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A Chinese double ancestor portrait scroll painting, early 20th century. 215.5 x 105.5cm, image size 116.5 x 94cm.West Cornwall private seller, by family descent. The vendor inherited items from her great grandfather Captain John Dewar (ship master). He was born in Shanghai in 1866 and died in 1950. His wife Susan Smith Oudney (1875-1967) whose father was William Oudney a master mariner owned two clipper ships including 'The Coach Inn'. John and Susan married in Shanghai in 1896.

A Chinese painted scroll depicting a warrior and tiger, early 20th century. 'Pretending to be a god of death', with calligraphy and seals, 163 x 58.5cm, image size 97.5 x 48.5cm.In very good condition, with no rips or tears to the scroll. Painting in good, crisp, clean condition. Please view extra images.

Two similar Chinese porcelain saucer dishes, 18th century. Height 3cm, diameter 13.5cm, a Chinese blue and white porcelain floral dish, diameter 12.5cm and a Chinese blue and white dish, decorated with a river scene, diameter 11.5cm. (4)The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie.There is no restoration and no hairline cracks. See images for chips

A Chinese peach bloom miniature baluster vase, 19th century. The reddish glaze shading to pale celadon, height 7cm, width 3.5cm.The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie.Very good condition, no chips or cracks.

A Chinese Canton enamel lobed dish, Qing Dynasty, late 18th century. Depicting figures in a landscape, with rows of calligraphy, 8 x 9.5cm and a Chinese enamel cup, mid-late 18th century, depicting figures in a landscape, height 3cm, width 4.5cm, depth 4.5cm. (2)The vendor inherited the collection from his father in 2015. The vendors father inherited the collection in the late 1950's from his Aunt Blanche Gertrude Ealand who preferred to be known as Heather and was born in 1903. She was best friends with the famous artist Dame Laura Knight and there is a well known painting showing Blanche dressed in her hunting and fishing attire and holding a shotgun. She was also the Queen of the Chelsea Arts Ball in the 1920’s.

A Chinese lapis lazuli model of Buddha, Qing Dynasty, late 19th century. Height 7cm, width 5.5cm, depth 3.3cm.The vendor inherited the collection from his father in 2015. The vendors father inherited the collection in the late 1950's from his Aunt Blanche Gertrude Ealand who preferred to be known as Heather and was born in 1903. She was best friends with the famous artist Dame Laura Knight and there is a well known painting showing Blanche dressed in her hunting and fishing attire and holding a shotgun. She was also the Queen of the Chelsea Arts Ball in the 1920’s.

Eight books relating to China and Contemporary Chinese Art. Young Chinese Artists, The Next Generation, Prestel; The Revolution Continues, New Art From China, Saatchi Gallery; China Conteporary Painting, Lorenzo Sassoli De Bianchi; Artists In China, Philip Tinari, Mario Ciampi; Vivre En Chine, Taschen; Wang Qingsong, Albion; China China, China Square, New York & Beijing; and Man Ray, Taschen. (8)

Pat Hui (Chinese, b. 1943). Group of three abstract watercolor paintings with ink calligraphy. Two of the works consisting of two sheets framed together.(Sight) Height ranges from 12 in to 16 3/4 in; width ranges from 11 3/4 in to 16 3/4 in. (Framed) Height ranges from 19 in to 24 in; width ranges from 18 in to 25 in; depth: 1 in.Condition:There are no visible tears, losses, or restorations. Undulation to the sheets throughout. Some unevenness to the edges, likely original to the artistic process. The blue and green painting with several spots of foxing. All paintings are floated in frame. Not inspected out of frame. The two blue and green work and the rainbow work are framed under glass; the remaining work is framed under plexiglass. Light wear to the frame.

An Indian brass cricket cage, late 19th century. Height 12.5cm, diameter 16.5cm and an Indian miniature painted portrait on metal, 19th century, 3.3 x 2.3cm. (2)The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie.

A Turkish Isnik pottery baluster vase, 19th century. With painted polychrome floral decoration, height 16cm, width 7cm.The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie.

An Hoshiarpur bone inlaid hardwood occasional table, Northern India, 19th century. Decorated with scrolling leafy tendrils, with inscriptions to each side, height 43.5cm, width 39cm, depth 38.5cm.The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie.

A 20th century Chinese reverse-painting on glass depicting an elegant lady holding flowers, in rosewood frame, 55cm x 39.5cm overall.

A CHINESE PAINTING ON SCROLL DEPICTING LANDSCAPES, 36cm x 30cm Mounted in a frame and glazed.

TWO CHINESE PAINTING SCROLLS (2)Largest 161cm x 46cm

A LARGE WATERCOLOUR ON PAPER PAINTING OF A LANDSCAPE SCENE ALONG WITH A CHINESE SILK PANEL OF A SIMILAR SIZE (2), 76cm x 38cm

TWO CHINESE PAINTING SCROLLS,Largest 167cm x 47cm

TWO CHINESE PAINTING SCROLLS (2)Largest 186cm x 44cm

A WATERCOLOUR ON PAPER PAINTING OF A LADY SITTING IN A CHAIR BESIDES A CHINESE VASE, HAVING JUST READ A LETTER, The envelope is on the floor besides a colourful shawl. In the background is a tapestry. 37cm x 31.5cm Signed 'OPG'

A Chinese reverse painting on glass - Landscape with hills and water.

Henri Cartier-Bresson (1908–2004) was a French photographer widely regarded as one of the pioneers of modern photojournalism. Born on August 22, 1908, in Chanteloup-en-Brie, France, Cartier-Bresson played a crucial role in shaping the field of documentary photography and the art of capturing "the decisive moment."Here are some key points about Henri Cartier-Bresson:1. **Founding Member of Magnum Photos:** Henri Cartier-Bresson co-founded Magnum Photos in 1947 along with Robert Capa, David Seymour, George Rodger, and William Vandivert. Magnum is a renowned international photographic cooperative.2. **"Decisive Moment":** Cartier-Bresson is famous for coining the term "the decisive moment" (French: "le moment décisif"). This concept emphasizes capturing the perfect moment when all elements of a scene come together to create a compelling and powerful image.3. **Early Life and Painting:** Before turning to photography, Cartier-Bresson studied painting. He was influenced by Surrealism and the works of artists like André Breton and Pablo Picasso. His early interest in the visual arts contributed to the composition and aesthetics of his photographs.4. **Travel Photography:** Cartier-Bresson traveled extensively throughout his career, capturing moments from different cultures and countries. His travels took him to places such as India, China, the United States, and the Soviet Union.5. **Capturing History:** Cartier-Bresson documented many significant events in the 20th century, including the Spanish Civil War, the liberation of Paris, the funeral of Mahatma Gandhi, and the Chinese Civil War.6. **Book Publications:** Cartier-Bresson published several books, including "The Decisive Moment" ("Images à la sauvette"), which became a classic in the field of photography. His other notable books include "The World of Henri Cartier-Bresson" and "Europeans."7. **Film:** In addition to photography, Cartier-Bresson worked in the film industry. He directed several documentaries, including "Victoire de la Vie" and "Southern Exposures."8. **Awards and Honors:** Cartier-Bresson received numerous awards for his contributions to photography, including the Overseas Press Club Award, the Hasselblad Award, and the Grand Prix National de la Photographie in France.9. **Later Years and Legacy:** In his later years, Cartier-Bresson focused more on drawing and painting. He passed away on August 3, 2004, in Montjustin, France. His legacy lives on through his iconic photographs, his influence on photojournalism, and the enduring impact of Magnum Photos.Henri Cartier-Bresson's work continues to inspire generations of photographers, and his contributions to the art of photography have left an indelible mark on the medium. His ability to capture the essence of a moment with precision and artistry remains a benchmark for photographers around the world.Verso is blank.

Pirelli calendars from the 1990's in original cardboard packaging, opened. To include:~ Five Pirelli 1990 calendars, landscape layout, In 1990 Arthur Elgort produced the first Pirelli Calendar all in black and white, devoted to the Olympics and to the German film director Leni Riefenstahl. Serial numbers: 29737, 10643, 48675, 10006, 07341. ~ Two Pirelli 1991 calendars, portrait layout, serial numbers: 25825,07540. Photographer Clive Arrowsmith. Heroic courageous women in history, tape mark on back cover.~ Three Pirelli 1992 Calendars featuring the theme of the Chinese Zodiac by Clive Arrowsmith, costume painting by Mathilde Sandberg, Serial number 21719, 853, 18362.~ A Pirelli 1993 calendar, Thirty years of Pirelli, photographs by John Claridge, serial number 26770. In 1993, coinciding with the end of another decade and after a change in the company’s top management, there was another important turning point. Pirelli upped its ante internationally, launching high profile advertising campaigns (including the famous image of sprinter Carl Lewis in red stilettos) and the Calendar became one of the key tools for conveying the Group’s new image. The artistic direction moved into the company’s Milan headquarters and it was decided that all references to tyres should be dropped. “The Cal”™ thus went back to being itself, an artistic publication with no limitations or restrictions placed on its creators except the canons of style and good taste. Pirelli, after all, is an international brand that is not identified with a single product family, but evokes a broad spectrum of values and meanings, first and foremost a commitment to innovation and the quest for excellence, elements that have always inspired the Calendar too.~ Two Pirelli calandars, 'In praise of women' n 1994 Herb Ritts launched the new era of “The Cal”™ with a phenomenal line-up of supermodels: Cindy Crawford, Helena Christensen, Kate Moss and Karen Alexander. His calendar, entitled “A Homage to Women” set out to capture “the women of the ’90s and their place in the world: proud, sexy and beautiful on the inside”. Since then the creative talent of the photographers and the spellbinding allure of the models have been the cornerstones of the Pirelli Calendar’s success. Its connection with the world of fashion and glamour have become even stronger: for runway stars, appearing in “The Cal”™ is the equivalent of making it, and the competition between newcomers is fierce. Karen Alexander, Helena Christensen, Cindy Crawford and Kate Moss feature. Serial numbers 48710 and 12069. ~ A Pirelli 1995 calendar with the theme of 'Seasons'. Photographer Richard Avedon. Serial number 31994.~ A Pirelli 1996 calendar, 'Timeless views' by Peter Lindbergh, in portrait layout, serial number 26923. Carré Otis, Eva Herzigová and Nastassja Kinski feature.~ A Pirelli 1997 calendar, 'Women of the world' serial number 19556, in a white sleeve with pull out ribbon, loose pages with platic binder and hanger enclosed. Landscape layout.~ A Pirelli 1998 Calendar, Photographer Bruce Webber dedicated to Robert Mitchum, the theme ' Women that men live for' and 'Men that women live for'. along with famous female Webber devoted a few shots to male film stars and singers, including Robert Mitchum, John Malkovich, Kris Kristofferson, B.B. King and Bono. Serial number 09548, portrait layout.~ 'A 1999 Pirelli, portrait layout calendar, 'Women through the decades', photographer Herb Ritts, includes Sophi Dahl as February in 1920's.(13)Credit for information - https://pirellicalendar.pirelli.com/en/about-the-cal/history

A CHINESE PITH PAPER PAINTING of a Chinese junk on the water, 28 x 18cm, another of a lady seated at a table surrounded by antiques, 26 x 18cm, an embroidery panel, a hand-coloured etching of Hong Kong, and a large  blue ground silk embroidered banner, decorated with flowers and gilt woven text, 265 x 41cm (5) Condition Report:Available upon request

** FRANCIS CAMPBELL BOILEAU CADELL RSA RSW (SCOTTISH 1883-1937) DAHLIAS (c1929) Oil on panel, signed lower left, signed, inscribed with title and 'Absorbent ground NEVER varnish' verso, 44 x 36cm (17.3 x 14.17") Provenance: Dr Arthur H H Sinclair, 6 Charlotte Square, Edinburgh (now Bute House) c1930. Sinclair (1868-1962) had a fine art collection and was President of the Royal College of Surgeons, Edinburgh, and the Hon Surgeon Oculist to the King in Scotland. His brother, Alexander Garden Sinclair ARSA, was an artist and member of the Society of Eight with FCB Cadell. Thence by family descent. Sale; Bonhams London, 9.6.99 (lot 23) Private Collection Jersey Private Collection Jersey Note: FCB Cadell, the youngest of the Scottish Colourists, came into his own as an artist in Venice in 1910. The salon paintings he composed before the War were his most original contribution to date, featuring elegant 'fashion plate' women as motifs within his meticulously-arranged studio, but the style remained post-impressionist and his palette largely subdued. However the works from the 1920s, as with the present picture, perhaps reveal the true nature of the artist and the man. Particularly in the still life genre, we see his adherence to 'rigid line' and delight in pure colour. Many still lifes feature favoured studio props/motifs, such as the blue jug, small green Chinese bowl and silhouette, composed against the lilac wall he had first used c1915. Here we see his interest in pattern, geometry, simplified form and interior design, with his paintings reflecting the age of Art Deco and Jazz. The dahlia blooms themselves seem almost stylised, such is their visual impact.Buyer's Premium 24% + VAT. Also subject to Import VAT @ 5% on hammer.PLEASE NOTE THAT THIS LOT CAN ONLY BE VIEWED BY APPOINTMENT OUTWITH ADVERTISED SALE VIEWING TIMES. Condition Report:Presents in good condition. Very slight bow to panel. Minor abrasions/chips/rubbing to edges of panel. There appears to have been some sort of coating applied to the rear of the panel, rendering it slightly yellowed and shiny. However there is no apparent evidence that it has had any effect on painting itself. PLEASE NOTE that this report has been prepared by an experienced picture specialist. If you wish to have the picture examined by a restorer you are welcome to do so strictly by appointment

This monochrome poster on board features the portrait of Qeini The Poodle based on David Kwok's original Chinese ink brush painting. Signature and title in plate. Housed in a silver frame. Sight size: 17.25"L x 17.75"H. Frame size: 19"L x 25"H x 1"W. Artist: David Kwok (Da Wei Kwo, Chinese 1919-2003)Issued: c. 1980Country of Origin: ChinaCondition: Age related wear.

Coco The Poodle features a dog portrait set as a monochrome poster on board that is based on David Kwok's original Chinese ink brush painting. Signature and title in plate. Housed in a silver frame. Sight size: 17.25"L x 17.75"H. Frame size: 19"L x 25"H x 1"W. Artist: David Kwok (Da Wei Kwo, Chinese 1919-2003)Issued: c. 1980Country of Origin: ChinaCondition: Age related wear.

George Chann (Chinese/American, 1913-1995). Mixed media on canvas abstract painting in blue, yellow, and red. Signed along the lower right.Provenance: Private Texas Collection, 2023; Private Minnesota Collection.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 16 3/4 in x width: 21 1/4 in. Framed; height: 20 3/4 in x width: 25 in.

Chinese School (19th century), Pair of Gouaches on paper, Two full length portraits of female courtiers, 46cm x 37cm overall, with two black lacquered chinoiserie frames enclosing a leaf painting and a pith paper gouache, 19th century, and a further framed and glazed gouache on pith paper still life (5) CONDITION REPORT:Courtier portraits: Both show some tearing and appear to have been pasted down onto some kind of support. Both show creases, scuffs and distortions throughout.Lacquered chinoiserie frames: Both show surface wear including fine scratches throughout, resulting in some losses to the details. In the larger frame the back glass is secured with sellotape. In both cases the framed images are relatively clean and bright, although the still life sheet shows a tear to the right hand side and the odd small stain.Floral still life: Shows a tear to the top edge and foxing throughout. 

A WILLIAM REID PORCELAIN MUG, 1756-61, of baluster form with 'Scotia' footrim, painted in polychrome enamels with the Chinese Flower Show pattern, the figure wearing a yellow tunic over lilac trousers, 5" high (Illustrated) (Est. plus 24% premium inc. VAT)See See Maurice Hillis, Liverpool Porcelain, 1756–1804, 2011 plate 3.19 for similar painting Condition Report: Wear to iron red rim, very fine hairlines (appear to be glaze cracks at first but they can be seen in the interior) running through tunic towards lidded vase and up through vases on table, the pale green under feet is thickly applied and badly scratched when viewed closely.

A 19th century Chinese rice paper painting of man with sword in scabbard, framed and glazed 16 x 10cm

Bearing the name of Jiao Bingzhen (焦秉贞）(active 1689-1726)'Yichou Yuexia Xuanyuchuang' (A Noble Lady Painting in a Garden)signed Jiao Bingzhen, a traditional Chinese ink painting, Qing dynasty, 129cm x 66cm (the image only), with seal 'Bingzhen', also other various seals, eg. 'Qianlong Chenhan'（乾隆宸翰), 'Jiaqing Yulan Zhibao'（嘉庆御览之宝), ‘Xianfeng Yulan Zhibao’（咸丰御览之宝), 'Xuantong Yulan Zhibao'（宣统御览之宝), etc. Note: Jiao Bingzhen was one of the best and the most influential royal court painters during Emperor Kangxi reign (1662-1722)

Four Chinese scroll paintings including a painting of three figures, ink and colour on silk after Qian Huian 94 cm x 44 cm; 'Three Gorges' mountainous landscape with long calligraphic inscriptions and seals, 96 cm x 54 cm; a mountainous landscape with figures and pine trees, 88 cm x 44 cm and an extensive ancient Temple landscape, ink and colour on silk with multiple inscriptions, 105 cm x 50 cm (4)

After Wang Xuetao - A 20th century Chinese scroll painting of roosters and flowers, calligraphic inscription and red artists seal, ink and colour on paper within silk brocade mount, image size 136 cm x 68 cm

A 20th century Chinese watercolour on fabric painting of birds and prunus with calligraphy inscription and seal marks, mounted framed and glazed, 68 cm x 40 cm (image size)

After Zhao Boju - A 20th century Chinese hand-scroll painting of a Xiangshan mountain landscape view, ink and colour on silk, 84 cm x 40 cm to/w another silk scroll painting after Feng Shu depicting a wading bird below overhanging autumnal leaves with inscription and red seal, 84 cm x 38 cm and a calligraphy scroll, black ink on paper, 66 cm x 33 cm (3)

After Xu Beihong (1895-1953) A Chinese hand scroll study of a horse, ink and colour on paper, 96 cm x 44 cm to/w a 20th century Tang Yin print of a maiden mounted as a scroll, 72 cm x 37 cm and another scroll painting of a bird perching over flowers, ink and colour on paper with inscription and seal, 96 cm x 52 cm (3)

A portable oratory for suspention, Namban Art, fully black lacquered wood with mother-of-pearl inlay and gold decoration "Birds and flowers" and "Landscapes", Cornice with medallion "Insignia of the Society of Jesus", original copper clasp, nippo-portuguese - Momoyama period (1573-1615), faults, mounts and later consolidation plaques, painting missing. Notes: Portable oratory Japan; ca. 1580-1620 Lacquered and gilded wood with mother-of-pearl inlays; copper fittings 69.0 x 51.0 x 7.0 cm (closed); 69.0 x 102.0 x 7.0 (open) A large, rare, and significant Namban portable oratory, or two-door retable, made in Japan for export to the European market. It features a low curved pediment and simple narrow socle, and is fitted with two doors that once covered a devotional painting, now lost. Designed to be hung on a wall, this oratory was created for private devotion within the context of the Jesuit missionary work in Asia, specifically in Japan. Made from a lightweight wood, likely the Japanese cypress (Chamaecyparis obtusa), locally known as hinoki, it is lacquered (urushi) in black and decorated in gold with mother-of- pearl (raden) inlays. The back panel is lightly coated with lacquer on both sides, and the copper fittings (kazarikanagu) include four hinges (chotsugai), a two-part clasp for securing the doors when closed, and a suspension ring on top. The sides and top are decorated with East Asian arrowroot vines (Pueraria lobata), known as kuzu. Both the exterior and interior sides of the doors are exquisitely decorated in horror vacui, featuring large panels divided into two registers. These panels, as those on the interior, are bordered by a typical frieze of the ‘endless pearl’ pattern (shippotsunagi). This distinctive frieze, inherent to this production, is also used on the border of the arched pediment, the socle, and the interior frame that once secured the now lost painting inside, possibly on copper. The interior frame also boasts a frieze of meandering vines and tendrils (karakusa), characteristic of this production. The exterior side of the left door is decorated with two long-tailed birds: one below perched on the branches of fully bloomed tree peonies (Paeonia x suffructicosa), known in Japan as botan, and the other above, hovering over flowering plants of the Chinese bellflower (Platycodon grandiflorus), or kikyo. On the interior side, a large branch of the Chinese persimmon (Diospyros kaki), or kaki, is depicted on the lower register, while the upper register features, on a rocky landscape, flowering plants of the chrysanthemum (Chrysanthemum sp.), or kiku. Similarly, the exterior side of the right door depicts two long-tailed birds: one below, perched on the flowering branches of the Japanese cherry tree (Prunus serrulata), known as sakura, and the other above gliding over chrysanthemums. The interior side showcases a branch of the Mandarin orange tree, or tachibana (Citrus tachibana), in the lower register, and Chinese bellflowers in the upper register. The decoration of the arched pediment inside features a central round medallion bearing the emblem of the Jesuits: the Christogram inside a flaming sun, surmounted by a cross, and with the nails of the Crucifixion below, set against a ground decorated with Chinese bellflowers. The pediment is bordered by a frieze of alternating triangles. Unlike other examples, the pediment of our oratory, featuring the Jesuit emblem, only becomes visible when opened. This is likely a testament to the growing difficulties faced by missionaries in Japan in the early decades of the seventeenth century and the subsequent persecution of the newly converted and missionaries, some of whom were martyred. The Jesuits were finally banned in 1587 and officially expelled in the 1620s, marking the end of Jesuit missionary work in Japan, which began in 1549, when Francis Xavier (1506- 1552) landed in Kagoshima on August 15. The refined gold decoration applied to this rare portable oratory, known as maki-e, literally ‘sprinkled picture’, was common in the Momoyama and early Edo periods in Japan. Lacquerware made especially for export at the imperial city of Kyoto, which combined mother-of-pearl inlays with hiramaki- e, is referred to as nanban makie or nanban shitsugei - see Pinto (1990), Impey (2000), Impey and Jörg (2005), Curvelo (2010), Kawamura (2013), and Canepa (2016). Namban or nanban-jin (literally, ‘Southern Barbarian’) is a Japanese term of Chinese origin that denotes Portuguese and Spanish merchants, missionaries, and sailors who arrived in Japan in the sixteenth and seventeenth centuries. Over time, Namban has become associated with lacquerware and other goods commissioned in Japan for domestic or export, reflecting Western tastes and often modelled after European prototypes, or included European iconography, such as depictions of Portuguese merchants, officials, and missionaries. Namban- style products thus combine Japanese techniques, materials, and motifs with European styles and shapes, illustrating a cultural fusion that emerged during this period of cultural exchange. Namban portable oratories, usually fitted with doors and featuring a pediment, survive in limited numbers, varying in size and shape, scattered across public and private collections in Japan, Europe, and the United States of America - see Impey and Jörg (2005), pp. 186-189, and Canepa et al (2008), pp. 246- 253, cat. 28. Our example is one of the largest known portable oratories from this production, surpassing the large (68.2 x 30.4 x 5.6 cm) oratory in the Wolverhampton Art Gallery (inv. O.J. 232) - see Impey and Jörg (2005), pp. 186-189, cat. 444. The Wolverhampton oratory, distinguished by its tall triangular pediment, also bears the Jesuit emblem. In contrast to many examples of this production, which often exhibit signs of wear, restoration, or loss of their delicate lacquered and gilded decoration, our large oratory remains remarkably well-preserved, having never undergone restoration., Dim. - (fechado) 69 x 51 x 7 cm; (aberto) 69 x 102 x 7 cm

A Chinese watercolour on silk scroll painting, mountainous landscape with pagodas

A Chinese reverse painting on glass, depicting a courtesan and attendant playing a game within an interior, 44 x 31cm.

Chinese School, landscape scene, watercolour, with character marks and red character seal upper left, 128cm x 63cm, mounted and rolled as a scroll, Chinese School, figures in a village flying kites, 51 x 102cm, mounted and rolled as a scroll, boxed, another painting rolled as a scroll, Chinese School, female nude, watercolour, black character marks and red character seal middle right and further red seal upper left, 66cm x 131cm and a Chinese embroidered scroll, cased

A Chinese scroll painting.

A Chinese painting on paper depicting a man seated beneath a tree.

Chinese scroll painting and two others.

A Chinese reverse painting on glass depicting a seated woman and cat.

~ A Chinese Celadon Jade Inscribed “Luohan” Boulder, Qianlong, carved with Ańgaja in a grotto, seated cross-legged in loose flowing robes, his left hand holding a sutra and walking stick, the right counting prayer beads, flanked by the Imperial eulogy and seal marks 20cm highWith original receipt from Trollope & Sons (London) Ltd, West Halkin Street, London dated 25 November 1955 for £85, as well as a transcription of the eulogy The inscription can be translated as “Wearing a hundred-patch robe and leaning on a proper bamboo staff, his Vedic ritual texts in a bookcase, he stares at his akshamalika straight across his chest. What he has remembered is not nothing, although there are no words for it.”The iconography of this depiction of Ańgaja is derived from the portrait series of the sixteen Luohans painted in 891 by the Tang dynasty painter-poet-monk, Guanxiu for the Shengyinsi or 'Temple of Sage Reason'; the temple was later destroyed during the Taiping Rebellion. In this series the artist depicted the enlightened disciples with grotesque bodies, hunched backs, bushy eyebrows, and pronounced foreheads, as they had allegedly appeared to him in a dream.In 1757, the Qianlong Emperor visited the Shengyin Temple during his Southern inspection tour to study these images of the Luohan as an act of religious devotion. He recorded that, having seen the masterpieces, he was inspired to personally write a eulogy comprising two colophons for each painting. The Emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu [The Xuande catalogue of paintings], the inventory of the Song dynasty emperor Huizong.Subsequently, Qianlong commanded the palace painting master, Ding Guanpeng (act.1708-ca.1771) to copy the paintings and to include new inscriptions of the eulogies. Ding’s copies are now in the collection of the National Palace Museum, Taipei and were widely copied in various media.In 1764, the abbot at Shengyin Temple, Master Mingshui, instructed local stone engravers to copy Guanxiu’s paintings and the Emperor’s colophons and seals. The sixteen engraved stone panels were installed on the sixteen sides of the Miaoxiang Pagoda in Hangzhou. Almost immediately rubbings of the panels were being produced. Knowing the Emperor’s fondness for them, in 1778, the military governor of Shandong province, Guotai (d.ca.1782), presented the Qianlong Emperor with a magnificent zitan folding screen set with black lacquer panels inlaid with white jade in imitation of the rubbings.A similar jade boulder, depicting the second Luohan, Kanakavasta, was recorded in the collection of the Wou Lien-Pai Museum as published in Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection, Surrey, 2011, pl. 177 (fig. 2).Another example depicting Kanaka is in the Metropolitan Museum of Art, New York, accession number 02.18.640 and a further example as Cudapanthaka is in the National Palace Museum, Taipei.A sixteen-fold screen with inlaid jade plaques portraying the sixteen luohans, including a depiction of Angaja derived from the same source as the present jade, dated to the forty-second year of the Qianlong reign (1777) is in the Palace Museum, Beijing, exhibited at the Hong Kong Museum of Art (22 June 2012 - 14 October 2012), and illustrated in A Lofty Retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Hong Kong, 2012, pp.216-233, no.53.A Qianlong Imperial jade screen with the same image of Ańgaja and inscribed with the same script and seals as the present examples was offered by Bonhams Hong Kong, 24 November 2012, lot 307 and Christie’s Hong Kong, 29 November 2022, lot 3049.Please note that there will be no internet bidding on this lot. All bidders on lots 1-10 will be required to provide identification and a deposit of £1,000. Registration for commission and telephone bidding on these lots will close on Wednesday 13th March at 12 noon. To register please email enquiry@tennants-ltd.co.uk A natural internal small crack towards the top section of the staff. Sutra with tiny corner flakes. Other minimal small imperfections to the stone, none detrimental. Slight wear to the gilt inscrpitions.

Chinese watercolour scroll painting depicting peaches on a bough, symbolising longevity, inscribed and with red seal mark upper left, 107.5cm x 41.5cm, on cream damask backing, 210cm x 54.5cm, the baton (jiku) 63cm wide

Manner of Zhao Shao'ang, (1905-1998) - Chinese watercolour scroll painting depicting plum blossom, inscribed and with red seal mark upper right, 128cm x 33cm, on cream damask backing, 248cm x 46cm, the ebonised baton (jiku) 56cm wideG & T Portier, Paris, label to baton

Chinese School, 19th centuryLandscape with poultry Painting on glass Chinese script characters to back29x46,5 cm

A vertical painting featuring a bearded man being offered wine. Tables decorated with vases and painting equipment. Chinese inscription and red seal marked on top center. Issued: 19th centuryDimensions: 16.5"W x 30.25"HCountry of Origin: ChinaCondition: Age related wear.

Elegantly carved green jadeite bowl with a lotus flower and leaves. Perfect for Chinese brush painting. Dimensions: 3.5"L x 2.25"W x 0.75"HCountry of Origin: ChinaCondition: Age related wear.

Chinese processional painting on silk, 100 x 12 cm. UK P&P Group 3 (£30+VAT for the first lot and £8+VAT for subsequent lots)

* Qian Songyan 錢松岩 (1899-1985). Red Cliff, circa 1975, woodblock print heightened with transparent and opaque watercolour on laid paper, red seal to lower left, Chinese characters and additional red seal to top right, light spotting to the upper and lower sheet edges, sheet size 59.5 x 41.5 cm (23 1/2 x 16 1/4 ins), unmounted QTY: (1)NOTE:Qian Songyan was a native of Yixing, Jiangsu Province, and originally began studying painting with his father. In 1923 he graduated from the Jiangsu Provincial No. Three Normal College. He taught at art academies in Suzhou and Wuxi. His works have been exhibited across China and the world.Provenance: purchased by the current owner from Rong Bao Zhai, a famous woodblock printing studio in the antique street Liuli Chang, in Beijing, China.

A CHINESE INK PAPER PAINTING OF GRANDFATHER AND GRANDSON20世紀 紙本墨色 爺孫圖China, 20th centurySize: 94 x 43.5cm

A CHINESE FAN PAINTING OF TWO YOUNG GIRLS, SIGNED CHEN SHAO MEI20世紀 陳少梅款 紙本設色 仕女圖扇面China, 20th centuryL: 54.5cm Condition Report: - Worn on the paper - Stains

A CHINESE, COLOURED SILK PAINTING OF FLOWER AND BIRD, SIGNED MA YUAN YU馬元馭款 紙本設色棲霞圖China, second half of 20th centurySize: 107 x 39cm

A CHINESE COULOR PAPER PAINTING OF MILEFO AND CHILDREN, SIGNED XINLUO SHANREN20世紀 新羅山人款 紙本設色 彌勒童子圖China, 20th centurySize: 90 x 47cm

A CHINESE FAN PAINTING OF LANDSCAPE, SIGNED JIANG TING XI20世紀 蔣廷錫款 紙本設色 瓜瓞綿綿扇面China, 20th centuryL: 53.4cm Condition Report: - Worn on the paper

A CHINESE, COLOURED PAPER PAINTING OF FLOWERS AND BUTTERFLIES, SIGNED YU FEI AN于非闇款 紙本設色 蝶戀花China, 20th centurySize: 99 x 31.5cm Condition Report: - Fold- Worn off the frame.

An unusual Chinese blue glazed two handled vase, the porcelain Qianlong period, the enamelled decoration early 19th century English, the blue glazed rectangular baluster vase enamelled with butterflies and flowers in similar style to Mason’s ironstone vases of the 1820s, 32cm high***CONDITION REPORT*** One of the handles has been broken off and restored with some shrinkage to the over painting around the joints to the neck, some wear to the gilding and occasional minor scratching to the glaze, otherwise in good condition. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

AN INDO-PERSIAN MINIATURE PAINTING with text, 28 x 22cm (framed), and another, a Chinese scroll, and other items

A GUANGXU ERA CHINESE DISH WITH PAINTING OF A 5 CLAWED DRAGON AND NUMBERED ON THE BOTTOM . 17cms DIAMETER AT RIM.