A purple-splashed 'Jun' bowl, Song dynasty. Estimate 6,000 — 8,000 USD. Photo: Sotheby's

the deep rounded sides rising from a short foot to a slightly incurved rim, covered overall in a lavender-blue glaze stopping irregularly above the foot and thinning to a mushroom color at the rim, splashed with a small spot of reddish-purple on the interior  Diameter 6 1/2  in., 16.5 cm

Provenance: Collection of Warren Spencer Strauss (1930-2009), Houston, Texas. 

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

The main staircase of the Yusupov Palace. In the 1830s it worked on the architect Andrei Mikhailov, and in the period from 1858 till 1860, Hippolyte Monighetti. Photo: Fritz Von Der Schulenburg

In a niche - a marble sculpture of "Bacchus", the end of the XVIII century, Italy. Photo: Fritz Von Der Schulenburg

Living Tapestry has been issued by the Swiss architect Bernard Simon in the 1840s. Photo: Fritz Von Der Schulenburg

Princess bedroom created in three stages. In the 1830s, Andrei Mikhailov worked here: in 1858-1860, Hippolyte Monighetti, and in 1890, Alexander Stepanov. Photo: Fritz Von Der Schulenburg

Detail of the Princess dressing Room. Photo: Fritz Von Der Schulenburg

Pompeian corridor. The interior is designed by Hippolyte Monighetti, mural made by Fedor Mikhailov.

Above the Persian interior room (it is also known as the Oriental boudoir) in 1858-1860 by Hippolyte Monighetti, and in 1890, Alexander Stepanov. Photo: Fritz Von Der Schulenburg

Detail of the small white living room that served Cabinet Duchess Tatiana Yusupova. Photo: Fritz Von Der Schulenburg

Moorish living room was decorated in the 1858-1860 by Hippolyte Monighetti when he worked in the palace . Thirty years later, the interior was modified by Alexander Stepanov. 

Made in St. Petersburg, the cabinet-sofa dated of the second half of the XIX century. Photo: Fritz Von Der Schulenburg

Small lounge of Irina Yusupova (Silver boudoir) by the architect Andrei Beloborodov. Silver leaf painting executed by Vladimir Konashevich, ceiling painted by Sergei Chekhonin. Photo: Fritz Von Der Schulenburg

Princess  dressing (porcelain boudoir). Semicircular sofa of the second half of the XIX century, made in France. Photo: Fritz Von Der Schulenburg

The ceiling in the princess toilet. The chandelier in the form of baskets of flowers made of porcelain and bronze, Western Europe, end of the XIX century. Photo: Fritz Von Der Schulenburg

Detail of stucco decoration with a monogram of Princess Tatiana Yusupova in the Minor white living room. Photo: Fritz Von Der Schulenburg

A large flambe-glazed and gilt bottle vase, Qing dynasty, 18th century. Estimate 3,000 — 5,000 USD. Photo: Sotheby's

the globular body rising from a tapering foot to a tall slender cylindrical neck, covered overall in a lustrous crimson-red glaze thinning to an ivory tone at the mouth and dappled with milky lavender blue, the body with traces of a gilt-painted landscape, the base with a crackled-ivory glaze, wood stand (2). Height 17 1/4  in., 43.8 cm

Property from the collection of John F. Lewis, Jr.

Provenance: Acquired in the 1940s or 50s and thence by descent

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

A small blue-glazed jar, Qianlong seal mark and period. Estimate 5,000 — 7,000 USD. Photo: Sotheby's.

the compressed globular body rising from a short straight foot to an everted rim, covered on the exterior in an even deep blue glaze, the interior and base glazed white, seal mark in underglaze blue - Width 3 3/4  in., 9.5 cm

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

A blue-glazed vase (fanghu), Guangxu mark and period. Estimate 8,000 — 12,000 USD. Photo: Sotheby's.

the pear-shaped body of rounded rectangular section, supported on a short straight foot, the neck with indented corners set with a pair of lug handles, the front and back with a raised peach-shaped panel, covered overall in a rich blue glaze, the base with a six-character mark in underglaze blue - Height 11 3/4  in., 30 cm

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

A lavender-glazed ritual altar vessel and cover (dou), Guangxu mark and period. Estimate 8,000 — 12,000 USD. Photo: Sotheby's.

the rounded bowl supported on a columnar base encircled with a raised band and terminating in a flared pedestal foot, surmounted by a fitted  domed cover with globular knop, molded with bands of archaistic design in crisp, shallow relief, and applied overall with a lustrous purple-tinged blue glaze, the interior and base white-glazed, the six-character mark incised in a line inside the foot (2) - Height 10 in., 25.4 cm

Provenance: Acquired in the 1970s or 80s.

Note: The stembowl and cover, modeled after a Zhou dynasty bronze prototype, would have formed part of an altar set comprising two dou and a fu. The present piece would have been used in state rituals, for which different colors of vessels were designated for use at different sites. 

Sotheby's. Important Chinese Art, New York, 15 sept. 2015

Mimi So, Wonderland Woodland Collection. Wonderland Handcrafted Large African Tanzanite Bead Necklace with Pave Grey Diamond Butterflies and Pave Black Diamond Bees 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection.Wonderland Woodland Creatures Stackable Twig Band Ring Featuring Handcrafted Lady Bug and Butterly with Pave Rubies, White and Black Diamonds 18K Oxidized Yellow Gold.

Mimi So, Wonderland Woodland Collection. Wonderland Woodland Creatures Stackable Band Ring Featuring Handcrafted Whimsical Love Bird 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Woodland Creatures Handcrafted Owl Moonstone Ring with Pave Diamond Shank 18K Yellow gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Woodland Creatures Between the Finger Ring Featuring Handcrafted Bumble Bees with Pave White and Black Diamonds 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Graphic Floral Pow Orchid Ring Handcrafted with Pave Diamonds, Amythysts, and Sapphires 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Woodland Creatures Handcrafted Stinger Drop Hoop Earring with Pave Diamonds 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Floral Pow Orchid Stud Earrings Handcrafted with Pave Diamonds, Amythyst and Sapphires 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Woodland Thick Twig Bangle Bracelet Handcrafted Graphic Thick Twig 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Woodland Creatures Lady Bug Twig Bangle Bracelet Handcrafted with Ruby and Black and White Pavé Diamonds 18K Oxidized Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Colorful African Pink Spinel Bead Necklace with Fresh Water Pearls and Handcrafted Pave Diamond Butterflies and Bees 18K Yellow Gold. 

Mimi So, Wonderland Woodland Collection. Wonderland Rough African Tsavorite Bead Necklace with Handcrafted Pave Diamond Bees 18K Yellow Gold.

Sagra femorata blue form

Sagra femorata red form

Sagra longicollis

Sagra longicollis

Bergdorf Goodman Archives. Coctail & Evening Dresses: Patou

The Ex-Alan Phipps, Harold Bevan, Bill Burton. 1935 Aston Martin Ulster 2/4-seater Tourer. Coachwork by Enrico Bertelli - Registration no. CMF 764 - Chassis no. D5/570/U - Engine no. D5/570/U. Estimate£700,000 - 900,000 (€960,000 - 1.2 million). Photo Bonhams

*One of only four Special Order 2/4 seat Ulsters produced by the works
*Extensive period racing history including victory in the 1936 Stanley Cup at Donington
*Regularly maintained over many years by marque specialists 
*Proven track record in historic racing and rallying 

Notes: 'Based on the MkII chassis, the Ulster was the apotheosis of the pre-war sporting Aston Martin. A replica of the 1934 team cars which had finished 3rd, 6th and 7th in the Ulster TT race, it was made available to amateur racers for just £750.'– Michael Bowler, 'Aston Martin – The Legend'. 

Manufactured by Robert Bamford and Lionel Martin, the first Aston-Martins (the hyphen is correct for the period) rapidly established a reputation for high performance and sporting prowess in the years immediately following The Great War. Unfortunately, the management's concentration on motor sport, while accruing invaluable publicity, distracted it from the business of manufacturing cars for sale, the result being just 50-or-so sold by 1925 when the company underwent the first of what would be many changes of ownership. 

The foundations were laid for the commencement of proper series production with the formation of Aston Martin Motors Ltd in 1926 under the stewardship of Augustus 'Bert' Bertelli and William Renwick. Bertelli was an experienced automobile engineer, having designed cars for Enfield & Allday, and an engine of his design - an overhead-camshaft four-cylinder of 1,492cc - powered the new 11.9hp Aston. Built at the firm's new Feltham works, the first 'new generation' Aston Martins were displayed at the 1927 London Motor Show at Olympia. 

Like his predecessors, 'Bert' Bertelli understood the effect of competition success on Aston Martin sales and sanctioned the construction of two works racers for the 1928 season. Based on the 1½-litre road car, the duo featured dry-sump lubrication – a feature that would stand them in good stead in long distance sports car events – and this was carried over to the International sports model, newly introduced for 1929. Built in two wheelbase lengths (8' 6" and 9' 10") the International was manufactured between 1929 and 1932, mostly with bodies by Augustus's brother Enrico 'Harry' Bertelli. 

The 'Le Mans' label was first applied to the competition version of the (1st Series) International following Aston's class win and 5th place overall in the 1931 Le Mans race. This conceit was fully justified when the model placed 5th and 7th in the 1932 race and collected the Rudge-Whitworth Biennial Cup. It may, in fact, be the first car named after the Le Mans Race, although many others have since followed Aston Martin's example.

The early 1930s was a period of economic recession and with sales of expensive quality cars falling off, some serious rethinking had to be done at Feltham. The prudent decision was taken to redesign the International chassis using proprietary components to reduce cost. A Laycock gearbox was adopted, mounted in unit with the engine, while the worm rear axle, which had never been completely satisfactory, was replaced by an ENV spiral bevel. There was a redesigned chassis frame and many other modifications resulting in what was virtually a new car, although it carried the same coachwork and was sold as the 'New International'. The original line-up of what would become known as the '2nd Series' did not last long, the New International and two-seater Le Mans disappearing from the range before the end of 1932. That year's Motor Show had ushered in the more familiar Le Mans 2/4-seater, which was also available on the long chassis as the Le Mans Special four-seater.

Introduced in 1934, the replacement Mark II model sported a new, stronger chassis and a revised engine with counter-balanced crankshaft. Short (8' 7") and long (10') wheelbase versions were built, the latter available with stylish four-seater sports saloon coachwork by Enrico Bertelli. 

Racing was still at the forefront of company policy under the stewardship of new owners the Sutherlands, Robert Gordon Sutherland having assumed the post of joint managing director alongside 'Bert' Bertelli in March 1933. For the 1934 Le Mans race, three competition cars were constructed on the new MkII chassis, the frames being copiously drilled for lightness. In the race all three works Astons were sidelined by trifling mechanical problems, prompting Bertelli to try and un-jinx the team by painting the cars – previously always finished in various shades of green – in Italian Racing Red. The next race on Aston Martin's calendar was the RAC Tourist Trophy at Ards in Ulster, regulations for which stipulated standard chassis. Three new cars were built on unmodified frames and the superstitious Bertelli was duly rewarded with a 100% finishing rate. The trio finished 1st, 2nd and 3rd in class, earning Aston Martin the Team Prize. In 1935 another works car, chassis number 'LM20', finished 3rd overall at Le Mans, winning its class and the Rudge Cup. 

In October of 1934, Aston Martin exhibited the resulting spin-off model at the Olympia Motor Show, introducing it as 'a Replica of the three cars which ran so successfully in the 1934 TT race.' Built on the shorter of the two MkII chassis, the Ulster differed little from its more run-of-the-mill siblings, though the engine was subjected to tuning and more careful assembly. Modifications included polishing the inlet and exhaust ports, and raising the compression ratio to 9.5:1 by means of domed pistons and a 'stepped' cylinder head, the result of these changes being an increase in maximum power to around 85bhp. The Laystall crankshaft and the valves and valve springs were of higher specification than those of the other MkII models. Lightweight, door-less two-seater bodywork was fitted and every Ulster was guaranteed to exceed 100mph with full road equipment, a phenomenal achievement for a 1½-litre production car at that time.

A serious competition machine, the Ulster abounded in mechanical refinements resulting from the factory's years of endurance racing experience. These included painting the dashboard matte black and the radiator surround in body colour – reflected early-morning sunlight had been found to be a serious problem when flat out at Le Mans – and securing every chassis nut with a split pin. 

In his book 'Aston Martin 1913-1947', Inman Hunter comments: 'If ever a car looked right for its purpose it was the Ulster, but like all Bertelli Aston-Martins, with a dry weight of 18cwt, it was absurdly heavy in comparison with Rileys, Magnettes and Nashes, so lacked their acceleration. Yet its unique qualities of stamina and superb handling earned the respect of enthusiasts all over the world.' 

Of the 31 Ulsters built, including 10 team cars, 28 survive and the whereabouts of all are well known. No doubt the car's legendary robustness played a part in this quite exceptional survival rate. Chassis number 'D5/570/U' was registered on 17th July 1935 with a Middlesex number, 'CMF 764', and two days later was delivered new to its first owner, Brooklands racer A R Alan Phipps of Exeter College, Oxford. It is one of only four Ulsters produced with special order 2/4 seat bodywork. Like all its fellows, this car is featured in Alan Archer's definitive book on the marque 'Aston Martin Ulsters', published by Palawan Press (pages 279-282). 

Phipps had already gained experience of Brooklands racing his Le Mans model, 'F3/274/S', and on 19th October 1935 debuted his Ulster in the BARC's Second October Mountain Handicap. Secretary of the Oxford University MDC, Phipps led its team at the Frazer Nash Car Club's Donington Park on 28th March 1936 and finished 1st, winning the Stanley Cup. He followed that up with a Special Award in the High Speed Trial at the JCC Members' Day meeting at Brooklands on 27th June. At some point during this period the car was fitted with a supercharger and it was listed in this form when entered for the 1936 Spa 24-hour race, but it failed to appear for this event.

By the end of July 'D5/570/U' was back at the works where the engine was disassembled to investigate low oil pressure. The car was still in this dismantled state when it was sold to Bellevue Garages & Service Stations of Wandsworth Common, South London, Phipps having bought a two-seater Speed Model. He went on to race other Astons and MGs.

Bellevue Garages advertised the car as a '1935 Aston Martin 1½-litre Ulster T.T. engine, 2-4 seater Le Mans body, fitted supercharger, one owner, colour black completely overhauled, very good acceleration, many extras, owner going abroad'. The car was subsequently advertised 'with or without Centric supercharger' and in 1937 was bought by well-known Brooklands competitor Harold L Bevan, a Bentley driving Le Mans participant who had been one of the founding members of the AMOC in 1935. On 26th June 1937 Bevan's Ulster formed part of 'Dick' Anthony's Aston Martin team in the LCC relay race at Brooklands, helping them to a 6th place finish. Bevan's last known outing with 'D5/570/U' was on 5th September 1937 at the VSCC/AMOC Speed Trials at Croydon. 

The Ulster was next owned by a Dr Ferraby in London and then (in 1948) by one K Smith of Enfield. In December 1948 Smith advertised the ex-Phipps Ulster for sale in Motor Sport and in May 1950 the car was registered by John A W Parker of Hendon, North London. In June 1951, Parker entered the Ulster in the Bol d'Or 24-hour endurance race, held that year at St Germain near Paris, and despite various mechanical problems managed to finish 11th. On 28th July he was an entrant in the AMOC's St John Horsfall Trophy Race at Silverstone. 

In January 1952 the Ulster was registered to William 'Bill' Burton, who had purchased the car to replace his written-off Le Mans. In 'Aston Martin Ulsters', Archer remarks: 'The Ulster soon became one of the most familiar 1½-litre Aston Martins competing enthusiastically at the meetings of many clubs. His first AMOC St John Horsfall Trophy race was on 26th July 1952, the last on 12 July 1975; he won the Trophy in 1974.' After 1977, Burton switched to using his Aston Martin 15/98. He retired from competition in 1987, aged 72. 

In December 1989, 'D5/570/U' was offered for sale at a UK auction where it was purchased by businessman Eddie Shah, proprietor of the Messenger Group. Marque specialist Chris Shenton then undertook a comprehensive restoration to concours standard, retaining the original body frame and panels, which was completed in 1993 at a cost of some £43,000. 

In June 1997 Brooks offered the Ulster for sale at its Goodwood auction (Lot 874) where it was purchased by the next owner. The car was then stored. The current owner purchased the Ulster in 2002. Further restoration was carried out by Ecurie Bertelli in 2003, which was followed by a complete engine rebuild, including a new crankshaft, con-rods and camshaft, in 2007. 

Including the cost of the engine rebuild, in excess of £25,000 has been spent on the Aston during the current ownership. The wings are new (originals included in the sale) and the car also benefits from a rebuilt gearbox. All work has been carried out by Ecurie Bertelli. Accompanying documentation includes FIA HTP papers (2005); FIVA papers categorising the car as A/3 (2005); VSCC 'Buff Form'; an old-style logbook (1950); V5C registration document; and a full photographic record of the restoration carried out by Chris Shenton Engineering together with related invoices. 

With its ultra-rare 2/4 seat body, 'D5/570/U' affords greater practicality than the more commonplace two-seater since it not only has the same style, eligibility and performance but also doors, a hood and far greater luggage space, making it considerably more comfortable and civilised. This performance and practicality is perfectly illustrated by the current owner who has combined a successful racing campaign with 'D5/570/U' including victory in the famed St John Horsfall Trophy Race at Silverstone in 2006 with an equally successful long distance rally campaign in events such as the Scottish Malts Rally.

Representing a once-in-lifetime opportunity to acquire a famous and well-documented example of Aston Martin's finest sports car of the pre-war era, 'D5/570/U' is eligible for all the most important historic motor sports events including Le Mans and the Mille Miglia.

Bonhams. GOODWOOD REVIVAL, 12 Sep 2015 13:30 BST - CHICHESTER, GOODWOOD

1938 BMW 328 Sports Roadster. Registration no. Not UK registered - Chassis no. 85378 - Engine no. 79280. Estimate £550,000 - 650,000 (€750,000 - 890,000). © Bonhams 2001-2015

*One of fewer than 200 surviving
*One owner from 1965 to 2013
*Extensively restored 2009-2011
*Mille Miglia eligible

Notes: BMW's emergence as a manufacturer of fine sporting motor cars can be traced back to the annual Eifelrennenevent held at the Nürburgring on 14th June 1936, when Ernst Henne beat a field that included 1½-litremonoposto racing cars driving the prototype of what would become one of the most iconic sports cars of all time – the legendary '328'. The fact that this overwhelming victory had been achieved only eight years after BMW's establishment as an automobile manufacturer is all the more remarkable. 

It had been the acquisition of the Dixi works at Eisenach in 1928 that provided BMW, hitherto a manufacturer of aero engines and motorcycles, with a foothold in car manufacturing. Dixi's built-under-license version of the Austin Seven was gradually developed and improved, ending up with swing-axle suspension and overhead valves, and then in 1933 came the first true BMW - the six-cylinder 303. The latter adopted a twin-tube frame and abandoned the rear swing axles in favour of a conventional live axle, while up front there was a superior transverse-leaf IFS and rack-and-pinion steering. These features, along with the four-bearing, overhead-valve engine, would provide the basis for the more powerful and sportingly inclined models to follow. 

Lacking the resources of larger and longer established rivals, BMW adopted an evolutionary, 'mix and match' approach to model development. Thus the 328 employed the tubular chassis, transverse-leaf independent front suspension and live rear axle of the 319; the cylinder block and hydraulic brakes of the 326; and a body incorporating stylistic elements of the 319/1 Sport and 329. With the 328, BMW's Chief Engineer Fritz Fiedler turned accepted chassis design on its head, coming up with a frame that combined lightness and stiffness in equal measure - virtues that permitted the use of relatively soft springing with all its attendant advantages. In short: the 328 was the first truly modern sports car. 

The 328's six-cylinder engine featured an ingenious new cylinder head, designed by Rudolf Schleicher, which incorporated hemispherical combustion chambers and inclined valves without recourse to overhead, or twin camshafts. Instead, the Type 326, 1,971cc engine's single, block-mounted camshaft and pushrod valve actuation were retained, thus avoiding an expensive redesign. Two rocker shafts were employed, one situated above each bank of valves, giving the engine an external appearance almost indistinguishable from that of a twin-overhead-cam design. Down-draught inlet ports contributed to the motor's deep breathing, and its tune-ability made it a popular choice for British racing car constructors, most notably Cooper, during the 1950s. The 328 engine produced 80bhp, an exemplary output for a normally aspirated 2.0-litre unit at that time, with more available in race trim.  

The two door-less 328 prototypes and the first batch of cars were lightweight racers with aluminium coachwork intended to establish the model's competition credentials before production proper got under way. Available from the late summer of 1936, the production 328s featured doors and a convertible hood, and were well equipped and very comfortable in the manner of the best Grands Routiers. On the racetrack the 328 reigned supreme, winning its class at the Mille Miglia, Le Mans, Spa 24 Hours and Britain's Tourist Trophy. In 1940 an example fitted with special aerodynamic bodywork won the Mille Miglia outright. 

The most advanced sports car of its day, the 328 remained competitive for years after the war, a state of affairs that only served to further enhance its reputation, which was out of all proportion to the limited number produced. Between 1936 and 1939 only 426 BMW 328s were made, of which fewer than 200 are estimated to exist today. 

Details of factory records, kindly supplied by BMW Classic, show that chassis number '85378' was despatched new to BMW dealer Michel in Stuttgart on 29th April 1939. BMW Classic has also confirmed by e-mail that this particular 328 remains very original. After WW2 the BMW was imported to Sweden, probably sometime during the 1950s, finding a new home in the small town of Pajala in the far north of the country. 

The vendor's late father, Hans Carl 'Hansi' Schwarz, the BMW's owner for some 40-plus years, first encountered the car when he was on tour in 1965 with the immensely popular Swedish folk group, the Hootenanny Singers (featuring Björn Ulvaeus of later ABBA fame). Hansi Schwarz, already a classic-car enthusiast and proud owner of an MG TF, came across an advertisement for the 328 for sale for the price of 32000 SEK, at the time a considerable sum of money. His friends considered the price too steep but, being the automobile connoisseur that he was, Hansi could not believe his luck and promptly bought it. Apparently the car had been sitting in the barn where it was parked for quite some time. 

Hansi Schwarz later went on to found one of Sweden's premier folk festivals, Visfestivalen i Västervik, as well as managing ABBA on their first few tours. The 328 was the apple of his eye and the care he took to keep the car both roadworthy and as original as possible was second to none. He had it serviced and stored in the Haledau district just north of Munich in Germany by a father-and-son business that services many of the pre-war BMWs currently on the road in Europe. The father was a chief technician at the BMW factory and subsequently taught his son everything he knew about these cars, ensuring that the love and care '85378' has received throughout the years has been outstanding. At the time of his death in 2013, Hansi Schwarz was one of the world's longest-standing BMW 328 owners, '85378' having been in his care for 48 years. 

Invoices on file show that between 2009 and 2011, '85378' underwent extensive restoration by the aforementioned marque specialist Andreas Freudenberger of Eggenfelden, Germany and there is also a photographic record of the rebuild showing the engine being dynamometer tested, etc. The car also comes with an album of photographs depicting it from 1969 onwards, all of which show the additional holes drilled in the wheels that it has clearly worn for a long time. Also on file is a photographic record of an earlier restoration, believed carried out during the 1960s, and various images believed to show the car as found. Other photographs show the 328 on various BMW and other rallies. A copy of the original workshop manual is included in the sale and the car also comes with a quantity of spares. These include a cylinder block numbered '135', fitted with crankshaft, con-rods and pistons; two gearboxes, one assembled and with one a broken casing; the original wheel spats for the car; half shafts and a drive shaft; front grille; two front brake/hub assemblies; and various ancillaries. It should be noted that a Volvo gearbox is fitted currently, the original being one of those referred to above. 

Generally regarded as one of the very few pre-war models that drives like a post-war car, the BMW 328 is eligible for all the most important historic events including the Mille Miglia, Flying Scotsman Rally and Le Mans Classic. 

Bonhams. GOODWOOD REVIVAL, 12 Sep 2015 13:30 BST - CHICHESTER, GOODWOOD

1953 Bentley R-Type 4.9-Litre Continental Sports Saloon. Coachwork by H J Mulliner - Registration no. 813 FUF - Chassis no. BC32C - Engine no. BCC31. Estimate £850,000 - 1.1 million (€1.2 million - 1.5 million) © Bonhams 2001-2015

*Delivered new to France
*Factory-fitted 4.9-litre engine
*Current ownership for 36 years
*Restored in the early 1990s 

Notes: 'The vocabulary of motoring being a lame and limited thing, it is difficult to put into words the gulf that separates a Continental from the average car in all the qualities that have a bearing on safety at speed. In acceleration, in braking, in cornering power, in roadholding, in responsiveness to the controls, this Bentley is the equal of modern racing cars, and superior to some.'– Raymond Mays, The Autocar, 2nd October 1953.

Described by The Autocar as, 'A new stage in the evolution of the post-war Bentley,' the magnificent Continental sports saloon has been synonymous with effortless high speed cruising in the grand manner since its introduction in 1952 on the R-Type chassis. Of all-welded construction, the latter enabled the incorporation of a much-needed improvement to Rolls-Royce's standard bodywork in the shape of an enlarged boot together with associated changes to rear wings and suspension. The standard R-Type was a lively performer, achieving 106mph in silence and reaching 50mph from standstill in 10 seconds despite a kerb weight approaching two tons. 

The Continental raised this already superlative combination of high performance and exceptional refinement to hitherto unattained levels. Unlike the ordinary 'standard steel' R-Type, the Continental was bodied in the traditional manner and first appeared with what many enthusiasts consider to be the model's definitive style of coachwork - the lightweight, aluminium, wind tunnel-developed fastback of H J Mulliner. In developing the Continental, Bentley Motors made every effort to keep its weight to the minimum, knowing that this was the most effective way to achieve the maximum possible performance. 

Rolls-Royce's six-cylinder, inlet-over-exhaust engine had been enlarged from 4,257cc to 4,556cc in 1951, and as installed in the Continental benefited from an increase in compression ratio - the maximum power output, of course, remained unquoted but has been estimated at around 153bhp. As the Continental matured, there was – inevitably – an increase in weight, which was offset by the introduction of a 4,887cc engine on the 'D' and 'E' series cars, commencing in May 1954. The Continental's performance figures would have been considered excellent for an out-and-out sports car but for a full four/five seater saloon they were exceptional: a top speed of 120mph, 100mph achievable in third gear, 50mph reached in a little over 9 seconds and effortless cruising at the 'ton'.  

Built for export only at first, the Continental was, once delivery charges and local taxes had been paid, almost certainly the most expensive car in the world as well as the fastest capable of carrying four adults and their luggage. As Autocar observed: 'The Bentley is a modern magic carpet which annihilates great distances and delivers the occupants well-nigh as fresh as when they started,' 

The example offered here - right-hand drive chassis number 'BC32C' - was ordered new by Papeteries Boucher of Docelles, Vosges, France and delivered via Franco-Britannic Automobiles of Levallois-Perret, having been flown from Blackbushe Airport to Le Touquet on 11th February 1954. Accompanying copy chassis cards and build details show that the Continental was originally finished in Tudor Grey with tan leather interior trim, while special features included an armrest to passenger door, speedometer in kilometres, Wilmot Breedon bumpers, twin fog lamps, and a rear blind. 'BC32C' has the manual gearbox and right-hand gear lever; the latter considered to be far superior to both the steering column and central gear changes, which have the disadvantage of additional linkages resulting in less precise shifting. A published road test of the right-hand gear change on an R-Type Continental noted that the expression, 'like a hot knife through butter!' was especially apt. 

The Series-A, B and C Continentals were delivered with the 4.5-litre engine but when the 4.9-litre unit with its hardened valve seats became available in 1954, Bentley Motors offered it to owners of these earlier cars. 'BC32C' received an exchange 4.9-litre engine in February 1957.  

Various sources record the first owner one M Cuny, who presumably was either the proprietor or a senior manager of Papeteries Boucher, a stationery company. The chassis cards list only one subsequent owner: M H Finer of California, USA who acquired the Bentley in July 1963. Less than two years later, in January 1965, the Continental passed to the next owner in the USA, W Yeager, who was followed in February 1971 by William A Rose Jr. Mr Rose had 'BC32C' re-sprayed Regal Red in 1972 (it had already been repainted in Sable Brown) and kept the car until circa 1978. The current UK-based owner purchased the Bentley in 1979 from a New York showroom and brought it home to England.  

In September 1990 the car was despatched to marque specialists Healey Brothers of Irthlingborough, Northamptonshire for total restoration, a process that would occupy the succeeding five years and cost in excess of £42,000. All bills relating to the rebuild may be found in the accompanying dedicated file. Other files contain invoices from marque specialists West Hoathly Garage, which serviced the Bentley from June 1998 to May 2004, and Royce Service & Engineering (August 2007 to date). The most recent bill on file (for £9,031) relates to a major service and extensive re-commissioning, including a gearbox overhaul and the installation of Lumenition electronic ignition, which was carried out by Royce Engineering in July 2014.  

In addition to the aforementioned files of invoices, the car comes with tax and MoT records for the period May 2005 to date; previous and current UK registration documents; and details of the R-Type 50th Anniversary Meeting at Silverstone in August 2002 in which 'BC32C' participated. A copy of the 'Bentley Register' by Christian Hueber & David A Sulzberger; two original handbooks (one in French); and a copy of Stanley Sedgwick's 'R-Type Continental' (1978) are included in the sale.  

Presented in generally excellent condition, 'BC32C' represents a rare opportunity to acquire a fine example of the most famous post-war Bentley, possessing impeccable provenance. 

Bonhams. GOODWOOD REVIVAL, 12 Sep 2015 13:30 BST - CHICHESTER, GOODWOOD

1965 Aston Martin DB5 Convertible. Registration no. GUV 30C - Chassis no. DB5/C/2119/R - Engine no. 400/2273. Estimate £1 million - 1.2 million (€1.4 million - 1.6 million) © Bonhams 2001-2015

*One of only 123 DB5 convertibles made
*Delivered new to the UK
*Comprehensive rebuild by Chris Shenton Engineering in 2005
*Present ownership for ten years

Notes: 'More and more cars today reach the magical "ton" but those which can do it with the same ease and rapidity of the Aston can be counted on the fingers of one hand. High-speed stability and safety is not cheap to engineer, and with few people to pay the price, production costs are never reduced by the quantity of the work. The DB5 therefore fills a unique corner of the market, a corner at the top end both in the way it performs and the price one pays for the privilege.'– Autocar, 18th September 1964. 

Introduced in 1963, the DB5 was a development of the preceding DB4 that had represented such a giant step forward in Aston Martin's post-war evolution on its arrival in 1958. Classically proportioned, the Touring-designed body established an instantly recognisable look that would stand the marque in good stead until 1970. The DB4's engine was still an all-alloy twin-overhead-camshaft 'six' but the old W O Bentley-designed 3.0-litre unit had been superseded by a new design by Tadek Marek. Proven in racing before it entered production in the DB4, the new 3,670cc engine featured 'square' bore and stroke dimensions of 92x92mm and developed its maximum power of 240bhp at 5,500rpm. The David Brown gearbox was a new four-speed all-synchromesh unit. 

Touring's Superleggera body construction, which employed a lightweight tubular structure to support the aluminium-alloy body panels, was deemed incompatible with the DB2/4-type multi-tubular spaceframe, so engineer Harold Beach drew up an immensely-strong platform-type chassis. Independent front suspension was retained, the DB2/4's trailing links giving way to unequal-length wishbones, while at the rear the DB4 sported a live axle located by a Watts linkage instead of its predecessor's Panhard rod. Five series were built as the model gradually metamorphosed into the DB5. The latter's distinctive cowled headlamps had first appeared on the DB4GT and the newcomer was the same size as the lengthened Series V DB4. The DB5's 3,995cc engine, first seen in the Lagonda Rapide, produced 282bhp and was mated to a four-speed, overdrive-equipped gearbox, a 'proper' ZF five-speed unit being standardised later. Other improvements included alternator electrics, Girling disc brakes instead of Dunlops, Sundym glass, electric windows and an oil pressure gauge as standard equipment. The DB5 was also offered in convertible form (the 'Volante' name would not be applied to the soft-top Aston until the DB6's arrival) while independent coachbuilder Harold Radford offered a shooting brake conversion. 1,021 DB5s were manufactured between July 1963 and September 1965, a total that included a mere 123 convertibles and 12 shooting brakes. 

This Aston Martin DB5 Convertible was purchased from H R Owen by Mr Robert C Taylor of London on 10th November 1965. It was originally delivered with engine number '400/2273' and was finished in Sierra Blue with grey interior and matching Everflex hood. In 1968 the car went back H R Owen in part exchange. 

In 1969 the DB5 was sold to Mr Geoff Budge. He was followed by Mr Stanley Cale of Cleckheaton (date unknown) and then Anthony Gorst Howarth, who purchased the car in May 1989. At that time the Aston was in a state of partial restoration, having been of the road, garaged for at least ten years. The car was not running but required no chassis work, though there was some electrolysis to steel parts. The hood fabric had been removed, as had the chrome trim, which waas in boxes. The valve gear was noisy so Mr Howarth replaced the valves and cylinder head gasket himself. Low oil pressure when hot led to Mr Howarth having the engine bottom end rebuilt. The non-standard chrome wire wheels were fitted in 1989 and the car repainted in 1993, a new hood being fitted at the same time 

Mr David Preece acquired the car on 1st May 1996 and it is known to have covered 74,680 miles by 15th October 1999. The current vendor acquired the DB5 on 21st November 2005. Fewer than 3,000 miles have been covered over the course of the last 15 years, and only some 300 between July 2011 and June 2014, when the total stood at 77,518 

In 2005, marque specialists Chris Shenton Engineering completed a comprehensive overhaul of the car. Works undertaken included remaking and fitting chassis sections; replacing the sills; de-denting the bodywork; removing rust from the bumpers; rebuilding the engine; overhauling the carburettors; dismantling and replaced seized brake callipers; re-carpeting the interior; re-plating the brightwork; balancing the wheels; and fitting a new convertible hood. 

Finished in California Sage with sand Connolly hide interior, this ultra-rare and highly desirable soft-top Aston Martin is offered with sundry restoration invoices, current MoT certificate and V5C registration document. 

Bonhams. GOODWOOD REVIVAL, 12 Sep 2015 13:30 BST - CHICHESTER, GOODWOOD

Jean Etienne Liotard (1702-1789), Portrait de Pierre-Philippe Cannac d'Hauteville (1705-1785). Estimation : 20 000 CHF / 30 000 CHF. Photo HÔTEL DES VENTES DE GENÈVE

pastel sur feuilles de papier marouflées sur bois, 88,7x67,2 ,cm

Bibliographie: F. Grand d'Hauteville, ,Le Château d'Hauteville, 1932, p. 201, illustré, N.Trivas, ,monographie sans titre et catalogue des oeuvres ,de Liotard, dans ,Musées d'Art et d'Histoire, Genève, 1936, nos. 96 (tel qu'exécuté vers 1760 à Genève, à la date où Cannac succéda à la Seigneurie de Saint-Légier), M. Roethlisberger et R. Loche, ,L'Opera completa di Liotard, Milan, 1978, no. 158, illustré, N. Jeffares, Dictionnaire des pastellistes avant 1800, Londres, 2006, p. 339., M. Roethlisberger et R. Loche, ,Liotard. Catalogue, sources et correspondance, Doornspijk, 2008, I, no. 209, II, fig. 345

HÔTEL DES VENTES DE GENÈVE. Tableaux, Dessins, Découpages du Château d'Hauteville, le 11 Septembre 2015 à 15h

Jean Etienne Liotard (1702-1789), Portrait de Pierre-Philippe Cannac d'Hauteville (1705-1785) et Portrait d'Anne-Adrienne Huber (1704-1777). Estimation : 15 000 CHF / 25 000 CHF. Photo HÔTEL DES VENTES DE GENÈVE

paire d'huiles sur toile, 50x41,2 cm

Expositions: Lausanne, Art Vaudois, 1921, no.41, Lausanne, Musée historique de l'Ancien-Evêché, Le Refuge huguenot en Suisse, 7 juin-27 octobre 1985, no. 293 (uniquement Pierre Philippe Cannac)

Bibliographie: F. Grand d'Hauteville, Le Château d'Hauteville, 1932, p.202, illustré; N.Trivas, monographie sans titre et catalogue des oeuvres de Liotard, dans Musées d'art et d'histoire, Genève, 1936, nos. 95 et 97; H. Perrochon, "La vie au château d'Hauteville", revue de la Société des Amis de Versailles, 28, 1966, p.36, illustré; M. Roethlisberger et R. Loche, L'opera completa di Liotard, Milan, 1978, nos. 9 et 10; A. Leclair, Louis-Jacques Durameau (1733-1796), Paris, 2001, no.71.; M. Roethlisberger et R. Loche, Liotard. Catalogue, sources et correspondance, Doornspijk, 2008, I, pp.248-9, nos. 28 et 29, II, fig. 21 et 22

HÔTEL DES VENTES DE GENÈVE. Tableaux, Dessins, Découpages du Château d'Hauteville, le 11 Septembre 2015 à 15h

Habit à la française 3 pièces en soie noire façonnée effet 'galuchat', circa 1785. Estimation : 1 000 CHF / 1 500 CHF. Photo HÔTEL DES VENTES DE GENÈVE

veste à bords brodés au point de feston de bouquets de fleurs et de feuillages, col haut, manches avec revers à l'avant-bras, boutonnage brodé au point de feston assorti, manches et haut matelassés de laine avec doublure en lin et soie, gilet en soie écrue brodée avec dos en laine et lin, culotte à pont (boutons modernes sur la ceinture).

Man's French formal suit, hand-sewn in black silk with green thread in a shagreen effect, circa 1785, justacorps embroidered with floral bouquets, slightly raised collar, embroidered sleeve cuffs and matching buttons, sleeves and top part quilted with wool in a linen and silk lining, ivory silk embroidered waistcoat with wool and linen back panel, breeches matching justacorps (modern buttons on the waist fastening) 

HÔTEL DES VENTES DE GENÈVE. Tableaux, Dessins, Découpages du Château d'Hauteville, le 11 Septembre 2015 à 15h

Trois gilets à pointe en soie brodée, dernier quart du XVIIIe siècle. Estimation : 1 000 CHF / 1 500 CHF. Photo HÔTEL DES VENTES DE GENÈVE

la longueur dépassant les hanches avec des poches à pointe, broderie de fleurs et de feuillages à motifs néoclassiques, dos en lin et laine.

HÔTEL DES VENTES DE GENÈVE. Tableaux, Dessins, Découpages du Château d'Hauteville, le 11 Septembre 2015 à 15h

Elina Brotherus, Der Wanderer 2, 2004 © Elina  Brotherus  /  Adagp,  Paris  2015  

MARSEILLE - Massifs  de  montagne  ou  côtes  méditerranéennes,  certains  lieux  ont  la  faculté d’offrir  à leurs  visiteurs  des  points  de  vue  privilégiés  qui  procurent  le  sentiment  de  dominer  le  monde,  de  le  posséder  voire  de  s’y  dissoudre.  

Le  mot  « panorama  » naît  une  première  fois  en  Angleterre  en  1787.  Il  désigne  alors  une  construction  circulaire  au  centre  de  laquelle  le  spectateur  se  place  pour  découvrir  un  paysage  ou  une  scène  historique,  reproduits  de  façon  illusionniste  et  qui  se  déploie  autour  de  lui,  à 360°.  Il  apparaît  sous  un  autre  jour,  en  France,  en  1830,  où il  devient  simplement  l’expression  d’un  large  paysage,  d’une  vue  étendue.  Puis  son  sens  rebondit  pour  devenir  la  succession  d’images  qui  se  présentent  à la  pensée  comme  une  vision  complète  ou  l’étude  quasi  exhaustive  d’un  sujet…    

Ces  différentes  acceptions  traduisent  bien  tout  ce  qui  se  trouve   en  substance  dans  le  phénomène  panoramique  :  le  rôle  central  du  regard,  une  certaine  appropriation  du  monde  qui  en  découle,  le  sentiment  de  dominer  une  situation  par  la  simple  vision  large  et  entière  que  l’on  peut  en  avoir...  En  donnant  l’illusion  de  la  réalité au  point  de  parfois  la  concurrencer,  les  différentes  formes  de  panoramas  posent  de  fait  la  question  de  la  construction  du  regard.  

L’exposition  J’aime  les  panoramas,  fruit  d’une  étroite  collaboration  entre  les  Musées  d’art  et  d’histoire  de  Genève  et  le  MuCEM,  à Marseille,  cherche  à montrer  comment  la  notion  de  panorama  dépasse  les  catégories  habituelles  de  la  représentation  (beaux-­‐arts,  art  contemporain,  photographie,  cinéma,  industrie,  pratiques  amateur…).  Issue  d’une  logique  scientifique  et  militaire  avant  d’être  accaparée  par  la  société du  spectacle,  l’expérience  panoramique  pose  la  question  de  notre  rapport  au  monde  ou  au  paysage,  maîtrisé ou  inconnu,  au  tourisme  de  masse,  à la  consommation  de  points  de  vue  formatés,  à l’image  comme  source  de  divertissement.  

Du  premier  dessin  de  panorama  déposé par  l’inventeur  américain  Robert  Fulton  à l’Institut  national  de  la  propriété intellectuelle  de  Paris,  en  1799,  à l’œuvre  360° Room  for  All  C olours, de  l’artiste  danois  Olafur   Eliasson,  réalisée  en  2002,  l’exposition  propose  un  éventail  chronologique  large.  En  réunissant  des  œuvres  d’artistes  tels  que   Gustave  Courbet,   Jan  Dibbets,   Vincent  Van  Gogh,   Peter  Greenaway,  David  Hockney,   Ellsworth  Kelly,   François  Morellet,  Gerhard  Richter  et  Jeff  Wall,  elle  souligne  la  diversité des  propositions  artistiques  influencées  ou  marquées  par  la  notion  de  panorama.    

Des  relevés  photographiques  des  Alpes  à ceux  des  champs  de  bataille  en  passant  par  les  papiers  peints,  les  cartes  postales  ou  les  films,  registres,  médiums  et  univers  se  mélangent  et  renouvellent  le  regard  que  nous  portons  sur  le  monde  et  sur  la  fonction  du  spectateur.  

Du 4 novembre 2015 au 29 février 2016

Olafur Eliasson, 360 room for all colours, 2002© 2002 Olafur Eliasson /Ph. Christopher Burke

Robert Fulton, Brevet d invention, 1791 © Archives INPI

Jeff Wall, Restoration, 1993 ©Jeff Wall

Paul Helbronner, Le mont- Blanc depuis le sommet du mont Maudit © Collection C.Corgne / Ph.Marc Heller

Renaud Auguste-Dormeuil, Hotel des Transmissions jusqu'à un certain point, Athènes, 2013-2006 © Renaud Auguste-Dormeuil

Johan Christian Dahl, Vue depuis Bastei, 1819 © Drammens Museum

R. Graham, Millennial Project for an Urban Plaza, 1991© Rodney Graham, courtesy 303 Gallery, New York / Ph.FRAC Centre / Olivier Martin Gambier

Bertrand Lavier, Paysages aixois, 2014 © Bertrand Lavier / Adagp, Paris 2015 / Ph. Herve Hote

Les Grands Boulevards de Paris de la Madeleine à la Bastille, 1820 © Joachim Bonnemaison

Peter Gales, Yosemite Park, 1968 © Kodak / Peter Gales

Alexandra Exter et Marie Colmont, Panorama de la côte, 1937-1938 © MuCEM / Yves Inchierman 

Vue de Santa Lucia à Naples, 1810 © A. Guillard

 Olafur Eliasson, The horizon series, 2002 © 2002 Olafur Eliasson / ph. Jens Ziehe

Jean-Gabriel Charvel, Les Sauvages de la mer Pacifique, 1804 © Les Arts Decoratifs, Paris / Jean Tholance

George Frederic Watts, Après le déluge, Le quarante et unième jour, 1885-1891 © Watts Gallery

Gustave Courbet, Panorama des Alpes, vers 1876 © MAH / Bettina Jacot / Descombes

David Hockney, A closer Grand Canyon, 1988 © David Hockney / photo Richard Schmidt

 NEW YORK, NY.- The splendor of China’s heritage is once again the focus of the exceptionally strong collections of classical and modern paintings and dynastic works of art set for auction on September 12 at Gianguan Auctions New York. The symbolism that underlies every facet of Chinese culture and Buddhist art is front and center. The elevation of scholarship is apparent in the craftsmanship displayed in items as varied a carved jades, antique ceramics, and jewelry and teapots. 

A collection of multi-million dollar scroll paintings underscores the leadership position accorded Gianguan Auctions in this area. Among the upper tier highlights is Lot 105, “The Steed and Groom,” by Zhao Mengfu (1254-1322). A prince and descendant of the royal family, Zhao Mengfu broke from tradition to explore the layering of grounds at various heights to create depth. In this ink on a stone-black stallion with one red tether is matched with a lone handler within a proscenium of rocky outcroppings. The pre-sale estimate is $10,000,000 to $15,000,000. 

Zhao Mengfu  (1254 - 1322), Yuan Dynasty, "The Steed and Groom". Hanging Scroll, Ink & Color on Paper. Signed Zhao Mengfu, with one artist seal. Sixteen Collectors’ seals Colophons by Wen Zhengming and Dong Qichang; 50 × 25 in., 127 × 63.5 cm. Estimated Price: $10,000,000 - $15,000,000. Photo Gianguan Auctions.

Considered one of the four great masters of the Yuan Dynasty, Huang Gongwang (1269-1354) created Lot 102, “Rain Falling on Mist Forest”. Comprised of rolling hills and rocky boulders, the landscape is inscribed and signed Dachi Daoren, one of the artist’s sobriquets, and has one artist seal. Ten collectors’ seals, a frontispiece by Wen Peng and a colophon by Xiang Yuanbian give this painting its pre-sale estimated value of $4,000,000 to $6,000,000. 

Huang Gongwang (1269-1354), Yuan Dynasty, “Rain Falling on Mist Forest”. Hanging Scroll, Ink on Paper. Inscribed and signed Dachi Daoren, with one artist seal. Ten Collectors’ seals. Frontispiece by Wen Peng. Colophon by Xiang Yuanbian; 50⅛ × 24¼ in., 127.3 × 61.6 cm. Estimated Price: $4,000,000 - $6,000,000. Photo Gianguan Auctions.

The epitome of Ming Dynasty Buddhist art is Qiu Ying’s “Venerable Buddha,” Lot 91. The image of Buddha, with halo and colorful robes, is rendered transcendent by placing him amidst clouds and followed by a companion hoisting a ceremonial parasol. Deftly colored, signed and with one artist seal, nine Emperors’ seals and six collectors’ seals, the painting has a $2,000,000-$3,000,000 value. 

Qiu Ying (1495 - 1552), Ming Dynasty, "Venerable Buddha". Hanging Scroll, Ink & Color on Paper. Signed Qiu Ying, with one artist seal. Nine Emperors’ seals. Six Collectors’s seals; 50¼× 25⅛ in., 127.6 × 63.8 cm. Estimated Price: $2,000,000 - $3,000,000. Photo Gianguan Auctions.

The contemporary Buddhist art highlight is HH Dorje Chang Buddha III’s 2013 “Loquat”. Treating the ink as if it were as precious as gold, the artist has honed in on an ascending branch laden with fruit. Deft strokes give it an airy elegance, a simplicity that belies the hidden power within. There are no broken strokes or extraneous marks. The ink on paper painting carries the bell seal of Droje Chang Buddha III and a three-dimensional finger print Gui Yuan. It is priced at $9,000,000.  

Dorje Chang Buddha III (Contemporary), "Loquat". Hanging Scroll, Ink & Color on Paper. Inscription: A mere few strokes and ink tones gain the purpose; Why clutter the space with extraneous marks?. Painted in 2013. Dorje Chang Buddha III. Bell Seal: Dorje Chang Buddha III. Three-dimensional fingerprint Gui Yuan. 31½ x 27⅜ in., 80 x 69.5 cm. Estimated Price: $9,000,000 - $11,000,000. Photo Gianguan Auctions.

Xu Beihong, the 20th century master known as the father of modern Chinese art, excelled at capturing the personality of horses. Lot 110, “Two Horses” is a supreme example of this skill. Here he pairs a white and black duo frolicking in full gallop. The 1944 work is inscribed and signed Beihong. It has three artists’ seals. Bidding begins at $200,000 and may go as high as $300,000. 

Xu Beihong (1895 - 1953), "Two Horses". Hanging Scroll, Ink on Paper. Dated 1944. Inscribed and signed Beihong, with three artist seals; 39⅝ × 39⅝ in. 100.6 × 100.6 cm. Estimated Price: $200,000 - $300,000. Photo Gianguan Auctions.

In 1939, Xu Beihong staged a war benefit at Victoria Memorial Hall in Singapore. Among the artists showcased was the 19th century painter Ren Bonian aka Ren Yi. (1940-1896). Lot 87, his “A Traveling Master”, is punctuated with carefully applied blue and yellow dabs at hat and sash. It is a hint of the color splash techniques of the mid-20th century. The work is estimated at $12,000-$20,000.  

Ren Yi (Bonian) (1840 - 1896), Qing Dynasty, "A Travelling Master". Hanging Scroll, Ink & Color on Paper. Dated 1875. Inscribed and signed Ren Yi, with two artist seals. 46½ x 25½ in., 118 x 65 cm. Estimated Price: $12,000 - $20,000. Photo Gianguan Auctions.

The vibrant color splashed works of mid-century Chinese artists were frequently of traditional tonality over laid with bold color splotches. Lot 101, “Spring in Southern China” by Wu Guanzhong, advances the color concept by emblazing an abstraction of sketched houses along a river with bridge in tones of blue, yellow, pink and green. Its pre-sale estimate is $40,000-$60,000.  

Wu Guanzhong (1919 - 2010), "Spring in Southern China". Hanging Scroll, Ink & Color on Paper. Dated 1979. Signed Wu Guanzhong, with one artist seal; 52 × 26 in., 132 × 66 cm. Estimated Price: $40,000 - $60,000. Photo Gianguan Auctions.

Lot 86, Liu Halsu’s “Mountain Springs,” translates the ferocity of rushing water with roiling bursts of blue, white and black and a smattering of fiery pink. Signed Liu Haisu at 89, it has one artist seal. It catalog value is $8,000-$15,000.  

Liu Haisu (1896 - 1994), "Mountains Springs". Hanging Scroll, Ink & Color on Paper. Dated 1984. Signed Liu Haisu at 89, and with one artist seal; 37½ x 19¾ in., 95.2 x 50 cm. Estimated Price: $8,000 - $15,000. Photo Gianguan Auctions.

Lot 97, Qi Baishi’s “Insect on Leaf in Water” is a minimalist work in gentle strokes of an ephemeral insect rafting on a leaf as a dragonfly circles above. It is signed and has two artist seals. It will see $50,000-$60,000. 

Qi Baishi (1864 - 1957), "Insect on Leaf in Water". Hanging Scroll, Ink & Color on Paper. Signed Qi Huang, with two artist seals; 36 × 11 in., 91.4 × 27.9 cm. Estimated Price: $50,000 - $60,000. Photo Gianguan Auctions.

Buddhist treasures again beckon with Lot 253, a rare painted clay-coated linen figure of Guanyin. It is defined as “bodiless” because all that remains is lacquer coated linen, the result of a technique that requires dissolving the clay in water and removing it. The seated figure is draped in robes and has an overall rich-red lacquer cast. Its value: $8,000-$15,000. 

A Fine and Rare Lacquer Painted Clay-Linen-Bodiless Figure of Guanyin, Qing dynasty. Height: 15⅝ in (39.7 cm). Estimated Price: $8,000 - $15,000. Photo Gianguan Auctions.

The Guanyin was first molded with clay and then coated with lacquered linen, when the figure was parched, a hole is drilled at the bottom of the mold and then immersed into water to dissolve the clay body. Then polish the hardened fabric and coat it with layers of lacquer to make bodiless lacquer statute. Shown seated on a double lotus base, wearing loose robes draped with a shawl that falls in graceful folds around the body with jeweled necklaces, the broad face with gentle downcast expression, applied overall with a rich red-colored lacquer.

The archaic peoples had their own rituals, about which little is known. Lot 195, however, is a Taotie mask with pictogram on an animal bone. Of the Liangzhu culture, it is believed to be a Royal Decree, used to more troops. The shallow relief is carved on the obverse and reverse. It’s price: $10,000-$20,000. 

Neolithic Liangzhu Culture (2000 - 3000 BC), Carved Taotie Mask with Pictogram on Animal Bone. Height: 5⅞ in (14.9 cm). Estimated Price: $10,000 - $20,000. Photo Gianguan Auctions.

Exceptional antique ceramics are highlighted by Lot 214, a Qing Doucai Bajixiang double-gourd vase on which polychrome clouds scroll up and around the body highlighting the Bajixiang emblems. A countersunk bas e is turquoise with and underglazed blue reign mark. The Qing six-character mark is visible. Bidding begins at $120,000 and may soar to as much as $180,000. 

A Fine and Rare DoucaiBajixiang Double-Ground Vase, Qing Dynasty, Qianlong Six character Mark and of the Period. Estimated Price: $120,000 - $180,000. Photo Gianguan Auctions.

Height: 11¼ in (28.6 cm). The lower globular bulb supporting a smaller similarly shaped bulb, delicately painted in polychrome colored cloud scrolls swirling up and around the body with Bajixiang Emblems, the eight auspicious Buddhist emblems. Ruyi head pendants bordered the mouth-rim and the foot-rim encircled by a cresting wave scroll. The countersank base painted turquoise with an underglazed blue reign mark.

The marquee carved jade item is Lot 233, a Mughal style bowl. Translucent and rising from a short foot to a slightly flared rim, the exterior is carved in low relief with ruyi trefoils, acanthus-leaf scrolls and meandering blossoms skirted by petal lappets. Six inches in diameter and two inches tall, the bowl is $15,000-$30,000. 

Chinese animals, flowers and mythological creatures dominate the decorative arts portion of the auction. Lot 17 is a Warring States yellow jade hair ornament carved with a vulture. Its estimate is $8,000-$15,000. Lot 273 is a large pottery painted ox of the Han Dynasty. Hollow molded, standing foursquare, it retains original gray pigment on the body and red and white swirling clouds. The price for the large creature is $3,000-$5,000. 

 A Very Rare Yellow Jade Hair Ornament Carved with Vulture, Warring States Period. Estimated Price: $8,000 - $15,000. Photo Gianguan Auctions.

Carved as a hollowed cylindrical section, the periphery entwined with a relief carved vulture perched atop the rim, detailed with swirling boss and incised feather patterns with a center protruding flange. At the near section two round holes to insert hair pin. The translucent stone of Celadon yellow pale tone with buff inclusions. Possibly used to tie hair or for as a decorative item.  Height: 6 in (15.2 cm). Weight: 946 g.

A Large Pottery Painted Ox, Han Dynasty. Estimated Price: $3,000 - $5,000. Photo Gianguan Auctions.

The ox is hollow molded, standing foursquare with cloven hooves. Grey painted in swirling clouds in red and white pigment. Height: 11 in (27.9 cm). Length: 17½ in (44.5 cm)

Han Dynasty carved jades further the quest into the mysterious. Lot 36 is a rare white jade mythical beast rhyton with Qilins. It is embellished with gold wire and stones. The Han reign Mark is impressed on the underside. It will bring $15,000-$30,000. Lot 24 is a white jade Qilin with cub on its back. Of even tone with russet inclusions, its estimated is $5,000-$8,000 Lot 143 offers a jade Bixie with its head turned backward. It too has the reign mark on the underside and is valued at $6,000-$8,000. 

A Fine and Rare White Jade Mythical Beast Rhyton with Qilins, Han Dynasty. Estimated Price: $15,000 - $30,000. Photo Gianguan Auctions.

The well hollowed horn emerges from the back of a phoenix dragon beast, with qilins clambering on the side to form loose ring handles. The vessel is carved with archaistic scrolls and embellished with gold wire and stones. Impressed Han Reign Mark Jiàn Yuán on the underside. Height: 5⅞ in (14.9 cm). Weight: 470 g

The powerful dragon makes a dramatic appearance at Lot 167 in a set of nine chasing flaming pearls across the bodies of a massive pair of egg- yellow Meiping. The dragons are green and aubergine. The green and aubergine dragons are set amidst flaming clouds and flame motifs encircled by ruyi. Inscribed with the Ming Dynasty Kangxi six-character mark, and of the period, the vases are $30,000-$40,000. 

 A Pair of Massive Fine Yellow-Ground Wucai Dragon Meiping with Cover, Qing dynasty. Estimated Price: $30,000 - $40,000. Photo Gianguan Auctions.

Boldly incised with nine leaping dragons, in green and aubergine enamels chasing flaming pearls amidst scattered billowing clouds and flame motifs, encircled by ruyi and classic bands, on a brightly enameled egg-yolk yellow ground. The cover has a bud finial. The shoulder inscribed with a Qing Dynasty, Kangxi Six-Character Reign Mark and of the Period. Height: 38½ in (97.8 cm)

Lot 255, a Ming blue and white ovoid vase features two phoenixes, king of birds and symbolic of good fortune and opportunity. Of the period and bearing the Xuande six-charter mark the price is $30,000-$40,000. 

A Very Fine Blue and White Phoenix Ovoid Vase, Ming Dynasty, Xuande Six Character within Double Circles Mark and of the Period. Estimated Price: $30,000 - $40,000. Photo Gianguan Auctions. 

The body is painted in underglazed-blue with two phoenixes in flight amidst floral scroll encircled by two key-fret band on the shoulder and above the foot with blue lines. The flared short neck is decorated with an upright plantain band. Height: 8 in (20.3 cm)

Representative of the scholar’s quest is Lot 270, a rare Ji-Yun tortoise shell box. Its rectangular shape is overlaid with tortoise shell. A poem is inscribed in gilt on the top. The interior is fitted with a shallow upper tray that slides. It has a brass plate and latch. Of the Qing Dynasty, the box bears the Jiaqing four-character mark. A collector will be lucky to get it for $5,000-$8,000. 

A Fine and Rare Ji-Yun Tortoise Shell Lacquer Scholar Box, Qing Dynasty, Jiaqing Four Character Gilt Mark at Base. Estimated Price: $5,000 - $8,000. Photo Gianguan Auctions. 

Of rectangular form, with hinged cover, the lacquer box is tortoiseshell clad with a poem inscribed in gilt lettering on top. The interior fitted with a shallow upper tray that slides out and storage compartment below, brass plate and latch. Height: 2¾ in (7 cm). Length: 11⅘ in (30 cm). Width: 6⅝ in (16.8 cm)

For the complete line up of properties in the sale scheduled at Gianguan Auctions on Saturday, September 12th, please visit www.gianguanauctions.com. 

The auction will be conducted live at the gallery, 295 Madison Avenue. Online bidding takes place on invaluable.com, Liveauctioneers.com, and on the Gianguan website. For details and condition reports, please call 212-226-2660

Turquoise and emerald drop earrings from de GRISOGONO's Melody of Colours collection.