coining the term "the decisive moment" (French: "le moment décisif"). This concept emphasizes capturing the perfect moment when all elements of a scene come together to create a compelling and powerful image.3. **Early Life and Painting:** Before turning to photography, Cartier-Bresson studied painting. He was influenced by Surrealism and the works of artists like André Breton and Pablo Picasso. His early interest in the visual arts contributed to the composition and aesthetics of his photographs.4. **Travel Photography:** Cartier-Bresson traveled extensively throughout his career, capturing moments from different cultures and countries. His travels took him to places such as India, China, the United States, and the Soviet Union.5. **Capturing History:** Cartier-Bresson documented many significant events in the 20th century, including the Spanish Civil War, the liberation of Paris, the funeral of Mahatma Gandhi, and the Chinese Civil War.6. **Book Publications:** Cartier-Bresson published several books, including "The Decisive Moment" ("Images à la sauvette"), which became a classic in the field of photography. His other notable books include "The World of Henri Cartier-Bresson" and "Europeans."7. **Film:** In addition to photography, Cartier-Bresson worked in the film industry. He directed several documentaries, including "Victoire de la Vie" and "Southern Exposures."8. **Awards and Honors:** Cartier-Bresson received numerous awards for his contributions to photography, including the Overseas Press Club Award, the Hasselblad Award, and the Grand Prix National de la Photographie in France.9. **Later Years and Legacy:** In his later years, Cartier-Bresson focused more on drawing and painting. He passed away on August 3, 2004, in Montjustin, France. His legacy lives on through his iconic photographs, his influence on photojournalism, and the enduring impact of Magnum Photos.Henri Cartier-Bresson's work continues to inspire generations of photographers, and his contributions to the art of photography have left an indelible mark on the medium. His ability to capture the essence of a moment with precision and artistry remains a benchmark for photographers around the world.Verso is blank.

Two Chinese scrolls, watercolor on paper and silk.73 x 66 cm. 227 x 50 cm - Drawing: 128 x 37 cm. Dimensions: (W:50 x H:227 cm)

A quantity of miscellanea including Yogi bear toy, souvenir Chinese drawing items (cased), single bookend with Egyptian pharaoh, old keys, etc.

A GREEN-GLAZED POTTERY FLASK, LIAO DYNASTY 遼代綠釉陶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 907-1125. Of saddle shape with stiff, seamed edges, a short cylindrical neck, the top flap is notched and pierced with two hanging holes and applied with two small figures facing forward towards the spout, the body incised with floral motifs on each side, all under an intentionally crackled emerald-green glaze.Provenance: From the collection of André Dubreuil. André Dubreuil (1951-2022) was a French designer and craftsman. At the age of eighteen he moved to England to study drawing at the Inchbald School of Design, while exploring the London underground nightlife scene. After graduating, he started working for a decorating agency and designed flats with trompe l'oeil paintings. He learned the art of ironwork with Tom Dixon and Mark Brazier-Jones, and they quickly became the reference for 1980s English avant-garde design. As a collector, Dubreuil was particularly interested in metalwork, and his collection included a wide range of objects, such as 18th-century French candelabras, medieval ironwork, and contemporary metal sculptures. He was known for his eclectic taste and his ability to appreciate the beauty and craftsmanship of objects from different periods and cultures. His collection was a reflection of his passion for art, as well as his interest in history and cultural heritage.Condition: Fine condition, commensurate with age. Old wear as expected, the spout with a small old repair, some flaking and minor losses to glaze, and firing irregularities including scattered glaze recesses. The head of one figure lost.Weight: 1,447 gDimensions: Height 27 cm Traditionally known as a pilgrim's flask, the shape of these containers derived from leather prototypes and has retained many features of the originals such as the seam and the hanging lug. It is quite rare to find two applied figures on the flask.Literature comparison: Compare an example in the Museum of Fine Arts Boston, Charles B. Hoyt Collection, accession no. 50.1747. A flask and cover with very similar designs and also with two applied figures in the Museum of Fine Arts, Boston, is illustrated in Hai-wai Yi-chen Chinese Art in Overseas Collections Pottery and Porcelain (II), p. 88, no. 86; another flask with two figures on the rim but slightly different decoration on the body from the Chang Foundation, Taipei, is illustrated in Selected Chinese Ceramics from Han to Qing Dynasties, p. 78, col. pl. 20. An example with one figure is in the Fengtian Museum, illustrated in Koyama Fujio ed., Sekai Toji Zenshu, 1961, vol. 10, p. 244, fig. 148.Auction result comparison: Type: Closely related Auction: Christie’s New York, 20-21 March 2014, lot 2078 Price: USD 8,750 or approx. EUR 10,500 adjusted for inflation at the time of writing Description: A rare olive-green glazed pottery flask and cover, Liao dynastyExpert remark: Compare the closely related form and glaze. Note the similar size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie’s London, 17 June 2003, lot 10 Price: GBP 4,541 or approx. EUR 7,700 adjusted for inflation at the time of writing Description: A very large green-glazed flask.Expert remark: Compare the closely related form and glaze. Note the smaller size (24.8 cm).

A LARGE MOLDED AND CARVED CELADON-GLAZED ‘DRAGON’ FISHBOWL, QING DYNASTY 清代大型青釉龍紋魚缸Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th - 19th century. Heavily potted, the deep rounded sides rising to a thick everted rim. The exterior is finely molded and carved with two sinuous four-clawed dragons in pursuit of a flaming pearl amid swirling clouds, covered in a pale sea-green glaze darkening in the recesses and thinning at the edges. The dragon design is framed by two brown-washed bands, the upper neatly carved with magpies and chrysanthemums, the lower similarly decorated with crashing waves. The base is unglazed.Provenance: From a private collection in Hertfordshire, United Kingdom, since the 1950s, and thence by descent in the same family. By family repute, most of this collection was purchased in the Panshanger Estate Sale at the Corn Exchange, Hertford, in 1953. Panshanger was the family home of the Earls Cowper, built by the Fifth Earl in the first decade of the 19th century. The estate was home to a remarkable art collection, including rare and important Chinese works of art. Two rooms – the China Room and the Dairy – were given over to the display of porcelain, but Chinese porcelains were also kept in the Picture Gallery, Library, Drawing Room, and Small Dining Room. A pair of Imperial famille rose hu-form vases decorated with deer, with Qianlong marks and of the period, once kept at Panshanger, was sold by Christie’s London, 13 May 2008, lot 223, for GBP 804,500.Condition: Old wear and manufacturing flaws, such as glaze recesses, pitting, and dark spots. Some hairlines to glaze, two star cracks, one chip to foot rim, one chip to the inner base (possibly re-stuck). Overall displaying exceptionally well.Weight: 26.9 kgDimensions: Diameter 51.3 cm, Height 45.5 cm Literature comparison: Celadon-glazed fish bowls with dragon decorations are very rare. A Yongzheng example in the Palace Museum, Beijing, is illustrated in Monochrome Porcelain. The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, p. 149, no. 135.Auction result comparison: Type: Related Auction: Christie’s New York, 18 March 2016, lot 1648 Price: USD 329,000 or approx. EUR 384,000 converted and adjusted for inflation at the time of writing Description: A massive celadon-glazed ‘dragon’ fish bowl, 18th-19th century Expert remark: Compare the similar form and celadon glaze, molded and carved decoration, and dragon motif. Note the lack of brown-washed bands and the larger size (62.8 cm).Auction result comparison:Type: RelatedAuction: Sotheby’s London, 15 May 2013, lot 256Price: GBP 30,000 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A celadon-glazed ‘dragon’ fishbowl, Qing dynasty, 19th centuryExpert remark: Compare the similar form and celadon glaze, molded and carved decoration, and dragon motif. Note the lack of brown-washed bands.

Three various Chinese silver models to include: figure drawing rickshaw, stamped (condiment holder); figure drawing a rickshaw with barrel, stamped and a filigree sedan chair with two bearers, stamped, gross weight 122.4 grams (3) 

A collection of early 20th Century white metal and silver mainly Asian small figures and models to include: a filigree model of a Sampan boat, unmarked; filigree model of a house, unmarked; a basket, unmarked; a 925 silver model of a crane drawn cart with three seated children, London import marks; a Chinese figure drawing a rickshaw, stamped 90 with maker's mark; a small carriage with figures drawn by oxen, unmarked and a Dutch figure of a milkmaid and an 800 standard probably Italian model of a gondola with two oarsmen, stamped, gross weight, approx 244.7 grams (1 bag)  

Postcards, Central and South America, approx. 300 cards to include Colombia, Costa Rica, Mexico, Panama, Peru etc. Subjects include street scenes, vehicles, soldiers, 1910 earthquake victims, ladies rowing team, Chinese Store, Panama Canal under construction and 'Kiss Of Oceans', advertising, Panama Lottery drawing, President Augusto B. Leguia etc. (gen gd)

A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING 韡慶《山水畫》，王原祈款China, first half of the 20th century. Ink and watercolor on segmented paper. The fan-shaped painting depicts a landscape with a river and mountains in the background and two cabins hidden behind trees and rocks in the foreground. A fisherman waiting on a boat nearby to catch a fish. Calligraphy and a seal mark on the left. A seal mark on each bottom corner.Inscriptions: Text (translated): 'Wei Qing imitated Wang Lutai's work' (pseudonym for Wang Yuanqi, 1642-1715) and 'Painted in Shenjiang'. One seal mark on the upper left, and one seal on the bottom left. Another seal on the bottom right (translated): 'Wei Ting learns drawing at 57 years old.'Fan paintings by Wang Yuanqi are highly sought after. For a landscape fan shaped painting by the master artist see Fine Chinese Classical Paintings and Calligraphy in Christie's Hong Kong on 01 June 2015, lot 1117, sold for HKD 3,200,000.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with some abrasions along the folds, minor material loss to the lower left corner.Dimensions: Image size 50.4 x 21.5 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.

A WHITE AND RUSSET JADE ORNAMENT, WESTERN ZHOUChina, Western Zhou dynasty, 10th-9th century BC. The pendant of flattened, slightly arched form with notched edges is carved to both sides with stylized human or zoomorphic figures, the contours and details rendered with double-line grooves. A small aperture drilled to the top for suspension. The translucent stone is of an even white tone with russet veins and patches as well as a small area of opaque brownish-cream to one edge.Condition: Very good condition with minor wear and nibbling.Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent.Weight: 88.2 gDimensions: Length 13.8 cmLiterature comparison: The style of the present jade ornament, combining human and animal features with the contours rendered in double-line grooves, is characteristic of the Western Zhou period. A similar example depicting a phoenix and dragon and of slightly different shape is in the National Palace Museum Collection (acquisition no. gouyu 611), illustrated in Art in Quest of Heaven and Truth - Chinese Jades through the Ages, Taipei, 2012, pl. 5-4-6. Another example depicting similar motifs was excavated in Rujiazhuang, its line drawing illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, p. 35, pl. 30:5. A rectangular plaque depicting similar motifs is in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2 - Shang & Western Zhou, Shijiazhuang, 1993, pl. 242. Compare also a jade with dragon-phoenix patter, dated to the Western Zhou dynasty, in the National Palace Museum, image number C1C000645N000000000PAD.Auction comparison: Compare a related pale celadon jade ornament, depicting a phoenix perched atop a dragon, at Christie's Hong Kong in Chinese Archaic Jades from The Yangdetang Collection on 29 November 2017, lot 2743 (sold for HKD 2,375,000), and another depicting two human figures in the same auction, lot 2746 (sold for HKD 7,060,000).

A LARGE SEA-GREEN JADE 'DRAGON AND PHOENIX' PENDANT, WARRING STATESChina, Eastern Zhou dynasty, Warring States period (c. 475-221 BC)Carved in the form of a dragon in profile with two phoenix heads emerging from its arched, s-shaped body, each side decorated with elevated comma spirals. The translucent stone of a sea-green tone with minor reddish-buff alterations, the surface shows a fine polish.Condition: Very good condition commensurate with age, with old wear, signs of weathering, and very few smoothened nicks along the edges. Provenance: Collection of Stephen Poulin, Toronto. Mr. Poulin is an avid collector of archaic jades for 40 years and a renown professional in the art conservation industry.Weight: 58 g Dimensions: Length 16 cmLITERATURE COMPARISON: Compare a closely related but significantly smaller (9 cm) jade dragon pendant, dated 4th century BC, in the collection of the Victoria and Albert Museum, accession number FE.49-1996. For an ancient drawing of a silhouette pendant related to the present lot, see Wu Dacheng, Gu Yu Tu Kao (Investigations into Ancient Jades with Illustrations), 1889, Shanghai. AUCTION RESULT COMPARISON: Type: Closely related Auction: Zacke, Fine Chinese Art, Buddhism & Hinduism on 15 October 2021, lot 68 Price: EUR 7,584 Description: An altered celadon jade 'dragon and phoenix' silhouette pendant, Warring States Expert remark: Compare the closely related form and decoration.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A PAIR OF PARCEL-GILT FLOWER -SHAPED SILVER DISHES北宋    鎏金六曲平底銀洗一對   China, Northern Song Dynasty, 10th Century ADThese two dishes seemed like an pairing. Each dish with slightly flaring rounded sides divided into six petal lobes by deep grooves on the exterior and corresponding ribs on the interior rising to notches at the scalloped lip, resting on a rimless flat base engraved in the centre of the interior with a small quatrefoil flower head picked out in gilding.D: 12.8cm (each)Provenance:Irish private collection, acquired from J.J. Lally & Co., New York.Exhibition: 'Silver and Gold in Ancient China', J.J. Lally, New York, March 16-April 14, 2012, no. 22.Publication: 'Silver and Gold in Ancient China' , J.J. Lally, New York, 2012, no. 22.出处： 愛爾蘭私人收藏, 購於紐約藍理捷展覽：「中國古代的金銀」，J.J. Lally，紐約，2012年3月16日至4月14日，第22期。出版：《中國古代的金銀》，J.J.拉利，紐約，2012年，第22期。NOTEA pair of Northern Song silver dishes of very similar six-petal flower shape with less sides in the Muwen Tang Collection is illustrated by Kwan in Chinese Silver, Hong Kong, 2004, pp. 154–155, and the author illustrates a line drawing of another very similar silver dish discovered in the underground chamber of Baoyan Temple, erected in the Jin dynasty at Yuyan village, Huan, Hebei province, illustrated in Wenwu, 1993, No. 4, pl. 6-5, and in a line drawing on p. 16, no. 31. Kwan notes that the plain elegant style of these flower-shaped dishes was “. . . fashionable among the upper echelons of Song society . . . and the form was emulated in lacquer and porcelain of the period.” Six-petal flower-shaped shallow bowls in white porcelain and green-glazed stoneware discovered in 1969 in the underground chamber of Jingzhi Temple (dedicated 977) are illustrated in the catalogue of the travelling exhibition entitled Chika kyūden no ihō: Chūgoku Kahoku-shō Teishū Hokusō tōki shutsudo bunbutsuten (Treasures from the Underground Palaces: Excavated Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China), Idemitsu Museum of Arts, Tokyo, 1997, nos. 71, 73, and 79. A six-petal flower-shaped silver bowl of very similar form and size excavated in 1970 from a Five Dynasties tomb in Banqiao, Linan, Zhejiang province, is illustrated in Wenwu, 1975, Vol. 8, p. 72, no. 7. Compare also the pair of similar dishes from the Kempe Collection illustrated by Gyllensvärd and Scott in 'Kinesiskt Guld och Silver I Carl Kempe-Samlingen' (Chinese Gold and Silver in the Carl Kempe Collection), Ulricehamn, 1999, p. 209, no. 163.

Full title: A pair of Chinese eggshell Pronk studio 'parrot and spaniel' plates, Yongzheng/QianlongDescription:Dia.: 20,5 cmThis is a fine example of this rare design, traditionally attributed to the Pronk workshop, though it is probably not by Carnelis Pronk himself.The VOC set up a venture in the 1730's to make very high quality porcelains in China to specific designs produced in the West, but in the Chinese style. They employed Dutch artist Cornelis Pronk to make designs for these and he produced four sets of drawings over about three and half years that were sent out to Batavia. From there the designs were taken to Canton and the production was commissioned by Chinese agents. The designs were elaborate and used bright enamel colouring. Eventually these proved too expensive and the venture was abandoned in about 1740, though some of the designs were revived in the later 18th century, including the Parasol design for which an original drawing survives - and a ‘flowers and moth’ design recombining details from prints by Marie Sybilla Merian - which had also been used for various other details in the Pronk designs.What remains today is a rare and fascinating range of porcelains, with distinctive colouring and of a very high quality. Thus they have an appeal to serious collectors of Chinese porcelain. As the problems had developed with the costs of manufacture it seems likely that the Dutch agents in Batavia tried to simplifiy the designs and to broaden the range of designs. One pattern that was introduced featured the 'parrot and spaniel' design on the present pair, taken from a Meissen service of about 1732 using a chinoiserie drawing by Petrus Schenk.Parrots were a quick short hand for the exoticism of the Far East and also popular as pets and so a few different examples appear on designs in the Pronk workshop at this time. (source: Cohen & Cohen - link)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

Cyril Edward Power (British, 1872-1951)The Tube Station (Coppel CEP 32) Linocut printed in yellow ochre, spectrum red, permanent blue, viridian and Chinese blue, circa 1932, a very good impression, on tissue thin oriental laid paper, signed, titled and numbered 13/60 in pencil, framedBlock 258 x 295mm (10 1/8 x 11 3/4in)Sheet 309 x 345mm (12 1/8 x 13 5/8in)Footnotes:This image was based on Bank tube station and Power used the sweeping arc of the platform and curve of the inbound tube carriage, along with bold colours, to convey a sense of movement and drama.Power specified that the red block should be printed heavily on the train doors and platform indicators, thus drawing the viewer's eye along the curve and into the picture, allowing them to feel the sensation of the train rushing into the station.For further information on this lot please visit Bonhams.com

Published by Something Else Press, Inc. New York, run by Dick Higgins. Contains: (1) Object Poems, exhibition April 16-27, 1966. Offset printed green on thick offwhite stock, 55.5 x 75.5 cm, folded to 18.5 x 14 cm. Participating artists include George Brecht, Robert Filliou, Ian Hamilton Finlay, Peter Green, Al Hansen, Dick Higgins, Diter Rot, Gertrude Stein, Wolf Vostell and Emmett Williams. Tiny tear to one corner, generally a very good copy. (2) Wolf Vostell: Dogs and Chinese Not Allowed, Exhibition of Notations and Erasures of the Happening at the Something Else Gallery, May 28 - June 8, 1966. Printed purple on off-white stock, 54 x 75 cm, folded to 13 x 19 cm for mailing. The happening, which lasted 14 days, took place all over New York’s subway network. Recto: text by Vostell, with plan of the subway and one drawing. Verso: list of publications distributed by Something Else Press for Typos Verlag such as Vostell’s Dé-coll/age 4 and 5. With stamp of the 1970s bookstore Schröder & Dupont in Amsterdam. Mint condition.

OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.

Full title: James Ensor (1860-1949): Still life with painting, two flower vases and a Tanagra figure, coloured pencil on paperDescription:Work: 16,8 x 11,8 cm Frame: 34,5 x 29,5 cm The work is full of references to the oeuvre and world of James Ensor. - Drawing 'Optocht met maskers' (top left): the same work is visible in the background of 'Un bon coin chez moi' (1938, MSK, Ostende, link) - Chinese blue and white vase on the plinth: the same vase is visible in 'Bibelots' (1935, Museum de Fundatie, Heino/Wijhe and Zwolle, link) - Blue octagonal vase: visible in different works, a.o. 'Un bon coin chez moi', also for example 'Accord Bleu' (1917, Tricot, no.496), 'Harmonie en bleu' (1919, Tricot no.504). The vase was also part of the private collection of Ensor, as visible on a photo by Maurice Antony (1937: interior Ensor, see the added picture) - Tanagra figure: the same sculpture visible in a.o. 'Roses et Tanagras (1917, Tricot no.494) and in other works (link). On a picture of Ferdinand Naeyaert ('Ensor in his interior'), the figure is clearly visible on the chimney.Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Attributed to Kari Lehr (20th/21st century) - "Wet Bear", inscribed with the name Pat Crowther together with a further later label verso with the inscription Wet Bear original by Kari Lehr also inscribed Pat Crowther "A Cool Dip", pastel drawing, 13.25" x 10.5" together with five further contemporary works including two indistinctly signed watercolours of coastal scenes the picture depicting a seated Chinese Scribe seated at a desk, a small picture of Venice and a Dale Klee print 'Junk Pile Ford Version' (6)

M Murphy (mid 20th Century), Chinese objects and sunflowers, signed pastel drawing, 50cm x 43cm; and another of a bowl of anemones and a Chinese plate, pastel, signed, 44cm x 39cm (2) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.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

Unclearly marked, colored drawing of a carriage, with Chinese characters, 26x38 cm

DONG SHOUPING (Chinese b. 1904-1997) Landscape Inscribed and signed, with two seals of the artist Dated Spring, yichou year (1985) Scroll and mounted, ink on paper 95cm x 43 cm (37.5" x 17") 董寿平  一九八八年作 题：乙丑 (1985）董寿平写于北京 鈐印：壽平、壽平書畫， Dong Shouping (董寿平; 1904-1997) was a renowned contemporary painter and calligrapher. Formerly known as Dong Gyu, later renamed Shou ping. Born in Shangxi province Hongdong County Du Shu village, Dong Shouping was born to a reputable family, Emperor Dong Jitang of Qing Dynasty famous calligrapher, his grandfather Dong Zhihuan Qing Hanlin. He was influenced by his family in calligraphy and painting, and especially admired at the beginning of the Qing Dynasty the works of painter Yun Shouping, then renamed Shou ping. At the age of 16, Dong Shouping attended the Beijing world language school after the turn of the Department of economics of Nankai University, tianjin. In 1926 he graduated from Burapha University in Beijing and settled in Beijing in 1928. In 1931 he began selling paintings for a living, 1938 articles to Xi'an, back to Chengdu, Sichuan writers have Lin Shan Yu appreciation, to praise to make the name well known in Chengdu, held the first day, in 1939 moved to Sichuan Province Guanxian Dujiangyan Guan Yu Lei, living there for 12 years. In 1941 he donated to support the Anti Japanese war. After the liberation, Dong Shouping returned to Beijing in 1950, Ren Rong Bao Zhai editing, 1952 will hide all the books donated by Shanxi provincial museum. To travel around the China sketch, creating more than. In 1979, Rong Bao Zhai consultants identity to Japan, and lectured at University of the Arts in Tokyo, painting demonstration. He is currently a member of the CPPCC National Committee, director of the China Calligrapher's Association, honorary president of Beijing research China painting. In 1979 the people's Fine Arts Publishing House of the "Dong Shouping" painting series. Dong Shouping started at a young age for art, will develop a reading habit of drawing, half day, he be learned in books, there is a profound knowledge, good at the broad and profound ancient Chinese art and modern techniques of combining. His picture has not only poetry and painting artistic conception, which has the literati scroll temperament, layout composition rich philosophy. He also acquired a hand hanging Book stunts, commended for the artists at home and abroad.

SIX CHINESE FANSQING DYNASTY AND LATERTwo on paper painted with landscape scenes, two on silk with figures and calligraphy, another a reticulated boxwood fan, and the sixth a paper fan decorated with gold on a black ground with a seal which reads Shulian ji, together with a watercolour and pencil drawing, inscribed 'Treaty of Peace, Nankin 1843', 51cm x 50cm max. (7)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the collection of Phillip Allen (1938-2022).

Walasse Ting (Chinese/American, 1929-2010). Watercolor on paper depicting a woman hiding her face behind a fan. With a red seal stamp along the lower left.Lot Essay:Walasse Ting was a painter and a poet, a powerhouse in the mid-20th century art and intellectual scene. His work was fluorescent and shocking, intended to confront the viewer and force them to pause their worldly cares to focus on beauty. Born Ding Xiongquan in Wuxi, Jiangsu province in 1929, Ting had little formal artistic education. After a brief stint at the Shanghai Art Academy, he left for Paris, arriving in 1949. He quickly fell in with the CoBrA group, an avant-garde collective of artists known for their spontaneous way of painting and rebellion against the artistic establishment. Their emphasis on Outsider Art had a profound effect on Ting, especially since he had little art training and tended to see himself as an outsider in the art world.In 1959, he left Paris for New York City, where he was influenced by Pop Art and Abstract Expressionism. He became friends with many artists working in these styles, including greats such as Andy Warhol, with whom he once put on a joint exhibition. His work was influenced by these connections, pulling ideas from both movements and fluctuating between abstraction and figural works with a unique ease. He also began finding inspiration in more traditional sources, using bold strokes inspired by the calligraphy of his native China. In addition to art, he began publishing poetry during this period, both original poems and translations of classical Chinese poems. He published thirteen books, many of which contained illustrations by himself and his artistic contemporaries.In 1970, he won the Guggenheim Fellowship Award for Drawing. His career continued to flourish, and he split his time between New York and Amsterdam, painting, writing, and displaying his works. He additionally made many trips to Paris to exhibit at the Salon de Mai and traveled to Tahiti to explore the tropical landscapes and colors.During his long and varied career, he had over 60 solo exhibitions of his paintings, as well as making forays into theater direction and teaching. In all his endeavors, he tried to use art to bring beauty into the lives of as many people as possible, because, in his words, “[w]ithout beauty, life makes no sense."Sight; height: 14 in x width: 19 in. Framed; height: 19 1/4 in x width: 28 1/4 in. />Condition: There are no tears, losses, or restorations. Natural texture to the sheet due to the paper type. The colors are bold and bright. The paper is affixed to a backing. Framed under glass; light wear to the frame. The paper backing has been removed to allow for inspection of the work.