A Chinese painting of a dramatic lingbi scholar's rock surrounded in mist by the artist Li Yong (b. 1966). Painted in ink on paper. Large painting in round format. Signed.

Dimensions: Size of paper: 53 3/4" high x 54" wide. Size of art: 43 1/4" diameter

Chinese late Qing to Republic period guanpixiang table-top chest with a mansard-style hinged top that lifts to expose a single shallow tray above a pair of doors opening to five drawers with metal pulls all upon an attached base. A circular lockplate with ruyi-form clasp is on the front. Two side carrying handles. These chests were typically utilized by men to hold seals and related accessories while women were known to use them for cosmetics storage. Early 20th century...

A small but very attractive album leaf in ink and faint colors on silk depicting a scholar on an outing on a river or lake. Signed: Yue An zhu ren (Moon Hermitage Dweller). Dated gengshen = 1860. The style used is in imitation of the ‘dry or sparse ink landscape’ associated with the Yuan painter Ni Zan (1301–1374). Qing, mid-19th cent. H 23 cm, W 18.5 cm (picture frame). Condition: Fair w. some soiling.

19th Century Chinese Bamboo Carved Scholar Brush Pot with Calligraphy & Plum Tree Blossom Signed

It is 4.6 inches (11.7 cm) tall by 2.4 inches (6.1 cm) wide. It is 93.9 gram.

It has hairline cracks, stains, chips, and surface wears and scratches (as seen in the photos).

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A very attractive stand of natural, gnarled root wood with a deep honey color and very good details. Finely grained wood (cypress?) with dark recesses. To be use to enhance the beauty of a fine small vase, cup or scholar object as incense burner. China, Qing, probably late 19th century. H 13 cm, W 15 cm. Condition: very good and fine patina.

An elegant and fine ink-stone (Shezhou, Anhui) made of carved, dark schist with minor, green-brown inclusions. One “eye.” Two small feet at top end. Fitted and finely carved lid of chicken wing wood (jichimu). The inscription reads: “A treasure from the Zhishi shanfang.” In a Japanese box from the 19th century (with full inscription). China: Qing, probably 18th cent. L 16,5 cm, W 11 cm. Condition: Excellent (small chip in ink-well).

A fine and rare incense burner for the scholar’s table of carved and polished black stone. Rectangular in shape, a pair of open-work handles in the form of scrolls on four short legs. The two main sides carved with dragons in archaic style. China, mid-Qing, 18th cent. W 9 cm, D 4.5 cm, H 5 cm. Condition: Super (minor wear due to age, but very good patina all-over).

Simple Han inkstone, polished smooth one side and rough underneath. Signs of exavation and typical distinct petrichor smell. L: 20cm/7.9in x 6.3cm/2.5in. Note last image is from Chinese Inkstones- Simon Kwan, for reference.

Fine and rare Longquan classic celadon bottle with an unusual shape- like a truncated meiping. The depth of the glaze achieves the ideal “jade like” quality that is much sought after by celadon collectors. The Ming attribution is conservative based on the inward beveling on the footrim and reddish slip visible on the glazed edge, but Yuan or Song cannot be completely ruled out...

Lithograph on black and white paper of a Lohan (Arhat). In the 9th century this portrait was painted, along with those of 15 other Ahrats, by the painter Guanxiu who was a Buddhist monk. 900 years later, in 1757, Emperor Kienlong during a visit to Shengyin Monastery in the former Hangzhou Province discovered the 16 portraits there...

The artist has represented a standing character, leaning on a broom, with a blissful and amused expression on his face turned towards the sky. This is probably Shih Te, a mischievous young Chinese monk who, according to legend, lived in the Kwo-Ching-Su temple in China during the Tang period around the 9th century. He is always represented with a broom because he was employed in the maintenance of the temple...

Two lidded jars with Qingbai and Jizhou glazes and terra cotta playing pieces. Not Song Dynasty but all hand made. The brown jar Jizhou jar has some discoloration. This white “stones” are 180 and there are 176 of the darker ones. D: 12cm/4.8in and H: 8cm/3.1in.

A Chinese scroll painting of a dramatic scholar's rock surrounded by mist by the artist Li Yong (b. 1966). Painted in ink on paper. Large painting with signature and two seals. Age: Dated 2014

Dimensions: Size of scroll: 72" high x 39" wide (42 1/2" including rollers). Size of art: 37 1/2" high x 37 1/2" wide

A well-made ink-stone box of heavy, rose wood (hongmu). The lid inlaid with thin bamboo slips to form a sentence of four characters reading: “Auspecious Blessings as You Please (Jixiang ruyi).” Late Qing, ca. 1900. L 24 cm, W 15 cm, H 5 cm. Condition: Perfect (very minor wear due to use).

A Chinese calligraphy brush with a small antler handle having a bit of hair remaining at the ferrule. Ferrule is made of dark horn with dark natural hair bristles. Total Length 9.75"

Soapstone pot. Sculpted decoration of a landscape animated by characters. In certain places, openwork crosses the walls. The cylindrical pot rests on three feet carved from the mass, it is covered with an openwork wooden lid, topped by a soapstone grip representing lotuses. It is possible that it is an incense burner, which would explain the presence of the Openworks for the evacuation of smoke and good ventilation, put into operation it has a very nice effect...

Chinese Qing dynasty low circular form porcelain brush washer covered overall in a monochrome oxblood red glaze holding a partly submerged moulded recumbent water buffalo at the center. A brown wash was applied to the low flat foot and slightly recessed base. 7 3/4" diameter x 2” high. 18th/19th century. A few thin glaze losses in the bottom reveal the white porcelain body. A small production flaw to one horn looks like a chip but appears to be glazed over...

The base is made up of several small wooden parts finely cut with flowers, scrolls and Greek motifs. The majority of the wood is dark brown, almost black, small inserted panels are made of boxwood, the barriers are made of bone. These barriers were tinted green, a color today almost completely erased by light and time, however more pronounced shades of green remain in the most sheltered places. This barrier is carved with plum blossoms, bamboo stems and pine needles...