A CHINESE GOLD AND SILVER INLAID BRONZE ‘BIRD’ INCENSE BURNER. Late Qing Dynasty. Standing on tall legs, with the head turned to the right and bearing a fearsome expression, a handled vessel supported on the back, 19cm H. 清晚期 銅嵌金銀鳥形熏爐 Provenance: an English Private Collection.

A PAIR OF CHINESE BIRD AND FLOWER PAINTINGS. Qing Dynasty. One depicting a pair of cockerels and a magpie, the other a pair of peacocks and a paradise flycatcher, both inscribed and sealed to the top left corner, framed and glazed, by Liao Fuzhi , 47 x 32cm. (2) 清 廖福之繪畫兩幅， 「你徐崇嗣先生筆意，錫培廖福之」、「福之仿古」、「錫培」、「廖福之」款 Provenance: From the collection of Brigadier Harry Hamilton Dempsey CBE (1895-1973) and Mrs Stella Muriel Dempsey (1899-1982), acquired in Hong Kong in the 1930s, thence by descent to the present owners.

EIGHT CHINESE EXPORT PAINTINGS. Qing Dynasty, 19th Century. Comprising four paintings of birds and blossoms and four of sampans, ships and fishing junks, framed and glazed, 24 x 15cm, 29 x 17.5cm. (8) 清 十九世紀 外銷通草畫六幅

A CHINESE IVORY CARVING OF MAGU. 17th Century. The Immortal maiden carved standing, wearing flowing robes, her hair arranged in a layered chignon, with a basket of blossoms hung over the right arm, 18.5cm H. This lot may be subject to CITES. 十七世紀 象牙雕麻姑立像

A CHINESE IVORY BRUSH POT, BITONG . Late Qing Dynasty. Carved with a continuous scene of a duel between two warriors in a rocky landscape beneath trees, with a floral band to foot and a lappet and beaded border to the rim, 12.7cm H. This lot may be subject to CITES. 清晚期 象牙雕猛士圖筆筒

A CHINESE IVORY CANTON BRISÉ FAN AND CARD CASE. Qing Dynasty, 19th Century. Carved on both sides with figures in landscapes, pagodas and beneath trees, with dragons in low relief to the external leaves, c arved with variously shaped cartou ches of figures amongst trees by pagodas, with a floral border to the edge, the fan 32cm wide, 19cm long, card case 10.8 x 6.8cm. (3) This lot may be subject to CITES. 清 十九世紀 象牙雕人物園景紋折扇及 卡片蓋盒

A CHINESE IVORY ARCHAISTIC ' QILIN ' TOOL VASE. Qing Dynasty, 18th Century. The mallet-shaped square-section body with a tall neck carved with stylised mythical beasts with scrolling bodies, with a band of to the rim, 10cm H. This lot may be subj ect to CITES. 清 十八世紀 仿古象牙雕麒麟紋瓶

A CHINESE TABLE IVORY SCREEN. 17th Century. Carved in shallow relief with the poet Li Bai sleeping leaned against a bundle of scrolls near a wine pot to one side and a poem with two seals to the reverse, together with a later ivory stand, 19.7cm H. (2) This lot may be subject to CITES. 十七世紀 象牙雕詩仙醉酒圖紋插屏，反刻《靜夜思》

A LARGE CHINESE MARTABAN JAR. Ming Dynasty. Robustly potted, with the ovoid body rising to a waisted neck with lipped rim, with incised lotus scroll to the shoulders which are also set with four equally spaced lug handles, the body modelle d on one side with the head of Buddha, a finger citron on the reverse, 45cm H. 明 醬釉暗刻纏枝蓮僧面紋四系罐

A CHINESE BAMBOO 'DEER' LIBATION CUP. 17th Century. The deeply hollowed, flared body carved in high relief with a pair of deer near pine trees: the buck standing the roe recumbent, the wood with a deep rich patina, 8cm H, 11cm diameter. 十七世紀 竹雕松 鹿紋貢杯

A PAIR OF CHINESE MOTHER-OF-PEARL INLAID BLACK LACQUER TRAYS. Qing Dynasty, Kangxi period. Of square form with cut corners, inlaid in gold and mother-of-pearl to depict scholars with attendants in a rocky garden, each inlaid to the base in m other-of-pearl with a poetic inscription, one inscribed R u Gang Ru Ling (like the topmost ridges, and the greatest bulks), the other Ru Nanshan Zhi Shou (like the age of the southern hills), 10.5cm diameter. (2) 清康熙 黑漆嵌螺鈿托盤一對，「如崗如陵，如南山之壽」款 Both the inscriptions on these two trays are lines taken from the Shi Jing (Book of Poetry), section II, Minor Odes of the Kingdom, chapter I, Decade Of Lu Ming: Tianbao . The translations given above are by James Legge. For a pair of related square dishes similarly inscribed with poetic quotes on the reverse see Layered Beauty: Baoyizhai Collection of Chinese Lacquer , Institute of Chinese Studies, the Chinese University of Hong Kong, 2010, cat no 28.

A CHINESE CARVED BAMBOO ‘BIRD AND POMEGRANATE’ CUP. Qing Dynasty, 18th/19th Century. The uneven rounded sides tapering to the foot, incised around the body with a bird eating seeds from a pomegranate fruit beside another bird, within a leafy tree, 7.5cm H, 11cm diameter. 清十八 / 十九世紀 竹雕石榴鳥紋盃

A CHINESE GILT-DECORATED BLACK LACQUER FAN. Qing Dynasty. The twenty-two leaves painted in gilt with shaped panels containing figures in landscape against a ray skin ground between floral borders, 32.5cm long. 清 黑漆鎏金繪人物園景圖折扇

A CHINESE GILT-DECORATED BLACK LACQUER CABINET. Qing Dynasty. Painted with figures in landscapes near pavilions within floral borders, with double doors enclosing five drawers with ivory handles, all supported on four bracket feet, 36.5 x 28.5 x 18 .5cm. (6) 清 黑漆鎏金人物故事圖雙開柜

THREE CHINESE WOOD STANDS. Late Qing Dynasty. Comprising a pair of L-shaped two tier stands with reticulated aprons and a single rectangular stand with an apron carved with scrolls, 11 x 17 x 26cm, 14 x 25 x 34.5cm. (3) 清晚期 木雕底座三只

A PAIR OF CHINESE HARDWOOD DISPLAY SHELVES. 20th Century. With an arrangement of five levels of shelves and silhouettes of various objects carved to the side walls, 51cm x 50cm x 10.5cm. (2) 二十世紀 木雕展櫃一對

A CHINESE SANCAI- GLAZED POTTERY FIGURE OF A LADY. Tang Dynasty. Standing, wearing long flowing robes, with hair piled in a tall chignon, together with a wood stand, 25cm H. (2) 唐 三彩仕女像 Provenance: previously in the collection of J.M. Hu ( 1911-1995).

A CHINESE LIMESTONE CARVING OF A MAITREYA BUDDHA. Northern Wei Dynasty, 4th/5th Century, or later. With downcast eyes and a serene smile on an oval face framed by elongated earlobes, his hair parted to the centre, covered by a tall headdress, the right hand raised, with shallow folds of the robe carved to the arms, raised on a modern stand, 20cm H. (2) 北魏 四 / 五世紀或更晚 石灰石雕彌勒佛像連座 Provenance: an English private collection. For related sculpture fragments with a see Dr. Saburo Matsubara, Chinese Buddhist Sculpture, 1996, p 140, fig A, also see Sotheby's New York, 17th September 2013, lot 55 for a similar sculpture fragment from Northern Qi Dynasty.

A CHINESE CIZHOU 'MANDARIN DUCK' SGRAFFITO JAR. Yuan Dynasty. The cylindrical rounded body incised with a Mandarin duck on a pond amongst stylised waves and lotuses between two bands of foliate scrolls, 10.5cm H, 12cm diameter. 元 暗刻鴛鴦蓮紋磁州窯罐 Provenance: J an van Beers Oriental Art label .

A CHINESE SANCAI DISH. Tang Dynasty. Incised to the centre with a stylised flower head, 23cm diameter. 唐 三彩碟

A CHINESE QINGBAI 'LOTUS' INCENSE BURNER AND COVER. Song Dynasty or later. The ovoid body moulded with a row of lotus petals and supported on three palmette-shaped legs, the domed cover with a reticulated decoration of a central flower head within a band of smaller blossoms and scrolling foliage, contained in a Japanese wood box, 12cm H, 11.5cm diameter. (4) 宋或更晚 青白釉三足蓋爐連木盒

A CHINESE JUN YAO EWER. The pear-shaped body decorated with a pale blue glaze with a lavender splash to the upper part and a twisted rope loop handle, 28cm H. 鈞釉繩紋提梁壺

A CHINESE RUSSET-SPLASHED CONICAL BOWL. Song Dynasty. Delicately potted with wide, flaring sides, and covered inside and out with a lustrous black glaze streaked the exterior with russet splashes, 7cm H, 17cm diameter. 宋 黒釉褐斑盌

A CHINESE DINGYAO LOBED BOWL. Song Dynasty. The widely flaring sides divided into six lobes, supported on a short foot and an angled base, 20cm diameter. 宋 定窯花口折沿盌 The form of the current dish is closely related to lacquer d ishes of the Song period, for an example see Hai-wai Yi-, Lacquerware , Taipei, 1987, p 33, no 33.

A CREAM GLAZED ‘OX’ JAR. Korea. The globular body supported on a short foot and rising to a lipped rim, the body painted in slip with a seated ox, 22cm H. 朝鮮 米白釉罐，「 玄□河東□□□金融贈中央投資 」

A PAIR OF CELADON JARS AND COVERS. Korea. Rising to wide shoulders with a cover pierced and carved with floral patterns, 33cm H. (4) 朝鮮王朝 青釉蓋罐一對

CHEO SEOK-WAN (attributed to). Vines, i nk on paper, Korean leaf paintings, 43 x 27cm. (6) 葡萄圖六幅，水墨紙本 Provenance: Acquired from Sandy Henderson in the early 1970s.

A POLYCHROMED WOOD 'MARRIAGE' DUCK. Korea. With stylised plumage painted brown, blue, red and black, with a short tail and a detachable neck, 24 x 32cm. (2) 朝鮮 木雕加彩鴛鴦

A LARGE CHINESE FAMILLE ROSE 'EIGHTEEN LUOHAN' VASE. half of 20th Century. With a tapered body and a waisted neck flanked by two stylised dragon handles, all painted with panels containing and boys against pink and turquoise ground with lotus fl owers and foliage, dragons and phoenix birds divided by bands of lappets and heads, 58cm H. 二十世紀晚期 粉彩繪纏枝花紋十八羅漢圖雙耳瓶，「大清乾隆年製」款

A 'QIANJIANG' SCHOOL ENAMELED ' CONG ' VASE. Attributed to Cheng Men. The square-section body painted to two sides with figures in sampans on a river in a mountainous landscape, the two other sides, each with an elephant head-shaped handles, one wi th a bird on a blossoming branch, the other with and flowers, each with a poem and a seal, 30cm H. 仿程門款粉彩雙象耳琮式瓶 款識： 綠水青山漁舟䪣揖，辛巳七月上浣，雪笠程门，「臣」，「門」款 子翁仁兄大人，雅□既正，雪笠程门、「臣門」、「雪笠」款 仿董華亭墨法，笠道人寫生，「雪笠」款 笠道人寫，「松生」款 Cheng Men (d. before 1908) was a porcelain painter active in the Late Qing dynasty. He painted in the Qianjiang style using a subdued palette reminiscent of literati ink and watercolours paintings.

A CHINESE EGGSHELL PORCELAIN FAMILLE ROSE VASE. 20th Century. The wide-shouldered vase rising to a flared rim, finely painted around the body with figures beneath a pine tree beside rocks, opposite a poetic inscription, four character Qianl ong mark to base, wood stand, 19cm H. 二十世紀 粉彩繪薄胎蛋殼瓷瓶 款識： 問餘何意栖碧山，秋草依人心自閑，「 佳丽 」、「 旭 」、「 映 」、「 乾隆年製 」款

A CHINESE FAMILLE ROSE PORCELAIN PANEL. Painted with four sages in a landscape, inscribed and framed, 37.5 x 24.5 cm. 粉彩繪人物故事圖瓷板

FOUR CHINESE VASES 20th Century. Comprising: a large vase painted with warriors praying to celestial maidens, a pair of small vases with tall necks and flared rims decorated with landscapes by a water's edge and winter landscape vase, each with a Qianlong mark to the base, 18-39cm H. (4) 二十世紀 粉彩及墨彩瓶四只，「乾隆年製」款

A CHINESE FAMILLE ROSE 'EROTIC' JAR AND COVER. 20th Century. The ovoid body painted with enamels and gilt with a couple in a landscape making love near a tree, with two lines of calligraphy to the reverse, all between two thick gilt borders, the c over with an amorous couple by a river within a gilt border, a Qianlong mark to the base, 9cm H. (3) 二十世紀 粉彩春宮圖紋蓋罐及碟 款識： 顛鸞倒鳳請正濃，神遊巫山十二峰，「大清乾隆年製」款

A CHINESE FAUX-BOIS GROUND VASE. 20th Century. Of baluster form with rounded shoulders and a flared neck, the body with two heart-shaped panels one finely painted with two dogs in a rocky landscape, the reverse side with panel enclosing a calligraphic inscription, four character Z hen De Tang Zhi mark to base, 34cm H. 二十世紀 木紋釉開光繪粉彩松樹狗紋瓶，「慎德堂製」款

A CHINESE FAMILLE ROSE 'LADIES' DISH. 20th Century. Finely painted with three ladies in colourful robes, one seated by a desk with scrolls, books and a brush pot, two women standing before her, inscribed and sealed, all within borders of cash, bead s and key fret, the reverse with a Qianlong mark, 31cm diameter. 二十世紀 粉彩仕女圖紋碟，「乾隆年製」款 款識： 地角筆鋒裏，天涯方寸間，「三」、「□」、「□」款 Provenance: Collection of Mr Clemente Álvarez de Lara, Conde de Adernò (1918 -1990), Venezuela and Spain, acquired in 1950s and 1960s and thence by descent.

A CHINESE FAMILLE ROSE 'LANDSCAPE' DISH. 20th Century. Painted with figures in a mountainous village landscape, with sampans on a river by a bridge, the reverse with a four character Qianlong mark, 30.3cm diameter. 二十世紀 粉彩山水圖紋碟，「乾隆年製」款 Prov enance: Collection of Mr Clemente Álvarez de Lara, Conde de Adernò (1918-1990), Venezuela and Spain, acquired in and 1960s and thence by descent.

A CHINESE FAMILLE ROSE 'LADIES' DISH. 20th Century. Painted with a lady in colourful robes with her two attendants in a garden near a pavilion and trees, inscribed and sealed, all within of diaper, beads and heads, the reverse with a Qianlong mark, 32cm diameter. 二十世紀 粉彩仕女園景圖碟，「乾隆年製」款 款識： 花明柳暗人爭慕，畢竟紅樓夢未央，時甲辰之□写于珠山，「□」、「印」款 Provenance: Collection of Mr Clemente Álvarez de Lara, Conde de Adernò (1918-1990), Venezuela and Spain, acquired in 1950s and 1960s and thence by descent.

A CHINESE 'COCKERELS' DISH. 20th Century, attributed to Deng Xiaoyu (1920-2000). Painted with five cockerels in a fenced garden near a pine tree and , from which sumptuous peony sprays emerge, all within a head border, a Qianlong mark to the b ase, together with a blue and white Japanese bowl and a Chinese wine cup, 28cm diameter. (3) 二十世紀 仿鄧肖禹粉彩錦雞紋碟,「乾隆年製」款，連酒杯及日本盌一只

A CHINESE FAMILLE ROSE DISH. Attributed to Zhang Wenchao. Painted with an electrician instructing a group of children on constructing a water pump by the river bank, inscribed Jing De Zhen Yi Shu Chi Chang Mei Yan Shi to the reverse and marked 1 970, together with another dish painted with a group of ladies reading books around a table on a fenced terrace near rockery, 26-27.5cm diameter. (2) 仿章文超粉彩人物故事圖紋碟，「章文超繪」、「印」、「景德鎮藝術瓷廠美研室，一九七零年」款，及粉彩仕女園景圖紋碟，「大清乾隆年製」款

A CHINESE FAMILLE ROSE 'DOGS' DISH. Dated 1962, possibly later. Painted with two hounds in a landscape with misty mountains in the background, inscribed to the top and with a seal, the base inscribed and 23.5cm diameter. 一九六二年或更晚 粉彩繪獵狗紋圖碟 款識 : 瑞犬迎祥，壬寅年仲冬汪以後□，「汪」、「景德鎮藝術瓷廠美研室一九六二年」款

A PAIR OF CHINESE FAMILLE ROSE VASES. 20th Century. Of rouleau form, decorated with ladies in a garden setting, 44cm H. (2) 二十世紀 粉彩繪仕女園景圖瓶一對

A CHINESE 'BIRD AND FLOWER' ROULEAU VASE. 20th Century Finely painted with a pair of birds perched on blossoming branches, with a sealed poem to the reverse and decorative bands of key frets, tassels and ruyi heads to the rims, neck and shoulder, with a four character seal mark to the base, 33cm H. 二十世紀 粉彩花鳥紋棒槌瓶，「乾隆年製」款

A CHINESE SQUARE DEHUA 'LION' SEAL. Incised with four characters and a lion dog finial within a border, 5cm H. 德化窯獅形印

A CHINESE CARVED AMBER WATER-DROPPER AND COVER. Qing Dynasty, 18th to 19th Century. The body supported on a short recessed foot, and deeply carved with the handle carved to form a branch of flowering prunus extending over the body with an a ttendant bird, the handle opposite a short spout, the circular cover supporting a finial formed as a monkey carrying a peach, a mischievous expression on the face, 7cm H, 8cm wide, 44g. (2) 清十八 / 十九世紀 琥珀雕 歲寒三友 水滴連蓋

A CHINESE MOULDED HEXAGONAL SECTION DEHUA VASE. Qing Dynasty. With a baluster-shaped body decorated with panels of birds and blossoms and a waisted neck framed by two dragon head handles with loose rings, 14.5cm H. 清 德化窯六方瓶雙龍耳瓶

'DERBY DAY CATASTROPHE AT HAPPY VALLEY 26TH FEB 1918'. An album containing twenty photographs taken during the 1918 derby in Happy Valley, Hong Kong, 36.5 x 24.5cm. 一九一八 跑馬地馬場大火老照片

A CHINESE EMBROIDERED SILK PANEL. Late Qing Dynasty. Decorated with a bird perched on blossoming wisteria branches, with two lines of calligraphy to the top right, all on ground, framed in a mother-of-pearl-inlaid frame and glazed, 23 x 103cm. 清 晚期 黃地花鳥紋刺繡

A SECTIONAL RHINOCEROS HORN WALKING CANE. 91 cm long. This lot may be subject to CITES. 犀角拐杖

A CARVED RHINOCEROS HORN CLUB. Dated 1886. With a tapering cylindrical shaft terminating in a hexagonal end, 60cm long. This lot may be subject to CITES. 一八八六 犀牛角雕警棍

THREE WALKING STICKS WITH RHINOCEROS HORN HANDLES. Circa 1920. 87-90cm long. (3) This lot may be subject to CITES. 約一九二零 鑲犀角把手拐杖三隻

TWO WALKING STICKS WITH RHINOCEROS HORN HANDLES. Circa 1920. 81-82cm long. This lot may be subject to CITES. 約一九二零年 鑲犀角把手拐杖兩隻

A COLLECTION OF JAPANESE BUDDHIST ALTAR CLOTHS. 19th Century . Three Kinran Uchijiki (altar table covers), woven in silk and metallic threads, with confronted dragons and in linked medallions set against a purple ground, 163 x 134cm, cr anes and dragon amongst stylised floral design on pale blue, 130 x 134cm, stylised chrysanthemum and paulownia design with borders, 81 x 162cm, and a silk woven obi with cranes, pines and peonies, 380 x 32cm. (4) 金襴寺裂、帯 19 世紀 Provenance: Purchases from K Imaizumi, Tokyo in1926, formerly the collection of Zojoji temple in Tokyo.