An archaic bronze mirror, Tang dynasty. Estimate 3,000 — 4,000 GBP (4,070 - 5,426 EUR). Photo Sotheby's

divided into six lobes, the front cast with mythical beasts and phoenix amongst floral scrolls; together with a bronze ‘bird’ belthook, Han dynasty, and a bronze bell, Warring States period, Japanese wood boxes.Quantité: 6 - 5.5cm., 2 1/8 in.

Provenance: Mayuyama & Co. Ltd, Tokyo.

Sotheby's. The Soul of Japanese Aesthetics – The Tsuneichi Inoue Collection, Londres, 13 mai 2015, 10:00 AM

An archaic bronze mirror, Tang dynasty. Estimate 2,500 — 3,000 GBP (3,391 - 4,070 EUR). Photo Sotheby's

of circular form, decorated with a boss to the centre, surrounded by meandering vines; together with an inscribed brown lacquer ear cup, Han dynasty and a bronze ‘deer’ cowrie shell holder, Han dynasty, Japanese wood boxes. Quantité: 6 - 5.5cm., 2 1/4 in.

Sotheby's. The Soul of Japanese Aesthetics – The Tsuneichi Inoue Collection, Londres, 13 mai 2015, 10:00 AM

A small collection of bronze mirrors, Han Dynasty and later. Estimate £1,000 - 1,500 (€1,400 - 2,100). Photo: Bonhams.

Comprising: a 'shan' mirror, crisply cast with the stylised character repeated over a ground of scrolling motifs; a smaller silvery bronze mirror with archaistic geometric and scrolling motifs, the latter resembling the character 'wen'; a TLV mirror with a scalloped edge; and a foliated mirror with geese amongst scrolling vines. 12cm (4 3/4in) diam. (4).

Provenance: a European private collection, probably acquired in the 1960s.

Bonhams. ASIAN ART, 11 May 2015 10:30 BST - LONDON, KNIGHTSBRIDGE

A circular bronze mirror, Warring States Period. Estimate £2,000 - 3,000 (€2,700 - 4,100). Photo: Bonhams.

The mirror back cast with three stylised dragons in mutual pursuit on a lozenge and diaper ground, the central loop boss surrounded with channel. 18.8cm (4/8in) diam

Provenance: Collection of Henri Geene (d.1950) and thence by descent.

Note: For a comparable mirror cast with three lozenge-bodied dragons, Warring States 3rd century BC, see Ju-hsi Chou,Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland Museum of Art 2000, no. 7, p. 28.

Bonhams. ASIAN ART, 11 May 2015 10:30 BST - LONDON, KNIGHTSBRIDGE

A silvered bronze 'Lion and grapevine' mirror, Tang dynasty (AD 618-907). Estimate £4,000 – £6,000 ($6,080 - $9,120). Photo Christie's Image Ltd 2015

The mirror is decorated with a central knop cast as a crouching lion surrounded by further lions romping amongst scrolling grapevines. The outer border is cast in a similar design interspersed with birds and insects, all below a band of detached florets. The reverse is plain. 6 5/8 in. (17 cm.) diam., metal stand and Japanese wood box

Provenance: Acquired in the 1980s.
Christie's New York, 19 March 2008, lot 501.
Property from the Sui Yuan Zhai Collection.

Christie's. CHINESE CERAMICS, WORKS OF ART AND TEXTILES, 12 May 2015, London, South Kensington

A silvered bronze mirror, Tang dynasty (AD 618-907). Estimate £5,000 – £8,000 ($7,600 - $12,160). Photo Christie's Image Ltd 2015

The mirror is cast with four striding animals encircling the central knop, surrounded by a sixteen-character inscription. 5 in. (12.7 cm.) diam.

Provenance: Christie's New York, 2 December 1998, lot 40.
Sotheby's New York, 20 March 2007, lot 539.
Property from the Sui Yuan Zhai Collection.

Christie's. CHINESE CERAMICS, WORKS OF ART AND TEXTILES, 12 May 2015, London, South Kensington

Wang Hui (1632-1717), Album of Landscapes (detail). Estimate HK $ 7 million - 10 million (€ 800,000 - 1.1 million). Photo: Bonhams.

HONG KONG.- An album of 17th century Chinese landscape paintings, each leaf with the seal and inscription of the Qianlong Emperor is to be sold in Bonhams Chinese Paintings and Calligraphy sale in Hong Kong on 31 May. It is estimated at £600,000–850,000 (HK$7,000,000–10,000,000). 

The ten leaves which make up the album were the work of the master painter Wang Hui (1632– 1717) and each painting is a homage to the artistic styles of earlier painters who worked during the Song and Yuan dynasties (10th–14th centuries). The artist was one of the most celebrated of his day, serving as court painter under the Kangxi Emperor (reigned 1662–1772), grandfather of the Quinlong Emperor (reigned 1735–1796). He was a principal figure of the 17th century orthodox movement of Chinese painting, which drew on early painting models as inspiration. 

Wang Hui fixed his personal inscription and seal to each painting with the first and last leaf dated 1698 and later collectors added their seals, most notably the Qianlong Emperor who is considered to have amassed one of the greatest collection of art the world has known. Under the emperor’s patronage, the Qianlong period was characterised by high artistic achievement, reflecting his great personal interest in all the arts. Among his vast collection, the Wang Hui album was a prized possession and the Emperor’s seals on the individual paintings often indicate when and where he viewed it. Each of the ten leaves also bears a poem hand written by the Emperor in 1773, indicating the special value he placed on these works. 

Bonhams Director of Chinese art in New York, Bruce MacLaren, said, “This exquisite album by Wang Hui is an outstanding example of early Qing dynasty painting and a fascinating exploration of Chinese imperial art collecting and appreciation. The album’s numerous collectors’ seals trace a nearly unbroken lineage of important owners who cherished it as a treasured possession.” 

Writing in the Spring 2015 edition of Bonhams Magazine, the former curator of Chinese Collections at the British Library, Frances Wood, emphasised the album’s importance to the emperor. “The emperor decided where works or art should be stored. The pieces he valued most highly were intended to be carefully tucked away but it is clear from the seals printed on the Wang Hui album over time that the stored treasure were brought out for appreciation on special occasions.”

Wang Hui (1632-1717), Album of Landscapes. Estimate HK $ 7 million - 10 million (€ 800,000 - 1.1 million). Photo: Bonhams.

A Cizhou carved pear-shaped vase, yuhuchunping,  12th-13th century. Estimate £3,000 - 5,000 (€4,100 - 6,900). Photo: Bonhams.

Raised on a high foot with slender neck rising to a flaring mouth rim, the bulbous body deeply carved through the creamy-toned white slip with eight alternating lotus flower heads borne on leafy meanders, beneath further rows of flowers to the shoulder and neck separated by geometric bands. 19.7cm (7 3/4in) high

Provenance: according to the family, acquired in the 1930s and thence by descent.
The Property of an English Family

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST - LONDON, NEW BOND STREET

A Cizhou painted baluster jar, Yuan Dynasty. Estimate £8,000 - 12,000  (€11,000 - 16,000). Photo: Bonhams.

Of compressed baluster form rising from a recessed base, painted in black slip on a cream ground, with a band of three lozenge-shaped panels, variously depicting a lotus spray and scholarly figures in landscape, all within decorative bands and spiral borders. 31cm (12 1/8 in) high

Provenance: Sir Harry and Lady Garner Collection
Bluett & Sons Ltd., London, Catalogue, 1973, no.30, pl.VI
J.T.Tai Collection
Sotheby's New York, 22 March 2011, lot 149

Note: Compare a similar Cizhou baluster vase, Yuan dynasty, illustrated by Liu Liang-yu, A Survey of Chinese Ceramics: Liao, Hsi-Hsia, Chin and Yuan Wares, Taipei, 1992, p.276. For another similar vase from the Robert Lehman Collection, in the Metropolitan Museum of Art, New York, see S.G.Valenstein, A Handbook of Chinese Ceramics, New York, NY, 1989, p.144, pl.139.

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST - LONDON, NEW BOND STREET

A Cizhou painted baluster jar, Ming Dynasty. Estimate £3,000 - 5,000 (€4,100 - 6,900). Photo: Bonhams.

The rounded body painted in dark brown on the white slip ground with three lozenge-shaped panels, one with an elaborately-armoured horseman galloping through a rocky landscape carrying a spear, another with two male figures, one carrying a child on his back, discovering another child tied to a tree, and the last with a deer prancing freely over a hare, all surrounded by tightly-packed spirals, and enclosed with decorative bands of larger spirals and tendrils at the shoulder and above the foot. 28cm (11in) high

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST - LONDON, NEW BOND STREET

A Cizhou moulded 'boy and lotus' ewer, 16th-17th century. Estimate £3,000 - 5,000 (€4,100 - 6,900). Photo: Bonhams.

The flattened ewer modelled as a boy seated in 'royal ease' on a foliate pedestal covered with a lustrous dark-brown glaze, the figure wearing an apron with moulded cloud scrolls loosely revealing his chest, his left hand supported on stylised rockwork holding a lotus spray, the other grasping a lotus leaf forming the spout and handle encircling his head.29.2cm (11 1/2in) high

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST - LONDON, NEW BOND STREET

Sculptures souabes de la fin du Moyen Âge : Affiche. 

Douceur paisible, sensibilité délicate, mais aussi force expressive et puissance des volumes : autant de caractéristiques qui distinguent au premier coup d’œil les sculptures souabes de la fin du Moyen Âge. Pour donner à ressentir et comprendre cet art majeur dans l’Empire germanique et plus largement le cœur de l’Europe, le musée de Cluny lui consacre pour la première fois en France une exposition, ouverte au public du 1er avril au 27 juillet 2015.

Ancienne région historique du Sud de l’Allemagne située entre la Forêt-Noire et la Bavière, la Souabe est le théâtre d’une production sculptée abondante et de haute qualité entre les années 1460 et 1530. Le changement des sensibilités religieuses dans le contexte de la Réforme protestante y met fin. Des centres urbains tels que Ulm, Augsbourg ou Ravensburg abritent une intense activité commerciale et artistique. Des artistes y développent un travail virtuose du bois et une science raffinée de la polychromie qui conjuguent leurs effets subtils.

Saint Jean de Calvaire, Sud de la Souabe, vers 1520, Tilleul polychromé ,H. 78 ; L. 25 ; P. 15 cm, Paris, Musée de Cluny - musée national du Moyen Âge. © RMN-Grand Palais / Michel Urtado

Une production collaborative
La proximité des petites cités du Sud de la Souabe (Memmingen, Kempten, Biberach…) avec les Alpes suisses et autrichiennes suscite une forte demande. Certains ateliers, organisés comme de véritables petites entreprises, se spécialisent dans l’exportation de retables jusqu’au fond des vallées alpines des Grisons ou du Haut Adige (aujourd’hui en Italie). Grâce à la circulation des œuvres et des hommes, cet art qui conjugue sculpture et peinture répond au goût de l’époque et rayonne largement au-delà de la Souabe. L’exposition permet d’évoquer plusieurs figures de sculpteurs de premier plan tels Niclaus Weckmann et Daniel Mauch à Ulm, mais aussi Ivo Strigel et son atelier, Lux Maurus ou Jörg Lederer dans les villes du sud. Organisée de manière collaborative, la production des sculptures dans ces ateliers fait intervenir plusieurs artisans, compagnons et apprentis du maître, de la conception de l’œuvre à sa mise en couleur. Ainsi, il est rare que le maître réalise seul et entièrement une œuvre.

Vierge de Calvaire, Sud de la Souabe, vers 1520, Tilleul polychromé, H. 77; L. 23; P. 14 cm, Paris, musée de Cluny - musée national du Moyen Âge. © RMN-Grand Palais / Michel Urtado

Un art riche aux multiples facettes
Une trentaine de sculptures à la forte présence plastique sont présentées au fil d’un parcours chronologique et géographique. Œuvres essentiellement religieuses destinées au mobilier des églises, les sculptures souabes se distinguent par la grâce des types féminins et par un travail savant des drapés. Elles reprennent les codes vestimentaires de la mode au début du XVI e siècle. Le parcours de l’exposition est enrichi de coup de projecteur sur les aspects techniques et fonctionnels de cet art. Le visiteur est ainsi invitéà tourner autour de la Sainte Barbe du musée Toulouse-Lautrec d’Albi pour en découvrir le revers et comprendre les techniques de taille. L’exposition s’achève par l’évocation du Parallelfaltensil, style développé en Souabe et qui connaît une large diffusion dans tout le sud de l’Allemagne. Caractérisé par des réseaux très graphiques de plis parallèles, il marque une rupture esthétique illustrée notamment par le Christ aux rameaux du musée du Louvre.

Le Christ des rameaux, Sud de la Souabe (autour de Hans Herlin ?), vers 1520-1525, Tilleul et épicéa polychromés, H. 135 ; L. 120 ; P. 41 cm, Paris, Musée du Louvre. © Musée du Louvre, dist. Rmn-Grand Palais / Pierre Philibert

Retrouvailles
L’exposition offre l’occasion unique de reconstituer des ensembles démembrés depuis plusieurs siècles et dispersés dans les musées, parfois de part et d’autre du Rhin. Ainsi, l’émouvant Christ en prière du Louvre retrouvera exceptionnellement les Deux apôtres endormis du Maximilianmuseum d’Augsburg qui appartenaient à l’origine à un même groupe monumental du Mont des oliviers.
L’exposition met également en lumière la richesse des collections publiques françaises dans le domaine de la sculpture souabe. Paradoxalement, cet art très apprécié par les collectionneurs français de la fin du XIXe et du début du XXe siècles est aujourd’hui largement méconnu du public. Autour du noyau de sculptures souabes appartenant au musée de Cluny et de prêts importants du musée du Louvre, une sélection d’œuvres issues d’une douzaine de musées français, complétée par des prêts accordés par des institutions d’Allemagne et d’Autriche, permet de restituer un panorama très complet de la diversité de cet art.

Le Christ au mont des oliviers, Atelier de Niclaus Weckmann, vers 1500-1520, Tilleul polychromé, H. 145; L. 94; P. 44 cm, Paris, Musée du Louvre. © Musée du Louvre, dist. Rmn-Grand Palais / Thierry Ollivier

Les expressions artistiques de l’Europe médiévale
Aboutissement autant que nouveau point de départ, l’exposition s’inscrit dans un projet plus large d’étude, de publication et de mise en valeur des sculptures germaniques dans les musées de France, dont la production souabe est emblématique et prépondérante par le nombre des œuvres. Elle est un nouveau jalon de la politique d’expositions du musée de Cluny en faveur de toutes les expressions artistiques de l’Europe médiévale, en particulier de l’Allemagne et de l’Empire germanique au sens large, affirmant ainsi la vocation européenne du musée.

1 avril-27 juillet 2015. Musée de Cluny, musée national du Moyen Âge. 6, place Paul Painlevé 75005 Paris -  Tél : 01 53 73 78 16 - www.musee-moyenage.fr

La nativité, Atelier de Niclaus Weckmann, vers 1520-1525, Bois (tilleul ?) polychromé, H. 141 ; L. 87 ; P. 6 cm Paris, Petit Palais. © Eric Emo / Petit Palais / Roger-Viollet

Douze religieux en prière, Atelier de Daniel Mauch, vers 1505-1510, Tilleul polychromé, H. 122 ; L. 59 ; P. 27 cm Paris, Musée du Louvre. © Rmn-Grand Palais / Stéphane Maréchalle

Dix religieuses en prière, Atelier de Daniel Mauch, vers 1505-1510, Tilleul polychromé, H. 123 ; L. 55 ; P. 23 cm Innsbruck, Schloss Ambras. © Tiroler Landesmuseum Ferdinandeum, Innsbruck / photo Tiroler Landesmuseum

La vierge à l’enfant, Daniel Mauch, vers 1510-1515, Bois (tilleul ou saule) décapé, H. 137; L. 45,5; P. 25 cm Düsseldorf, Museum Kunst Palast. © Stiftung Museum Kunstpalast - Horst Kolberg / Artothek

Diamond clip, Sterlé, circa 1956. Estimate 39,000 — 59,000 CHF. Photo Sotheby's

Designed as a stylised feather set with circular-cut and baguette diamonds, signed Sterlé, numbered, French assay and maker's marks, case stamped Sterlé.

Bibliography: Cf: Viviane Jutheau, Sterlé: Joaillier Paris, Paris, 1990, for similar examples of this clip.

Pair of diamond ear clips, Sterlé, circa 1956. Estimate 6,000 — 9,000 CHF. Photo Sotheby's

Each designed as a stylised feather set with circular-cut and baguette diamonds, each signed Sterlé, numbered, French assay and maker's marks.

Labradorite, gold and diamond brooch, Sterlé, 1960s. Estimate 20,000 — 30,000 CHF. Photo Sotheby's

Designed as a bird on a gold branch, the body composed of a polished labradorite, the eye and beak set with brilliant-cut diamonds, the crest embellished with gold cheveux d'ange, the tail feathers with textured gold and brilliant-cut diamonds, signed Sterlé, numbered, French assay and maker's marks.

Sotheby's. Magnificent Jewels and Noble Jewels. Genève, 12 mai 2015, 10:30 AM

A painted enamel 'dragon' waterpot, 18th century. Estimate £3,000 - 5,000 (€4,100 - 6,900). Photo: Bonhams.

Brightly painted on the exterior with two three-clawed dragons, one with yellow scales and breathing smoke and the other with green scales and chasing a red pearl, all amidst cloud scrolls and above foaming waves, set with two gilt lion-mask handles. 5.9cm (2 1/4in) wide

Provenance: an English private collection and thence by descent

A painted enamel 'immortal island' vase, Qianlong four-character seal mark and of the period. Estimate £25,000 - 35,000 (€34,000 - 48,000). Photo: Bonhams.

The baluster body vividly painted in strong shades of cobalt blue with a continuous landscape scene depicting an Immortal island with a huabiao column, tiled pavilions and rocky outcrops emerging from a ground of foaming waves, approached by a mythical crane flying amidst scrolling clouds, all beneath a band of ruyi-heads to the shoulder and key-fret bands bordering the rim and the foot. 9.8cm (3 7/8in) high

Exhibited, published and illustrated: M.Gillingham, Chinese Painted Enamel, Ashmolean Museum, Oxford, June & July 1978, Catalogue, p.62, no.72.

Notes: The pavilions rising from foaming waves depict the mythical island of Penglai, which is said to be located at the eastern fringes of the ocean, and is associated with the Eight Immortals. 

The present lot is highly unusual, in its delicate size and attractively limited palette, and also in its decoration with a continuous scene in the Chinese style. The technique was brought to China by Jesuit missionaries, and retained much of this Western association in the designs chosen for this medium: pieces typically are painted in famille rose enamels, often with European figures or landscapes within elaborately foliate cartouches. The present lot therefore stands apart as an individual and masterful approach to painted enamel wares; the skilful handling of the unrolling landscape together with the Qianlong reign mark suggest that the present lot was made in Guangdong as tribute ware for the imperial court.

Given the rarity of the present vase, no similar examples appear to have been published, however a vase of similar lantern-shape with a continuous landscape scene, but larger and painted in famille rose, is illustrated in Compendium of Collections in the Palace Museum: Enamels 5, Beijing, 2011, no.196, and another vase painted in a similarly restricted blue palette and with a four-character Qianlong mark in red enamel, only slighter larger than the present lot but archaistic in style, is illustrated ibid, no.149.

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST - LONDON, NEW BOND STREET

Natural pearl, cultured pearl and diamond necklace. Estimate 16,000 — 27,000 CHF. Photo Sotheby's

Composed of a graduated line of button shaped multi-coloured natural pearls and cultured pearls measuring from approximately 4.80 to 9.15mm, alternating with cushion-shaped diamonds, length approximately 350mm.

Accompanied by SSEF report no. 79771, stating that two pearls were found to be natural, saltwater, and that one pearl was found to be cultured; the remainder of the pearls have not been tested. 

Sotheby's. Magnificent Jewels and Noble Jewels. Genève, 12 mai 2015, 10:30 AM 

A very rare blue and white peach-shaped 'boys' ewer, Jiajing six-character mark and of the period. Estimate £70,000 - 90,000 (€96,000 - 120,000). Photo: Bonhams.

The compressed globular body rising from a straight foot to a waisted neck and galleried rim, with applied loop handle and curved square spout, the body relief moulded on both sides with peach medallions enclosing scenes of boys at play in luxuriant gardens, surrounded by peach and peony sprays sparsely painted in vibrant cobalt tones on the fine white porcelain body, all beneath a hatched-pattern border at the rim and beside scrolling designs to the handle and spout.22.5cm (8 7/8in) high

Provenance: T.T.Tsui Collection (label)
Christie's London, 16 November 1998, lot 72
S. Marchant & Son Ltd., London (label)

Notes: The motif of many boys playing together as well as the peach-shaped panels symbolise longevity. The image is an expression of the desire for fertility and a strong, productive family to continue the ancestral rites in the Confucian tradition. The 'boys at play' decoration is a continuation of the design used during the Chenghua period, as demonstrated by a blue and white bowl, Chenghua mark and of the period, illustrated by R.Krahl, ed., The Emperor's Broken China: Reconstructing Chenghua Porcelain, London, 1995, pl.54. 

Compare with a very similar ewer and cover, in the Percival David Foundation, illustrated by R.Krahl and J.Harrison-Hall,Chinese Ceramics: Highlights of the Sir Percival David Collection, London, 2009, p.78, no.39. This ewer was formerly in the Charles Russell Collection, when it was illustrated by R.L.Hobson, C.B.B.Rackham and W.King, Chinese Ceramics in Private Collections, London, 1931, p.174, fig.318, where it was noted by the authors that it was once in the imperial collection in Beijing. Another similar ewer but without a cover is in the Idemitsu Museum of Arts, illustrated in the 15th Anniversary Exhibition, Catalogue, no.802, p.196.

Other related ewers but depicting different scenes within the panels are included in the Min Chiu Society Exhibition of an Anthology of Chinese Ceramics, Hong Kong Museum of Art, 1980, Catalogue no.85, which has ladies and attendants in a garden; and the Ashmolean Museum, Oxford, illustrated by D. Lion-Goldschmidt, Ming Porcelain, London, 1979, pl.122, painted with dragons.

Bonhams. FINE CHINESE ART,  14 May 2015 10:00 BST - LONDON, NEW BOND STREET

A blue and white foliate bowl, Fu Gui Jia Qi seal mark, Wanli period. Estimate £4,000 - 6,000 (€5,500 - 8,200). Photo: Bonhams.

With ribbed curving sides rising to a foliate rim, the exterior painted with ten vertical flowering and fruiting branches all below a band to the rim enclosing horses galloping amidst scrolling clouds above foaming waves, the interior well with a lakeside thatched pavilion on a promontory amidst a rocky landscape, encircled by a register of flaming wheels enclosing flower heads, the rim border similarly decorated with rocks and pavilions alternated with fish boats and pagodas. 21.4cm (8 3/8in) diam.

Provenance: an American private collection

Bonhams. FINE CHINESE ART,  14 May 2015 10:00 BST - LONDON, NEW BOND STREET

A rare blue and white circular 'monkeys and deer' box and cover, Wanli period. Estimate £20,000 - 30,000 (€27,000 - 41,000). Photo: Bonhams.

A rare blue and white square 'dragon' vase, Wanli six-character mark and of the period. Estimate £60,000 - 80,000 (€82,000 - 110,000). Photo: Bonhams.

Of baluster form with tapering foot rising to a globular upper section and high shoulder, painted in vivid violet tone of underglaze blue to each side with a front-facing five-clawed dragon, striding amongst cloud scrolls, precious objects and flowering sprays above a pair of phoenix and a flying crane flanked by billowing clouds, all beneath a band of overlapping and descending cicada-shaped lappets to the high shoulder, bordered by scrolling foliage to the neck, box. 18.8cm (7 3/8in) high (2).

Provenance:  a Scottish private collection

Note: Compare a jar of very similar size and decoration, Wanli mark and of the period, in the collection of The Art Institute of Chicago, no.1954.472. For another similar jar, see Mayuyama: Seventy Years, vol 1, Tokyo, 1976, p.321, no.959. See also a related blue and white square jar and cover Jiajing marks and period with a design of dragons, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (II), Hong Kong, 2002, p.102, no.95.

Bonhams. FINE CHINESE ART,  14 May 2015 10:00 BST - LONDON, NEW BOND STREET