the top carved with a rectangular and an oval roundel enclosing characters, the stone of a very pale whitish-green tone

[1]

the flattened stone fluidly carved as a water buffalo, with detailed facial features, horns, hooves and tail, the stone of a pale creamy brown tone (one side with rubbing to the stone, small old chip to tail, small nicks and wear as may be expected)

[1]

carved as a standing figure with triangular head, the stone of a pale celadon tone with russet inclusions and veins, drilled (wear and small nicks as expected)

[1]

one a pendant of a kneeling figure and the other a dragon within a frame, the stones of an opaque mottled tone

[2]

one of a buddhist lion, one of a qilin and one of a bird holding a spray of fungus

[3]

carved in the Han style as a standing bear with large head and eyes, the stone of a pale tone with cream inclusion and russet veins, drilled

[1]

of varying shape and each incised with slit, two altered and three of celadon tone

[5]

each carved with geometrical patterns, one of celadon tone, the other brown (nicks and alterations)

[2]

carved with mythological animals and scrolls, the stone of a pale tone with some encrustation

[1]

consisting of sixteen pieces shaping a striding dragon, the stone of a grey and celadon tone

[1]

each of arched shape and terminating in dragon heads, the bodies carved with stylised scrolls, the stones of opaque celadon and grey tones (surface wear, encrustation)

[2]

one a pendant shaped as a phoenix, the other a huang arch with intricate carvings of mythological animals, bot stones opaque (surface wear, encrustation)

[2]

each variously shaped as a coiling dragon, of grey and celadon tone, opaque (surface wear, encrustation)

[2]

each variously shaped as a coiling dragon, of celadon tone, opaque (surface wear, encrustation)

[3]

each variously carved with scrolls and terminating in dragon heads, of celadon and grey tone, opaque (surface wear, encrustation)

[3]

one a disc framed and surmounted by a dragon, the other shaped as an a humanoid animal, of celadon, green and russet tone, opaque (surface wear, encrustation)

[2]

each of various shape and variously inscribed with characters and carved with mythological animals (some wear as expected)

[5]

each moulded with an official, one of green and the other of brown tone (wear, some chips and natural cracks)

[2]

rectangular, with bell-shaped carved interior basin and carved with scrolls, the reverse incised with mark

[1]

one of gourd shape and painted with scrolling gourds, the other of flattened baluster shape and painted with two panels of boys, stopper, both marked to the base (some wear and minor frits)

[2]

one agate and four ceramic moulded with figures and animals (small damages and wear)

[5]

inlaid with lotus heads on a turquoise ground, applied with two handles in the shape of mythological animals, the base with four-character mark (wear)

[1]

the exterior carved in low relief with fishermen in a river landscape (splits to the wood)

[1]

carved leaning on his bamboo stick, a branch of peach in his right hand and an acolyte beside him

[1]

comprising a tripod censer, a hu vase and a model of a dog, each inlaid with floral and geometrical patterns (some wear)

[3]

each of flattened shape and moulded with lug handles, two covered in a cream glaze, one moss green and one pale celadon (some old chips and frits)

[4]

of rectangular shape, inlaid with mythological animals on a turquoise ground, the cover inlaid with celadon jade plaque carved with chilong (dents and losses to cover, interior with wear to turquoise)

[1]

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

[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]