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An abstract stone carving of a woman playing a Kalimba, 57cm tall signed Kwanele Mpofu from Zimbabwe together with a wood carving of a man’s head and a wood carving of a kneeling figure

A carved green hard stone bust together with wooden carving similar, tallest 22 cm

A GROUP OF FOUR BURMESE JADEITE PENDANTS Comprising an orange-russet lingzhi and koi fish carving on silver and clear stone mount, a green chilong with silver and clear stone mount, a double gourd and bat pendant on silver and clear stone mount (all three with silk cord chains), and a green pod and ring pendant on glass beaded chain 4.7cm to 5.5cm high Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A SHOUSHAN STONE CARVING OF TWO COCKERELS Two cockerels standing on polished stone, inscription to one side, undecorated flat base 9.5cm high 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. Additional Information: Property from the collection of Lee Hin Soon

Master of the Faberge company I. Britsyn. Silver photo frame with guilloche enamel. St. Petersburg, 1908-1917. Silver, carving, blue guilloche enamel, beveled glass. Hallmarks: 84 samples, female head in a kokoshnik, facing to the right and code of the St. Petersburg Assay Office, workshop “BRITSYNâ€, “I.Bâ€. Dimensions: height 10 cm, frame diameter – 9.8 cm, clear diameter – 5.8 cm O. Weight: 248 g. Britsyn Ivan Savelievich (1870-1952). Former employee of the Faberge company in St. Petersburg (“Our former employee.†From the notebook of Eugene Faberge - Tatiana Faberge Archive, Versonne, France). He passed the exam to become a goldsmith in March 1903 and opened his own enterprise, “Russian Enamel†(Malaya Konyushennaya Street, 12), where 10-15 people worked. The companys products were awarded a gold medal at the St. Petersburg Craft Exhibition in 1909. In 1910 – 1917 Ivan Britsyn repeatedly supplied his products to the courts of members of the imperial family and to the Cabinet of His Majesty. Ivan Britsyns products were in constant demand on the English market. He made products made of stone and purple, collaborated with A. Sumin. During the NEP period he had his own workshop (1923). Britsyns products are often exhibited at auctions at the worlds largest auction houses and are listed along with Faberge items. Britsyn managed to create his own creative style, unlike Faberge, the distinctive features of which are original shaping, large guilloche patterns of unexpected geometry and a more contrasting and “thick†palette of enamels. Cigarette cases with pale blue and white transparent enamel are considered Britsyns calling card. Britsyn, one of the few, besides Faberge, made table clocks. The revolution of 1917 interrupted the work of the extraordinary jeweler. Information about his work in the period 1924-1952. are very scarce, but it is known that Ivan Savelyevich continued to work in his specialty. Width: 9.5cm, Height: 10cm, Depth: 3cm, Weight: 0.3kg, Condition: Excellent, Material: Silver 84, guilloche enamel, ID: ID-ANTQ-8531

A 20TH CENTURY POLISEHD STONE ABSTRACT CARVING, signed to the reverse 'FARAI', H 28.5cm. W 25 cm

A black stone scarab amulet dates back to the Late Period to Ptolemaic Period, circa 664-30 B.C. The scarab is a powerful symbol of rebirth and protection in ancient Egyptian culture, often associated with the god Khepri, who was believed to push the sun across the sky. The scarab features detailed carving on the base with hieroglyphic inscriptions. L: 2.5cm 

JADEITE STONE CARVING - RUNNING DEER 27.5CMS (H) APPROX

A Chinese archaistic jade vase, Qing dynasty, the swollen cylindrical body and slightly flared narrow neck carved in low relief with bands of taotie and lappets, flanked by a pair of foliate scroll handles, the stone of celadon tone with darker brown inclusions, height 11.5cm, together with a Chinese jade carving of a Buddhistic lion, length 4.6cm, with carved and pierced hardwood stand, and a small jade tripod censer and cover, height 6cm, with wood stand.

A Chinese jade carving, probably late Qing dynasty, modelled as two ducks, each grasping a lotus leaf stem in its beak, the stone of green tone with carboniferous inclusions, length 10.2cm.

FRANK HURLEY (Australian, 1895-1962), thirty one photographic prints taken by Hurley between 1920 and 1923 on his expeditions along the Papuan coast and hinterland, re-printed from the original glass negatives prior to the publication of Specht (Jim) and Fields (John), FRANK HURLEY IN PAPUA -PHOTOGRAPHS OF THE 1920-1923 EXPEDITIONS, each sheet 24cm x 30cm, unframed (31)Comprising;Print 1 - Interior of longhouse at Adulu Village, near the mouth of the Fly River, Western Province. 2-5 December 1922.Print 2 - Allan McCulloch with Lake Murray artefacts and skulls in the grounds of the museum, Port Moresby, National Capital District. 16-17 January 1923.Print 3 - Entrance of Kau ravi, Kaimari village, Gulf Province.Print 4 - Two men of Mondo village, Central Province. 22nd July 1921.Print 5 - Two basketry figures in front of a daima at Tovei, Urama Island, Gult Province, 26 June 1921.Print 6 - Singing contest at Inawaia village, Central Province. 4 August 1921.Print 7 - Dilava Roman Catholic Mission, Central Province, 9-10th July 1921.Print 8 - Man of Dilava village, Central Province, 29 July 1921.Print 9 - Mailu men refurbishing two doubel-hulled canoes, Central Province. 7-11 June 1921.Print 10 - Binandere man chewing betel nut at Eroro village, near Oro Bay, Oro Province. 29 April 1921.Print 11 - Women in mourning dress, Adulu village, near the mouth of the Fly River, Western Province. 2-5 December 1922.Print 12- Interior of Kau ravi at Kaimari village, Gulf Province.Print 13 - Mailu women preparing vines as canoe lashings, Central Province. 7-11 June 1921.Print 14 - Village scene on Urama Island, Gulf Province.Print 15 - Hula village, Central Province. 13-14 June. 1921.Print 16- Binandere men on house verandah, Eo village, Dyke Ackland Bay, Oro Province. April-May 1921.Print 17 - Mailu village, Amazon Bay, Central Province. 7-11 June 1921.Print 18 - The Eureka on Lake Murray, Western Province. 15-24 November 1922.Print 19 - Binandere woman, Ambasi village, Oro Province. 18-23 April 1921.Print 20 - Man of Urama Island wearing mourning bands, Gult Province.Print 21 - Two singer from the singing contest at Inawaia Village, Central Province. 4 August 1921.Print 22 - Man of Goaribari Island, Gulf Province. 3 January 1923?Print 23 - Carving an arrowhead, Babai village, Gulf Province. 5 January 1923.Print 24 - Man lashing the platform on a canoe, Ambasi village, Oro Province. 18-23 April 1921.Print 25 - Man of Kerewa regrinding a stone adze, Goaribari Island, Gulf Province. 4 January 1923.Print 26 - Two girls of Elevala village, near Port Moresby, National Capital District. 2 April 1921?Print 27 - A group of dancers in front of the daima at Kinomere, Urama Island, Gulf Province. 7 January 1923.Print 28 - Village scene at Boianai, Goodenough Bay, Milne Bay Province. 25 May 1921.Print 29 - Canoe sail at Mailu, Central Province. 7-11 June 1921.Print 30 - Man in mourning, Kaimari village, Gulf Province.Print 31 - Allan McCulloch sending a wireless message on board the Eureka. 5-11 November 1922.NOTE: A copy of the Specht & Fields book will be provided to the winner of this lot. Footnote; Frank Hurley (1885–1962). An Australian photographer and filmmaker known for his adventurous spirit and pioneering work in documentary photography. One of his notable expeditions took him to Papua (then part of New Guinea) in 1920, where he documented the indigenous cultures and landscapes of the region. His photographs from this visit showcased not only the natural beauty of Papua but also the lives and traditions of its people, capturing the complexities of a world on the brink of change due to colonial influences. Hurley is also famed for his work during World War I, where he served as an official war correspondent, capturing haunting images of the Western Front and Gallipoli. Additionally, he gained recognition for his photography of Antarctica during the Australian Antarctic Expedition (1911–1914) and his involvement in the ill-fated Mawson expedition (1912–1913). His work from Papua, along with these other significant contributions, remains important for its artistic merit and its historical context, providing valuable insights into early 20th-century exploration and representation of indigenous cultures.NOTE: A copy of the Specht & Fields book will be provided to the winner of this lot.

A CHINESE CEALDON JADE CARVING OF A RECUMBENT CAT WITH KITTEN19th/20th century The adult holding a sprig of lingzhi in its mouth, the stone of greyish green tone, 7cm lengthGood condition

AN INSCRIBED AND DATED 'XIN TIAN ZHU REN' SOAPSTONE SEAL, 清代 双龙教子钮 ‘信天主人’寿山石印章 of rectangular form, the block with incised inscription The Master of Heaven Qianlong, made by the House of Internal Affairs', dating to the year 1787, the upper section delicately carved with coiled dragon and chilong amongst cloud swirls, the face with four characters in intaglio, apparently unrecorded D. 7.5cm x 9.5cm (h) Provenance: Private European Collection Colour is very important in Chinese culture, with strict rules around who in society could wear specific shades. The hierarchical ranking system placed yellow as the most important and thus was restricted to the ruling class. It was the imperial colour of the Emperor. The Tianhuang stone is highly prized for a similar reason. The vivid yellow tone of the gemstone made it synonymous with the Imperial court. It was used predominantly in the carving of seals, such as this present lot, which during the Ming and subsequent Qing Dynasties were presented to the Imperial palace as tributes. The Tianguang was carved into the shape of auspicious symbols, the coiled dragon and chilong, for instance. The stone originates from Shoushan in the Fujian province of China. There are numerous meanings associated with it, including fortune and longevity, coming from the characters Fu and Shou, the locations where it is mined. It also appears in Chinese mythology, Songs of Chu (c.340 278 BC) Goddess Nuwa upon repairing the pillars of heaven melts the stone to restore the restore order. Or in another tale Tianhuang is the transformed egg of the phoenix. It is among the three precious seal stones of China, the other two are Jixue (bloodstone) and Furong (rose quartz). The House of Internal Affairs, or the Imperial Household Department was an institution in Qing Dynasty China whose primary purpose was to manage the proceedings of the Qing Imperial family and the activities of the inner palace. They also played an important role in the ceremonial and spiritualpursuits of the ruling family. This seal is dedicated to the Emperor from the Department, presumably presented as a gift on behalf of the institution.

China, a mottled green jade 'bixie' carving, Ming dynasty (1368-1644), the mythological animal carved in reclining position scratching its ear, with long horn and bifurcated tail, the stone of a mottled greyish green tone (some rubbing, surface wear, possibly some old polishing, natural cracks and inclusions) l. 6,5 cm [1]

China and Asia, a collection of works of art, 19th-20th century, comprising a bronze Buddha, a stone Buddha, two stone figural carvings, a soapstone libation cup, a carving of a reclining beast and four various snuff bottles (some wear and damage) h. 12 cm max. [ds]

A Chinese Carved Pale Celadon Jade Carving "Washing the Sacred Elephant", 18th/19th century, the recumbent elephant with two attendants, one on its back, the other standing by its left ear holding a vase 7.5cm long, 4cm highProvenance: With Spink & Son Ltd, London, 17.11.49, £37 10/-, and subsequently sold in Tennants Spring Fine Art Sale, 28 March 2014, lot 159. The Spink's receipt describes the piece as "Translucent pale celadon pale jade carving of the Washing of the Sacred Elephant of the famous sage known as the Great Master Samantabhadra, Ch'ien-Lung 1736-1795AD" The standing boy with a crack on his left ankle and in the area of his right knee, the figure has never been detached and these may be natural inclusions of the stone. Another such inclusion appears at the rear right quadrant of the animal and into the mounted figure.

A Chinese Qing Dynasty jade pebble carving, the smooth pale green and russet stone, carved in relief with horse and lotus, 6.5cm x 4.5cm. Condition reports for each lot are available on our website.

A CHINESE WHITE JADE CARVING OF A SNAKEQING DYNASTY OR LATERThe serpent of flattened form, depicted coiled around itself with its forked tongue flicked out, the stone of an even pale tone, 6cm. OFFERED WITHOUT RESERVE 本拍品不設底價。

λ λ A COLLECTION OF JADEITE AND AGATE JEWELLERY ITEMSQING DYNASTY AND LATERComprising: seven jadeite pendants; a jadeite brooch; a small agate carving of a horse; a reticulated jadeite bead bracelet; and a pale blue chalcedony bead necklace; together with two pairs of earrings, one of carnelian, the other of jadeite discs, 35cm max. (15)OFFERED WITHOUT RESERVE. 本拍品不設底價。Please note the stone has not been tested for colour treatment.

A CHINESE PALE CELADON JADE CARVING OF THE HEHE ERXIANQING DYNASTY OR LATERThe two boys kneeling together one holding a box and cover, the other holding a lotus, the stone flecked with russet inclusions, 5.5cm. OFFERED WITHOUT RESERVE 本拍品不設底價。

A CHINESE YELLOW JADE CARVING OF A RAMLATE QING DYNASTY The recumbent ram with his head turned to sinister and his legs folded beneath the body, the stone of olive-green hue with brown and russet inclusions, 6cm. OFFERED WITHOUT RESERVE. 本拍品不設底價。

A CHINESE JADEITE CARVING OF TWO GOURDSQING DYNASTY OR LATERThe fruit growing from a leafy knobbly stem, with a small cicada resting to one side, the light green stone with flecks of apple green inclusions, 6cm.Please note the stone has not been tested for colour treatment.

A CHINESE PALE CELADON AND BLACK JADE CARVING OF A BUDDHIST LIONLATE QING DYNASTYThe recumbent beast with its head turned to the right, the tail swished over its right haunch, the pale translucent stone with black opaque inclusions, 5.6cm. OFFERED WITHOUT RESERVE. 本拍品不設底價。

A Chinese celadon and mottled brown jade figure of a monkey climbing on a recumbent horse, Ming dynasty, 16th-17th century, the mottled stone with natural veining, 9cm long, wood standThe horse depicted with a monkey is a popular subject matter for jade carving in the Ming and Qing dynasties. A horse and climbing monkey forms the rebus Mashang fenghou, which may be translated as 'May you immediately have high rank conferred upon you'Provenance - A. V. K. Murray collection, purchased from Ian McLean Antiques, 301, Lane Crawford House, Hong Kong in the 1970s for HK$2300. Natural inclusions and veining to the stone all over, no chips or cracks noted, in good conditionPLEASE 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. 

A Chinese pale celadon jade ‘Eight Daoist emblems’ multi-plaque wedding pendant, 19th century, the reticulated upper arched pendant carved and pierced with twin phoenixes amid peonies flanking a Shou character, 13.5 cm wide, suspended with a HeHe Erxian plaque, the other eight plaques carved and pierced with the Daoist immortals emblems, the stone of good even tone, the cord with endless knot motifs, 32cm dropProvenance- owned by the same family since the 1930s.All of the jade plaques are a little grubby in between the carving and would benefit from a clean, the cords are all very grubby as well.There are some tiny nicks to the edge of the large plaque at the top and one of the eight Daoist emblems has a crack to the edge of the plaque, otherwise in good condition.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. 

A large Chinese green jade 'Buddha Shakyamuni' boulder carving, in Tang style, but 20th century, the boulder with a grey/russet skin, carved wood stand, total height 33.5cmNatural inclusions, vein into the stone and a skin to natural skin to the boulder, in good condition with no restoration, chips or cracks detected.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. 

A CHINESE MOTTLED CELADON AND BLACK JADE CARVING OF A BUDDHIST LIONQING DYNASTYThe mythical beast depicted reclining, its face worked with bulging eyes and bared teeth, its mane and bushy tail incised with fine hairs, the dark stone with pale green and brown patches, 7cm.Provenance: from an English private collection, by repute purchased from CG Knapton Ltd.清 青褐玉卧獅把件來源：英國私人收藏，購於倫敦CG Knapton Ltd.（傳）。

A CHINESE BLACK JADE CARVING OF A HORSEMING DYNASTYThe recumbent horse looking over its back, finely incised with hair on its mane and tail, the dark stone with areas of beige and grey, 7cm. Provenance: from an English private collection; purchased from Knapton Rasti Asian Art Ltd. on 9th February 2006, a copy of the invoice is available.明 黑玉卧馬把件來源：英國私人收藏，2006年2月9日購於倫敦Knapton Rasti Asian Art Ltd.（附發票複印件）。

A CHINESE CREAMY WHITE AND GREY JADE CARVING OF A RECUMBENT GOAT 17TH CENTURY The bearded animal sits with his head turned to dexter, and his legs folded beneath the body, the opaque stone with grey inclusions and russet veins, 6cm. Provenance: formerly from a German private collection, purchased in Berlin from Ernest Fritzsche; later an English private collection, purchased from Knapton Rasti Asian Art Ltd. on 4th November 2011, a copy of the invoice is available. 十七世紀 灰白玉卧羊把件 來源：德國私人舊藏，購於柏林Ernest Fritzsche，其後成為英國私人收藏，2011年11月4日購於倫敦Knapton Rasti Asian Art Ltd.（附發票複印件）。

A CHINESE CELADON JADE CARVING OF A HORSEQING DYNASTYThe recumbent animal facing forward with its legs neatly tucked under the body, its mane and tail finely incised, the pale stone with opaque and paler inclusions, 7.4cm. Provenance: from an English private collection; purchased from the London trade between the 1990s and 2000s.清 青白玉卧馬把件來源：英國私人收藏，於1990至2000年代購於倫敦古董商。

A CHINESE CELADON AND RUSSET JADE CARVING OF TWO RAMSMING DYNASTYDepicting a recumbent ram accompanied by a lamb clambering on his back, holding a lingzhi sprig in his mouth, the yellowish-green stone with russet skin and minor dark brown markings, 7.3cm. Provenance: from an English private collection, purchased from CG Knapton Ltd. in March 2014, a copy of the invoice is available.明 青白玉雙羊銜靈芝把件來源：英國私人收藏，2014年3月購於倫敦CG Knapton Ltd.（附發票複印件）。

A CHINESE JADEITE CARVING OF A MYTHICAL BEASTQING DYNASTYThe recumbent horned creature with its head turned back and a sprig of lingzhi in its mouth growing around its body, with well-detailed facial features, spine and hair, the green stone with areas of apple green and russet inclusions, 7.5cm.清 翠玉瑞獸銜靈芝把件

A CHINESE YELLOWISH AND BROWN JADE CARVING OF A DUCKMING DYNASTYCarved sitting with its head turned back over its body holding a sprig of millet in its beak, the stone of creamy light brown colour with dark brown markings and veins, 5.7cm. Provenance: from an English private collection, purchased from CG Knapton Ltd., on 14th November 2017, a copy of the invoice is available.明 黃褐玉寶鴨銜穗把件來源：英國私人收藏，2017年11月14日購於倫敦CG Knapton Ltd.（附發票複印件）。

Six African carved stone figures including T Chinofura, cobalt examples, serpentine examples, springstone examples and an ammonite rock carving of a lady (6).Footnote: Buyers please be wear that this item is incredibly heavy and will require a professsional moving team with professional equipment.

A carved stone head in Columbian style together with another wooden carving

CHINESE WHITE JADE CARVING OF BOYS PLAYING BALL QING DYNASTY 清 白玉雕童子戲球擺件lively carved with two boys playfully wrestling for a brocade ball, the smaller boy holding the ball in both hands, as the taller boy grabs the ball with one hand whilst his left hand covers the lower jaw of the smaller boy pushing him away, the translucent stone of white tone with some russet skin on the back 5.8cm high  Private English collection, England 英格蘭私人收藏

GROUP OF FOUR CHINESE INK RUBBINGS 兩幅《紅苗歸化圖》、《黑番投城圖》及《特勒驃》 水墨紙本 拓片（共四幅）comprising: two ‘The Naturalisation of the Red Miao People’, 86cm x 231cm and 84.5cm x 227cm; one ‘Surrender of Foreign Power’, 85.7cm x 237cm; and one ‘Telebiao'- one of the six steeds of Zhao mausoleum, 134cm x 195cm (4) Private Scottish collection, Melrose; acquired in China in the 1940's when working for Shell, thence by descent.蘇格蘭私人收藏，梅爾羅斯鎮；1940年間在中國就職於殼牌公司時入藏，後家族遞藏。 The original ‘Telebiao’ stone carving with the other three steeds were broken into smaller slabs to be exported but intercepted during shipment. They were first stored in the warehouse of the Shaanxi Provincial Library and moved to the Shaanxi Provincial History Museum in 1949, now displayed in the Xi'an Forest of Steles Museum: https://beilin-museum.com/index.php?m=home&c;=View&a;=index&aid;=2531 

GROUP OF FIVE CHINESE JADE CARVINGS OF ANIMALS MING TO QING DYNASTY 明至清 青玉提油動物吊墜四件 及 白玉帶沁雕臥犬（共五件）comprising: four celadon jade carvings of lion dog wearing a collar, a rabbit, a deer with large antler, and a ram, each animal in recumbent position with four limbs tucked underneath the body, with a hole drilled through the centre of the body, the celadon stone partially darkened; together with one white jade carving of a recumbent dog, the stone of reddish brown inclusions (5) widths: 4cm to 6.5cm 

CHINESE WHITE JADE CARVING OF A SNAKE QING DYNASTY, 19TH CENTURY 清 白玉雕盤蛇the body of the snake coiled up, incised overall with hexagonal scales, the eyes well defined and the split tongue extending out, the stone of even white colour and some brown patches on the top of the head and tail  5.5cm wide 

CHINESE WHITE JADE CARVING OF 'BI' PENDANT QING DYNASTY, 18TH CENTURY 清 白玉雕螭龍紋小圓璧of archaistic disc bi form, one side carved in high relief with a lizard-like chi-dragon with a branch of lingzhi fungus in its mouth, the other side carved with raised dots, the stone of even white tone  5.5cm diameter 

CHINESE CELADON JADE CARVING OF A RECUMBENT CAMEL MING DYNASTY 明 青玉雕雙峰駱駝擺件the animal in recumbent position, turning its head to the left and looking backwards, its bulging eyes, two humps and curling tail minutely incised, the stone of celadon colour with russet inclusions especially on the back   9cm wide 

A large Chinese pale green and russet jade carving of an elephantLate Qing dynastyCarved with two boys clambering its back, the feet and underside with deep russet inclusions, 10.5cm wide, carved wood stand and box.晚清 帶皮青玉雕童子與象Condition Report: Expected natural inclusions and fissures to stone. 

A tiny Chinese celadon and black jade carving of a mythical beastMing dynasty or earlierCarved from a celadon stone with black inclusions, the minute figure carved with bifurcated tail and long horn, the features well defined, 2.2cm long.明或更早 青玉雕神獸

A Chinese archaistic carving of a cicada20th centuryThe stone heavily mottled, 8cm long.二十世紀 硬石雕蟬 

A Chinese green and russet jade carving of a crabMing dynastySoftly carved from a mottled stone, 4.5cm wide.明 帶皮玉雕蟹

A Chinese celadon jade carving of a buffaloQing dynastyCarved from an even, pale green stone, 6.3cm long.清 玉雕牛

A Chinese white jade carving of an elephant20th centuryThe very pale stone carved in reticulation with two boy grooms across the back of the animal, 6.8cm long.二十世紀 白玉雕像

An Inuit stone carving of a seal, with incised marks, numbered 14296, height 7cm, length 19.5cm.Condition Report: - There are scratches, marks, graze to the seal's nose.

A Chinese pale green stone carving, 9 cm wide

Fabergé, a dendritic agate miniature animal study, early 20th century, realistically modelled as a reclining Gloucester Old Spot pig, finely carved in dendritic agate, its eyes set with cabochons of red paste, measuring 8.0 x 3.0 x 2.1cm, eyes later replacements The quality of this carving and the sensitive treatment of its subject compare favourably with a number of hardstone animal studies produced by the workshops of the Russian imperial jeweller Fabergé. Animal carvings are among the jeweller's most celebrated creations, adored and collected by some of the most prominent figures of the early 20th century. Russia's stone carving industry centred on the city of Yekaterinburg, where Fabergé acquired the workshop of lapidary Karl Woerffels around 1884, and it was this workshop that produced the majority of them - the carvers Kremlev, Derbyshev and Svetchnikov, managed by the German Alexander Meier. The stones were carefully selected by Carl Fabergé's son Agathon, and were mostly of Russian origin, taking advantage of the rich mineral resources of the Ural mountains and Siberia. The animal carvings found immense popularity with a number of the firm's key patrons, most notably the British Royal Family, whose collection boasts more than 350 animals, and Léopold de Rothschild, who had his racehorses similarly immortalised by Fabergé's sculptors. The dendritic or 'moss' agate used here is an unusual choice for an animal study, its distinctive patterning more commonly employed by Fabergé for inlays and panels in its jewels and objets de vertu. Traditionally found in India but eventually sourced by Fabergé from Siberia, its use here is likely a clever attempt to mimic the distinct patternings of a particular breed of pig known as the Gloucester Old Spot, whose 'lop' ears are also distinctively forward folding as in the present carving, partially shielding its eyes. A number of realistically modelled farm animals including pigs were produced from life at the Sandringham estate in 1907, following a suggestion made to King Edward VII by Fabergé's London agent Henry Bainbridge that the firm recreate a number of the animals across the estate. With subjects ranging from the King's own terrier dog Caesar, to the cows, pigs, ducks and chickens that populated the farmland around them, the animals of this 'Sandringham Commission' were reproduced in wax sculptures by the carver Boris Frödman-Cluzel, before being sent back to the Russian workshops to be immortalised in hardstone. They were then sent back to Fabergé's London branch for purchase, mostly, but not exclusively, by those who wished to gift them back to the Royal Family. Such was the appeal that some were even acquired by members of the family themselves, such as Princess Victoria, who bought a model of a recumbent white sow in pale pink aventurine quartz in 1912 (RCIN 40041). It is not known whether the present study would have been part of the Sandringham commission, but the close attention to detail and the choice of this lesser known breed of pig reflect a close observation of the animal, likely in its agricultural setting, and a desire by the sculptor to capture the distinctive characteristics of this specific breed. King Edward VII was particularly proud of his pigs and sent the best of his herd to The Royal Society Show in June 1911. Pigs were one of Fabergé's more popular animal studies in their native Russia, with several examples recorded in the collection of Empress Maria Feodorovna, and are also among the most humorous and varied of their miniature sculptures. Cf.: a series of carved hardstone pigs by Fabergé in the Royal Collection, collection nos. RCIN 40041, 40038, 40421 and 40422, commissioned by the Royal Family and studied by Fabergé's sculptor Boris Frödman-Cluzel from life at the Sandringham estate in 1907. Cf.: The Robert Strauss Collection of Works of Art by Fabergé, Christie's, 9th March 1976, lot 28, and A. Kenneth Snowman, The Art of Carl Fabergé, 1972, no.237, for studies of dalmatians, their spotted coat also depicted in dendritic agate Cf.: A La Vieille Russie, Fabergé exhibition catalogue, New York April-May 1983, no. 445, for a dendritic agate model of a spaniel with an enamelled gold collar by the chief workmaster Henrik Wigström. An English private family collection

A CHINESE SHOUSHAN STONE CARVING GROUP OF SHOULAO AND BUFFALO, REPUBLIC PERIOD (1911-1949) Signed to the underside. Width 19cm, Diameter 13cm, Height 12cm.

A fine carved Chinese (possibly Japanese) black scholars stone carving. Excellent use of the stones colouring to create this superb piece. A scholar and child standing on a cliff look out over a dark moonlit landscape. A small temple above. A boat rests behind a rock to the left. Stand 16cm x 4.5cm Stone 9.5cm high x 13.5cm length x 2cm width.

A finely carved scholars stone set on a hardwood stand (possibly Shoushan stone) A fisherman sits in a small shelter beneath an overhanging rock, his fishing rod held in hand. A small settlement reached by a flight of stairs rests at the top of the carving. Trees and foliage intricately carved into the stone. Inscribed to the base and set within the purpose built stand. Total height with stand 21.5cm x 111.5cm length x 7cm width.

Miscellaneous items to include Muntjac antlers and stone carving

A two piece Oriental style hard stone carving of a grape vine with crickets together with a temple style carving and an African lady (3)

A collection of jewellery to include a citrine and 9ct gold single stone ring, size Q, along with a yellow metal mounted oval agate pendant with Arabic carving, suspended from a 9ct gold chain, combined total gross weight approx 18.9gms,  a three colour 9ct gold wishbone ring, size Q1/2, 9ct gold locket, yellow metal chain, combined weight approx 6.4gmstogether with silver and moonstone pendant, a amber bead necklace, coral and jade necklaces/bangle and costume jewellery etc (1 bag) Further details: wear and tear commensurate with age

A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE The polished stone top above a frieze decorated with quatrefoils and fluting, on square section legs decorated with further Gothic tracery 78cm high, 152cm wide, 59cm deepThe carved fretwork decoration on the present table demonstrates the influence of 'Gothick' designs featured in the influential design books by leading London cabinet-makers, such as Thomas Chippendale and Ince and Mayhew, in the mid to late 18th century. For a design of side table by Thomas Chippendale that illustrates some of the 'Gothick' attributes shown on this table, see Thomas Chippendale's, The Gentleman and Cabinet Maker's Director, The Third Edition (1762), printed John Tiranti ltd, London, 1939, pl.LVII. For a centre table of the period incorporating related fretwork carving, see Christie's, New York, The British Interior, 25th January 2001, Lot 290 ($16,500).  The collection from Trethill House, Cornwall Saleroom Notice: Please note that the cataloguing has been updated and now reads as follows: A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE Condition Report: Good condition, structurally secure with wear and tear consistent with age and use. The catalogue illustration is accurate. There are dents marks and scratches throughout. The stone top is a later replacement, the screw pockets in the backs of the frieze rails suggest it originally had a wood top. The fret carving throughout is shallow and the decoration on the frieze is carved in thin sections of timber, laid onto the frieze rails , a technique mot associated with the 18th century. Condition Report Disclaimer

An early 20th century diamond and untested sapphire ring, the central cushion cut stone with old cut diamonds and further smaller cushion cut stone, within yellow metal carved shoulders leading to plain polished shank, ring size O ½, 3.6gms  Condition report:  Total diamond weight estimated 0.08ct Diamonds are of various cuts/sizes. One particularly protrudes from setting. Appear bright, lively and matched in colour. Setting edge is low, particularly to one side. Untested sapphires all show rubbing/nibbles to the table facets. Central stone appears darker than side stones. Inclusions are present, seen with x10 loupe. Ring would benefit from a clean. Carving to shoulders are worn, commensurate with age. No obvious splits/repairs to under bezel. Hallmarks rubbed and indistinct. Resizing join/piece seen to shank (appears to not be same ct) Shank thin. General scuffs and scratches seen to the metal, commensurate with age and wear.

Carved Stone Egyptian Bust on Stand. Provenance: From the Deceased estate of Dr. John Schaeffer (Orlando, Florida). Height of carving without stand: 4.5 in.Total height with stand: 8 in.

A selection of Chinese and other items including soap stone carving, ceramics and metal ware etc.