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A collection of paintings including two watercolours, pencil drawing and a map of Oxfordshire to/w a Chinese bird on silk, framed (7)

Colorful gouache painting on paper attributed to Chinese artist Liu Feng Tao. The artwork depicts a lively and stylized scene of women and children gathering cotton in a green field filled with rhythmic floral patterns. The composition conveys a sense of harmony and labor through repetitive movement and vibrant colors. Liu Feng Tao is a contemporary Chinese artist noted for stylized, expressive depictions of rural and folkloric scenes, often featuring communal life and traditional Chinese farming culture. His work blends modern visual abstraction with cultural narrative, drawing from traditional motifs and childhood memories. Signed in Chinese characters at lower left with a red seal. Presented in a double mat and framed in a dark wood frame with a gilt inner edge.Artist: Attributed to Feng Tao Liu (Chinese, b. 1951)Issued: c. 1980Dimensions: 26.75"L x 22"H Country of Origin: ChinaCondition: Age related wear.

* GARY ANDERSON RSW (SCOTTISH b. 1960), WHO BURNT UMBER! (KEVIN MONTEITH LEAVES HOME IN A DRAMATIC FASHION) mixed media on paper, signed, titled and dated 1989mounted, framed and under glass image size 31cm x 31cm, overall size 44.5cm x 44.5cm Handwritten artist's label versoLabel verso: Ewan Mundy Fine Art, GlasgowNote: Gary Anderson, born in Glasgow, studied Drawing & Painting at Glasgow School of Art graduating in 1984 with a BA Honours Degree in Fine Art. He had early success, winning the John D Kelly Award in 1981. Further awards included D W T Cargill Award, in 1987, and Arthur Young Exhibitionship Prize, 1987 (solo exhibition in 1988), both at Royal Glasgow Institute of the Fine Arts. In 1989 he won the Elizabeth Greenshields Foundation Award and the Arts in Fife Purchase Award, Fife House Collection. On graduating Gary was selected to participate in the renowned Compass Gallery’s New Generation Show, who represented him at Art Fairs in Bath and London. His mixed exhibitions include the Open Eye Gallery and Mercury Gallery, Edinburgh; Art For Africa, City Art Centre, Edinburgh, 1985; Schweinfurt Touring Exhibition (West Germany), Open Circle, 1986; Ewan Mundy Fine Art, Works on Paper, New York, 1991; Scottish National Portrait Gallery, ‘Artists by Artists’, 1999. He has had numerous annual solo exhibitions with Ewan Mundy Fine Art, Glasgow from 1990-2012. He exhibits with the RSW and RGI and currently with Gerber Fine Art, Glasgow. Anderson’s work shows fine draughtsmanship, rich colour in the Glasgow tradition and a quirky imaginative streak, drawing on such sources as Chinese watercolours and the circus.

Commonplace Book, manuscripts, drawings, watercolours and ephemera, 50pp. excluding blanks and with ephemera loosely inserted, with contributions, in several hands, some pasted in, from multiple people, including: autograph inscription, partly in Fijian by James Calvert, missionary in Fiji; pencil drawing of a castle in the Gulf of Akaba; pencil drawing of The Lower Loch Erne by Mary F. Cameron; Martin Tupper autograph poem (marked "original copy”) coupled with an autograph letter to an editor by Tupper regarding proofs (published as "Self-Reliance" but the autograph poem uses the different title "Individuality”), also with an early photograph of Tupper; Chinese inscription of a poem signed Tyeng Howqua (?Howqua Valley in Victoria, Australia), some ff. loose or working loose, original blind-stamped boards, rubbed, covers detached, spine defective with small loss, g.e., sm. 4to, 1844-85.

A 20thC Chinese famille jaune porcelain vase, of pear form, decorated with reserves of ladies playing a board game, and a lady drawing, within a ground of repeating flowerheads and bands of flowers, six character Qianlong seal mark, 45cm high.

A rare pair of Tibetan inspired Chinese aubergine-blue glazed porcelain ewers, Kangxi, with gilded details, later mounted with wooden European handles, 44.5cm high (2)This type of ewer was made in different forms, some with the addition of a porcelain handle and some without. These examples have the original mask rings seen above and below the later wooden handles. The Buddhistic lion mask rings are pierced, presumably to allow the fixing of a metal handle. For a rare Kangxi porcelain sancai glazed example see, Treasures from Snow Mountains, Gems of Tibetan Cultural Relics, Shanghai Museum, 2001, no. 107. A Kangxi biscuit enamelled ewer with floral scroll decoration was exhibited in the Museum fur Kunst und Gewerb, Hamburg, and illustrated in Tausend jahre chinesische Keramik aus Privatbesitz, Hamburg, 1974, no. 111. Another Kangxi Famille Verte example, decorated with panels containing bird and flower scenes, is in the Grandidier Collection in the Musée Guimet, illustrated in The World's Great Collections, Oriental Ceramics, vol. 7, Musée Guimet, Paris, Kodansha, Tokyo/New York, 1981, no. 132. None of the three Kangxi ewers have handles, but instead they have rings similar to this pair. Provenance: The Drawing Room Mantelpiece at Adlington Hall, Cheshire Formerly the Legh Family of Adlington Hall清康熙 茄皮紫釉鎏金多穆壺一對拍品來源：英國Adlington Hall大宅私人收藏 Condition Report: both spouts restored and with later made handles one spout rim damagedThese vases were removed from the mantlepiece in the Drawing Room at Adlington Hall Cheshire where it is believed they had been for many generations. The Legh Family owned Adlington Hall for many centuries and it is possible these ewers came into the house in about 1739 when Charles Legh inherited the estate and embarked upon an ambitious plan of improvements to the house.  Condition Report Disclaimer

After Valerie Mclean Colour print "May Hill - Winter", signed and titled on mount, framed and glazed, mount aperture 38cm x 28cm, a watercolour of marshland with trees, signed P. Mercer, a stipple drawing of a house by Nicola Hathaway, signed and dated 1995 lower right, a Chinese famille noir-style lidded ginger jar converted into table lamp, five assorted paintings, four watercolours and a print depicting coastal and maritime scenes and The Shamrock Shipping Co Ltd ledger, leather bound 

A Chinese Chippendale Revival chinoiserie decorated and parcel-gilt satinwood three-piece drawing room suite, in the Cockpen taste, each splat decorated with a Chinese figure in a landscape, the sofa 96.5cm high, 184cm wide, the seat 167cm wide and 72cm deep, the chair 90.5cm high, 78.5cm wide, the seat 61cm wide and 79cm deep, early 20th century (3)

Blue and white export ‘Burghley House’ dishChinese, circa 1740finely decorated in the well with a central scene depicting a Tudor-style multi-storeyed mansion surrounded by an expansive lawn, a hovering pheasant and a further one perched on a pine tree, all within a floral strapwork at the rim, 32cm diam.Provenance: A private English collection via a deceased Estate.Phillips, London, 21st January, 1981, lot 250Notes: Burghley House, built between 1555 and 1587 for William Cecil, 1st Baron Burghley (1520–1598), served as the residence of Queen Elizabeth I’s (r. 1558–1603) chief advisor. Cecil held the position of Secretary of State twice (1550–1553 and 1558–1572) and became Lord High Treasurer in 1572. The house itself is a celebrated example of Tudor architecture and is home to an esteemed art collection, particularly notable for its Chinese and Japanese export porcelains, as well as European and English ceramics. Depictions of Burghley House also feature on English delftware, showcasing compositions inspired by Chinese designs but typically without birds or ornamental borders. The source of these designs is believed to be a print by Johannes Kip (1653–1722) in Nouveau Théater de la Grande Bretagne (1715), based on a drawing by Leonard Knyff (1650–1722).A nearly identical blue and white dish depicting Burghley House, circa 1745, was sold at Sotheby's, London, 19 May 2021, lot 272. See also two blue and white oval platters, circa 1740, decorated with an identical design as the present lot, in the collection of the Peabody Essex Museum, Salem (inv. no. E81797) illustrated by W.Sargent, Treasures of Chinese Export Ceramics From the Peabody Essex Museum, New Haven, 2012, p.139, cat.no.47. Minor firing imperfections, tiny nicks and some surface wear. Hair crack.

CHINESE DRAWING ON SILK, depicting two vases of flowers and a fish tankframed and under glass37cm x 37cmStains,additional images added to the website no other visible damage to the lot

Chinese Guangzhou School ((mid 19th century))Album of 22 watercolours on pith paper and a pencil drawing on rice papercontaining sixteen full page paintings on pith paper with ribbon borders, comprising seven of flowers and insects, five of birds and foliage, four of mandarin or trade figures, six half page pith paintings, comprising two of boats and four of torture, together with a single pencil drawing on rice paper of the Hongs of Canton 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. 

Christopher Wood (1901-1930) 'á Madame Laloy amicalement' signed, inscribed with title, and dated 'Christopher Wood/1926' u.l., pencil 49 x 32cm Provenance: Sotheby’s, London, ‘Drawings and Watercolours from the Collection of the Late Sir John and Lady Witt', 19 February 1987, lot 393. This portrait depicts Madame Laloy, the wife of musicologist Louis Laloy, and most likely dates from the spring of 1926, when Christopher Wood was most friendly with them. In a letter to his mother in March 1926, Wood expressed an ambition to design a ballet with Laloy and, later that year, he met Laloy and the French composer Georges Auric in London, to discuss designing scenery for a Chinese play. Previously, Wood had been commissioned by Diaghilev to create designs for his 1926 production of 'Romeo and Juliet', however, these were later replaced with designs by Miró and Ernst. This period marks a shift in Wood's work. His view of his French connections began to change and he began to turn his attentions away from the ballet. It was at this moment that the character of Wood's work would start to develop, moving away from the modernist influences of Cocteau, Picasso and Diaghilev. By August 1926, Wood's work was influenced by his friendship with Ben and Winifred Nicholson. This new outlook would shape his work in Cornwall and Brittany over the next four years. The drawing offered for sale showcases Wood's minimalist approach to line, capturing form with just the essential details. Condition ReportFramed: 66 x 47cm Time staining. Creasing around the edges. A little dirt and discolouration along the top edge. Not viewed out of glazed frame.

Three Chinese underglaze blue and red snuff bottles, Qing Dynasty, 19th century. The left bottle depicting the famous story San Gu Mao Lu (三顾茅庐) from the historical novel Romance of the Three Kingdoms (三国演义); the central bottle illustrating a Daoist hermit drawing a Bagua (Eight Trigrams) and engaging in other practices; the right bottle featuring an elderly man fishing, with a four-character inscription Qing Yang Dao Ren (卿阳道人) at the base. Height (from left): 6.5cm, 7.5cm, 5cm.清19世紀 青花釉里紅鼻煙壺（共3件）Provenance: a private collection in Cambridge來源：劍橋私人收藏 Left: two tension lines on the foot rimMiddle: two repairs on the mouth and around the foot rim (see UV images)Right: a flake at the mouth rim左 - 足沿有兩條應力線 中 - 口沿及足沿有兩處修補（見紫外線圖片） 右 - 口沿有一飛皮

Collection of pictures to include two signed 1982 Cheltenham / Grand National signed racing prints, Kenneth Wynn chalk pastel racing drawing, two Chinese water colour paintings, and a framed Chinese Government £20 bond.

John Newberry RWS (British 1934-): Chinese Temples, pair watercolours signed in pencil 20cm x 30cm (2)Notes: Newberry read Architecture at Cambridge, but changed courses, moving to Newcastle where under Lawrence Gowing and Victor Pasmore he graduated in Fine Art in 1960. He taught at the Ruskin School of Drawing 1963-1989. Exh. Chris BeetlesCondition Report: Excellent condition, good original colours. Well presented, ready to hang

Jessie Makinson Don't Wrinkle Him, 2025 Watercolour, gouache, and chinese ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jessie Makinson (b. 1985, London) lives and works, London. Makinson's work is in the collections of the British Museum, London; Long Museum, Shanghai; Hessel Museum, New York; and X Museum, Beijing. She has had solo exhibitions at Lyles & King, New York, US; Francois Ghebaly, Los Angeles, US; Galería OMR, Mexico City, MX; among others. Her work has been exhibited in group exhibitions including British Art Now, Telegraph Foundation, Olomouc, CR; The Descendants, K11 MUSEA, Hong Kong, CN; Machines of Desire, Simon Lee Gallery, London, UK & Hong Kong; Drawing Attention: Emerging British Artists, British Museum, London, UK; Der abscheuliche kuss, Kunstverein Dresden, Dresden, DE; Dancing in Dark Times, Pippy Houldsworth Gallery, London, UK; I See You, Victoria Miro Gallery, London, UK; No Patience for Monuments, Perrotin, Seoul, KR; In the Company Of, curated by Katy Hessel, TJ Boulting, London, UK; Formal Encounters, Nicodim Gallery, Bucharest, RO; among others. Makinson is represented by Lyles & King, New York and Francois Ghebaly, Los Angeles.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Xin Chen Little by Little my Nights got Better 01, 2024 Oil pastel and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Xin Chen is a Nottingham-based Chinese visual artist whose work spans ceramics, drawing, and collage. Her practice is marked by a playful engagement with physical and visual materials. Xin's intuitive process results in spontaneous pieces that explore the balance and mystery of the universe. Her practice investigates the relationships between nature and humankind, the subconscious and the cosmic, revealing unexpected discoveries and connections related to her childhood memories. Education 2023-2025 MFA in Fine Art, Nottingham Trent University, Nottingham, UK Solo Exhibitions 2019 108 Pattern Project, Shuxia Gallery, Chengdu, China Group Exhibitions 2024 The Last Horror Show, BACKLIT Gallery, Nottingham, UK BACKLIT Gallery Members Show, Nottingham, UK Frames Exhibition, Nottingham Contemporary, UK 2022 The Year of Tiger Exhibition, Shanghai Library, Shanghai, China Awards 2023 Merit Award, Hii Illustration International Competition 2022 Merit Award, Hii Illustration International Competition Statement about AOAP Submitted Artwork Little by Little, My Nights Got Better 1,2 depicts wild elephants wandering in the urban environment, exploring the relationship between nature and humankind. I used childlike and innocent combinations of colours and forms to convey a sense of playfulness and naivety. The compositions reflect my fascination with the juxtaposition of the organic and the constructed, raising questions about coexistence and harmony. What does it mean for wild animals to enter human spaces? Are we getting better? You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Xin Chen Little by Little my Nights got Better 02, 2024 Oil pastel and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Xin Chen is a Nottingham-based Chinese visual artist whose work spans ceramics, drawing, and collage. Her practice is marked by a playful engagement with physical and visual materials. Xin's intuitive process results in spontaneous pieces that explore the balance and mystery of the universe. Her practice investigates the relationships between nature and humankind, the subconscious and the cosmic, revealing unexpected discoveries and connections related to her childhood memories. Education 2023-2025 MFA in Fine Art, Nottingham Trent University, Nottingham, UK Solo Exhibitions 2019 108 Pattern Project, Shuxia Gallery, Chengdu, China Group Exhibitions 2024 The Last Horror Show, BACKLIT Gallery, Nottingham, UK BACKLIT Gallery Members Show, Nottingham, UK Frames Exhibition, Nottingham Contemporary, UK 2022 The Year of Tiger Exhibition, Shanghai Library, Shanghai, China Awards 2023 Merit Award, Hii Illustration International Competition 2022 Merit Award, Hii Illustration International Competition Statement about AOAP Submitted Artwork Little by Little, My Nights Got Better 1,2 depicts wild elephants wandering in the urban environment, exploring the relationship between nature and humankind. I used childlike and innocent combinations of colours and forms to convey a sense of playfulness and naivety. The compositions reflect my fascination with the juxtaposition of the organic and the constructed, raising questions about coexistence and harmony. What does it mean for wild animals to enter human spaces? Are we getting better? You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

* Strickland Family Archive. A collection of approximately 200 drawings, late 18th-early 19th century, by various members of the family, comprising 25 finely executed botanical preparatory studies, in partial watercolour and pencil (believed to be by Juliana Strickland), and approximately 175 pencil sketches and studies, mostly of historical buildings and landscape scenes, the majority on loose sheets, some in sketchbooks (one disbound), or in portfolios (one titled in ink manuscript 'Mrs Freeman's Sketches'), many captioned, some dated, together with: several ink manuscript letters, lists etc. by the Strickland family (especially Strickland Freeman and his wife Elizabeth), one dated 1798, unsigned and describing a tour of the country, visiting various estates including Woburn, another similar, dated 1817 and describing a tour around Devonshire, with accompanying itinerary; empty envelope addressed to 'Mr Freeman, Fawley Court'; a paper bi-fold roughly titled 'Monsters', containing numerous ink blot insects and animals; ink manuscript notes regarding oil painting, the materials used and their preparation; a pencil manuscript list of people met with notes about them (eg. 'good humour & honor' [sic], 'mate of the Perseverance East Indiaman', etc.), a small folder of leaf skeletons together with ink manuscript notes on how to make them, and a few silhouettes, also a folder containing 24 Chinese Export? watercolour drawings of a red plant (seaweed?) and 26 watercolour drawings of oysters?, some with Chinese annotations in ink manuscript, most with English ink manuscript annotations, apparently regarding prices, quality of the materials, and possible use of the red seaweed for making buttons, plus: a single folio sheet advertisement for 'John Holl, Bookseller, Printer and Stationer, High-Street, Worcester', circa 1790, printed on both sides with details of publications, pocket-books and almanacks, sealing-wax and wafers, musical instruments, colours and materials for drawing, painting &c., playing and printing cards, etc., also advertising a large selection from 'Holl's Genuine Patent Medicine Warehouse', including items for coughs, nervous disorders, for the stomach, for weaknesses, Dr. Hill's Herbal Medicines, etc., ornate woodcut printer's device to recto, both sides with outer typographical border, with some unrelated artworks and prints, comprising: an album of 14 sketches by Harry J. Johnson, some watercolour, some pencil; and another 17 items, sketches and prints, various conditions and sizesQTY: (A carton)NOTE:This collection of drawings and manuscripts comes from the archive of Apperley Court, Gloucestershire, the home of Henry Eustachius Strickland (1777-1865), his sisters Juliana and Charlotte, and his daughter Frances. The family members involved in this collection are believed to include Juliana Sabina Strickland (1765-1849), Elizabeth Freeman née Strickland (died 1821), and Frances Strickland (1803-1888). Possibly also Charlotte Strickland (died 1833) and John Henry Strickland (1818- ).The places drawn include: Bristol, Aysgarth Force, Fountains Abbey, Windermere, Richmond, Matlock, Warwick Castle, Battle Abbey, Valle Crucis Abbey, Cambridge, etc.Three female members of the Strickland family, Julia (also called Juliana), Charlotte, and their niece Frances were good watercolourists. Charlotte and Juliana were sisters who provided the 'exquisite' botanical illustrations for the work Select Specimens of British Plants, edited by their cousin and brother-in-law Strickland Freeman. Many of the pencil drawings are by their sister Elizabeth, who married Strickland Freeman of Fawley Court near Henley, in 1781.

A QUANTITY OF PICTURES AND PRINTS ETC, to include a Chinese 100 boys silk panel, approximate size 63cm x 32cm, a Balinese oil on canvas temple scene signed Tutna Bongkasa, an indistinctly signed oil on canvas depicting a Balinese dancer, a winter landscape featuring a windmill signed M. Bignold, oil on board, approximate size 60cm x 118cm, a South East Asian? fabric and needlework panel, approximate size 151cm x 47cm, a watercolour river landscape signed E.M. Diggle, a pencil drawing of James Dean signed S.J. Kershaw, unsigned oil on board depicting pomegranates, needlework pictures and assorted prints etc

Miniature Chinese Folding Tabletop Screen A decorative four-panel folding tabletop screen, likely of Chinese origin. Each panel features a hand-painted ceramic or porcelain tile set within a light-toned wooden frame, connected by brass hinges. The frames include pierced fretwork designs at the top and bottom, with darker-toned openwork detailing at the base adding to its craftsmanship. The painted porcelain tiles depict traditional Chinese scenes, carefully rendered with delicate brushstrokes. These include landscapes showcasing mountains, trees, rivers, bridges, and pavilions in soft tones alongside female figures in vibrant traditional attire engaging in cultural activities such as playing a pipa (lute), painting, or holding decorative objects. The paintings use a naturalistic palette with occasional bright accents. Each tile contains vertical Chinese calligraphy inscriptions and red seal stamps, likely artist markings or poetic verses related to the imagery. One panel includes a date, "1988.6.7," suggesting a late 20th-century creation, possibly drawing on traditional artistic styles. Approximate dimensions estimate the height of the panels to be 25–40 cm. This screen served as a decorative display item, highlighting traditional Chinese artistry and cultural themes. It is an intact example of craftsmanship, reflecting both aesthetic and collectible value.

A late 19th century pen and ink drawing of Potala at Lhasa. There is a personal message & three Chinese characters '爱利司' and on reserve. Mounted framed and glazed.Measures approx. 45cm H x 65cm WA present by a Chinese amban to a British officer in late 19th century, by repute.十九世纪2一位昂邦大臣赠予英国官员。

A collection of five artworks to include a signed and limited edition printed map on black paper, a Chinese ink drawing on paper with the artist's seal, and three other prints. All framed, one unglazed. Largest H.34 L.43.5cm

A plate, faience, «Detailed drawing» decoration in blue and vinous "Landscape with figure of Chinese man fishing", flap with "Figures and animals" centre of back with vinous inscription SOROR IACINTHA. DA MADRE DEVS, back of the flap with blue and vinous decoration "Branches", Portuguese, 17th C. (3rd quarter), minor faults on the glaze, small chips. Notes: back with paper collection label. Vd. MONCADA, Miguel Cabral de - "Faiança Portuguesa - séc. XVI a séc. XVIII". Lisbon: SCRIBE, 2008, pp. 64-70., Dim. - 37,2 cm

Duncan Grant (British, 1885-1978)Chinese Acrobat signed with initials and inscribed 'DG. Chinese Play' (lower left)charcoal on paper41.5 x 28.5cm (16 5/16 x 11 1/4in).Footnotes:ProvenancePaul Roche, and thence by descent toMartin Roche, from whom acquired by the present owner, 1992Private Collection, U.K.This drawing was made from studies Grant drew at a performance by Chinese dancers and acrobats in a London theatre in the 1950s. He used the drawing for the figure in the lower panel of the door in the downstairs library at Charleston, when he partially repainted the door in 1958. The figure on the door is orientated horizontally, as opposed to vertically, as it is in this drawing.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A Worcester teabowl and saucer, circa 1755Of octagonal form, painted in blue with the 'Romantic Rocks' pattern (I.B.8), two crossed rocks in the centre, a traveller ascending another rock to the left, a Chinese hut to the right and a figure in a boat passing by, with a diaper border, saucer 12.6cm wide, workmen's marks (2)Footnotes:ProvenanceCharles Dawson CollectionThis pattern was taken from a drawing entitled 'Romantic Rocks' by Jean Pillement, published in 'The Ladies' Amusement'. A similar example from the Pauline and David Tate Collection was sold by Bonhams on 18 June 2024, lot 328.For further information on this lot please visit Bonhams.com

Chinese blue and copper red porcelain snuff bottle, 19th Century, painted with figures drawing swords, six character Yongzheng mark, height 8cm; also a Chinese relief moulded porcelain snuff bottle, decorated with mythological figures riding mythical beasts, in colours, painted red Qianlong mark, 8cm; a pair of miniature blue and white sleeve vases with prunus blossom ground, height 9cm (4) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satsify yourself as to condition. If you are unable to view and a condition report is not already available, please ask for one and it will be provided in writing).

A collection of late Qing Dynasty Chinese rice paper drawings, all with varying scenes, to include a set of three, 17cm x 25cm, with bamboo giltwood frames, and a single drawing of an opium interior scene, 17cm x 28cm. (4) Condition reports for each lot are available on our website.

Collection of art books, including The Dictionary of Scottish Art and Architecture, The People's Gallery, English Drawing and Watercolours 1600 - 1900 National Gallery of Scotland, Three Thousand Years of Chinese Painting, and Rembrandt And His Circle Drawings In The Frits Lugt Collection, tallest 31cm

CHINESE EXPORT FAMILLE ROSE FIVE-PIECE GARNITURE QING DYNASTY, QIANLONG PERIOD 清乾隆 外銷粉彩人物紋瓶（一組五件）comprising: three baluster vases, one cover, and two beaker vases, each finely and similarly decorated with idyll figures within leafy cartouches reserved on gilded ground (5) heights: 40.4cm to 52.3cm  From Penicuik House, Midlothian, Scotland. Penicuik Estate, situated to the southwest of Edinburgh at the foot of the Pentlands, has been owned by the Clerk family since the middle of the 17th century. Sits at the heart of this designed landscape is Penicuik House, the finest and most influential example of Palladian architecture in Scotland. The 18th-century Palladian mansion was built by Sir James Clerk, 3rd Baronet, in 1761. It was devastated by fire in 1899. During the fire, a great deal of effort was channelled into salvaging the furnishings. The once magnificent building has stood as a roofless shell for over 100 years. The stables and coach house of the original Penicuik House, converted after the fire into the ‘new’ Penicuik House where the Clerk family reside to this day. A significant selection of property from Penicuik House was sold in this saleroom, 27 March 2024, lot 1-69; A smaller selection of Asian Art from Penicuik House was also sold in this saleroom, 13 March 2024, lot 189-198. The most famous interior feature of the house was the Ossian Hall. A watercolour by G. Carelli, dated 1878, depicts the lavish interior of the Ossian Hall furnished by this garniture set on the fireplace (see illustration 1, circled). A Victorian photograph of the Ossian Hall also shows this garniture set features in the centre of the hall on the fireplace (see illustration 2, circled). One of the covered vases from this garniture set is shown displayed in the drawing room of the ‘new’ Penicuik House (see illustration 3, circled). 佩尼庫克莊園，蘇格蘭中洛錫安。佩尼庫克莊園是蘇格蘭帕拉第奧建築最精美、最有影響力的典範。這座18世紀的帕拉第奧宅邸由第三代男爵Sir James Clerk於1765年建造。1899 年，佩尼庫克莊園被大火摧毀。火災期間，人們投入大量精力搶救其家具及内容，這些家具後來被搬入附近改建的馬厩，Clerk家族後嗣居住於此。佩尼庫克莊園一大部分歐洲藏品於2024年3月27日售於禮昂騰博，拍品1-69；另一部分亞洲藝術藏品於2024年3月13日售出，拍品189-198。佩尼庫克莊園最具代表性的其奧西安大廳（Ossian Hall）。一幅由G. Carelli 1878年繪製的水彩畫描繪了富麗堂皇的奧西安大廳，其中壁爐上陳設的正是此清乾隆外銷粉彩人物紋瓶（附圖，紅圈）；另一幅維多利亞時期拍攝的老照片也顯示Clerk家族成員安坐於奧西安大廳，壁爐上亦擺設本組拍品（附圖，紅圈）；最後一幅照片乃新佩尼庫克莊園客廳，角落一隅可見本品其中一支帶蓋瓶（附圖，紅圈）。

AN ARCHAISTIC GOLD-INLAID BRONZE BIRD AND VASE VESSEL, ZUN17th centuryCast with gilt as an archaistic bird with a taotie across its breast leading around to the wings formed from a coiled decorative bands suggesting feathers, the crested tail curving underneath the body to support the weight of the bird, on its back a separately-cast flaring archaistic gu vase with archaistic patterns, all supported on two webbed feet. 11.5cm (4 1/2in) high.Footnotes:十七世紀 銅錯金銀鳥尊Compare with a drawing of an ancient bronze in Bo gu tulu, from a later Ming dynasty edition of 1588, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, p.77. Compare also with a related bronze vase of a bird with a vase, Ming dynasty, 15th/16th century, illustrated by M.Maucuer, Bronzes de la Chine imperiale des Song aux Qing, Paris, 2013, p.94, no.45.For further information on this lot please visit Bonhams.com

QIANLONG, EMPEROR OF CHINA (1711-1799); GIUSEPPE CASTIGLIONE (1688-1766 ET AL, ARTIST), AND CHARLES-NICOLAS COCHIN (1715-1790, ENGRAVER)A suite of fifteen Imperially inscribed and sealed engravings commemorating the Qianlong Emperor's victorious campaigns in Central Asia between 1755-1759. Completed 1769-1774.First French edition, 15 copper engraved plates, partially mounted. 88.7cm (35in) wide x 51.3cm (20 1/4in) long. (15).Footnotes:1769-1774年 「乾隆平定西域得勝圖」版畫十五幅 Provenance: Arthur Probsthain bookshop, London, possibly before 1927來源: Arthur Probsthain 書店，或於1927年前獲得The iconic London bookshop, founded by the Probsthain family in 1903, has been a fixture at 41 Great Russell Street, opposite the British Museum, since 1905. Initially managed by Arthur Probsthain, it later passed to his nephew, Walter Sheringham, who took over in 1941. He was soon joined by his wife in 1943. Their children, Michael and Lesley, became involved in the 1970s, ensuring the continuity of this renowned family business. For decades, Probsthain's has been considered one of the foremost dealers in Chinese books in the Western world.In a report presented at the Guimet Museum in 1927, the French sinologist Paul Pelliot claimed to know the storage places of five copies stating one was held by a bookshop in London. He did not give specific details and it is possible that this is the work he referenced. See P.Pelliot, Les influences européennes sur l'art chinois au XVIIe et au XVIIIe siècle, Conférence faite au Musée Guimet le 20 février 1927, Paris, 1948, pp.12 and 27.This suite of engravings represents a remarkable and unprecedented collaboration between East and West, at the height of the military power, artistic ambition and international collaboration of the Qing dynasty under the Qianlong Emperor. The set of engravings, originally sixteen, marks the successful campaigns in Eastern Turkestan that the Qianlong Emperor embarked upon between 1755 and 1759. These campaigns, ending with the suppression of a revolt of the Muslim Altishahr Khojas (1757-1759), led to the creation of the Western province of Xinjiang, under the control of the Qing empire. A ceremony was held in the Spring of the following year during which the two generals who had successfully led the campaigns, Zhaohui (1708-1764) and Fude (d.1776) were honoured and sixteen large-scale paintings recording the events were commissioned to be executed and installed in the Ziguangge (Hall of Purple Splendour), a building in the Imperial garden adjacent to the Forbidden City, which was to become the location of reception of foreign envoys and public display of the Qianlong Emperor's military conquests.The paintings were planned and executed by the Jesuits Giuseppe Castiglione (郎世寧 1688-1766), Jean-Denis Attiret (王致誠 1702-1768), Ignatius Sichelbarth (艾啟蒙 1708-1780) and the Augustinian Jean Damascene Sallusti (安德義 ?-1781). These formed the basis for the original set commissioned by the Qianlong Emperor of sixteen engravings commemorating his military victories in 1765 based on the wall paintings of the battles, conquests and ceremonies that marked his successful campaigns in the Western Region. They comprise:1.Receiving the Surrender of the Yili (preparatory drawing by Ignatius Sickltart (艾啟蒙 1708-1780), completed 1769) (1); 2.Storming of the Camp at Gädän-Ola (preparatory drawing by Giuseppe Castiglione (郎世寧 1688-1766), completed 1769); 3.The Battle of Oroi-jalatu (completed 1770); 4.The Victory of Khorgos (preparatory drawing by Jean-Denis Attiret (王致誠 1702-1768), completed 1774); 5.The Battle of Khurungui;6.The Chief of Us (Turfan) Surrenders with His City (preparatory drawing by Joannes Damasceuns Salusri (安徳義 ?-1781), completed 1774); 7.Lifting of the Siege at the Black Water River (preparatory drawing by Giuseppe Castiglione (郎世寧 1688-1766), completed 1771); 8.The Great Victory of Qurman (preparatory drawing by Joannes Damasceuns Salusri (安徳義 ?-1781), completed 1770); 9.The Battle of Tonguzluq (completed 1773); 10.The Battle of Qos-qulaq (completed 1774); 11.The Battle of Arcul (preparatory drawing by Jean-Denis Attiret (王致誠1702-1768)); 12.The Battle of Yesil-köl-nor (preparatory drawing by Joannes Damasceuns Salusri (安徳義 ?-1781), completed 1772); 13.The Chef of Badakhsan Asks to Surrender (preparatory drawing by Joannes Damasceuns Salusri (安徳義 ?-1781), completed 1772); 14.The Emperor is presented with Prisoners from the Pacification of the Muslim Tribes (preparatory drawing by Jean-Denis Attiret (王致誠1702-1768)); 15.The Emperor in the Suburbs Personally Receives News of the Officers and Soldiers Distinguished in the Campaign against the Muslim Tribes (preparatory drawing by Joannes Damasceuns Salusri (安徳義 ?-1781), completed 1772); 16.A Victory Banquet Given by the Emperor for the Distinguished Officers and Soldiers (completed 1770).In commissioning the engravings, the Emperor was inspired by prints of battles by the Augsburg engraver Georg Philipp Rugendas the Elder (1666-1742) and followed guidance from Louis-Joseph Le Febvre, head of the French Jesuit mission to China. To prepare the engravings, drawings were first created in China by Giuseppe Castiglione with the assistance of Jean-Denis Attiret, Ignatius Sichelbarth, Jean-Damascène Sallusti and Ding Guanpeng. These were then sent to France to be transformed into copper plate engravings under the direction of Charles-Nicolas Cochin, engraver to King Louis XV, by a team of engravers, including Jacques-Philippe Le Bas (1707-1783), Augustin de Saint-Aubin (1736-1807), Benoît-Louis Prévost (1747-1804) and Jean-Jacques Aliamet (1726-1788).The Qianlong Emperor requested an edition of one hundred copies but double that were printed and distributed across two ships, to reduce the chances of their being lost. The entire edition was received in China by 1775 for which the Compagnie Française des Indes in Canton was paid the sum of 240,000 pounds. Only a very limited number of extra copies was printed for the French King, his ministers and some members of the Court. The present set is of particular significance for bearing hand-written Imperial inscription and seals of the Emperor meaning that it was clearly one of the sets sent back to China.The Qianlong Emperor created a series of albums incorporating the engravings and his own poems. Two types existed: the first appended the inscriptions and Imperial poem to each engraving on a separate sheet, and the second, of which the present lot is an example, inscribed the poems directly onto the sheets of engravings. One of these sets was mentioned in the Catalogue of Books from the Tianyi Pavilion (天一閣書目) as having been gifted by the Qianlong Emperor in the 44th year of his reign (1780).Compare with one of a series of 16 engravings of the Turkestan campaign, 1764-1772, with added inscriptions, in the British Museum, illustrated by J.Rawson, The British Museum Book of Chinese Art, London, 1992, p.283, no.212.Compare with also 25 engravings, including 16 of the Turkestan campaign, 1755-1759, with added inscriptions which were sold at Sotheby's Paris, 18 December 2012, lot 172.For further information on this lot please visit Bonhams.com

CHINESE ARTIST (CIRCA 1780)Canton: the Western FactoriesGouache, inscribed in ink 'Sigismund Bacstrom del. 1794 & 1796', framed. 45.7cm (18in) high x 74.9cm (29 1/2in) wide.Footnotes:中國藝術家（約1780年） 廣州：西方商館 布面油畫 有框Provenance: Sigismund Bacstrom (1750-1805)North East AuctionsGordon BartonMartyn Gregory, London來源： Sigismund Bacstrom (1750-1805)North East Auctions拍卖行Gordon Barton倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, Merchants and Mariners: Catalogue 98, London, 2018-2019, pp.76-77, no.79. 展覽著錄： Martyn Gregory，《Merchants and Mariners: Catalogue 98》，倫敦，2018-2019年，第76-77頁，編號79This piece presents an early and detailed gouache view of the 'Hongs' of Canton (Guangzhou). It depicts various national flags: on the left, the Danish, Spanish, and pre-Revolutionary French; on the right, the Swedish, British, and Dutch.Despite being inscribed with the name 'Sigismund Bacstrom', this painting is characteristic of the work of Cantonese 'export artists'. Bacstrom, a German-born surgeon, indeed visited Canton, present day Guangzhou. He served in the Dutch navy from 1763 to 1770 before moving to England. From 1772 to 1775, he worked for Sir Joseph Banks and later for Captain William Kent until 1779. During the 1780s, he embarked on six voyages to Greenland and the West Indies, which proved financially unfruitful. His journeys from 1791 to 1795 are better documented, as he produced several precise drawings of Hawaii, Tierra del Fuego, and the northwest coast of North America. In November 1793, he was aboard the French ship Amelia when it was captured by the British off Macau. He spent some time in Canton, producing eleven drawings of the China coast, two dated 'Dec. 1793' and '1794'. Bacstrom returned to England on July 23, 1795. In his later years, he became known as a Rosicrucian and translator of alchemical texts. For a detailed account of his adventures and a list of his drawings, see Douglas Cole, 'Sigismund Bacstrom's Northwest Coast Drawings and an Account of his Curious Career', BC Studies, 46, Summer 1980, pp.61-86.The painting's inscription of the dates 1794 and 1796 aligns with some of Bacstrom's works, which are sometimes marked 'del. 1793 fect. 1796', indicating that the final drawing was completed post-return, based on earlier on-site sketches. However, Bacstrom was not the creator of this particular picture, though he might have attempted to claim it. The painting's style is typical of early Cantonese 'export' artists. It features the white Bourbon flag, which was replaced in France on May 24, 1794. Although trade between China and the United States began in 1784, the American flag does not appear here; it would only be seen at the Canton waterfront in 1799 with the arrival of American Consul Samuel Snow. For further discussion on paintings of the 'Factories' in the 1790s, see P.A.Van Dyke and M.Kar-Wing Mok, Images of the Canton Factories 1760-1822: Reading History in Art, Hong Kong, 2015, pp.57-65.Notably, there exists a manuscript catalogue from June 1800, penned by Bacstrom, listing 'some accurate and characteristic Original Drawings and Sketches made after nature during a late Voyage round the World in 1791, 92, 93, 94 and 95.' This catalogue, once part of the Paul Mellon Collection and now held at Yale's Beinecke Library, includes various sketches and finished drawings, such as three depicting junks and nine pairs of Chinese figures. The first entry is described as:'View of that part of the Suburbs of Canton in China which faces the River, with the Factories of the different European nations. A highly finished Drawing of 30 Inches by 18, in a gilt Frame and plate Glass, valued by an eminent Artist at 50 Guin.s....£52.10'The close correspondence between this description and the present painting strongly suggests that this is indeed the piece owned and exhibited by Bacstrom in 1800. The entry mentioned above is one of nine in the list that have been subsequently crossed out in pencil, likely indicating that these items were sold when the collection was first offered for sale.See a related painting of the Hongs at Canton, Chinese school, circa 1780, which was sold at Christie's London, 14 December 2018, lot 29.For further information on this lot please visit Bonhams.com

A very rare large blue and white 'European subject' baluster vaseChina, Qing dynasty, Qianlong period (1736-1795)Boldly and unusually painted on one side with a blue-robed Westerner standing, reaching for a covered box held by a Western servant, a third at the left carrying a covered dish, all wearing exotic Western hats, robes, knee-length breeches, stockings and pointed shoes, a large tree rising and spreading through clouds above them,This rare and bold design of Westerners seems to be unrecorded on Chinese Porcelain. The clothing in particular is carefully and precisely drawn, as is the long curly hair on each figure, always a sign in Chinese art that a Westerner is being depicted. The careful drawing of the hats and hair suggests that a Western print is being copied in Jingdezhen, though it is hard to imagine what the original design was depicting.Provenance: French private collectionReference:For a robin's-egg glazed vase of this particular 18th century form, see Liu Liangyu, Ch'ing Official and Popular Wares, A Survey of Chinese Ceramics, vol. 5 , p.209Height: 50cm, Diameter: 15.5cm€ 8 000 - € 12 000

Lauters (Paulus) Souvenir du Sacré-Coeur de Jette St Pierre près Bruxelles, chromolithographed decorative title heightened in gold, 15 tinted lithographed plates, marginal foxing, original cloth-backed boards, blue paper illustration printed in gold mounted on upper cover (chipped), rubbed and stained, Brussels, [c.1846] § Gailhabaud (Jules) L'Architecture du Ve au XVIIe siècle et les Arts qui en dépendent..., 4 vol., engraved or chromolithographed plates, some double-page, contemporary half red morocco, g.e., rubbed, vol.4 spine stained, vol.2 defective at head, Paris, 1869-72; and an odd volume of tinted lithographed views of Paris, folio (6)*** Views of the garden attached to a girls’ boarding school run by nuns at Jette, outside Brussels, by Paulus Lauters who was the drawing master. Unusually the standard components of an early 19th century landscaped garden - rustic bridge, column, obelisk, rocks, cascade, Chinese pavilion - were accompanied by explicitly religious features such as statues of the Virgin Mary and a Calvary, while the obligatory garden hermitage was associated with St. Anthony. 

* Chinese Embroidery. A large embroidered silk panel presented to British Sacerdote Qi Rong by his Chinese disciples at Guangzhou Tongzhi Academy and Qing Dynasty officials, circa 1900, appliquéd and embroidered in polychrome siks on a red silk ground, with 4 large appliquéd Chinese characters vertically in centre ('Spring Breeze Holds Love'), composed of couched metallised silver threads, and edged with couched green silk threads, with smaller embroidered characters to each side, within a border of auspicious symbols (e.g. longevity) couched direct in metallised gold threads, large outer border of embroidered exotic birds symbolising good fortune (including cranes, golden pheasants, magpies, and paradise flycatchers) amongst paeony, magnolia, and other flowering stems, some mottled fading to ground, 4 cm tear and a few tiny holes to extreme lower edge, backed with pale cotton (some staining and small holes), top edge mounted with drawing pins to a wooden baton, with modern manuscript label attached, 293 x 145.5 cm (115.5 x 57.25 ins) QTY: (1)NOTE:Provenance: Private Collection, Derbyshire.The label, written by the current owner, reads: 'Given to me 60 years ago by our neighbour, Mrs Hilda Read whose aunt was a missionary in China. I was told this was a gift from the Empress when she left China. It may have been something to do with her trying to stop foot binding'.We are indebted to Zhe Chen, University of Sheffield, for his translation and analysis of this piece:'This impressive silk banner is a celebratory gift, presented by many disciples and led by a mid-level Qing Dynasty official. It was collectively given to a London priest named Qi Rong to honour his glorious return. Based on the text, there are two possible interpretations of Qi Rong’s status. One is that he was a British priest returning to England. The other is that he was a Chinese priest who served in London and is now returning to China. I prefer the first interpretation. As such, this banner signifies a deep friendship between a British priest and his Chinese disciples and holds good value as a historical artefact.The banner should be read from right to left, and from top to bottom.The first column (from the right) contains the recipient’s information. The second column, which contains the central message in large characters, conveys words of well-wishing. The third and subsequent columns list the social titles and names of the givers.Translated from right to left, the banner reads as follows:Celebration for the glorious return of London sacerdote (司鐸), Master (司夫子) Qi Rong (啟榮).Spring breeze holds love (春風留愛).Givers: Guangzhou Tongzhi Academy (羊城通志學堂) Headmasters: Huilan Guo (郭惠南), Tingbin Wei (韋廷斌). Disciples: Haitang Li (李海棠), Guangrong Guo (郭廣容), Changshu Liang (梁長㴻), Huiting Huang (黃煇庭), Huipu Lai (賴蕙圃), Biru Cao (巢璧如), Hanchi Lu (呂翰池), Runlai Zhang (張潤來), Shizhen Jian (簡士珍), Zhaoqin Li (李兆芹), Bingkui Feng (馮炳奎), Zijing Feng (馮子敬), Zaoshao Lai (賴藻韶), Hongzhi Chen (陳鴻志), Cheng Tan (譚澄), Zhibo Yan (顏志伯), Zhaozhou Deng (鄧兆周), Zhilian Tan (譚志廉), Xuezhai Feng (馮雪齋), Dixi Zhao (趙帝錫), Shanzheng Wu (吳善政).Big Qing Dynasty, Blue feather five-rank officer (清国藍翎五品銜, mid-level Qing Dynasty rank), head of a provincial prison(府首领掌郡狱官), and disciple Jianshan Li (門下士李兼善), respectfully bows and presents this tribute(頓首拜書頌並具).'Zhe Chen goes on to quote his colleague: 'When I first read this document, I was very excited as well. I remember seeing this form of “banner” when I was a child, but this is the first time I have come across such an artefact representing an interaction between East and West. Considering the status of both sides, on one side, we have a British sacerdote (司鐸), which refers to more than just a priest; and on the other side, we have disciples of the Qing Dynasty, not just ordinary disciples, but high-status individuals from Guangdong (the neighbouring province to Hong Kong). This makes the artefact’s value quite exceptional. Furthermore, during the Qing Dynasty, I imagine such artefacts would have been incredibly rare worldwide. It would be worthwhile to consult relevant resources and conduct further research on it.'

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

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

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

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

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

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

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

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

Chinese School, Crabs, ink drawing.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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