We are delighted to present another exhibition of Chinese decorative works of art - created in a wide variety of materials, and over many centuries.

Within the category of porcelain, we have decided to focus on a splendid and varied group of Kangxi items. Famille noire porcelain is superbly represented by a large single vase (page 88) and pair of vases (page 90) - and, in both cases, one can clearly see the characteristic details found only in famille noire of the Kangxi period, and elaborated upon in the catalogue text. An exceptional, large famille verte charger (page 92) - decorated in brilliant overglaze enamels - depicts a banquet given by the Empress to honour the Empress Dowager. Other items in bright famille verte enamel colours are included - for example a pair of export vases (page 100) with Chinese subject decoration but demonstrating a European influence in shape, and a large Buddhist lion (page 104).

A particularly fine group of lacquerware from the Yuan dynasty is included - comprising several boxes, a rectangular tray, and a dish; they demonstrate the sculptural quality in the depth of carving and naturalistic designs achieved by craftsmen during this period. One of these, a carved cinnabar lacquer box and cover (page 74) has the incised signature of the artist. Another box is octagonal, lobed and domed in brown lacquer and carved with flowers of the four seasons, against a gold ground (page 70).

A cinnabar lacquer Yuan dish (page 76), depicting scholars in a landscape, also exhibits other distinguishing features typical of Yuan lacquer - for example, the skilled carving of its flower borders. In addition, in a lacquer tray of the Southern Song dynasty, a close connection to the Yuan style that follows is apparent - in the carved flat style with generous spacing (page 71).

Amongst the collection of ivory objects are a group of important solid ivory carvings that date to the Yuan/early Ming dynasty - one example being the dynamically depicted Daoist diety, Guandi (page 52). Previously assumed to be late Ming or even Qing dynasty, until now, ivory carvings were traditionally not tested. However, we are pleased to find that our carbon test results confirm the early date that we suspected, and that these figures portray stylistically. Kangxi period ivory is also found here - in the form of an extraordinary articulated boy - seated on a lacquered chair and dressed in his original silk costume (page 62).

A Qing dynasty bamboo lotus leaf group (on a wood stand that fits the complicated shape perfectly) continues a tradition of carving with great realism and minutiae of detail (page 122). Also displaying fine detail - in a completely different medium, a silk tapestry, or ‘kesi’, from the Qianlong period, elegantly depicts mountain sparrows resting on the branch of a flowering magnolia tree, and remains in excellent condition (page 114).

Other mediums are illustrated by, for example, an elegant cloisonné enamel moon flask (page 20), a Qianlong mark and period ruby red glass vase (page 46), a marble ‘dreamstone’ (page 110), a gilt bronze figure of Budai (page 82), a pair of Canton enamel urns made for the English Market (page 12), and a huang hua li chest of drawers made for a Danish sea captain (page 44); a lovely matched pair of filled in and incised red lacquer tables (page 36) is also included within the furniture section.