One circular coin. Square central hole. Obverse presents four Chinese characters 弘治通寶 (hongzhi tongbao). From the Hongzhi era of the reign of Emperor Xiaozong (1487-1505 AD).
Panel of blue silk, with embroidered designs of flying cranes and phoenix.
One female mandarin badge of embroidered silk in two parts, featuring phoenix, as attached to ceremonial robe.
Peasants tobacco pipe, with small bowl of brass and bamboo stem.
One caramel-brown jade gui. Name 文仲子 (Wen Zhongzi) in seal script carved beside two holes at top end.
One blue and red collar with 17 tongues and with imitation pearls attached to them. On the collar itself are two dragons in blue and white. These are decorated with gold leaf and gold braid and are on the red background. There is a clasp of jade, carved, also another inconspicuous fastener of a knot and loop. The inside of the collar itself is green, faintly patterned. The collar is worn over a woman's dress.
One bronze daigou, with inlaid gold and silver.
One Mandarin hat. First rank. Dark brown silk, with pinky-red coral button on ornamental gilt base, and bright red tassels.
Two childrens toys, painted soapstone, both painted in red, black and white. A: Seated monkey with clasped hands. B: Squatting monkey, with hands to mouth.
University of Hong Kong Museum and Art Gallery and Otago Museum.
One unglazed brown ceramic hu vessel. Globular body tapers towards a flat base and extends into a long neck flaring slightly at the top. Two animal heads moulded in shallow relief on opposing sides of vessel. Animal heads feature prominent nose rings. Strands of string tied around neck.
Pottery group in three sections representing camel train on silk road.
One pierced disc with opposed sculpture of two human figures each carrying sprays.
Standing figure of Xi’er in blanc de chine porcelain. Xi'er is the heroine of the Revolutionary ballet 'The White-Haired Girl' (Bai mao nu)
One Tibetan holy script from Lamasery in Inner Mongolia.
One rubbing of the 'Nestorian Stele' in Xian.
Large tinted paper print, probably from stone slab, featuring tortoise and snake. Inscription at top: 鎮宅龜蛇 ('Tortoise and snake that protect the house').
One painting featuring the eleventh of The Twenty-four Paragons of Filial Piety (Ershisi xiao), according to Guo Jujing (fl. 1300). Here Cai Shun collects mulberries for his mother. He explains to the rebels that the basket of sweet berries is for his mother and the basket of sour berries for himself. Inscription as follows: 第十一孝蔡順拾椹
One rubbing of relief and engraved designs in pottery or stone.
One horizontal painting of figures and two mounted buffalo. Inscription as follows: 東圃三弟大人正 小齋張之溶畫（For Your Excellency, my brother, Dongpu. Painted by Zhang Zhirong)
One mounted painting on paper of landscape. Signature and seal of artist bottom left. Dedication to Alley top right. Signatures and seals of six friends, top left. Inscriptions as follows: 1. Top inscription: 本會調查員英人艾黎君於本年七月十一日調升工廠檢查部服務，同人等與艾君共事多年，悉其對於中華書畫特具雅好，爰倩娄東名畫家蔣思澤君構作立軸一幀，以卜賞鑒並資紀念雲尓，時中華民國二十三年七月 陳龍泉 朱耕x 陳顯明 金柏生 沈海耿 任石流 敬贈 The British man Mr. Rewi Alley, an investigator of our union, will be transferred to the Factory Inspection Department. We have worked with Mr. Alley for many years, all knowing that he has a keen interest in Chinese calligraphy and painting. Therefore, we commissioned this hanging scroll from Jiang Size, a famous painter in Loudong, for Alley and our friendship as well. In the July of the 23rd year of the Republic of China (1934). Chen Longquan, Zhu GengX, Chen Xianming, Jin Bosheng, Shen Haigeng, Ren Shiliu. Respectfully presented. 2. Lower inscription: 高館依山築 白雲時往回 送迎都不必 風雨卻能來 有意未妨懶 無心何用猜 世人誰可到 但指亂峰堆 艾黎先生雅正 娄東蔣思澤
One rubbing of a goat head and repeated inscription. Detail at bottom indeterminable. Inscriptions: 大吉和 (great, auspicious, harmony).
One mounted painting of a buffalo tethered to a peg and a boy lying in a tree. Inscriptions as follows: 1. Top right: 霜葉紅於二月花 (frosted leaves are as red as the February flowers) 2. Middle and left: 艾黎先生方家雅教 可染敬贈 (Mr. Alley, the master, please kindly point out my inadequacies. Respectfully presented by Keran.) 3. Bottom right: 可染畫 (painted by Keran) Seals as follows: Top right: 李 (Li) Bottom left: 李 (Li) Bottom right: 可染 (Keran)
One painting on paper of Liu Hai (a god of wealth) standing on a toad and playing the flute.
One brown clam-shaped netsuke. Lighter brown markings. Emulates surface texture and patterning of an actual clam shell. One face presents two small pierces threaded through with light green string.
One painting on silk of the Yongle emperor (1360-1424). Inscription as follows: 明永樂像
One painted figure of a bodhisattva and calligraphy. Title of inscription: 大唐中興三藏聖教序 (Preface to [the Translations of] Sacred Teachings [Prepared by] the Master of Three Canons during the Period of Resurgence of the Great Tang)
One folio of eight botanical woodblock prints.
One facsimilie of a painting on paper featuring mythical figures.
Painted landscape on paper of mountains, water and hut. Inscription as follows: 乙酉冬日為／少南仁兄法家校正／鏗衡尹相設色／時年六十有九 (In the winter of Yiyou year [probably 1945], for your honour Shaonan. Yin Xiang painted in colour at the age of 69) Seals: top left: 鏗衡 (Keng Heng), 尹相 (Yin Xiang) bottom right: 鏗衡 (Keng Heng).
One painting on paper of flowering lotuses. The inscription and seal are as follows: 味青／李樹滋／寫於／白下／葆真／書屋／時丁酉／之冬 (Weiqing, [also called] Li Shuzi, painted in Baozhen Studio, Baixia [district of Nanjing), in the winter of Dingyou year [1957].) Seal: 樹滋賦色 ("Shuzi painted with colour”)
One painting on paper of a central Buddhist figure seated on a lotus throne flanked by one figure either side.
One cylindrical brass and copper Tibetan-style prayer wheel. Barrel presents two bands of Tibetan characters moulded in low relief. Barrel lid takes the form of a lotus bud surmounting a flattened hemisphere and a broad flat rim. Upper surface exhibits botanical patterning in low relief. Barrel underside exhibits four-fold botanical pattern in low relief. Barrel interior contains script on rags and paper coiled around a wooden spindle. One side of the barrel waist presents an attached metal chain and weight shaped in the form of a simple geometric solid.
One horizontal scroll landscape painting on silk with donkeys and travellers. Inscription as follows: 西蜀圖 庚子春 三月既 望 錢塘 戴文進 (Scroll of Western Shu. In the spring of Gengzi year, mid-March, Dai Wenjin from Qiantang [paints]) Seals: Upper: ? Lower: 靜庵 (Jing An)
One horizontal painting on silk of a landscape.
One horizontal painting of a seascape with islands, which depicts the Taoist mountains and isles. The long colophon is an explanation of the painting, describing five yue (high mountains), three shan (mountains or hills), and ten zhou (islands). The literary content of the colophon is based on the Great Mystery (Taixuan太玄部) section of Taozang 道藏 (Taoist Canon) with many modifications. Written by Aisin Gioro Hongwu 爱新觉罗·弘旿 (1743-1811), grandson of Qing Dynasty Emperor Kangxi. Four seals at the end of the colophon: Two belong to the calligrapher Aisin Gioro Hongwu: 1. 弘 (hong) 2. 瑤華道人 (yaohua daoren) Two are collector's seals: 1. 陳伯潛 (Chen Boqian) 2. 澄秋館鑒藏善書畫印 (Seals for Calligraphy and Painting Collection of Chengqiu Studio) Inscription as follows: 海內有大五岳，一曰廣桑之山，天之東岳也，在東海之中，為發生之首，上有碧霞之闕，瓊樹之林，紫雀翠鸞，碧藕白橘，主歲星之精，居九氣青天之內。二曰長離之山，天之南岳也，上有朱宮絳闕，赤室丹房，紫草，紅芝，霞膏，金醴，主熒惑之精，居一氣丹天之內。三曰麗農之山，天之西岳也，在西海之中，上有白華之闕，三素之城，玉泉之宮，瓊林瑞獸主大白之精，居七氣素天之內。四曰廣野之山，天之西岳也，在北海弱水之中，上多瓊樓碧簌，金液龍芝，主辰星之精，居五氣玄天之內。五曰崑崙之山，天之中岳也，在八海之間，上當天心，形如偃蓋，東曰樊桐，西曰玄圃，南曰積石，北曰閭苑，上有瓊華之闕，光碧之堂，瑤池翠水，金井玉梁主鎮之，精居於中元一氣天中焉。又有三山。一曰蓬萊山，又名蓬丘，又名雲萊，在東海中，上有金臺之地，海水正黑而為溟渤，無風而波浪萬丈，不可往來，惟飛仙有到者，上有九氣丈人九天真王宮，蓋太山真人所居。一曰扶桑山，在東海中，山有木如桑，長者數千丈，大者三百圍，兩相扶倚，同根而生，故曰扶桑，椹子甘香赤色，千歲一實，仙人採食，體生金光，飛翔太空，有金鳳皇九色鳥，其鳳一鳴叫天下雞皆鳴，日即生x，上有天帝宮，太真東皇君所治處。一曰方丈山，又名鸞治東方龍場，方千里，玉瑤為林，雲色皆紫，在東海中心，四面x岸各五千里，上十群龍所聚，有金銀琉璃之宮，三天司命所治之處，有太元之宮，金漿玉髓，飲之長生，瑞禽奇木莫可名狀，群仙不欲升天者皆往來此島，上有九源丈人主領天下水神，龍蛇水獸。又有十洲。一曰生洲，在東海中，上有仙家萬眾，天氣安和，地無寒暑，安養萬物，仙草眾芝，水味如飴酪。一曰祖洲，在東海中，上有不死草，似菰，地生瓊田芝草，名養神芝，其狀如瓜苗，長數尺，人死三日以芝蓋面即活。一曰瀛洲，上有青州，立翠水二仙宫，生神芝仙草，又有玉石高千丈，出泉如酒味，名玉醴泉，又名玉膏，飲之長生；產昆吾之鐵，鍊石切玉如泥。一曰阮洲，在北海中，有玄澗，澗水味如蜜漿，飲之長生，與天地相畢。一曰炎洲，在南海中，四面烈焰亘天，海水騰沸，飛鳥不敢度，上有火林，山火鼠，毛長，仙人採為布，名活浣布，又有風生獸，青色如狸，雖死觸風即活。一曰鳳麟洲，在西海中，四面有弱水，毛羽不浮上，多麒麟鳳凰，上有青華之宮，丹林素府。一曰長洲，又名青丘，在南海中，多大樹，有仙草靈藥，甘液玉英，又有風山，恆震聲，有紫府宮，天真仙女遊於此。一曰流洲，在西海中，上有奇花異木，瑞草靈芝。一曰玄洲，在北海中，仙伯真公所治，上多太玄仙宮，金芝玉草。一曰聚窟洲，在西海中，上多真仙靈官，宮第及獅子辟邪，鑿齒天鹿，長牙銅頭，鉄額之獸，有大山形似人鳥，因名人鳥山，生返魂香樹，大如桐柏，花香聞數百里，鍊液為香，名驚精香，又名霹靂香，又名返生香，又名x檀香，又名欲死香，此六香神仙異物，人死聞氣即活 瑤華道人
One dark grey Japanese bowl. Mark on bottom: 備前 (Bizen [yaki]) and 陶仙 ([Matsui] Tosen).
One rectangular yellow-brown wooden box. Lid presents six Chinese characters in pale green pigment. Box interior lined in dark green satin. Contains ten miniature heads each elaborately painted with examples of theatrical makeup. Beneath each head is a small rectangular plaque with a double row of five or six Chinese characters in white pigment on a black ground.
One Mongol helmet. Crown cap, peak, front and back ridges of delicately designed iron work, formerly inlaid with gold and silver; helmet made by the riveting together of two halves; peak and locking plate riveted onto helmet. Designed for an officer in conquest army of Genghis Khan, ca 1215. Found in Inner Mongolia.
One daigou in opaque white jade.
One grey and brown jade ceremonial blade with incised fish.
One glazed Fujian blanc de chine figure of a boy.
One ceramic barrel-shaped snuff bottle without stopper. White ground with 18 children in blue and red playing games beneath a tree. Boat on bottom.
One white glazed earthenware vessel, with pinkish hue at base, floral decoration on underglaze blue. Yi, Korean.
One circular coin. Square central hole. Obverse presents four worn Chinese characters 道光通寶 (daoguang tongbao). Reverse presents two worn Manchu characters boo yun (Yunnan province mint). From the Daoguang era (1821-1850 AD) of the reign of emperor Xuanzong (1820-1850 AD).
Two rock crysal seals. Each with two dragons in relief on top (mirror pair). A with seal in relief at base, characters in copy of ancient script. B with modern characters in relief at base, in modern (comparatively) seal style. In case.
One cuboid brass weight. One side presents two Chinese characters 肆兩 (four taels).
One circular glazed pale green ceramic vessel. Bowl exhibits a wide mouth and out-turned lip and rests on three short equidistantly-spaced feet. Rim of bowl is glazed plain white.
One ceramic head of an animal. The head of the figure is glazed black and its neck grey-brown. A small hole embellishes the figure's jaws.
One glazed green ceramic oil lamp in the form of an elongated cylinder with an attached handle. Upper part of body tapers slightly inwards before abruptly opening out into a wide shallow circular bowl with a small cut-out on one side. Lower body is attached to a broad circular dish-shaped base with a raised rim.
One globular glazed sancai ware vase surmounted by a shallow neck over broad shoulders and tapering to a shallow narrow base. Vase presents loosely applied geometric pattern in yellow and green glaze over a glazed white ground.
One long slender yellow-brown bamboo bow strung with hemp.
One glazed green ceramic oil lamp in the form of an elongated cylinder. Upper third of body tapers above a horizontal ridge before abruptly opening out into a shallow circular dish. Lower body is attached to a broad circular dish-shaped base with a raised rim.
One elongated green-white jade pendant. Darker green-brown vein. Serpentine sagittal cross-section. Convex obverse presents incised details. Small sideways hole pierced through uppermost part of pendant.
One crescent-shaped green-brown jade pendant. Darker green-brown vein. Obverse and reverse present incised ruyi fungal patterns. Small hole pierced through top edge with bright red cord threaded through.
One white jade daigou. Yellow-brown vein. Obverse carved into the form of a fish with a raised double-finned tail and wide open jaws closing on a ball.
One Yixing yellow-brown ceramic vessel with a short narrow neck sumounting wide shoulders themselves disposed over a three-lobed globular body. Each lobe exhibits a moulded animal head attached to its upper shoulder and tapers to a short stubby foot at the base. The upper shoulders of the vessel present two bands of incised decorations comprising a continuous keyhole pattern beneath which are a series of eighteen ruyi fungus pattern motifs or six per lobe. The vessel's mid-shoulders present three bands of incised decorations comprising a strip of hatched patterning bordered above and below by bands of spiral motifs.
One glazed earthenware ridge tile moulded in the form of a caped and pantalooned figure standing legs astride in a defiant posture. Ridge tile presents semi-circular cross-section. Figure's clothing is glazed green whilst face and body are glazed in orange and yellow respectively.
One unglazed grey and ochre earthenware figure of a horse and rider mounted on a rectangular base. Traces of red pigment visible on rider's hood and saddle. Rider's arms are raised as if to grasp a bridle that is now missing. Horse's tail is broken off.
One glazed white tan and yellow earthenware mask with moulded and incised details. Facial features are exaggerated. Two circular holes define the pupils of the eyes. The eyebrows spiral out in wide fans embellished with linear incisions. The nose is flat and broad with two small holes for nostrils. A narrow horizontal slot divides upper and lower ranks of teeth in a wide grinning mouth. On either side of the mask elongated ears stretch from eyes to mouth.
One unglazed slate-grey and ochre earthenware figure in the form of a robed kneeling man.
One unglazed slate-grey earthenware figure in the form of a camel. Figure is hollow-bodied and exhibits traces of red and ochre pigment. Both front legs have been broken off and reattached.
One bronze daigou painted black with decorative patterning in red. In the form of bird with a semi-circular body and a long hooked neck. Convex obverse of body presents geometric pattern; sides of body exhibit keyhole pattern. Head exhibits small red-painted eyes and a broad grooved mouth. From Xiongnu culture.
Two unglazed burnished earthenware figurines in the form of robed and hooded dancers. One figurine is presented with both arms extended and other with its left arm raised and right arm held behind its back. Robed bodies of both figurines are painted in black pigment; stylised faces of each figurine are painted in red pigment.
One cylindrical brass Tibetan-style prayer wheel with a spindle emerging from the base. Barrel presents six Tibetan characters moulded in low relief. Barrel top surface exhibits quatrefoil lotus pattern surrounding a central triskelion motif. Barrel underside exhibits eight-fold pattern of stylised flowers and beads surrounding a central triskelion motif.
One amber-coloured glass snuff bottle. A short wide neck with an inner cone tapering to a narrow opening surmounts a flattened rounded rectangular body tapering at the bottom towards an oval-shaped base. One interior face presents a painted scene of birds and foliage; the other interior face presents a painted scene of a dog in a garden.
One circular glazed Romanian ceramic ewer with a globular body tapering to a shallow narrow base and surmounted by a tall neck flaring outwards to a wide mouth. Vessel presents a large handle curving from the mid-neck to the mid-body. Ewer presents loosely executed decorations of floral and geometric designs in brown green and yellow.
One brass-gilded warming pan and lid. Pan presents out-turned rim surmounting a flattened cylindrical body tapering slightly to a flat circular base. Base underside presents a dark brown symbol and signs of brown-green corrosion in one area. Riveted to one side of the pan is a flat rectangular metal plate from which extends a hollow cylindrical handle flaring slightly outwards. Right-hand side of plate presents three Chinese characters. Lid consists of a ring-shaped cylinder surmounting a flattened hemispherical body. Lid interior is not gilded.
One gourd-shaped qihe (lacquer box). Exterior presents elaborate relief-carved botanical pattern in dark green lacquer. Interior exhibits gilt-lacquered segmented lobe pattern.
One dark brown lacquered wood box. Top and sides present relief-carved ruyi patterns the interiors of which are embellished with parallel red striations; plain flat base.
One circular brass button. Obverse outer circumference presents a geometric pattern surrounding a central design of a bird plants and flowers. Reverse exhibits metal loop.
Two bone ornaments. (1) One cream-yellow bone disc. Large circular central hole. Obverse presents four Chinese characters 一去千裡 (once gone a thousand miles). (2) One cream-yellow bone disc. Small circular central hole. Obverse presents five Chinese characters 山中高士 (talented scholar in the mountains).
One wheel-shaped ornament with cross in centre as spoke.
One rectangular brown carved wood fasting tablet. Obverse and reverse present a relief-carved botanical border surrounding a central rectangle containing two inscribed Chinese characters: 齋戒 (zhai jie, “fasting”); and 潔靜 (jie jing, “clean and pure”). One end of the pendant is threaded through with orange cord.
One bronze demon-like figure, holding wine cup and phallus.
One gilded bronze figure with red and white colours on head. Four legs and six arms, two holding an object.
One cream and light tan carved model stone pedestal in the form of a drum. Squat cylinder bulging at the waist. Upper and lower rims ringed with a beaded pattern; mid-section presents a botanical design in low relief. A metal pipe is inserted into a hole drilled into the upper face of the object.
One glazed pale green globular reticulated ceramic cicada cage. Exterior embellished with three equidistantly spaced badges illustrating multi-coloured figures in garden landscapes. Red-brown glazed cap. Vessel body threaded through with blue string terminating in a small metal bead and ring at one end and a red tassel at the other.
One Yixing ceramic cup with a large ring-shaped handle and a wide fluted rim tapering gradually to a narrower base. Cup exterior is chocolate brown and presents incised inscription: 玉川吟興 陽羨德x主人付刻. Cup interior is glazed blue-white with a prominent crackle effect.
One serpentine crystal daigou. Red-brown vein. Upper part of obverse presents carved head of a dragon. Obverse body presents incised serpentine botanical design.
One serpentine red-brown wood daigou. Upper part of obverse presents carved head of a dragon. Obverse body presents serpentine relief carving of a dragon.
One small dark brown stone ornament in the form of a human head. Lighter-brown vein. Hair of figure is arranged in the form of a peak and defined by incised parallel grooves. Longitudinal hole pierced up into head at the base of the neck.
One elongated pale green jade hair ornament. Darker green vein. Presents a narrow waist with a silver mount that flares out to pointed end-pieces. Each end-piece defines a slight angle in relation to the main body.
One elongated rectangular green jade hair ornament. Grey-green vein. Obverse presents incised botanical design that pierces jade at several points. One end terminates in a narrow tab angled acutely in relation to ornament's main body. At the other end a similar tab appears to have been broken off.
One approximately triangular pale green jade pendant in the form of a couchant animal. Darker green-brown vein. Small hole in the head. Appears to have been broken off at the base.
One approximately ring-shaped grey-white jade ornamental lug. Blue-brown vein. Possibly a handle broken off a vessel or receptacle. Outward-facing edge presents carved head of a serpent or reptile.
One elongated gui-shaped yellow-brown jade ornament. Darker olive-brown-flecked vein. One end presents chevron cut-out; the other end is pointed. Two small holes; one pierced just above chevron apex and the other pierced just below the opposing point.
One elongated blade-shaped brown-green jade gui-shaped ornament squared off at one end and pointed at the other. Darker brown-green vein.
One circular, half-spherical pin head, ornamented with three spirals. Drilled down centre.
One pale green jade pin. Darker green vein. Upper end defines a pointed teardrop shape surmounting a ribbed and segmented mid-body and a longer tapering lower section.
One white mutton fat jade hair ornament with a slightly convex sagittal cross-section. Obverse presents carved and incised serpentine botantical design bounded at either end by ruyi fungal patterns. Design pierces jade at many points. Upper end terminates in spatula-like short stem and paddle. Lower end terminates in short peg. Reverse of ornament presents rectangular silver-metallic wire mounting and hinged pin.
One blue-white jade pendant comprising thirteen individual pieces carved into the forms of birds and fishes. Obverse and reverse of pieces present incised details. Pendant components joined with fine metal chain links. Upper part of pendant suspended via three loops of red-brown cord worked into a braided pattern.
One rectangular white mutton fat jade hair ornament with a slightly convex sagittal cross-section. Obverse presents carved and incised serpentine botantical design bounded at one end by a butterfly and at the other end by a ruyi fungal pattern. Design pierces jade at many points. Reverse of ornament presents rectangular silver-metallic wire mounting and hinged pin. Pin locking mechanism is broken.
One white jade pendant in the form of a bird. Light brown vein. Obverse presents carved head of bird standing proud of flat body with swept-back wings and tail. Small hole pierced in upper part of right wing.
One white jade pendant in the form of a stag. Almost flat in the frontal plane. Obverse presents incised details. Jade is pierced to define gaps between forelegs and antlers. Small hole in muzzle.
One translucent white jade pin. Upper half presents carved design of bird and flowers that pierces jade at several points.
One elongated translucent white jade pin. Upper part of shaft embellished with carved serpentine design that pierces jade at several points.
One semi-circular translucent pale green jade comb. Handle presents carved couchant dragon design. One missing tooth. Comb has been broken in half and subsequently repaired.
One rectangular glazed white ceramic plaque. Obverse presents a multi-coloured design of a cicada on a spray of grasses and flowers. At upper right are two lines of writing: 機聲迭奏豐年曲 李明亮寫於昌江客邸 ('The sounds of nature take turns playing the tune of a bumper harvest year. Li Mingliang paints in the guest mansion of Changjiang'). Inscription at the top left indicates that this porcelain painting was selected as a gift for Li’s friend Ronghui during the 1930s.
One rubbing of scribe at a table, with two attendants, one with fan, and inscription. The script at top is a eulogy for King Wen of Zhou Dynasty (1152-1056 BC). The rubbing is probably from Luoyang Longma Futu temple.
One circular album painting on silk mounted on square of paper depicting traveller on donkey in snow with attendant. Inscription as follows: 端陽前一日寫應子元仁棣大人屬即正 漣波剛清 (Dedicated to Ziyuan, painted a day before the Dragon Boat Festival. Lianbo, Gangqin)
One rubbing of two men depicted in black and cow depicted in red.
One rubbing of a feathered man (yuren) and dragon.
One rubbing possibly of a bronze vessel with panels showing hunters, animals and formal patterns.
One rubbing of a fisherman on a boat with nets.
One rubbing of two warriors, one on horseback.
One photograph of a girl in rich clothes.
Cardboard cover which acted as folder for collection of 12 coloured wood cut prints, obtained in Suzhou by Rewi Alley. Folder has embossed front cover imitating surface of tree truck, with oval framed lithograph image of Kaiser Wilhelm II of Germany above a wreath of gold oak leaves; inside back cover inscribed with hand-written characters, possibly referring to the collection of prints C1957.1164 A-L
One glazed blue and white ceramic dish in the shape of an ancient Chinese yuanbao or shoe-shaped gold/silver ingot. Dish exterior presents botanical designs; dish interior presents a zig-zag pattern near the rim and a rectangular-bordered design in the base.
One circular glazed blue and white ceramic bowl with a shallow base. Bowl exterior presents repeating pattern of serpentine and geometric designs. Bowl interior presents simple motif in the centre of the base. Underside of bowl presents an inscription that reads 東吳 or Dong wu which refers to the current area of Suzhou.
One circular glazed blue and white ceramic bowl with a shallow base. Bowl exterior presents hexagonal pattern just under the rim and botanical designs at the base. Bowl interior exhibits botanical pattern just under the rim and a dragon design in the centre. Exterior and interior sections of the bowl present a dot or leaf pattern moulded in low relief. Underside of base of bowl exhibits mark of Kangxi Emperor (1662-1722).
One circular glazed blue and ceramic bowl with a shallow base. Bowl exterior presents serpentine botanical design. Bowl interior presents eight serpentine motifs bordering similarly curvilinear botanical pattern on the base. Underside of base of bowl exhibits mark of Qianlong Emperor (1736-1796).
One glazed blue and white ceramic vase with a globular body surmounted by a long neck and flaring lip and a shallow slightly out-turned base. Extending halfway around exterior of vase is a design that shows two figures by water. The other side of the vase presents two birds flying.
One glazed blue and white ceramic vase with a globular body thin neck and shallow base. Extending halfway around exterior of vase is a landscape design of rocks and trees with a seated fisherman to the left.
One yellow-white ivory puzzle ball comprising openwork carved and pierced concentric spheres. The outermost shell presents an intricate pattern of figures and botanical forms interleaved with ring-shaped openings. The next shell inwards exhibits a cut-out pattern of eight-pointed stars and circles interleaved with larger rings.
One circular translucent white jade yuan. Red-brown vein. Large circular central hole.
One fifth rank ji guan (Chinese court official's hat) insignia. Comprises a transparent glass sphere threaded between a three tier base and double tier cap of gilt metal lotus-like leaf-shaped scrolls embellished with trefoil beads.
One glazed sancai ware ewer with an elongated globular body surmounted by long narrow neck and resting on a flared base. The shoulder of the ewer is joined to its neck by a semi-circular moulded handle arcing through the neck to terminate in the form of the head of a ram. Ewer body presents moulded designs in the form of botanical patterns and a horse and rider on one side. Dominant glaze colours are white ochre green and blue. Ewer neck and handle exhibit cracks and appear to have been repaired.
One round shaped, white and blue ceramic dish. Shallow dish with a shallow base. A light blue underglaze with darker blue painted details. On the outside of the dish is a series of eight designs bordered by two thin lines under the rim of the dish and a band of abstract pattern at the base. On the inside of the dish is an abstract botanical pattern bordered by a thin line under the rim, with a landscape image and two figures enclosed in a circle, bordered by two thin lines in the centre. Inscription on bottom: 大明萬曆年製 ‘made during the Wanli period of the Ming Dynasty’.
One rectangular yellow-white jade sui. Obverse presents serpentine relief carving. Reverse presents a flat surface.
One white openwork carved and pierced ivory sculpture in the form of an arc-shaped hollow flattened cylinder. Outer surface depicts garden landscape containing figures structures and trees.
One cicada cage. Body fashioned from yellow-brown gourd. One end capped with intricately carved botanical pattern in ivory- or bone-coloured material.
One pale green jade snuff bottle. A short narrow neck surmounts a flattened rounded rectangular body with high shoulders tapering towards an oval-shaped base. Short sides exhibit carved taotie designs. Plain hemispherical pink stopper and green collar.
One yellow-white jade sui. Upper part of object defines a double spiral comprising two symmetrically opposed serpentine carved dragons the heads and open mouths of which meet either side of a small suspended sphere. Lower part of object fashioned into a plain thin rectangular tile with a slot running through its narrow section.
One glazed blue and white ceramic snuff bottle. A short narrow neck surmounts a flattened circular body tapering towards an oval-shaped base. Rim ringed with botanical pattern. Body presents a continuous design of people engaged in a range of activities from cooking and carpentry to textile work and making music. Short sides exhibit serpentine dragon motifs. Base exhibits mark of Shunzhi Emperor (1643-1661 AD).
One glazed white ceramic snuff bottle. A short narrow neck surmounts a flattened spade-shaped body tapering towards a narrow rectangular base. Gold glaze rings bottle rim and defines boundary of each face. Short sides and neck present glazed blue and white botanical designs. Faces decorated with multi-coloured designs of figures in exterior scenes. Base exhibits mark of Qianlong (1736-1796 AD).
One glazed ceramic snuff bottle. A short narrow neck surmounts a long cylindrical body tapering at the bottom towards a circular base. Dominant glaze colours are blue and white with touches of pink red-brown and green. Upper shoulders and neck ringed with geometric patterns. Cylindrical body presents continuous design of figures in a mountainous landscape. Base outer circumference exhibits ruyi pattern.
One white glass snuff bottle. A short narrow neck surmounts a flattened pear-shaped body tapering towards the base. Overlay carved in continuous pattern of red leaves and fruit. Intricately carved peach-coloured coral stopper and yellow glass collar.
One glazed white ceramic head and upper body of a figurine. Facial features detailed in black with lips in red. Hat and robes coloured black orange yellow and green.
One creamy-white carved ivory figure. In the form of a flattened cylinder open at both ends presenting the mouth head and limbs of a stylised frog. Figure's flat underside pierced with small circular hole.
One circular glazed ceramic vase with a short narrow neck over broad shoulders and a long body tapering slightly towards the base. Vase exterior circumference presents design of fish and coral in blue and black glaze on a white-glazed ground. Underside of base of vase exhibits mark of Chenghua Emperor (1464-1487).
One circular glazed white ceramic bowl with a slightly flaring lip and a shallow narrow base. Bowl exterior is decorated with five horses detailed in black and red-brown. Underside of base of bowl exhibits mark of Daoguang Emperor (1820-1850).
One ceramic figurine of a seated man grasping a ring in his left hand and a balancing a sword on its pommel in his right hand. Figure is dressed in an elaborate headdress and robes and sports a long flowing beard. Figurine obverse is glazed cream-white blue green and yellow. Reverse is unglazed.
One irregularly shaped, brown iron glazed jar, from the Song Dynasty (960-1279). Two small handles with ridges attached to either side of the jar just under rim. Glaze covers three quarters of the object from the top, leaving the bottom quarter unglazed.
One adze-shaped jade object. Cream-white with brown-flecked vein. Obverse and reverse present incised dragon design in horizontal band. Small hole pierced at top.
One rubbing of carriage drawn by a horse, containing a man. Man driving the horse, and another man walking behind, carrying bundles on a shoulder pole. The characters at the top in Han Dynasty clerical script, read "後元二年六月” (June of the second year of Hou Yuan Era [87 BCE]).
One rubbing of house with three people and tree with bird. Line of characters on right side.
One print of figure standing on clouds and tablet.
One print depicting Buddha and group of 34 figures.
One print of husband and wife and two children at a table,with candles and vases of flowers. Inscription at top reads: "大中華帝國洪憲元年灶君之神位”, meaning "The Tablet for the Kitchen God in the First Year (1916) of Hong Xian Emperor of the Empire of China”. The characters below this headline present 12 months and 24 “solar terms”, with every month containing two “solar terms”.
One coloured print of husband and wife and two children at table, with candles and vases of flowers.
One print of two sides of large bi.
One print of men standing on horse, man riding horse, two birds, elephant, pig, and man.
One rubbing showing chariots, buildings and diamond and dot patterns, etc in panels.
One print depicting yuren and dragons.
One worn quatrefoil red-brown metal sword guard or tsuba. Japanese origin. One face presents moulded designs in the form of two horned figures in a landscape with waterfalls and bamboo. The other face exhibits moulded designs of waterfalls and bamboo only. Patches of gold inlay are visible on both faces.
One light tan carved bone ornament in the form of a cicada. Obverse and reverse exhibit incised details of eyes wings and body segments.
One unglazed red-brown earthenware vessel. Globular shape with curved handle connecting waist and neck. Spout missing.
One elongated cylindrical red-brown wood sculpture. Exterior presents relief carving of robed figures in a garden landscape. Sculpture open at the top but plugged at the bottom. Wood exhibits several vertical splits.
One yellow-brown carved stone squatting figure on a small base. Exhibits prominent eyes and ears and a dangling beard. Hole drilled into base between figure's legs.
One fourth rank ji guan (Chinese court official's hat) insignia. Comprises a gold-flecked blue sphere threaded between a gilt metal base and cap. Base exhibits stylised botanical pattern; cap is unembellished. Blue sphere chipped on one side with damaged area exhibiting blue-green corrosion typical of bronze or copper material. Red string tied around upper part of base.
One seventh rank ji guan (Chinese court official's hat) insignia fabricated from gilt metal. Comprises a slightly elongated unembellished sphere disposed between an eight-tier base and single-tier cap. Base and cap exhibit stylised flowers with petals of coiled wire and prominent bead-like carpels. Cap presents eight stylised flowers surrounding a nineth central floral motif.
One seventh rank ji guan (Chinese court official's hat) insignia fabricated from bronze with traces of gilding. Comprises an unembellished sphere threaded between a base and cap. Base exhibits moulded design of birds and flowers; cap exhibits seal character 寿 or shòu (longevity).
One sixth rank ji guan (Chinese court official's hat) insignia. Comprises an opaque white chalcedony sphere threaded between a multi-tiered base and single-tiered cap of gilt metal. Base decoration consists of lotus-like leaf-shaped scrolls and stylised flowers with petals of coiled wire and prominent bead-like carpels. Cap presents eight stylised flowers surrounding a ninth central floral motif.
One fourth rank ji guan (Chinese court official's hat) insignia. Comprises an opaque blue and white lapis lazuli sphere threaded between a multi-tiered base and single-tiered cap of gilt metal. Sphere exhibits darker blue vein. Base decoration consists of four tiers of stylised flower motifs with petals of coiled wire and prominent bead-like carpels. Cap presents eight stylised flowers surrounding a ninth central floral motif.