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A pair of platinum earrings by Catherine Martin, 1999, the meshwork leaves of bicolour design and with scrolling tendril surmounts, maker’s mark, UK hallmark, length 37mm. £400-£600 --- A designer goldsmith and professional musician and singer, Catherine Martin was the first westerner to graduate in Kumihimo, the traditional Japanese art of braiding. She incorporates this ancient Asian art into her jewellery designs, her work incorporating the painstaking weaving of fine gold wire by hand, producing jewels of great intricacy and fluidity. Catherine is London based, and has pieces in the V & A Collections, Royal Museum of Scotland, Birmingham Museum, Museum of Art and Design in New York, and Boston and other private and public collections. Condition Report In very good condition, minimal wear. Gross weight 5.3gm.

Uncertain Asian mint; struck 25 BC. 27 BC-AD 14. [AVGVSTVS], bare head to right / C A within laurel wreath. RIC I 501 (Pergamum); BMCRE 713 (Pergamum); CBN 956 (Pergamum); RPC I 2233 (Asia). 23.17gr, 35mm, 12h. Near Very Fine.From the collection of a gentleman, acquired on the London art market in the 1990s.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists.

15th century A.D. Comprising: a bulbous vase with painted floral decoration and loop handles above the shoulder; a small shallow vessel with painted linear decoration to the body, decorative border beneath the rim; a small bulbous vessel with painted flowers and tendrils. Cf. similar vessels in Asian Art Museum, inv.no.2000.31, from the Hoi An Cargo 376 grams total, 72-91 mm (2 7/8 - 3 5/8 in.). [3, No Reserve] Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

15th century A.D. Comprising three shallow dishes with rolled rims, two with painted petal decoration. Cf. similar vessels in Asian Art Museum, inv.no.2000.31, from the Hoi An Cargo. 448 grams total, 93-96 mm (3 5/8 - 3 3/4 in.). [3, No Reserve] Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

15th century A.D. Comprising three vessels with remains of loop handles above the shoulder, each with painted floral decoration. Cf. similar vessels in Asian Art Museum, inv.no.2000.31, from the Hoi An Cargo. 490 grams total, 82-90 mm (3 1/4 - 3 1/2 in.). [3, No Reserve] Ex Butterfield and Butterfield auction with official Hoi An Hoard labels. Accompanied by an illustrated information sheet about the Hoi An shipwreck. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.In the mid 15th century a freighting junk loaded with fine Vietnamese pottery sank in an area of the South China Sea called the 'Dragon’s Embrace.' This vessel is part of the shipwreck cargo recovered off the coast of Vietnam at Hoi An. The ceramics themselves were probably made in the area of Chu Dau.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Group of rare Asian art auction catalogs from Sotheby's. Including:Sotheby & Co., "Catalogue of Important Chinese Ceramics: The Property of Mrs. Alfred Clark," March 25, 1975, London.Sotheby's, "The Edward T. Chow Collection: Part Two," December 16, 1980, New York.Sotheby Parke Bernet, "The Edward T. Chow Collection: Part Three," May 19, 1981, Hong Kong.Sotheby's, "The C.C. Wang Family Collection of Important Early Chinese Works of Art," November 27, 1990, New York, Sale 6106.Sotheby's, "Important Chinese Ceramics from the J.M. Hu Family Collection," June 4, 1985, New York, Sale 5339.Also included is one catalog from The Chinese Porcelain Company "The Age of Gallantry: Fine and Decorative Arts of the Netherlands, 1672-1800" catalog 17, 1995.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) Height: 12 1/2 in x width: 12 1/2 in x depth: 12 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

The Asian art slide collection of Dr. Robert Jacobsen; comprised of over 10,000 individual slides. This archive is the culmination of Dr. Jacobsen's work as a researcher and curator. He used it extensively both as a reference for his research and also in preparation for museum exhibitions, publications, and teaching. He photographed any time he traveled.Subject headings include: China - Ancient Bronze, Archaeological Sites, Chinese Ceramics, Chinese Jade, Lacquer Furniture, Gold, Sculpture, Silk Road, Later Chinese Painting, Japan, Early Japanese Art, Japanese Architecture, Gardens, Later Japanese Art, Woodblocks, Japanese Painting, Korea -- Korean Art, Turkish Art -- Islam, Indian Art, Himalayan Art, Southeast Asia, and Southeast Asian Art in addition to numerous other subjects.This lot also includes a photographic archive album from Dr. Jacobsen's travel abroad, in addition to lecture notes, ephemera, and research regarding Chinese furniture gathered during his time as head curator of the Minneapolis Institute of Art, not included in the lot listing photographs.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions, approximately) height: 42 in x width: 48 in x depth: 25 in.Condition: Individual slides have not been assessed for functionality or damage. Most slides appear to be intact and in fine shape.

TWO CHINESE FAHUA-STYLE TURQUOISE-GROUND SNUFF BOTTLES 19TH CENTURY 6.3cm. (2) From the collection of William Cleverley Alexander (1840-1916). Both moulded with flowering lotus. William Cleverley Alexander (1840-1916) was one of the most noted connoisseurs of his day. He was an accomplished draughtsman, a member of the Burlington Fine Arts Club and a founding member of the National Art Collections Fund, and was renowned for his taste in Western paintings and Asian works of art. This acclaim was noted in William Alexander's obituary written in 1916 by the British artist and critic Roger Fry who noted the remarkable good taste which guided Alexander’s acquisition of the pieces in his collection. The collection was started in 1867 and included items from the Tang, Song, Ming and Qing dynasties. He loaned items from his collection to a number of important exhibitions, including the Burlington Arts Club exhibitions in 1895, 1896 and 1910, and the ground-breaking exhibition of Chinese Applied Art held at the City of Manchester Art Gallery in 1913. He was also an early patron of James McNeill Whistler. A large portion of his collection of Chinese ceramics collection was sold by Alexander's daughters at Sotheby's in 1931 and an important Yuan dynasty gourd-shaped vase was sold in these rooms in 2005. For further details about The Alexander Collection see Hobson, Rackham and King, Chinese Ceramics in Private Collections, where 58 pieces from the collection are illustrated.

Gilbert Munger (American, 1837-1903). Oil on canvas Barbizon school landscape painting depicting a serene French riverside with cows, 1883. Signed and dated along the lower left. The Tweed Museum of Art in Duluth, Minnesota, holds a large collection of Munger's works.Provenance: Skinner, Boston, "Studio Art Online," Sale 3353T, Lot 1218, March 18, 2020; Winter Associates, Plainville, CT, "Fine Art; Prints; Sculpture; Asian, etc.," June 10, 2024, Lot 33; Private Minnesota Collection.Unframed; height: 20 in x width: 30 in. Framed; height: 23 in x width: 33 in x depth: 1 1/4 in.Condition: The painting has been recently restored and cleaned. There is craquelure throughout, including an area of spiral craquelure along the left half of the work. There are signs of inpainting, primarily along the center of the work which corresponds with a patch along the verso. Wear along the extreme edges of the canvas, including some fraying visible along the verso. Some soiling to the verso. Wear to the frame. Not inspected out of frame.

A RARE CHINESE UNDERGLAZE COPPER RED 'SQUIRREL AND VINE' MEIPING KANGXI 1662-1722 The finely potted vase decorated around the body with two squirrels hiding amongst a fruiting grapevine, between bands of stylised lotus flowerheads and leaf scrolls, the short flared neck with three flower motifs, 26.5cm. Provenance: purchased from John Audley, March 1913, by John Sparks, and then the collection of William Cleverley Alexander (1840-1916), purchased from John Sparks, London, 9th June 1913 for £30, stock number 4397, a copy of the invoice is available. Cf. The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglaze Red (iii), p.180, no.164, p.181, no.165 and p.189, no.173 for related vases painted in underglaze red dated to the Kangxi and Qianlong periods. For further information about John Audley, see R Davids & D Jellinek, Provenance, p.52. 清康熙 釉裡紅松樹葡萄梅瓶 來源：1913年由John Sparks購於John Audley，之後威廉·克萊爾利·亞歷山大（1840-1916）收藏，1913年6月9日以£30價格購於倫敦John Sparks，編號4397（附發票復印件） William Cleverley Alexander (1840-1916) was one of the most noted connoisseurs of his day. He was an accomplished draughtsman, a member of the Burlington Fine Arts Club and a founding member of the National Art Collections Fund, and was renowned for his taste in Western paintings and Asian works of art. This acclaim was noted in William Alexander's obituary written in 1916 by the British artist and critic Roger Fry who noted the remarkable good taste which guided Alexander’s acquisition of the pieces in his collection. The collection was started in 1867 and included items from the Tang, Song, Ming and Qing dynasties. He loaned items from his collection to a number of important exhibitions, including the Burlington Arts Club exhibitions in 1895, 1896 and 1910, and the ground-breaking exhibition of Chinese Applied Art held at the City of Manchester Art Gallery in 1913. He was also an early patron of James McNeill Whistler. A large portion of his collection of Chinese ceramics collection was sold by Alexander's daughters at Sotheby's in 1931 and an important Yuan dynasty gourd-shaped vase was sold in these rooms in 2005. For further details about The Alexander Collection see Hobson, Rackham and King, Chinese Ceramics in Private Collections, where 58 pieces from the collection are illustrated. 威廉·克萊弗利·亞歷山大（William Cleverley Alexander，1840-1916）是當時藝壇的翹楚，以其卓越的藝術眼光聞名於世。他不僅是一位技藝精湛的繪圖師，更是伯靈頓美術俱樂部的成員，並參與創立了國家藝術收藏基金。他對西方繪畫與亞洲藝術的鑒賞力，尤其為人所稱道。1916年，英國藝術家兼評論家羅傑·弗萊（Roger Fry）在為他撰寫的訃告中，特別讚揚了亞歷山大收藏中的非凡品味，稱其選物之精妙，無一不顯其獨到眼光。亞歷山大的收藏始於1867年，涵蓋了唐、宋、明、清各個朝代的藝術珍品，件件皆為時代精華。他多次將珍藏借展於重要展覽，如1895年、1896年及1910年的伯靈頓美術俱樂部展覽，更在1913年曼徹斯特市藝術畫廊舉辦的「中國應用藝術展」中，以其珍品驚艷四座。此外，他也是畫家詹姆斯·麥克尼爾·惠斯勒（James McNeill Whistler）的早期贊助人，助其藝術事業蒸蒸日上。亞歷山大去世後，他的女兒於1931年將大批中國陶瓷珍藏委託蘇富比拍賣，其中一件元代葫蘆瓶更於2005年再度現身拍場，引發眾多藏家競逐。若想深入了解亞歷山大收藏的風采，可參閱霍布森（Hobson）、拉克姆（Rackham）與金（King）合著的《私人收藏中的中國陶瓷》（Chinese Ceramics in Private Collections），書中收錄了58件珍藏的圖錄，供後人賞鑒。

A RARE CHINESE YELLOW-GLAZED 'FU SHOU' EWER AND COVERKANGXI 1662-1722The flattened body moulded as a combined character of fu and shou, applied with a loop handle and a slender tapering spout, the cover surmounted by a blue-glazed Buddhist lion finial, 26.3cm. (2)Provenance: from the collection of William Cleverley Alexander (1840-1916), purchased from W. Dickinson & Son, 2nd July 1907 for £45, a copy of the invoice is available.Cf. The Victoria and Albert Museum, accession no. C.1263-1910 for a related Kangxi winepot in the shape of a shou character in yellow enamels from the Salting Bequest.清康熙 黃釉福壽紋獅鈕執壺來源：威廉·克萊爾利·亞歷山大（1840-1916）收藏，1907年7月2日以£45的價格購於W.Dickinson & Son（附發票復印件）。William Cleverley Alexander (1840-1916) was one of the most noted connoisseurs of his day. He was an accomplished draughtsman, a member of the Burlington Fine Arts Club and a founding member of the National Art Collections Fund, and was renowned for his taste in Western paintings and Asian works of art. This acclaim was noted in William Alexander's obituary written in 1916 by the British artist and critic Roger Fry who noted the remarkable good taste which guided Alexander’s acquisition of the pieces in his collection. The collection was started in 1867 and included items from the Tang, Song, Ming and Qing dynasties. He loaned items from his collection to a number of important exhibitions, including the Burlington Arts Club exhibitions in 1895, 1896 and 1910, and the ground-breaking exhibition of Chinese Applied Art held at the City of Manchester Art Gallery in 1913. He was also an early patron of James McNeill Whistler. A large portion of his collection of Chinese ceramics collection was sold by Alexander's daughters at Sotheby's in 1931 and an important Yuan dynasty gourd-shaped vase was sold in these rooms in 2005. For further details about The Alexander Collection see Hobson, Rackham and King, Chinese Ceramics in Private Collections, where 58 pieces from the collection are illustrated.

FINE CHINESE PAINTING OF A LADY AND BOY QING DYNASTY, 18TH-19TH CENTURY 清 仕女童子圖 紙本設色 鏡框ink and colour on paper, finely depicting a seated court lady with a boy, a table near them arranged with antiquities, with faux bois margin, framed  36cm x 29cm  Private Scottish collection of an avid collector of Asian art over six decades, Edinburgh; Inherited from the current owner’s father. 蘇格蘭私人收藏，愛丁堡，收藏亞洲藝術年逾六旬。繼承自現任藏家之父親。

Yong-I (Yun). Korean Art from the Gompertz and other Collections in the Fitzwilliam Museum, A Complete Catalogue, edited by Regina Krahl, 1st edition, Cambridge University Press, 2006, numerous monochrome illustrations, original black cloth in dustwrapper, 4to, VG, together with Oriental Ceramic Society of Hong Kong. South-East Asian & Chinese Trade Pottery, Hong Kong Museum of Art, January 26 to April 2, 1979, several colour and numerous monochrome illustrations, original blue cloth gilt in dustwrapper, large 8vo, plus others on Korean and South East Asian ceramics and related, including Vietnamese Brown Patterned Ceramics, Hanoi, 2005, Hiromu Honda and Noriki Shimazu, Vietnamese and Chinese Ceramics used in the Japanese Tea Ceremony, 1993, Vietnamese Ceramics, A Separate Tradition, by John Stevenson and John Guy, 1997, The Elephant and the Lotus, Vietnamese Ceramics from the Museum of Fine Arts, Boston, by Philippe Truong, 2007, Tau Co Ca Mau, The Ca Mau Shipwreck 1723-1735, Hanoi, 2002, etc. QTY: (25)

Christies Amsterdam. Fine and Important Late Ming and Transitional Porcelain, recently recovered from an Asian vessel in the South China Sea, The Property of Captain Michael Hatcher, Wednesday 14 March 1984, monochrome illustrations, original printed wrappers, small slim 4to, together with Sotheby & Co. The Eumorfopoulos Collections. Catalogue of the Celebrated Collection of Chinese Ceramics, Bronzes, Gold Objects, Lacquer, Jade, Glass, and Works of Art, May 28-31, 1940, original printed wrappers, rubbed and a little frayed to spine, slim 4to, plus Christies New York. The Falk Collection 1 & 2, Important Chinese Ceramics and Works of Art/ Chinese and Japanese Works of Art, 20 & 21 September 2001, numerous colour illustrations, original cloth in dustwrapper/original printed wrappers, 4to, and other auction catalogues on Chinese art, including Sothebys, Chrities, Bonhams, etc.QTY: (3 cartons)

Dimensions: Height 12 cm Wide 9 cm Depth 9 cm without baseWeight: 1432 grams with base Finely carved in pale stone with elegant features and a serene expression, the Buddha is depicted with downcast eyes beneath gracefully arched brows, a prominent urna, and full lips curved in a meditative smile. The cheeks are full and rounded, tapering to a well-defined jawline. The hair is stylized in rhythmic, flame-like curls swept back into a domed ushnisha at the crown, with incised detailing throughout. The ears are elongated, in keeping with traditional iconography, and the head is smoothly finished at the back, likely once attached to a larger figure.This sculptural fragment embodies the refined aesthetics of the Northern Qi period, characterized by softer facial modeling and an emphasis on harmonious proportion, reflecting the Buddhist ideals of inner tranquility and enlightenment. The subtle asymmetry in the lips and naturalistic carving of the features convey a profound sense of spiritual vitality. The Northern Qi dynasty, though brief in duration, marked a pivotal era in the development of Chinese Buddhist sculpture. Following the fall of the Eastern Wei, the Northern Qi inherited a legacy of Buddhist patronage and artistic excellence that flourished under imperial and aristocratic support. Buddhist art from this period is distinguished by its subtle elegance, spiritual intensity, and increasingly naturalistic form—hallmarks of a transition from the abstracted, linear styles of the Northern Wei toward a fuller, more humanized visual language.Sculptural heads from the Northern Qi period are particularly celebrated for their nuanced modeling and lifelike presence. The features—gently downcast almond-shaped eyes, softly arched brows, and full lips arranged in a faint smile—embody the spiritual serenity of the meditative state. The hair, often carved in stylized, rhythmic curls or swept waves, exhibits an attention to surface texture and harmonious flow that echoes Central Asian and Indian influences absorbed via the Silk Road.This stylistic shift reflects broader cosmopolitan exchanges occurring across China’s northern frontiers during the 6th century, particularly under the Buddhist devotional zeal of the ruling elites. Marble, favored for its luminous quality and fine grain, became an increasingly prominent medium in Northern Qi statuary, allowing for refined detailing and a tactile sense of flesh and drapery.

Dimensions: Height 10,5 cm Wide 6 cm Depth 2,5 cmWeight: 163 grams This compact and expressive seated Bodhisattva in cast bronze is a striking example of Gandharan devotional art. The figure sits in vajrasana (diamond posture) on a pedestal, with hands resting in dhyana mudra (gesture of meditation). The elaborate treatment of the lotus base, with its distinctively overlapping petal forms, reflects a matured iconographic style consistent with late Gandharan Buddhist art.The Bodhisattva is adorned with princely ornaments, including a braided headdress surmounted by a topknot, large earrings, and multiple strands of necklaces, signaling his status as a spiritual sovereign. A prominent urna is visible on the forehead. His facial expression, with arched brows and downcast eyes, exudes introspection and compassion, while a faint mustache lends a distinctive anthropomorphic character—occasionally found in Gandharan depictions of Maitreya.The figure exhibits the stylistic legacy of Hellenistic and Central Asian influences through the modeling of the face, the drapery with heavy linear folds, and the overall proportions. During the later Gandharan period, bronzes like this were produced in greater numbers to satisfy the devotional needs of lay practitioners and monks. As Buddhist imagery expanded beyond monumental stone to more accessible materials, the intimate scale and portability of such pieces played a significant role in the diffusion of Mahayana Buddhism throughout Central and East Asia.The figure may represent Maitreya, the future Buddha, given the elaborate ornaments and regal bearing, although the meditative gesture also aligns with Shakyamuni iconography. The surface bears a fine natural blue-green patina, with areas of encrustation and earthen deposits testifying to prolonged burial. Minor wear and pitting are consistent with age.

Large collection of Asian art catalogues 1970s and 1980sto include Sotheby's London: 'Chinese Decorative Arts', 15th June 1979; 'Chinese Works of Art and Ch'ing Porcelain', 20th February 1979 and 'Chinese Ceramics and Works of Art', 28th November 1978Christie's: 'Fine Chinese Export Porcelain and Works of Art', February 20th 1978; 'Fine Chinese Export Porcelain and Works of Art', December 5, 1977, and 'Fine Chinese Export Porcelain' 7 and 8 March 1984(approximately 90)Note- with handwritten notes and prices, recorded by the collector who attended and purchased lots at most of the sales, and whose lots start this auction and appear throughout the sale.Provenance: A private English collection via a deceased Estate. With signs of wear consistent with age and use, as expected. Some are written in/on. Time/UV fade areas, tears, areas of foxing and staining.

A collection of Asian Art reference worksIncluding: GANGOLY, South Indian Bronzes, 1915; JOSEPH, Ming Porcelains, Their Origins and Development, 1971; GORDON, Collecting Chinese Export Porcelain, 1978; RAWSON, Oriental Erotic Art, 1981; HOBSON, British Museum Handbook of the Pottery and Porcelain of the Far East, 1937; GARNER, Oriental Blue and White, 1964; VOLKER, Porcelain of the Dutch East India Company, 1971; Masterworks of Chinese Porcelain in the National Palace Museum, Taipei, 1969; WORRALL, Precious Vessels, 2000 Years of Chinese Pottery, 1980; JENYNS, Later Chinese Porcelain, 1971; SIUDMAK, Indian and Himalayan Sculpture and Thangkas (ex.cat.), 2011; Far Eastern Ceramic Bulletin, 1975; DOTHEBY'S, Oriental Ceramics and Works of Art, 25 July 1978; and SOTHEBY'S, Fine Chinese Export Porcelain, 20th June 1978.

'16 Auktionskataloge zu asiatischer Kunst, Christie''s Amsterdam, London, South Kensington, Hong Kong, New York, 2006 - 2007 Bestehend aus: Christie''s South Kensington, Asian Art: 12. Oktober 2006; 29. März 2007. Chinese Ceramics, Works of Art and Textiles: 15. Mai 2009; 6. November 2009; 12. November 2010; 18. Mai 2012; 13. Mai 2011; 11. November 2011. Christie''s Hong Kong, Important Chinese Ceramics and Works of Art: 1. Dezember 2010; 1.Juni 2011, 30. November 2011 (nur Part II). Christie''s New York, Fine Chinese Ceramics and Works of Art, Part 1 und 2: 15./16. September 2011. Christie''s London, Fine Chinese and Works of Art: 12. Mai 2009; 9. November 2010; 8. November 2011. Christie''s Amsterdam, Asian Art: 2. Mai 2007. Alle Kataloge gebraucht, aber in gutem Zustand. Gesamtgewicht 15,28 kg.Keywords: Asiatika, Chinesische Kunst, China'

ASIAN ART REFERENCE BOOKS - EARLY CHINESE WORKS OF ART Assorted volumes mainly focused on early Chinese metalwork. bronzes; silver; historical relics etc., to include: Gems of Asian Art from the Asian Art Museum of San Francisco, The Avery Brundage Collection, 1983; The Search for Immortality, Tomb treasures of Han China, Fitzwilliam Museum, 2012; Complete Collection of Chinese Fine Arts, Gold and Silver Articles, Volume 2, 2004; Historical Relics Unearthed in New China, Foreign Languages Press, 1972; Gilded Dragons, Buried Treasures from China's Golden Ages, Carol Michaelson 1999; Mysteries of Ancient China, New Discoveries from the Early Dynasties, Jessica Rawson, 1996; Ancient Art, from The Shumei Family Collection, Metropolitan Museum of Art, 1996 (approx 30) 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. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

This Japanese embroidery silk panel showcases an intricate hand-stitched depiction of birds in flight among delicate white blossoms on a textured golden silk background. The panel is framed with a dark wooden border and mounted on a neutral-toned mat within a black lacquered frame with gold accents. The embroidery exhibits traditional Japanese textile artistry, with meticulous detail and fine craftsmanship. A striking piece of Asian decorative art, ideal for collectors of Japanese textiles, embroidery, and decor.Issued: c. early 20th centuryDimensions: 15"L x 27"HCountry of Origin: JapanCondition: Age related wear.

v style="border: 0px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-variant-alternates: inherit; font-variant-position: inherit; font-weight: 400; font-stretch: inherit; font-size: 11pt; line-height: normal; font-family: Aptos, Aptos_EmbeddedFont, Aptos_MSFontService, Calibri, Helvetica, sans-serif; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; margin: 0in; padding: 0px; vertical-align: baseline; color: #000000 !important; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;">[ART DECO]Two finely bound works. Comprising GIONO, JEAN and JACQUES THEVENET, illustrator. Un de Baumugnes. Paris: Les Bibliophiles de L'Amérique Latine, 1930. Copy 52 from the edition of 135, an exemplair nominatif for Enrique Garcia Merou. Green mosaic morocco by Creuzevault, the upper cover with a design of poplar trees against a landscape, the covers ruled in gilt and blind, moire silk doublure and free endpaper, all edges gilt on the rough; housed in chemise and slipcase. 11 1/8 x 9 inches (28.5 x 23 cm); 260, [10] pp., with an original drawing and a suite of plates. The spine toned to pale brown, wear to the slipcase and chemise; and ARÈNE, PAUL and FERNAND SIMÉON, illustrator. La Chèvre d'Or. Paris: Manuel Bruker, 1930. Copy 6 on Japon, from the the second tier of ten copies (total edition 150), with the plates in double suite, colored and bistre. Green morocco by A. Toumaniantz, an abstract design of gilt and black fillets, all edges gilt on the rough, moire silk doublure and free endpapers, marbled binder's endpapers; housed in chemise and slipcase. 10 3/8 x 7 5/8 inches (26.5 x 19.5 cm); 244 pp.; 51 wood engravings by Simeon. Spine a hair darkened, about fine, though wear and fading to case and chemise.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A LARGE KASHMIRI GILT, POLYCHROME-PAINTED AND LACQUERED PAPIER-MÂCHÉ FIRE BELLOWS Kashmir, Northern India, mid to late 19th centuryWith a heart-shaped head lined on the sides with red-dyed leather and brass studs, and long, narrow double handles, the lacquered wooden components painted in polychromes and gold, each side decorated with traditional Kashmiri decorative motifs, one side featuring a fine golden vegetal grid with interlocking foliate meanders, split palmette trellis and floral sprays highlighted in red and blue on a white ground, the reverse with a lush floral triumph showcasing an abundance of flower bouquets typical of the region with hyacinths, roses, tulips, and carnations highlighted in gold against a brownish black ground.93cm long Bellows, traditionally used to deliver additional air to a heat source, have been employed in various shapes and forms since at least Ancient Egypt. For instance, pot bellows were recurrently used in the Levant and Egypt as testified by archaeological remains, whilst East Asian territories seem to have preferred box bellows. The shape of this particular example is in line with traditional 19th-century English and Scottish home fire bellows, and yet, its decorative style points towards a different manufacturing origin: Kashmir. Indeed, Kashmiri lacquers seem to have been prized possessions and sought-after keepsakes of European, Scottish and British travellers and officials working in the region in the late 19th and early 20th centuries, as suggested by the vast quantities of decorative and functional objects found in English countryside homes. This fire bellows must have been produced in a similar set of circumstances, most probably a private commission, presenting today a remarkable witness of 19th-century Anglo-Indian art. 93cm long Qty: 1

Intricately hand-carved stone vase featuring a detailed floral relief with finely sculpted roses and foliage. The vase showcases a blend of earthy tones, highlighting the natural variations in the stone. The piece includes an ornamental base integrated into the design, demonstrating exceptional craftsmanship. Measures 9.75"H. A stunning decorative piece for collectors of fine art and Asian antiques.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

This vibrant Chinese porcelain bowl features a Famille Rose design, characterized by intricate floral patterns and figural scenes rendered in vivid pinks, greens, and oranges. The exterior displays a continuous decorative motif, including traditional Chinese elements such as butterflies, peonies, and geometric accents. The interior mirrors the detailed artistry, centering on a circular medallion surrounded by richly colored panels and florals. The base bears a red-ink stamp, suggesting its Asian origin, and the bowl stands at 6.5 inches in height. This exquisite piece exemplifies craftsmanship and cultural artistry, ideal for collectors of fine Chinese porcelain or decorative art.Issued: 20th centuryDimensions: 6.5"HCountry of Origin: ChinaCondition: Age related wear.

Asian Art, A fine Chinese green and yellow biscuit vase with dragon decor. Marked. | Height: 21 cm. | Condition: Minimal damage at the bottom edge.

Ca. AD 200 - 300.A schist head of Buddha with a voluminous face, fine almond-shaped eyes, cupped ears, a gentle smile, and a characteristically wavy hairstyle in a chignon. The statue was in a wall decoration of a temple.For similar see: Christie's, Indian and southeastern Asian Art, Live Auction 2578, Lot 520. Size: 250mm x 180mm; Weight: 8.4kg.Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Handmade Thai bronze Buddha statue measuring 10.5"H, featuring an intricate seated Buddha figure in a traditional meditation pose atop an ornately decorated pedestal. The statue showcases a dual-tone finish, with polished golden highlights on the face, right arm, and left hand, while the rest of the body is adorned with detailed patterns. The base is richly ornamented with floral and geometric motifs, with a small plaque on the back reading "Hand Made in Thailand." The hollow underside reveals its handcrafted nature. A fine addition for collectors of Southeast Asian art and Buddhist iconography. Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.

### Eclectic Collection of Vintage and Antique Items A diverse assortment of vintage and antique artefacts, dating from the late 19th to mid-20th century, comprising decorative, utility, and personal memorabilia. ### Description: 1. **Keepsake Boxes**: - An oval-shaped lacquered box with a painted jungle scene featuring a tiger, likely of Asian origin, early 20th century. - A rectangular brass box with a smooth, polished finish, possibly for cigars or stationery items. - A black and gold rectangular lacquered box with intricate patterns, referencing Middle Eastern or South Asian art. - A smaller octagonal brass box, decorated with engraved motifs, likely a snuff or trinket box. - A wooden box with marquetry inlay, depicting floral or scenic elements, possibly European, 19th or early 20th century. 2. **Framed Photographs**: - A rectangular military portrait of a uniformed man, likely WWI-era (1914–1918), housed in a black frame with an inscription partially visible. - An oval frame containing a sepia-toned photograph of a young child, mid-20th century. - A silver-toned ornate rectangular frame with visible text, “R.H.L.,” mounted with floral embossing. 3. **Metalware**: - A hammered metal hip flask, potentially dating to the interwar period. - A curved stainless flask and another with textured detailing, consistent with early to mid-20th-century designs. - A miniature brass desktop armillary sphere, decorative but inspired by scientific instruments of the 19th century. 4. **Books and Ledgers**: - A leather-bound book with gold gilt detailing, late 19th to early 20th century design. - A green leather ledger embossed with “Midland Bank Limited,” indicative of personal financial use, mid-20th century. 5. **Scientific Equipment**: - A brass field microscope with a black base, late 19th to early 20th century, with adjustable focus features. - A pair of black binoculars, early 20th century, likely military or recreational. 6. **Stationery and Desk Accessories**: - A wooden stamp with a polished handle, likely for sealing wax, 19th or early 20th century. - A circular leather tape measure case or pocket accessory, early 20th century style. ### Historical and Collectible Context: The collection showcases fine craftsmanship and proportions reflective of the late Victorian through to the mid-20th century. Military memorabilia, scientific instruments, and decorative items within the grouping suggest it originates from a private collector or estate sale.

Pair of Balinese Wooden Sugar Wood Carvings A pair of Balinese wooden carvings crafted from sugar wood, each standing 15 inches tall. These intricate sculptures depict the Hindu Goddess Sita, adorned with detailed headdresses, flowing drapery, and nature-inspired motifs, including birds and floral embellishments. Showcasing traditional Balinese carving techniques, these pieces represent fine examples of Southeast Asian religious art.

Nora Chaese, "Bully of the block", Ölgemälde von 1883, im wohl originalen GoldstuckrahmenNorta Chaese, amerikanische Künstlerin des 19. Jhs., hier: 4 Jungs im "Halbstarken"- Alter stehen mit ihren Schuhputzkästen, Zeitungen und einer Geige vor einer Hauswand. Die beiden mittleren, älteren Jungs tragen mit Blicken einen Revierkampf aus, die beiden jüngeren stehen ihnen zur Seite. Interessante, sozialkritische Großstadt- Studie des ausgehenden amerikanischen 19. Jhs., Öl/ Lw., größere Restaurierung im oberen linken Drittel außerhalb der Personen, kleinere Schollenhebungen und Farbverlust in den Randbereichen, 55 x 45 cm, im breiten, wohl originalen Goldstuckrahmen, Gesamt: 85 x 70 cmHistory/ Geschichte des Gemäldes:Lot 22 - 19th & 20th Century American Paintings, Drawings, Watercolors & Sculpture23 jan 1984 - Christie's - New York NY, United StatesLot 6 - FINE ART - DECORATIVE ARTS - ASIAN ART - JEWELRY06 jan 2013 - Michaan's Auctions - Alameda CA, United States

A very rare "Benjarong" yellow ground double gourd vaseChina, Qing Dynasty (1644 - 1912), Daoguang (1820 - 1850)Bencharong is a unique type of enameled porcelain made exclusively for Siamese royalty of the Chakri Dynasty, between the late18th and early 20th centuries. This exquisite Bencharong porcelain vase, shaped in the classic double gourd form, is a testament to the rich artistic heritage of Southeast Asia, particularly Thailand.Bencharong, meaning "five colors," refers to the polychrome enamels used in the decoration of these ceramics. This vase exemplifies the unique blend of Chinese porcelain craftsmanship with Thai artistic sensibilities. The double gourd shape, symbolizing longevity and prosperity, is a popular form in Chinese and Southeast Asian ceramics. This vase features two bulbous sections, one stacked upon the other, creating a visually appealing and harmonious form. The narrow neck and flared rim add to its elegance. Bencharong vases like this were often used for decorative purposes, displayed in homes, temples, or palaces as symbols of wealth and status.Bencharong porcelain holds significant cultural importance in Thailand, where it was highly prized by the royal court and aristocracy. These ceramics were often commissioned as gifts or used in ceremonies, reflecting the wealth and status of their owners. Bencharong ware represents a fusion of Chinese porcelain craftsmanship with Thai artistic traditions, creating a unique and highly valued art form.Provenance: French private collection - Galerie art asiatique, MarseilleReferences: BENCHARONG in the JIM THOMPSON MUSEUM COLLECTIONWarren, William, Jim Thompson, The House on the Klong, text on the art collection by Jean-Michel Beurdeley, photography by Luca Invernizzi Tettoni, Singapore, Archipelago Press, 1999.Robinson, Natalie V., Sino-Thai Ceramics in the National Museum, Bangkok, Thailand and in Private Collections, Bangkok, The Department of Fine Arts, 1982.Rooney, Dawn, Betel Chewing Traditions in South-East Asia, Kuala Lumpur, Oxford University Press, 1993.Height: 36 cm€ 3 000 - € 4 000

A HENAN BLACK-GLAZED JAR WITH RUSSET DECORATION Jin-Song dynasty, compressed meiping form with short narrow tiered mouth, black-brown glaze with three russet painted florets to sides 19cm high From a private Singapore family collection, acquired 1970s-1990s, and thence by descent Condition Information: There is a chip to the mouth rim Additional Information: For a similar example see: Roseberys London, 16 May 2024, lot.636, and Bonhams, San Francisco, Fine Asian Works of Art, 29 June 2009, lot.8150 Ownership Statement: This item is offered for sale in the name of the owner, Loo Seh Chong. 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.

This magnificent Thai wooden cabinet, standing at 48"H and 27.5"L, features stunning hand-painted details that embody the country's rich artistic tradition. The front panels are adorned with beautifully intricate, gold-leafed depictions of royal figures or deities, representing spiritual guardians or celestial beings. These figures, characterized by their graceful postures and ornate attire, are often associated with protection and prosperity in Thai culture, symbolizing the divine presence and favor. The design showcases a delicate balance between rich, dark lacquered wood and vibrant gold, emphasizing the fine craftsmanship typical of Thai decorative arts. The cabinet's structure is made entirely of wood, with a rich red-painted interior and a single shelf, offering functional storage while also serving as a striking decorative piece. The symbolic use of gold leaf and the serene expressions of the figures suggest an offering of peace and prosperity, making this an exceptional addition to any collection focused on Asian art or spiritual symbolism. It is likely to have originated from the traditional Thai lacquerware and gilding techniques, highly regarded for their meticulous craftsmanship and cultural significance. This cabinet is an exceptional example of Asian craftsmanship and would be a stunning focal point in any room. Dimensions: 27.5"L x 48"HCondition: Age related wear.

Nasreen Mohamedi, Untitled, Ink and Pencil on Paper (1937-1990).This composition by Nasreen Mohamedi exemplifies her mastery of precision and abstraction, rendered through fine, intersecting lines that create an intricate play of geometric forms and depth. The delicate yet rigid structure of the piece showcases her distinct approach to modernist aesthetics, where linear elements evoke architectural landscapes and spatial illusions. Her restrained yet deeply expressive use of ink and pencil reflects an introspective and meditative artistic practice, often inspired by the rhythms of nature and urban environments. Mohamedi’s work remains a significant contribution to contemporary Indian art, pioneering non-representational forms in a period dominated by figuration.Nasreen Mohamedi (1937–1990) was a pioneering Indian modernist known for her minimalist and abstract aesthetic. Her works, primarily composed of delicate ink and pencil drawings, explored precision, geometry, and spatial abstraction, setting her apart from her contemporaries. Inspired by nature, architecture, and calligraphic traditions, Mohamedi's art was deeply meditative, reflecting an introspective approach to form and structure. She rejected figurative representation, instead creating intricate, rhythmic compositions that evoke a sense of movement and timelessness. Despite receiving widespread recognition only posthumously, her influence on contemporary Indian abstraction remains profound, positioning her as one of the most significant artists in South Asian modernism.Approximately 48 x 38cm

Asian Art, A fine Chinese green and yellow biscuit vase with dragon decor. Marked. | Height: 21 cm. | Condition: Minimal damage at the bottom edge.

A remarkable pair of Chinese Famille Rose Canton enamel vases, exquisitely crafted with vibrant polychrome enamel applied over a metal body. These vases feature an intricate design of white cranes set amidst a lush landscape of mountains, rivers, and blooming foliage, symbolizing longevity and harmony in Chinese culture. The turquoise background beautifully highlights the detailed scene, demonstrating the precision and artistry characteristic of Canton enamel work. Each vase is adorned with sculptural pink coral-branch handles on either side, adding a striking and unique decorative element. The interior reveals a smooth blue enamel finish, with minor areas of wear exposing the underlying metal, likely copper. The bases bear a blue, square seal mark, suggesting a 20th-century Qing Dynasty revival period. This pair represents the pinnacle of Chinese enamel artistry and is a highly collectible addition to any fine Asian art collection. Issued: 20th centuryDimensions: 16.25"HCountry of Origin: ChinaCondition: Age related wear. As is. Small crack on one of the handles. Small dent on one side.

This is a delicate and serene Chinese panoramic watercolor and ink painting on paper featuring a botanical scene of blooming white lotus flowers and lush green leaves, accented by dragonflies in flight. The artwork captures a tranquil natural setting, showcasing intricate details such as the fine veining of the leaves, the texture of the lotus pods, and the translucent wings of the dragonflies. The muted earthy tones and precise brushwork evoke the aesthetics of traditional Asian art, specifically inspired by nature scenes. The piece is framed in an elegant gold-tone wood frame with a beaded inner edge, complementing the soft tones of the painting. The horizontal orientation makes it a striking decorative piece, ideal for adding a sense of peace and refinement to any space. Artwork dimensions with frame: 76"L x 17.75"H x 1.50"W. Dimensions: See DescriptionCountry of Origin: ChinaCondition: Age related wear. Minor color loss on upper right center.

A fine collection of quality Chinese Art reference books. To include Chinese Art, Antique Jade, Asian Furniture, Chinese Jades,

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) DARK BORDERS LANDSCAPE, 1925 Signed and dated to canvas verso, oil on canvas 63.5cm x 76cm (25in x 30in) If you have had the pleasure of visiting the long-anticipated, newly re-opened Scottish Art wing at the National Gallery of Scotland in Edinburgh (re-opened 2023), the first painting you are likely to have set eyes on is the monumental masterpiece ‘A Point in Time’ (1929/37) by William Johnstone. The huge canvas is a formidable sight; with abstract twists of black, blues and greens creating fathomless caverns. It is hung against a bold, blood-red wall immediately facing the entrance. In this phenomenal artwork the curators of the National Galleries found the key visual within the collection to challenge tired perceptions. The re-hang’s opening statement could not be clearer: 20th century Scottish art was seriously accomplished, outward-looking and Modern with a capital ‘M’. This curatorial choice also elevates Johnstone himself emphatically and with purpose; literally centralising his significance within the story of Scottish art – not to say international modernism - as never before. Born in the Borders in 1897 to a farming background, Johnstone, a powerful personality, mixed with other radical thinkers in the Edinburgh College of Art in the 1920s. Alongside the poet Hugh MacDiarmid, Johnstone was pivotal within the conception of the “Scottish Renaissance”. This was a cultural movement spanning art and literature that looked to move away from the perceived stagnancy of the centralised British cultural self-view, advocating instead a modernisation - and independence - of Scottish political and cultural values. Though Johnstone’s origins were immutably tied to the Scottish landscape, his burgeoning career soon took a decisively international direction. In 1925 he was awarded a Carnegie Travelling Scholarship which enabled him to study in Paris with André Lhote at the Académie de la Grande Chaumière, as well as the Atelier Colarossi. In 1926 he travelled further afield to Spain, Italy and North Africa, accompanied by Max Bernd-Cohen, an American lawyer-turned-artist who become a lifelong friend. His circle of acquaintances in Paris at that time included the artists Alberto Giacometti, Fernand Léger, and the eminent collectors Leo and Gertrude Stein. In 1927, Johnstone married the American sculptor Flora MacDonald, spending subsequent years in America and Scotland. They settled in London in the 1930s, with intermittent teaching commitments enabling him to return to America sporadically for the next twenty years. Indeed, it was teaching that became his major life’s work and he was no less innovative within this field than within his art practice. He held the position of Principal at the Camberwell School of Art and Design between 1938 and 1945 and later at the Central School of Arts and Crafts. In this capacity he is credited with evolving the ideologies of each school, bringing them more in line with Continental art and design principles akin to the Bauhaus and creating teaching opportunities for exciting young avant-garde artists including Richard Hamilton, Victor Pasmore, Alan Davie and Eduardo Paolozzi. His services to education within the arts earned him an O.B.E. Sojourns teaching in America included positions as Fulbright Lecturer and Director of the Colorado Springs Fine Art Centre Summer School. He also lectured at the Frank Lloyd Wright Foundation in Taliesin, Wisconsin, in 1949 and 1950.  Johnstone’s friend and colleague, the artist and theorist Anton Ehrenzweig, identified three stylistic phases in Johnstone’s painting career. Firstly, a surrealist phase of the 1930s, a cubist phase of the 1940s and finally his calligraphic or tachist phase of the 1950s. ‘Dark Borders Landscape’, dated 1925, can be read as a psychological take on the Scottish landscape; a brooding, abstract suggestion of elemental forces, mood and place. His Borders landscapes are often executed in the darkest of tones, as here. Art historian Beth Williamson has suggested a psychological interpretation of the tumultuous dreichness inherent within these early Scottish landscapes; perceiving a troubled relationship with the soil he and his kin sprang from and laboured over so tirelessly, but which offered only the scantest living in return. She also notes the sense of alienation Johnstone felt upon his return to his home farm after having been conscripted in World War I. Despite fortunately never seeing active duty, the distress caused by the exposure to traumatised front-line soldiers, paired with the sense of his own fate hanging perilously in the balance while waiting for the call up, forever changed the young artist. Even as early as the 1920s, Johnstone had developed an innovative and unique paint application that embraced expressive, totally intuitive brushwork. This expressionistic take on abstraction - “dripping” his paint as early as the 1920s - latterly saw his work referred to in the context of American Abstract Expressionism (the so-called “action painters”). Johnstone’s work in fact pre-figures this school of artists and his approach has, as Ehrenzweig indicated, much more in common with the ‘automatic drawing’ techniques of the Parisian Surrealist school in Paris: psychological forces made tangible in paint. The goal of Johnstone’s art practice was to assimilate his interests and fields of influence to totally unique effect, evolving an entirely personal style. His reference points were diverse but always drawn to that which is distilled and instinctual over pre-meditated: from the Pictish carving of his Scottish homeland to the New Mexico school, and from Asian calligraphy to Primitivism and the artwork of children. At the heart of his paintings, whatever the period, you will always find expressive, intuitive mark-making.This creative belief-system was extrapolated to its extreme in the plaster relief series he created in 1970, as an elderly man. In these works, from one of the most celebrated decades of his artistic career, the physical and metaphysical combine to create extraordinary sculptural objects that read as simultaneously ancient and futuristic. “The earth has been a very great creative mother for the artist, the poet, the composer; but the material of the soil can produce its own art. With these thoughts I made my plaster reliefs in order to find confirmation of my conviction that the medium of plaster would itself reveal its own miracle. I knew that in myself I must produce a condition, relaxed and free from thought or deliberation; that which would be produced through my hands would then be from my inner self and be completely unconscious. I throw the lump of crude, wet plaster on the smooth polished surface; a gesture pf creation... and the plaster sets.”  – William Johnstone, in the catalogue introduction for ‘Genesis’, ten plaster reliefs exhibited by the Scottish National Gallery of Modern Art in 1973.

Dimensions Height: 9 cm Wide 21 cm Depth 13 cm Weight: 1248 grams Intricately detailed with ornate carvings, floral motifs, and embellishments of turquoise and coral gemstones.A prominent circular design with concentric decorative elements sits at the center of the base.Nice Tibetan repousse fire gilt throne of a larger sculpture. Different turquoises and 2 red stones , the top of the base has an hole where the former sculpture was fixed.A rare and fine example of Tibetan metalwork with strong cultural significance.Suitable for collectors of Asian art, Buddhist artifacts, and sacred antiquities. Please have a look here

Earthenware, lead glaze, cold paint China Dimensions: Height 54.5 cm by 19.7 cm by 13 cm Weight: 5.3 kilograms The large figure is made of a straw-white terra-cotta and is decorated with bright green glaze, black and remains of red paint. Details of the wide eyes are applied in black paint and the lips are painted in red. The servant is depicted with broad shoulders, a braid of hair reaching down to his neck and a round face. His hands joined in front of the belly are covered with a red cloth. He is dressed in a knee-length green Qing style coat, which has the left collar overlapping the right one, and a long red undergarment with a stand-up collar. The clothes have walking splits on the back side. The man is wearing black Qing-style shoes. The sculpture is integrally fired on a square plinth. The use of tomb figures was a widespread practice in China since the Han dynasty (208 BC-AD 220) and came to an end in the Ming period. Earthenware figures decorated with green glazes were invented in the Tang period (618-906 AD), together with a new type of three-coloured pottery in green, amber and straw-white colours. Also in the Tang period, tomb figures were positioned on a plinth. This figure creates a mix of styles of the Han, Tang and Qing periods.Provenance: - 5th April 2002 from Jörg Magener , Zurich , Switzerland , The buying price was 3.200 CHF- 2021 bought at Hardt Auctions International , " The Hof Collection of Fine Art" The Hof Collection looks back on 30 years of collectorship in the field of Chinese and south-east Asian art. Its wide range and unique pieces are on display at the family office in Basel.

Ink and pigments on paper.It shows a beautiful still life, presided over by the central image of a glass vase filled with white and yellow chrysanthemums in bloom, which creates a compositional triangle with the two fruit bowls arranged on either side, containing appetizing pears and apples of vibrant yellow. The background, created with a palette of cool dark colours, purples, blues and greys, gives greater prominence to the vivid flowers and fruit, directing the viewer's gaze towards them.  The chromatic palette used, together with the loose brushstrokes and the elements without contours, have clear fauvist influences, which inevitably evoke the blue period of Pablo Picasso, among others. Likewise, the work shows a strong and undoubtedly personal character, visible in the outline of the petals, the morphology of the fruits, and the multiple lines arranged in the background, which reveal Fengmian's calligraphic discipline during his training, thus creating a unique fusion between traditional Chinese aesthetics and European pictorial currents.  Signed and stamped ‘???’ in the left margin. Size painting: 70 x 70 cm; Size with frame: 83 x 84 cmAttached is a certificate issued by Gerald Markowtz, grandson of the artist.  Provenance:- Hong Kong private collection. 1977, Lin Fengmian fled to Hong Kong where he gave the work to a friend, in whose collection it remained for generations until its final sale.- Current private Spanish collection (to the present day).    References: - Christie's. Fine Chinese Modern and Contemporary Ink Paintings. Lot 1084: Lin Fengmian ‘Dahlia’. 02 Dec. 2022. - Sotheby's. Beyond Legends: Modern Art Evening Sale. Lot 1044: Lin Fengmian ‘Still life’ April 18, 2021- The MET. Asian Art Collection. Accession Number: 1986.267.375 ‘Gladioli’.  Catalogue note:Lin Fengmian was born in Guandong province in the year 1900, and has a childhood marked by a traumatic event, the sale of his own mother into slavery. Shortly afterwards, a fortuitous chance event changed his life completely, as his lottery ticket won; with it, he travelled to Shanghai and later to France, thus receiving a complete artistic education, which marked his personal style. Over the years, and thanks to his constant work and undoubted talent for painting, he managed to make a name for himself on the international art scene, which was cut short during the Sino-Japanese war and the Cultural Revolution, for which he had to destroy a large part of his work and suffer a period of imprisonment. All the vicissitudes he suffered did not put an end to his passion for art, and that is why he left China in 1977 to settle with his family in Hong Kong, where his production did not cease, even attempting, on occasions, to recreate the first paintings he had to destroy. Lin Fengmian died in 1991 in Hong Kong at the age of 90.  Notice to interested bidders. Please complete the premium registration in our auction room for this lot. Please contact us at: info@subastasdarley.com or (0034) 960 46 16 88

Krishna Shamrao Kulkarni (1916-1994)Untitled (Two Figures) signed 'KS Kulkarni' lower rightgouache on paper, framed37.5 x 51.2cm (14 3/4 x 20 3/16in).Footnotes:Note: There is a 'Kumar Gallery' label on the reverse which provides a biography of the artist.ProvenanceProperty from a private collection, Netherlands;Acquired from Grogan & Company, Fine Art, 28th October 2023, lot 114.K.S. Kulkarni was a pioneering Indian modernist whose artistic practice traversed multiple styles and themes, making him a vital figure in the narrative of 20th-century Indian art. Born in Karnataka, Kulkarni studied at the prestigious Sir J.J. School of Art in Mumbai and went on to co-found the Delhi Shilpi Chakra in 1949—a collective that played a significant role in shaping the post-Independence art scene in India. Known for his dynamic compositions and versatility, Kulkarni's work ranged from figurative explorations of rural life and folk traditions to abstract forms that encapsulate the rhythm and energy of the modern world.Untitled (Man and Woman) exemplifies the artist's masterful handling of form and colour, reflecting his deep engagement with human relationships and traditional Indian motifs. The composition features a man and a woman, stylized and simplified, sitting in close proximity. Their elongated forms convey a sense of harmony and connection, while the use of earthy tones reds, ochres, and deep browns adds warmth and intimacy to the scene. Kulkarni's expressive lines and subtle detailing capture the essence of the figures without focusing on minute facial expressions, lending the work an almost iconic quality. The background, rendered in soft, muted hues, serves as a gentle contrast to the figures, creating an overall balance and highlighting the interplay between the human presence and the surrounding space.To see a similar work sold at auction see Christies, South Asian Modern & Contemporary Art, 18th September 2024, lot 702.For further information on this lot please visit Bonhams.com

A CHINESE JADEITE SNUFF BOTTLE late 19th century, the apple green and lavender stone carved to one side with two confronting fish and a line of ascending bubbles, 6.5cm high overallProvenance: Bonhams, Fine Asian Works of Art, Property from the Linda Riddell Hoffman Collection, 20th December 2011, lot 8007.The Dick Hardy Collection.

Ilbery, London. An exceptionally fine, very rare & important gold and enamel centre seconds duplex pocket watch, made for the Chinese market, No.6068, made circa 1820. Enamel scene attributable to Jean-Louis Richter Highly decorated gilt movement with duplex escapement, three-arm steel balance with diamond end-stone, blued steel balance-spring and blued steel compensation weights. White enamel dial with black Roman numerals, outer minutes, outermost 15 minute numerals, gilt hands with centre seconds, large gold case with decorated sprung cuvette, hinged reverse with central finely enamelled scene featuring period (Georgian) dressed sisters picking fruit within a country manor estate, the outer and bezel with matching blue, white, turquoise and red enamel decoration, the bow similarly decorated with pale blue enamel. Inner case back additionally numbered 44.  Diameter 59mm. The identical watch in all aspects, movement number 6067 and similarly numbered 44 to the inner reverse, was sold by Christie's London in 2005. Although Chinese market watches were sometimes created as a ‘mirror pair’, identical examples are especially rare.Jean-Louis Richter (1766-1841) is considered a master-enameller with examples of his work found, amongst other places, in the Metropolitan Museum of Art. Specialising in landscapes and marine scenes for snuff boxes and watches for the Asian markets, this example is particularly notable for the original undamaged condition of the principle enamel scene.William Ilbery (1760-1839) is one of the highest regarded and best known London makers of watches for the Asian market, adopting the decorated style of movement with duplex escapement with raised barrel, as found on this example. The cases Ilbery used for his Asian market watches were always of the highest quality and he worked with some of the best Genevan enamellers of the period such as Jean-Francois-Victor Dupont and Jean-Louis Richter. In researching this lot, examples of Chinese market watches by Ilbery that have previously appeared at auction, numbered 60XX, are of similar size, style featuring European characters, and usually described as ‘exceptional’.

A collection of Asian Art reference books and catalogues to include Imperial Porcelain Recent Discoveries of Jingdezhen Ware, three S. Marchant & Son books on Chinese Jade, Blue and White Porcelain, and Recent Acquisitions 2002, and a 1989 Christie's Fine Japanese Works of Art Catalgue (qty.)Provenance: The Estate of the Late Jackie Mann

Parviz Tanavoli (Iran, born 1937)Standing Heech fibreglasssigned 'Parviz' and dated '07' on the base, numbered 16/25, number 16 from an edition of 25, executed in 200759 x 28cm (23 1/4 x 11in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainNote:This work is accompanied by a certificate of authenticity signed by the ArtistReflections of Persia: The Varzi Collection of Modern and Contemporary Iranian ArtThe Varzi Collection of Modern and Contemporary Iranian Art offers a thoughtfully curated selection of works that showcase the diversity and richness of Iran's artistic heritage. Built by Hamid Varzi, this collection reflects both the cultural depth of Iranian art and his personal journey of staying connected to his homeland while living abroad. With a range of works spanning from early modern pioneers to contemporary artists, the collection provides a comprehensive look at the evolution of Iranian art across time and borders.Hamid Varzi, born in Tehran, moved to the United Kingdom as an infant and pursued his education at Trinity Hall, Cambridge University. After completing his studies, he returned to Iran in 1972, where he served in the military and played for Iran's National Hockey Team at the 1974 Asian Games. Eventually, Varzi relocated to Germany, where he established several successful commercial ventures over the next two decades. His return to Iran in 2000 marked a new chapter as he took on leadership roles in banking and industry before settling in Spain in 2017. Today, Varzi is an accomplished writer, with published works in novels, poetry, and screenwriting.The Varzi Collection, built over many years in Tehran and now housed in a grand villa in Marbella, Spain, mirrors the experiences of so many Iranian artists who, like Varzi himself, have navigated life abroad but remain deeply connected to their cultural roots. This dynamic collection is not only a personal expression of Varzi's dedication to preserving Iranian heritage but also an embodiment of the broader reality faced by millions of Iranians in the diaspora—rebuilding their sense of Iranian-ness in foreign lands while always carrying the essence of their homeland with them.What sets the Varzi Collection apart is its extraordinary chronological breadth, encompassing works that span both the early pioneers of Iranian modernism and the emerging talents of contemporary Iranian art. The collection is a seamless blend of traditional motifs and avant-garde experimentation, offering viewers a comprehensive journey through the evolution of Iranian artistic expression.The Varzi Collection brings together an impressive range of media and subject matter, spanning both early pioneers and contemporary voices in Iranian art. From the works of renowned figures like Marcos Grigorian, Parviz Tanavoli, and Monir Farmanfarmaian—who were instrumental in shaping the trajectory of Iranian modern art—to the younger generation represented by Rokni Haerizadeh, whose iconic painting from the Divan restaurant in Tehran is a highlight, the collection is both diverse and cohesive. Among the standouts are two rare early works by Farideh Lashai, including an abstract work on paper from the 1970s and a dynamic, expressive tree composition from the 1980s. Additionally, Bahman Mohasses' ghoulish head of a minotaur, one of his most recognizable themes, offers a haunting presence in the collection. The Varzi Collection reflects a wide spectrum of Iranian art, representing both male and female artists, emerging and established figures, and those working within Iran and abroad. It truly captures the richness and breadth of Iranian artistic expression across different eras and styles.In Varzi's collection, one can read the collective narrative of Iranian artists —the ability to adapt, rebuild, and thrive despite the many challenges of displacement. Each piece serves as a visual homage to the nation's enduring spirit, while the collection as a whole celebrates the richness of Iranian art across generations and across borders. As it moves to auction, the Varzi Collection is not only a unique opportunity for collectors but also a profound statement of cultural continuity and pride. Parviz Tanavoli: Heech The Father of Iran modern sculpture, Parviz Tanavoli was born in 1937 in Tehran, Iran. In 1955, Tanavoli was one of the very first students to enrol in the newly established Tehran School of Fine Arts. A few years later, he left Iran to further his education in sculpting at the Brera Academy of Milan. Tanavoli returned to Iran and established Atelier Kaboud, which became the birthplace of the most significant and avant-garde Iranian modern art movement, the Saqqakhaneh movement.In 1965, Tanavoli created his first Heech sculpture. His signature Heech series is composed of three Farsi letters in the Persian calligraphy style of nastaliq. Tanavoli protested against the empty overuse of traditional forms by giving new depth to the two dimensional calligraphy on paper and transforming it into a three dimensional object. A pioneer of his practice, Tanavoli has produced numerous Heech sculptures in various mediums such as bronze, ceramic, fiberglass and neon and in many different shapes, sizes and colours to expose people with the concept of 'nothingness'.This present sculpture of the Heech is a fine example of Tanavoli's use of fiberglass, a medium he embraced during his later work and through which he found great versatility in form and freedom of expression. To Tanavoli, the concept of nothingness has multiple layers of meanings and is not necessarily an expression of despair and hopelessness. One interpretation relates to Persian Sufism, in which nothing is an aspect of God, who creates everything from nothing. The other is that the physical shape of the word has an appealing volume and a life like form. This repetition of design in his oeuvre is also reflective of the traditional Islamic practice of repeating a craft in the quest for perfection.Tanavoli's practice focuses on the intersection of both traditional Persian folk art and contemporary practices in a career spanning over six decades.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 scene from a Ramayana series (the 'Second' Guler Ramayana), depicting Vibhishana, younger brother of the demon king Ravana, together with a retinue of demons bearing gifts, in audience with Rama, the monkey army standing round about Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 255 x 358 mm.Footnotes:ProvenancePrivate collection, Germany.This painting is an illustration from the series known as the 'second' Guler Ramayana, attributed to the first generation of artists after Manaku and Nainsukh. The first section of the series is referred to by W. G. Archer as the Kangra Ramayana series, and is dated circa 1775-1780 (and also as the 'Bharany' Ramayana). This comprises illustrations from the first three books of the Ramayana. Our painting belongs to the second section of the series, comprising illustrations from Books Five and Six, and specifically to Book Six, the Yuddhakanda or the Book of War. Goswamy and Fischer date this second section to circa 1790 and list known paintings belonging to it (M.C. Beach, E. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p. 690).For other depictions of the figure of Vibhishana see, for example: Sotheby's New York, Indian and Southeast Asian Works of Art, 21st March 2012, lot 210, depicting Vibhishana bowing before Rama, surrounded by the monkey and bear army, with the fortress of Lanka in the background).In a quieter scene, depicting Sagara (personification of the ocean) appearing before Rama and others, see Sotheby's New York, Important Indian Miniatures from the Paul F. Walter Collection, 14th November 2002, lot 84.Other examples from this series have appeared at auction: particular comparison can be made with the following:Christie's, Arts of India, 12th June 2018, lot 26 (depicting Rama, Lakhshmana and Sita at the hermitage of Bharadvaja).Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89 (Rama and Lakhshmana conferring with the monkey army while other monkeys are in combat with the demon army).Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, 22nd March 2002, lots 59 and 60 (Guler or Kangra, circa 1790; the trees and branches carried by the monkeys are prominent - hints of Birnam Wood come to Dunsinane - and the decoration on the demon chariots is very similar).Sotheby's New York, Indian and Southeast Asian Works of Art, 20th March 2013, lot 319 (Rama and Lakhshmana wounded by the arrow of Indrajit).Sotheby's New York, Indian and Southeast Asian Art, 19th September 1996, lot 185 (the monkey army beginning their assault on Lanka under the direction of Rama).Sotheby's, Oriental Manuscripts and Miniatures, 23rd April 1997, lot 149 (Hanuman conducting a reconnaissance of the fortress of Lanka).Sotheby Parke Bernet, New York, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, 14th December 1979, lot 225 (there attributed to Garwhal, circa 1800).Another painting from the series is in the LA County Museum of Art, illustrated in R. C. Craven, Ramayana: Pahari Paintings, Bombay 1990, pp. 98-99, fig. 8. Other pages are also found in the Mittal Collection, Shimla Museum, and the Metropolitan Museum of Art, New York.For other pages from the this series see: B. N. Goswamy and E. Fischer, Pahari Masters, Delhi 1997, nos. 143-145, pp. 340-343; D. J. Ehnbom, Indian Miniatures: the Ehrenfeld Collection, New York 1985, nos. 116-118; S. Kossak, Indian Court Painting, 16th-19th Century, New York 1997, no. 62.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 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 XINGYAO LOBED CONICAL BOWLFive Dynasties PeriodElegantly potted and rising from a short foot ring, the straight sides divided by ribs into five lobes, covered overall in a thin transparent glaze showing the ivory white body, Japanese wood box. 15.4cm (6in) diam. (2).Footnotes:五代 邢窯白釉花口碗Provenance: Uragami Sokyu-do, Tokyo, JapanA Japanese private collectionJ.A.N Fine Art, London (label)An Asian private collection來源： 浦上蒼穹堂，東京，日本日本私人收藏倫敦古董商J.A.N Fine Art（據標籤）亞洲私人收藏Compare with a related Xingyao conical bowl with five lobes, Tang dynasty, illustrated B.Gyllensvard, Chinese Ceramics in the Carl Kempe Collection, Uppsala, 1964, p.110, no.328.See also a related Xingyao flower-form bowl, late Tang/early Song dynasty, which was sold at Christie's New York, 22 March 2013, lot 1171.For further information on this lot please visit Bonhams.com

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

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

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

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

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

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

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

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

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