We found 5341 price guide item(s) matching your search

A Chinese gilt lacquered wood table screen,19th century, pierced and carved with figures amongst rocks and pine trees, the border with scrolling lotus in gilt lacquer, the back inscribed and dated the eleventh year of Daoguang period,35cm wide24.5cm deep58.5cm high (2)Provenance: The Collection of Dr Anne F Sutton (1942-2022).清十九世纪 人物故事图漆金花版桌屏道光十一年桂月永高置Condition ReportGilt losses. Cracks, splits, chips and losses in various locations.The apron to the back replaced. Wood stretched and joints loose.

A Chinese table screen,late Qing dynasty, with an embroidery decorated with two pheasants perched on a rock under a blossoming magnolia tree, surrounded by pine and peony, two swallows flying overhead, signed Chen Ailian, 24cm diameter,the stand pierced and carved with two chilong, 44.5cm high overall (2)清晚期 刺绣花鸟图插屏 陈爱莲款Condition ReportDid not examine outside of the frame.Silk stretched, colours faded. Some stain marks. Frame later. Associated wood stand reparied with signs of glue, small chips and cracks in various locations.

A Chinese screen,late Qing dynasty, pierced and carved with scrolling lotus, supported by two Buddhist lion feet, the panel inset with an embroidery decorated with a peacock against an apricot-coloured ground, 82cm wide27cm deep136cm high (2)清晚期 镂雕缠枝莲纹座屏Condition ReportStand with both Buddhist lion finials loose, one chipped to the back. Small chips to edges. The scrolling border with losses. All panels loose. Wood stretched with cracks to joints. Shrinkage to mitre joints, causing play in frame and stand. Original pins missing. Textible with stains, colours faded.

WORKS OF ART REFERENCE BOOK COLLECTION 中國藝術參考書籍（共三十六本）含雜項、漆器、掐絲琺瑯、青銅器、家具、文房珍玩、佛教藝術等著作 Including: Chinese works of art, cloisonne enamel, archaic bronze, furniture, Buddhist art, Scholar's pieces etc, in total 36 publications.Including but not limited to:Berliner, Nancy Zeng. Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries. Boston: Museum of Fine Arts, 1996.Brinker, Helmut, and Lutz, Albert. Chinese Cloisonné: The Pierre Uldry Collection. London: Bamboo Publishing, 1989.Chou, Ju-His. Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors. Cleveland: Cleveland Museum of Art Bookstore, 2000.Clifford, Derek. Chinese Carved Lacquer. London: Bamboo Publishing, 1992.Deydier, Christian. Ancient Chinese Bronze Vessels, Gilt Bronzes and Early Ceramics. 1986.Dye, Daniel Sheets. Chinese Lattice Designs. New York: Dover Publications, 1974.Eskenazi. Chinese Lacquer From The Jean-Pierre Dubosc Collection And Others. London: Eskenazi, 1992.Fang, Jing Pei. Treasures Of The Chinese Scholar. New York: Weatherhill Inc., 1997.FitzGerald, C. P. Barbarian Beds: the origin of the chair in China. London: The Cresset Press, 1965.Gyllensvärd, Bo. Chinese Gold, Silver and Porcelain: The Kempe Collection. New York: The Asia Society, 1971.Hu, Shih-Chang. Chinese Lacquer. Edinburgh: National Museums of Scotland Publishing, 2001.Jenyns, Soame, and Watson, William. Chinese Art: Gold, Silver, Later Bronzes, Cloisonne, Cantonese Enamel, Lacquer, Furniture, Wood (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Jenyns, Soame. Chinese Art: Textiles, Glass and Painting on Glass, Carvings in Ivory and Rhinoceros Horn, Carving in Hardstones, Snuff Bottles, Inkcakes and Ink Stones (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Kates, George N. Chinese Household Furniture. New York: Dover Publications, 1962.Kerr, Rose. Later Chinese Bronzes. London: Bamboo Publishing, 1990.Krahl, Regina and Morgan, Brian. From Innovation to Conformity: Chinese Lacquer from the 13th to 16th Centuries. London: Bluett & Sons, 1989.Moss, Paul. Educated Palates: an exhibition at 63 East 82nd Street New York. London: Sydney L. Moss Ltd., 1987.Moss, Paul. The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects. Hong Kong: Andamans East International Ltd., 1986.Moss, Paul. The Second Bronze Age: Later Chinese Metalwork. London: Sydney L. Moss Ltd., 1991.Mowry, Robert D., and Brown, Claudia. Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks. Cambridge: Harvard University Art Museums, 1997.Page, J. and Page, S. The Woven Mystery: Old Tibetan Rugs. Bangkok: Craftsman Press, 1990.Pratapaditya, Pal et al. Art of the Himalayas: Treasures from Nepal and Tibet. New York: Hudson Hills, 1992.Rawson, Jessica (Ed.). Treasures from Shanghai: ancient Chinese bronzes and jades. London: British Museum Press, 2009.Rawson, Jessica. Chinese Bronzes: Art and Ritual. London: British Museum Press, 1987.Rawson, Jessica. The Ornament on Chinese Silver of the T'ang Dynasty, A.D.618-906. London: British Museum Press, 1982.Sir Garner, Harry. Chinese and Japanese Cloisonné Enamels. London: Faber & Faber, 1970.Spink. Lacquer From The Collection of Derek Clifford. London: Spink, 1999.The British Museum. Chinese and Associated Lacquer from the Garner Collection. London: British Museum, 1973.The furniture of the Ch'ing dynasty: the art pieces with utility purposes. Taipei: Chun Kuei-miao, 1989.Thurman, Robert A. F., and Weldon, David. Sacred Symbols: The Ritual Art of Tibet. New York: Sotheby's, 1999.Vainker, Shelagh. Chinese Silk: A Cultural History. London: British Museum Press, 2004.Watt, James C. Y. and Barbara Brennan Ford. East Asian Lacquer: The Florence and Herbert Irving Collection. New York: Metropolitan Museum of Art, 1991.Watt, James C. Y. and Knight, Michael. Chinese Jades from the Collection of the Seattle Art Museum. Seattle: Seattle Art Museum, 1989.Watt, James C. Y.. The Sumptuous Basket: Chinese Lacquer with Basketry Panels. New York: China House Gallery, 1985.河北省文物硏究所，《歷代銅鏡紋飾》，河北：河北美術出版社，1996.Li, Jiufang. Metal-bodied Enamel Ware (金屬胎琺瑯器). Hong Kong: The Commercial Press, 2001. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

AN UNUSUAL FAMILLE VERTE BISCUIT 'BIRD AND PEONY' GROUPKangxiFormed as a long-tailed mythical bird standing in front of a peony bush with large leaves, all before an irregular grooved screen simulating rockwork. 13cm (5in) wide.Footnotes:清康熙 三彩鳳穿牡丹擺件Provenance: Augustus the Strong (1670-1733), Elector of Saxony and King of Poland (engraved to base with inventory number: N:80.H )W. Dreyfus, BerlinRalph M. Chait Galleries, New YorkA European private collectionPublished, Illustrated and Exhibited:R.Schmidt, Chinesische Keramik, Frankfurt, 1924, pl.106FGesellschaft für Ostasiatische Kunst, Ausstellung Chinesischer Kunst, Berlin, 1929, p.354, no.966來源：奧古斯特二世(1670-1733)，薩克森選帝侯和波蘭國王（底部刻有編號N:80.H）W. Dreyfus，法蘭克福Ralph M. Chait Galleries，紐約歐洲私人收藏展覽著錄：Robert Schmidt，《Chinesische Keramik》，法蘭克福，1924年，圖版106F東方藝術協會，《Ausstellung Chinesischer Kunst》，柏林，1929年，第354頁，編號966The present group underscores powerful symbolism relating to auspicious wishes. Long-tailed birds were known in Chinese as shoudainiao 绶带鸟, literally meaning 'birds carrying streamers'. They generally are the pictorial expression of a wish that 'many generations will remain perpetually young into old age', in a pun due to the homophony between the first syllable shou and the word for longevity shou 寿, and between the second character dai and the Chinese word for generations dai 代. In conjunction with rocks and peonies, long tailed birds formulate a visual rebus underscoring the blessing for wealth, prosperity and longevity. Peonies mudan 牡丹, were also known in China as fugui 富贵, with fu being homophone with the word for happiness and gui for noble, rich and high rank.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A VERY RARE CARVED CINNABAR LACQUER '108 SHOU CHARACTERS' BRUSHPOT, BITONGQianlong The cylindrical vessel crisply carved through layers of cinnabar lacquer around the exterior with continous rows of 108 shou characters in various styles of zhuanshu calligraphy, all on a diaper-pattern ground, the mouth rim with a key-fret border. 9.8cm (3 7/8in) high.Footnotes:清乾隆 剔紅「壽」字紋筆筒Provenance: Priestley & Ferraro Chinese Art Ltd., London, 1 February 2013來源：倫敦古董商Priestley & Ferraro Chinese Art Ltd.，2013年2月1日The present brushpot with continuous rows of 108 Shou ('longevity') characters in different forms of seal script, was probably made as a birthday gift. The number of characters is highly significant as it tallies with the number of beads in a Buddhist rosary. The present lot is thus laden with auspicious and religious meaning. A Buddhist rosary has 108 beads because there are said to be a total of 108 energy lines or chakras converging to the heart. One of them, sushumna, leads to the crown chakra, and is believed to lead to the path of self-realisation. The number 108 is also significant for other reasons. The Temple of Heaven in Beijing has 108 pillars in the base, and the first King of the Zhou dynasty called on 108 Gods to help his troops in his attack on the Shang dynasty. The various styles of zhuanshu or seal script calligraphy is also entirely keeping with scholarly and artistic trends of the time. The Qing emperors endorsed Han learning and scholarship, encouraging scholars to study ancient texts carefully and meticulously. This movement, known as the 'searching for evidence' movement (kaozheng 考證), reached its height in the Qianlong era. Numerous dictionaries were published and the new philology sparked a fascination for artistic archaism, with the ancient seal script calligraphy becoming in vogue. See for example, a carved cinnabar lacquer screen with similar 'shou' characters, Qianlong, illustrated in The Creation of Natural Immensity and Grandeur: The Yang Ming Shan Fang Collection of Lacquer from Song, Yuan, Ming and Qing Dynasties, Beijing, 2020, no.66.Compare with a related Imperially inscribed cinnabar lacquer carved brushpot, Qianlong seal mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 66.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Chinese silk embroidered glazed table screen, 20th century. With a hardwood frame, height 32cm, width 28cm, depth 11cm.

A modern Chinese black lacquered four-fold room divider screen, with carved and painted decoration. Each panel 40.5x183cm.

A Chinese porcelain and carved wooden table screen, Traditional mountain landscape, 66cm high, 46cm wide.

A Chinese rosewood and painted marble table screen, late Qing DynastyComprising four folds, each containing three marble panels, painted to one side with mountain landscapes, and to the other with narrative scenes of high status figures, each side with four cursive script poems, signed with seals.54cm wide x 56cm high

A Chinese lacquer six-fold room screen, 20th centuryTo one side inlaid with mother-of-pearl in four scenes of flowering and leafy bamboo, prunus and other flowering plants, populated by birds and butterflies, flanked by phoenix birds amid clouds, to the reverse with painted lacquer with goldfish amid marine foliage.Each panel 40cm wide x 160cm high

A 19th century mahogany pole screen, the later chinoiserie banner painted in the Chinese taste, spirally turned pillar, cabriole legs carved with trailing bell husks, 150cm high, the banner 58cm wide

A collection of vintage dolls house furniture, including: a kitchen stove; a Chinese four panel dressing screen; a kitchen table and chairs; a mannequin; two child’s cots; a rocking cradle; a pram; and other items, including child’s nursery furniture.

A FINE AND RARE HARDSTONE EMBELLISHED 'ELEPHANT AND TRIBUTE BEARERS' DOUBLE SIDED TABLE SCREENMid-Qing DynastyOne side attractively inlaid with shaped plaques of mother-of-pearl, variegated shell, red lacquer and hardstones, the reverse with an inlaid mother-of-pearl fourteen-character poem by Du Fu and three auspicious seals, all on lustrous dark brown lacquer grounds and mounted as a zitan four-legged rectangular table screen.44.5cm (17 7/8in) high x 38.5cm (15 1/8in) wideFootnotes:Provenance: from the collection of Edward Gordon Lowder (1862-1942) and Catherine Lucretia Dunster (1865-1940), thence by descent.Edward Gordon Lowder, served with the Imperial Maritime Customs, later known as the Chinese Maritime Customs. The archives of his first son Hugh Gordon Lowder are held at SOAS library.清中期 嵌百寶白象進寶圖硯屏《香稻啄餘鸚鵡粒，碧梧棲老鳳凰枝》《仙蠡》《怡情》《山水怡情》款This screen is a fine and exceptionally large example of a group of related table screens and boxes from the Qing court collection, currently retained in the collection of the Palace Museum in Beijing. A closely related box decorated with an elephant bearing a vase but surrounded by just two foreigners was included in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, no.232 rather than five in the present work. Elephants have long been a popular theme at the Qing court and the white elephant has strong Buddhist associations. The Buddha's mother, Queen Maya is said to have been visited by a white elephant following years of not being able to bear a child and Buddha is said to have taken the form of a white elephant for his final incarnation. The presence of the vase (ping 瓶) on the elephant's (xiang 象) head forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is an omen (or elephant)'.The inscription on the reverse of the screen is a section of the poem by Du Fu, Stirred By Autumn, no. 8 and may be translated:Even the leftover rice husk on the parrot's beak smells as fragrantThe branch of the jade green Wutong tree provides home to the PhoenixSee a related inlaid brown lacquer table screen, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II) , Hong Kong, 2002, p.200, no.174.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

A Chinese white metal wall mounted hongmu tray and a Chinese carved soapstone table screen on stand, tray 44cm x 29.5cm

CHINESE ROOM SCREEN, early 20th century, four-sectioned, Chinoiserie iron red and gilt decoration on a black lacquered ground, 103cm high, each panel measuring 46cm wide.

A very large Chinese lacquered eight fold screen

STELLSCHIRM MIT DRACHEN China, Holz, Jade30 x 19 x 11 cm, Platte: 20,5 x 13,5 x 2 cmCHINESE SCREEN WITH DRAGONWood, Jade30 x 19 x 11 cm, Plaque: 20,5 x 13,5 x 2 cm

A pair of Chinese silk screen fan-shaped pictures of Geisha girls and foliage, framed and glazed

RARE BRÛLE-PARFUM EN BRONZE PATINÉDynastie MingA RARE PATINATED BRONZE LOBED CENSER Ming Dynasty Heavily cast, the deep body of quatre-lobed form raised on a high, slightly splayed foot of corresponding form, with deep rounded sides rising to a sharply angled rim, the base cast with a Xuande mark in Arabic script cast in relief, the bronze patinated to a rich deep reddish colour. 15.3cm (6in) wide (Weight: 2,061 kg).Footnotes:明 銅海棠式爐「大明宣德年製」仿款Provenance:Formerly in a German noble family collection, acquired in China in the early 20th century (by repute), acquired from the collection 來源： 德國貴族家族舊藏，於二十世紀初得自中國 （傳）現藏家得自上述來源 Incense vessels decorated with inscriptions in Arabic script are associated with the Zhengde reign (1506-1521) coinciding with the decorative use of Arabic inscriptions or characters on mostly imperial porcelain, see, for example, a blue and white table screen from the collection of Sir Percival David, illustrated in Rosemary Scott, Elegant Form and Harmonious Decoration. Four Dynasties of Jingdezhen Porcelain, London, 1992, p.70, no.68. For a Zhengde mark and period bronze censer cast with an Arabic inscription, see an example published in Sydney L. Moss Ltd., Emperor, Scholar, Artisan, Monk, London, 1984, no.118, and a bronze censer from the Soame Jenyns collection, sold Christie's London, 6 November 2018, lot 21.This extremely heavily cast censer is also highly unusual because of the rich rust-colour of the bronze which may be attributed to a special coating of the surface. A small hu-shaped bronze vase with a Kangxi mark, from the Clague Collection, has a very similar surface colour and appearance, which has been described as 'cast bronze with cold-worked decoration, rust-coloured coating over golden flecks', see Robert D. Mowry, China's Renaissance in Bronze. The Robert H. Clague Collection of Later Chinese Bronzes 1100-1900, Phoenix, 1993, p.174-176, cat.no.36.For further information on this lot please visit Bonhams.com

ÉCRAN DE TABLE EN HUANGHUALI COMPRENANT UN PANNEAU EN PIERRE DE SONGHUA SCULPTÉEXVIIIe/XIXe siècleA SMALL HUANGHUALI TABLE SCREEN WITH A SONGHUA PANEL 18th/19th centurythe two-toned stone panel carved on one side using the purple matrix of the stone with a hu-shaped vase and ding vessel next to a poem, the reverse carved with a three-line poem in archaic seal script, the stand made of huanghuali. 30.8cm (12 1/8in) high. (2).Footnotes:十八/十九世紀 黃花梨嵌松花石硯屏Provenance: Nagel, 17 May 2008, lot 567 來源： 納高拍賣行，2008年5月17日，編號567Compare with a small Songhua stone table screen illustrated in Sidney L. Moss Ltd., Escape from the Dusty World - Chinese Paintings and Literati Works of Art, London, 1999, no.83. Paul Moss notes that there are two varieties of Songhua stone, the purple and green variety from Liaoning province, and the purer green Songhua from Jilin province. The Qing expansion to the north gave access to the quarries of both Songhua stone varieties. Objects made of Songhua stone were rare and were reserved virtually exclusively for imperial use. They comprise inkstones but also a small number of table screens such as the present example, see Jane Chi Jo-hsin, A Special Exhibition of Songhua Inkstones, Taipei, 1993, who illustrates 89 inkstones and two desk screens in both types of Songhua stone from the Imperial collections. See also The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, vol.II, Hong Kong, 2002, nos. 18, 19, 180, 182, and 183.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

PANNEAU EN GRÈS ÉMAILLÉ FAHUAXVIe siècleA RARE MOULDED FAHUA PANEL 16th centuryOne side moulded in prominent relief with four bearded scholars riding stocky horses and ascending a steep mountain path, with birds flying above a rocky landscape with a mountain stream, covered with a bright turquoise glaze with yellow and aubergine details, some parts unglazed, later mounted as a table screen with wood frame and stand. The panel 25cm (9 7/8in) high and 25cm (9 7/8in) wide; overall height 43.4cm (17 1/8in). (2).Footnotes:十六世紀 琺華人物瓷板插屏Provenance: Collection of G.H. Benson, (collection no. 1456)Sotheby's London, 20 June 1978, lot 95 Collection of Dr. Werner Schmidt (1930-2019), Berlin, acquired from his collection Published and exhibited:Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-36, cat.no. 1456Chinese Exhibition, Manchester Art Gallery, Manchester, 1936, no.6464 來源： G.H. Benson珍藏（藏品編號1456）倫敦蘇富比，1978年6月20日，編號95柏林Werner Schmidt博士（1930-2019）珍藏現藏家得自上述來源出版及展覽: 皇家藝術學院，《International Exhibition of Chinese Art》，倫敦，1935-1936年，編號1456《Chinese Exhibition》，曼徹斯特美術館，曼徹斯特，1936年，編號6464Compare with a Fahua table screen in the collection of the Victoria & Albert Museum London, accession no.97-1935For further information on this lot please visit Bonhams.com

Chinese cork diorama of a garden scene and a similar screen with white metal. Not available for in-house P&P

Two Chinese screen prints. Chickens. Signed with the artists seal. Framed and glazed. H.56 W.40 cm.

Screen, carved Chinese hardwood with painted and embroidered decoration. Damaged as seen. H.180 W.250cm.

Screen, Chinese C.1900, carved hardwood with bone and mother of pearl decoration. W. 160 H.182.

CHINESE EMBROIDERY 3 PANEL SCREEN

A late 19thc Chinese porcelain panel of rectangular shape, painted with fruit on tree branches and flowers, and with painted red flower border. Mounted on a carved hardwood stand. Panel 20.5cms by 17cms, stand 47cms high, base 41cms across. *CR Porcelain panel seems fine, stand - the removable wooden section the joints on a couple of corners have started to open a little, the pierced wooden section has a few small repairs and some small sections missing (just under the screen, lower section), some wear and marks in places.

A CHINESE SILVER-THREAD EMBROIDERED FOUR-PANEL FOLDING SCREEN, decorated with birds and flora, end panels 147cm x 51cm.

A Chinese ebonised-frame four-fold dwarf draught screen, with painted foliate silk panels, 91.5cm high.

A 19TH CENTURY CHINESE CARVED JADE AND HARDWOOD TABLE SCREEN the pierced fret cut frame with leafwork decoration having carved shaped jade panels and side supports.27cm high 21cm wide the two large panels are 12cm wide by 5cm high and 12cm wide by 4.5cm high, the bottom panel is 8.5cm wide 3cm high. The large panels are in good undamaged condition. The top panel has a hairline crack in the jade to the top edge. The bottom panel has a small crack to the middle bottom edge. There is a loose jade ball. The wooden frame is in good order apart from the sides have been regaled to the base section and you can see old glue.

A Chinese gilded wood four panel screen, 20th century, carved with 100 words of good fortune, each panel approx. 91 x 31.5cm     

A Chinese wood and soapstone inlaid circular screen panel, late Qing dynasty, depicting two sages and a boy crossing a bridge in a river landscape, 32cm diameter, warped and small losses

Chinese carved wooden photograph frame with good luck symbols, 20 x 25cm, together with a small Japanese paper folding screen with blossom pattern (2)

AFTER Y.K. LAU. CHINESE 20TH CENTURY Two screen prints, birds and prunus 13" x 16½" and two pandas with bamboo 18" x 13½".

Antique Chinese folding screen with natural stone plaques. Hand-painted with figures + texts. One plaque broken. 19th Century or older. Dimensions: 50 x 37 cm. Otherwise in good condition.

A Chinese black lacquered three-fold screen with inlaid hardstone and abalone birds and tree decoration, 100" wide x 83" highCondition:Condition is pretty good with some minor chips and surface wear to hardstone sections.No apparent label on the reverse.Butterfly hinges are complete. 

A PAIR OF SILVER- AND GOLD-INLAID BRONZE 'TIGER' WEIGHTS, HAN DYNASTYChina, 206 BC-220 AD. Each finely cast and modeled in a recumbent pose with the head raised in a menacing attitude marked by an open mouth showing sharp teeth. The feline's faces detailed with a broad snout below wide eyes and short ears, their facial features and stripes finely gilt and inlaid with silver. The smoothly finished bronze with a rich, naturally grown patina with malachite and cuprite encrustations. (2)Provenance: From the collection of Joseph Rondina, New York, United States, acquired before 2000. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition, commensurate with age. Wear, casting flaws, signs of weathering and erosion, corrosion, encrustations, nicks, scratches, losses. The ancient bitumen filling normally found inside such weights is lost.Weight: 161 g and 140 gDimensions: Length 5.8 cm (each) Weights of this type were used to hold down the corners of woven mats used for seating or for the board game liubo. Inlaid animal-form weights were also discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels. They were usually made in the shape of animals, often coiled to form a circle, or in the shape of human figures, and even mountains. Usually made of bronze, and often sumptuously decorated in gilding, or inlaid with gold, silver and gemstones, these weights conveyed the high social status of its owner.The tiger is one of the oldest and most revered animals in Chinese history. According to Han mythology, the tiger symbolized the Western cardinal point, and in conjunction with the Green Dragon of the West, Vermilion Bird of the South and Black Tortoise of the North, positioned the burial within the spatial-temporal features of the universe. It is possible that tigers were deemed to protect the tomb occupant against the malign influences they may encounter in their afterlife.Literature comparison:A related coiled feline shape can be seen in a pair of gilt-bronze weights, and in a set of four agate weights, all dated Western Han dynasty, illustrated by M. Wang et al., in the exhibition catalog, A Bronze Menagerie: Mat Weights of Early China, Isabella Stewart Gardner Museum, Boston, 2006, pp. 76-7, nos. 1 and 2. See related excavated examples of bronze recumbent tiger paperweights, in the Shenmu County Museum, illustrated in Bronzes from Northern Shaanxi, Vol. V, Chengdu, 2009, p. 964-966. Two tiger-shaped weights were also exhibited in the Biennale Des Antiquaries, illustrated by C. Deydier, Ancient Chinese Bronzes, Paris, 2014, p. 49.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2022, lot 145 Price: HKD 176,400 or approx. EUR 21,000 converted and adjusted for inflation at the time of writing Description: A silver-inlaid bronze 'tiger' weight, Han dynasty Expert remark: Compare the related pose, manner of casting, and inlaid decoration. Note the size (7 cm) and that this result is for a single weight only. 漢代一對錯金銀伏虎銅鎮中國, 公元前206至公元220年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A WHITE AND EMERALD-GREEN JADEITE 'PHOENIX' TABLE SCREEN, CHINA, 19TH CENTURYOf rectangular form, carved in low relief to one side with a phoenix standing on a rocky outpost beside a towering tree, the other with a river landscape with some villagers on the coast as a fisherman makes his way to the shore, the calm scenery detailed with pine and willow trees, imposing rockwork, and a modest bridge. The translucent stone of white, pale gray and emerald-green hue with distinct icy inclusions. The fitted hardwood stand carved in openwork with scrolling foliage.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.1. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Very good condition with minor wear and manufacturing irregularities, light scratches, and tiny nicks.Dimensions: Size 18.3 x 10.2 cm (excl. stand) and 24.5 x 11.4 cm (incl. stand)Weight: 406.8 g (excl. stand) and 459 g (incl. stand) Auction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 10 December 2019, lot 108Price: EUR 12,500 or approx. EUR 13,500 adjusted for inflation at the time of writingDescription: A pair of jadeite table screens, Qing Dynasty, 19th centuryExpert remark: Note the size (15.1 cm) and that the lot comprises a pair. 十九世紀翡翠雕刻鳳凰紋硯屏長方形，一面淺浮雕一隻鳳凰站在一棵樹下，另一面為山間小橋流水人家，岸上有一些村民與鬆樹和柳樹，還有一座小橋。白中飄翠半透明玉石，帶有明顯的絮狀物。硬木支架雕刻有卷葉紋。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.1.。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：狀況極好，有輕微磨損和製造不規則、輕微劃痕和微小刻痕。 尺寸：18.3 x 10.2 厘米 (不含底座) ，24.5 x 11.4 厘米 (含底座) 重量：406.8 克 (不含底座)，459 克 (含底座) 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2019年12月10日，lot 108 價格：EUR 12,500（相當於今日EUR 13,500） 描述：清十九世紀翠玉雕山水紋硯屏一對 專家評論：請注意尺寸 (15.1厘米) ，以及此為一對。

A LARGE SANCAI-GLAZED 'ARCHER' GUARDIAN FIGURE (LOKAPALA), TANG DYNASTYChina, 7th-8th century. Exquisitely modeled, standing on a recumbent bull over a pierced rockwork base, his right arm bent and left arm extended, poised to shoot an arrow from his now lost bow. The lokapala is dressed in elaborate armor with dragon epaulets and divided breast plate, over a knee-length tunic. His unglazed face is well modeled with a fierce, somewhat hypnotic expression. The head is surmounted by a tall phoenix-form headdress. The figure is splash-glazed in amber, green, and straw.Provenance: From the collection of Joseph Rondina, acquired before 1996, and thence by descent to the last owner. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Excellent condition, commensurate with age. Old repairs and minor touch-ups as generally expected from authentic Tang-dynasty excavations. Old wear, glaze flaking and crackling, small nicks and losses, light scratches, soil encrustations overall.Weight: 11.5 kgDimensions: Height 97.4 cm Large, imposing guardian figures like the present lot were made to stand guard in the tombs of Tang dynasty elite. Those with vibrant sancai (three color) glazes, like the current example, flourished from the late 7th to mid-8th century. One of the earliest tombs to contain sancai pieces was that of Li Feng, Prince of Guo (622-675), fifteenth son of Emperor Gaozu, founder of the Tang dynasty. By the first decade of the 8th century, large sancai figures were included in the tombs of royalty and nobility both at the capital Chang'an (modern day Xian) and at Luoyang, which served as the Eastern Capital in the Tang period. The inclusion of large sancai figures declined significantly following the An Lushan rebellion of 755-763, which had a devastating effect on the empire, seriously weakening the dynasty, and leading to the loss of the Western Regions.Expert's note: Based on the size and quality of the modeling of the present lot, and considering the known examples of Lokapala in public collections, both in China and around the world, it is obvious that the current figure hails from the tomb of an elite individual. 唐代三彩護法立像中國，七至八世紀。護法站在一頭公牛上，他的右臂彎曲，左臂伸展，似乎準備射箭。護法身著盔甲，上龍形肩章和胸甲。臉龐輪廓分明，表情凶狠。頭上戴著頭盔。施琥珀色、綠色和稻草色三彩釉。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極佳，小修，有磨損、釉面剝落和裂紋、小缺口和缺損、輕微劃痕、土壤結殼。 重量：11.5 公斤 尺寸：高 97.4 厘米

An Edwardian mahogany framed adjustable screen decorated with fabric covered panels in the Chinese taste with either embroidered peacock feather or printed watery landscape scenes with birds and bullrushes each section 38 cm wide x 123 cm high

A LARGE 19TH CENTURY JAPANNED SIX-FOLD TIMBER SCREEN, one side depicting Chinese courting figures in a lakeside palace, the reverse decorated with birds in foliage. 294cm wide (extended), 195cm high

A late 19th century Chinese lacquer eight fold dressing screen, each panel width 38cm, height 167cm

A CHINESE ELM AND METAL GAUZE FOUR FOLD SCREEN each panel 185 x 40cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A PAIR OF CHINESE ANCESTOR PORTRAITS The male and female figure seated, in full robes, with Civil rank badge, before a painted screen and on a floral decorated carpet, ink and colour on silk, 99 x 62cm, 152 x 80cm framed Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

CARP SCREEN, Chinese four fold yellow with carp, amongst pond lillies and bamboo leaf reverse, each panel 40cm x 182cm H.

A 19th Century Chinese inlaid hardwood table screen, the central glazed silk panel embroidered with Eagle, peacocks, cockerels within treescape, the frame profusely inlaid with mother-of-pearl flowers, on carved Dog of Fo supports, approx. 106cm high x 74cm at widest point Further details: as found requires restoration 

A Chinese silk embroidered screen, in hardwood and mother of pearl inlaid frame, 73cm high

A Chinese wood and soapstone inlaid circular screen panel, late Qing dynasty, depicting two sages and a boy crossing a bridge in a river landscape, 32cm diameter, warped and small losses***CONDITION REPORT***The wood panel is warped with a small crack upper left and some small losses to the soapstone on a tree and some rock work, a few later screws to the ebonised frame.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. 

CHINESE PORCELAIN & WOOD SCREEN

Chinese lacquered fire screen together with a further needlework example (2)

Chinese small folding Table Screen with Mountainous and lake scene and character marks. Appears to have a clasp missing. 83cm it measures fully extended.中式小折叠桌屏，有山水湖景和人物标记。好像少了一个扣子。完全展开时长 83 厘米

special Chinese screen with six panels each with panels in Chinese porcelain with blue-white dragon decors ||Speciale Chinese paravent met zes luiken telkens met panelen in Chinees porselein met een blauwwit drakendecor - telkens 215 cm hoog en 41 cm breed

A contemporary Chinese pierced, ebonised, and porcelain inset table screen, 67 x 44.5cm

A CHINESE MOTHER-OF-PEARL INLAID LACQUER FOUR-PANEL FOLDING SCREEN ； H89cm，L194cm；；

Late 19th century Chinese porcelain circular table screen painted with flowers and leaves and Chinese characters within a fluted hardwood frame D29cm; on hardwood stand carved with prunus blossom

A CHINESE MOTHER OF PEARL INLAID SILK EMBROIDERED SCREEN, 19TH CENTURY. Depicting one hundred birds scene mounted in a hardwood frame inlaid with mother of pearl figures, birds and floral sprays. The stand with two guardian lion feet. Framed and glazed. Frame with stand total size approx. 70cm tall x 54cm wide.Two pieces of mother of pearl lost top right and left corner. One side panel loose with a piece of mop lost.

A CHINESE HARDWOOD TABLE SCREEN WITH PORCELAIN TILE, 20TH CENTURY. The porcelain tile decorated in underglaze blue with figures on foot and horseback in battle scene. The tile mounted in a wood frame on a carved and pierced stand. Porcelain tile approx. 40cm x 30cm.Tile in good overall condition. Frame missing on foot and one pierced side panel has detached.

A Chinese carved coromandel lacquer six fold screen, the central four panels depicting courtly figures engaged in play and conversation, gold background, crimson and gold borders, to the outer panels, a continuous crimson and gold frieze with panelsdepicting dragons pursuing the sacred flaming pearl, amidst stylized clouds, with other mythical beasts, key pattern and phoenix roundel inner border, the reverse in black lacquer with design of pearly scrolls, fitted engraved gilt brass hinges, 2m high, each panel 42cm wide (originally adapted and fixed to the wall in the London flat) Condition report: There is damage, losses to lacquer both sides. It is separated into two parts, one section of two, one of four, we have the two gilt hinges.

A SIX FOLD LEATHER SCREEN PAINTED WITH CHINESE FIGURES, EACH FOLD. 218 x 54.5cms.