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A CHINESE JADE CARVING OF A BUFFALO PROBABLY LATE MING DYNASTYThe recumbent beast with a tether running from his nose and looped across his back, the cream coloured stone with many brown and black inclusions, 9cm.

A CHINESE PALE CELADON JADE BOULDER CARVINGLATE 18TH CENTURYOne side depicting a seated scholar in a mountain retreat with an open book before him, the cave entrance surrounded by pine and foliage, the reverse with further pine below clouds, the stone with white and brown inclusions, together with a pierced wood stand, 12.8cm. (2)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from a British collection, Kent.

Small Chinese jade carving depicting a monkey holding foliage. Carved of a bluish-green stone.Height: 1/2 in x width: 3/4 in x depth: 1 1/2 in. Weight: 15.0 grams. />Condition: No chips, cracks, or losses. Light wear throughout including some dirt collected in the recessed areas of the carving. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

Small Chinese jade intricate carving of a melon. The stone is a pale celadon, lavender purple, and spinach green color with russet inclusions which have been cleverly integrated into the design of the carving.Height: 1 3/4 in x width: 1 1/2 in x depth: 1 in. />Condition: The jade is in good condition with no visible chips, cracks, or losses. Some natural lines, as expected. There is a drill hole to the exterior of the jade as shown in the lot listing. When inspected under UV light, there is no visible sign of restoration. Very light wear to the box. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

Chinese jade carving of a "Buddha's Hand" finger citron. Qianlong period (1735-1796). The pale white jade stone carved in the form of curling citrus fingers with a pierced verdant stock.Provenance: Private English Estate; Private Collection; Hindman, "Chinese & Southeast Asian Works of Art," Sale 831, March 25, 2021, Lot 212; Private California Collection.Height: 1/2 in x width: 2 3/4 in x depth: 1 1/4 in. Weight: 47.7 grams. />Condition: No chips, cracks, or losses. Very light wear. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

An excellent Chinese antique jade carving of an axe head or possibly a vase, an elegant quality of relief carving.Height: 1/4 in x width: 1 3/4 in x depth: 3 1/2 in. Weight: 37.8 grams. />Condition: Due to the nature of the stone and carving it is difficult to discern if the pitting along the verso is the result of the natural fissures in the stone or a chip. Light wear throughout. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

Chinese carved jade lotus flower. The petals are just beginning to open revealing the seeds within. Carved of a semi-translucent pale yellow-green stone.Length: 2 3/4 in x width: 1 1/8 in x depth: 3/4 in. Weight: 42.5 grams />Condition: No chips, cracks, or losses. Light wear throughout. Residual pigment in the recessed areas of the carving. Please use the following link to view additional photos of this lot: https://www.dropbox.com/sh/7de4ih206uzqo96/AADrqBgT4BejVso1bHzAXTcGa?dl=0

A CHINESE PALE CELADON JADE COCKERELQIANLONG 1736-95The translucent stone is finely carved with the cockerel holding a branch of millet in his beak, with incised details to the feathers, 9.5cm; together with a jade carving of a lotus seed-head and a jade standing model of a phoenix, the cockerel with a wood stand, 14.5cm. (4)Provenance: the collection of Miss Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).清乾隆 青白玉雕錦雞、蓮蓬及鳳凰擺件 一組三件來源：伊麗莎白·格羅夫納·格斯特女士（1879-1960）收藏。

A CHINESE MOTTLED CELADON JADE BOULDER CARVINGQING DYNASTY OR LATERDepicting a luohan crouching on a rocky ledge and holding a ring with his right hand, together with a zitan stand, carved with bamboo, pine and lingzhi, the stone with dramatic black inclusions, 11.5cm. (2)清或更晚 青玉雕羅漢山子及紫檀底座

A fine early stone carving of an Elephant, probably Himalayan, as is, 12.5cms (5"); a good African carved malachite Mask, 14cms (5 1/2"), together with another piece of carved Malachite, on an early coral fossilised panel, 10cms (4"); a very attractive set of 4 Japanese lacquered Nesting Boxes, each of hexagonal graduating form decorated with bird and flowers, 11cms (4 1/4"), together with two lacquered Bell Domes, one larger than the other 11.5cms (4 1/2") the larger, each with ring finial and decorated in red lacquer with flowers; an early Indian bronze Hookah, 20cms (8"); together with an embossed copper Tibetan Prayer Wheel, with wooden handle 26cms (10 1/2") and an Indian cast iron Stand; a pair of bronzed and silvered Chinese shell shaped Dishes, each chased with a dragon circling a warrior, 15cms (6"). (a lot)

A RARE AND LARGE CHINESE SPINACH-GREEN JADE FIGURE OF A LUOHAN 18TH CENTURY Depicted seated in dhyanasana holding a tablet in his left hand and a brush in his right, he wears long layered robes which fall in folds around his bare left foot, his well-defined face detailed with downcast eyes and wrinkles to his forehead, with finely incised hairs to his long beard and moustache, the deep green stone with brown and dark inclusions, 23.5cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Several of the Eighteen Luohans are associated with books or Buddhist scriptures, including Nandimitra and Panthaka. The figure depicted here is likely to be Angida, who is often portrayed as a learned old monk who could read scriptures written in Sanskrit. Jade sculptures of this kind have previously been dated to the Ming dynasty, but the style of the representation and carving somehow fits more comfortably with that of the early Qing dynasty. Cf. Catalogue of the International Exhibition of Chinese Art, 1935-6, no.2860 for a similar figure lent to the exhibition by Mr and Mrs Edward Sonnenschein; see also G Wills, Jade of the East, p.104, nos.63-64 and N Zhou, Ancient Jades in Man, Immortal and Buddha, p.309, nos.360-361 for further related examples; see also Asian Art I, 17th November 2010, lot 337 for a comparable spinach-green jade figure of Buddha of the same size previously sold in these rooms.十八世紀 碧玉雕羅漢來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A PAIR OF FINE CHINESE PALE CELADON JADE INCENSE HOLDERS QIANLONG 1736-95 Each with a square-section body, worked in relief and openwork with figures in continuous mountain landscapes, the depicted scenes including two young boys walking along a path, three scholars looking at a painting, an old man and his young attendant beneath a pine tree, and Shoulao accompanied by his deer, with dark speckles dispersed through the pale stone, the waisted spinach-green tops and bases carved with bands of lappets, the ends pierced with flowers surrounded by scrolling foliage, 28.2cm. (2) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The incense holder is also known as a perfumier. The incense is placed inside the perfumier and the smoke emerges through the holes while the lighted incense fragrances the room. Perfumiers were popular in the Ming and Qing dynasties, when they were usually made of carved bamboo. They were sought after by the literati class who liked to place them on their desks. Incense holders made of more expensive materials such as jade were usually created for the Imperial Palace. Such pictorial representations are clearly based on traditional landscape paintings in ink. The subjects express belief in longevity and immortality. In Chinese religion, Immortals are always associated with mountains and hills. The carving is of exceptional quality. One can imagine the incense smoke wafting through the pierced holes, like clouds moving through high mountains, bringing these scenes to life. In the early Qing period, such landscape art was practised by literati artists and was much favoured at the Imperial Court, in particular by the Yongzheng and Qianlong Emperors. Here, the jade carver successfully crafted scenes from two-dimensional landscape paintings into this three-dimensional incense burner, creating a masterpiece that can equal any other great works of art. Cf. Compendium of Collections in the Palace Museum, Jade, vol.8, p.239, no.198, p.242, no.201 and p.243, no.202 for comparable pairs of incense holders in pale celadon jade; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), pp.46-49, nos.36-38 for single cylindrical perfumiers with similar decoration; see also R Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p.118, no.98 for a related example; see also Asian Art I, 17th November 2010, lot 335 for a comparable incense holder with spinach-green jade fittings previously sold in these rooms. 清乾隆 青灰玉鏤雕香薰 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。

A CHINESE WHITE JADE CARVING OF SHOULAO 18TH CENTURY The God of Longevity stands dressed in loose layered robes, he holds a large openwork flowering prunus branch over his right shoulder and stems of lingzhi in his left hand, the deity typically depicted with a high cranium and a long incised beard, his finely detailed face bearing a cheerful expression, with a crane perched on one leg standing at his feet, the pale stone with russet markings, 12.1cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from the Oriental Art Gallery Ltd., 1994. Published: the Oriental Art Gallery Exhibition Catalogue, 7th June 1994, no.42. The attributes identify the old man as Shoulao, the God of Longevity. Shoulao the Immortal was originally a Daoist deity. The legend is probably based on an actual person who lived during the Song dynasty, but also came to be considered as the personification of the southern polar star. In folk religion, Shoulao is a very popular God of Good Luck and Longevity. In pictorial art, he is represented as an old man with a wide forehead, holding a lingzhi fungus in his hand, and accompanied by a crane, sometimes a black deer or a tortoise.十八世紀 白玉雕壽老來源：勞倫斯珍藏玉石，1994年購於Oriental Art Gallery Ltd。出版：Oriental Art Gallery 展覽圖錄，1994年6月7日，編號42。

A FINE AND RARE SMALL CHINESE CELADON JADE BOULDER 17TH/18TH CENTURY Depicting a lone scholar gazing up towards a steep cliff face, the elderly gentleman contentedly enjoying the scenery, with pine trees and smaller shrubs growing in the rocky landscape, the reverse carved with a waterfall crashing down the cliff, the russet markings in the greenish stone cleverly used within the design, 12.7cm. Provenance: formerly a western private collection; and then the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 18th December 2008. A copy of the invoice is available. Published: R Keverne, Winter Exhibition 2008, pp.96-97, no.76. The subject on this carving is inspired by traditional Chinese landscape painting. The Chinese word for 'landscape painting' is shanshui, literally translating as 'mountains and water'. Landscape painting has long held an important position in Chinese art, but its principles were not applied to three-dimensional jade carvings until the early Qing dynasty. Landscape painting was not only valued as a means of expressing an admiration of nature, but also as a way of representing the philosophical relationship between man and the natural world. As is typical in landscape painting, the figure on this jade boulder is presented as a passive spectator within the free and undomesticated vastness of the natural setting. Cf. L Chang, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, pp.158-159, no.48 for a similar example in the collection of the National Palace Museum; see also Schätze Chinas aus Museen der DDR, pp.242-243, no.138 and Tianjin Shi Yishu Bowuguan Cang Yu, no.226 for further comparable pieces; see also R Keverne, Jade, p.352, fig.3 for another related item. 十七/十八世紀 青白玉雕高士圖山子來源：西方私人舊藏，勞倫斯珍藏玉石，2008年12月18日購於Roger Keverne古董店（附發票複印件）。出版：R Keverne, Winter Exhibition 2008, 頁96-97, 編號76.

A CHINESE BROWN AND CELADON JADE CARVING OF A HORSE MING DYNASTY Depicted in a recumbent pose with its legs neatly tucked under its body, the horse turns its head back towards its tail which is flicked up over its haunches, its body rendered with details of its ribs and muscles, with finely incised hairs to its forelock, mane and tail, the mottled stone with inclusions, varying in tone from a pale greenish-grey to a dark brown, 7.8cm. Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Jade animal carvings have a long history in China. They are thought to have first appeared in prehistoric times when they were probably used for religious or ritual purposes. By the Tang dynasty, miniature jade animals were used as decorative objects and playthings, and they remained popular throughout the following dynasties. Of the twelve Chinese zodiac animals, the horse represents wealth and prosperity. This jade horse was probably made as a 'handling piece', but could also have been used as a paper weight. The mottled nephrite with dark brown inclusions gives this miniature sculpture an archaic feel. This aligns with tastes of the Song, Yuan and Ming dynasties when the archaic style was highly prized by the literati class and many jades were worked to simulate those of antiquity.明 褐玉臥馬來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE CHINESE CHALCEDONY 'MANDARIN DUCK' WATERPOT AND COVER 18TH CENTURY Formed as a Mandarin duck standing upon a large lotus leaf finely detailed with incised veins, the aquatic bird depicted with a short crest and long wing and tail feathers, it turns its head whilst holding a reed in its beak, decorated in high relief with a shell, lotus and other plants trailing over the body of the duck, with a circular aperture to its back, the cover doubling as a water dropper, the stone cleverly worked with the duck picked out in white and the plants in dark orange, together with a wood stand carved and pierced with lotus motifs, 10.8cm. (3) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The Chinese call mandarin ducks yuanyang. The bird is a metaphor for conjugal affection and fidelity, and designs featuring mandarin ducks are commonly used at weddings. In Chinese pictorial art, mandarin ducks are frequently depicted in pairs swimming in a lotus pond. This water pot was probably made as a desk piece, for painting and calligraphy, perhaps given as a present at a special occasion such as a wedding. This form was popular in jade carving of the early Qing period, in particular the Qianlong reign.十八世紀 南紅瑪瑙雕鴛鴦銜蓮水盂來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。

A FINE SMALL CHINESE WHITE JADE FIGURE OF A BOY 18TH CENTURY The crouching child holds a large leafy branch of fruiting peaches in both hands, his finely detailed face bearing a joyful expression, with his incised hair tied up in two buns, depicted wearing bracelets and a loose robe, the pale stone of a fine white tone, with a russet area to one of the peaches, together with a wood stand, 6.9cm. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Roger Keverne Limited on 15th June 2010. A copy of the invoice is available. Published: R Keverne, Summer Exhibition 2010, pp.116-117, no.90. Children are one of the most popular subjects in Chinese art, and they are often portrayed holding plants. Representations of young boys holding leafy branches appeared in jade carvings as early as the Song dynasty and, whilst the subject matter varies, they are often depicted with branches of lotus rather than peaches. As peaches are believed to be the food of the Immortals, and thus a symbol of longevity, this may suggest that the present figure was intended as a birthday gift. Cf. R Kleiner, Chinese Jades from The Collection of Alan and Simone Hartman, pp.230-231, no.181 for a comparable jade; see also J Rawson, Chinese Jade from the Neolithic to the Qing, no.27:3 for another similar example; see also Symposium on Chinese Jades from Sui and Tang to Qing Dynasties, p.205, figs.31 and 32 for related items in the collection of the Shanghai Museum; see also G Xue, Zhongguo Yuqi Shangjian, p.215, no.408 for another comparable piece; see also G Zhang, Mingdai Yuqi, p.189, fig.129 for a related carving dated as Ming in the collection of the Palace Museum, Beijing.十八世紀 白玉雕執桃童子擺件來源：勞倫斯珍藏玉石，2010年6月15日購於Roger Keverne古董店（附發票複印件）。出版：R Keverne, Summer Exhibition 2010, 頁116-117, 編號90。

ATTRIBUTED TO ALFRED GEORGE STEVENS (1817-1875); two carved stone sculptures representing George and the Dragon, height 56cm, and a further carving of a winged soldier holding a sword and shield, height 51cm (2).

Late 19th / Early 20th Century stone column carving of a male deity in a series of sitting positions. The deity sitting with a variation of offerings, the remaining sides carved in relief with multiple repeat carvings to column of same. Circular shaft through centre. Dimensions 35.5cm x 10.5cm. 

AN INUIT STONE CARVING OF A FISHERMAN12cm highProvenance: The Estate of the late Roger Peers (1932-2023), Curator of the Dorset County Museum between 1959 and 1992

A Chinese pale green jade carving of auberginesLate Qing dynastyThe semi-translucent, pale stone carved as a pair of aubergines hanging from a leafy tendril.7.2cm long.清晚期 青玉雕茄子

A Chinese white jade carving of an aubergine and a Chinese jadeite carving of a lotus podQing dynasty, 18th/19th and 19th centuryThe first, from a white stone with cloudy inclusions, softly carved with a blossoming flower to one side and a long leaf to the other, the second, carved from a stone with yellowish and apple-green inclusions, and flanked by a small bird (2).6.2cm long and 4.2cm wide.清十八/十九世紀 白玉雕茄子及翡翠雕蓮蓬Condition Report: The first wish a few natural fissures and a small loss ot a tendril. The second also with natural fissures and inclusions to stone and a couple of tiny nibbles to edges.

A Chinese jade carving, two soapstone seals, and a white glass pendantLate Qing dynasty/Republic periodThe white jade carved as a ring with bats and Buddhist symbols on either side, suspended from a lingzhi handle; the seals respectively of square section with Government Official finial, and oval section with recumbent horse finial; the white glass pendant in the shape of a lotus pod section.3.8cm - 5cm (4).晚清/民國 玉雕、壽山印靚兩枚及料吊墜Condition Report: A few scattered nibbles to edges and natural inclusions/fissures to stone.

A Chinese pale jade Mughal-style 'chrysanthemum' bowl Qing dynasty, Qianlong period The bowl thinly carved with gently rounded sides rising to an everted rim, the exterior carved overall as a multitude of narrow lappets rising from concentric rows of petals encircling the disc florets to the interior, mirrored to the exterior to form the foot, the stone of a pale celadon, whitish hue, with some cloudy inclusions.15.5cm diameter.Provenance: Gifted by Stella MacDonald, daughter of Sir Claude MacDonald (1852-1915), to the parents of the present owner in the 1950s. Sir Claude MacDonald led the defence of the foreign legations in 1900 which were under siege during the Boxer Rebellion.清乾隆 青玉雕莫臥兒式菊瓣式盌來源：由Claude MacDonald (1852-1915)爵士之女Stella MacDonald於1950年代贈予現藏家父母。Claude MacDonald曾帶領外國防禦軍抵抗義和團運動。Beautiful and colourful, the chrysanthemum flower generally represents autumn. As it blooms in autumn when all other flowers are fading away, it symbolises the ability to withstand adversity. It is tranquil and harmonious with others, but also dignified and indomitable.The multi-layered nature of its delicate petals make it a particularly technically challenging, yet desirable, form to achieve with jade or porcelain carving. The type of carving on the present lot, with several rows of narrow lappets, can be found on a number of Mughal-style jade carvings.Cf. a large green jade dish (25.4 cm) carved in similar fashion, illustrated in The Complete Collection of Treasures of the Palace Museum - Jadeware III, Hong Kong, 1995, p. 246, no. 201, where it is dated to the Qing dynasty. A slightly smaller example, dated to the Qianlong period, was sold by Christies, London, 5 December 2012, lot 6277.This form of dishes, but without the central disc florets, was also popular in monochrome porcelain during the Yongzheng and Qianlong reigns.Condition Report: A chip to the mouth rim with associated hairline of approx. 3cm. A line in the stone appears to be inclusion of approx. 1cm from rim. Tiny nibbles to the mouth rim. Natural inclusion in the stone. 

Ca. 100-300 AD.A round schist stone cosmetic tray with a flat base and a dividing ridge in the middle. The ridge separates the tray into two sections for organizing and mixing cosmetics. The top of the tray has an elaborate carving of a human riding a sea monster. This monster has a long, fish-like tail and an upturned head, with long snout and a long row of teeth . This item comes with a custom-made stand. For similar see: The Metropolitan Museum of Art, Accession Number: Accession Number: 1987.142.113. Size: L:125mm / W:125mm ; 310g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Stone carving of three otters mounted on a plinth of flat rock Base 12cm x 10cm Condition is good.

A RARE METAL-INLAID UMIMATSU NETSUKE DEPICTING BUDDHA AMITABHA WITHIN A GROTTOUnsignedJapan, 19th centuryFinely carved from a thumb-size piece of black coral (umimatsu), a central section excavated to house the patinated copper figure of Buddha Amitabha, seated in dhyanasana atop a lotus pedestal with his hands resting in dhyana mudra. Two himotoshi to the back. The umimatsu has an attractive grain with fine reddish inclusions.HEIGHT 4.4 cmCondition: Very good condition with minor wear and natural flaws.Umimatsu (lit. 'sea pine'), commonly known as black coral, is a soft deep-water coral. Many patterns of growth are unique to black coral, growing in whips, trees, fans, or coils, and their size ranges from 10 to 300 cm. While it is commonly used in various forms of jewelry in Japanese art, it is also believed to have apotropaic power and is for this reason used in various medical treatments as well.The tradition of carving the image of Buddha in stone into cliff walls and natural caves began in India, where they carved out their gods from the rocks. This practice was transferred to China and then Korea and became a common icon of Buddhist hermitages across the far east. These grottos were key sites for pilgrimage for the devote followers of the Buddha.

JADE CARVING OF A BEAR 白玉雕熊 帶木座 the forward-facing recumbent beast bearing an alert expression, the stone of white hue with russet inclusions, with a fitted wooden stand Dimensions:6.2cm wide Provenance:Provenance: Formerly in a private French diplomat's family collection (by repute)

CELADON JADE CARVING OF 'CHI-DRAGON' DOUBLE-DISC QING DYNASTY, 19TH CENTURY 清 青玉雕螭龍雙環型飾 carved in the form of two circular jade bi-discs with three chi-dragons crawling on one side, the other side incised with grain and sinuous dragon patterns, the stone of yellowish-celadon hue with brown patches Dimensions:17.3cm high Provenance:Provenance: Formerly in a private English collection

PALE CELADON JADE CARVING OF A MAGPIE WITH POMEGRANATES QING DYNASTY, 18TH CENTURY 清 青白玉雕鵲鳥銜石榴擺件 the magpie carved grasping with its beak a branch of fruiting pomegranates with leaves resting on its back, its wings and long tail finely incised with details, the stone has an even pale celadon colour with a slightly yellowish tone on the bird's head Dimensions:13cm wide Provenance:Provenance: Private Scottish collection, Edinburgh; acquired from Spink & Son Ltd. on 23 Jan 1973 for £375, with an original receipt and valuation document issued by the gallery and signed by Roger Keverne; thence by descent.

PALE CELADON JADE CARVING OF A CHIMAERA QING DYNASTY, 18TH CENTURY 清 青白玉雕瑞獸把件 finely carved in seated position with legs tucked beneath the body, head looking forward with back arched in alerted expression, body delicately incised with ruyi-cloud-formed wings and flame-like patterns near thighs, the bushy tail curling around the hind, the stone of creamy pale celadon colour with variegated white inclusions on the base Dimensions:6cm wide Provenance:Provenance: Private Scottish collection, Edinburgh; acquired from Spink & Son Ltd. on 13 Dec 1973 for £465, with an original receipt and valuation document issued by the gallery and signed by Roger Keverne; thence by descent.

YELLOW JADE CARVING OF A BOY QING DYNASTY, 19TH CENTURY 清 黃玉雕童子持蓮把件 carved in round with a seated boy carrying a large lotus and leaf on his shoulder, the stone of yellowish-celadon tone with brownish patches on the back Dimensions:4.2cm high

WHITE JADE CARVING OF A SAMPAN AND FISHERMAN QING DYNASTY, 18TH CENTURY 清 白玉雕漁人舟楫擺件 finely carved with a fisherman seated in a sampan holding a paddle in his hands, the stone of even creamy white tone Dimensions:16cm wide

PALE CELADON JADE CARVING OF 'HEHE ERXIAN TWINS' FIGURAL GROUP MING DYNASTY, 17TH-18TH CENTURY 明 青白玉雕和合二仙把件 carved as the mythical immortal twins, the right one holding a round wicker box, the other holding a lotus spray in his right hand issuing a large leaf and blossom behind his shoulder, both figures depicted with playful faces, the stone of pale celadon hue with russet inclusions Dimensions:8cm high

CELADON JADE CARVING OF A MOUNTAIN WITH IMMORTALS AND RABBITS MING DYNASTY, 17TH CENTURY 明 青玉雕仙人玉兔山子 carved reticulated on one side in high relief with an immortal, his attendant and a crouching deer beneath pine trees among mountains, the other side with two rabbits underneath ruyi-head clouds, the stone of celadon colour with greyish hue Dimensions:10.5cm high

TWO JADE CARVINGS OF RELIGIOUS FIGURES MING TO QING DYNASTY 明至清 青白玉雕迦樓羅 及 青玉雕坐佛 （共兩件） one pale celadon carving of a squatted garuda in double-abhaya mudra, wearing a five-pointed crown and with its large wings tucked behind, the stone of pale celadon colour with russet inclusions; one Buddha seated on a double-lotus throne with his right hand half-raised, the stone has a brownish-celadon hue with white calcification Dimensions:heights: 4.6cm and 5.6cm

WHITE JADE CARVING OF A QILIN QING DYNASTY, 18TH-19TH CENTURY 清 白玉雕麒麟把件 the mythical animal in seated position above ruyi-head clouds, with its horns and bushy manes well defined, the stone with creamy white colour with russet patches Dimensions:6.1cm high Provenance:Provenance: Formerly in a private English collection

WHITE JADE WITH RUSSET SKIN CARVING OF FINGER CITRUS AND BUTTERFLY QING DYNASTY, 18TH-19TH CENTURY 清 白玉帶皮巧雕佛手蝴蝶擺件 realistically carved with one large and one small finger citrus emanating from a leafy gnarled branch, the stone of translucent white colour with a dark brown russet skin patch, which is cleverly carved as a butterfly Dimensions:10.6cm wide

A VERY FINE WHITE AND GREY JADE BIRD GROUP18th century The pebble meticulously carved as two two birds nestled beside each other, their beaks clasping together the same sprig of blossoming prunus, their finely detailed plumage and tail feathers crossing over intimately, the underside with finely carved legs, the stone of mottled grey, russet and white tones. 8cm (3 1/8in) long.Footnotes:十八世紀 玉鳥Provenance: The Oriental Art Gallery Ltd., LondonA British private collection, acquired from the above on 20 November 1995, and thence by descent來源：倫敦古董商The Oriental Art Gallery Ltd.英國私人收藏，1995年11月20日從上處購得，並由後人保存迄今Published, Illustrated and Exhibited: The Oriental Art Gallery Ltd., Oriental Jewellery and Works of Art, London, 1995, no.57展覽著錄：The Oriental Art Gallery Ltd.，《Oriental Jewellery and Works of Art》，倫敦，1995年，編號57According to Chinese tradition, the magpie xique 喜鵲 is a bird of happiness xi 喜 and a messenger bringing good news, while the blossoming plum mei 梅 signifies the arrival of Spring. Together, these two symbols form the pun 'blissful joy shown through one's eyes' xi shang mei shao 喜上眉[梅]梢. Pairs of cross-tailed magpies with prunus also symbolise fidelity, marital harmony and happiness, and would have made the perfect gift for a married couple. Compare with a related white and russet jade carving of two magpies, mid-Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (III), Hong Kong, 2006, , p.102, no.82. Compare also with a related white and grey jade bird group, 18th/19th century, illustrated in Chinese Jades from the Collection of the Seattle Art Museum, Seattle, 1989, p.87, no.65b. See also a related jade carving of a pair of magpies holding branches of prunus blossoms, mid-Qing dynasty, in the National Palace Museum, Taipei, acc.no.001934N. See a related pale green and russet jade 'bird and peach' group, 17th/18th century, which was sold at Bonhams London, 7 June 2021, lot 611; see also a related pale green and russet 'magpies and prunus' carving, Qianlong, which was sold at Bonhams New York, 20 March 2023, lot 52; a further related jade carving of a 'bird and peach' group, 18th century, which was sold at Sotheby's Hong Kong, 28 February 2023, lot 3033.For further information on this lot please visit Bonhams.com

A PALE GREEN AND RUSSET JADE CARVING OF A MYTHICAL BEAST17th centuryThe beast carved recumbent with its head sharply turned back, with bulbous eyes and flaring snout, the jaws clasping a sprig of auspicious lingzhi fungus across its knobbly spine terminating in a bifurcated tail sweeping across its left haunch, the paws neatly tucked beneath the body, the stone of pale green tone with some russet-brown patches. 6.7cm (2 5/8in) long. Footnotes:十七世紀 玉瑞獸銜靈芝把件See a related green jade mythical beast, Ming dynasty, illustrated in Compendium of Collections in the Palace Museum, vol.6, Hefei, 2011, pl.236, p.237. Compare with a related very pale green jade carving of a mythical beast, 18th century, which was sold at Bonhams London, 7 June 2021, lot 697.For further information on this lot please visit Bonhams.com

AN EXCEPTIONALLY RARE WHITE AND RUSSET JADE TIGER SCROLL-WEIGHTTang Dynasty or earlierThe large pebble finely carved as a tightly coiled tiger with large bulbous eyes above jaws agape revealing fangs, the body with finely incised stripes and terminating with two curled tails, the paws tucked neatly beneath the body, the stone of pale white tone with russet-brown speckles. 6.5cm (2 1/2in) wide. Footnotes:唐或更早 玉虎紙鎮Provenance: a Japanese private collection, by reputeR.H.Ellsworth (1929-2014), New York (noted in a Spink and Son Ltd. Valuation, dated 12 January 1968)Bluett and Sons Ltd., LondonA British private collection, and thence by descentPublished and Illustrated: Bluett and Sons Ltd., Oriental Art II, London, 1991, no.9 (dated as Western Han dynasty)J.Rawson, 'Strange Creatures' in Oriental Art, vol.XLIV, 1998, pp.44-47, fig.5 (dated as Western Han dynasty)J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.LIX, 1999, Zurich, pp.5-55, fig.32 (dated as Western Han dynasty)On Loan: The British Museum, London, from c.1998來源：日本私人收藏（據傳）R.H.Ellsworth (1929-2014)，紐約（由Spink and Son Ltd.提供的一份日期為1968年1月12日的評估報告中提及）倫敦古董商Bluett and Sons Ltd.蘇格蘭私人收藏，並由後人保存迄今著錄：Bluett and Sons，《Oriental Art II》，倫敦，1991年，編號9（斷代為西漢）J.Rawson， 《Strange Creatures》，《Oriental Art》，第44期，1998年，第44-47頁，插圖5（斷代為西漢）J.Rawson，《The Eternal Palaces of the Western Han: A New View of the Universe》，《亞洲藝術》，第59期，1999年，蘇黎世，第5-55頁，圖版32（斷代為西漢）借展：大英博物館，倫敦，約1998年J.Rawson notes regarding the present jade tiger, that jade carvings such as the present lot, 'were probably made in small sets, like the very fine group from near the tomb of Yuan Di (reigned 48-33 BC) in Shaanxi.'; see J.Rawson, 'The Eternal Palaces of the Western Han: A New View of the Universe' in Artibus Asiae, vol.LIX, 1999, Zurich, p.52. In the Bluett's 1991 catalogue, also showing the present lot, it was noted that this carving shared the characteristics of other Han dynasty carvings in being carved in the round from a pebble of whitish tone with a surface that in places is pitted with brown specks of iron rust tone. It was also noted that cup shaped ears and finely carved claws are also found on these jades. A further comparison was made between the incised tiger stripes on the jade carving and those found on bronze animals inlaid with silver or gold of the Warring States period/Han dynasty; see Oriental Art II, 1991, no.9. For related jade carvings of tiger, Han dynasty, see J.C.Y.Watt, Chinese Jades from Han to Ch'ing, New York, 1980, p.40, no.9; and another illustrated in Chinese Jade Animals, Hong Kong, 1996, pp.80-81, no.46.The present carving of the tiger is exquisitely lively and dynamic, through the jaws open to reveal the menacing teeth, the long thick coiled striped tail emerging from the powerful back haunches, the naturalistic finely curved spine, and the exquisite detail on the underside of the clawed back foot touching on one of the front paws. This dynamism is indicative of an early dating. However, whilst a Western Han dating is possible, it is also possible that this piece is an early revival harking back to the Han style. The tiger has long been one of the oldest symbols for protection in China and is considered as one of the most powerful beasts for warding off evil. The tiger motif inspires both awe and admiration and also embodies the spirit and drive for success. According to Handai jiuyi (The Old Rites of the Han Dynasty), jade seals with a tiger-shaped knob were made for the use of the emperor and empress, indicating the importance of the tiger.For further information on this lot please visit Bonhams.com

A PALE GREEN AND RUSSET JADE CARVING OF A BOY HOLDING A LOTUS-LEAF STEMSong/Ming DynastyDeftly carved as a joyous boy with two small buns of hair, standing cross-legged, both hands holding a long lotus stem with the leaf draped over his shoulder, the stone of mottled grey and brown tone with black patches. 6cm (2 3/5in) long.Footnotes:宋/明 青玉「蓮生貴子」把件Lotus has been regarded as the emblem of fruitfulness. As 'lotus' (lian 蓮) is a homophone for 'continues' (lian 連), the combination of 'lotus and boy' is a rebus for the blessing of 'having many sons'. Compare with a similar white jade boy holding a lotus-leaf in his hand, Song dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, vol.5, Beijing, 2011, p.104, pl.106. See a related celadon and brown jade figure of a boy on hobby horse, Ming dynasty, which was sold at Sotheby's Hong Kong, on 29 November 2017, lot 10.For further information on this lot please visit Bonhams.com

A FINE 'CHICKEN-BONE' JADE CREAMY-WHITE 'DOUBLE GOURD' GROUP18th centuryCleverly and intricately carved from a pebble, one exterior side using the greyish mottled skin as a leaf, the other with a smaller brown leaf, the central section using the creamy stone as two lobed gourds divided by a leaf, and open-winged butterfly perched on the top. 7cm (2 3/4in) wide.Footnotes:十八世紀 雞骨玉瓜瓞綿綿把件Butterflies die (蝶) are a homophone with the character for little gourds die (瓞), symbolic of fertility because of the multitude of their seeds. Butterflies and melons form the pun guadie (瓜瓞), a rebus for 'ceaseless generations of descendants'. See a related white jade 'melon and butterfly' carving, 19th century, which was sold at Bonhams New York, 21 July 2020, lot 96. See also a related white jade gourd and butterfly group, 19th century, which was sold at Sotheby's Hong Kong, 3 December 2015, lot 618.For further information on this lot please visit Bonhams.com

A WHITE AND RUSSET JADE CARVING OF A RECUMBENT HORSE18th/19th centuryCarved in an early style from a small pebble as a recumbent horse with head lowered to its raised front knees, its rear legs tucked beneath its curling bushy tail, a delicately carved mane falling down both sides of its neck, the stone of very pale semi-translucent tone using very shallow areas of the brown skin, box. 5cm (2in) long. (2).Footnotes:十八/十九世紀 玉馬Compare with a related small yellow jade carving of a horse, 18th/19th century, which was sold at Christie's London, 10 November 2015, lot 60.For further information on this lot please visit Bonhams.com

A MAGNIFICENT AND LARGE GREEN JADE MYTHICAL BEASTQing DynastyThe imposing animal carved recumbent with large bulbous eyes beneath bushy brows, a wide mischievous grin revealing fangs, the accentuated spine terminating with the large bushy tail sweeping across its left haunch, its paws neatly tucked beneath the large body, the stone of mottled dark olive-green tone with russet veins. 32cm (12 1/2in) long; 8550g. Footnotes:清 青玉瑞獸Provenance: Milly von Friedländer-Fuld (1866-1943), Berlin (this lot is sold with the permission of the heirs of Milly von Friedländer-Fuld)Auktion Van Marle & Bignell, The Hague, 20-25 October 1941, lot 1384Kunsthandel v.Veen, AmsterdamSpink and Son Ltd., LondonBluett and Sons Ltd., London, 15 November 1984A British private collection, and thence by descentPublished, Illustrated and Exhibited: Chinesische Kunst, Berlin, 1929, p.394, no.1086Somerset House, 1979來源： Milly von Friedländer-Fuld (1866-1943)舊藏，柏林(該拍品經 Milly von Friedländer-Fuld 繼承人許可出售)Auktion Van Marle & Bignell，海牙，1941年10月20-25日，拍品編號1384Kunsthandel v.Veen，阿姆斯特丹倫敦古董商Spink and Son, Ltd.倫敦古董商Bluett and Sons Ltd.，1984年11月15日英國私人收藏，並由後人保存迄今展覽著錄：《中國藝術》，柏林，1929年，第394頁，編號1086Somerset House, 1979年Milly Antonie von Friedländer-Fuld was born in the Netherlands in 1866, the daughter of the banker Elias Jacob Fuld and his wife Lina. Her father, a native of Frankfurt, ran the Amsterdam bank Becker & Fuld together with Carl Becker, which maintained close ties with the Rothschild Bank in Frankfurt. According to a list from 1913, the family was one of the wealthiest families in Germany. The family's town house on Pariser Platz was furnished in a manner befitting its status and contained a constantly growing art collection, which was later to include paintings by van Gogh, Picasso, Gauguin, but also by French Impressionists such as Manet and Monet, which belonged to her daughter Marie-Anne von Goldschmidt-Rothschild. Milly's husband, Fritz von Friedländer-Fuld was known for his collection of gold and silver objects, such as rare boxes, nécessaires, flacons and watches, parts of which he had exhibited in Berlin in 1906. The present lot was loaned by Milly von Friedländer-Fuld and exhibited in the seminal Chinesische Kunst exhibition of 1929 in Berlin. This exhibition was amongst the first major exhibitions of Chinese art in Europe. It included 1270 works of art, on loan from some of the greatest museums such as the Asian Art Museum in Berlin, the Louvre and Guimet in Paris, the Rijksmsueum in Amsterdam, the National Museum in Stockholm, as well from some of the leading collectors and dealers such Adoplhe Stoclet, George Eumorfopoulos and C.T. Loo, to name a few. After her husband's death in 1917, Milly Antonie von Friedländer-Fuld initially moved to the Netherlands and France. However, the palace and its inventory remained in the family and was used by her as well as her daughter Marie-Anne von Goldschmidt-Rothschild and her family, who still resided there in June 1938. Following Hitler's rise to power, the palace was forcibly sold to Albert Speer, on behalf of the German Reich, and much of the family's property was seized. In August 1939 ten trucks left Berlin with inventory and art objects to Amsterdam for storage at De Gruyter & Co. - likely also including the present lot. These were later seized as well and similarly to the fate of the objects in Palais Friedländer in Berlin, were sold at auction between 1941 and 1942. After the occupation of the Netherlands by the Germans, Milly Antonie von Friedländer-Fuld fled to France, and died in Cannes in 1943. The jade mythical beast which was sold in The Hague at Marle & Bignell in October 1941 to a Dutch dealer, made its way to the UK and sold through London dealers Spink & Son and Bluett's & Sons to a British collector. It is now sold with the agreement of the British collector's family and the heirs of Milly Antonie von Friedländer-Fuld.The present lot is remarkable for its extremely large size (32cm long) and weight (8.55kg) and anthropomorphic face. Large jade animal carvings include both animals and mythical beasts; the former such as water buffaloes, horses and elephants and the latter, mythical creatures such as Buddhist lions, qilin and luduan. See for example S.C.Nott, Chinese Jade Throughout the Ages, London, 1975, pls.241, 391, 392, 394, 395 and 397. See also a pale green and russet jade carving of a bixie, Ming dynasty, with closely related humanoid face, which was sold at Bonhams London, 17 May 2012, lot 25.It is extremely rare to find animals and beasts of such striking size, and although widely published and much admired, exceptionally large jade animals such as the present lot, in fact, form a very select and unusual group within the tradition of Chinese jade carving. Usually carved with great sensitivity and naturalness, such pieces have been traditionally dated to the late Ming to early Qing period, based upon a number of factors: the similar mid-green or occasionally greyish colour of the pieces suggest that they were sourced before the quelling of Xinjiang in 1759 gave access to fine and large raw jades sent in as tribute from the new vassal region. See a large jade figure of a horse, late Ming/early Qing dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl.26:20, and also a large jade buffalo, late Ming or Qing dynasty, illustrated in Ibid, pl.26:19.For further information on this lot please visit Bonhams.com

A YELLOW AND BROWN JADE CARVING OF A LUDUANMing Dynasty or later The beast carved recumbent with head turned sharply back, with beady eyes gazing upwards beneath prominent brows, a single horn extending down the back, the legs tucked beneath the body, the stone of pale yellow tone with dark brown patches. 6cm (2 1/4in) long.Footnotes:明或更晚 玉雕甪端Provenance: an Italian private collection來源：意大利私人收藏 The Luduan is an auspicious creature with the ability to detect the truth and travel over great distances in a very short time. See a related green jade mythical animal, Ming dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade, vol.6, Beijing, 2011, p.234, no.236.Compare with a yellow and russet jade carving of a Luduan, Song dynasty, which was sold at Bonhams London, 18 May 2023, lot 70.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 WHITE AND RUSSET JADE 'DUCK AND LOTUS' CARVINGQing Dynasty The pebble finely carved as a Mandarin duck with its head sharply turned back clasping a long spray of lotus in its beak the feathers finely incised, swimming above a large undulating lotus leaf, the stone of pale white tone with caramel-brown inclusions, wood stand. 4.5cm (1 3/4in) wide. (2).Footnotes:清 白玉鴛鴦銜蓮把件Provenance: Spink and Son Ltd., London (label)來源：倫敦古董商Spink and Son Ltd.（標籤）Mandarin ducks, birds which mate for life, are symbols of conjugal bliss and popular motifs for weddings objects and gifts. They are often depicted in conjunction with lotus flowers, thus expressing the rebus 'yuanyang xihe' meaning 'may you be paired for life'.Compare with a related white jade carving of a duck and lotus, 18th century, which was sold at Bonhams London, 16 May 2019, lot 158.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

CHINESE CARVED WOOD FIGURE, AND THREE OTHERS also including a soapstone carving of a skeletal figure and a carved stone African headthe tallest 39cm highQty: 4

Alfred Lyndhurst Pocock (1882 - 1962), an opalescent stone carving, the head of an Art Nouveau beauty, 4cm high, banded agate display pillar, 8.5cm high overall

Alfred Lyndhurst Pocock (1882 - 1962), a chalcedony carving, of a ram, unsigned, 5cm long; a green stone carving, the head of a woman, 5.5cm long; another, square onyx pillar, 12.5cm high (3)

African Zimbabwean sculpture stone carving of stylised human form depicting an embraced couple approximately 32cm high

A JADEITE CARVING OF THE HEHE TWINS20th centuryOne brother holding a lotus plant extending across both heads, the seated twin holding a covered box in front of his chest, the stone with white inclusions and apple green shades at the top.6.5cm (2 5/8in) highFootnotes:二十世紀 翠玉合和二仙For further information on this lot please visit Bonhams.com

A SOAPSTONE FIGURE OF THE LUOHAN ASITAKangxi Seated with the right knee raised to support the hand clutching one thick trailing eyebrow, the other tucked behind the ear, the robes with finely incised detailing, the stone of even pale green hue with some faint milky russet inclusions. 14cm (5 1/2in) high.Footnotes:The Property of a Lady and a Gentleman清康熙 壽山石羅漢像Important evidence for the dating of Chinese soapstone carving comes from the small collection that was left to the British Museum by Sir Hans Sloane following his death in 1753. A related soapstone luohan carved from similar stone is in the collection of the V&A museum and illustrated in Clunas, Craig. Chinese Carving, 1996. p. 76, fig. 89.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A PALE GREEN JADE 'TOAD' CARVING AND A WHITE JADE 'CAT' CARVING17th and 19th centuryComprising: a pale green and russet three-legged toad, the stone of a mottled russet, green and brown tone; and a white jade recumbent cat with its head tilted to the left, grasping a leafy branch in its mouth, the stone of a cloudy white hue.The toad: 7cm (2 3/4in) long (2).Footnotes:Provenance:Spink & Son Ltd., London, 24 April 1998 (the toad)A Scottish private collection, and thence by descent十七及十九世紀 青玉雕蟾蜍及白玉雕臥貓For further information on this lot please visit Bonhams.com

§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Ollie the Otter Maquette signed, titled and numbered 10/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver Dimensions:20cm high (7 7/8in high) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.

§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Playful Otter Maquette VII inscribed, titled and numbered 23/25, stamped with the foundry mark, polished bronze Dimensions:27cm wide (10 5/8in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.

§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Little Otter II, 1970 signed, dated, titled and numbered 4/7, stamped with the foundry mark, patinated bronze Dimensions:29cm wide (11 1/2in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.

§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) The Otter, 1994 signed, titled, dated and inscribed IN MEMORY OF GAVIN MAXWELL (to base), Coniston Stone Dimensions:33cm high, 49cm wide (13in high, 19 1/4in wide) Provenance:Gavin Maxwell (1914-69) was a British naturalist and author, best known for his book Ring of Bright Water (1960), about an otter he brought back from Iraq to Scotland. The book sold more than a million copies and was made into a film starring Virginia McKenna and Bill Travers in 1969. Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.

§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Sutherland Nude, 2007 signed, titled and dated (to base), Ledmore marble Dimensions:44.5cm wide (17 1/2in wide) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.

§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Dancer III signed, titled and numbered 2/7, patinated bronze on marble base Dimensions:70.5cm high (27 3/4in high) including base Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.