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Box of oriental part tea set, King George VI tankard, box of Art Glass sweets

RUDOLPH VALENTINO AND VILMA BANKY AS AHMED AND YASMIN | Royal Dux (Czech / Bohemian around 1926) | around 1926 | painted, glazed ceramics | 34 cm | Lot description | The ceramic figurine of Rudolph Valentin and Vilma Banka in the roles of Ahmed and Yasmin is an excellent example of decorative art, inspired by the popular films of the 1920s. Created by the Royal Dux manufactory, this sculpture depicts the couple in a sensual dancing stance that evokes the romance and exoticism of the Orient as perceived by Western culture at the time. The inspiration from the film "Son of the Sheik" (1926), where Rudolph Valentino portrayed the iconic role of the Sheik, is reflected in the fine execution of details such as the expressive movement and stylization of the characters' clothing. The statuette stands out for its harmonious combination of colors and dynamics, which is supported by the play with glazes and the precise modeling of the figures. This work is not only an example of the masterful processing of ceramics, but also a cultural artifact that recalls the fascination of Western civilization with oriental motifs in the interwar period of Europe. | Bidders are asked to inquire about the condition of the item before the auction. any complaints will not be taken into account. | condition report*In case of missing photos, please feel free to contact us.

William 'Bill' Marshall (1923-2007) Large bowlwith brushed glazewith impressed potter's seal mark to the base12.5cm high x 23cm wide. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. Overall good condition with minimal signs of wear or use.

Alison Britton (b.1948) Four-piece tea setcomprising of two pouring vessels, a bowl, and a trayslab builtwith incised signatures to the base, some pieces dated 1986tray measures 33cm x 32cm (4). Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. The bowl has been broken and repaired - possibly at the time of creation. The other pieces are free from damage - some have minor rough patches from firing.

Ken Eastman (b.1960) Large vessel, 1989numbered 3789 and dated July 89signed to the base20.5cm high overall x approx 48cm across. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. With signs of wear and marks, some small chips in places.

20th Century SchoolTwo conical bowlscream and green glazeunmarked5cm and 4.5cm high (2). Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Alison Britton (b.1948) Large jugslab built, decorated with lines, feathers and a fish near the spoutsigned to the base27.5cm high. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. Condition appears good with no sign of damage or restoration. Small firing marks around join of handle.

Bryan Illsley (1937-2024) Tall figureceramic, with cream glazesigned and dated 1989 to the base46.5cm high. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection.

Takeshi Yasuda (b.1943) Yunomicream crackled glaze with iron dripimpressed potter's seal mark to the footrim10cm high. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. With minimal overall glaze/firing imperfections as expected, otherwise seems ok.

Leach Pottery Coffee pot and coverimpressed seal mark to the foot and two other smaller piecescoffee pot measures 21cm high approx (3). Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Takeshi Yasuda (b.1943) Bowldistorted creamwarewith original potter's label to the baseotherwise unmarked14cm high. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Richard Batterham (1936-2021) Four mugswith green speckled glazeunmarkedvarious sizes(4). Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. Larger mug has a chip to inside of rim. Some rougness and firing dots on all four.

Alan Caiger-Smith (1930-2020) at Aldermaston Pottery Two tankardslustre glaze, earthenwarewith painted marks to the base12cm and 11cm high overall (2). Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Ewen Henderson (1934-2000) Large bowllaminated clay with volcanic glazesunmarked15cm high x 27cm wide approx overall. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. As you'd expect a very rough and varied surface. Some firing cracking in places by design but no damage or restoration.

Shoji Hamada (1894-1978)Footed bowl, circa 1955with iron brushwork foliate decorationunmarked8cm high x 13.5cm wide approx overall. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. With signs of overall display wear and minimal scratches. With a hairline crack.

Clive Bowen (b.1943) Pot with coverimpressed potter's seal mark to the footrim32cm high. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Rosa Ngyuen (b.1960)Model of a horse ceramicunmarked26cm high x 41cm wide. Provenance:The late Oliver Watson (1949-2023), British Studio Pottery expert at the V & A, Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford, and the School of Oriental Studies, London.Oliver Watson curated the pottery component of the 1985 Tate Britain exhibition St. Ives 1936–64 and contributed an essay on ceramics to the 1989 catalogue of the first major exhibition outside Britain to celebrate the work of St. Ives artists and potters, when St Ives potters toured Japan. In 1990 he published his groundbreaking book, British Studio Ceramics: a catalogue of the collection of the Victoria and Albert Museum, which was reprinted in 1993 as Studio Pottery: Twentieth-Century British Ceramics in the Victoria and Albert Museum Collection. With overall firing and glaze faults as expected. One ear is damaged. One back leg broken off.

A mixed lot comprising Art Deco style metal and glass drinks trolley, boxed set of four Doulton crystal brandy glasses, a box of oriental tea wares, and a pheasant shooting watercolour by G A Johnson.

P. Philippe (1870-1930). Chryselephantine bronze and ivory figure of a Russian dancer circa 1920. It is a luxurious example of Art Deco sculpture. The energetic and impetuous dance froze at its climax. The girl froze on one leg, grabbing the space with her hands. The stormy and extremely truthful plasticity of the fabric is set off by the smooth surface of the bones, open arms and chest. The figure itself is full of expression and twisted in a spiral, where the heavy oriental belt is balanced by the impulse of the body and the tilt of the face. Signed on the foot. CITES certified. Weight: 980 g France Dimensions: H 290 mm X W 140 mm Width: 14cm, Height: 29cm, Depth: 14cm, Weight: 1kg, Condition: Good, with traces of use, Material: Bone, ID: ID-ANTQ-11152

This exquisite figurine of Salammbô, also known as Oriental Dancer, created in the first quarter of the 20th century, is an excellent example of Art Deco plastic art. The sculpture shows a graceful girl frozen in the movement of a dance, with expressive and dynamic lines characteristic of this artistic movement. The figure is made of gilded bronze, which is skillfully combined with smooth ivory. Ivory is used to depict naked arms, legs, stomach and chest, creating a harmonious contrast between the materials and emphasizing the sophistication and elegance of the forms. The girl is depicted in a dynamic pose, inspired by the author of the historical novel Salammbô by the French writer Gustave Flaubert. The sculptor depicted Salammbo in bronze, a priestess of the goddess Tanit, radiating the expression and grace typical of the Art Deco style. Each element is carefully worked out, conveying the liveliness and energy of movement. Graceful lines and elegant forms emphasize the aesthetic value of this sculpture. On the bronze part of the figurine is the signature FATORI, which confirms the authorship and high quality of execution. The sculpture is accompanied by a CITES certificate, certifying the legality of the use of ivory, which adds additional value and significance to this work of art. Dimensions: Height 340 mm, Width 280 mm. Chryselephantine technique. Materials: bronze, ivory. Weight: 2.5 kgThis sculpture not only illustrates the sculptor`s skill in working with bronze and ivory, but is also a striking representative of Art Deco - a style that emphasizes decorativeness and functionality. Width: 11cm, Height: 33cm, Depth: 17cm, Weight: 2kg, Condition: Good, with traces of use, Material: Bone, ID: ID-ANTQ-11157

This rare and exquisite 18th-19th century enamelled copper huqqa base is adorned with vibrant white and yellow floral motifs set against a rich turquoise background. Likely made in China for the Indian Mughal market. The body of the huqqa base is beautifully decorated with cloisonné enamel, a technique highly valued in both Chinese and Indian decorative arts.  Provenance: Christie’s London, auctioned on 27 April 2017 under the sale “Art of the Islamic & Indian Worlds, including Oriental Rugs and Carpets, ” Lot 68, estimated at £6,000–£8,000. Dimensions: 16 cm height  

ORIENTAL ART, collection of 8 x 19th Century unframed scroll paintings, "Birds and garden scenes" All appear to be the same size, approx. 180cms x 54cms

SALOMON SALOMONOWITZ (Czech / Bohemian / Isreaelian 1902 - 1958) - Omar Mosque in Jerusalem | after 1939 | technique: oil on plywood | 42.5 x 50 cm | signature: bottom right | framed | Lot description | Czech-German Jewish painter Salomon Salomonowitz (1902-1958) came from Moravian Ostrava, studied art in Vienna, Munich, Berlin and Paris. In 1926, he became one of the founding members of the Ostrava art association Kunstring, regularly exhibited in the local Art House as part of the association's exhibitions. In 1939, he emigrated to Mandatory Palestine, where he continued his artistic work, which is characterized by an expressively realistic style. "The Mosque of Omar in Jerusalem" by Salomon Salomonowitz depicts the famous shrine in the center of historic Jerusalem, also known as the Dome of the Rock. Inspired by the oriental architecture and spiritual atmosphere of the place, Salomonowitz here uses a subtle painting technique with soft, luminous transitions and a muted color palette that enhances the sense of calm and timelessness. The central motif is the monumental dome, whose metal dome reflects light and shines gently in contrast to the surrounding buildings. The scenery offers a kind of idealized, almost mystical vision of Jerusalem, where history, religion and art mingle. | condition report*In case of missing photos, please feel free to contact us.

OTAKAR CILA (Czech / Bohemian 1894 - 1977) - Indian beggars | 1920 | technique: oil on canvas | 70 x 50 cm | signature: bottom right | framed | Lot description | Otakar Cila was one of the most important Czech painters, known primarily for his oriental motifs that depict everyday life in exotic regions. The work "Indian Beggars" from 1920 is an example of his masterful art in the combination of realism and a romanticized view of the Orient. Inspired by his travels in India, Chila has depicted two figures - an older man and a younger boy - in strong daylight in front of a monumental gate, which enhances the authenticity of the scene and the emphasis on textures. This work not only presents the meticulously elaborated details of the figures and architecture, but also speaks to the artist's interest in social issues and human stories, a key element in his work. | condition report*In case of missing photos, please feel free to contact us.

Oriental and Art Deco mixed tableware to include a part coffee set decorated with yellow, pink and purple flowers, an Oriental blue and white vase, a large charger decorated with a large central orange flower and other itemsLocationIf there is no condition report shown, please request

A William Moorcroft- Rare salt glaze Claremont dish form bowl Circa 1930. This rare almost mustard coloured bowl with a salt glaze has been beautifully decorated with crisp clear toadstools and has been perfectly fired.  Signed and impressed marks to base 25cm diameter 6cm tall. Born in Burslem, Staffordshire, he studied art at Burslem then in London and Paris, then around 1896, he experimented with his own pottery designs working for James Macintyre & Co. Moorcroft produced Aurelian Ware, which he partly decorated with transfers and partly painted by hand. He developed highly lustred glazes and used oriental shapes and decorations. By the age of 24, Moorcroft and his pottery began making its mark in the world of British ceramics. Moorcroft developed his famous Florian Ware, with heavy slip and translucent glaze to produce brilliance of colour and he personalised each piece of pottery produced with his own signature or initials. At the time, some of Moorcroft’s techniques became closely guarded secrets. In 1904 Moorcroft won a gold medal at the St Louis International Exhibition and gold at the Brussels Exhibition, followed by further accolades, medals and commendations. By 1913 an inevitable split occurred with Moorcroft from James McIntyre’s name and reputation. He set up his own factory at Cobridge with staff from the McIntyre pottery studio – and the factory in Sandbach Road is still where Moorcroft pottery is made today. P

A Ruskin Pottery high fired sang de bouef flambé glaze bowl set on a oriental hardwood stand The bowl is finely potted and has an all over even high fired glaze with great markings and colour. Marked to the base, dates 1927 13cm diameter.   The Ruskin Pottery was an English Art Pottery Studio founded in 1898 by Edward R.Taylor, the Principal of the Birmingham School of Art. It was run by his son, William Howson Taylor from premises situated at Oldbury Road, Smethwick. The Pottery operated until 1935 when Howson Taylor was forced to retire through ill health. The Pottery produced was notable for the innovative glazes used on a range of brightly coloured pots, vases, buttons, bowls and jewellery. The most highly regarded pieces of all are the sang-de-boeuf and flambe glazes created using copper and iron oxides at very high temperatures.

Oriental Art, Chinese blue and white brush wash pot decorated with horses and trees six character signature to base approximately 9cm high 12cm diameter

Oriental art, pair of Chinese egg shell porcelain tea bowls, beautifully decorated in millefleur design blue Qinlong seal to base each approximately 6.5cm high 6 cm diameter (one with hair line crack)

Oriental Art, Pair of Chinese Egg shell porcelain bowls with exquisite painted decoration depicting scenes of immortals from mythology, blue edge decoration and blue Qinlong seal mark to base, each approximately 13cm diameter 6cm high (one with hairline crack)

FOUR ISLAMIC ART REFERENCE BOOKS comprising A. S. Melikian-Chirvani, Islamic Metalwork from the Iranian World; Sheila R. Canby, Shah Abbas: The Remaking of Iran; K. Zipper and C. Fritzsche, Oriental Rugs Volume 4: Turkish; S. B. Krody, Embroidery of the Greek Islands and Epirus Region

Four oriental pictures framed; two featuring Geisha girls in maiden shadow art and two vintage small Japanese shell art pieces

An attractive art deco gilt Bronze figure group of Oriental Lovers on an onyx base with ormolu mounts, 1920's, 13'' wide x 5'' deep x 15'' tall.

Oriental; Two Chinese wall hangings, laquered panel, figure of man and child together with three framed original art works etc. One Box plus one loose.

ORIENTAL ART INTEREST: 2 Titles: WILL H EDMUNDS: POINTERS AND CLUES TO THE SUBJECTS OF CHINESE AND JAPANESE ART, London, Sampson, Low, Marston and Co, ND. Limited edition of one thousand copies, unnumbered; S W BUSHELL: CHINESE ART, Volume II, London, Printed under the authority of His Majesty's Stationery Office, 1919 (2)

A pair of auction catalogues for Oriental and Indian art and antiques: CHRISTIES: ISLAMIC ART, INDIAN MINIATURES, RUGS AND CARPETS, Tuesday 17th October 1995; SOTHEBY'S: IMPORTANT JAPANESE PRINTS, ILLUSTRATED BOOKS & PAINTINGS FROM THE ADOLPHE STOCLET COLLECTION, 8th June 2004 (2)

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

Bickham (George). The Universal Penman; or, the Art of Writing made useful to the Gentleman and Scholar, as well as the Man of Business. Exemplified in all the useful, and ornamental branches of modern penmanship; with some necessary observations on the excellency of the pen, and a large number of select sentences in prose and verse; various forms of business relating to merchandize and trade; letters on several occasions; accurate specimens of the oriental languages, and alphabets in all the hands now practis'd. Written with the friendly assistance of the several of the most eminent masters, and engrav'd by Geo Bickham, 1st edition. Printed for Robert Sayer, Map & Printseller, at no. 53 in Fleets Street, [c1733], engraved frontispiece by H. Gravelot, 212 leaves. Full Leather, Gilt Boarder. End papers torn

A JAPANESE BOXWOOD NETSUKE OF GAMA SENNIN BY NAITO TOYOMASA (1773-1856)EDO PERIOD, 18TH/19TH CENTURYFinely carved and stained, the Immortal is depicted seated with one knee raised, his large pet toad clambering upon his back; typically modelled with a coat of mugwort leaves, and long trailing hair and beard; both with their eyes inlaid in horn; signed Toyomasa underneath, 5.6cm.Provenance: from the Mark and Elizabeth Harding Collection, South Africa; previously in the Raymond and Frances Bushell Collection. Acquired from Raymond Bushell, with a certificate dated 29th March 1971 where he confirms this is the piece published in his book 'The Wonderful World of Netsuke', p.54, pl.65. Bushell mentions in the book that he acquired it from Soichi Kurono of Nagoya. For another similar model in the Bushell Collection, see The Raymond and Frances Bushell Collection of Netsuke, a Legacy at the Los Angeles County Museum of Art, no.53.Also with a letter from Barry Davies attesting that the netsuke was borrowed for the exhibition ‘Netsuke Classics’, 1990. Illustrated and discussed in Barry Davies Oriental Art, Netsuke Classics, no.57. The author comments that 'Naito Toyomasa carved a number of variations of Gama Sennin with his toad. The piece exhibited here is certainly one of the best that I have handled personally'.Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.953 for similar netsuke of Gama Sennin by Toyomasa, one in the W L Behrens collection. See the International Netsuke Collectors' Society, 1980, 7/4, p.15 where other Gama Sennin netsuke by Toyomasa are discussed.

A LARGE JAPANESE GOLD LACQUER WOOD NETSUKE OF HANNYAEDO/MEIJI, 19TH CENTURYBoldly carved, the surface covered in gold, silver and red lacquer; the witch depicted with her mouth open revealing her bright red tongue, the reverse carved as a knotted ribbon and with a paper collection label with a monogram, possibly for 'WMS', 6cm. Provenance: from the Mark and Elizabeth Harding Collection, South Africa. Purchased from Eskenazi Oriental Art, London, 1986. A copy of the original receipt is available.

BUREN, D. v. The fauna of ancient Mesopotamia as represented in art. 1939. W. plates. 4°. Owrps., unopened. (Anal. Or. 18). Rare. -- W. HEIMPEL. Tierbilder in der sumerischen Literatur. 1968. Owrps. -- L. SPELEERS. Le costume Oriental ancien. 1923. Owrps. -- M. BERNETT & O. KEEL. Mond, Stier und Kult am Stadttor. Die Stele von Betsaida (et-Tell). (1998). Obrds. (OBO 161). -- J. BOLLWEG. Vorderasiatische Wagentypen im Spiegel der Terracottaplastik b.z. Altbabylonischen Zeit. (1999). Obrds. (OBO 167). -- (5).

LEGRAIN, L. Ur Excavations Vol. III: Archaic seal-impressions. 1936. W. 58 plates. 4°. Ohcl. -- H. FRANKFORT. Stratified cylinder seals from the Diyala region. (1955). 4°. Ocl. -- Id. Cylinder seals. A documentary essay on the art and religion of the Ancient Near East. (Repr. 1939). 1965. Ocl. -- O.E. RAVN. A catalogue of Oriental cylinder seals and impressions in the Danish Nat. Mus. 1960. 4°. Owrps. -- And 6 o. (10).

A Japanese ‘iris’ decorated travelling chest, Edo period, late 18th/early 19th century, decorated after Ogata Korin with a carved and colour design of irises along the riverbank around a plank bridge, using the natural wood as a background, bound in iron with iron carrying handles, the pair of doors opening to reveal an arrangement of six drawers, later ebonised stand, chest 123cm wide, 40.5cm deep, height including stand 93cmProvenance - purchased from Jeremy J. Mason Oriental works of art, 145 Ebury Street, London for £5000, in 1998.Christies South Kensington Oriental ceramics and works of art sale 14 August 1997, Lot 92 Some losses and retouching to the painted decoration, commensurate with age and use, later stand. The lock to the upper right drawer is currently detached and in a locked position so that the drawer can be accessed. the hinges have additional later screws and bolts to keep them in position.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Zandstenen torso van Devata, ook wel Uma genoemd, met ontbloot bovenlijf en een sarong die haar benen bedekt met geometrische draperie en ingesneden plooien vastgebonden in een vissenstaart vorm, Cambodja, Angkoriaanse periode laat 11e / vroeg 12e eeuw, op metalen standaard, hoogte 63 cm. Herkomst: Galerie Zenith Oriental Art te Maastricht. NOTE: geen Thermoluminescentie (TL) test rapport aanwezig.

ONE BOX AND LOOSE CERAMICS, to include Royal Worcester collectors plates, 'Kitten Encounters' by Pam Cooper, RSPCA, and 'Kitten Classics', art deco style oriental covered sugar bowl, Royal Princess serving bowl and small dessert bowls, oriental footed cake plate, Peter John tea pot with geese on a beige speckled background, Duchess 'June Bouquet' tea cups and saucers, meat plate blue and white by J & G Meakin, Wedgwood plates, two oriental jugs etc. (sd), (1 box + loose)

TWO BOXES OF MISCELLANEOUS CERAMICS, to include a footed Royal Crown Derby 'Derby Posies' bowl, a ginger jar, double handle cup, bud vase, Aynsley 'Wild Tudor', shell shaped dish, 'Pembroke' double handle cup, heart shape trinket plate, Wedgwood, trinket pot with lid and trinket plate, four glass etched liqueur glasses with handle, an oriental plate with decorative golden pheasant and flowers, six symbol marked on the back, art deco green and black pattern on a white background Grafton China & Sons coffee set, marked 5426, vintage cream and gilt teapot, cups and saucers, cake plate, etc. Keeling & Co Ltd Burslem Losol Ware tea ware, etc. (sd), (2 boxes)

A Dehua 'sleeve' Handled Vase, Kangxi supported on a recessed base, straight sides swelling outwards towards the shoulder and surmounted by a short, everted neck with lipped rim, sides applied with two well-defined taotie masks, body lightly engraved under the glaze with lengths of flowers and leaves, entirely covered in a brilliant ivory-white glaze, leaving the interior and foot rim unglazed Good condition H:30.5cm Ben Janssens, TEFAF Maastricht 2023, no.40; Eileen Lesoef, France; Ben Janssens Oriental Art, June 1999; Private Collection, UK

A Qingbai Figure of a Boy, Song dynasty depicted with a lock of hair on his forehead, lying on his front, covered with a transparent bluish glaze, the base unglazed Good condition H:4.5cm, L:5.5cm Published at Ben Janssens Oriental Art 2014,

A Rare White-glazed 'trefoil-form' Box and Cover, Five Dynasties, moulded in trefoil shape, a flower applied on the top of the cover, surrounded by two bands of continuous beading, and covered in a delicate white glaze; closely related to a moulded example in the Museum of East Asian Art, Bath(accession no. BATEA:38). Compare also two related examples, one in the Sir Alan Barlow Collection, housed in the Ashmolean Museum, Oxford (accession no. LI1301.314), and another exhibited in The Hans Popper Collection of Oriental Art, Center of Asian Art and Culture, San Francisco, 1973, cat. no. 96 Fair condition, small broken restored at the edge of box L:6cm, H:3.3cm

Pair of Large 20th century, glazed ceramic obelisks in blue, oriental art, H 32cm

A Chinese export porcelain figure, Qianlong (1736-1795), c.1740, of an immortal, standing wearing a long robe with an ingot in his right hand, covered under a cape in blue, with a 'Santos London, 3877' label, 19cm high Provenance: From the personal collection of Alberto Santos. Alberto has been a prominent dealer in Chinese porcelain for over forty-five years, with a particular interest in export wares from the 16th to the 19th centuries. His wealth of knowledge has led to him collaborating with an international team in compiling the definitive work on Chinese porcelain ordered by the Portuguese market, of which four of five volumes have already been published. Literature:The Nanking Cargo, sold at Christie’s Amsterdam in 1986, lots 5743 to 5746, for similar figures;'The Geldermalsen [sunk in 1752], History and Porcelain', by C Jörg, Groningen, 1986, pp.100/101 for similar figures;'Oriental Ceramics at the Cape of Good Hope, 1652-1795', by C S Woodward, Cape Town, 1974, p.47, cat. 71, for a similar figure recovered from the wreck of Middelburg sunk in 1780;'The Hatcher Porcelain Cargoes, The Complete Record (1643/46-1752)', by C Sheaf and R Kilburn, Oxford, 1988, p.157, fig.206, for a group of similar figures from the 1752 wreck;'Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen', by J Ayers, London, 2016, vol.1, pp.90/91, for a standing lady, 17.9cm high, two standing women with infants, 15.3 cm high, and two seated women holding infants, 14cm high, dated first half of the 18th century;'The Cà Mao Shipwreck [c.1725] Porcelain from the Collection of Dr Zelnik', cover with a pair of standing figures: she is holding a fan and decorated in underglaze cobalt blue, whilst he is decorated in underglaze pale green. 清乾隆 外销青花人物立像 Condition ReportRestoration to ingot.

CHINESE INSCRIBED LIME-GREEN-GROUND FAMILLE ROSE TEA TRAY JIAQING MARK AND POSSIBLY OF THE PERIOD 嘉慶款或到代 洋彩綠地御製詩文海棠式茶盤with shallow lobed sides, supported on four short bracket feet, the interior inscribed with an imperial poem of the preparation of tea and dated to the Dingsi year of the Jiaqing reign (corresponding to 1797), surrounded by a band of scrolling lotus and florets repeated on the interior and exterior walls with a variation on the central bloom, the base inscribed with a six-character Jiaqing seal mark in iron-red 15.7cm wide Private Scottish collection, Aberdeen; Acquired in Forfar about 10 years ago.蘇格蘭私人收藏，亞伯丁；十數年前購自蘇格蘭佛爾法爾鎮。 The poem on this tea tray, composed by the Jiaqing Emperor, praises the pleasure of drinking tea and appears on tea trays and teapots of different palettes. S.W. Bushell translates the poem in Oriental Ceramic Art, London, 1981, p. 239, as:'Finest tribute tea of the first picking.And a bright full moon prompts a line of verse.A lively fire glows in the bamboo stove,The water is boiling in the stone griddle,Small bubbles rise like ears of fish or crab.Of rare Chi'i-ch'iang tea, rolled into tiny balls,One cup is enough to lighten the heart,And dissipate the early winter chill.'A comparable begonia-shaped tea tray decorated with imperial poem on green ground in yangcai-painted enamels, Jiaqing mark and of the period, is in the Palace Museum, Taipei, museum number Gu Ci 故瓷012502N. 

RARE CHINESE GREEN 'JUN' BOWL NORTHERN SONG TO JIN DYNASTY 北宋至金 鈞窰綠釉碗potted in conical form rising from a short straight foot inverted to straight mouth, covered overall in a thick crackled green glaze save for the foot rim revealing the brown buff body 23.2cm diameter  Private Scottish collection, Scottish Borders. The owner had an enduring friendship with Dr Kenneth Lawley (1937-2023), a lifelong Asian art collector and a significant part of whose collection was sold in this saleroom, 3 November 2023, lot 1-95. He would share his research, his catalogue, and his admiration of these items with the owner, as a natural consequence of their friendship. The bowl offered here was gifted by Dr Kenneth Lawley, 28 Sep 2002, with an original letter, who acquired from Sotheby’s, lot 15, 14 Feb 1966, via Bluett & Sons Ltd., with an original receipt. Exhibited: Early Oriental Ceramics, MacRobert Centre, University of Stirling, 5-25 July 1973, no. 23. Illustrated in the exhibition photograph (circled). 蘇格蘭私人收藏，蘇格蘭邊區。藏家與已故Kenneth P. Lawley博士（1937-2023）為摯友。Lawley 博士一生為東方藝術癡迷，其大部分藏品在2023年11月3日售於禮昂騰博，拍品1-95。其對東方高古及中古瓷器的熱忱深深感染藏家，他們在書信往來中互換收藏心得、藏品研究及筆記，可見其深厚友誼。本品由Lawley博士於2002年9月28日贈予藏家，含信函原件；Lawley博士透過著名古董商Bluett & Sons Ltd於蘇富比購得，1966年2月14日，拍品15，含收據原件。展覽：《早期東方陶瓷》（Early Oriental Ceramics），蘇格蘭斯特靈大學麥克羅伯特中心（MacRobert Centre），1973年7月5日至25日，編號23（附圖，紅框），展出老照片（附圖，紅框）。 Compare to a rare large green ‘Jun’ bowl, Song-Jin dynasty, sold at Christie's Hong Kong, 30 Nov 2023, lot 2868; Another rare Junyao green bowl, Song/Yuan Dynasty, sold at Bonhams London, 5 November 2020, lot 19; Also see a related rare large green 'Jun' bowl, Northern Song / Jin dynasty, in more bulbous form, was in the collection of Dr Kenneth Lawley, sold at Sotheby's 1 November 2023, lot 49. See a comparable green-glazed bowl, Song / Jin dynasty, illustrated in Feng Xiaoqi Eds., 2013, The Specimens of Ancient Chinese Kilns in the Collection of the Palace Museum, Henan Volumn II, Beijing: The Forbidden City Publishing House, pt. 652, pg. 625. 

CHINESE BLUE AND WHITE 'WINGED DRAGON' BOTTLE VASE MING DYNASTY 明 青花雙翼龍紋膽瓶of pear form, painted around the body with two sinuous winged dragons amongst scrolling flames, the base inscribed with a mark within a double-square  24.1cm high Private Scottish collection, North Berwick, has been collecting Asian ceramics for over 25 years. Several collections of early and Ming ceramics, early jades, and Asian Art reference books were sold in these rooms, 16 May 2023, lots 116-122; 3 November 2023, lots 230-242. Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, 5 Feb 1997. With an original receipt no. 634 and a declaration of antiquity, dated 7 Feb 1997. The receipt stated that this vase was an 'Ex Winkworth collection. See Sotheby's 25 April 1933, lot 156.' A circular paper label from Solveig and Anita Gray attached on the base of the vase, inscribed with the gallery's inventory number 'S7', corresponding to the receipt. The receipt, certificate and label dated this piece to the ‘Jiajing / Longqing (1522-72)’ period. 蘇格蘭私人收藏，北伯立克鎮；收藏中國瓷器已近廿五載。一批高、中古及明代瓷器、古代玉器及亞洲藝術參考書籍售於本拍行，見2023年5月16日，拍品116-122及2023年11月3日，拍品230-242。購自倫敦古董商Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery，1997年2月5日，含收據（收據號634）及古董證明書原件。收據顯示本品「乃Winkworth collection舊藏，參蘇富比，1933年4月25日，拍品156。」瓶底貼一藝廊標籤，書藝廊收藏編號「S7」，與收據相符。收據、古董證明書及標籤顯示此瓶定年為嘉靖/隆慶（1522-72）。 See J. Ayers, R. Krahl, & N. Erbahar, Chinese Ceramics in the Topkapi Saray Museum, London, 1986, no. 1037, for half a bottle vase with similar treatment of the subject matter. Also compare to dragons of a jar and a dish, dated to Ming dynasty, Jiajing period, both sold at Christie's Paris, 20 Jun 2023, lot 636 and 637. See another example of a bottle vase, with similar pear-shaped form but slightly different winged-dragon, dated to the Wanli period, sold at Christie's London, 5 Apr 2011, lot 228. 一件截口青花瓶，龍紋與本品相似，見J. Ayers, R. Krahl及N. Erbahar：《Chinese Ceramics in the Topkapi Saray Museum》，1986年，圖版1037。比較兩件相近龍紋器物，其一明嘉靖款及年代，青花飛龍紋盤，2023年6月20日售於巴黎佳士得，拍品636；另一明嘉靖青花飛龍紋小罐，同上拍場，拍品637；亦參一明嘉靖款及年代，青花龍紋瓶，瓶身與本拍品雷同，但龍紋稍有出入，2011年4月5日售於倫敦佳士得，拍品228，皆可資比較。

A Chinese red terracotta jarNeolithic period, Siwa Culture (1350-650 BCE)Rising from a round flat base, the body spreads out to a wide waist and tapers in to the neck, with two loop handles to the tapered mouth, 14.2 cm high. 新石器時代 寺窪文化 紅陶雙耳壺Provenance: English collection purchased from Brian Page Oriental Art (receipt).來源：英國私人收藏，購自Brian Page（回執）。 Footnotes: Siwa culture predates the Zhou dynasty and is contemporaneous with the Shang dynasty. It spans the Southeast Gansu Province. The unique shape of Siwa pottery is its flaring saddled-shaped mouth, with two handles connecting the rim at the neck, shoulder and bottom. This Siwa jar is made in reddish colour with grey patterns from the shoulder to the bottom due to the uneven firing conditions of the production process. The surface of the jar is overall well burnished though some areas are pitted due to the lengthy burial time. W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.

A Chinese pottery amphora, Yangshao culture, Banpo typeNeolithic period, 5th millennium BCEIncised with concentric circles around the neck, the body incised with diagonal lines, with a fitted stand, 26cm high.新石器时代 仰韶文化 半坡類型 紅陶尖底瓶Provenance: The estate of the late Walter Hochstadter, member of the Oriental Ceramics Society (USA) from 1953-1982.For a similar vessel of this type, see Dawn of the Yellow Earth, Regina Krahl, 2000, P52. Exhibited at "Tastes of the ancient eras", 30th Sep - 15th Nov, 2021, London. 來源：美國東方陶瓷協會會員the late Walter Hochstadter 收藏，1953-1982。類似一件見Dawn of the Yellow Earth, Regina Krahl, 2000, 第52頁。2021年9月30日至11月15日與倫敦《Tastes of the ancient eras》展出。Footnotes: This olive-shaped bottle with pointed bottom is one of the most typical Banpo type, part of the Yangshao culture. It was discovered in Shaanxi province. Its fired, unglazed surface is orange-red and it has a rather thick wall. Two ear-shaped handles are firmly attached to either side in the middle of the body, giving it a beautiful symmetry. It was used as water-fetching bottle, with a string going through the handles. When it was thrown into the water, the top dipped down and then the amphora flipped over as it was filled with water. The surface of the amphora is decorated with carefully carved lines dividing the body into two parts: from shoulder to belly the direction of lines is 30 degrees; from mouth to shoulder the lines are almost parallel. It is hard to believe that such a utilitarian object was so well designed and ornate.W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.

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

A Chinese Neolithic burnished pottery tripod vessel, Li, Xiajiadian cultureNeolithic period, Circa 1500 BCEWith flared rim above two incised rings to the body, 25.5cm high.新石器時代 夏家店下層文化 陶鬲Provenance: Brian Page Oriental Art (receipt). Exhibited at "Chinese Neolithic monochrome ceramics", 16th Parcours de la Céramique, 19-23 September 2023, Galerie Gilgamesh, Paris.來源：Brian Page Oriental Art（收據）。2023年9月19日至23日與法國巴黎Galerie Gilgamesh畫廊， "Chinese Neolithic monochrome ceramics"展出。Footnotes: The Xiajiadian culture was based in the north East of China, different from other concentrated earlier Chinese civilizations. This vessel is typical with its steady three footed bottom and flared mouth. The high quality is represented by its evenly burnished surface, its height and the two incised lines around the neck. On the bottom, plant roots have been growing onto the surface after longtime burial, a sign of its age. Some vessels still maintain their original surface decoration, usually composed of an abstract animal pattern painted in red and white.W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.

Carved sandstone Buddhist steleThailandthe arched niche centred by a figure of Buddha seated in dhyanasana on a double lotus pedestal above a lengthy inscription, the hands in bhumisparsamudra, flanked by several pagodas amidst flames, 17.3cm high.Provenance: the late Oliver Watson (1949-2023), Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London Chips, nicks and losses to the extremities.

Bronze seated model BuddhaBurmesewith arms in bhumisparsha mudra, 12cm highProvenance: the late Oliver Watson (1949-2023), Emeritus Professor of Islamic Art and Architecture and curator of Islamic Art at the Ashmolean Museum, Oxford and the School of Oriental Studies, London With overall wear and some holes in the base.