Blue and white porcelain jar (part a) with separate lid (part b). Jar has a short straight neck, gently rounded shoulder, and a flat base with a raised foot; lid is circular, flat, and has straight sides. Neck and top of jar shoulder are unglazed; bottom of shoulder has a wide band decorated with a Greek key-like motif and plain lines. Band around foot is decorated with plain lines. Sides of jar have large "double happiness' symbols with a peony alternating above and below the symbols. Rest of jar surface is covered in curling vines; base is undecorated. Lid has large "double happiness" symbol on top, surrounded by small vines; edges around top and sides of lid are decorated with plain lines.

Famille rose porcelain jar (part a) with a separate lid (part b). Jar has a straight lip and slightly rounded shoulder before gently tapering to base; base is concave and has raised foot. Two slightly protruding, gourd-shaped handles on each side of jar. Jar opening and foot are trimmed with wide decorative bands. Border along opening is of alternating curvilinear and inverted triangular motifs; dots inside each shape. Bottom has border of alternating semi-circular and curvilinear motifs; dots and lines inside curvilinear designs. Sides of jar have moth, floral, and vine motifs covering entire surface. Lid is semi-circular with a large angled lip; long flange extends from where lip and main body of lid meet. Carving of creature, holding a red ball, functions as knob of lid. Lid lip decorated with floral and vines motifs; rest of lid has identical designs as sides of jar. Red seal stamped on centre of jar base; additional tag attached to base.

Famille rose porcelain vase with a flared lip, cylindrical neck, oval-shaped body, and flat base with a raised foot; carvings of a creature, holding a red ball, on either side of neck, function as handles. Opening and bottom edge of vase are trimmed with decorative bands; borders are filled with intersecting lines, floral motifs, and four irregularly-shaped ovals spaced throughout. Ovals are filled with different designs; opening border ovals filled with additional floral motifs, bottom border ovals depict structures and surrounding landscapes. Rest of vase surface is decorated with a various scenes; including people at court, boating, and walking through gardens. Sticker attached to vase base.

Famille noire, tall vase decorated with pink blossoms and peaches on a black background. Vase has a slightly flared lip and long neck that curves outward into a rounded body; base is flat with a small raised foot. Entirety of vase is covered in flowering branches with leaf offshoots, a variety of flowers in shades of pink, and nine peaches. Red seal stamped at centre of base.

Carved bamboo brush pot. Entire body of container depicts a man crossing a raging stream in a boat. He has a long beard, large ears, and is wrapped in a robe. Under his right arm he has a bundle of three scrolls, left arm is covered by cloak. To his right, there are waves in the foreground and a mountain in background, with trees at the peak. To his left are waves rolling towards him. The wave directly in front of him has a small smiling face. In the top left corner of the scene there are trees with low hanging branches. All designs are done in a mix of low and high relief. Openwork carving throughout. Base of container is concave.

Shiwan style pottery figure of Su Wu, the faithful diplomat of the Han Dynasty who was forced to become a sheep herder, wearing long flowing robes glazed in a copper-red plum glaze, with a wood staff and long white beard. He has a small white ram at his feet and a long cord of shells wrapped around the top of his staff. Figure is hollow. Interior has impressed artist mark and is inscribed with the artist’s signature.

Shiwan stoneware figure of Li Tieguai, the Daoist immortal who represents the sick and poor, dressed in beggar’s clothes and seated, with hands on his right knee, on a large double calabash gourd (hulu), glazed in copper red. The male figure is partially wrapped in a white blanket, and wearing a white knotted headband. Underneath him is a long crutch. The piece is hollow and stamped with the artist's seal along the bottom edge. Characters written along interior.

Pottery horse with partial sancai (three colour) glaze. Off-white standing horse with the saddle area and nose glazed in sancai colours of red and amber. The horse's head is slightly turned to the left, and it wears a green saddle on a chestnut coloured blanket. Red decorations across saddle. Predominantly unglazed body with areas of chestnut brown on the nose and forehead, and green and brown on the saddle. The horse is standing four-square on a rectangular base and has a short tail. Body is hollow.

Tang-style, sancai (three colour) glazed horse and female rider. Most of the horse and rider are glazed with amber, green and yellow, however the head of the rider is unglazed. The chestnut coloured horse has its head turned and is wearing a green saddle and blanket. The female rider is seated, wearing a chestnut coloured shirt and pants, and a green vest. The horse is standing four-square on a rectangular base and has a short tail. The horse body is hollow.

Pottery court figure. The standing woman wears a long elegant robe with both hands hidden in her sleeves. She has a rounded face with pink lips, pronounced cheeks, and a double chignon. The long robe covers her feet. Unglazed, with pale traces of paint throughout. Figure is hollow.