the corners carved with masks (wear as expected)

[1]

various dates, in two folders

ieder met gevlochten rotan zitting

[2]

[1]

the brushes of various materials such as wood, bone and stone

[6]

cast with panels of stylised dragons, the handles in animal shape (one handle with flange missing)

[1]

Comprising approximately 30 reference books, including: A. Salmony, Chinese Jade through the Wei Dynasty, New York 1963; A. Salmony, Carved Jade of Ancient China, London 1982; Stanley Charles Nott, Chinese Jade Throughout the Ages, London 1936; B. Laufer, Archaic Chinese Jades, New York, 1927; M. Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection, Harvard, 1975; Yu Ming Bian, The Complete Collection of Jades Unearthed in China (set of 15 volumes), Science Press, 2006; Hamada, Kosaku, Yuchikusaizo-Kogyokufu, or, the Early Chinese Jades in the Collection of the Late Riichi Uyeno, Tokyo, 1936; Teng Shu-P’ing, Neolitic Jades in the Collection of the National Palace Museum, Taipe, 1992; Zhong Guo Yu Qi Quan Ji, Complete Works of Chinese Jade, exhibition catalogue, six volume set, Heibei Fine Arts, 2006; Chinese Jades from the Mu-Fei collection, Wu Hung & Brian Morgan, London, 1990; Jade, Essence of Hills and Streams, S. Howard Hansford, Johannesburg, 1969. (all uncollated)

[30]

Including: The birth of landscape painting in China, Michael Sullivan, 1962. The art of Xu Beihong, Hong Kong Museum of Art, 1988. The art of Gao Qifeng, Hong Kong Museum of Art, 1982.

[27]

Including: The Bei Shan Tang Legacy: Gifts of Chinese Art, Hong Kong Museum of Art, 2009. A Passion for Tradition: The Art of Li Yanshan, Hong Kong Museum of Art 2001. The Xubaizhai Collection of Chinese Painting and Caligraphy, Hong Kong Museum of Art, 2003.

[13]

Including: Imperial Wares of the Robert Chang Collection, Christie's Hong Kong, 2 November 1999. Important Chinese Jades from the Personal Collection of Alan and Simone Hartman, (part two) Christie's Hong Kong, 27 November 2007. The late Chingwah Lee Collection, Sotheby's Los Angeles, June 8 1981.

[33]

Including: Chinese Carved Jades, S. Howard Hansford, London, 1968. Important Jade Carvings from the Somerset de Chair Collection, Bonhams Hong Kong, 27 November 2014. A Catalogue of the National Palace Museum's Special Exhibition of Circular Jade, Taipe, 1995-1996.

[26]

Including: Catalogue of Excavated Artifacts from Yinxu, IHP, 2009. Gems of China's Cultural Relics, Cultural relics publishing house, 1993. Der Chinesische Teppich, E. Gans-Ruedin, Prestel, 1981.

[23]

Including: The Dr. S.Y. Yip Collection of Classic Chinese Furniture, Hong Kong, 1991. Connoisseurship of Chinese Furniture, Volume 1 & 2, Joint Publishing, Hong Kong 1990. Splendor of Style: Classical furniture from the Ming&Qing Dynasties, Dr. Kuang-nan, National Museum of History, 1999.

[20]

Including: Oriental Rugs in Private Collections, L.W. Harrow, Scorpion London, 1982 (edition of 1.000 copies). Der Orientteppich und seine Muster, P.R.J. Ford, London, 1981. Eine Sammlung Orientalischer Teppiche, H. Jacoby, Berlin, 1923.

[22]

Four volumes in a clothbound slipcase, l. 31,4 cm, w. 22,5 cm, d. 5,5 cm. Catalogue note: The Shizhuzhai Jianpu, Ten Bamboo Studio Catalogue of Letter Paper, was first printed in late Ming dynasty and is divided into eight categories. A Chinese publisher, Rongbao Zhai was tasked to reprint the book in the first decades of the 1900s, completing the first edition in 1941. In 1952, there was a second republication of around 300 copies. Another example from the 1952 edition is part of the British Museum collection. The Beijing Rongbao Zhai Xin Ji Shi Jian Pu was first published in 1951 and reprinted in 1953, 1955, and 1957. It is comprised of 80 letter papers designed by some of the most famous artists of the time, including 32 by Qi Baishi, who also wrote the title of the book at 91 years old.

[1]

Including: Animals in Chinese Art, A Collection of examples etc., H. D'Ardenne de Tizac & Roger Fry, Benn Brothers, London, 1923. Tombs of old Lo-Yang, William Charles White, Shanghai, 1934. Asiatische Kunst Ausstellung Köln, Alfred Salmony, München, 1929.

[17]

Including: Masterpieces of Chinese Painting and Calligraphy of the Jin, Tang, Song and Yuan Dynasties from the Palace Museum, Honk Kong Museum of Art, 2007. Ancient Sichuan, Treasures from a Lost Civilisation, Seatle Art Museum, 2001.

[20]

Including: Jades from the Tomb of the King of Nanyue, Peter Lam, Hong Kong 1991. Exquisite Jade Carving: Figures, Animals, Ornaments, University of Hong Kong, 1996. The Youngman Collection , Chinese Jades from Neolithic to Qing, Robert P. Youngman, Art Media Resources, 2008.

[16]

Including: The Discovery of a New Type of Hongshan Culture Jade Carvings, Sun Shoudao, Liu Shujuan, Jilin Literature & History Press, 1984. Sparkling Splendours, The Art of Ancient Chinese Carvings on Rock Crystal and Agate, The Taoshi Zhai Collection, Chinese University of Hong Kong, 2000.

[22]

Including: Qing Porcelain: Famille Verte, Famille Rose, Michel Beurdeley and Guy Raindre, London, 1987.

[16]

Including: Decorated Porcelains of Dingzhou, White Ding wares from the collection of the National Palace Museum, Taipei, 2014. Die Keramik der Song-Zeit, Mary Tregear, 1982. Chinese Ceramics, the New Standard Guide, He Li, London, 2014.

[20]

Including: Jades from China, Museum of East Asian Art, Angus Forsyth & Brian McElney, Hong Kong, 1994, Neolithic Jades in the Collection of the National Palace Museum, Teng Shu-P'Ing, Taipei, 1992. Chinese Jades, Ming Wilson, V&A, London 2004.

[22]

Including: Harmony and Integrity, The Yongzheng Emperor and His Times, National Palace Museum, 2009. Warring States Treasures, Cultural Relics from the State of Zhongshan, Hebei Province, Hong Kong Museum of Art, 2000.

[35]

A collection of approximately 61 volumes of the renowned annual British scholarly journal. London: various Printers, 1934-2018. Comprising: volume 12, 1934/35. Volumes 23, 24, 26, 28, 29, 32, 33, 34, 36, 37, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54 (2x), 55, 56 (2x), 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69 (2x), 70 (2x), 71 (2x), 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 83, 84. Limited editions, early issues are of 200 copies, growing to 1100 by the 1970s. Original wrappers or cloth bindings. Herewith; Collectors, Curators, Connoisseurs: A Century of the Oriental Ceramic Society 1921-2021, London, 2021.

[62]

carved as the endless knot, the stone of a celadon and russet tone

[1]

carved on short foot, with slightly flared rim, the stone of a mottled dark green tone

[1]

with 22 colour woodblock prints. Rongbaozhai, Beijing 1952, 5th month. Brocade covers.

[1]

Vier folio's met afbeeldingen en beschrijvingen van (rol)schilderingen.

[4]

each inlaid with lotus panels, with elephant-head handles

[2]

modelled with birds among floral scrolls, each marked with a character on the base (some minor wear as expected)

[2]

carved to both sides with a stylised bat, stopper

[1]

embroidered in coloured silk threads with dragons, phoenixes and flowers above, the hem with lishui stripes (some loose threads and some stains)

[1]

of various shapes and with various applications of lotus, animals and symbols (various damage and wear)

[10]

together with a faux-jade fish-shaped pendant

[2]

comprising a spinach bow, a pair of spinach cups, a celadon cup, a snuff bottle and a miniature vajra

[6]

comprising a shagreen spectacle case, a pair of soapstone seals, a seal with lion finial and two carved walnuts (some wear as expected)

[6]

[ds]

the central roundel with ladies and a gentleman in an interior, surrounded by fan-shaped landscape panels, on a pink ground embellished with flowers, gourds, pomegranates and peach (some flaking of the enamels to the rim, some scratches)

[1]

in the shape of an recumbent animal (wear as expected)

[1]

modelled realistically with high tails en combs

[2]