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The campaign group of seven awarded to Major J. G. Forbes, King's Shropshire Light Infantry, who took the Hong Kong Plague Medal in gold when forming part of 'The Whitewash Brigade', being called out against the 'Black Death' during 1894; Forbes was no stranger to the risks posed by this deadly disease and acted as pall-bearer to brother officer Captain Vesey, who lost his life to the bubonic plagueQueen's South Africa 1899-1901, 4 clasps, Cape Colony, Paardeberg, Driefontein, Transvaal (Capt. J. G. Forbes. 2/Shrops. L.I.); King's South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (Capt. J. G. Forbes. Shrop. L.I.); 1914-15 Star (Major J. G. Forbes. Shrops. L.I.); British War and Victory Medals (Major J. G. Forbes.); 1911 Coronation (Major J. G. Forbes), privately engraved naming; Hong Kong Plague 1894, gold issue, unmounted (Captain J. G. Forbes, S.L.I.), in red leather Wyon, Regent St, London case, the first six mounted as worn, good very fine (7)Provenance:Spink, September 1963 & August 1986.John George Forbes was born on 2 February at Melbourne, Victoria, the son of John G. Forbes, a barrister. By 1881 the family were living in Cheltenham, with young Forbes a scholar, likely at Cheltenham College. He then went to the Royal Military Academy Sandhurst and was commissioned into the Shropshire Light Infantry in June 1886. Joining the station at Hong Kong, being a keen horseman, he was a member of the Hong Kong Polo Club by 1893 and Adjutant of his unit.Whitewash BrigadeA virulent epidemic of bubonic plague broke out in Hong Kong in early May 1894. Recognising the danger, the Governor, Sir William Robinson, K.C.M.G., gathered all the resources available to him, both military and civil, to combat the threat. Special bye-laws were quickly passed and implemented, and temporary plague hospitals were opened. The task of finding, isolating, disinfecting and cleansing infected households was directed by Mr F. H. May, the Captain Superintendent of Police and supervised by Mr J. H. Crook the Sanitary Surveyor. To supplement the local authorities and native labour, Officers and men of the Shropshire Light Infantry and Royal Engineers were drawn in to help with the cleansing operations, and Volunteers for house-to-house visitations were sought amongst the civil population. The population in infected areas were removed and infected houses were rigorously cleansed - floors disinfected, walls, woodwork and furniture thoroughly lime-washed, and bedding, old clothing, old woodwork and general rubbish burnt. Elsewhere, doctors, nurses and ancillary staff worked heroically amongst the sick and dying.Forbes volunteered and went out on plague duties to relieve other officers as a house-to-house visitor, and doubtless would have followed the official guidelines in helping to combat the spread of the Plague:'1. Keep separate clothes for working in, which should be changed on returning off duty and kept hung up in the air and sun when not in use.2. On returning off duty wash the hands in water and Jeyes’ fluid (1 in 20), and if possible take a bath of the same solution.3. Also rinse the mouth out with Condy’s fluid and water (one teaspoonful to one quart of water).4. Saturate the handkerchief with Eucalyptus oil when going on duty and apply it frequently to the nose if in an infected house.5. Smoke.’Despite all the precautions taken, over 2,500 people, mainly Chinese, contracted the plague, with 2,317 deaths attributed to the disease, a fatality rate of over 90%. That saw a brother officer of the unit, Captain Vesey pass of the plague. Forbes was a pall bearer at his funeral on 5 June when he was buried in the Happy Valley Cemetery.The plague subsided with the arrival of cold weather, and restrictions were lifted in early September. On 28 September 1894 a public meeting was held at City Hall for the purpose of considering what steps should be taken to recognise the services rendered by the community in combating the plague, and ultimately it was decided that a medal should be awarded, in both gold and silver. His name was one of approximately 13 officers who would take the medal in gold.He served with the 2nd Battalion during the Boer War in South Africa (Queen's Medal & 4 clasps, King's Medal & 2 clasps) and by 1907 was in command of the Depot Troops at Shrewsbury.With the outbreak of the Great War, Forbes would see himself proceed overseas as Second-in-Command of the 5th Battalion. They had been formed at Shrewsbury in August 1914 as part of K1 and came under orders of 42nd Brigade in 14th (Light) Division. Moved initially to Aldershot, and then went on to Chiddingfold in March 1915, they landed on 20 May 1915 at Boulogne. Forbes would remain in the front lines with his men until removed to England, having celebrated his fiftieth birthday at the start of that year. In the following years his name appears as having been involved in the prosecution of Military Court Martial proceedings at home. He was further involved in the compilation, publication and distribution of the Regimental History of the Great War. The good Major, who later lived at 51a Jermyn Street, died on 12 October 1937 as is commemorated upon a marble memorial at St Chad's, Shrewsbury.The Plague Medal - how many?No complete medal roll for the Hong Kong Plague Medal is known to exist, with much of the Colony’s archival material having been destroyed during the Second World War; consequently, the number of medals awarded is a matter of conjecture. Mr. F. Pridmore, in an article for the Spink Numismatic Circular, August 1954, states that 137 gold medals were awarded to civilians, together with 13 being awarded to the officers of the King’s Shropshire Light Infantry; Jerome Platt, Maurice Jones, and Arleen Platt in The Whitewash Brigade again estimate that 137 gold medals were awarded to civilians, and increase the number awarded to the military garrison to 46, as well as giving a total of 636 silver medals awarded. It is the opinion of the cataloguer that the figure slightly shy of fifty was the total amount of awards struck and issued in gold, not in excess of one hundred.It is however the result of an incorrect transposition in a previous newspaper article that these figures have been calculated. On reflection, it would also surely have been impractical - and unlikely given the amount of individuals who would possibly qualify - for such a large distribution in gold. Many have likely to have been scrapped for the value of the gold content by now, but around 20 known extant awards in gold have been recorded over the years.Given that the medal, as the gift of a Colonial Government and not one proceeding (or depicting) the monarch, was not authorised for wear. It could be accepted and retained, but as a commemorative/gift, could not be worn in uniform and thus most gold medals remained unmounted, much like this very example; sold together with two cap badges and images of the recipient.…

A REGENCY PAPIER MACHE AND GILT-JAPANNED TRAY IN THE MANNER OF HENRY CLAY, EARLY 19TH CENTURY Decorated with landscapes, pagodas and sail boats on an associated simulated bamboo stand 43cm high, 62cm wide, 47cm deep Henry Clay was renowned for his japanning and papier mache business which he conducted out of Birmingham and then London's fashionable Covent Garden from 1772 until his death in 1812. In 1772, he received a patent for a special process of pasting sheets of paper together and stove hardening them to produce a durable substance suitable for furniture wares. This process was distinct from that for making true mache, which used a mixture of pulped paper, glue and chalk and originated in Persia, coming to England via France in the seventeenth century. He decorated his products in the Etruscan (Classical) or Chinese taste. The patent expired in 1802 at which time rival factories began production and continued to use the Clay name throughout the nineteenth century. The 1851 Great Exhibition catalogue noted that the Clay method was superior to the traditional method of papier mache production (G. Beard and C. Gilbert, eds., Dictionary of English Furniture Makers, 1660-1840, 1986, pp. 176-177; E. Joy, English Furniture, 1800-1851, 1977, pp. 271-272). 

A modern Chinese table top altar cabinet, having brass furniture, fall-front access to the front, 37 x 27.5cm., 29cm. high.

A Queen Anne scarlet and gilt-japanned side chair, c.1710, with a scrolled crest rail flanking a figural vignette, over a curved back with a central panel depicting flowers, birds and pagodas, above a caned seat, raised on angular cabriole supports united by a wavy stretcher, 51cm wide 60cm deep 122cm highFor two similar pairs see: Christie's, 'The Ann and Gordon Getty Collection: Volume Four - Chinese Works of Art, English and European Furniture and Decorative Arts, Day Sale', 23 October 2022, lots 577 and 578, which are described to have been part of a larger suite, once comprising six chairs and a daybed, formerly in the collection of Archbold van Beuren.Condition ReportLate refinished with general splits, knocks, chips, and losses with age. Seat with strengthening and repairs. Repairs to stretchers. Chips and losses to supports. Traces of historic woodworm damage, does not appear active. Joints are generally sound and solid.

A collection of hardback and other books, primarily relating to art and collecting, titles including: English Furniture of the Eighteenth Century, by Herbert Cesinsky, three vols.; The Gentle Art of Faking Furniture, by Herbert Cesinsky; The Earle Collection of Early Staffordshire Pottery, by Cyril Earle; English Embroidery, by A. F. Kendrick; How to Identify Old Chinese Porcelain, by Mrs Willoughby Hodgson; Old Glass and How to Collect It, by J. Sydney Lewis; and others, contained across two boxes.

A scalloped tortoiseshell plate decorated with a pair of peacocks, 30cm diameter; together with a carved and gilded wood panel, with Chinese furniture, 18 x 36cm (2)plate has signicant crack of undulating nature, as well as a star crack to the centre, old glue to basecarved panel has two loose pieces, some cracks and chips to the carving, the back board surround has residual flakes of mother of pearl on a royal blue backgroundplease see further images for condition

Oriental Furniture - a Chinese hardwood cabinet, pierced and carved fretwork glazed doors, with two shelves above two carved and fielded panelled doors, with two shelves, stylised style feet,  198cm high, 106cm wide, 44cm deep,  20th century

Masonic Interest: a black lacquer and inlaid box, possibly Japanese or Chinese for the European market, late 19th century, of rectangular form, the hinged lid decorated with abalone and mother-of-pearl decoration depicting Masonic motifs within a ribbon-tied octagonal cartouche, the sides and back inlaid with floral sprigs, with vacant interior, 8.6cm high, 35cm wide, 18.8cm deepNote: The iconography inlaid to the centre of the box lid relates to Masonic symbols specific to Scottish Rite, and in general indicate a high ranking in the Grand Lodge of Scotland. A red lacquered example with similar Masonic iconography was sold at Lyon & Turnbull - Five Centuries: Furniture & Works of Art inc. Property of the Earls of Crawford & Balcarres, 2nd September 2020, lot 539.

A quantity of furniture and frame mouldings, to include some Chinese examples.

FAED R.S.A., John(1819 Burley Mill/Kirkcudbrightshire/Schottland - 1902 Ardmore/Gatehouse of Fleet) "Haushaltswaren in Gefahr"Öl/Holz. Unsigniert, auf Rahmen bezeichnet und mit "Household Gods In Danger"[sic] betitelt. 31 x 23,5 cm. Gerahmt : 50,5 x 43 cm (Goldstuckrahmen); 2,2 kg. Interieur mit reich beschnitztem Gründerzeit Mobiliar, an welchem ein kleines Mädchen das glänzende und fein bemalte chinesische Porzellan-Service interessiert anschaut. Altersspuren. Schottischer Genre-, Historien- und Miniaturmaler, bildete sich bereits im Alter von 11 Jahren autodidaktisch als Miniaturmaler, später Schüler der "School of Design" an der Akademie in Edinburgh. Literatur : Saur (AKL). Aufrufzeit 01. | März 2025 | voraussichtlich 14:44 Uhr (CET) FAED R.S.A., John(1819 Burley Mill/Kirkcudbrightshire/Scotland - 1902 Ardmore/Gatehouse of Fleet) "Household Goods in Danger"Oil/wood. Unsigned, inscribed on frame and titled "Household Gods In Danger"[sic]. 31 x 23.5 cm. Framed : 50.5 x 43 cm (gold stucco frame); 2.2 kg. Interior with richly carved Wilhelminian style furniture, at which a little girl looks with interest at the shiny and finely painted Chinese porcelain service. Traces of age. Scottish genre, history and miniature painter, self-taught as a miniature painter from the age of 11, later a pupil at the School of Design at the Edinburgh Academy. Literature : Saur (AKL). Call time 01 | March 2025 | probably 14:44 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A hardwood low table, c.1900, Chinese, on stretchered legs186cm long53cm deep54cm highCondition ReportThere are marks to the top; ink marks, water marks and scratches, also some corner repairs.From the underside, there appears to be fixings in the stretchers that give rise to this having possibly been a central shelf to a larger piece of furniture.It is solid and stable.

A GOLD AND ENAMEL OBLONG VESTA CASE UNMARKED, CIRCA 1890 Enamelled with a fishing fly, the reverse enamelled C.C.B 6.5cm (2 1/2in) high 63g Provenance: Sale: Christie's, An Iberian private collection part II: Furniture, silver, jewellery, paintings, European, Chinese & Islamic ceramics, 9th December 2011, lot 598 Private Collection Condition Report: UnmarkedHinge goodEnamel goodLight scratches and wear commensurate with age and use Condition Report Disclaimer

Oriental Furniture - a Chinese hardwood cabinet, pierced and carved fretwork glazed doors, with two shelves above two carved and fielded panelled doors, with two shelves, stylised style feet,  198cm high, 106cm wide, 44cm deep,  20th century

This remarkable four-panel Chinese lacquered screen showcases a blend of artistry and traditional craftsmanship. Each panel is decorated with intricate mother-of-pearl inlay, depicting scenes of courtly life, including scholars, nobles, and attendants engaged in refined activities. The figures are set within delicate garden settings featuring bamboo, flowering plants, and elegant furniture, all rendered with exceptional detail. The frame is adorned with hand-painted gold filigree patterns that enhance the overall aesthetic, showcasing the screen's luxurious appeal. The reverse side features hand-painted gold designs of traditional Chinese floral arrangements, including bamboo, orchids, and vases, offering a beautiful decorative alternative. This piece is both a functional room divider and a decorative art piece, highlighting the timeless beauty of traditional Chinese lacquerwork combined with mother-of-pearl craftsmanship. A standout addition to any space, it reflects the cultural richness and artistic legacy of Chinese decorative arts. One double panel does not fold. Each panel dimensions: 18"L x 80"H x 1.75"W. Double panel dimensions: 36"L x 80"H x 1.75"W. Issued: 19th-Early 20th centuryDimensions: See DescriptionCountry of Origin: ChinaCondition: Age related wear. The center hinge requires two screws.

A Chinese blue and white porcelain vase, 20th Century, decorated with panels of furniture and vases between people in interiors, with painted wood mounts, 48cm high including fittingCondition Report: Painted wooden mounts in good condition.1cm firing fault to one of the panels.Small fault/loss to foot rimSurface dirt.

A mixed lot of furniture including light oak bedside cabinet, light oak occasional tables, hardwood side table, Lloyd Loom window seat/linen basket, bookcase, Eastern carved wood occasional table, granddaughter clock and a Chinese painted and gilt decorated side cabinet.

A good quantity of unmarked dolls house furniture and figures. The furniture and figures appear to be predominately Chinese made and include figures in a variety of poses and include household items such as a sink unit, various forms of tables,shop counters, sofa and chair, TV, video recorder, wardrobes, bunk beds, cookware, utensils, lights and similar. Items appear to range mainly a few Fair Plus - mainly Good - Very Good (a few Mint on card packaging) in condition. All items are unchecked for completeness. (This does not constitute a guarantee) (K)

A RARE CHINESE OR TIBETAN POSSIBLY MING DYNASTY GILT COPPER DRAGON HEAD FINIAL, probably a furniture element, 20cm long.

Oriental Furniture - an early 20th century Chinese Export carved corner chair, black lacquered finish, each panel depicting traditional household scenes including baking, sweeping, etc, 74cm x 61cm x 41cm

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

Antique furniture early 20th century folding card table painted cream, with gilt Chinese style decoration

Mixed furniture to include a late 20th century yew wood bookcase side cabinet, three adjustable internal shelves, the base with two short drawers on bracket feet 197.5cm x 100cm x 41cm, contemporary Chinese rosewood coffee table with three frieze drawers on shaped square feet 41cm x 152cm x 56cm and a Georgian mahogany veneered corner cabinet, internal shelves on a base with twin arched doors on bracket feet with shaped apron 213cm x 87cm x 47cm Location: FOYER/GLIf there is no condition report shown, please request

AN ANGLO-CHINESE HUANGHUALI SOFA TABLEEARLY 19TH CENTURYinlaid with stringing and satinwood banding, the drop-leaf top above three frieze drawers, on panelled trestle ends with lions paw feet and brass castors75.8cm high, 92.5cm wide, 61.5cm deepLiteratureFor a very similar table see Christopher Claxton Stevens and Stewart Whittington, '18th century English Furniture, The Norman Adams Collection' p.351. See also Carl L. Crossman, 'The Decorative Arts of the China Trade', p.237 for a related sofa / games table. A similar Chinese Export huanghuali sofa table was sold by Dreweatts, Fine Furniture, 30th March 2022, lot 398, for £19,000 hammer.

Late 20th century kit built dolls house comprising six rooms, wired with lighting and fully furnished with modern Chinese-made furniture, 94cm wide x 61cm high

A RARE PAINTED PINE DOG GATE PROBABLY 18TH CENTURY In 'Chinese Chippendale' taste, the fretwork gate with remnants of old ironmongery, previously blue painted 90cm high, 91cm wide overall Provenance: Arabesque Antiques For a comparable example of a dog gate- please see these rooms, Drew Pritchard: The Collection, 05 Mar 2024, lot 279 (sold £1550 hammer). So-called 'dog gates' were fitted to the staircase newel post, either at the bottom to prevent dogs coming up the stairs, or at the top to stop children falling down. The earliest recorded 'dog gate' is a Jacobean oak example still at Haddon Hall, Derbyshire (Gervase Jackson Stops, The English Country House, London, 1985, pages 64-5). Another, of vernacular form, dating from the Charles II period, with an oak frame and pine wriggle work splats, is likely to have matched the fretted sides of the staircase to which it was once attached (Christie's London, Interiors, 26 June 2016, lot 370). The 'Chinese paling' fretwork follows patterns popularised by the publications of architects and cabinetmakers of the period, notably Thomas Chippendale's The Gentleman & Cabinet-Maker's Directory of 1754 and Sir William Chambers' Designs of Chinese Buildings, Furniture, etc. of 1757. Another related 'paling' example remains visible behind a staircase window in Rivers Street, Bath. Condition Report: Overall the painted surface is distressed, this has layers of paint and in areas (notably the top rail) this has been lost entirely and the pine surface below is visible - the wood here is 'sick' and spongey to the touch, the tops of the upright timber has holes and signs of rot to the ends - in other places the wood remains solid and stable, the metal hinge remnants have surface corrosion and losses, pitting.Overall with various knocks, marks, scratches, abrasions, flaking and paint lossPlease see additional images for visual reference to condition and appearance Condition Report Disclaimer

Unmarked Makers - A large quantity of unboxed, mainly Chinese made Dolls house figures, furniture and accessories. Lot includes dining table and chairs, Belfast sink; fireplace and surround; wardrobe; bath; rocking horse; cooking utensils and similar. Items all show signs of use with conditions appearing to range one Poor (one chair has broken leg) - mainly Fair Plus - Very Good. All items are unchecked for completeness. (This does not constitute a guarantee) (K)

A collection of boxed/packaged The Dolls House Emporium dolls house furniture and accessories including beds, chaise longue, wardrobes, painted Chinese print screen, bedside tables, kitchen range, pram, grandfather clock etc. (approx. 45)

A selection of small furniture to include two late 20th century treen framed open armchairs with upholstered backs, a Chinese padouk side cabinets and other items Location: If there is no condition report shown, please request

Collection of Asian arts auction catalogues to include Christie's & Sotheby's Buddhist Works of Arts (8); Christie's & Sotheby's furniture sales catalogues including Feng Wen Tang Collection (6); Sotheby's, Christie's & Bonham's Chinese jade carving sale catalogues, including 'The Songzhutang Collection Sale' (12).

Twenty boxes of assorted coffee table and other art books to include ROBERT HATFIELD ELLSWORTH "Chinese furniture - hardwood examples of the Ming and early Ch'ing Dynasties", SANDRO BOTTICELLI "La Divine Comedie de Dante" Présentation par André Chastel, FRÉDÉRIC CHAUBIN "Cosmic Communist Constructions Photographed" published Taschen, GEORGE W BELLOWS "His Lithographs" published Alfred A. Knopf 1927, various late 20th/early 21st Century editions of the Art Newspaper bound, AIDAN HART "Techniques of Icon and wall painting - egg tempera, fresco, secco" published Gracewing, JOHN E. BOWLT "Of Peace and War - a Spanish collection of Russian art" published Skira Editore, Italy 2013 and others various, a large amount on Russian artists etc CONDITION REPORTS PLEASE NOTE THAT "The State Hermitage" volumes 1 and 2, published Booth-Clibborn editions in hardback case AND THE OTHER UNMENTIONED BOXED SET OF TWO BOOKS ON THE HERMITAGE HAVE BEEN WITHDRAWN FROM THIS LOT

Maqbool Fida Husain (1915-2011)Untitled (Tearing Apart) signed 'Husain' lower left; signed 'Husain 91' versoacrylic on board, framed57.3 x 89.6cm (22 9/16 x 35 1/4in).Footnotes:ProvenanceProperty from a private collection, Dubai. Acquired from the artist.'My horses like lightning, cut across many horizons. Seldom their hooves are shown. They hop around the spaces. From the battlefield of 'Karbala' to Baukura terra cota, from the Chinese Tse pei Hung horse to St. Marco horse, from ornate armoured 'Duldul' to challenging white of 'Ashwamedh' .... the cavalcade of my horses is multidimensional.' (Husain, Tata Steel Publications, 1987, p. 83)Horses figure prominently in Husain's work. The reasons for this are likely to be varied, though Husain notes that one of his earliest influences comes from the procession to commemorate the Prophet's grandson which involved the carrying of an effigy of his horse through the streets. The manner in which these horses are painted is reminiscent of a puppet or wooden effigy, strengthening the link with the Islamic holiday of the prophet's grandson. Additionally, Husain had worked in a children's toy and furniture factory during the 1940s and it is possible that many of his horse paintings draw heavily on the manner of the construction of puppet horses. Husain was also heavily influenced by the terracotta horses he saw during his visit to China. Since their domestication, horses have been important subjects for art and religion and have helped build civilizations, no less so in Hinduism. Husain was fascinated with his own roots but also learning and assimilating other cultures as sources of inspiration. As such this painting exemplifies this wonderfully: the horse as a symbol of power and tradition, a part of Islamic culture, an influence from China, and painted in a style reminiscent of European Cubism. 'All forms of art are born from one's roots', perhaps Husain wished to explore as many artistic roots as possibleFor further information on this lot please visit Bonhams.com

IMPORTANT ET TRÈS RARE CABINET EN LAQUE NOIR PEINT À L'OR, GUIMarque et époque Longqing (1567-1572), les portes possiblement du XVIIe siècleAN IMPORTANT AND VERY RARE GOLD-PAINTED BLACK-GROUND LACQUER CABINET, GUIEight-character Longqing mark and of the period (1567-1572), the doors possibly of 17th century dateOf square shape and with square corners, fitted with two doors with surface-mounted large shaped bronze hinges and backplates cast with dragons amongst ruyi-shaped clouds, opening to an interior with a single shelf and lacquered red, the doors finely painted in delicate shades of gold and red on a black ground with a couple and their attendants on a fenced terrace bordered by plantain trees and ornamental rocks before an open pavilion, the other door similarly decorated with ladies gathered around a table inside a pavilion surrounded by plantains and ornate rocks bordered on all four sides by a band of confronted dragons contesting the flaming pearl painted in gold and red on a black ground, the sides each with a rectangular panel finely painted in subtle shades of gold and red with a sinuous, writhing five-clawed dragon ascending below a similar writhing five-clawed dragon descending amid lush and dense lotus scrolls with large blooms bordered by bands of dragons striding through lotus vines, the top boldly painted with a shaped medallion enclosing a pair of mynah birds resting on the branch of a flowering camelia and rockwork, framed by lush scrolling lotus blooms, the back similarly painted with a tall gnarled flowering prunus tree flanked at the base by a small cluster of pine and bamboo hidden behind an ornate rock and small sprays of lingzhi, all finely outlined in gold and in subtle washes of gold and red against a mirror-black ground and above a horzontal eight-character Longqing mark painted in gold along the centre lower section. 104 x 96 x 45 cm (41 x 37 3/4 x 17 3/4 in)Footnotes:PROPERTY FROM A BELGIAN NOBLE COLLECTION比利時貴族收藏明隆慶 黑漆描金方角櫃 「大明龍慶御用監製」款 （櫃門或爲十七世紀）Provenance:Formerly in the collection of Raymond Pelgrims de Bigard, Comte de Bigard (1875-1955), Chateau de Grand Bigard, Dilbeek, Belgium.Thence in the family by descent to the present owner.來源Raymond Pelgrims de Bigard（1875-1955）伯爵舊藏，大拜哈爾登城堡，迪爾貝克，比利時後經家族流傳至今This beautiful lacquer cabinet is one of the earliest dated examples of lacquer-painted furniture made. The mark on the lower back of the cabinet records that it was made during the Longqing period (1567-1572) of the Ming dynasty. The inscription further states that this cabinet was made by the imperial workshops yuyongjian suggesting that it was intended to be placed in the private quarters of the emperor's residence or in an official space in one of the numerous halls of the imperial palace. The five-clawed dragons painted on the sides and around the frame further support this claim as the use of this particular type of dragon was restricted to Imperial wares. Similarly rendered on contemporaneous porcelain and textile, these five-clawed creatures are typical of the ferocious designs of the late Ming period and leave no doubt as to the imperial origins of the piece.Lacquer wares inscribed with Longqing marks are very rare compared with the abundancy of surviving marked lacquer pieces made during the preceding Jiajing (1522-1566) and subsequent Wanli (1573-1620) periods. We can assume that the highly skilled artisans employed for manufacture of pieces made for the Imperial court of the Jiajing emperor are likely to have continued working under the Longqing and Wanli emperors thereby continuing to apply their technical expertise, skills and decorative repertoire to the works they created. Not surprisingly, the closest related examples of gold-painted lacquer furniture are cabinets dated to the Wanli period. One of these, a large Wanli-marked cabinet painted in the same technique with red and gold dragons amongst scrolling lotus on a black ground is in the collection of the Guimet Museum, Paris, illustrated in Sir Harry Garner, Chinese Lacquer, London, 1979, pl. 144 (Fig. 1). Another example inscribed with a Wanli mark and similarly decorated in shads of gold with striding five-clawed dragon is a pair of chests published in Valrae Reynolds and Yen Fen Pei, Chinese Art from The Newark Museum, New York, 1980, cat.no. 25, pp. 46-47.The technique of decorating a black or brown lacquer surface with designs in subtle shades of gold and red is just one of several lacquer-working techniques listed by Huang Cheng in his treatise on lacquer, Xiushi lu 髹飾錄 (On Lacquer Decoration) believed to have been compiled first during the Longqing period of the Ming dynasty. Other techniques include carved lacquer, filled lacquer, smooth lacquer, colorful-painted lacquer, painted gold paint, gold lacquer, piled lacquer and inlayed lacquer. However, in the Jiaqing, Longqing and Wanli period, pieces with gold-painted lacquer or painted lacquer decoration are extremely rare and only a handful of examples are known. The majority of known pieces include smaller items such as two small cabinets similarly painted with gold dragons and lotus on a black lacquer ground, published in Hu Desheng (ed.), Collections of the Palace Museum: Painted Furniture, Beijing, 2009, nos.89 and 99, but also large, representative compound cabinets and smaller cabinets such as the present example. In Sir Harry Garner noted that no other painted lacquerware known belonging to the sixteenth or early seventeenth century was as important as these pieces of Imperial furniture. The technique employed in this type of decoration was also complex and according to Garner required several steps and required great skills as the brushstrokes had to be precise. On this cabinet, the quality of the dragons and lotus scroll differs on each side suggesting different artisans were involved. The lacquer surface on all sides of this cabinet displays a consistent craquelure underlining the quality and purity of the original lacquer used. Unusually, the top and the back of this cabinet are also lavishly decorated, featuring a flowering prunus tree and a flowering camelia, both skilfully rendered in shades of red and gold. This rare feature only appears on a pair of Wanli-marked gold-painted black lacquer cabinets decorated with Buddhist lions amidst lotus scrolls, the back also painted with a large flowering prunus tree, rocks and magpies below a Wanli mark in a horizontal cartouche, sold in Sotheby's Hong Kong, 7 April 2008, lot 1628, the second in Sotheby's London, 4th May 1984, lot 106. The designs on the sides, top and back of this wonderful cabinet perfectly match designs found on other marked Ming lacquer pieces of furniture and place this cabinet in a rare group of Imperial wares. However, the finely decorated doors of this cabinet depicting ladies and their attendants engaged in leisurely pursuits are a unique feature and do not appear on any other marked piece of Ming painted lacquer furniture. It appears that the quality of the painting and the wonderfully subtle shades and washes of gold and red employed to bring to life the two domestic scenes ... This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

two Chinese Ming period tomb furniture items in glazed earthenwareCHINA - MING-DYNASTIE (1368 - 1644) lot van twee grafsculpturen in groen geglazuurd aardewerk in de vorm van een kist - hoogtes : 9 en 14 cm

A GROUP OF REFERENCE BOOKS AND CHINESE WORKS OF ART. To include, Carved Lacquer in the Collection of the Palace Museum, Hardback in slipcase; Chinese Carved Lacquer, by Derek Clifford, Hardback, 1992; Chinese Furniture, by Michel Beurdeley; Chinese Furniture, by Craig Clunas, Victoria and Albert Museum, Far Eastern Series. (4) Used condition. Tear to cover of Chinese Furniture by Beurdeley.

REFERENCE BOOKS ON HONG KONG, CHINESE FURNITURE AND TEXTILES. To include Chinese Country Antiques, Vernacular Furniture and Accessories, c1780-1920, by Andrea & Lynde McCormick, Hardback, 2000; Dragons and Silk from the Forbidden City; Dress in Hong Kong, 1992/93; Chinese Residences, 1991, published by Beijing Science & Technology Publishing House; City of Victoria, revised edition, 1999; Of Hearts & Hands, Hong Kong's Traditional Trades and Crafts, 1996. (6) Used but good condition.

A Chinese Neolithic large pottery jar. Circa 2000 BC, with twin loop handles and painted iron red and black bands, height 32cm, diameter 43cm. Thought to have been acquired circa 2000.Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A Chinese stained pine side table/cabinet. Qing, 19th century, fitted with a central cupboard flanked by two compartments with sliding covers, on moulded square legs and stretchers, height 84cm, width 191cm, depth 51cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A Large Chinese funerary figure or tomb attendant. Han dynasty, with a separate head and traces of red and white pigment, height 71cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A Chinese terracotta horse head. Han dynasty, with traces of red and white pigment, height 23cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A Chinese elm side cabinet. Qing, 19th century, fitted two drawers above two doors within shaped sides, height 92cm, width 100cm, depth 42cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A Dutch Delft blue and white baluster vase and cover. Late 18th century, with a fluted body and Chinese inspired floral decoration, height 34cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024 Restoration on the rim and cover.

A Chinese bronze Hu vase. Han dynasty, of pear shape, with a girdled neck, height 14cm. Mollie believed this was purchased from Wilfred Sloane, in the early 1980s.Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A Chinese bronze ding tripod censer. Late Qing, plain form with loop handles, Xuande mark, height 12cm, diameter 11cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024 Please see extra images

Two Dutch Delft blue and white vases. 18th century, one painted with Chinese style figures, the other with a cover and painted with flowers, overall height 25cm and 34.5cm (2). Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024 Both with restoration.

CHINESE AND JAPANESE ART, MISCELLANY - Chinese Porcelain. The S. C. Ko Tianminlou Collection, Hong Kong, 1987, 2 volumes, 4to, coloured plates, original dark blue silk boards, slipcase. FIRST EDITION. With 9 other works in 12 volumes. (14)CHINESE AND JAPANESE ART, MISCELLANY - Chinese Porcelain. The S. C. Ko Tianminlou Collection. Hong Kong: Hong Kong Museum of Art, 1987. 2 volumes, 4to (352 x260mm). Coloured plates. Original dark blue silk boards, the upper covers with Chinese characters stamped in blind, the spines lettered in silver, slipcase. FIRST EDITION. With 9 other works of related interest in 12 volumes, namely Les Hautes Époques de l' Art Chinoir d' après les Collections du Musée Cernuschi (Paris, [n.d.], 4to, plates loose as issued in original portfolio, ties), Collection of Rare Old Chinese Porcelains Collected by Sir William Bennett, K.C.V.O., Purchased and Exhibited by Gorer (London, 1910, 8vo, coloured plates, original green cloth gilt, [?]lacks front free endpaper), Helen White's Snuff Bottles from China. The Victoria and Albert Museum Collection (London, 1990, 4to, coloured plates, original silk boards, dust-jacket, slipcase, FIRST EDITION), Wang Shixiang's Connoisseurship of Chinese Furniture. Ming and Early Dynasties (Hong Kong, 1990, 2 volumes, 4to, coloured plates, original buckram, slipcase, trade edition); and including 4 volumes (only) from The Baur Collection (namely, Pierre-F. Schneeberger's Chinese Jades and Other Hardstones (Geneva, 1976), B. W. Robinson's Japanese Sword-Fittings and Associated Metalwork (1980), John Ayers' Japanese Ceramics (1982) and Pierre-F. Scheeberger's Japanese Lacquer (1984)); and the catalogue of The Duke and Duchess of Windsor (New York, Sotheby's, September 11-19, 1997, 3 volumes, coloured illustrations, original wrappers, slipcase, price-list loosely-inserted). (14)

A QUEEN ANNE BLACK LACQUER AND GILT JAPANNED CHEST ON STAND IN THE MANNER OF STALKER & PARKER, CIRCA 1710 Finely decorated with subtle tones of green and ochre, finely detailed and outlined throughout in gilt, depicting houses within a naturalistic setting and groups of flowers 125.5cm high 102cm wide, 58.5cm deepJohn Stalker and George Parker first published their Treatise on Japanning and Varnishing in 1688. It was used as a pattern book, throughout the late 17th Century and early 18th Century while there was continuing interest in Chinese and Japanese lacquered furniture. For a related chest on stand, see Christie's London, The David Style Collection (5748), 13th January 2005, Lot 398 (£8,400 incl. BP). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits and repairs. The surface appears original, it bears the expected wear, chips, minor losses and fading The handles and escutcheons are later replacements but are in period style and suit the piece well Lock plates vary from each other, but all have good age. One lock plate with later securing screws, no keys present but all locks are open Some later runners to the bottoms of the drawers The drawer linings with the expected openings and splits - some later tape and hessian applied to the underside of some drawers Some minor evidence of old worm to some places, as to be expected (see images). Some minor areas of worm to the surface have been disguised. The legs, stretchers and feet are later replacements but are in period style and suit the piece well Some small supporting blocks to the interior of the carcass One backboard likely an old replacement Some later securing pins and nails to mounts Please see all additional images as a visual reference to condition. Condition Report Disclaimer

2 x framed cigarette card sets - Wills 'Old furniture (1st series)' & Cavanders 'Ancient chinese' t/w Rochdale v Yeovil Town set & 2 x Players Navy cut advertising (card 42cm x 41cm)

A CHINESE POTTERY FIGURE OF A HORSE Tang dynasty or later, well figured standing adorned with saddle, traces of pigment to the ears, eyes and mouth, 37cm high x 38cm longProvenance: Acquired from Duke's, Fine Ceramics and Furniture, 28th July 2011, lot 462.

A CHINESE POTTERY HORSE Wei dynasty or later, well figured standing with head raised adorned in saddle and harness, traces of coloured pigment remaining, 45.5cm high x 34cm longProvenance: Acquired from Duke's, Fine Ceramics and Furniture, 28th July 2011, lot 466.

A CHINESE HUANGHUALI BRUSHPOT 18th/19th century, the tapered cylindrical body on a turned raised foot, 11.5cm high x 8.5cm diameterProvenance: Sotheby's, Important Chinese Art, Chinese Furniture From a European Private Collection, 4th November 2011, Lot 343.

A CHINESE HUANGHUALI BRUSHPOT 17th/18th century, of tapered cylindrical form with an inset foot, 12.5cm high x 8.5cm diameterProvenance: Sotheby's, Important Chinese Art, Chinese Furniture From a European Private Collection, 4th November 2011, Lot 344.

A George III mahogany chest on chest attributed to a cabinet maker based on the historic St. Martin's Lane in LondonCirca 1760, possibly by Thomas ChippendaleThe dentilled segmental triangular and pierced trellis work pediment above an ogee and dentil moulded cornice, over an interlaced blind fretwork frieze comprised of an alternating pattern of rosettes, lozenges and opposing intersecting scrolls, with two short oak lined drawers below, above three long graduated oak lined drawers, flanked by canted interlaced blind fretwork angles, over a pagoda canopy carved waist moulding, with three long graduated oak lined drawers below, on shaped reverse ogee bracket feet, with original brass mounts, red wash and laminated blocking to the bracket feet, 114cm wide x 60cm deep x 201cm high, (44 1/2in wide x 23 1/2in deep x 79in high)Footnotes:ProvenanceThe present lot was formerly with Ronald A. Lee.Subsequently housed within a private collection, London.Thereafter with Rolleston Antiques, London.With a classical Palladian pediment, Chinese fretwork and pagoda canopy waist moulding together with French foliate handles, the offered tallboy epitomises the flair and genius of mid-18th century designers who harmoniously combined the exotic styles composing the English Rococo movement which flourished during the 1750s and early 1760s. This chest on chest is of particularly elegant proportions and very finely carved. The construction is first rate, and the mahogany used is of a particularly high quality. It is a wonderful example of the period and would have been made by one of the leading London cabinet makers undoubtedly located on or very close to the historic St. Martin's Lane.The design echoes patterns found in Thomas Chippendale's Director and shows strong resemblance to the documented work of William Hallett. However, the piece aligns most closely with the distinctive style and designs associated with Vile and Cobb. Many accomplished cabinet-makers had workshop premises in St. Martin's Lane, London, and the area emerged as the centre the London furniture trade. Vile and Cobb, who became Royal Cabinet-Makers to King George III, formed a syndicate with William Hallett in 1753 in St Martin's Lane. Thomas Chippendale and Mathias Lock were among other renowned cabinet-makers and carvers to have workshops in this area.Historically, characteristics which are evident on the above such as s-shaped keyholes, laminated blocking to the bracket feet, the presence of a red wash to some secondary surfaces, fine dovetails, the use of short-grain drawer kickers and a recognisable design of the mounts have been closely associated with the output of Thomas Chippendale. Consequently it is certainly a legitimate possibility that the offered model was made within close proximity to Chippendale's workshop.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

An Italian 'lacca' dressing mirrorProbably Venetian, second half 18th centuryThe later plate set within a rectangular arched and foliate scroll pierced frame with leafy florette cresting on scrolling feet, the whole decorated with polychrome floral sprays and trellis panels and heightened with green, on an ivory/yellow ground, 59cm high, 38cm wide, 5cm deepFootnotes:Venetian 'laccatori' were among the first to imitate Chinese lacquer, and their furniture and objects were much sought after as a result. At first their output incorporated Chinoiserie motifs which closely imitated the exotic incoming Chinese patterns but during the second half of the 18th century, Venetian craftsmen created different designs, sometimes loosely combing Chinoiserie and European motifs, with others solely depicting European flowers, landscapes, birds and animals.For further information on this lot please visit Bonhams.com

A RARE CHINESE OR TIBETAN POSSIBLY MING DYNASTY GILT COPPER DRAGON HEAD FINIAL, probably a furniture element, 20cm long.

A pair of early 20th century Chinese chinoiserie mother of pearl inlaid oak panels. Each panel featuring flanked to top and bottom with smaller panel featuring blossom flowers and butterflies, with a more decorative central panel of a Chinese figure holding a vase ,from which a tall plant grows. Wall hanging added to verso, possibly originally from a larger piece of furniture.Each panel measures approx. 82cm x 20cm.

Japan, a pair of large blue and white porcelain jardinières on ebonised stands, Edo/Meiji period, 19th century, each decorated with phoenixes in flight above moulded geometrical panels. With two hardwood carved stands in Chinese taste, but European. h. 60 x diam. 56 cm (excl. stands) Provenance: Sotheby's New York, Ariane Dandois: European Furniture, Paintings & Asian Art, 26 October 2007, lot 532 [2]

China, nest van vier hardhouten tafels, 19e eeuw; Allen uitgevoerd met opengewerkte panelen aan de vier zijden onder het blad, de poten verbonden door regels. h. 54 - 74 cm, b. 40 - 56 cm, d. 24 - 39 cm Sotheby's London Olympia, Fine Furniture: The 19th Century Interior, 11 october 2006, lot 45 [4] A nest of quartetto tables, Chinese, 19th century

China, hardhouten gueridon, 19e eeuw; Uitgevoerd met gestoken archaïsche decoratie. De poten verbonden met vier stijlen. h. 81 cm, b. 42 cm Sotheby's New York, Ariane Dardois: European Furniture, Paintings & Asian Art, 25 october 2007, lot 352. [1] A Chinese carved hardwood stand; 19th century

CHINESE ART: 'Bronze Mirrors from Ancient China...Donald H Graham Jr. Collection..': Hong Kong, 1994: publishers grey cloth lettered in silver with dustjacket, slipcase, VG, folio: with 9 others, misc. reference works on Chinese art and furniture, various sizes and condition. (10)

ASIAN AND INDIAN ART INTEREST: 5 Titles: MULK RAJ ANAND, LOTIKA VARADARAJAN ET AL: HOMAGE TO KALAMKARI (WITH REFERENCE TO THE PAINTED CLOTHS OF INDIA, Bombay, Marg publications, 1979 reprint, with decorative cloth boards; CHEWON KIM AND G ST G M GOMPERTZ: THE CERAMIC ART OF KOREA, london, faber and Faber, 1961; W ZALF (Ed): BUDDHISM - ART AND FAITH, London, British Museum Publications, 1985; THE ART OF THE CH'ING DYNASTY FURNITURE, Taipei, national Museum of History, ND. Held within original slipcase; T C LAI: CHINESE PAINTING - ITS MYSTIC ESSENCE, Kowloon, Swindon Book Company, 1974. inscribed to half title by author (5)