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China, diep blauw-wit porseleinen bordje, Kangxi periode (1662-1722), gedecoreerd met centraal bloemenpaneel omgeven door vakken met antiquiteiten en bloemen, de onderzijde gemerkt met 'yu' diam. 18,4 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [1] China, deep blue and white porcelain saucer dish, Kangxi period (1662-1722), decorated with a central flower panel surrounded by panels of antiquities and flowers, the base marked 'yu' (condition: in good overall condition)

China, paar Imari porseleinen borden, 18e eeuw, beide gedecoreerd met een bloemenmand en antiquiteiten diam. 25,2 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [2] China, pair of Imari porcelain plates, 18th century, both decorated with a flower-basket and antiquities (condition: some wear to the enamels and rubbing to the gilt, some surface wear)

China, famille rose porseleinen schotel, Qianlong periode (1736-1795), gedecoreerd met antiquiteiten en pioenrozen, de rand met cartouches met pioenrozen en boeddhistische symbolen (glazuurslijtage, klein chipje) diam. 35,4 cm [1] China, famille rose porcelain dish, Qianlong period (1736-1795), decorated with antiquities and peony resting on a large leaf, the border with cartouches of buddhist symbols and peony (condition: glaze frit to centre, some wear to the enamels, minute rim chip)

China, set van drie diepe blauw-wit porseleinen borden, Qianlong periode (1736-1795), elk gedecoreerd met bloemen, antiquiteiten en mand met vruchten waaronder Boeddha's handfruit (twee borden met chipjes en haarlijn) diam. 20,5 cm [4] China, set of four deep blue and white porcelain plates, Qianlong period (1736-1795), each decorated with flowers, antiquities and basket with finger citron (condition: two plates have a rim chip and related hairline crack of ca. 4 cm max.)

China, twee blauw-wit porseleinen gemberpotten en deksels, 19e eeuw, een beschilderd met antiquiteiten, de ander met een jongen en geleerde in een tuin, beide op een gewassen blauwe grond uitgespaard met prunus (een met kleine haarlijntjes) h. 14,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] China, two blue and white porcelain ginger jars and covers, 19th century, one painted with antiquities, the other with a boy and scholar in a garden, both on a washed blue ground reserved with prunus (condition: the jar with garden scene has a few short faint hairlines to the rim)

China, zilvergemonteerde blauw-wit porseleinen theepot en deksel, Kangxi periode (1662-1722), het zilver later, beschilderd met antiquiteiten en symbolen, de bodem met apocrief Jiajing zeskarakter merk h. 10,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [1] China, blue and white porcelain silver-mounted teapot and cover, Kangxi period (1662-1722), the silver later, painted with antiquities and symbols, with apocryphal Jiajing six-character mark to the base (condition: some surface wear, not examined underneath silver mount)

China, Imari porseleinen bord, 18e eeuw, beschilderd met antiquiteiten en lotus diam. 22,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [1] China, Imari porcelain plate, 18th century, decorated with antiquities and lotus (condition: surface wear, rubbing to gilt, minor frits to standring)

China, drie kleine blauw-wit porseleinen theepotjes en een deksel, Kangxi periode (1662-1722), een potje en deksel gedecoreerd met bloemen, een zilvergemonteerd potje met antiquiteiten, en een softpaste potje met elegante dames en houten deksel, alle met yu-merk (enkele kleine defecten) h. 5,5-7,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [3] China, three small blue and white porcelain teapots and one cover, Kangxi period (1662-1722), one pot and cover decorated with flowers, one silver-mounted pot with antiquities, one softpaste pot with elegant ladies and wood cover , all with 'yu' mark (condition: the pot and cover with tiny chip to tip of spout, the spoftpaste pot with small repair to spout and crackled glaze, the silver-mounted pot with frit to handle)

China, blauw-wit porseleinen olie-en-azijnstel, Qianlong periode (1736-1795), bestaande uit een klavervormige pattipan en drie kannetjes, alle beschilderd met bloemen en antiquiteiten (kleine frits en haarlijntjes) diam. pattipan 19 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [4] China, blue and white porcelain cruet set, Qianlong period (1736-1795), comprising a lobed pattipan and three jars, all painted with flowers and antiquities (condition: some minor frits and small hairlines)

China, twee paar blauw-wit porseleinen borden, 18e eeuw, een paar gedecoreerd in gewassen tonen blauw met bloemenvazen en antiquiteiten, het andere paar met bloemen (kleine frits en chips) diam. 22-23 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [4] China, two pairs of blue and white porcelain plates, 18th century, one pair decorated in washed blue tones with flower vases and antiquities, the other pair with flowers (condition: all plates with small frits and minor chips)

China, paar blauw-wit knobbelvaasjes, 19e/ 20e eeuw, gedecoreerd in 17e-eeuwse stijl met antiquiteiten en bloemen, de hals met gestileerde opstaande bladeren h. 18,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [2] China, pair of blue and white garlic-neck vases, 19th/ 20th century, decorated in 17th-century style with antiquities and flowers, the neck with stylised upright leaves

China, blauw-wit porseleinen fles, 19e eeuw, gedecoreerd met kostbaarheden en boeddhistische symbolen (bodem ontbreekt) h. 35,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [1] China, blue and white porcelain vase, 19th century, decorated with antiquities and buddhist emblems (condition: base missing)

China, vier famille rose porseleinen gemberpotten, 19e- 20e eeuw, een gedecoreerd met lotus en kostbaarheden, een met figuren en twee met fazanten in een bloementuin, verschillende apocriefe merken, twee met deksel h. 11,5-13,5 cm Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar. [4] China, four famille rose porcelain ginger jars, 19th-20th century, one decorated with lotus and antiquities, one with figures, two with pheasants in a flower garden, with various apocryphal marks, two with cover (condition: some surface wear, minor wear to the enamels)

China, paar kantige famille rose porseleinen vazen, begin 20e eeuw, twee zijden gedecoreerd met gespiegeld decor van figuren in een tuinlandschap, twee zijden met vogels op bloesemtakken, de bovenzijde met een krekel op chrysanten, mandarijneenden en antiquiteiten, de onderzijde met rolprent h. 44,5 cm [2] China pair of rectangular famille rose porcelain vases, early 20th century, two sides decorated in mirror image with figures in a garden landscape, two sided with birds on flowering branches, the upper part with a cricket perched on chrysanthemum, mandarin ducks and antiquities, the base with scroll. Condition: one vase is slightly leaning to one side

John Throsby, The History & Antiquities of the Ancient Town of Leicester, printed by J Brown, 1791; Throsby's Select Views of Leicestershire, and the Supplementary volume, bindings defective; together with William Kelly, Progresses and Visits to Leicester, Samuel Clarke 1884.Qty: 4

° ° CRAVEN (YORKSHIRE) - Whitaker, Thomas Dunham - The History and Antiquities of the Deanery of Craven in the County of York, 4to, later cloth, with frontis portrait, 35 of 36 plates (lacking Clitheroe Castle [not in Yorkshire])and 18 pedigrees, London, 1805; ARUNDEL - Tierney, M.A. Rev. - The History and Antiquities of the Castle and Town of Arundel, 4to, cloth, with frontis and 6 plates, one folding and tables of genealogies, G. and W. Nichol, London, 1834 and DEVON - Nicolas, Sir Harris - Report of the Proceedings on the Claim to the Earldom of Devon in the House of Lords....contemp. calf, gilt decorated panelled spine with maroon labels. 1832; Prince, John - Danmoni Orientales Illustres: or, the Worthies of Devon.... new edition, with notes. 6 portraits and 5 armorial plates; old half calf and marbled boards, gilt decorated panelled spine, marbled edges, 4to. 1810

° ° Horsfield, Thomas Walker - The History, Antiquities, and Topography of the County of Sussex, 2 vols, 4to, half red morocco, with 2 folded maps, 1 only portrait frontis (to vol 2) and 54 plates, Baxter, Lewes, 1835 and Lower, Mark Antony - The Worthies of Sussex, 4to, cloth, loss to 8cm. loss to margin of p. 179, Lewes, 1865 (3)

Various volumes on Archeology and Antiquities including Roman Theatres by Frank Sear, Roman Frontiers in Wales and the Marches etc

BLUE AND WHITE WITH FAMILLE ROSE BALUSTER VASE QING DYNASTY, 19TH CENTURY 清 青花加彩人物紋瓶 the body and neck similarly painted with various warriors and officers gathering in a garden setting, the shoulder and the foot further adorned with a band with antiquities in cartouches against a continuous key-fret pattern, the neck flanked with a pair of lions in high relief Dimensions:46cm high

FAMILLE ROSE RELIEF-MOULDED 'ANTIQUITIES' VASE QING DYNASTY, 19TH CENTURY 清 粉彩描金堆瓷博古圖瓶 the body decorated with moulded 'Hundred Antiquities' in high relief, such as table screen, incense burners and scholar's desk objects, the neck further adorned with lingzhi fungus and rocks, all against a dark-green groundDimensions:40cm highProvenance:Provenance: Private collection, London

LARGE FAMILLE ROSE 'BIRD AND FLOWER' PLATE QING DYNASTY, YONGZHENG PERIOD 清雍正 粉彩花鳥紋大盤 the interior finely painted with two birds perching on a flower branch, the cavetto further adorned with four branches with various antiquities and flowersDimensions:39cm diameterProvenance:Provenance: Private English collection, Surrey

RARE GROUP OF FOUR WOODBLOCK PRINTS BY DING LIANGXIAN (ACTIVE 1735-1750) QING DYNASTY, 18TH CENTURY 清 丁亮先 罕見饾版拱花套印 博古花鳥、古玩 及 十二月採茶歌圖 版畫（共四幅） comprising: three prints of ink, colour and gauffrage on paper, one depicting arbutus and praying mantis, one with pomegranate, magnolia and bird, and the other an arrangement of antiquities, all with inscriptions and signed 'Liangxian shi' (Clan of Liangxian); together with one print, ink and colour on paper, depicting the first three months of 'Song of the Twelve Months in the Tune of the Tea Picker's Song', each month with inscriptions, signed 'Ding Liangxian', unframed Dimensions:largest: 37.5cm x 30.5cmProvenance:Provenance: Private English collectionNote: Note: The name Ding Liangxian appears on a number of prints from Suzhou, Jinchang district. It refers either to a print workshop or the ingenious artist himself. They specialised in subject matters such as flowers, fruits and birds. Although rare in the market, the prints presented in this lot can be compared to highly similar examples in the collection of the British Museum. For the 'arbutus and praying mantis', dated to the Qing dynasty, c.1735-c.1750, see museum no. 1906,1128,0.14. A related example, depicting pomegranates and praying mantis, offered at Sungari Beijing, 6-7 June 2019, lot 8664; For the 'pomegranate, magnolia and bird', similarly dated, see British Museum no. 1906,1128,0.6; For a similar example of the 'Antiquities', compare to museum no. 1906,1128,0.22. Other related examples, similarly depicting an arrangement of antiquities in different fashions, see museum nos. 1906,1128,0.24; 1906,1128,0.23 and 1906,1128,0.25. The last print in this lot depicts the first three months of the ballad Song of the Twelve Months in the Tune of the Tea Picker’s Song. It consists of three scenes from top to bottom, featuring ballads for January, February, and March according to the Chinese lunar calendar. Compare to a related example depicting ballads for October, November and December, see British Museum no. 1991,1015,0.1. According to the curator's comments, which potentially could apply to the print in this lot, 'this print incorporates scenes from three popular dramas, turning each of them into a ballad. By illustrating and combining popular folk songs with scenes of dramas of the time, Ding Liangxian created a new type of woodblock print for urban audiences.'

AN IMPORTANT AND EXCEPTIONALLY RARE IMPERIAL TIANQI AND QIANGJIN LACQUER RECTANGULAR TABLE, PINGTOU'ANChongzhen incised eight-character mark, cyclically dated to the Gengchen year, corresponding to 1640 and of the periodThe large table intricately incised and coloured in varying shades of red, green and burnt amber shading to black, all picked out with traces of gold filling the incisions, the long rectangular top with a pair of confronted sinuous five-clawed dragons riding the heavens above crashing waves, contesting a treasure vase supported on a cluster of cruciform clouds, issuing precious jewels, 'Auspicious Emblems' and Wan symbols fluctuating above a pair of flaming pearls amidst vaporous clouds, all on a dense diaper ground, the curving edge, apron, spandrels and double stretchers with further clusters of cruciform clouds, the straight legs with floral scrolls. 81.9cm (32 2/8in) high x 189.5cm (74 1/2in) wide x 47.5cm (18 1/2in) deep.Footnotes:明崇禎，一六四〇年 填漆戧金龍紋平頭案「大明崇禎庚辰年製」楷書刻款Provenance: Sotheby's New York, 19 March 2013, lot 491來源：蘇富比紐約，2013年3月19日，拍品491Impressive in size and lavishly decorated with polychrome qiangjin and tianqi lacquer designs, the present table displays a remarkable degree of labour, which together with the presence of five-clawed dragons conveying an extraordinary sense of dynamism and power, demonstrates it was made for use in the Imperial Court.It is extremely rare to find lacquer pieces with a Chongzhen reign mark and of the period. The present lot is even rarer not just for the Imperial reign mark, but the unusual combination of two imposing five-clawed dragons with Buddhist symbols. A similar depiction of dragons displaying a spotted mane, combined with elaborate Buddhist iconography such as on the present example, is on a Chongzhen-marked qiangjin lacquer Luohan bed luohanchuang 羅漢床 decorated with clouds and dragons, in the Qing Court Collection, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (I), Shanghai, 2002, pl.8. A further rare example of Chongzhen-marked furniture pieces is an Imperial tianqi and qiangjin lacquer incense stand, illustrated by Lee Yu-kuan, Oriental Lacquer Art, Tokyo, 1972, p.323; and another tianqi and qiangjin lacquer incense stand, similarly inscribed and dated as the one mentioned above, formerly in the Kaisendo Museum, which was sold at Christie's Hong Kong, 31 May 2017, lot 3227. Each of these pieces is a rare extant example of the lavish Imperial setting during the late Ming period.Polychrome lacquer became popular in the late Ming dynasty, either brush painted or gold-engraved and coloured in the more onerous qianjin and tianqi technique as displayed on the present table. The qiangjin (incised lines filled with gold) technique was developed as early as the Warring Sates period. The history of tianqi however, a subtype of the caiqi technique of colour lacquering, can be traced back to as early as the Shang and Zhou dynasties. When combined together, the gold lines and polychrome lacquer created a rather colourful and dazzling effect. A number of furniture pieces such as tables, stools, incense stands were made during the Jiajing and Wanli periods, testifying to the Court's great interest in lacquered furniture at this time. The Ming dynasty is regarded as the zenith of Chinese furniture making. One of its main achievements was the craftsman's thorough understanding of the natural strength and weaknesses of all types of wood. Complex joinery was used to piece furniture together without the use of glue or nails. As seen from the present table, the elegant form belies its strength, complexity and tenon structure which has allowed it to survive for over four centuries. Furniture from this period closely followed earlier prototypes manufactured from as early as the Song period and forms did not change significantly for hundreds of years; see Wang Shixiang, 'Development of Furniture Design and Construction from the Song and the Ming', Chinese Furniture. Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.42.Recessed-leg tables were historically referred to as 'character one' tables (yi zi zhuo shi), as the single horizontal stroke of the Chinese character for the numeral 'one' (yi 一) resembles their linear form. This design appears to have derived from standard wood building construction employed from as early as the Han dynasty. This particular design with side stretchers is known from as early as the Song dynasty (960-1279), when tables with bridle and tenon joints, a continuous apron with small spandrels, and double stretchers at the sides were produced. See for instance, the two recessed-leg tables depicted in 'Country Boys Playing in Class', a painting attributed to the Song period, illustrated by Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.55, pl.35. Because of their light and simple form, recessed-leg tables could be easily moved from one location to another. They were usually placed against the wall in the main hall of the family compound where important visitors were received and family ceremonies took place; hence these tables became representative of their owner's status and level of refinement and functioned as surfaces on which to display cherished antiquities, artefacts, scroll paintings, to practice calligraphy and painting, and even play the qin; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot 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

A VERY RARE DOCUMENTARY TIANQI AND QIANGJIN LACQUER 'DRAGON' BOX AND COVERWanli eight-character mark cyclically dated to the Jiachen year corresponding to 1604 and of the periodThe square box and cover with canted corners, the cover superbly decorated in polychrome lacquer and gilt with red and black five-clawed dragons, contesting a 'flaming pearl' above turbulent waves and amidst cloud scrolls, all reserved on a diaper ground, the rounded sides with recessed panels incised with peony sprays framed by ruyi-scrolls below and to the corners, the box similarly decorated, the interiors and base lacquered red, the base incised and gilt with the mark Da Ming Wanli jiachen nian zhi, Japanese wood box. 15.9cm (6 1/4in) square. (4).Footnotes:明萬曆，一六〇四年 戧金填漆海水江崖雙龍戲珠紋方蓋盒「大明萬曆甲辰年製」楷書款Provenance: Nagatani Inc., Chicago, Illinois, 2 July 1951. Stephen Junkunc III (d.1978), Illinois來源：芝加哥Nagatani Inc.，1951年7月2日史蒂芬•瓊肯三世（1978年逝）舊藏Notable for the lavish use of gold, conveying a vivid representation of the two Imperial five-clawed dragons contending the flaming pearl, the present box is a fine example of lacquer wares produced for the Court during the Wanli period. It is unclear when the qiangjin technique was first used, but it appears to have already been in use during the third century AD, as seen on the cover of a box discovered in the tomb of Zhou Ran, a high-ranking official, dated 249. Boxes of all shapes and sizes were made during the Wanli period, some in specifically conceived shapes, such as the long rectangular examples used to hold fans, others, such as the present example, which may have been used as a container for a gift of sweetmeats.The animated dragons, a popular design on qiangjin and tianqi lacquerwares during the Jiajing and Wanli periods, can be seen on the covers of several lacquer boxes and covers in the Palace Museum, Beijing, illustrated in The Compete Colletion of Treasures of the Palace Museum: Lacquer Wares from of the Yuan and Ming Dynasties, Hong Kong, 2006, nos.179, 181, 183 and 186. The auspicious message conveyed by the symbols decorated on the present box, with the juxtaposition of the five-clawed imperial dragons surrounded by ruyi clouds, links the ruler to the wish for long life, a wish that is mirrored in the mountains that symbolise longevity and the sea which represents good fortune. The constant dialogue between different workshops is evident when comparing porcelain and lacquer pieces. For example, diaper patterns originally taken from brocade designs and incorporated into the carved lacquer repertoire in the 14th century began appearing on porcelain designs in the 16th century; see, for example, a Wanli mark and period wucai rectangular box decorated with a pair of dragons in a panel surrounded by a diaper pattern, which was sold at Christie's London, 26 October 1964, lot 96.Compare with a related tianqi and qiangjin lacquer square box and cover, Wanli mark and period, dated to 1610, but with a single dragon on the cover, illustrated in East Asian Lacquer: The Florence and Hebert Irving Collection, New York, 1991, pp.123, no.53. Another lacquer square box of similar form, dated 1601, is illustrated by S.Riddell, Dated Chinese Antiquities, 600-1650, London, 1979, p.215, no.174; see also a closely related tianqi and qiangjin lacquer box, Wanli mark, dated to 1616, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, no.183.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE IMPERIAL TIANQI AND QIANGJIN 'DRAGON' BOX AND COVERWanli six-character mark and of the periodOf rectangular form with canted corners, finely decorated with incised and coloured designs, the cover with a rectangular panel enclosing two five-clawed dragons in mutual pursuit of a 'flaming pearl' amidst various clusters of cruciform clouds, the rounded sides of the box and cover with continuous lotus and peony scrolls and Precious Emblems at the eight corners, the rims with further stylised floral scrolls, the base incised with the six-character mark in gilt, fitted box. 39cm (15 2/8in) long x 22.5cm (8 7/8in) deep x 17cm (6 5/8in) high. (2).Footnotes:明萬曆 戧金填漆祥龍戲珠紋長方蓋盒「大明萬曆年製」楷書款Compare with a related qiangjin and tianqi box of similar form, incised with a Wanli cyclical mark and of the period, decorated with two confronted dragons around an auspicious emblem, illustrated in The Complete Collection of Treasures from the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Beijing, 2006, no.177, pp.224-225. See also a similar box incised with a Wanli cyclical mark and decorated with two dragons flanking a Shou character, from the Lee Family collection, illustrated in Dragon and Phoenix - Chinese Lacquer Ware, The Lee Family Collection, Tokyo, 1990, no.82, pp.190-191. Boxes of similar shape, decorated with confronted dragons and scrolling lotus, dating to the Wanli period are also found in porcelain. See, for example, a similarly-shaped and decorated blue and white box and cover, Wanli mark and of the period, illustrated in The Fame of Flame. Imperial Wares of the Jiajing and Wanli Periods, Hong Kong, 2009, no.96. Another blue and white porcelain box and cover, from the Museum of Far Eastern Antiquities, Stockholm, is illustrated in Oriental Ceramics, Kodansha Series, vol.8, Japan, 1982, pl.245.The auspicious message underscored by the five-clawed Imperial dragons and the cruciform ruyi clouds links the ruler to the wish for long life: dragons were empowered with extraordinary powers that compared with those of the emperors, and when clutching the flaming pearl, expressed the visual metaphor of the good ruler who behaved wisely for the wellbeing of his subjects; clouds were, on the other hand, reminiscent of the mist swirling around the high-peaked mountains where Immortals were deemed to live, see R.Stein, The World in Miniature: Container Gardens and Dwellings in Far Eastern Religious Thought, Stanford, 1990. Compare with a related Imperial 'yellow dragon' polychrome lacquer box and cover, Wanli mark and period, which was sold at Sotheby's New York, 16 September 2014, lot 548.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE GOLD AND SILVER-INLAID BRONZE TAPIR-SHAPED VESSEL, XIZUNSong/Ming DynastyThe stocky, tapir-like mythical beast heavily cast standing foursquare with head facing forward, ears pricked and tail pointed downwards, the body inlaid in silver and gold with geometric scrolls, the head cast in relief with curved brows and a collar encircling the neck, the hollow body fitted with a cover on its back. 18.5cm (7 1/2in) long.Footnotes:宋至明 銅錯金銀犧尊Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.This rare zoomorphic vessel is based on ancient prototypes which originated from at least as early as the Western Zhou dynasty. Tapir-form bronze vessels of this type began to appear in greater numbers in the Eastern Zhou dynasty; compare with a tapir-form vessel, Spring and Autumn or Warring States period, finely inlaid with gold and silver geometric designs, illustrated in Masterworks of Chinese Bronze in the National Palace Museum, Taipei, 1969, pl.25. The examples from the Bronze Age appear to have found favour with the Northern Song Emperor Huizong (reigned 1100-1126), who was a very keen antiquarian and who instigated the publication of illustrated catalogues of the items in his collection. One of these, the 'Xuanhe Illustrated Collection of Antiques' Xuanhe Bogu tulu, included an illustration of such an early bronze vessel. While the original edition would not have been readily available to later craftsmen, it was reprinted on a number of occasions, and the illustration of this zoomorphic vessel appears, for example, in the 1528 edition, known as the Bogu tulu.The name xizun appears in both the Bo gu tu, compiled during the Northern Song dynasty, and the 'Catalogue of the Antiquities in the Xiqing Pavilion', Xiqing gu jian, compiled in the eighteenth century. The word xi meaning 'sacrificial victim', often refers to an ox or another animal.Vessels shaped as tapirs are often dated to the Yuan and Ming dynasties. See, for example, a related bronze 'tapir' vessel inlaid with gold and silver, Yuan dynasty, from the collection of the Saint Louis Art Museum, Saint Louis (acc.no.273:1919), illustrated by P.K.Hu, Later Chinese Bronzes: The Saint Louis Art Museum and Robert E. Kresko Collections, St. Louis, 2008, p.45, fig.3, and another Ming dynasty example, similarly inlaid in gold and silver, in the collection of the Cernuschi Museum, Paris, acc.no.M.C.583.A related gold and silver-inlaid bronze tapir-form vessel, Yuan/Ming dynasty, was sold at Christie's New York, 25 September 2020, lot 1538.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A RARE LARGE BLUE AND WHITE 'HUNDRED' DEER JARWanliSturdily potted with tapering sides rising to gently curving shoulders surmounted by a short waisted neck, painted around the body with a continuous scene of numerous deer amidst a rocky landscape dotted with trees and wispy clouds, all between a floral and butterfly border at the mouth rim and lappets at the foot. 55cm (21 1/2in) high.Footnotes:明萬曆 青花百鹿紋大罐The Chinese word for deer (lu 鹿), is a homophone for the word for emolument or an official salary (lu 祿), thus deer are symbolic of the rank and wealth. In the troubled times of the late Ming dynasty however, emperors were particularly keen for evidence of Heaven's blessing on their rule. Hu Zongxian (1512-1565) for example, submitted a memorial to the Jiajing emperor on the sighting of a rare white deer - a good omen for the superstitious Jiajing emperor - for which Hu was richly rewarded. Jars such as the present lot, decorated with deer, were particularly favoured at Court during the second half of the 16th century and early 17th century.Compare with a pair of blue and white jars and covers of very similar design, but without the lappet band at the foot, in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, vol.8, pl.247, and by D.Lion-Goldschmidt, Ming Ceramics, New York, 1978, p.187, no.183; this pair of jars was given to Queen Christina of Sweden by the Portuguese Embassy in 1640. A smaller very similarly decorated jar is illustrated in Sekai Toji Zenshu, Tokyo, 1976, vol.14, p.307, fig.218. See a blue and white 'Hundred' deer vase, Wanli, which was sold at Sotheby's London, 9 June 2015, lot 114; and see also a related smaller wucai 'Hundred' deer vase, Wanli mark and period (34cm high), which was sold at Sotheby's New York, 14 March 2017, lot 12.For further information on this lot please visit Bonhams.com

HORSLEY JOHN.  Britannia Romana or The Roman Antiquities of Britain. Ltd. ed. 308/700. Plates & illus. Orig. blue cloth gilt in glassine wrapper. Newcastle, 1974 reprint of the 1733 ed.

HUTCHINS JOHN.  The History & Antiquities of the County of Dorset. 4 vols. Thick folio. Orig. green cloth in d.w's (one or two tears to d.w's). Classical County Histories reprint, 1973.Condition:Condition as images.Vol 3 - Loose leaves. Tears to dust jackets but no obvious loss. Text generally very clean but some movement in bindings due to size of volumes. 

OSBORNE J. & CLARIDGE A.  Early Christian & Mediaeval Antiquities. Vol. 1. Illus. Quarto. Orig. dark cloth in d.w., nice cond. Harvey Miller, 1996.

HARVEY W. M.  The History & Antiquities of the Hundred of Willey in the County of Bedford (First Series). Eng. map, plates, text illus. & pedigrees. Quarto. Rubbed half dark morocco. 1872-8.

A FINE SMALL BLUE AND WHITE ROULEAU VASEChongzhenThe tall cylindrical vessel rising to a waisted neck, painted around the exterior painted in vibrant underglaze blue with a continuous scene of vases and trays with various flowers amidst flittering butterflies, all between incised borders, the neck with pendant leaves. 21.8cm (8 3/4in) high. Footnotes:明崇禎 青花博古花卉紋小筒瓶Provenance: John R. Berwald, London, November 2017來源：John R. Berwald, 倫敦, 2017年11月The depiction of antiques and flowers, as seen on the present lot, a design sometimes known as bogu or 'various antiquities' reflected the growing scholarly interest of the literati in collecting antiques, works of art and flowers. In the late 16th century, the writer Fan Chao from Songjiang pondered on his contemporaries who sought to emulate the lifetsyle of the scholar class:The particularly strange thing is that even officials' lictors and runners...would set up a small place...with a goldfish and various pots of flowers in the courtyard. with a hardwood table and a flywhisk, and call it a 'study'. I have no idea what books officials' lictors and runner studied.Nevertheless, during the late Ming dynasty, when urban populations, literacy and the merchant class with access to education and positions at court expanded, the collecting of artefacts and their pictorial record became increasingly popular. See also a woodblock print of the various antiquities and flowers, early Qing dynasty, illustrated by C.Von Spee, The Printed Image in China: from the 8th to the 21st centuries, London, 2010, p.91, no.29. Compare with a similar blue and white vase, Shunzhi, also decorated with flowers and the Hundred Antiques and of similar height (20.4cm high), in the Palace Museum, Beijing, illustrated by T.Canepa and K.Butler, Leaping The Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.449.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

[ARCHITECTURE] Britton, John. The Architectural Antiquities of Great Britain, five volumes, Nattali, London, 1835, half leather, the spines in compartments gilt, engraved architectural half-title pages, engraved plate illustrations, volume five with ten-page Catalogue of Embellished Publications on the English Cathedrals, Architectural Antiquities, the Fine arts etc dated 1836, quarto. Condition Report : Plates with some foxing; vol. iv with loose upper covers and detached title page. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.

A box of various antiquities including stone axe heads, pottery figure of Christ, Roman style pottery oil lamp, various other Islamic, two sections of encaustic pottery inscribed verso "Clarendon Palace", two pottery bird whistles, 19th Century Irish pottery cottage and figure group stamped "C Payne, Tivey & Son Dublin", flint arrow head, pottery scarab, etc

AN ELLIS-TYPE AQUATIC MICROSCOPE BY PETER DOLLOND, CIRCA 1768, ONE OF FOUR TAKEN BY JOSEPH BANKS ABOARD THE ENDEAVOUR ON CAPTAIN COOK'S FIRST VOYAGE OF DISCOVERY, 1768-1771with lacquered brass pillar thread-mounted into lid boss with concave mirror plate, circular specimen stage, two threaded eye-pieces, support arm engraved over both sides Joseph Banks / H.M.B. Endeavour, contained within green plush-lined pocket case covered in black fishskin with securing hooks -- 1½ x 5 x 4½in. (4 x 12.5 x 11.5cm.); together with a copy of Cavendish House Auctioneers catalogue 6-7th December 1950.(2)Sir Joseph Banks (1743-1820) to Knatchbull Family via his wife Dorothea Hugessen (1758-1828), believed dispersed at one of a series of London sales of Banks' effects between 1886-1893 where presumed bought by V.B. Crowther-Beynon (1865-1941); to his wife Mary (1856-1952) and sold by her as part of his effects by Cavendish House Auctioneers, Cheltenham, 6th December 1950, lot 175, where bought by vendor's late father.This design of microscope originated with John Ellis (1710-76), an English naturalist who had been an Agent for West Florida. The intention was to allow movement of the objective so as to follow the activity of small water creatures held by a glass watch on the stage. The first model was made for Ellis by John Cuff in 1752 but it wasn't long before other makers produced their own and, with Dollond's excellent reputation for lenses, theirs was soon being included in their list of products as Ellis's Aquatic Microscope for a considerable £2-12-6. When Joseph Banks was offered the chance to accompany Captain James Cook he set about acquiring one of the finest collections of naturalists' instruments and accessories he could. Although no list of his equipment has been found, other contemporary references offer useful suggestions and none less than John Ellis himself recorded for Carl Linnaeus (1707-78) the meeting between Banks and fellow naturalist Johann Fabricius (1745-1808) where he advised Banks on what equipment he should take aboard the Endeavour and which included his "modified" aquatic microscope: No people ever went to sea better fitted out for the purpose of Natural History, nor more elegantly. According to H.B. Carter whose book Sir Joseph Banks discusses the preparations The most important instruments were the optical items: the three-foot achromatic telescope for the study of passing coastlines and inaccessible places; the four Ellis 'aquatic' microscopes; the compound microscope of the Culpeper design by an unknown maker, said to have been a gift to Banks from the Dowager Duchess of Portland. Of these, perhaps the most important were the 'aquatic' microscopes in their fish-skin cases, adaptable in practice both for observations in marine biology (as originally intended by Ellis) and as early forms of the dissecting microscope for entomology and botany.Vernon Bryan Crowther-Beynon was a well-known antiquarian and a member of numerous antiquarian and archaeological societies, in many of which he held office. Educated at Trinity, Cambridge, he was called to the bar and lived for many years in Rutland, writing many papers about the local antiquities. Latterly he moved to Beckenham and became deeply involved in the London antiquity scene - he had been on the Council of the Society of Antiquaries since 1905. He had many interests and collections and was a prolific buyer. His greatest passion was numismatics, especially the associated side branch of obsolete coin balances, of which he became a pre-eminent authority. He retired to Bath where he died in 1941 and, in 1946, his widow, Mary donated his extensive coin balance collection to the British Museum. Four years later as she approached her 95th year, she sold off the rest of his collection in a large and eclectic sale held in Cheltenham. The 364 Crowther-Beynon lots took up the first day of a two-day sale and many were grouped - it makes for tantalising reading as no photographs were used. Lot 175 in which this aquatic microscope was included was one such and no claims were made for it, the cataloguing simply reading A pocket microscope and fittings in sharkskin case, another, bone cribbage board, ivory silk winder, tiny box of lead dominoes, a seven-draw pocket telescope, ivory spy-glass, travelling knife and fork and sundries. When bought, the brass arm was blackened and unpolished with the engraving obscured. The engraving is thought to have been added in the late 19th century and it seems likely that Crowther-Beynon having acquired the instrument, probably from one of the several Knatchbull sales of Banks's effects held at Sotheby's and Puttick & Simpson between 1886 and 1893, realised he needed to establish its credentials before they became obscured, precisely the behaviour of an antiquarian who understood the value of provenance.The Knatchbull Connection: Banks married Dorothea Hugessen in 1779 and her sister Mary wed Sir Edward Knatchbull (1781-1849); As the Bankses died without issue, Dorothea left the Banks estate including all his papers to her brother-in-law, who in turn left it to his eldest son Edward Hugessen Knatchbull (1829-1893) first Baron Brabourne of Brabourne. He attempted to sell Banks's complete and intact papers to the British Museum but the sale fell through and they were sent to auction at Sotheby's on 13th March and 14th April 1886 and, after he died, Puttick & Simpson on 26th June 1893 which, being a more general Rooms, is probably where this microscope was sold to Crowther-Beynon.Literature: Carter, H.B. Sir Joseph Banks, British Museum (Natural History), p. 70-72 Talbot, S. P.&J. Dollond Catalogues: A Trade Handbill of c.1780, Bulletin of the Scientific Instrument Society, No.100 (2009), p.15-22 Turner, G. L'E. The Great Age of the Microscope, Adam Hilger, 1989, p.270-271Box has a good exterior and is structurally sound; accessories are missing, mirror lacks silvering, platform plate and pincer pin missing, interior compartments loose.

White, Reverend Gilbert, The Natural History & Antiquities Of Selborne, (4th Edition) published Sonneneschein & Co, London (1)

Assortment of pottery antiquities and fragments

GILBERT WHITE: THE NATURAL HISTORY AND ANTIQUITIES OF SELBORNE IN THE COUNTY OF SOUTHAMPTON, illustrated Thomas Bewick, London, Bickers & Son 1875, presentation copy from George H Barclay for J K Tancock to verso front end paper, old tree calf gilt very worn, top board detached but present, all edges gilt

A Crested Drongo, Calcutta, Company School, circa 1800, collector's seal in Persian on verso: 'The Right Honourable Lord Bahadur Viscount Valentia, 1217 [1802-3]', gouache on paper, with a watermark of a fleur-de-lys above a coat-of-arms with 3 diagonal lines, a knotted 'W' below, inscribed at the top left in nasta'liq script in black ink Bhujunggah and below and lower right in pencil, Lanius fortficatus, no. 6, glazed and framed, painting 46.8 x 27.5cm. Viscount Valentia, after serving in the British Army until 1790, traveled to India in 1802, accompanied by Henry Salt, his draughtsman and secretary, returning to England in 1806. He became a fellow of the Royal Society in 1796 and was a member of Parliament from 1808-12. He formed a large natural history collection and a collection of Egyptian antiquities at Arley Castle, Staffordshire.For other bird drawings made for Lord Valentia, see Welch 1976, no.26; Welch 1978-I, nos.18a-c; Sotheby’s, London, 31 May 2011, The Stuart Cary Welch Collection, Part Two, lot 115. See also Sothebys Sven Ghalin Collection Lots 36 a drawing of a bustard, and lot 37 a watercolour of a crow-pheasant both made for Lord Valentia, .Please refer to department for condition report

A group of 25 Antiquities and Islamic art catalogues and books from Christie's and Sotheby's, comprising of: The William F. Reilly Collection, Christie’s New York Auction Catalogue, Wednesday, 14 October 2009.; Greek, Etruscan and South Italian Vases from Castle Ashby, The property of the Marquess of Northampton, Christie’s London Auction Catalogue, Wednesday, 2 July 1980. ; Ancient Egyptian Glass and Faience from the ‘Pre-neb’ Collection, Part III, The property of A Swiss Private Collector, Christie’s London Auction Catalogue, Wednesday, 8 December 1993. ; Antiquities, Including property from the collection of the Princely House of Liechtenstein, Christie’s London Auction Catalogue, Wednesday, 30 April 2008. ; Antiquities, Including the Plesch Collection of Ancient Glass, Christie’s London Auction Catalogue, Tuesday, 28 April 2009.; Important Antiquities, Christie’s South Kensington Auction Catalogue, Wednesday, 20 October 1999.; Fine Antiquities, Christie’s London Auction Catalogue, Wednesday, 11 June 1997.; The Erlenmeyer Collection of Cretan Seals, Christie’s London Auction Catalogue, Monday, 5 June 1989.; Faces from the Ancient World: A European Private Collection, Christie’s London Auction Catalogue, Wednesday, 20 April 2005.; Fine Antiquities, The Properties of ‘The Earl of Shelburne, Westminster College, Cambridge A European Private Collector, A European Noblewoman, and from various other sources, Christie’s London Auction Catalogue, Wednesday, 5 July 1995. ; The Collection of the Late Henning Throne-Holst, Christie’s London Auction Catalogue, Wednesday, 8 June 1988.; The Erlenmeyer Collection of Ancient Near Eastern Stamp Seals and Amulets, The property of The ErlenmeyerStiftung, Christie’s London Auction Catalogue, Tuesday, 6 June 1989. ; Important Antiquities, Christie’s London Auction Catalogue, Wednesday, 21 April 1999.; Fine Antiquities, The property of MADAME ADDA SHEPPARD & COOPER LTD.; The property from The MARION SCHUSTER COLLECTION and from various sources. Christie’s London Auction Catalogue, Wednesday, 11 December 1996. ; Fine Antiquities, Christie’s London Auction Catalogue, Wednesday, 27 October 2004. ; The ‘Pre-Neb’ Collection (Part I), Highly Important Egyptian Antiquities, Christie’s London Auction Catalogue, Wednesday, 9 December 1992. ; The Northampton Sekhemka, Christie’s London Auction Catalogue, Thursday, 10 July 2014. ; P.H. Newby, Warrior Pharaohs: The Rise and Fall of the Egyptian Empire, First published in 1980 by Guild Publishing.; Modern British and Irish Painting, Watercolours and Drawings, Christie’s London Auction Catalogue, Friday, 5 June 1992. The Property of Odette Gilbert Gallery Ltd., Oxmantown Settlement Trust Alwyne Rickerd, and from various others.; Arts of Islamic World, Sotheby’s London Auction. 22 April 2015.; Sherif El-Sabban, Temple Festival Calendars of Ancient Egypt, Liverpool University Press, 2000. Peter Levi, Atlas of the Greek World.; H. B. Walters, O.B.E., M.A., F.S.A.CORPVS VASORVM ANTIQVORVM, British Museum: Department of Greek and Roman Antiquities, 1927.; H. B. Walters, O.B.E., M.A., F.S.A.CORPVS VASORVM ANTIQVORVM, British Museum: Department of Greek and Roman Antiquities, 1926.; Gordon Childe, What Happened in History.; Joan Grant, Winged Pharaoh: An absorbing, thrilling novel of Ancient Egypt, Publication: A Four-Square Novel. (25)Please refer to department for condition report

A group of 76 catalogues comprising of:Sotheby’s, Mobili ed Oggetti D’Arte, 24th and 25th October 1974.Sotheby’s, Una Bella Raccolta Di Maiolica Italiana, 8th of April 1976.The Whistler Peacock Room, The Freer Gallery of Art of the Smithsonian Institution (Washington D.C. 1972).International Art Treasures Exhibition – Third, Presented by C.I.N.O.A: The International Confederation of Art Dealer, Victoria and Albert Museum, 2nd March – 29th April 1962CAHN AUKTIONEN AG, Ancient Art – Auction 8, Private Collections from Switzerland, Germany, USA and other properties, Ancient Near Eastern, Egyptian, Greek, Etruscan and Roman works of art, 9th November 2013.Nouveaux Témoignages Du Culte De El Et De Baal A Ras Shamra-Ugarit, Extrait de la Revue Syria, XLIII, 1966, Fasc. 1-2, Librairie Orientaliste Paul Geuthner, Paris.Sotheby’s, Works of Art from Benin, 16th June 1980.Sotheby’s Zurich, The Collection of Ancient and Later Coins, The Property of The Metropolitan Museum of Art, Part II Greek Coins from The John Ward Collection, , 4th April and 5th April 1973.Gorny & Mosch, Giessener Münzhandlung GMBH, Auktion Hochwertige Münzen der Antike (The Old Sable Collection etc.) 215, 14th and 15th Oktober 2013.AUKTION 59, 16 Juni 1981, AGYPTISCHE KUNST, Münzen und Medaillen AG Basel, WERKE AGYPTISCHER KUNST, von der Frühzeit bis zur Spatantike, Aus zwei Schweizer Sammlungen und anderem Privatbesitz.Christie’s London, Antiquities Catalogue, 26th April 2006.Sotheby’s, Italian Maiolica, Continental Pottery and Porcelain, Including the Property of S. H. V. Hickson, ESQ., the Property of W. Avery, ESQ., the Property of Mrs. J. Ough and the Property of The Lady Killearn, 10th July, 1972.Sotheby’s, Fine English and Continental Glass, 14th May 1973.Sotheby’s, Antiquities Primitive Art Islamic, Indian, Tibetan, Nepalese, and South-East Asian Art, 3rd and 4th July 1978.Sotheby’s, Antiquities Islamic and Indian Art, 14th July 1975.Sotheby’s, Antiquities and Islamic Art, Primitive Art, Tibetan, Nepalese, Indian and South-East Asian Art, 16th June 1975.Sotheby’s, Antiquities Islamic Art, Indian, South-East Asian, Tibetan and Nepalese Art, African, Oceanic and American Indian Art, 27th October 1975.Sotheby’s, Antiquities and Tribal Art, Tibetan, Nepalese, South-East Asian and Indian Art, 22nd December 1975.Sotheby’s, Egyptian, Near Eastern, Greek and Roman Antiquities, 6th July 1964.Sotheby’s, French Paperweights and English and Continental Glass, 3rd December 1973.Sotheby’s, English and Continental Glass, 4th February 1974.Sotheby’s, Fine English and Continental Glass, 3rd June 1974.Sotheby’s, Fine English and Continental Glass, 6th January 1975.Sotheby’s, Fine Glass Paperweights, 27th January 1975. Sotheby’s, Fine English and Continental Glass, 7th April 1975.Sotheby’s, Fine English and Continental Glass, 29th September 1975.Sotheby’s, Fine English and Continental Glass, 15th December 1975.Sotheby’s, Important German Glass, 26th June 1978.Sotheby’s, English and Continental Glass, 21st May 1979.Sotheby’s, Una Importante Collezione DI Antiche Maioliche E Porcellane Italiane, 11th October 1972.Sotheby’s, Highly Important Italian Maiolica, 18th March 1975.Sotheby’s, An Important Collection of Italian Renaissance Maiolica, 20th March 1973.Sotheby’s, Italian Maiolica Continental Pottery and Porcelain, 22nd May 1973.Sotheby’s, Important Continental Porcelain, 17th June 1975.Sotheby’s, Continental Ceramics, 21st October 1975.Sotheby’s, European Ceramics, 16th December 1975.Sotheby’s, Continental Pottery and Porcelain, 16th March 1976.Sotheby's, Egyptian, Classical, and Western Asiatic Antiquities, 16th May 1980.Collection – Roger Peyrefitte, Paris 26th Mai 1977.Journal of Jewish Art, Volume Eight 1981, Center for Jewish Art of the Hebrew University Jerusalem.Journal of Jewish Art, Volume Three & Four 1977, Spertus College of Judaica Press Chicago, Illinois.Proche, Moyen et Extrême-Orient, Bibliothèque Orientale De M.A. , Drouot Richelieu – 29 et 30 Novembre 2004.Christie’s London, Antiquities, 25th October 2007.Christie’s London, The ‘Canford’ Assyrian Reliefs, 6th July 1994.BEAUSSANT LEFEVRE, Paris – Drouot – 3 Mars, 2006.VENTE PUBLIQUE 35, Monnaies Romaines et Byzantines Brakteaten Haus Osterreich Osterreichische Fursten.Monnaies Ancienne et Modernes, Vente aux Encheres Publiques 8, Auktion 8, 27 und 28 Juni 1978. Auctiones S.A., Bale.VENTE PUBLIQUE 52, Monnaies et Medailles S.A. Bale, 19 et 20 Juin 1975.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Islamic and Iznik Pottery, Tibetan Tankas, Nepalese, Tibetan, Indian, Thailand, Khmer and Indonesian Art, 14th May 1973.Sotheby’s, Antiquities, Middle Eastern, Irish, Viking, Egyptian, Greek, Roman and Etruscan Antiquities, 10th July 1979.Sotheby’s, Antiquities, 9th December, 1974.Sotheby’s, Egyptian Seals, Scarabs and Signet Rings, 21st April 1975.Sotheby’s, Oriental Ceramics and Works of Art, 23rd September 1975.Sotheby’s, Ancient Iranian Bronzes and Silver Formerly in the Peter Adam Collection, 10th November 1975.Art & Auction, Fashion Photos Click, February 1994.REVUE DE L’ART 60, Editions du C. N. R.S. 1983.Galerie Simone de Monbrison (2), Arts Antiques, Art Primitifs, Galerie Simone de Monbrison, 11 Rue des Saints-Peres, Paris 6.Attische Schwarzfigurige Vasen, Bucher Uber Archaologie, Munzen und Medaillen A. G. Basel Sonderliste G, November 1964.Art of the Ancients, Greeks, Etruscans and Romans, Andre Emmerich Gallery Inc. Exhibition Catalogue, February 7th – March 13th 1968.Bronzegefasse und Bronzegerate der Antike, Romische Tonlampen, Antike Glaser, Bucher Uber Archaologie, Sonderliste J, Munzen und Medaillen A.G. Basel, Marz 1968.Christie’s London, Important Ancient Coins, 8th October 1985.The Museum Maritime Museum Haifa, SEFUNIM (Bulletin) VII, 1988 (Published by the National Maritime Museum Foundation).M Laurin – Guilloux – Buffetaud – Cailleur, Commissaires – Priseurs Associes, 1987.Gorny & Mosch, Giessener Munzhandlung GMBH, 216, Auktion, Antike Munzen und Lots, 15th and 16th October 2013. Sotheby’s, Antiquities – Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Iznik Pottery, 9th July 1974.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Iznik and Islamic Pottery, 3rd December 1973.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 9th July 1973.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, Iznik and Islamic Pottery, 4th December 1972.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 10th July 1972.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Islamic Metalwork, 6th December 1971.Sotheby’s, Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, also Islamic Pottery and Metalwork, 1st December 1969.Ancient Art, Robin Symes, June 1971.Sotheby’s New York, Antiquities and Islamic Works of Art, 25th June 1992. Haute Curiosite Arts Primitifs – Art Musulman, 1973. Please refer to department for condition report

A group of Antiquities comprising four small Egyptian alabaster vesselsMiddle Kingdom-Ptolemaic Period, circa 1750-30 B.C., including a cylindrical-bodied ointment jar with disc lid, 5.6cm high; a bulbous jar with narrow neck, tapering to the base, 5cm high, Middle Kingdom; a jar with ovoid body, the shoulders sloping towards the cylindrical neck, the disc rim with slightly raised lip, Late Period, 8.5cm high, an ink inscribed collection label on one side; a pear-shaped bottle with disc rim, Ptolemaic Period, 6.9cm high; a small alabaster alabastron, with disc rim and vestigial lug handles, Cyprus, circa 5th-4th Century B.C., 8.7cm high, with worn collection label on the side, and an alabaster chalice, 7.5cm high, and three hardstone Egyptian vessels, including a limestone ovoid jar, with pierced lug handles, 7.5cm high; a mottled grey-stone ovoid jar with rounded rim, 6cm high, and a thin-walled calcite jar tapering to a flat base, Possibly Early Dynastic - New Kingdom (9)Provenance:Property of a private collector, Edinburgh (1938-2021).Five vessels: acquired from Thomson Roddick & Medcalf Auctioneers, Edinburgh, on the 3 April 2004, lot 855.Late Period alabaster bottle; acquired from Thomson Roddick & Medcalf Auctioneers, Edinburgh on the 7 March 2013, lot 254.Please refer to department for condition report

Five terracotta and marble antiquities, circa 4th Century B.C. – 2nd Century A.D., including a Greek terracotta circular object, the front moulded with a round face with well delineated facial features framed by a head of curly hair, two piercings at the crown, probably for suspension, 9cm max diam, an old ink inscribed label on the back; a fragmentary Greek hollow-backed bust of a female, her left hand supports a basked on her shoulder, the right hand held to her chest, 9cm high, A Romano-Egyptian hollow bust of a female carrying a basket of fruit on her head, her hair arranged in ringlets falling across her shoulder, 13.5cm high; a Roman terracotta fragmentary relief of a goddess, possibly Isis, depicted wearing the chiton, her hair arranged in ringlets beneath a diadem of tiered uraei, 14.5cm high, a 19th century label on the back, ink inscribed 'Pompei'; a worn Roman marble male head, 11.2cm high, ink inscribed on the neck, ‘Stanhope 4-1892.R.’; a small fragmentary pottery vessel with gadroon design, 6.4cm high, possibly ancient and a Nile mud plaque, moulded with a bull in relief, Not Ancient, 9.1cm x 7cm (7)Provenance:Property of a private collector, Edinburgh (1938-2021), formed from the 1970s onwards.Please refer to department for condition report

A large group of mainly Near Eastern and Eastern Mediterranean beads and amulets Late 5th Millennium B.C. - 1st Millennium A.D. and LaterIncluding fourteen shell, calcite and white stone amulets: a standing horned bull with concentric circle designs engraved, 3.8cm x 4.9cm; a smaller standing bull, 3cm x 2cm; two recumbent bulls, 4cm max length; two small twin-headed bird pendants, 2.4cm max width; a cockerel, 2.3cm high; a miniature standing bull, 10mm long; a miniature mouse pendant, 13mm long; the foreparts of a bull pendant; 26mm long; two pomegranate-shaped pendants, 15mm high; a disc pendant with incised detail; 2.7cm high, loop damaged; a bell-shaped pendant with concentric circle designs incised on one side, 17mm high, and a Byzantine alabaster cross pendant with concentric circle designs, 3.2cm high; a banded agate ‘eye’ bead, 4.4cm diam; an obsidian discoid bead, with incised feather pattern, 23mm long; seventeen mainly mosaic glass beads, including four barrel-shaped glass beads with suspension hoops, 2.7cm – 4.8cm long; five barrel-shaped beads, including a red and yellow ribbon bead set into a green matrix, a red feathered bead in a black matrix, 2.5cm - 4cm; a small cylindrical bead with red, blue and white feathering, 2.7cm long, and a millefiori glass bead with yellow terminals, 3cm long, one end chipped; a spherical bead with mosaic chequerboard design, 11mm diam, five other cylindrical, spherical and barrel-shaped beads; fifteen stone or bone spindle whorls or beads, mainly with incised concentric decoration on the sloping surface, 10mm-36mm diam; a group of glass pendants, amulets and tokens, including a blue and yellow miniature handled vessel, 2cm high; a bird, 2cm long; two moulded pendants with a lion, another with a head, another with a frog, and three other glass pendants; four translucent glass ‘fly’ pendants, 16mm - 20mm; sixteen glass pendants, beads, inlays and artefacts including a twin spiral bead, 14mm long; and a collection of earrings, including two similar shell hooped earrings, 2.1cm diam, and twelve bronze hopped earrings, mainly with beads of either glass or stone pendant below, and a gold hooped earring with an iridescent glass bead pendant below, and two recumbent amuletic bulls, 4cm long, Not Ancient (a lot) Provenance:Collection of Lady Gloria Dale (1922-2013), London, acquired during the 1960s-1972.Christie's London Antiquities, 30 April 2008, lot 68.UK private collection acquired from the above auction.Please refer to department for condition report

A large group of Near Eastern and Eastern Mediterranean beads and amulets Late 5th Millennium B.C. - 1st Millennium A.D. and LaterIncluding four Western Asiatic mainly shell disc rings with circle designs, once inlaid, 7.4cm max diam, one damaged; a glazed frit disc with concentric circle designs, 4.9cm diam; a large grey stone pendant carved on one side with a stylised coiled snake, 8.5cm diam; a group of thirteen miniature shell and white hardstone amulets including recumbent bulls, double-headed birds, figures, a human head and a stamp seal, 30mm max; a green stone amuletic figure of a ‘hermaphrodite’ lower torso, 22mm; five black stone heads, busts and figures, 12mm-27mm; a black stone bull’s head pendant and a black stone amuletic bull, 18mm and 20mm, a red stone pendant bird, 27mm; a miniature lapis lazuli bead of a female bust, 11mm; a bone tooth-shaped pendant, 4.4cm; two bone human busts, 20mm max; two hardstone clenched fist pendants, 24mm max and a frit example, 13mm; three hardstone feet pendants, 10mm-25mm; a hardstone bird amulet and an obsidian ‘fly’ amulet, 11mm max; five banded agate beads and pendants, including an amphora-shaped pendant, 19mm high; a lapis lazuli coffee-bean shaped bead and an obsidian coffee-bean shaped bead, 14mm and 22mm; three semi-translucent green stone ‘butterfly’ beads, 29mm max diam; another one attached to its original bronze shaft, 34mm diam of bead, 11.2cm max length; a scallop-shaped pendant, 17mm high, and four other hardstone beads, pendants and seals; a large hardstone pear-shaped pendant with incised cross-hatched design, 4cm high; three fruit-shaped pendants, one in the form of a pomegranate, 20mm, and a green stone pendant with cross-hatched design, 19mm high; eight phallic amulets in hardstone, glass and frit, 10mm – 27mm; an Egyptian blue glazed faience udjat eye, 3cm long; an Egyptian gold bead in the form of an udjat eye, 12mm; four frit and faience amulets of birds and fruit, 18mm max; a group of Roman glass objects including: four Roman glass spindle whorls; six miniature glass aryballoi or jugs; a janiform glass bearded male face bead, 20mm; a dark aubergine glass head pendant of an African, 18mm; three moulded pendants, two with a frog, one with a lion, 23mm max diam and two crescentic glass pendants, 15mm max (a lot)Provenance:Collection of Lady Gloria Dale (1922-2013) London, acquired during the 1960s-1972.Christie's London Antiquities, 30 April 2008, lot 67.UK private collection acquired from the above auction.Exhibited:Some items at The Fitzwilliam Museum, Cambridge, 1978.Please refer to department for condition report

Two Eastern Mediterranean 'eye' bead necklacesCirca 5th-3rd Century B.C. and LaterA necklace composed of polychrome spherical 'eye' beads of varying size, 53.5cm; another of white beads with blue eyes, 46.5cm and a string of sixteen 'eye' beads and two banded Provenance:Acquired during the 1980s.Christie's London Antiquities, 30 April 2008, lots 87 and 84.UK private collection acquired from the above auction.Please refer to department for condition report

A Roman banded glass beaded necklaceCirca 1st-4th Century A.D.Composed of barrel-shaped beads imitating banded agate, interspersed with modern spherical beads, re-strung, 51.5cm longProvenance:Acquired at the Archaeological Shop, Tel Aviv Hilton, Israel, 1967.Christie's London Antiquities, 30 April 2008, lot 85.UK private collection acquired from the above auction.Please refer to department for condition report

Two mostly Roman mosaic glass bead necklaces and an eye bead necklace1st Century B.C.-A.D. and LaterA necklace including five Roman spherical face beads, interspersed with blue glass beads and later gold spacer beads; another necklace with some disc and spherical face beads and variousbeads of stepped lozenge design, 47cm long, and a necklace with seven ‘eye’ beads, Eastern Mediterranean, 5th-3rd Century B.C., with Roman blue glass beads and Islamic facetted glass beads 41cm (3)Provenance:Acquired during the 1980s.Christie’s London Antiquities, 30 April 2008, lot 86.UK private collection acquired from the above auction.Please refer to department for condition report

Two Roman mosaic glass bead necklacesCirca 1st Century B.C./A.D. and LaterA necklace composed of eight spherical millefiori beads, interspersed with seven faceted tubular mosaic glass beads and plain blue glass bead spacers, 43cm; and another similar necklace, both re-strung, with some later beads 51cm long Provenance:Acquired during the 1980s.Christie's London Antiquities, 30 April 2008, lot 88.UK private collection acquired from the above auction.Please refer to department for condition report

A quantity of 44 Christie's and Sotheby's catalogues, comprising: Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities, 26th November 1968.Sotheby's, Catalogue of Egyptian, Western Asiatic, Greek, Etruscan and Roman Antiquities also Islamic Pottery, 18th June 1968.Sotheby's, Catalogue of Islamic Arms and Armour Glass, Textiles, Ceramics, Woodwork and Metalwork also Qajar Enamels, 2nd May 1977.Sotheby's, Catalogue of African, Oceanic, Pre-Columbian and American Indian Art also Japanese and Indian Sculpture and Islamic Pottery, 27th of June, 1966.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 28th of April 1981. Sotheby's, Catalogue of Fine Islamic Rugs ad Carpets, 29th of March 1978.Sotheby's, Catalogue of Fine Oriental Miniatures, Manuscripts and Printed Books, 12th and 13th October 1981.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984.Sotheby's, Catalogue of Fine Oriental , Manuscripts and Miniatures, 16th of April 1984, 17th of October 1983.Sotheby's, Catalogue of Egyptian, Western Asiatic, Irish Bronze Age, Greek, Etruscan, Roman, Celtic, Anglo-Saxon and Byzantine Antiquities Islamic Pottery and Metalwork, 13th of July, 1970.Sotheby's, Catalogue of Fine Oriental Carpets and Rugs, 6th of May 1977.Sotheby's, Islamic Work of Art Part II, Metalwork, Ceramics, Glass, Textiles and Qajar Enamels, 22nd of November, 1976.Christie's, Indian Miniatures, 12th of July 1979.Christie's, Fine Oriental Miniatures and Manuscripts, 10th of July 1975.Christie's, Important Islamic Manuscripts and Indian Miniatures, 9th of November 1977. Christie's, Important Islamic and Indian Manuscripts Miniatures, 24th of April 1980.Christie's, Indian Miniatures and Watercolours, 3rd of July 1980.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th of April 1989.Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 11th and 12th of June 1984. Christie's London, Important Islamic, Indian and South East Asian Manuscripts, Miniatures and Works of Art, 4th of July 1985.Christie's, Oriental Ceramics and Works of Art, 31st October 1991.Christie's, Oriental Ceramics and Works of Art, 23rd July 1992. Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 17th of October 1989.Christie's, Oriental Ceramics and Works of Art and Indian and Islamic Miniatures and Manuscripts, 3rd of May 1990.Christie's, Oriental Ceramics and Works of Art, 17th of May 1990.Christie's, Oriental Ceramics and Works of Art, 28th of June 1990.Christie's, Persian and Islamic Works of Art, 11th of July 1977.Christie's, Persian and Islamic Works of Art, 14th of July 1975.Christie's, Important Travel and Natural History Books, 20th of February 1980.Christie's, Sale of Islamic and South East Asian Paintings, Manuscripts and Works of Art, 14th of June 1983.Christie's, Oriental Ceramics and Works of Art, 18th of December 1991.Christie's, Oriental Ceramics and Works of Art, 4th of September 1990.Christie's, Carpets and Furniture, 25th of March 1992.Christie's, Oriental Ceramics and Works of Art, 23rd of January 1992.Christie's, Oriental Ceramics and Works of Art, 9th of July 1992.Christie's, Oriental Ceramics and Works of Art, 18th of October 1990.Christie's, Oriental Ceramics, Works of Art, Miniatures and Manuscripts, 8th of August 1991. Christie's, Oriental Ceramics, Works of Art, 26th of July 1990.Christie's, Review of the Season 1983.Christie's, Review of the Season 1988.H. Daiber, Catalogue of the Arabic Manuscripts in the Daiber Collection, Institute of Oriental Culture, University of Tokyo, 1988.Oriental Miniatures and Illumination, Bulletin No. 41, Maggs Bros. Ltd. (44) Please refer to department for condition report

A group of 32 Islamic Art and Antiquities catalogues and books, comprising:Ernst J. Grube, Eleanor G. Sims, Islamic Art II, Islamic Art: An Annual Dedicated to the Art and Culture of the Muslim World (Geneva, New York, 1987)Sheila S. Blair and Jonathan M. Bloom, Images of Paradise in Islamic Art John Beckwith, Caskets from Cordoba (London, 1960)Godfrey Goodwin, The Janissaries (London, 1994)Oleg Grabar and Sheila Blair, Epic Images and Contemporary History, The Illustrations of the Great Mongol Shahnama (London and Chicago 1980)Marc-Edouard Enay, Oriental Manuscripts, Autographs, Calligraphies and Binding (2010)A.S. Melikian-Chirvani, Les Frises Du Shãh Nãme Dans L’Architecture Iranienne Sous Les Ilkhãn (Paris, 1996)La Collection Charles Kettaneh, Bijoux Archéologie - Islam Glyptique, Glyptique Bijoux Antiques en or Archéologie Arts de L’Islam (Paris Les 29 Février et 1er Mars 1988)Antiques Arts De L’Islam, Collection de L’Ambassadeur X Anciennes Collections J. Matossian – J. Pozzi – N. Landau A Divers, Drouot Montaigne – Salle Bourdelle (Paris 1989)Claude Boisgirard, Arts D’Orient, Jeudi 25 September 1997 Claude Boisgirard, Archéologie Islam, Hotel Drouot, Paris. 30 Juin – 1er Juillet 1993Arts D’Orient, Claude Boisgirard, Jeudi 25 September 1997, Islam – Art Chrétien D’Orient, Vendredi 26 September 1997 Archéologie, Hotel Drouot Archéologie Art Musulman, Collection du Docteur X. et A Divers Amateurs Claude Boisgirard Jeudi 26 et Vendredi 27 November 1987 Hotel Drouot – Salle N 4Arts D’Orient, Archéologie et Islam, Claude Boisgirard, Le Mercredi 14 Décembre 1994 à 30, Hotel Drouot – Salle 7. Paris.B.W. Robinson, Fifteenth – Century Persian Painting: Problems and Issues, New York (New York and London. 1991)Oriental Art, Autumn 1982, Volume XXVIII No. 3Annemarie Schimmel with the assistance of Barbara Rivolta, Islamic Calligraphy, The Metropolitan Museum of ArtThe Society of the Friends of the A.U.B. Museum, Calligraphy: In the Arab and Islamic World, Exhibition Dates: 27th October – 12th December 1999, at A.U.B. MuseumR.W. Hamilton, F.S.A. with a contribution by Dr. Oleg Grabar, KHIRBAT AL MAFJAR, An Arabian Mansion in the Jordan Valley, (Oxford, at the Clarendon Press, 1959)The Dyson Perrins Collection Part II, Sotheby & Co. Auction, 1959, (Day of Sale: Tuesday, December 1, 1959), Catalogue of “Forty-Six Western and Oriental Illuminated Manuscripts”, the property of the late C.W. Dyson Perrins, ESQ., D.C.L., F.S.A. HALI, Carpet, Textile and Islamic Art, Issue 113 November – December 2000, The Pazyryk Felts, Ersari Rugs, Moroccan Shawls, Punjabi Phulkaris & Baghs, Caucasian Pictorial Rugs, Hemp & Ramie in Guizhou, Chinese – Style Bird Paintings in PersiaLadan Akbarnia with Francesca Leoni, Light of the Sufis: The Mystical Arts of Islam, The Museum of Fine Arts, Houston (Distributed by Yale University Press, New Haven, and London 2010)Hashem al-Khattat, Iraqi Cultural Centre Gallery, 11 October – 2 November 1978David Roberts: A Journey in Egypt, Commentary on drawings by David Roberts: Rita BianucciDavid J. Roxburgh, Writing the Word of God: Calligraphy and the Qur’an, The Museum of Fine Arts (Houston 2007)Prof. Dr. A. Schimmel, Iconography of Religions XXII, I, (Leiden 1970)SOTHEBY'S CATALOGUE, BIBLIOTHECA PHILLIPPICA, New Series: Medieval Manuscripts Part I, 30/11/1965 SOTHEBY'S CATALOGUE, BIBLIOTHECA PHILLIPPICA, New Series: Medieval Manuscripts Part IV, 25 and 26/11/1968Art Ottoman, Objects d’art de I’lslam, 3 Centenaire de la Maison Soustiel 1883 – 1983, Exposition: Galerie Jean Soustiel, Paris. 13 avril 1984. George Manginis, Mount Sinai: A History of Travellers and Pilgrims (London, 2006).R. Pinder-Wilson, Paintings from Islamic Lands, Oriental Studies, Volume IV (Bruno Cassirer Publishers Ltd. 1969)Harry Adès, A Traveller’s History of EGYPT, (Gloucestershire, 2007). (32) Please refer to department for condition report

Four Roman glass vessels Circa 1st-4th Century A.D. Two glass unguentaria, one almost clear with an old ink inscribed label on one side, 10.3cm high; another in dark blue glass, with oval body cut-off across the cylindrical neck, an old ink inscribed label attached to the underside of the base, 6.4cm high; a Roman amber glass sprinkler vessel, with spherical body and out-turned folded lip, 8.2cm high; a Roman pale green glass two-handled vessel with squat spherical body, a pronounced ridge below the rim, the handles trailed from the lip to the shoulder, 7.5cm high; several Roman glass fragments, one mounted on card with old pencil inscription on the back; a fragmentary Islamic molar flask and a fragmentary Roman - Medieval glass bottle neck; two button-shaped mocha stones, mounted on card, old ink inscription ‘Mocha stones, Hodeida. Yemen, Soukh Arabia 1903’(a lot)Provenance: Sprinkler flask: with Superior Stamp & Coin, Los Angeles, December 1979.The two handled jar: UK private collection, formed from the 1960s onwards.All other artefacts: Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He initially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote The History of Llandovery, published in 1975.Please refer to department for condition report

Six Egyptian alabaster vesselsMiddle Kingdom – New Kingdom, circa 2046-1069 B.C.Comprising a kohl jar with disc rim, 4.6cm high; an alabastron with twin vestigial handles, 8.4cm high; a small piriform jar with flat rim, 3.4cm high; an elongated jar with rounded shoulder, 7.5cm high; a small bulbous jar with rounded rim, 3.5cm high; a globular jar with out-turned rim, 4.1cm high, some restoration to the rim(6)Provenance:The kohl jar: American private collection, Massachusetts, formed in the 1960s-1970sVessels 2-6: Private collection, Zurich, acquired in 1975 when the owners lived in Cairo (1975-1980).Bonhams London, Antiquities, 23 July 2020, lot 119 (part lot).Please refer to department for condition report

ENSEMBLE DE SEPT ESTAMPES DU MANUEL L'ATELIER DES DIX BAMBOUSXVIIIe/XIXe siècleSEVEN WOODBLOCK PRINTS FROM TEN BAMBOO STUDIO 18th/19th centuryInk and pigment on paper, the largest 34cm (13 3/8in) wide x 27cm (10 5/8in) long; together with six prints of flowers and insect, and four prints of chrysanthemums (Ju pu) 29.5 (11 5/8in) wide x 26cm (10 2/8in) long. (17).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) With the growth of population, wealth, literacy and mobility in Ming dynasty China, cities such as Nanjing and Suzhou became centres for the educated scholar and wealthy merchant classes, and for printing. Scholars who could not find employment as officials at Court sought to enhance their reputation through costly individual print projects and initiated colour printed manuals. Commercial workshops on the other hand responded to the demands of the urban population for novelty by producing sets or single-sheet prints, often emulating the culture of the elite. As C.Von Spee wrote, 'Colour printing reached a level of perfection in the early seventeenth century. Outstanding examples are Ten Bamboo Studio Collection of Calligraphy and Painting (c.1633)... and single-sheet prints of birds, flowers, insects and antiquities printed and signed by members of the Ding clan in Suzhou'; see The Printed Image in China: From the 8th to the 21st Centuries, London, 2010, p.18.The Ten Bamboo Studio Collection of Calligraphy and Painting, is the earliest picture collection in China to be printed in colour and the first to include isolated illustrations of subjects such as plants, flowers, birds etc. The Ten Bamboo Studio was the name of the residence of Hu Zhengyan in Nanjing. He was an accomplished scholar in ink making and seal carving, as well as calligraphy and painting, who initiated the production of the manual. See related examples of prints from the Ten Bamboo Studio Collection of Calligraphy and Painting, illustrated in Ibid, pp.72-75.十八/十九世紀 十竹齋木刻版畫 一組七幀來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com

Lyell (Sir Charles). The Geological Evidences of the Antiquities of Man, etc. 2nd edition revised. Woodcut illustrations, some foxing and endpapers have annotations and notes, half calf, worn, octavo. Published by John Murray, London, 1863; and 3 other books (4)

Grose (Francis) The Antiquities of England and Wales, 5 vol. including supplement, first edition, printed on thick paper, engraved frontispieces, vignette titles, plates and numerous illustrations, with additional engraved portrait of the author bound in at beginning of vol.1 (soiled and frayed at edge, mounted on stub), an excellent clean set, book-label of the architect Sir A.E.Richardson, contemporary calf, gilt, spines gilt with red & green labels, rubbed, a few scuffs and marks, spine ends and corners a little worn, 4to, S.Hooper, 1773-1777.

Palladio (Andrea) The Architecture...in Four Books, edited by Giacomo Leoni, with notes and remarks by Inigo Jones, 2 vol. in 1, third edition, engraved portrait and frontispiece, title to vol.1 in red & black, 230 engraved plates on 207 sheets by J.Cole, J.Harris, B.Picart & M.Vandergucht, a few double-page, some light foxing to text of vol.2 and one or two plates with marginal stains but generally an excellent clean and bright copy, engraved bookplate of Richard Prime, contemporary diced russia with gilt ornamental border, rubbed, a few scratches, rebacked in calf, spine ruled in gilt with red roan label, corners repaired, folio, [Harris 685], folio, A.Ward and others, 1742.⁂ Lavish edition of Palladio's works. This edition contains the notes by Inigo Jones for the first time, also translations of Palladio's Antiquities of Rome and Discourse on the Fires of the Ancients which did not appear in the earlier editions.

Seller (Abednego) The Antiquities of Palmyra, first edition, long folding engraved panorama of ruins and folding engraved plate of coins, errata leaf at end, panorama lightly browned, also S gathering, otherwise clean and crisp, contemporary panelled calf, rubbed, slight wear to joints, new label, [Blackmer 1523; Wing S2448], 8vo, for S.Smith & B.Walford, 1696.⁂ One of the first published accounts of the ancient city of Palmyra, discovered in 1691.

A box containing a large quantity of mainly mid 20th Century postcards including topographic, named locations, antiquities, and others

John Hutchins MA, 'The History and Antiquities of The County of Dorset' Parts VII and IX, (a/f), various ephemera including travel brochures, maps, etc, together with two BOAC and one British Airways travel bags.