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Ca. 1046 - 771 BC.An Archaic bronze vessel seated on top of a square pedestal stand. The body is cast in a low relief with a decorative band below the rim consisting of taotie masks. A similar band can also be seen on the base of the vessel, above the square pedestal. On the sides of the vessel are two handles in the form of mythical beasts. For similar see: Bonhams New Bond Street "Fine Chinese Art" 12th May 2011, lot 250.Size: L:320mm / W:300mm ; 4.94kg.Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 619 - 906.A Chinese terracotta female rider holding a harp. The lady is depicted wearing riding attire, also known as Hufu (foreigners attire), and black boots, with her hair arranged to two side buns. The horse is shown standing upright, painted with black pigments. This piece has been precisely dated using a Thermo Luminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.Size: 420mm x 385mm; Weight: 3.65kgSize: 420mm x 385mm; Weight: 3.65kgProvenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. This item has been cleared against the Art Loss Register database and comes with a confirmation letter..

Title: Autumn. Silkscreen print on wove paper depicting an abstracted nude woman in a state of deep thought surrounded by falling leaves with purple and turquoise washes overlaid. Signed by artist in pencil on lower right corner. Pink finished frame with double matte border. Quan Sun (Chinese-American, b. 1942) was the daughter of a successful chemist and school principal. Quan Sun had a wealthy upbringing and was allotted a privileged education in the arts in China. After the cultural revolution, she was forced into military training in the Chinese countryside. She was inspired by the natural surroundings there, but after she was married, she put her art to the side in place of supporting her husband's. After their divorce in the 80s she was able to pursue her art as an individual and began to create expressive figurative pieces such as the one demonstrated in this catalog. She is truly a woman of the 20th and 21st century! Sight size: 34.5"W x 26.5"H; frame: 37"W x 29"H x 1"D. Certificate of Authenticity included. Artist: Quan SunEdition Number: 57 of 350 Condition: Age related wear.

A Collection of Mainly Military Related Books, in five boxes, also two volumes chinese art by S.W.Bushell, C.M.G and Chinese Art - Burlington Magazine Monograph. A 17/18th Century Wrought iron rush light holder, a brass chamberstick and a rear turbine for a Tornado jet engine and a chrome breakfasr stool base

An art Deco Crownford coffee pot, creamer, sugar bowl with four coffee cans and saucers, two modern Tang-type horse, a Chinese export enamelled famille rose cricket box, small set of Copeland Spode Bermuda pattern teaware retailed by Lawley’s Regent Street together with a silver plated plan (1 tray)

A group of silver gold filled and plated vintage costume jewellery including a 9ct gold front and back oval locket, Chinese pendants, amethyst set earrings, a Tank Corps sweetheart brooch, a marcasite, jet and silver Art Deco bracelet, an amber pendant and a Wedgwood scent bottle with silver top.

CHINESE SILVER AND ENAMEL POSY HOLDER, AND OTHER ITEMS along with a Norwegian gild and enamel bracelet and an art deco Peking glass necklace

A FINE LARGE CHINESE 'KESI' SILK IMMORTALS PANEL QING DYNASTY, LATE 18TH OR EARLY 19TH CENTURY Skilfully woven with great attention to detail with a celestial scene depicting the Peach Festival, the Queen Mother of West rendered holding a peach and flanked by two attendants atop cloud scrolls, above a group of Daoist immortals gathered on a balustraded balcony and honoring Xi Wangmu, including Shoulao supporting a large peach with both hands, the lower section of the panel further decorated with groups of figures honoring Xi Wangmu and holding various tributes, the ethereal scene decorated with lush vegetation of tall trees and jagged rockwork 185cm x 95cm, framedProvenance: Edward T. Chow, Hong Kong, 27th December, 1962 Edward T. Chow, one of the most renowned collectors in the realm of Chinese ceramics and works of art. Chow's journey into the world of Chinese art began when he was just 13 years old and sent to Shanghai for studies under the guidance of the esteemed dealer Zhu Heting. After more than two decades of study, Chow mounted his first exhibition in 1946. In 1949, Chow relocated from Shanghai to Hong Kong, before retiring in Geneva in 1967. The Edward T. Chow Collection continues to this very day to be one of the most coveted provenances in the realm of Chinese art.    Condition Report: minor staining and fading but overall very presentable conditionCondition Report Disclaimer

THREE FIGURES TO INCLUDE A CARVED WOODEN CHINESE FISHERMAN, AN ASIAN HORSE AND RIDER, ART DECO STYLE LADY PLUS A WOODEN ICE BOX WITH SILVER PLATE LID AND HANDLE

Sotheby's.- Mentmore Sale.- 5 vol. H/back, 1977 + Pilkington Chinese art & Davis Ross Collection.

Willetts, William Foundations of Chinese Art, By Thames Hudson.

A set of six unusual Art Deco period Chinoiserie enamel hafted dessert knives, decorated in tones of apple green and gilt with Chinese landscapes, 21cm long, Rd. No. 465522, c.1925, cased

Six porcelain vases, including a early 20th century Kangxi mark Chinese blue & white dragon baluster vase, Wilton Ware gold & blue vase, German Tillowitz Art Deco vase, Bretby shouldered topaz-green vase, hand painted two handled blue glazed vase and 1930s Sylvac flower bowl. Dragon vase damaged and repaired at rim.

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

Dimensions: Height 9 cm Wide 5 cm Depth 6 cm without baseWeight: 468,2 grams with base Sculpture of a serene, meditative face, possibly Guanyin. These are classic Tang Dynasty stylistic elements that aim to convey compassion and spiritual serenity.The top knot or ushnisha seen here is consistent with depictions of bodhisattvas, particularly Guanyin, during the Tang Dynasty. The details, like the spiral design on the head, suggest intricate craftsmanship typical of this period.Mounted on a modern stand.Calm and meditative expression with closed eyes and finely crafted features.The sculpture shares significant stylistic elements with Tang Dynasty representations of Guanyin (7th–10th century CE), a bodhisattva in East Asian Buddhism known for compassion and mercy. Guanyin is a key figure in Chinese Buddhist art, and during the Tang period, depictions of Guanyin became more refined, serene, and naturalistic.Guanyin, particularly during the Tang Dynasty, was often depicted with a gentle, human-like appearance to emphasize their compassionate and approachable nature. This sculpture mirrors that shift toward idealized realism and spiritual grace.The Tang Dynasty (618–907 CE) marked a golden age for Chinese culture and art, during which Buddhism thrived. The bodhisattva Guanyin gained popularity as the embodiment of mercy (an extension of Avalokiteshvara from Indian Buddhism). Artists began to blend influences from earlier Indian and Central Asian traditions with Chinese aesthetics, creating a distinct and elegant style.

De Reszke Cigarette Cards. (Art Treasures) Lambert & Butler cigarette cards (Motor Cycles), (Motor Cars). Wedgwood (Wild Strawberry) vase, Chinese blue-white bowl:- One Tray.

A collection of various books to include; Dr Syntax’s 1st, 2nd & 3rd Tour, plates by Rowlandson; History of Quadrupeds with engravings by Thomas Bewick, 1790; Complete angler Vols I & II, 1826; History of the Dog, 1845; Thomson’s Seasons, 1842; Essays of Elia,1841; John Hunt - Ascent of Everest, fourth impression 1954; Ronald Duncan – Judas, illustrated by John Piper, signed by the author; Vols I & II A History of Chinese Art; Les Grandes Heures de Jean Duc De Berry, Daniell’s Scotland – Vols I & II in slip case, a collection of early penguin hardback books and other books (qty in 2 boxes)

Green enamelled silver art deco compacts, Green enamelled silver art deco compacts, comprising a circular Birmingham 1927 Bernard Instone 5cm diameter, circular 925 marked 1926 London import jade green with gilt My Fuji decoration, 5.5cm diameter, circular flattened GR monogrammed example, 6cm diameter and a rectangular canted cornered vanity with lidded sections either side central lipstick with mirror over in inner lid, slide carved stone mounted clasp, London import mark, 7.5cm x 4cm (4)Green rectangular with black onyx Chinese bat slide button, top has a slither of enamel missing to inner pannel, dents to the corners and scratches to the over all the panels. lipstick missing. Import marks for London 1930 Mirror in tact however scratched GR monograme chipping to outside of enamel, mirror in tact, held in by a rope twist bracket, base with silver gilt circular slide and linned decortation working minor marksDomed green example with some scrtached to domed top, light marks one deeper measurement 1cm, dents to the edge slightly miss shaped rim, Mirror intact Mount Fiji example, gilt decoration in general good condition, the mirror has some chipping to the edge and the silvering, enamel chipped around the rim.

A WALTER NICHOLS 'ART DECO' CHINESE CARPET, CIRCA 1925. the mustard field sparsely decorated with naturalistic flowering vines enclosed by similar burnt orange borders, 400cm x 305cm. *CR Minor wear including losses to edges and moderate wear to pile in places, some marks.

A collection of vintage and modern decorative paperweights to include a Murano paperweight with green flower on blue cushion, another two leaping dolphins, Italian and other millefiore paperweights, a Tinkerbell paperweight, Caithness gold and white paperweight, together with vintage Chinese glass and other art glass examples, and a vase, 14.5cm high (39)

A selection of 20th Century collectibles, including: an Art Deco style marble desk stand, decorated with a silver plated figure of a budgie perched on a branch, 14.5cms wide; a 20th Century Chinese glass bottle, decorated with scenes of pandas, with domed red glass cap; a selection of 20th Century umbrellas; and other items.

A Chinese bronze scroll/paper weight in the form of a reclining horse, cast with its head turned backwards and one leg raised, its mane and tail finely detailed, 17th/18th century, 6cm wide, 5cm high.Note: See Waddington's, Canada 28/11/2016 lot 318 'Collection of Dr.Helga Wall-Apelt, previously on loan to the Museum of Asian Art, Sarasota, Florida, United States' for an almost identical bronze.

A Mottahedeh porcelain 'tobacco leaf' part dinner service in Chinese Export style, 20th century decorated with brightly coloured tobacco leaves and flowers, green and black printed marks including roundel for The Metropolitan Museum of Art, comprising : large tureen and cover 35cm; pomegranate bowl cover and stand [chip to stand]; six dishes 27cm; six dishes 25cm; seven dishes 22cm; five dishes 18cm; coffee pot and cover; milk jug; six coffee cups and saucers; and two trencher salts [46 pieces including covers].

A mixed lot of small Chinese and Japanese works of art and ceramics including a Chinese cloisonne water pot in Qianlong style decorated with birds amongst prunus, 7cm wide; a pair of Chinese green monochrome crackle-glazed vases, 9cm; four Japanese ginbari cloisonne vases and a cosmetic box and cover [8].

ANTIQUES. PETSOPOULOS, Yanni. Kilims: The Art of Tapestry Weaving in Anatolia, the Caucasus and Persia, London 1979, illus., cloth, dustjacket, 4to; SCHEURLEER, D. F. Lunsingh. Chinese Export Porcelain: Chine de Commande, Faber & Faber 1974, cloth, dj, large 8vo; BEURDLEY, Michael. Porcelain of the East India Companies, London 1962, cloth, dj, 4to; others on Oriental decorative arts and rugs & carpets; past auction catalogues in a variety of subjects and auction houses. (4 boxes)

Anthony Powell, ten volumes complete with dust jackets. First editions to include - The Kindly Ones (1962), Casanova's Chinese Restaurant (1960), The Valley of Bones (1964), Hearing Secret Harmonies (1975), The Military Philosophers (1968), The Soldier's Art (1966) and Temporary Kings (1973). Remaining titles are later reprints. 

A collection of various Art reference works including Masterpieces of Chinese Painting, catalogue of the Pepys Library, works on Canaletto, Holbein and others

An early 20th century Continental blue tinted glass scent bottle and stopper, the body of compressed melon form with blue stripes on a clear glass domed foot, h.15.5cm, together with a pair of John Galliano purple glass scent bottles and contents, housed in a red gift box, a Chinese scent bottle (lacking stopper), an Art Deco clear glass scent bottle and three others. (8)

A box of books on Art Related topics to include: Michelangelo and His Drawings, Chinese Art by Hobson, French Art from The Davies Bequest, etc.

Vintage marlin spike knife (H.M. Slater, military broad arrow and 1951 stamped to can opener), a vintage aircrew style knife (no markings, overall length 28.5cm), a trench art style bullet lighter (engraved M Stebbings) and a Chinese made sgian dubh, also included a military wood backed figure 11 target (H115cm) (5)

A mahogany collector's cabinet, with two panelled doors revealing eleven drawers and Chinese Dragon and Art Nouveau design carved decoration. Width 47cm, height 92cm, depth 49cm.

A PAIR OF BLUE AND WHITE PORCELAIN TABLE LAMPS IN CHINESE STYLE approximately 79cm high, 28cm wide, 28cm deep Condition Report: The appear to be of recent manufacture and the overall condition reflects this, they are decorative objects. They were almost certainly made as lamps and not converted from genuine temple-jarsThey are sold as decorative furnishing works of art only and not as working electrical lights - they will need re-wiring and testing prior to use in a domestic setting, there are some remnants of electrical cable Each with a large white card shade, these have surface marks and stains Please see additional images for visual reference to condition Condition Report Disclaimer

Four Books on a Topic of Chinese Art to Comprise 1962 Publishing of Chinese Art by Daisy Lion-Goldschmidt Published by Universe Books, New York, 1968 Publishing of Ancient China by Edward H. Schafer Published by Time-life International, Bonhams The Parry Collection of Chinese Art and Fine Chinese Art Catalogues

An original silver gelatin photograph on paper, capturing the timeless elegance of Anna May Wong, Hollywood's first Chinese-American movie star and an icon of the Golden Age of cinema. This striking portrait, taken in 1938, showcases Wong's poise and beauty, reflecting her groundbreaking career that paved the way for greater diversity in film. Known for her roles in classics such as Shanghai Express (1932) and The Thief of Bagdad (1924), Wong became an international sensation and a symbol of glamour and resilience in an era that often limited roles for minorities. The photograph was taken by George Hurrell, the celebrated "Grandfather of Hollywood Glamour Photography," whose mastery of light and shadow redefined the art of portrait photography. Hurrell's innovative techniques turned Hollywood stars into ethereal icons, and his work adorned the covers of countless magazines and studio promotional materials. Taken at Hurrell's legendary Sunset Boulevard studio in Los Angeles, this hand-developed, large-format print is from the original negative and bears Hurrell's signature in black ink on the lower right. The edition number, "211/250," is inscribed on the lower left. Published as part of Portfolio Hurrell, Vol. III by Creative Art Images, Inc., Los Angeles, CA, this photograph exemplifies the collaboration between Wong, a cinematic pioneer, and Hurrell, the defining visual artist of Hollywood's Golden Era. Artist: George Edward Hurrell (American 1904-1992)Issued: 1979Dimensions: 16"L x 20"HEdition Number: 211 of 250Country of Origin: United StatesCondition: Age related wear.

A collection of vases including a Mdina art glass vase, Masons Applique, Chinese jade urns

Two Chinese art ceramic ceremonial figurines of Luk and Sau in colourful robes and seated positions, tallest 20cm

Two Japanese Meiji Period Watercolours on Rice Paper, one painted with birds, the other with a butterfly, Two Japanese Woodblock Prints of similar date within lacquered frames, A Chinese Watercolour on Silk, Another Oriental Watercolour and A Tibetan Thanga Print, Asian Works of Art, etcProvenance: The Selected Contents of Eden Lacy, Lazonby, from the estate of Victor Gubbins

Chinese Jinshan Peasent Folk Art, An Overview of daily life, with town with river running through, with family, birds, trees and mother and child to background, gouche, in a glazed frame. (38.5cmx38cm)

Chinese Jinshan Peasent Folk Art, An Overview of daily life - A seated group of woman with children, houses and riverbank with boats to background, gouche on paper, red seal mark to bottom right, in a glazed frame. (38.5cmx38cm)

Chinese Jinshan Peasent Folk Art, A City View across the river, with birds and boats to background, gouche, red seal mark bottom left, in a glazed frame. (38.5cmx38cm)

A c.1900 carved & detailed tribal art rhino, possibly Chinese, 290mm long x 152mm tall

Ink and watercolour on paper. With a traditional Chinese frame of carved silk.It shows a galloping horse in a dynamic representation that contrasts with the minimalism of the elements that accompany it. The animal, with its robust anatomy, has its forelegs stretched out, while the hind legs are bent, following the natural movement of the horse. In contrast, the head is erect, looking straight ahead and crowned by a long black mane that, like the tail, rises in the wind. At the animal's feet, fine curved branches are arranged in faint grey and orange, contrasting with the intense black of the horse's coat. Xu Beihong's personal style is obvious, perfectly combining the realism characteristic of Western painting with traditional Chinese techniques, in which the use of ink is crucial. In this way, and just as he defended as a personal discourse throughout his career, he preserves those traditional arts that are disappearing over the centuries, and expands them, making them a reference beyond Chinese borders, infusing this particular style into Western techniques.  Signed and stamped ‘???????’ in the right margin. Size painting: 67 x 55 cm; Size with frame: 200 x 64 cm (approx).  Provenance: - Austrian private collection (Acquired at Bonhams Hong Kong in 2019).- Spanish private collection (to the present day). References: - Christie's. Fine Chinese Modern and Contemporary Ink Paintings. Lot 20830: Xu Beihong ‘Galloping Horse’. 29 May 2022. - Sotheby's. Fine Chinese Paintings. Lot 3056: Xu Beihong ‘Galloping Horse’ October 8, 2022 Catalogue note: Born in 1895 in Yixing, Xu Beihong began studying classical and calligraphic works by his father, a teacher at a public school. In 1917 he travelled to Tokyo to study art and completed his training at Peking University, where he was awarded a scholarship to study at the Ecole Nationale Supérieure d'Art in Paris in 1919, an opportunity he took to travel around Europe for almost a decade, absorbing influences from the most renowned artists. After his travels on the European continent, he returned to China in 1927, where he obtained positions in teaching institutions, continued to organize international exhibitions and painted until the end of his days, being supported by a large group of art collectors from all over Asia. Notice to interested bidders. Please complete the premium registration in our auction room for this lot. Please contact us at: info@subastasdarley.com or (0034) 960 46 16 88

Figure in gilded and polychrome bronze. It shows an anthropomorphic deity, with the face of a bull and a human body, standing on a lotiform throne on which a buffalo is lying on the prone body of a man, holding it with both hands. The deity rides on both beings in alidhasana, with one knee bent and the opposite knee stretched out, balancing himself with outstretched arms in vitarkamudra. The body is covered with pendants and small beaded jewellery, and surrounded by a long waving ribbon. The expression is choleric, with large eyes and gaping jaws showing sharp fangs. The head is crowned with a diadem of skulls and two large horns, which are set in a flaming reddish hair.Height: 15.5 cmWeight: 998 gProvenance:-Christie 's. Chinese ceramics, works of art and textiles. Lot 349: A gilt bronze figure of a warthful deity. 12 May 2017.- Now in a private European collection.

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

Collection of mostly Asian art books, one is in German titled Max Liebermann von Karl Scheffler. Two titles are in English: India-Ink Drawings by the Famous Zen Priest Sengai and Foreigners in Ancient Chinese Art. Largest book measures 8.5"L x 0.75"W x 11.25"H. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

James Bond Tomorrow Never Dies (1997) - Russian fighter jet aircraft reference manual hired to Ron Quelch - EON film production art department - plus Royal Navy headset film prop. In the film, Chinese MIG 23s fly over a British warship. Carver's stealth ship sinks the British warship and shoots down one of the Chinese planes triggering an international incident. COA with supporting documentation and colour reference photos included.

A collection of glass, to include a dump paperweight, 11cm high; an Art Deco dressing table set; and an internally painted Chinese rock crystal snuff bottle and stopper, 11.5cm high. (8)

Chinese Langyao Covered Jar, Kangxi Period24 cm total height; 27 cm total widthcover repairedFor reference see: Important Chinese Ceramics and Works of Art Auction at Christie's (23–24 SEP 2021 | LIVE AUCTION 19547), LOT 786: A JADE-EMBELLISHED COPPER-RED-GLAZED COMPRESSED GLOBULAR JAR, sold for 150 000 USDCover repaired, jar in good condition.*Condition reports are a general guide and may not cover all faults or restorations. Wozniak & Wayne acts in good faith but advises buyers to seek independent advice before bidding.

A double walled teapot with cover, Chinese export porcelain, blue decoration "Flowers", pierced sides "Linglong", Chinese - Kangxi Period (1662-1722), one hairline on the handle and another on the edge, small chips and faults restored, other minor faults. Notes: vd. for pieces with similar decorations in "Linglong". London/Lisbon: Jorge Welsh Oriental Porcelain Works of Art, 2004, pp. 46-59, nos. 5 to 10; and "O Chá da China - Uma Colecção Particular". Lisbon: Macau Scientific and Cultural Centre Museum, 2005, p. 229, no. 115, no. 21., Dim. - 15,5 cm

A pair of small teapots with covers, Chinese export porcelain, blue decoration “Flowers”, central reserves “Flowers”, Chinese - Kangxi Period (1662-1722), one of the handles with restored chips, one marked with Artemisia Leaf. Notes: bottoms with trade labels from the SANTOS - LONDON - CHINESE PORCELAIN and VANDERVEN ORIENTAL ART galleries., Dim. - 14,6 cm

Chinese art nouveau vase Koi carps

QUANTITY OF CHINA BOOKS, CHINESE ART, POTTERY, POETRY, QUANTITY OF HARRY POTTER BOOKS INCLUDING 3 FIRST EDITIONS

Ca. 206 BC - AD 220.A Chinese Han dynasty gold and silver inlaid bronze crossbow trigger decorated in various parts assembled into a complex mechanism held together using two bolts, the trigger fitting with a gold inlaid zoomorphic motif towards the handle and another smaller but similar motif at the upper surface. Size: 240mm x 170mm; Weight: 2.09kgProvenance: Prince collection, 1990s-2014; Ex. Robert R. Bigler, Jun 2009; Ex. American private collection, Robert H. Ellsworth. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 9th - 10th century AD; Ca. 9th - 10th century AD; Ca. 12th - 13th century AD; Ca. 17th century AD; Ca. 17th - 18th century AD; Ca. 18th century AD. A large group of metalwork, including an Indian brass bottle with a screw top, two Fatimid bronze sprinkler bottles of footed globular form, the neck decorated with six knobs, one with an inner base missing, a Khorassan spouted jug with copper inlay, of bottle form, with a lamp-shaped spout with a lion-faced hinged lid, complete with its handle. The jug has incised decoration with two panels engraved with animals, two rounded with birds, and three panels of calligraphy, one inlaid with copper, with a bell or mihrab-shaped lozenge surrounded by a copper inlay. Also included are two bronze candlestick tops, two shallow bronze dishes, one of which is decorated with four panels of calligraphy, four silver-inlaid crescent moons, and a central arabesque knot with six floral panels on the rim. The outer edge is adorned with six panels of calligraphy and has an old collection label marked 'R.s 21'. The second dish is engraved with a central roundel showing a winged horse against floral arabesques, surrounded by four panels of calligraphy and four roundels, with the edge separated by six panels of calligraphy and six roundels, and the side with five panels of calligraphy and five roundels. A shallow bronze dish stands on three feet, with the upper rim decorated with nine circular stamps and traces of calligraphy, now illegible, and the outer rim decorated with six panels engraved with animals, some retaining traces of inlaid silver wire. Additionally, there is an Islamic brass bottle with oxidised silver inlay, decorated with horizontal bands and vertical stripes of inlaid floral decoration. A Seljuk brass dish of scalloped form, decorated with engraved Kufic inscriptions and arabesque panels around a central geometric knot with eight lobes, is also included. This type of scalloped dish is evidence of the origin of the shapes of later Chinese celadon ware. An Islamic brass stand of octagonal form stands on eight attached feet, decorated with repoussé ovals between the feet, four with calligraphy and four with floral and geometric decoration above. The size is 30 cm in width, including feet, by 6.5 cm in height, with a diameter of 16.5 cm. Finally, an early Islamic cup, made of brass with high copper content, is circular with a lead-shaped handle engraved with a bird, and the outer rim is engraved with a rope pattern, with the base curiously ‘scratched’ with a spiralling ‘movement’ of hatching. Size: 490-560mm x 375-450mm; Weight: 9.2kg Provenance: Previous property of an Islamic art professional, previously apart of the Henri René d’Allemagne Collection, 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950.) This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 3000 - 1900 BC. A Chinese Longshan culture pottery Gui. The tripod legs are in large sack forms, each individually moulded, with the mouth tall and upright. This is a fine example of signature Longshan pottery. For similar see: The Palace Museum, 新00110564. Size: 310mm x 180mm; Weight: 1.18kg Provenance: Private German collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Tang Dynasty, Ca. AD 618-907. An exceptional Chinese terracotta horse and rider. The horse is portrayed in a dynamic pose, with all four legs extended in a flying gallop, capturing a sense of movement and energy characteristic of Tang equestrian art. The female rider wearing traditional riding robes, is seated firmly on a saddle, both hands in a poised posture, possibly previously holding polo playing gear. Size: 440mm x 340mm; Weight: 3.51kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.

An Art Deco cigarette box with a blue mirrored glass slide off lid and together with a Chinese millefiore vase as a lamp.   H 40cms

A Collection of Assorted Ceramics Including: a Meissen cup and saucer, Royal Crown Derby miniature, Paris scent bottles, a Japanese Imari bowl, a large pair of Satsuma vases and an 18th century Chinese famille rose bowl (qty)Meissen - loss to applied work and gildingRoyal Crown Derby Loving Cup - handle re-stuck, Derby cauldron cracked.Green Scent bottle - chip to stopperRed Scent bottle - stopper lacking, heavy giltwearPair of Royal Worcester Vases - slight giltwear Pair of Candlesticks - loss to girls fingersPair of Figural Posies - baskets damaged and gluedDresden Cup and Saucer - in good conditionImari Bowl - in good conditionArt Deco Bowl - no damage with some glaze scratches Chinese Bowl - badly broken and repairsPoole Conserve Jar - in good conditionBorder Fine Arts - in good conditionSatsuma Vases - badly broken and repaired

A collection of early 20th century hardback reference books including limited edition copies of 'British Sports And Sportsmen', Part 1 and 2, 1911, No 205/1000, S. W. Bushell, 'Chinese Art', Volume II, 1906, Wyman and Sons, also a number of volumes on ceramics including 'Armorial Porcelain of the Eighteenth Century' and 'Oriental Lowestoft' (6)

KATE WYLIE (SCOTTISH 1877 - 1941), FLOWERS IN A CHINESE VASE watercolour on paper, signedmounted, framed and under glass image size 25cm x 31cm, overall size 48cm x 52cm Note: Kate Wylie was a flower painter and her work is in the Glasgow Museums. Born in Skelmorlie, Ayrshire, she painted in oil and watercolour. She is now best known for her flowers paintings. Kate Wylie trained at Glasgow School of Art and often painted on the Isle of Arran where she had a cottage at Blackwater Foot. In 1942 a memorial exhibition of her work, and that of Janet Aitken and Elma Story, was held at Glasgow Society of Lady Artists.