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Crate of Collectables; Collectable coins, Old England thistle design buttons, Dalvey flask & travel clock, Oriental Perfume bottle, Glass Perfume bottle in art deco style, stamps, Military Figures & other items.

Oriental Art, two cast metal Tang Style horse sculptures, the larger approximately 33cm high, the smaller approximately 17cm tall

A COLLECTION OF GLASS PAPERWEIGHTS, ETC, to include a Mdina 'Blue Summer' freeform knot sculpture, Caithness paperweights: Inferno, Cauldron, Moon Crystal, Myriad, Pastel, and Tango, paperweights by Liskeard Glass, Wedgwood, Mdina, another stamped AB, and two with flame pontil marks - possibly Kerry Glass or Isle of Wight Glass, etc, two glass seals by Wedgwood and Villeroy & Boch, art glass birds, turtle and pig figures, an oriental paperweight with jellyfish detail, etc (26) (Condition Report: generally appear in good condition, sd, many have adhesive labels attached)

watercolour on paper mounted, framed and under glass image size 46cm x 59cm, overall size 64cm x 77cm Provenance: Attributed and titled on Fine Art Society, Old Bond Street, London exhibition label verso, dated September 1997. Artist's label verso with address of 70 Hamilton Place, Aberdeen. Note: Ian McKenzie Smith?s work shows his continuing commitment to a distinctly personal brand of landscape based abstraction: a subtle evocative way of painting that owes something to Eastern traditions, as well as the American colour-field painters of the 1950?s. A travelling scholarship took him to Paris where he met the Japanese artist Kenzo Okada and encountered Zen philosophy. An oriental sense of balance and calligraphic finesse has been a feature of his work ever since. Awarded the OBE and CBE for services to art, he was director of Aberdeen Art Gallery and Museums for some thirty years, is Past President of the Royal Scottish Academy, Past President of the Royal Scottish Society of Painters in Watercolours and a former Trustee of the National Galleries of Scotland. Numerous works are in many public collections including the Scottish National Gallery of Modern Art, The Government Art Collection, Aberdeen, Dundee, Edinburgh, Glasgow and Perth Art Galleries, and in private collections in the UK, Europe, North America and Japan. Ian McKenzie Smith's work rarely appears at auction.

A selection of assorted pottery including art pottery and Oriental, shipping unavailable

A large collection of art reference books, including ceramics, glass, furniture, Japanese, Oriental, glass and fine art, and the art of Frank Brangwyn, (a lot) ProvenanceThe Cornish Collection

Fitzhugh (William W., & Chisato O. Dubreuil, editors). Ainu, Spirit of a Northern People, 1st edition, Washington: University Press, 1999, numerous colour & monochrome illustrations, original cloth in dust jacket, covers very lightly rubbed to head & foot, 4to, together with:Ottomeyer (Hans, et al), Biedermeier: The Invention of Simplicity, 1st edition, Milwaukee: Milwaukee Art Musuem, 2006, numerous colour illustrations, original cloth in dust jacket, folio, plusMeurant (Georges & Robert Farris Thompson), Mbuti Design, paintings by Pygmy Women of the Ituri Forest, 1st UK edition, London: Thames and Hudson, 1995, numerous colour & monochrome illustrations, original cloth in dust jacket, covers very lightly rubbed to head & foot, 4to, andFischer (Felice), The Arts of Hon'ami Kōetsu, Japanese Renaissance Master, 3rd printing, Philadelphia: Museum of Art, 2001, numerous colour, original cloth in dust jacket, oblong 4to, plus other modern African & Oriental art reference, furniture & antiques reference, some original cloth in dust jackets, some paperback editions, 8vo/4toQTY: (6 shelves)

CHESS CLUB HOUSE: ASSORTED CHESS SETS & TABLE GAMES, including four chess sets with resin pieces relating to The Mad Hatter and White Rabbit from Alice in Wonderland, together with a further set of mythical/oriental pieces; cribbage boards, self-teaching auto-bridge system, 'Calypso' card game, sailor's dice box by Nauticalia and a collection of chess related books, including 'The Mammoth Book of Chess' by Graham Burgess; 'Chess: How to Fight Back' by Foulsham; 'Chess: The Art of Thinking', 'Modern Chess Strategy' and 'The Complete Book of Chess Strategy' by Smith (qty)Provenance: private collection Anglesey

An oriental style jardinière having chinoiserie decoration on a black ground, h18cm, sold together with another jardinière in the Art Neavou style, (2)

Estate / Collection: Property from the Estate of Elaine and James D. WolfensohnLANSDOWNE, J. FENWICK Rare Birds of China. London: Kennedy Fine Arts, (1992). Copy 37 of 100, with each plate signed in pencil and thus numbered, and the same numeration in the companion text volume. Loose sheets in the elephant folio blue fabric case of publication, the text in a companion volume in wrappers laid-in, the prospectus included; the whole protected in the canvas sleeve of issue. 32 x 25 inches (81 x 63 cm); 32 superb color collotypes after the original watercolor paintings, printed on Fabriano paper; each plate is laid into a special printed Japanese paper sleeve with the plate name. Fine; Offered with the original watercolor for the plate of Temminck's Trapogan (Tragopan temminckii), plate 2 in the set. Watercolor over pencil outline on paper, approximately 28 x 19 5/8 inches (71.5 x 50 cm) sight, signed J. F. Lansdowne (l.l.) and dated 1991; framed. In immaculate condition. The watercolors by J. Fenwick Lansdowne for this work are among the highest achievements of ornithological art. The Temminck's Trapogan, depicted here, is represented by a male, with red-orange, white-spotted plumage and a blue facial display, and the more modestly feathered brown and white-spotted female, in their natural habitat. This elephant-folio-sized set of ornithological plates, a triumph in their artistry, follows in the tradition of the great illustrated natural history monographs of the past centuries, such as Audubon's masterpiece, The Birds of America. The artist, J. Fenwick Lansdowne, was born in 1937 in Hong Kong to British parents and grew up in British Columbia, Canada. Stricken with polio as a baby, he developed both his love of birds and his talent as a painter from a young age, holding his first museum exhibition in 1952 at the Royal British Columbia Museum when he was just fourteen years old. As one of the world's foremost wildlife painters, often referred to as Audubon's successor, he is the artist who best maintained the tradition of bird painting and publishing into the late 20th century. Similar to Audubon, he would both study his subjects in the field and use museum collections of preserved specimens to paint his highly detailed and accurate watercolors. He died in Canada in 2008. The magnificent collotype plates include the following: Impeyan Monal Lophophorus impejanus; Temminck's Tragopan Tragopan temminckii; Satyr Tragopan Tragopan satyra; Swinhoe's Pheasant Lophura swinhoei; Elliot's Pheasant Syrmaticus ellioti; Mikado Pheasant Syrmaticus mikado; Blood Pheasant Ithaginis cruentus; Brown Eared Pheasant Crossoptilon mantchuricum; Himalayan Snowcock Tetraogallus himalayensis; Taiwan Magpie Urocissa caerulea; Chinese Parrotbill Paradoxornis heudei; Siberian Crane Grus leucogeranus; Rufous-necked Hornbill Aceros nipalensis; White Stork Iconia ciconia; Crested Ibis Nipponia nippon; White Eared Pheasant Crossoptilon crossoptilon; Japanese Crane Grus japonensis; Cabot's Tragopan Tragopan caboti; Mrs. Hume's Pheasant Syrmaticus humiae; Steller's Sea Eagle Haliarrtus pelagicus; Oriental Hobby Falco severus; Chinese Monal Lophophorus ihuysii; Omei Shan liocichla Liocichla omeiensis; Silver Oriole Oriolus mellianus; Blyth's Tragopan Tragopan blythii; Firethroat Erithacus pectardens; Scaly-sided Merganser Mergus squamatus; White-necked Crane Grus vipio; Fulien Slaty Bunting Latoucheornis siemsseni; Sclater's Monal Lophophorus sclateri; Black-necked Crane Grus nigricollis; Brown Wood Owl Strix leptogrammica. (36)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

CLAUDE FLIGHT (BRITISH 1881-1955) ⊕ SPEEDsigned CLAUDE FLIGHT upper left; numbered 11/50 lower leftlinocut printed in cobalt blue, yellow ochre, vermilion and Prussian blue on buff oriental laid paper 22.5 cm by 30cm; 9 x 11 1/4 in (with margins) 50 x 55cm; 19 3/4 x 21 3/4in (framed) Property from an English Private Collector Literature Claude Flight, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing, London, 1927, illustrated on the frontispiece Stephen Coppel, Linocuts of the Machine Age, London, 1995, p. 74, illustration of another example from the same edition London is itself a Futurist City! Look at this brilliant-hued motor buses, these enormous glaring posters (Filippo Marinetti) Printed in 1922, Flight was instrumental in the burgeoning interest in linocut printing after the First World War, and selected the present image to adorn the frontispiece of his first linocut textbook, Lino-cuts: A Hand-book of Linoleum-cut Colour Printing published in 1927 while teaching linocut classes at the Grosvenor School of Modern Art, London Before the War Flight had attended Heatherley's School of Art, where he met his first wife. During the War he served in France as Captain in the Army Service Corps, there he purchased a neolithic chalk cave dug deep into the banks of the Seine near Paris (it subsequently became his regular summer retreat, to which he would invite his art students). In 1922 he married again, this time to Edith Lawrence, already an established artist who worked in various media, including linocuts. Encouraged by Lawrence, Flight began to explore the medium for himself, finding it a compelling format for illustrating contemporary subject matter. He argued that the linocut was the medium of choice because it came with no historical baggage, there were no restrictions on what it could represent and linoleum was readily available, simple to work and easy to print up. In short it was the modern medium for the modern age and very much of the moment, offering the potential to introduce contemporary art to the home or the flat of the ordinary person. In like manner, influenced by the Italian Futurists, Flight considered it the perfect way to capture the machine age and metropolitan life, expressing through his subject matter speed, dynamism and energy as in the present work. Flight noted: 'Traffic problems, transport problems; everybody is on the rush either for work or pleasure... the Painter cannot but be influenced by the restlessness of his surroundings' (The Original Colour Print Magazine, vol. 2, 1925). The course Flight taught on linocut printing at the Grosvenor School between 1926 and 1930 and subsequently at his French cave was eagerly attended, attracting many keen adherents who became masters of the medium. His students included the likes of British artists Cyril Power and Sybil Andrews, Australians Ethel Spowers and Eveline Syme, New Zealander Frank Weitzel and Swiss artist Lill Tschudi, all of whom created a remarkable body of printed work, and are collectively known as the Grosvenor School of artists. Not surprisingly, Flight was a very popular teacher. Eveline Syme recalled: 'Sometimes in his classes it is hard to remember that he is teaching so complete is the camaraderie between him and his students. He treats them as fellow artists rather than pupils, discusses with them and suggests to them, never dictates or enforces. At the same time he is so full of enthusiasm for his subject, and his ideas are so clearly reasoned, that it is impossible for his students not to be influenced by him.' ('Claude Flight and his Teaching', The Recorder, no. 3, September 1929). With his zeal for the medium, Flight promoted linocuts in a series of exhibitions he organised in the inter-War years, including eight annual British Linocut Exhibition shows at the Redfern Gallery (1929-31) and the Ward Gallery (1933-37). In collaboration with the Redfern Gallery, in the 1930s Flight and his students also arranged Linocut exhibitions as far afield as America, Canada, China and Australia. Executed on very thin semi-transparent ‘oriental’ / handmade(?) paper glued along the top edge to the artists’ original separate sheet of yellow washed backing paper which has been taped to the backboard at the top left and right corners. Some slight handling marks and time staining to the paper, notable along the bottom edge / towards the lower left corner, hidden by the mount. Overall this work is in very good original condition. The work is framed under glass.

THOMAS DANIELL (1749 - 1840) AND WILLIAM DANIELL (1769 - 1837) A GATE LEADING TO A MOSQUE AT CHUNARGARH, UTTAR PRADESH Pencil and watercolour Inscribed and numbered 'No. 80 Gate leading to a Mosque at Chunar Ghur' (to the reverse of the artists' original mount) 53.5 x 82.5cm (21 x 32¼ in.) Provenance: The Estate of Thomas Daniell The Bromley Davenport Family, Capesthorne Hall, Cheshire Stevens and Brown, Godalming, Surrey, 1951 Gooden and Fox, London The Peninsular and Oriental Steam Navigation Company, 1952 Sale, Christie's, London, India Observed, The P&O Collection of Watercolours of India by Thomas Daniell R.A. and William Daniell R.A, 24 September 1996, lot 24, where purchased by the present owner From an important collection in Grosse Pointe, Michigan, USA Exhibited: Commonwealth Institute, 1960, no. 23 Smithsonian Institution, 1962, no. 10 Spink, London, 1974, no. 42Engraved: T. Daniell, aquatint engraving, January 1797, for Oriental Scenery, vol. I. no. 24 The Daniells arrived at Chunar from Benares on the 29th December 1789 and stayed into the new year. The fort of Chunar overlooks the Ganges and was built on an ancient site. It belonged to the Nawabs of Avadh and was taken by the British after the battle of Buxar in 1764. Close to the fort is a Dargah (a tomb complex) of the Muslim divine Shah Kasim Salaiman who had been imprisoned at Chanur by Emperor Jahangir in 1606, and the site became a centre of pilgrimage. The gateway pictured here is the most notable architectural feature and makes use of the sandstone that the quarries at Chunar are famous for. William Hodges first depicted the gate in 1786 when he took refuge there with Warren Hastings. The Daniells' view is from a more oblique angle and in Oriental Scenery they described the aspects they admired:`The effect of this gate, at a distance, is grand, from the bold projection of its superior parts; and its ornaments, though numerous, are applied with so much art and discretion, as to form the happiest union of beauty and grandeur' .The watercolour was the basis of the aquatint of Oriental Scenery Vol.1, No.24 (January 1797). Condition Report: The sheet appears to be laid down on a secondary sheet- an early arrangement and attached to the backing sheet at the corners, it is in good overall condition. The colours are fresh and unfaded, there is minor discolouration along the left hand edge and the extreme lower right corners appears to have been made up.  The watercolour was not taken out of the frame in the preparation of this report. Condition Report Disclaimer

THOMAS DANIELL (1749 - 1840) AND WILLIAM DANIELL (1769 - 1837) HINDU TEMPLES AT AGORI, UTTAR PRADESH Pencil and watercolour, watermark fragmentary Inscribed 'View of HINDOOTEMPLES at AGOUREE on the River SOANE. BAHAR' (on the artists' mount), further inscribed and numbered 'N.4 Bhur tree (Hindoo Temples at Agouree / on the River Soane-' (to the reverse of the artists' original mount) 53.5 x 74.5cm (21 x 29¼ in.)Provenance: The Estate of Thomas Daniell The Bromley Davenport Family, Capesthorne Hall, Cheshire Stevens and Brown, Godalming, Surrey, 1951 Gooden and Fox, London The Peninsular and Oriental Steam Navigation Company, 1952 Sale, Christie's, London, India Observed, The P&O Collection of Watercolours of India by Thomas Daniell R.A and William Daniell R.A, 24 September 1996, lot 34, where acquired by the present owner From an important collection in Grosse Pointe, Michigan, USAExhibited: Commonwealth Institute, 1960, no. 64 Smithsonian Institution, 1962, no. 29 Spink, London, 1974, no. 49 Preston, Harris Museum and Art Gallery, Fine Material for a Dream, 4 April - 15 May 1992, no. 23Engraved: T. Daniell, aquatint engraving, September 1796, for Oriental Scenery, vol. I, no. 19 Agori lies to the south-west of Bijaigarh on the river Son, a tributary of the Ganges. The Daniells vividly described their visit in their journal: `On arrival at Agouree a person from the fort crossed the river & paid us the usual Complts &c - informed us that the Rajah was absent for some days, but that every attention should be paid to us during our stay at Agouree. We crossed in a small flat-bottomed canoe & were shown part of the fort... In the evening we walk up the hill near our tent and found a vast deal of Matter (clinkers) that had once very evidently been in a fluid state - the general colour of the stones were red which made my Uncle believe that the hill had been thrown up by fire.' This watercolour was published as an aquatint in Oriental Scenery Vol.1, No.19 (September 1796) and is justly one of their most admired compositions. The plate was accompanied with the text: `Agouree is pleasantly situated on the River Soane, surrounded with hills well covered with wood. In this place are many Hindoo temples, and also a small fort, which make a very picturesque appearance from the river.' Condition Report: The sheet is laid down on the mount- probably an original arrangement, 4 drawing pin holes are in the extreme corners of the watercolour. On close examination there appears to be a repaired scratch or tear, approximately 2 inches in the centre of the upper edge. The colours are strong and fresh. The watercolour was not taken out of the frame in the preparation of this report. Condition Report Disclaimer

Dr Christopher Dresser for Hukin and Heath, a late Victorian silver-gilt stacking travelling tea set for two, with fitted case, containing a hot water kettle, and burner, on stand, teapot, tea caddy, sugar bowl, cream jug, a spirit bottle, pair of teaspoons, and sugar tongs, multiple component pieces stack, or fit within one another, for stowage, sponsor's mark of John Thomas Heath & John Hartshorne Middleton, hallmarked for Birmingham 1900, the caddy/burner hallmarked for Birmingham 1892, the spoons by John Round, hallmarked Sheffield 1899, and the tongs by George Adams, London 1882, also fitted with a gilt plated fold-out tray, and a pair of teacups and saucers by Copeland's China, multiple pieces adorned with an earl's coronet, and marked with registered design number 18367, the fitted case with carrying handle, and dual hinged doors, also decorated in tooled gilding with an earl's coronet, retailed by 'Leuchars & Son, Geffroy Succr. Paris', combined weight of hallmarked silver 1,201g/38.61ozt gross, fitted case dimensions 29.8 x 17.6 x 21cm approxNote: According to the Victoria & Albert Museum, "This design by Christopher Dresser was made by Hukin & Heath of Birmingham for the London retailers Leuchars & Son. The design was registered with the Patent Office (Rd. No.18367), which dates it to late 1884... An oriental - in this case, Japanese - influence is also noticeable in the design of the tea kettle, in particular in the wicker handle. It is positioned above the pot, rather than at the side, and can fold down for ease of packing, both aspects characteristic of a traditional Japanese teapot."See: Excerpt from the Hukin & Heath catalogue.References: Victoria & Albert Museum (2025). Teapot | Dresser, Christopher | V&A Explore The Collections. [online] Victoria and Albert Museum: Explore the Collections. Available at: https://collections.vam.ac.uk/item/O78606/teapot-dresser-christopher/The Metropolitan Museum of Art. (2024). Christopher Dresser | Traveling tea set | British, Birmingham | The Metropolitan Museum of Art. [online] Available at: https://www.metmuseum.org/art/collection/search/210643‌

Ca. 100 - 1 BC. A hoof-shaped gold ingot. The surface bears tooling and casting marks. Around the lower body is an elaborately worked gold filigree band incorporating floral and scroll motifs. This piece is of high historical significance. It was a form of currency during the Western Han dynasty and was usually gifted to royal family members by the emperor. A very well-known example where hundreds of gold ingots as such were excavated was from the tomb of Liu He (92-59 BC), who was enthroned as emperor in 74 BC, shortly deposed after only twenty-seven days. He became known as the Marquis of Haihun. This particular form of gold ingots was named linzhi (qilin-hoof) and mati (horse-hoof) to match auspicious omens: a white qilin unicorn and a “heavenly” horse, by a later emperor in 95 BC. For similar see: Excavation reports on the tomb of the marquis of Haihun. Size: 40mm x 60mm; Weight: 272.56g. Provenance: Prince collection, 1990s-2014; Ex Ben Janssens Oriental art,11 June 2007. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. A copy of the original invoice will accompany the piece.

Spring and Autumn Period, Ca. 770 - 481 BC. A gold knife handle crafted from solid gold. This sculptural piece is designed with a bold, architectural profile featuring a series of intricate openwork recesses and projecting nodes. The surface is ornamented with inset turquoise cabochons, offering a striking contrast to the warm, lustrous gold. Size: 100mm x 45mm; Weight: 395g. Provenance: Prince collection, 1990s-2014; Ex Ben Janssens, Oriental Art, 24 November 2009. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. A copy of the original invoice will accompany the piece.

Warring States Period to Qin Dynasty, Ca. 221 - 207 BC. A rare figure cast in silver overlaid in gold sheet, in a stylised upright pose. This rare figure represents a standing male, likely a court official, attendant, or guardian, with finely defined facial features, garment folds, and hair. Size: 65mm x 25mm; Weight: 70g. Provenance: Prince collection, 1990s-2014; Ex Eskenazi, 15th March 2011, (US) Oriental Art. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. A copy of the original invoice will accompany the piece.

Oriental Late XX Century Jingdezhen Art Ceramic Works, eight-piece tea service in box, two celadon type sets in boxes (3).

Edwardian Butlers Tray with art nouveau handles togehter with oriental style dragon tray. Length of largests: 61cm (2)

An Art Deco panel brooch, a jade New Zealand Tiki pendant and an oriental jade type pendant (3)

* IAN MCKENZIE SMITH CBE PPRSA PPRSW LLD RGI (SCOTTISH b.1935), SUMMER watercolour on papermounted, framed and under glassimage size 46cm x 59cm, overall size 64cm x 77cmProvenance: Attributed and titled on Fine Art Society, Old Bond Street, London exhibition label verso, dated September 1997. Artist's label verso with address of 70 Hamilton Place, Aberdeen.Note: Ian McKenzie Smith’s work shows his continuing commitment to a distinctly personal brand of landscape based abstraction: a subtle evocative way of painting that owes something to Eastern traditions, as well as the American colour-field painters of the 1950’s. A travelling scholarship took him to Paris where he met the Japanese artist Kenzo Okada and encountered Zen philosophy. An oriental sense of balance and calligraphic finesse has been a feature of his work ever since. Awarded the OBE and CBE for services to art, he was director of Aberdeen Art Gallery and Museums for some thirty years, is Past President of the Royal Scottish Academy, Past President of the Royal Scottish Society of Painters in Watercolours and a former Trustee of the National Galleries of Scotland. Numerous works are in many public collections including the Scottish National Gallery of Modern Art, The Government Art Collection, Aberdeen, Dundee, Edinburgh, Glasgow and Perth Art Galleries, and in private collections in the UK, Europe, North America and Japan. Ian McKenzie Smith's work rarely appears at auction.

* JACK MORROCCO DA (SCOTTISH b. 1953), ORIENTAL STILL LIFE, REFLECTED oil on canvas, signed, titled label versoframed and under glass Artist's label versoimage size 51cm x 61cm, overall size 72cm x 82cm Note: An exceptional example by one of Scotland's most successful contemporary artists. Jack Morrocco's paintings rarely appear at auction.Jack Morrocco is a highly collectable Scottish artist. He has a rich artistic heritage and a formal training in one of Scotland’s most respected Art Schools, Duncan of Jordanstone School of Art and Design. After his undergraduate studies and a postgraduate year, Jack earned a highly commended post diploma. He was selected to study at Hospitalfield House, Arbroath during the summer of 1973, under the renowned pop artist Peter Blake. In 1975 he was awarded the Farquhar Reid Travelling Scholarship in 1975 and chose to spend it in Paris and Florence. Because he’s the son of an artist and the nephew of painter Alberto Morrocco, he grew up surrounded by art. This includes the everyday processes involved in creating paintings. After his scholarship travels to Europe, Jack set up a design studio in Dundee. Although he continued to paint and had work accepted by the annual RGI and RSW exhibitions, the design business was his focus. In 1997 he decided to paint full time. He now works from his studio at home in Fife and on the Cote d’Azur in the South of France. Because Jack paints a number of different subjects, there is no one ‘style’ that easily defines him. His paintings connect his vision and his valuing of the timeless quality of the subjects he is painting. His vision and his goal is to create a relationship with the viewer by creating a feeling of ‘being there’. Jack achieves this heightened sense of ‘being there’ through an increasing economy of brushwork. Every single brushstroke counts and gives life and character to its subject. Every mark matters.

9th-7th century B.C. Carved with five columns of cuneiform inscription: 'To the god Samnuha, great lord, Samsanu, eunuch, for the life of [the king) Samnuha-shar-ilani, his Lord, he made and gave (this seal)'; accompanied by a museum-quality impression. Cf. Von Der Osten, H.H., Ancient Oriental Seals in the collection of Mr. Edward T. Newell, Chicago, 1934, no.665, for a seal in similar writing style. 16.8 grams, 40 mm (1 5/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12586-232162. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.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.

A collection of English ceramics to include a Poole Pottery flambe vase 16cm h, Lorna Bailey 'Parkside' vase 25cm h, a sugar shaker 15cm and 'Oriental' sugar sifter, two Beswick vases 'Ciro 70' 17cm h and vase with fluted edges 808, a studio pottery blue mottled jug with impressed 'A' to edge and a pair of candlesticks and a vase from Past Times in an Art Deco style pattern. (10)

Qty of oddments inc 2 oriental scroll weights, Victorian empty CDV / cabinet card album (27cm x 22cm), bronze Benin style head, Art Deco compact etc - some a/f

Attributed to Benjamin Marshall (1768-1835) Portrait of a lady, bust-length, in a green dressoil on canvas66 x 58.5cm, unframedProvenance: Purchased by Carl Robert Lamm (1856-1938) from Sigge Björk's antique shop, June 1914;Carl Johan Lamm, Dr of Oriental Art History at the University of Uppsala, Sweden;Sotheby's, London, 14 October 1982, as 'attributed to Raeburn';the collection of David and Sandy Fuller.Exhibited: Gallery St Lucas, Stockholm, 1942, as Hugh Douglas Hamilton, catalogue no. 36, p.24, pl.25.This lot is accompanied by two letters to David Fuller written by Jan Peder Lamm, the nephew of Carl Johan Lamm, in the early 1980s. In the letters Jan Peder states that the painting was inherited by his uncle from his father, the late Carl Robert Lamm, the owner of Näsby Castle and a renowned Swedish art collector. Jan Peder recalls that, whilst in his grandfather's collection, the work was originally attributed to Hoppner. He mentions that Sir Kenneth Clark considered the painting to be by Hugh Douglas Hamilton, and that it was later sold at Sotheby's as attributed to Raeburn. The second letter refers to David Fuller attributing the painting to Benjamin Marshall, with a wish that David send a copy of his future book, should it be published. Condition ReportRelined. Twill canvas. Craquelure. The paint has been thinly applied to the background and sitter's clothing. Not examined under UV light, for a full report please contact the department.

ART DECO JAR | ROYAL DUX (CZECH / BOHEMIAN AROUND 1930) | around 1930 | height 20 cm | marked: marked below | Lot description | Ceramic jar in the Art Deco style, made by the Royal Dux porcelain factory. The jar is decorated with an exotic oriental motif of a caravan on camels under palm trees, complemented by gilded details. A distinctive feature is the distinctive blue lid in the shape of an oriental roof with three gilded finials. Stylized painting and expressive colors are typical features of Art Deco | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded. |

BORDER FINE ART BY R AYRES SKEET SHOOTING, AYNSLEY MASTER CRAFT DUCK ORNAMENT, ORIENTAL DOUBLE FIGURINE ORNAMENT

P. Philippe (1870-1930). Chryselephantine figurine. Bronze and ivory. Russian dancer, circa 1920. A magnificent example of Art Deco sculpture. The energetic and impetuous dance has frozen at its climax. The girl has frozen on one leg, grasping the space with her hands. The stormy and extremely truthful plasticity of the fabric is shaded by the smoothness of the bone, open arms and chest. The figure itself is full of expression and twisted in a spiral, where the heavy oriental belt is balanced by the impulse of the body and the tilt of the face. Signature on the foot. CITES certificate. Weight: 890 g France Dimensions: H 290 mm X W 150 mm Width: 15cm, Height: 29cm, Depth: 15cm, Weight: 1kg, Condition: Good, Material: Bone

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

An elegant square silver tea caddy, made in Moscow between 1896 and 1908. The surface of the item is decorated with a refined engraving in the oriental style, which was especially popular in the Art Nouveau era. The front side features a graceful female figure in traditional Chinese dress, surrounded by lotus flower patterns and flowing plant lines. The skillful combination of Russian jewelry craftsmanship and Eastern influence gives the tea caddy a unique appearance and artistic value. Hallmarks: The master`s mark with the initials MB (Belousov Maxim Vasilievich), made in Cyrillic, as well as the Moscow assay mark of the period 1896-1908. Dimensions: Height: 13 cm Width: 8 cm Weight: 336 grams Historical information: Belousov Maxim Vasilievich is a famous Moscow master jeweler, owner of a silver workshop, active in the period 1899-1908. Width: 8cm, Height: 13cm, Depth: 8cm, Weight: 0.336kg, Condition: Good, Material: Silver 84

Exquisite silver vase in Japanese style, created by Tiffany & Co. craftsmen. The surface of the product is decorated with a refined relief ornament depicting flowering branches of sakura, on which songbirds are gracefully settled. This exquisite motif, symbolizing spring and harmony of life, turns the vase, made of cast, molded and turned silver, into a genuine work of art. Decorative elements with unsurpassed accuracy convey the oriental symbolism of beauty, harmony and natural sophistication. Exceptional quality of manufacture is emphasized by the filigree work of craftsmen, which harmoniously combines traditional oriental motifs with refined Western jewelry craftsmanship. Hallmarks: TIFFANY & CO. 18171 MAKERS 15185 (corresponds to the model and order numbers made in 1928);STERLING SILVER (indicating the highest standard of silver); 925-1000 (marking 925 silver);Letter M (indicates the period of John C. Moore II`s management in 1907-1947). Casting, molding. Condition: The item is in excellent collectible condition. Dimensions: Height: 29 cm. Diameter 11 cm. Weight: 808 grams. Width: 11cm, Height: 29cm, Depth: 11cm, Weight: 0.808kg, Condition: Good, Material: Silver

A rare collectible porcelain figure from the triptych based on the poem by A.S. Pushkin The Fountain of Bakhchisarai depicting Khan Giray, created according to the model of N.Ya. Danko at the State Porcelain Factory (GPF) in the period 1920-1930. The character is presented in an oriental costume with expressive details, including a headdress with a striped pattern, a white robe with ornaments and a rich burgundy cloak decorated with golden branches. On the character`s belt is a saber, emphasizing the character of the image. The base of the figurine is decorated with a multi-colored pattern in the oriental style, and at the bottom there is an inscription decorated with the ligature Gireya, indicating that it belongs to a triptych. Dimensions: Height: 12.5 cm. Width: 5.5 cm. Hallmarks: In the test sickle, hammer and part of the gear corresponding to the State Porcelain Factory (GPZ), period 1920-1930. Preservation: good with traces of use. A similar figure is presented in the collection of the State Museum-Reserve Peterhof and published in the catalog of T.N. Nosovich, I.P. Popov State Porcelain Factory, 1904-1944. St. Petersburg, 2005, p. 375.Historical background: Natalya Yakovlevna Danko (1892–1942) was an outstanding sculptor and artist of decorative and applied arts. From 1909 to 1914, she worked in the sculpture workshop of V.V. Kuznetsov, and participated in the creation of sculptures for architectural objects in St. Petersburg, Moscow, and Kyiv. In 1914, she became a sculptor at the Imperial Porcelain Factory, and from 1919 she headed the factory’s sculpture workshop, and from 1925 she was responsible for the export of artistic porcelain to Europe and America. Natalya Danko was one of the key figures in “agitational porcelain,†the creator of many small sculpture works, including individual figures and sculptural groups. Her works are in the collections of leading museums, such as the State Tretyakov Gallery, the State Russian Museum, the State Hermitage Museum, the State Museum of Ceramics and the 18th-century Kuskovo Estate, and the All-Russian Museum of Decorative, Applied and Folk Art. Width: 5.5cm, Height: 12.5cm, Depth: 4.5cm, Weight: 0.130kg, Condition: Good, Material: Porcelain, Hand Painted

A Chinese painted terracotta figure of a lady, Tang dynasty, holding a fan in her left hand, a bird resting on her right, on canted rectangular base, 29cm high, sold with a photocopy of the Oxford Authentication Thermoluminescence analysis certificate C97a19 (the original cannot be found) Provenance: From a Private Collection Venderven Oriental Art, 1998唐 彩繪仕女（附熱釋光報告）拍品來源：英國私人收藏，1998年購自荷蘭古董商Venderven Oriental Art Condition Report: fan off and hand missing below fan and other hand with hand off and chips missing around where hand which is present re-attaches to the wrist and wear and paint loss throughout please see additional images for a visual reference to condition Condition Report Disclaimer

§ Peter Samuelson (1912-1996) Gentleman in an interior signed and dated '88 / R3T39' (lower left) oil on board 34.5 x 45cm Naturally reclusive and lacking in any ambition to succeed as a professional painter, Peter Samuelson was an artist in spite of himself. Described by those who knew him as an "artist to his fingertips", Samuelson was never able to repress the urge to create, even as he quietly avoided the art world. Born in Salisbury to a wealthy hotelier family, he was educated at Eton, where his talent for art was first recognised, and later trained at the New York School of Fine and Applied Arts in Paris. After early work as an illustrator in Holland and set designer in London, Samuelson settled into a quieter life helping his mother run a boarding house in Torquay.Samuelson's reluctance to engage with galleries and dealers meant he rarely exhibited, often puckishly signing his works as 'Pierre' or in numeral and mirror-writing to confound collectors. He ceased painting around 1965, turning his attention to restoring Oriental rugs. However, in the 1980s, friends organized exhibitions of his work, including at Leighton House Museum and the Roy Miles Gallery, leading to a posthumous appreciation of his art. Against the backdrop of 1950s and 60s hypermasculine Action Painting and overtly cynical Pop Art, Samuelson was quietly carving his own path, painting vivid, romantic portraits of his lodgers—works full of colour, nostalgia, and quiet observation. Though largely unseen during his lifetime, his paintings are now celebrated for their emotional depth and unique atmosphere.

Box of ceramics, Oriental style teapot, cockerel figure, reproduction Staffordshire flat back figure, Art Glass dish

Group of two Thai Sukhothai stoneware bowls, ca. 14th-16th c. One with a fish motif and one with a floral motif.Loan: Minneapolis Institute of Art, L.88.137, 1988 (floral plate).Provenance: Oriental Gallery, Hong Kong, 1987 (one dish); From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Smaller) height: 2 1/2 in x diameter: 9 1/2 in. (Larger) height: 3 in x diameter: 8 in.Condition: Wear throughout commensurate with age including crazing, pitting, and some fleabite chips throughout. There are several firing flaws and some hairline cracks. Some losses to the glaze along the exterior of the small bowl. Signs of restoration throughout that fluoresce under UV light. Some wear to the footrims.

Very large group of "Orientations" and "Oriental Art" magazines. Ranging from the 1990s-2010s.Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) height: 12 1/2 in x width: 38 in x depth: 12 in.Condition: Wear throughout as expected from age and use. Magazine not checked for notes, soiling, or losses. Magazines are sold as-is.

Group of assorted Asian Art gallery catalogs including: The Oriental Art Gallery Limited, Knapton Rasti Asian Art, Spink, Brandt Oriental Art, and Gisele Croes.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: 16 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

Group of early foreign language books, documents, and research archive ephemera composed of photographic prints and negatives depicting ancient ritual bronzes, archaeological subjects, paintings, and other art forms. Including unbound facsimile editions of:Umehara Sueji, "Rakuyo Kinson Kobo Shue (Catalog of Selected Relics from the Ancient Tombs of Chin-ts'un, Loyang)," Kyoto, 1937. Facsimile edition with tipped in plates. Housed in a blue cloth slipcase.Umehara Sueji, "Etude des bronzes des Royaumes Combattants (A Survey of Bronzes from the Warring States Period)," Japan: Academy of Oriental Culture, Kyoto Institute, 1936. Facsimile edition with tipped in plates. Housed in a blue cloth slipcase."Nihon Shucho Shina Kodo Seikwa (Selected Relics of Ancient Chinese Bronze from Collections in Japan," Osaka: Yamanaka and Co., 1962. Edited by Umehara Sueji. Housed in a blue cloth slipcase.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: 16 in.Condition: Wear throughout as expected from age and use. Books not checked for notes, soiling, or losses. Books are sold as-is.

Group of books related to textiles and rugs including: Kilim, Caucasian rugs, Oriental rugs at the Metropolitan Museum of Art, and more.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: 16 in.Condition: Wear throughout as expected from age and use. Books not checked for notes, soiling, or losses. Books are sold as-is.

Group of Asian art gallery catalogs including books from: Jan van Beers Oriental Art, S. Bernstein, Robert Kleiner, Francesca Galloway, Nicholas Grindley, and others.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: 16 in.Condition: Wear throughout as expected from age and use. Books not checked for notes, soiling, or losses. Books are sold as-is.

Group of assorted Asian art catalogs from various venerable dealers including: Michael Weisbrod, Gisele Croes, Berwald Oriental Art, Carlton Rochell Ltd., Rossi & Rossi, and The Chinese Porcelain Company.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: 16 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

Group of British gallery catalogs from A & J Speelman (London), Ben Janssens Oriental Art (London), and Nicholas Grindley (London).Provenance: From the Distinguished Personal Collection of Dr. Robert Jacobsen.(Shipping dimensions) height: 12 1/2 in x width: 25 in x depth: 16 in.Condition: Wear throughout as expected from age and use. Magazine not checked for notes, soiling, or losses. Magazines are sold as-is.

Unryuan (Kitamura Tatsuo) (Japanese, b. 1952). Lacquer manju decorated with hiramaki-e and takamaki-e on a brilliant roiro ground. The Noh mask of Shikami in gold, red, and black lacquer. Nashiji interior with the himotoshi ringed in silver. Signature along the bottom. Carved ca. 1992. With a wooden tomobako.Provenance: Purchased from Barry Davies Oriental Art, London, August 31, 1993.Height: 1 in x diameter: 1 3/4 in.Condition: There are no chips, cracks, or breaks. The black lacquer to the right pupil of the mask is gone.

Group of miscellaneous Asian art catalogs and magazines. Including, among others: Oriental Arts UK, The Minneapolis Institute of Art, Alexander Gotz, Doris Wiener, Oliver Forge and Brendan Lynch Ltd., and more.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: 16 in.Condition: Wear throughout as expected from age and use. Catalogs not checked for notes, soiling, or losses. Catalogs are sold as-is.

A Chinese wucai 'Birthday celebration' sleeve vase, Transitional period, the cylindrical body rising from a flat base to a short waisted neck and everted rim, painted and enamelled around the exterior with a continuous scene showing the seated Tang dynasty general Guo Ziyi receiving birthday gifts from dignitaries, groups of soldiers, scholar-officials, and attendants observing the exchange, 38cm highProvenance: Property of a Lady, Eaton Square, London Christies, South Kensington, Oriental Works of Art (sale 8350) 15th April 1999, lot 307過渡期 五彩郭子儀賀壽圖筒瓶拍品來源：英國倫敦Eaton Square大宅收藏，此前於1999年4月15日購自佳士得南肯辛敦，拍品307號 Condition Report: the rim restored and the base drilledone long crack to the bodyCondition Report Disclaimer

FIVE CHINESE CERAMIC ITEMSTANG DYNASTY AND LATER10.5cm max. (6)WITHOUT RESERVE本拍品不設底價。Comprising: a green-glazed stem cup with applied beaded design; a U-shaped sancai-glazed cup, with a paper label for Gisele Croes Oriental Art, Brussels; a green splash-glazed tripod incense burner; a small greyish-green glazed vase and a small circular box and cover decorated with dark brown glaze.

A JAPANESE BOXWOOD NETSUKE OF AN OX BY OKATOMOEDO PERIOD (1615-1868), 18TH CENTURYThe large reclining beast with the legs neatly tucked underneath its body, the hair realistically rendered and with a tether attached to its nose; the surfaces stained and the eyes inlaid; signed Okatomo underneath, 6.2cm.With a copy of a letter from Barry Davies attesting that the netsuke was borrowed for the exhibition ‘Netsuke Classics’, 1990.Provenance: from the Mark and Elizabeth Harding Collection, South Africa. Previously in the collection of George Weil (b.1938).Illustrated and discussed in Barry Davies Oriental Art, Netsuke Classics, no.35, 1990. The author remarks: 'As previously mentioned, reclining cows and oxen by Okatomo are quite rare, and those rendered in wood especially so'. Also, see B Hurtig, Masterpieces of Netsuke Art, no.857 p.204 where it is illustrated together with other pieces from the Weil Collection.Please note the original ivory eyes mentioned in Barry Davies's catalogue have been professionally replaced with swine tooth and dark bovine horn.

19th century and later oriental ceramics and works of art

A selection of approximately 15 books and catalogues on Persian and Oriental carpets. Including: Oriental Rugs in the Metropolitan Museum of Art, M.S. Dimand & J. Mailey, New York, 1973. Antike Orientteppiche , Peter Bausback, Braunschweig, 1978. Indian Carpets, E. Gans-Ruedin, New York, 1984. Uit de collectie van Dipl. Ing. Ralf Zeller [15]

of circular shape, the recessed centre well cast with a lion knop encircled by six smaller recumbent mythical beasts and grapevines, enclosed by a band of birds alternating with clusters of grapes, all between a ridged border and a further band of detached florets Dimension: D:13.5cm, weight 580g Provenance: From Geoffrey Middle Collection; From the collection of Anthony Du Boulay, no.P209, Bonhams New Bond Street, London, 10 November 2003, lot 178. Purchased from Douglas J. K. Wright Ltd., London in the early 1960s. Since 1945, Douglas J.K. Wright has been a renowned and well-respected auction specialist and London dealer in Chinese and Japanese works of art. He ran the Japanese department of Spink & Son before opening his own art gallery, Douglas J.K. Wright Oriental Art. Anthony du Boulay (label to back), acquired from the above. Anthony du Boulay served at Christie's from 1949 to 1980, for many years as the Director of the Ceramics Department and for 13 years as the President of Christie's, Geneva. From 1981, he served as Honorary Adviser on Ceramics to the National Trust, United Kingdom, on council of the Oriental Ceramic Society and as the Chairman of the French Porcelain Society. Condition: See photos Link of detail photos: https://we.tl/t-qywbEm242l

CARL KAUBA (AUSTRIAN., 1865-1922), RARE BRONZE AUTOMATON: ART. DECO ORIENTAL DANCER BRONZE, SIGNED ON THE SIDE: CKAUBA 33 CM H. GOOD CONDITION Note: Powered by a winding key mechanism. Sculpture rotates and should bow every few seconds.

A RARE CHINESE CRACKLED GREEN-GLAZED BOWL, SOUTHERN SONG PERIOD 16 CM DIAM. 10 CM H. PROVENANCE: BLITZ ORIENTAL ART. GOOD CONDITIONFor reference see: Fine Chinese Ceramics And Works Of Art at Sotheby’s London (05 NOV 2008) LOT 559

A mixed selection of ceramics to include Royal Sutherland floral china cups & saucers, John Tams various sized bowls, oriental style plates, Grafton Art Deco style side plates (2Trays)

A mixed group of Oriental ceramics and Works of Art, to include a yixing teapot and cover, 8cm high; and an armorial coffee cup, (s.d.). (11)

An Indian painted miniature on ivory, early 19th century, depicting Arjumand Banu Begum or Mumtaz Mahal, in a glazed gilt-metal frame and a fitted leather case, 6 x 4cm Provenance: Christie's, South Kensington, 'Antiquities, Islamic & Oriental Works of Art', 2 May 1996, lot 399; the collection of David and Sandy Fuller. IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018. Condition ReportIvory panel appears to be in good condition with no obvious flaws. The panel secure in its frame.

A Chinese painted enamel tea bowl and cover, Qing dynasty (1644-1911), decorated with European-style figures in a garden, with a 'Jorge Welsh Oriental Porcelain, Works of Art' and 'China of All Colours 112' label,9.5cm diameter,two Chinese polychrome-enamelled dishes,20th century, each of lobed form, painted with florets, inscribed, with a four-character Guangxu mark to base,10.5cm long, anda Chinese hardwood stand,the apron pierced and carved with scrolling flowers,23cm wide17cm deep6.5cm high (5)Provenance: The Estate of the late Jackie Mann.Condition ReportBowl and cover - Cracks to the enamel. Restored. Surface scratches and dents to rim and foot rim. Dishes - No obvious faults.Stand - Wood with cracks.

Chinese sale catalogues and reference books, a large quantity, including: Sotheby's catalogue of Chinese and Japanese art, 1928 (1); Christie's catalogues of Chinese art, 1968 (3); THE TRANSMUTATION OF LING BY ERNEST BRAMAH, 1911; Burlington Fine Arts Club, Catalogue of a Collection of Objects of Chinese Art, Illustrated Catalogue of Chinese Art, Privately printed for the Burlington Fine Arts Club 1915. (3 identical copies); The Oriental Ceramic Society Exhibition catalogue of Enamelled Polychrome Porcelain of Manchu Dynasties 1951; The OCS catalogue of the Loan Exhibition, The Arts of The Ming dynasty 1957; Art of the Tang Dynasty, Oakland University; International Exhibition of Chinese Art Catalogue, Royal Academy of Arts London 1935-1936; Chinese Porcelain Before the Present Dynasty. S. W. BUSHELL, M. D., 1886; Journal MAANDBLAD VOOR BEELDENDE KUNSTEN 1935-35; A SKETCH OF THE HISTORY OF CERAMIC ART IN CHINA, WITH A CATALOGUE OF THE HIPPISLEY COLLECTION OF CHINESE PORCELAINS. 1902; etc. (qty.)Provenance: Arthur Probsthain bookshop, London.

Ceramics: Quantity, including: Oriental Ceramics. The World's Great Collections vol. 11; Nihon Kotoji Shina kobijutsu tenrankai [Exhibition of Japanese and Chinese antiques], Osaka Bijutsu Club, Osaka, 1934; Catalogue of the Collection of Old Chinese Porcelains, Formed by Richard Bennett, Purchased and Exhibited by Gorer, 1911 (57 of 59 plates); A 1000 Years of Chinese Ceramic Art, 1966; etc. (qty.)Provenance: Arthur Probsthain bookshop, London.