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A 19thC Qing dynasty Chinese mottled black jade panel, possibly for a table screen, of rectangular section, decorated in relief with the Immortal Han Zhonglu, riding a donkey, and accompanied by four boys serving wine, 16cm high, 24.5m wide.

A PAINTED FOUR FOLD ROOM SCREEN 19TH CENTURY AND PARTLY LATER PAINTED One side with applied painted paper depicting four Chinese scenes, the other oil on canvas side painted with neo-classical motifs in the Bloomsbury Group manner 194cm high, 248cm wide overall 

Four Panel Chinese folding screen on matt black ground with soapstone and gold gilt decoration depicting Birds, Ducks in a naturalistic scene each panel approx 45 x 183cm (one hinge incomplete)

A Chinese bronze patinated fire screen, the central element comprising a disc of cash coins, 65 cm x 69 cm

A Late XIX Century Chinese Hardwood Screen, the frame with elaborate fretwork panels and scrolling feet, 74 x 46cm.Few small areas with cracks, fretwork seemingly all there - no areas of loss, coming away from outer frame slightly

A CHINESE SILK SLEEVE POLE SCREEN PANEL Decorated with butterflies and foliage, 30 x 26cm Condition Report:colour faded and some wear

Two contemporary wall mirrors, one gilt frame with rectangular glass plate, the other wood framed with rectangular bevelled glass plate 70.5cm x 101cm, and 73.5cm x 103cm respectively, along with a mid-century four fold dressing screen, green fabric over a wood frame, applied pink edging, and a Chinese quartetto nest of tables, the largest 66.5cm x 50.5cm x 35cm Location:G

A Chinese porcelain tiled screen, circa 19th century with forty seven panels. Height 81 cm and each panel having a width of 17 cm (see illustration). CONDITION REPORT: The screen frame is all present but generally tired, scratched and scuffed. The hinges are all present although one has lost its centre pin. It is not possible to see the edges of the tiles as they are all within the frame. The second from left tile with two figures is badly cracked, three of the eight bottom tiles are missing, and all others are badly cracked. All other tiles appear to be free from cracks as far as we can tell.

A fine Chinese calamander cabinet, 18th century, the plain oblong top over a pair of full-length panel doors, decorated in relief with polychrome figures in a pavilion complex, opening to reveal an interior fitted with eleven drawers decorated with peacocks, pheasants, cranes, ducks and other exotic birds amongst blossom, in polychrome relief, on a later painted stand with square tapered legs167 x 111 x 47cmProperty of a Cambridge college Some vertical dry cracking to the doors and sides, some loss to bottom left corner of frame as well as alongside the bottom left edge, some other small areas of loss generally, some cracks and splitting to the bottoms of the drawers, hinges to doors possibly later, small areas of loss and infilling to drawer fronts, interior drawer partitions possibly later - possibly the adaptation of a screen in the 19th century

A group of twenty-eight Chinese paintings on pith paper, Qing Dynasty, 19th century, arranged in six horizontal registers mounted on a four-fold arched-top room screen, depicting trading vessels, Imperial courtiers and various pairs of birds, including Mandarin ducks, golden pheasants and cranes 165.5 x 53.5cm and overall 155 x 214cm Seven watercolours in the left screen have browned. Some staining and dents/scratches to the others.The silk lined backing board has bowed in places Looking at the style of the screen, I would say 1920s 

Tall Chinese 4 panel screen with carved decoration to one side and pierced panels, 124cm high

Chinese folding screen (faults).

~ A Chinese Pale Celadon Jade Figure of Buddha, Qing Dynasty, 18th/19th century, in meditation with legs in dhyanasana and hands in dhyanamudra before a scroll-carved and pierced screen 17.5cm highPlease 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 Provenance: Spink & Son, 28 February 1955 Encouraged by the devotion of the Qing Emperors Kangxi, Yongzheng and Qianlong, Buddhism flourished in the 18th and 19th century. Its popularity led to the production of a great many Buddhist statues and ritual objects in a wide variety of materials; white and pale celadon jade being amongst the sought-after.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 Some minute edge flakes. Naturally occuring internal cracks. Jade 17.5cm by 12cm by 6.75cm. Stand 13.5cm by 8cm by 2.5cm A photocopy of the original receipt is available to the purchaser.

~ 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.

A Chinese decorated wood screen panel, 28" x 11".

A Chinese lacquer four fold dressing screen inlaid with mother-of-pearl. 59" high.

A Chinese black lacquered four-fold screen, with applied carved and gilded and painted decoration. Each panel 31x92cm.

* Chinese Export School. Birds and Branches, mid 18th century, a set of four decorative oil on thin lacquered wood panels, each decpicting an exotic bird amongst flowering branches, paint surface cracking and lifting to three panels (with a few small losses), verso of each with further painted decoration in gold (somewhat dulled) on a black ground, 3 with flowering tendrils and a butterfly or bird, the other depicting bamboo, with some flaking, 22 x 39.5 cm (8 1/2 x 15 1/2 ins), matching ebonised frames with gilt painted decorative borders (27 x 45 cm) QTY: (4)NOTE:An attractive set of panels, evidently intended to be viewed from each side, perhaps originally part of a door or screen,

A beautiful hand painted porcelain plaque featuring a mother and long visited by the Chinese deity of Longevity, Shou. The plaque is placed in a wooden frame, small screen divider, carved with foliage and flowers. Inscription or possible artist signature on the backside of the plaque. Frame size: 17.5"L x 8"W x 27.25"H. Plaque size: 10"W x 15"H. Country of Origin: ChinaCondition: Age related wear.

RUSH HOUR (1998) - Production-Made Soo Yung Han (Julia Hsu) Good Fortune Necklace - A Soo Yung Han (Julia Hsu) good fortune necklace from the production of Brett Ratner's Rush Hour. Soo Yung wore the necklace her father, Consul Solon Han (Tzi Ma), gave her while Lee (Jackie Chan) and James Carter (Chris Tucker) investigated her kidnapping.This style of necklace was created by production but ultimately unseen on screen. It features a blue resin gemstone charm engraved with Chinese-language characters and set into faux gold backing looped with a silver-color metal chain, rather than a gold chain. The characters exhibit some scratching and the metal exhibits minor tarnishing from age.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

Chinese red and black lacquered gilt highlighted low screen decorated with figures and buildings in landscapes, 84 x 54cm

Four Chinese ebonised camphor wood screen panels, 20th century, each inlaid with bone and mother of pearl, depicting landscapes with women, each surmounted by a pierced brass cornice, each 30cm wide97.5cm highCondition ReportMissing hinges. The brass cornices with tarnish and wear. Some pieces of the screen appear to have been reset. Some rubbing and wear to the ebonisation.

Chinese Carved Wooden Desk Screen - Loose Sections - Width: 87cm, Height: 40cm (possibly larger when fully assembled)

An antique Chinese carved folding screen with mother of pearl and bone decoration. 73 cm high.

A Chinese four-fold screen decorated with birds and prunus, overall 155 by 89cms.Condition ReportThe right hand panel has a hole to the bottom edge.

SILVER PLATED CAMPANA-FORM WINE COOLER, ALONG WITH FURTHER ITEMS including Caithness glass pepper pot, set of cased silver plated teaspoons, Chinese lacquer jar and table screen, also a bottle stand

A CHINESE PORCELAIN SCREEN, Trees and Mountains. Signed. 13ins x 9ins in a wooden frame.

A Chinese soapstone tablet or screen, profusely carved with figures, mythical beasts and auspicious symbols, 30cm high

A late 19thC Chinese silk three fold screen, decorated with grebes and irises, fighting cocks and wisteria, pheasants and flowers, and butterflies, 169cm high, 135cm wide. (AF)

A CHINESE FOUR-PANEL PAINTED AND LACQUERED WOOD FOLDING SCREEN, decorated with inscribed Chinese book spines with gilded borders, each panel 183cm x 36cm.

A Chinese carved and stained wood four-fold screen, mid 20th c, the panels decorated with birds in trees, carved from bone and mother of pearl, on brass castors, 183cm h Some losses to carved decoration, splits and repairs to top of each panel, otherwise good solid condition

A Chinese carved and pierced hardwood table screen, late 19th / early 20th c, with a finely embroidered silk picture of a bird and flower in woven silk surround, 40 x 45.5cm Stand altered and incomplete; undamaged

A Chinese pale jade / hardstone screen panel, carved in shallow relief to one side with blossoming chrysanthemum, 6 x 8cm, raised on a bespoke carved hardwood stand (possibly later) 10cm high combined, together with a further carved Chinese pale celadon jade / hardstone panel in the form of a butterfly with pierced and shallow carved detail, 7 x 9.5cm (2) Provenance: Property of a private Cotswold collector, purchased or inherited within the last 50 years.

Chinese six-fold screen with painted panels, 216cm wide, 179cm highTwo panels have large holes in them

Screen or room divider, four panels, 20th century Chinese lacquered and gilded with mother of pearl inlay. H.183 W.164cm.

An early 20th century Chinese embroidered four fold dressing screen decorated with swallows, each panel width 55cm, height 170cm

A FINE SET OF NINE CHINESE EMBROIDERED SILK SCREEN PANELS 18th Century, comprising nine sections of superbly embroidered silk in satin stitch showing a continuous scene of ambassadors arriving with tribute, set within a cloudy mountainous landscape with travellers emerging from behind trees and rock formations. The central panel upper right depicts the imperial palace rooftop and 'Tianxia' or the world as '(all) under heaven.' The foreigners represented include Mongolians, Koreans, Indians, Tibetans, Burmese, Thai, French and other Europeans. 145 x 406cm Provenance: Jacques Barrere, Art D' Extreme Orient, 36 Rue Mazarine, Paris, France, 2nd April 1993, sold with accompanying exhibition details Condition: There is light to moderate cracking and splitting to most panels, particularly evident at the upper central sections of the 3rd and 4th panels (from the left hand side). The 7th panel (from the left) has small cracks to the glass front at three corners. There is some toning to all panels, most evident at the upper right hand corner of the 2nd panel. There are two scuffed surface strips (of 3cm width) which run 1/3 and 2/3 across all panels, likely from a previous mount. The metal frame mount to the 8th panel has lifted along the edge of the upper right hand side. Please see the additional images which serve to further illustrate the condition. 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.

Chinese four-panel folding room screen, black lacquered with a naturalistic scene decorated with trees, birds and flowersDimensions: Height: 183cm  Length/Width: 185cm 

Chinese pierced hardwood table screen, the circular enamel panel hand decorated with a mountainous landscape scene, the hardwood with inlaid mother of pearl details. Measures approx 37.5cm tall

AFTER TANG YIN (1470-1523): ‘COURT LADIES AND BOYS’Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, Qing dynasty (1644-1912). Ink, watercolor, and gouache on silk. Mounted on a silk brocade coated paper sheet. Finely painted, with several children playing in a palace pavilion surrounded by potted plants, a painted screen, and a garden, attended by a teacher and caretaker. The caretaker carries a small child which is holding a ruyi scepter in one hand and a double gourd in the other. Depicted are three boys playing with a bow and arrows. The teacher sitting at the writing desk with an elderly boy next to her, pointing with the back of her stylus at a manuscript laid out before them. Inscriptions: Along the upper right-hand edge dated, ‘On a fall day in the year of Wuyin,’ and signed ‘Tang Yin.’Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Wear, creasing, soiling, tears, some staining, small touch ups, and losses. The silk brocade with wear, creasing, small tears, and stains.Dimensions: Image size 77 x 45.2 cm, Size incl. mounting 106 x 58 cmTang Yin (1470-1523) is one of the most famous painters in the history of Chinese art. He was a pupil of the great Shen Zhou and a friend of Wen Zhengming. Tang Yin is regarded as one of the painting elites, ‘the Four Masters of Ming,’ which includes Shen Zhou, Wen Zhengming, and Qiu Ying. Tang was also a talented poet and scholar. Together with his contemporaries Wen Zhengming, Zhu Yunming, and Xu Zhenqing, they are known as the ‘Four Literary Masters of the Wuzhong Region,’ modern day Suzhou.

A ‘NINE DRAGONS’ PLAQUE, PROBABLY IMPERIAL, MID-QING DYNASTY 清代中期青花礬紅九龍紋屏，或爲御用Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1750-1850. Of rectangular form, meticulously decorated in underglaze-blue with ‘heaping and piling’, featuring nine dragons painted in iron-red amid scrolling vines issuing lingzhi fungi and lily flowers. Each dragon is shown in a different pose and with individual features: The central dragon with a bifurcated tail and biting a lingzhi fungus, flanked by two dragons, one with two horns, the other front facing. The lower row featuring a winged dragon, a dragon with a flaming tail, and another dragon with a bifurcated tail. The upper row depicting two dragons with bifurcated tails centered by a two horned dragon. All within a delicately painted key-fret border. Provenance: British trade. Condition: Very good condition with minor wear to the iron-red and manufacturing flaws including pitting, firing flaws, dark spots, and light surface scratches. The hardwood frame with expected minor age cracks and nicks.Weight: 5,1 kg Dimensions: Size 50.4 x 49.8 cmWith a matching hardwood frame. (2)The number nine is considered auspicious in Chinese astrology and folk beliefs. Representing the fullest expression of yang, nine is closely associated with heaven in that it evokes infinity, partly because it was the product of three times three, the most basic unit of three being heaven, earth, and man, and partly because the number nine was homophone with the word ‘jiu’ meaning eternity.The most prestigious decorative motif for the Chinese imperial court in the Qing dynasty is the Imperial dragon - the symbol of the Son of Heaven, the Emperor himself. In this case there are nine dragons, an association for the nine sons of the Dragon King. This use of the sacred number nine reinforces the imperial connection and suggests that the piece was intended for use within the Imperial household.Literature comparison:Compare a related iron-red and underglaze-blue ‘nine dragon’ charger, Yongzheng period, sold at Sotheby’s Hong Kong, 8 October 2012, lot 125. Compare further a large cinnabar lacquer ‘nine dragon’ screen, Qianlong period, sold at Sotheby’s Hong Kong, 10 April 2008, lot 2827. Compare also a yellow-ground silk embroidered ‘nine dragons’ Kang cushion cover, circa 1800, sold at Christie’s London, 15 May 2008, lot 100. Compare a large archaistic rhinoceros’ horn ‘nine dragon’ libation cup, 17th century, sold at Christie’s London, 10 May 2011, lot 13. Compare also a pale greenish-white jade ‘nine-dragon’ brush washer, 18th century, Christie’s New York, 23 March 2012, lot 1962.清代中期青花礬紅九龍紋屏，或爲御用中國，1750-1850年。長方形，青花釉下彩，礬紅彩九條龍，四周纏枝花紋地。每條龍姿勢各不同，中央的龍尾巴分叉，口啣靈芝；兩側的兩條龍，一條有兩個角，另一條面向前方；下排有一條帶翅膀的龍，一條帶火焰尾巴的龍和另一條帶分叉尾巴的龍；上排描繪了兩條尾巴分叉的龍，中央是一條雙角龍。布局疏密得宜，氣势逼人。 來源：英國古玩交易。 品相：狀況非常好，鐵紅色有輕微磨損和製造缺陷，包括點蝕、燒製缺陷、黑點和輕微的表面劃痕。硬木框架與預期的輕微年齡裂縫和刻痕。 重量：5,1 公斤 尺寸：50.4 x 49.8 厘米 硬木框裝裱。(2) 數字“九”在中國占星術和民間信仰中是吉祥數字。九代表至陽，與天密切相關，它有寓意無限，也因為它是三乘三的結果，三代表天、地、人。同時，數字九 與“久”諧音，意為永恆。清代中國宮廷最負盛名的裝飾圖案是龍——天子的象徵，即皇帝。九條龍，代表龍之九子。 神聖數字九的使用加強了與皇室的聯繫，並表明這件作品是為皇室內部使用而設計的。 文獻比較： 比較相近的清雍正青花礬紅「水波雲龍」圖折沿大盤 《大清雍正年製》款，售於香港蘇富比，2012年10月8日，lot 125。比較一件乾隆剔紅九龍屏，售於香港蘇富比，2008年4月10日，lot 2827。比較清約1800年 黃地緞繡九龍紋炕墊，售於倫敦佳士得， 2008年5月15日，lot 100。比較一件十七世紀大型九龍犀角杯，售於倫敦佳士得，2011年5月10日，lot 13。比較一件清十八世紀青白玉雕九龍紋洗，紐約佳士得，2012年3月23日，lot 1962。

THREE TIER CHINESE SCREEN

A Regency chinoiserie pole-screen, circa 1810, with rounded rectangular adjustable panel, on a pole with tripod base, all with gilt and painted chinese style decoration, including birds and flowers

An early 20th century Chinese four-fold black and red lacquered room divider / dressing screen. The four hinged panels with each having gilt, carved and painted decoration depicting various scenes with five clawed dragons to the top. Measures approx when open. 172cm x 140cm.   

Oriental carved cinnabar-style vase and a Chinese four-fold table screen

A CHINESE BLUE AND WHITE PORCELAIN DISH TOGETHER WITH AN ALABASTER TILE, 20TH CENTURY. The porcelain dish decorated with nine dragons amidst clouds with a flaming pearl, Chenghua mark to base; Together with a vintage alabaster table screen in wooden frame, decorated with the eight immortals. Dish 29cm diam.Dish with two chips to rim and 4cm hairline. The wooden frame with loss to top with small split to wood at the pierced frieze.

A Chinese soapstone tablet or screen, profusely carved with figures, mythical beasts and auspicious symbols, 30cm high

A Chelsea octagonal teabowl and saucer, c.1750-52, painted in Kakiemon enamels with the Lady in Pavilion pattern, a seated Chinese lady beside birds on and above a wicker screen, 12.7cm. (2)Provenance: the Roger and Patricia Daniels Collection. The saucer with a paper label for the F Hurlbutt Collection.

Chinese hardstone embellished table screen with bird and floral decorations, in a carved wood fitted screen, 28cm height approx.

19TH C. CHINESE BLACK & GOLD LACQUER WORK BOX + PAPIER MACHE FACE SCREEN, work box of canted rectangular form with carved bone sewing accessories in the fitted interior, lid with engraved yellow metal plaque 'A Token of Esteem, To Mrs H T Cliffe, From Sam'l Ashmore, Sydney 20 July 1843' 18.5cms wide, the Victorian fire screen with gilt floral decoration and gilt turned handle, 35cms h (2)Provenance: private collection Vale of GlamorganComments: BOX - lacks feet, top and sides worn, lid loose, feet lacking, SCREEN - various rim chips, cracks.

A CHINESE FOUR FOLD LACQUER SCREEN CIRCA 1900 Each panel 183cm high, 40cm wide

A tri-fold Chinese screen. Each panel measures 91cm x 28cm

Chinese carpet, with peach ground with floral spandrels and conforming borders, 356 x 277cm. Provenance: From the Estate of Douglas Wilmer (1920-2016) star of stage and screen, best known for his definitive 1960s B.B.C. portrayal of Sherlock Holmes

Chinese painted hardstone six panel table screen, each panel with script reserves and continuous frieze of courtly scenes, each panel 57 x 12cm

A late 18th century mahogany and fretwork decorated Chinese export painted paper inset two-fold fire screenthe rectangular paper panels painted with figures depicting seated and standing on garden terraces above Chinoiserie fretwork frieze panels, on spider leg supports united by twin stretchers, the reverse of each panel mounted with embossed leather, each panel, 49cm wide x 44cm , the open screen, 115cm high, 96cm wide (when flat) approximately 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 Chinese lacquered four-fold screen. 107.5 cm high x 112 cm fully open.

A decorative Chinese four panelled dressing screen.

A Chinese black laquered four-fold room divider screen, one side with gold leaf and painted heron decoration. Each panel 41x183cm.

A Chinese soapstone tablet or screen, profusely carved with figures, mythical beasts and auspicious symbols, 30cm high

A Chinese black lacquer folding screen decorated with birds.