Neil ArmstrongThe receding disc of Earth after translunar injection, very rare photograph unpublished after the mission, Apollo 11, 16-24 July 1969 Vintage chromogenic print on fibre-based Kodak paper, [NASA photo No AS11-36-5317], 20,3 x 25,4 cm (8 x 10 in), with A Kodak Paper watermarks on versoFootnote: A fabulous view captured by Neil Armstrong from the window of the Command Module "Columbia" following transposition and docking of "Columbia" and Lunar Module "Eagle" at a distance of about 8,000 nautical miles. The Earth is half obscured by the spacecraft. The "Eagle" is docked to "Columbia" and still attached to the SIVB stage. The U.S. and Canada are on the left, Greenland is at the top.Condition Report: Light toning but very goodCondition Report Disclaimer
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James McDivittEd White performing the first American spacewalk with the brilliant blue of the Earth in the background, Gemini 4, 3 June 1965 Vintage chromogenic print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), [NASA S-65-30433] with A KODAK PAPER watermark and NASA Kennedy Space Center caption on verso.Footnotes:During the third revolution Ed White spent 21 minutes outside the spacecraft. At the end of it, he concluded: "I'm coming back in... and it's the saddest moment of my life."Condition Report: A small (approx. 1.5 cm) crack to the upper part of the image (close to the margin, besides the head of the astronaut), a couple of very minor surface marks. Light pencil note on verso. Very good. Condition Report Disclaimer
Russel SchweickartDave Scott in the hatch of the Command Module during EVA, Apollo 9, 3-13 March 1969Vintage chromogenic print on fibre-based Kodak paper, 25.5 x 20.5 cm (10 x 8 in), [NASA AS9-20-3064], with A KODAK PAPER watermark on versoLiterature: Chaikin, Space, p.84Condition Report: Light toning, good sharp image with Earth in blue, very good.Condition Report Disclaimer
Eugene Cernan, John Young or Thomas Stafford A pair of photographs depicting Apollo 11's planned landing location, including a view of the 6-km Crater Maskelyne G and Diamondback Rille branching off into a fork [AS10-34-5154] and the exact location of the future Apollo 11 landing site [AS10-34-5156], Apollo 10, 18-26 May 1969 Two vintage chromogenic prints on fibre-based Kodak paper, 25.4 x 20.5 cm (8 x 10 in), with A KODAK PAPER watermarks on versos (NASA/North American Rockwell) Footnotes: The crew of Apollo 10 located the future Apollo 11 landing zone (still named Apollo Landing Site 2 at the time) in the southwest part of the Sea of Tranquillity and observed the approach from different angles in this sequence of photographs taken successively on the same orbit as the spacecraft was following its westward orbital path. North American Rockwell was NASA's prime contractor and manufacturer of the Apollo Command Module. Condition Report: Light toning, very goodCondition Report Disclaimer
Buzz Aldrin or James Lovell The beauty of Earth: four breathtaking views from space taken with the unrivalled Hasselblad SuperWide camera, Gemini 12, 11-15 November 1966 Four vintage chromogenic prints on heavy fibre-based Kodak paper [NASA photos No S-66-63030: Texas-Louisiana, looking east, Houston, Galveston, M.S.C. area, astrodome, Gulf coast, Matagorda to Vermillion bay, S-66-63435: Florida, Cape Kennedy, S-66-63475: Algeria, Tiffrnine and Irrarene Dune fields, Tassili-N-Ajjer Mountains, S-66-63481: United Arab Republic, Saudi Arabia, Red Sea, Nile Valley, Sinai, looking southeast], 20.3 x 25.4 cm (8 x 10 in), with A KODAK PAPER watermarks on versos, (4)Footnotes: Gemini's wonderful photographs of the Earth marked the birth of our environmental consciousness. The longer missions and perfected photographic equipment allowed the astronauts to record extremely detailed photographs of the Earth, definitely confirming the potential of photography from space and bringing to light the fragility of the Earth.These photographs were taken with the amazing Hasselblad SuperWide camera and its 38mm lens loaded with Kodak film which offered unparalleled photography quality but was unfortunately discontinued on later Apollo missions for practical reasons. "Everybody is interested in the Earth we live on. The astronauts just brought it home visually. Nobody could ever draw or paint it. I think their missions will live forever through photography." Les Gaver, former photography director, Public Affairs, NASA Condition Report: MintCondition Report Disclaimer
Eugene Cernan The Earth seen by humans for the last time in the lunar sky at Taurus-Littrow, Apollo 17, 7-19 December 1972, EVA 2 Vintage chromogenic print on resin coated GAF paper [NASA photo No AS17-137-20910], 20,3 x 25,4 cm (8 x 10 in), with NASA caption numbered 72-H-1609, 72-HC-954, G-73-5356 as well as GAF watermarks on verso (NASA Goddard Space Flight Center)Footnotes: One of the very few Apollo photographs showing the Earth from the surface of the Moon, in an extraordinary reversal of viewpoint. The last man on the Moon carefully framed this fantastic shot overa rock located at the foot of the South Massif near the southeast rim of Nansen Crater at station 2, 4.8 miles from the LM. The summit of the South Massif, rising 2,500 m above the valley floor, forms the background.Condition Report: Processing marks on the image area, one of which is more pronounced near the earth (approx.. 1.5x1 cm). Light toning. No fingerprints.Condition Report Disclaimer
Charles DukeJohn Young driving the Lunar Rover to its final parking spot, Apollo 16, 16 - 27 April 1972, EVA 3Vintage chromogenic print on fibre-based paper, 20.3 x 25.4 cm (8 x 10 in), RED NUMBERED NASA AS16-115-18559, with A KODAK PAPER watermarks the verso Condition Report: Light toning, very goodCondition Report Disclaimer
Michael Collins A majestic view showing a low pressure cell in the ocean illuminated by the rising sun, unpublished and very rare photograph, Apollo 11, 16 July 1969 Vintage chromogenic print on fibre-based Kodak paper, 20.3 x 25.4cm (8 x 10in), RED NUMBERED NASA AS11-36-5294, with A KODAK PAPER watermarks on verso (NASA Manned Spacecraft Center) Footnote: This superb photograph was taken from orbit during the early moments of Apollo 11 preceding the burn which propelled the spacecraft to the Moon. Condition Report: Light toning, very goodCondition Report Disclaimer
Edwardian 15ct gold split seed pearl necklace, the central heart suspending a detachable 18ct gold star pendant/brooch, to a floral link front, on a belcher link chain, in silk and velvet lined box by J. W. Benson, LondonCondition Report:18ct star approx 4.25gm, tested 18ct (back pin 9ct), diameter = 2.5cm, 15ct approx 10.2gm, length = 39.5cm, star probably married up to necklace, very well matched, very good condition, interior of box good, exterior with some light marks
18ct gold graduating five stone old cut diamond ring, stamped, total diamond weight approx 0.55 caratCondition Report:Approx 3.2gm, size O-P, diamonds bright, good colour, eye clean with some light inclusions under 10x loop, approx SI clarity, possibly reset diamonds in new shank, a couple of claws need addressing, chip to one diamond at facet edge - mainly visible under 10x loop
Victorian 15ct gold moonstone and seed pearl brooch, the carved 'Man in the Moon' moonstone with pearl surround and two pearl set stars set either sideCondition Report:Approx 3.7gm, tested 15ct (back pin not gold), length = 40mm, light surface scratch to right hand side of face , very slightly visible otherwise good condition
18ct gold three stone round cut diamond ring, stamped , total diamond weight approx 0.70 caratCondition Report:Approx 2.95gm, size Q, one diamond old cut the other two round brilliant cuts, central diamond with some light coloured inclusions, other two diamond eye clean with a couple of light inclusions, bright diamonds good colour
Early 20th century 9ct gold open face keyless lever 'The Bank' pocket watch by J.W.Benson, London, No. 5853, white enamel dial with Roman numerals and subsidiary seconds dial, London 1924, with original box and wooden standCondition Report:Approx 89.1gm, inner dust cover also 9ct, movement functioning, clean dial, hands moving freely, some light scratches to case otherwise good, case diameter = 47mm
Early 20th century 9ct gold open face keyless Swiss lever pocket watch, white enamel dial with Roman numerals and subsidiary seconds dial, case by Dennison, Birmingham 1925Condition Report:Approx 84.3gm, movement functioning and clean, dial good, case with light scratches and a dent, hands moving freely, case diameter = 48mm
Longines gentleman's 14ct gold tank wristwatch, Cal 22L, serial No. 7593519, case No. 811582, the rectangular silvered dial with diamond set hour markers and subsidereary seconds dial, stamped 14K, on tan leather strap with original buckle, boxedCondition Report:Approx gross, movement functioning and clean, dial good, hands moving freely, acrylic cover good, case with some light scratches, well presented
Universal Geneve gentleman's stainless steel bumper automatic wristwatch, Cal. 139, back case No. 1300998 20203, silvered dial with outer seconds track, , on black leather strapCondition Report:Movement currently functioning, dial spotting, hands moving freely, case diameter = 34mm (excluding crown)case with some very light scratches - not detrimental
Seiko Premier kinetic perpetual gentleman's stainless steel wristwatch, on original black leather strap with fold-over clasp, boxed with original receipt dated 2009Condition Report:Movement currently functioning, some wear to leather strap but sound, dial good, some very light scratches to case - not detrimental
A SPANISH DECORATED HUNTING DAGGER, TOLEDO, LATE 19TH CENTURY with etched tapering blade of hollow-diamond section, pierced with an elliptical aperture at the forte and inscribed ‘Fabrica de Toledo’, decorated over its surface with four differing hunting vignettes on each face within a strapwork frame on a ground of foliage, slightly recurved iron cross-piece, and natural staghorn grip, in its leather scabbard with decorated locket en suite with the blade (chape missing, light surface rust), 40.0 cm overall LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 99. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A BOWIE KNIFE, JONATHAN CROOKES, EARLY 20TH CENTURY with broad blade formed with a clipped-back point, rectangular ricasso struck with the maker’s name and heart and pistol mark, (areas of light pitting), recurved German silver guard, natural staghorn scales retained by six rivets, in its leather scabbard with belt loop, 24.7 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 268. Jonathan Crookes (1778-1866) worked for Joseph Rodgers & Sons and was apparently involved with the production of Rodgers’ famous Year Knife, credited in a directory advertisement of 1884 as, ‘Inventor and Sole Maker of that Unique and Superb Specimen of Cutlery, containing Eighteen Hundred and Twenty-one Blades, with Different Instruments, value 200 guineas’. He is recorded as a manufacturer of pen knives in Rockingham Lane in 1828 and by 1839, Jonathan Crookes & Son had moved to Eldon Street, close to Wostenholm's Washington Works, where it remained until the end of the nineteenth century. After Jonathan's death, his son Henry continued the business and maintained his father’s emphasis on quality and limited output. In 1896, Henry's widow died and the mark was acquired by Joseph Allen, at Ecclesall Works, 245 Rockingham Street. Crookes continued to be advertised as a stand-alone name at that address. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A BOWIE KNIFE, JOSEPH RODGERS & SONS, MAKERS TO HER MAJESTY, LATE 19TH CENTURY with robust blade formed with a clipped-back point and false swage, filed back-edge and stamped by the maker along with star and cross mark on one face (light pitting, later blued finish in places), recessed ricasso, engraved gilt brass hilt comprising scrolling quillons and integral ferrule decorated with a neo rococo flower on a punched group, low domed pommel and natural staghorn grip, 25.2 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 256 In the nineteenth century, Rodgers had an unsurpassed reputation and history that was synonymous with the cutlery trade. The family's first cutler, John Rodgers (1701-85), is recorded around 1724, with a workshop near the present cathedral. In the same year the Company of Cutlers 'let' him a mark, a Star and Maltese Cross, which became world famous in later years. John Rodgers had three sons, John (1731-1811), Joseph (1743-1821), and Maurice (c.1747-1824) who joined the business and succeeded him. They are recorded with more workshops by 1780 and the business soon extended to occupy a nearby block of buildings at 6 Norfolk Street, an address that became as famous as Rodgers’ trade mark. By the early 19th century their trade had expanded from pen and pocket knives to include table cutlery and scissors. By 1817 the General Sheffield Directory lists the firm as ‘merchants, factors, table and pocket knife, and razor manufacturers’. In 1821 John’s son Joseph died and his sons continued the business under the leadership of the younger John (grandson of the founder). John was described as ‘unobtrusive in his manner’ but was ambitious and one of the founding partners of the Sheffield Banking Co. He had a flair for marketing and travelled the country taking orders. Not only was his firm’s output and range greater than any other Sheffield firm, but its quality was superior. The company’s manifesto states: ‘The principle on which the manufacture of cutlery is carried on by this firm is – quality first … [and] … price comes second’. He began making exhibitions knives and presented George IV with a minute specimen of cutlery with 57 blades, which occupied only an inch [25mm] when closed. In 1822, Rodgers’ was awarded its first Royal Warrant. Another fourteen royal appointments, from British and overseas royal dignitaries, followed over the next eighty years, and its company history was duly titled: Under Five Sovereigns. John Rodgers next commissioned the Year Knife, with a blade for every year (1821) and opened his sensational cutlery showroom in Norfolk Street where visitors came to marvel at Rodgers’ creations. Perhaps the greatest highlight shown there was the Norfolk Knife, an over 30 inch long sportsman’s knife with 75 blades and tools, that Rodgers’ produced for the Great Exhibition in 1851. The showroom proved particularly popular with Americans whose trade played a significant role in the firm’s expansion. Additionally, they looked East, with agents in Calcutta, Bombay, and Hong Kong by the mid-19th century. These markets enabled Rodgers to become the largest cutlery factory in Sheffield. The number of workmen appears to have grown from about 300 in the late 1820s, to over 500 in the 1840s. In 1871 the business became a limited company with Joseph Rodgers (1828-1883), grandson of the Joseph Rodgers who had died in 1821 and Robert Newbold as managing directors. Joseph died on 12 May 1883 and Newbold became the chairman and managing director. The firm continued to expand with offices in London, New York, New Orleans, Montreal, Toronto, Calcutta, Bombay and Havana. Their work force in 1871 was around 1,200 and accounted for one-seventh of all Sheffield’s American cutlery trade. In 1876 the American market was stagnating and Rodgers’ began looking elsewhere with a focus on trade in the Middle East, India and Australia. Notably the name ‘Rujjus’ or ‘Rojers’ was said to have entered the language as an adjective expressing superb quality in Persia, India and Ceylon. By 1888, the value of Rodgers’ shares had more than doubled and, in 1889, a silver and electro-plate showroom was opened in London. At this time, Rodgers acquired the scissors business of Joseph Hobson & Son. Rodgers’ produced catalogues that were packed with every type of knife imaginable. Pocket knives were made in scores of different styles. Ornate daggers and Bowie knives and complicated horseman’s knives were made routinely. Some patterns, such as the Congress knife and Wharncliffe knife, were Rodgers’ own design. The Wharncliffe – with its serpentine handle and beaked master blade – was apparently designed after a dinner attended by Rodgers’ patron Lord Wharncliffe. The firm’s workmanship was usually backed by the best materials. Rodgers’ ivory cellar in Norfolk Street was crammed with giant tusks and was regarded as one of the hidden sights of the town. Four or five men were constantly employed in sawing the tusks, and around twenty four tons of ivory were used a year around 1882. Rodgers’ appetite for stag was no less insatiable: deer horns and antlers filled another cellar and pearl from the Philippines and was also cut there. Around 1890, Rodgers’ began forging its own shear steel and in 1894 they began melting crucible steel. Newbold retired in 1890 and the grandsons of Maurice Rodgers, Maurice George Rodgers (1855-1898) and John Rodgers (1856-1919), became joint-managing directors. The McKinley Tariff Act of 1890 halved their American business and consequently they toured South Africa. Despite increasing foreign competition and the decline of the American market, Rodgers’ prospered before the First World War. However, workers’ wages were cut while the partners continued to take significant dividend which culminated in a prolonged and bitter strike. The First World War saw a decline in the business which continued steadily until the 1975 when it was absorbed by Richards and ceased trading in 1983. Joseph Rodgers & Sons left an enduring legacy in its knives. Its dazzling exhibition pieces and other fine cutlery show that the company’s reputation as Sheffield’s foremost knife maker was well founded. Abbreviated from Geoffrey Tweedale 2019. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A BOWIE KNIFE, JOSEPH RODGERS & SONS, CUTLERS TO THEIR MAJESTIES, NO. 6 NORFOLK STREET, SHEFFIELD, LAST QUARTER OF THE 19TH CENTURY with broad blade formed with a clipped-back point, struck with the maker’s details and star and cross mark on one face (small areas of light pitting), oval German silver guard, and natural staghorn scales retained by five rivets, in its leather scabbard with large German silver locket and chape, 20.8 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 265. In the nineteenth century, Rodgers had an unsurpassed reputation and history that was synonymous with the cutlery trade. The family's first cutler, John Rodgers (1701-85), is recorded around 1724, with a workshop near the present cathedral. In the same year the Company of Cutlers 'let' him a mark, a Star and Maltese Cross, which became world famous in later years. John Rodgers had three sons, John (1731-1811), Joseph (1743-1821), and Maurice (c.1747-1824) who joined the business and succeeded him. They are recorded with more workshops by 1780 and the business soon extended to occupy a nearby block of buildings at 6 Norfolk Street, an address that became as famous as Rodgers’ trade mark. By the early 19th century their trade had expanded from pen and pocket knives to include table cutlery and scissors. By 1817 the General Sheffield Directory lists the firm as ‘merchants, factors, table and pocket knife, and razor manufacturers’. In 1821 John’s son Joseph died and his sons continued the business under the leadership of the younger John (grandson of the founder). John was described as ‘unobtrusive in his manner’ but was ambitious and one of the founding partners of the Sheffield Banking Co. He had a flair for marketing and travelled the country taking orders. Not only was his firm’s output and range greater than any other Sheffield firm, but its quality was superior. The company’s manifesto states: ‘The principle on which the manufacture of cutlery is carried on by this firm is – quality first … [and] … price comes second’. He began making exhibitions knives and presented George IV with a minute specimen of cutlery with 57 blades, which occupied only an inch [25mm] when closed. In 1822, Rodgers’ was awarded its first Royal Warrant. Another fourteen royal appointments, from British and overseas royal dignitaries, followed over the next eighty years, and its company history was duly titled: Under Five Sovereigns. John Rodgers next commissioned the Year Knife, with a blade for every year (1821) and opened his sensational cutlery showroom in Norfolk Street where visitors came to marvel at Rodgers’ creations. Perhaps the greatest highlight shown there was the Norfolk Knife, an over 30 inch long sportsman’s knife with 75 blades and tools, that Rodgers’ produced for the Great Exhibition in 1851. The showroom proved particularly popular with Americans whose trade played a significant role in the firm’s expansion. Additionally, they looked East, with agents in Calcutta, Bombay, and Hong Kong by the mid-19th century. These markets enabled Rodgers to become the largest cutlery factory in Sheffield. The number of workmen appears to have grown from about 300 in the late 1820s, to over 500 in the 1840s. In 1871 the business became a limited company with Joseph Rodgers (1828-1883), grandson of the Joseph Rodgers who had died in 1821 and Robert Newbold as managing directors. Joseph died on 12 May 1883 and Newbold became the chairman and managing director. The firm continued to expand with offices in London, New York, New Orleans, Montreal, Toronto, Calcutta, Bombay and Havana. Their work force in 1871 was around 1,200 and accounted for one-seventh of all Sheffield’s American cutlery trade. In 1876 the American market was stagnating and Rodgers’ began looking elsewhere with a focus on trade in the Middle East, India and Australia. Notably the name ‘Rujjus’ or ‘Rojers’ was said to have entered the language as an adjective expressing superb quality in Persia, India and Ceylon. By 1888, the value of Rodgers’ shares had more than doubled and, in 1889, a silver and electro-plate showroom was opened in London. At this time, Rodgers acquired the scissors business of Joseph Hobson & Son. Rodgers’ produced catalogues that were packed with every type of knife imaginable. Pocket knives were made in scores of different styles. Ornate daggers and Bowie knives and complicated horseman’s knives were made routinely. Some patterns, such as the Congress knife and Wharncliffe knife, were Rodgers’ own design. The Wharncliffe – with its serpentine handle and beaked master blade – was apparently designed after a dinner attended by Rodgers’ patron Lord Wharncliffe. The firm’s workmanship was usually backed by the best materials. Rodgers’ ivory cellar in Norfolk Street was crammed with giant tusks and was regarded as one of the hidden sights of the town. Four or five men were constantly employed in sawing the tusks, and around twenty four tons of ivory were used a year around 1882. Rodgers’ appetite for stag was no less insatiable: deer horns and antlers filled another cellar and pearl from the Philippines and was also cut there. Around 1890, Rodgers’ began forging its own shear steel and in 1894 they began melting crucible steel. Newbold retired in 1890 and the grandsons of Maurice Rodgers, Maurice George Rodgers (1855-1898) and John Rodgers (1856-1919), became joint-managing directors. The McKinley Tariff Act of 1890 halved their American business and consequently they toured South Africa. Despite increasing foreign competition and the decline of the American market, Rodgers’ prospered before the First World War. However, workers’ wages were cut while the partners continued to take significant dividend which culminated in a prolonged and bitter strike. The First World War saw a decline in the business which continued steadily until the 1975 when it was absorbed by Richards and ceased trading in 1983. Joseph Rodgers & Sons left an enduring legacy in its knives. Its dazzling exhibition pieces and other fine cutlery show that the company’s reputation as Sheffield’s foremost knife maker was well founded. Abbreviated from Geoffrey Tweedale 2019. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A MASSIVE EXHIBITION HUNTING KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, I.XL, LATE 19TH CENTURY with long blade formed with a spear point and with three panels of deeply filed grooves on the back-edge (small areas of light wear and staining), stamped with the maker’s details including ‘None are genuine but those marked I. XL.’, and eagle, ‘Geo. Wostenholm & Sons Celebrated’ in a linear panel, and in large elaborate letters ‘For Stags and Buffalos’ on one face, rectangular ricasso, elliptical German silver cross-piece, and natural staghorn grips retained by five rivets, 35.2 cm blade It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A RARE BOWIE KNIFE PRESENTED TO JOHN CAMPBELL, SURGEON, JALAPA 1847, GEORGE WOSTENHOLM & SON, I.XL, WASHINGTON WORKS, SHEFFIELD with curved blade formed with a clipped point, engraved with an eagle displayed, ‘None are genuine but those marked I.XL.’, the maker’s details and presentation inscription, iron cross-guard with scrolling terminals, Indian style carved brown hardstone grip, in its leather-covered wooden scabbard (light wear, chape missing), 30.2 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 234. The presentation inscription reads: John Campbell Surgeon Jalapa 1847 in Highest Esteem. On 18th April 1847 a force of thirteen thousand Mexican troops met nine thousand Americans at a mountain pass near Jalapa. Bitter hand-to-hand fighting ensued and the Mexicans were forced to flee. The American army continued, under General Winfield Scott, towards Mexico city, storming a Mexican fortress at Contreras and then routing a large Mexican force at Churubusco. It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
A SMALL AXE, THORNHILL, LONDON, LAST QUARTER OF THE 19TH CENTURY with curved axe-blade formed with a sharp leading edge and struck with the maker’s details and ‘VR’ divided by a crown on one face (light surface rust), tapering rear pean, iron haft with moulded neck and basal terminal, incorporating a long signed folding saw-blade, fitted with a pair of tapering rounded hardwood panels with chequered grips over the lower portion, complete with its leather cover with belt loop (strap incomplete) 28.0 cm LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 61. Thornhill & Co. are recorded 1820-1912. This well-known firm exhibited at the Great Exhibition of 1851, the Paris Exhibition in 1878, and the Sportsman’s Exhibition in Islington in 1882. For a full history see Culme 1987, pp. 448-9. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
1974 Norton Commando InterstateRegistration number AVM 40MFrame number 102185Engine number 30850920,366 recorded milesOriginal unrestored machine Only change is to Electronic ignitionFirst registered 4-4-1974Purchased 2018Dry stored for 5 years Oil filter change 01-03-2023 Will need light re-commissioningWith V5C and letter from the Norton Owner’s Club
1995 Honda Pacific Coast with Watsonian sidecarRegistration number M763 SGUFrame number JH2RC3410S0M00028Engine number 230045136,464 recorded milesOriginal machine fitted with Watsonian GP Sports sidecar Present owner since 1999Used frequently until 2021Started regularly Will need light re-commissioning before useWith V5C, owner’s manual and instruction book
1994 Honda RC45 (RVF750 R)Registration number L771 MGYFrame number RC45 2000240Engine number RC45 E 20027518,717 recorded milesOriginal machine Purchased by present owner in 2007 Kept in a private museum and unused since that timeVery good conditionWill need a new battery and light re-commissioning before useA collectible classic Honda now appreciating in value
1975 Honda CB750 K5Registration number OBU 315PFrame number CB7502580926Engine number CB750E-247081921,532 recorded milesImported from the USAFitted Borrani rims, stainless spokes & new Bridgestone tyresPowder coated frame, new rear shocks, new seatNew switch gear, tank and side panels resprayed New exhaust, clutch assembly, headlamp, front mudguard, forks rebuiltEngine top end overhaul, new valves, new wiring loom, front brake hose/master cylinderWill need light re-commissioning
1978 Silk 700SRegistration number WTE 939TFrame number 700S/2/125Engine number 700S/2/127Purchased in 1997Some restoration carried out by the owner Used regularly until 2003 Number 125 of 138 made Will need light re-commissioning For sale due to ill healthWith V5C, old V5, many old Mot’s, tax discsPurchase receipt, various letters and invoices
1954 BMW R25/3Registration number 732 UYMFrame number 307280Engine number 307280Original machineFrom a private collection of BMW’sEngine restored by Mike BarrLittle used since then We understand the bike is ready to use Light re-commissioning neededPurchased 2017Ridden once to check everything was ok Not used since then and stored in a heated garageWith V5C, MotWith BMW authentication, reprinted parts and workshop manuals Some receipts
1981 BMW R100RS Registration number KMO 233W Frame number 6076350 Engine number 6076350 Original unrestored machine Purchased 2019 Fitted stainless silencers, stainless brake lines BMW high handlebars fitted, originals supplied BMW magnetic tank bag and rear seat cover Engine runs well Will need light re-commissioning With V5C
1956 Peugeot 57 TLS Registration number 829 XVU Frame number 421563 Engine number 402196 125cc French lightweight motorcycle Extract from the 1956 parts manual showing that this was the last one manufactured Letter of authenticity from the Peugeot UK Club Totally restored Oldtimer certificate from Peugeot archive Will need light re-commissioning before use With V5C
1975 BMW R60/5Registration number LEL 51PFrame number 2951473Engine number 2951473Originally purchased by an RAF Squadron Leader based in Germany Present owner 19 years Last used in 2003Good original condition Now fitted with a large petrol tankOriginal standard tank includedWill need light re-commissioning Ill health forces saleWith V5C, old V5, old Mot’s, original purchase invoice, various invoices Original owner’s manual
A CANTON ENAMEL 'FLOWERS AND BUTTERFLIES' DISH, QINGChina, Qing Dynasty (1644-1912). Painted in vibrant colors with a lobed medallion enclosing two butterflies above peonies and buddha hand citruses, the medallion reserved on a black and gilt floral scroll over light blue ground. The reverse decorated with three floral compositions and a central flower on white ground.Condition: With wear, expected craquelure to the enamel and light scratches. The backside with two restorations and the well with further restoration. Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s - 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna.Weight: 95 g Dimensions: Diameter 11.5 cm
A HARDWOOD DISPLAY STAND, QINGChina, Qing Dynasty (1644-1912). The top panel supported on a reticulated apron carved with ruyi motifs, the four elaborate cabriole legs connected by two stretchers. The wood of an attractive grain and color.Condition: Good condition with some wear, light surface scratches, with some cracks and associated old repairs. Provenance: Notable collection, New York.Weight: 4650 g Dimensions: Height 31 cm, diameter 40 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A PAIR OF PARCEL-GILT BRONZE 'LUDUAN' CENSERS, QINGChina, Qing Dynasty (1644-1912). Each boldly cast, standing foursquare, with open jaws bearing sharp fangs and teeth, the heads forming a hinged cover to allow access to the interior, detailed with finely incised mane and tail above a stout body with stylized markings splashed in gilt.Condition: Good condition with minor wear and casting flaws, minor nicks and light scratches, small dents, one with a repair to the tail. Provenance: Private collection in the South of France. Weight: 1995 g (total) Dimensions: Height 14.5 cm each
A FOUR-PART TURQUOISE MATRIX STUPA WITH BUDDHAChina, 20th century. Consisting of four pieces, the circular double-lotus base, rising to a rectangular gallery, the domed mid-section with an opening shaped as a lotus petal and surmounted by a conical harmika ending in a tiered finial featuring bands of lotus petals. The opening set with a separately carved figure of Buddha. The opaque stone of a light turquoise tone with extensive beige and ochre patches. Condition: Good condition with minor wear, few nicks along the edges and natural imperfections to the stone. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1,752 g Dimensions: Height 24 cm
A SMALL WESTERN TIBETAN BRONZE FIGURE OF PADMAPANIWestern Tibet, c. 12th century. Finely cast, standing, his left hand raised in front of the chest, the right pendent, clad in a dhoti, with billowing scarves and richly adorned with beaded jewelry, the face with elongated eyes, the hair in a topknot behind a tiara. With a modern wood base. Condition: Good condition, commensurate with age. Extensive wear, losses, small dents, minor nicks and light scratches, Fine, naturally grown patina and remains of paint. Provenance: German private collection, by repute acquired at Lempertz, Cologne, in 2022.Weight: 100 g (incl. the base) Dimensions: Height 12.5 cm
AN IMPORTANT AND RARE BAMBOO FIGURE OF A CITIPATI, 17TH-18TH CENTURYTibet or Himalayas. Finely carved standing in samabhanga atop a small skull, lacking feet or arms, the spine neatly detailed, the ribs well-executed in openwork, the two large eye sockets vacant, with fierce grimace and teeth bared. Wearing a crown in the form of a vajra rising from lotus-lappets behind three smaller skulls.Provenance: Marc Assayag, Montreal. Indian Heritage, Paris, acquired from the above. Collection d'un Grand Amateur, France, acquired from the above. Marc Assayag is an art dealer, photographer, researcher, and writer. As one of the pioneers of presenting Tribal Art, Marc has been engaged as guest curator in New York, invited to travel with the Cousteau Foundation and served as photographer for many noted publications. As an international Art dealer, Marc participates in major art fairs around the world both as lecturer and dealer. Specializing in Melanesian art, Marc is also, since 2015, owner of the world class Jolika Collection of New Guinea art, and its reputed library. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Very good condition with minor old wear, few minuscule nicks, and occasional light scratches. Fine natural patina, commensurate with age, and an unctuous feel overall.Weight: 107.2 g (excl. stand)Dimensions: Height 30.7 cm (incl. stand) and 29.6 cm (excl. stand)With an associated metal stand. (2)Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 October 2017, lot 3144Price: HKD 9,100,000 or approx. EUR 1,263,500 converted and adjusted for inflation at the time of writingDescription: An extremely rare large gilt-bronze figure depicting a chitipati or kinkara tibet or himalayas, 17th - 18th centuryExpert remark: Compare the related motif, note the material. 十七至十八世紀罕見竹雕屍陀林像 西藏或喜馬拉雅。竹雕屍陀林立像，無足無臂，脊椎細密，肋骨鏤空，兩個大眼窩，猙獰地露出牙齒。頭上有三個骷髏，其後有一個金剛冠。 來源：蒙特利爾Marc Assayag。巴黎的Indian Heritage，購於上述收藏。法國 一個業餘愛好者收藏，購自上述收藏。 Marc Assayag 是一位藝術品經銷商、攝影師、研究員和作家。 作為展示部落藝術的先驅之一，Marc曾在紐約擔任客座策展人，受邀與Cousteau基金會一起旅行，並擔任許多著名出版物的攝影師。 作為國際藝術品經銷商，Marc 以講師和經銷商的身份參加世界各地的主要藝術博覽會。 Marc 專注於美拉尼西亞藝術，自 2015 年以來，他還是世界一流的新幾內亞 Jolika 藝術收藏館及其著名圖書館的所有者。 Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼德佩區，有大量原始和古典作品，重點是喜馬拉雅面具。品相：狀況極其好，有輕微的磨損，微小的劃痕，局部有輕微劃痕。 細膩的自然光澤，與年齡相稱，整體感覺潤滑。 重量：不含底座107.2 克 尺寸：總高 30.7 厘米，不含29.6 厘米 配金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年10月2日，lot 3144 價格：HKD 9,100,000（相當於今日EUR 1,263,500） 描述：十七至十八世紀西藏或喜瑪拉雅屍陀林像 專家評論：比較相近的形制。請注意材質。
A SILVER-DAMASCENED 'DRAGON' IRON HELMET, 14TH-17TH CENTURY 十四至十七世紀錯銀龍紋鐵頭盔Tibet. The exterior of the helmet made from nine curved platelets, seven of which are decorated with sinuous dragons, joined by nine scalloped rims with prominent central ribs, the upper tips of the ribs notched to enclose the base of the double knot plume. The front of the helmet reinforced with a scalloped plate decorated with a dragon head at the center framed by two further sinuous dragons. The lower edge of the helmet pierced to secure the three-tiered neck guard. Provenance: New York trade. Condition: Good condition, commensurate with age. Some wear, casting flaws, corrosion, encrustations, minor nicks and losses, light scratches. The silver inlays are well preserved.Weight: 1,980 g Dimensions: Height 42.9 cmThis type of segmented Tibetan helmet, used originally with a coat of lamellar armor, was probably derived from Sasanian Persian helmets of the 3rd century CE. During the 14th-17th century, Tibet was a disunited country where a number of regional secular rulers allied to religious orders vied for power and in which warfare was not uncommon. A sizeable armor production in Tibet was the result of this situation. The present helmet, with fine silver inlays depicting fierce dragons, is a rare example of this group.Literature comparison:Compare a closely related iron helmet, dated to the 14th-17th century, Tibet, in the collection of the National Museums Scotland, reference number A.1909.406 A. Compare a related iron helmet, dated to the 16th-17th century, Tibet, in the collection of the Metropolitan Museum of Art, accession number 2008.354.十四至十七世紀錯銀龍紋鐵頭盔西藏。藏族鐵盔正面擋片分別繪製一條蜿蜒的龍紋，九瓣鐵盔的葉片採用鍛造技術成型，盔頂下端是圓片形，連接盔葉，盔頂一體鍛造。每盔葉有三道內凹弧線，正視呈上尖下平的圭型。盔下沿編綴頓項甲片，編綴是先橫排由右片壓左片，後使用上排的中單獨孔連接縱列。 來源：紐約古玩交易。 品相：狀況良好，一些磨損、製造瑕疵、侵蝕、結殼，小刻痕和損失、輕微劃痕。錯銀部分保存良好。 重量：1,980 g 尺寸：高 42.9 厘米 這種分段式的西藏頭盔，最初使用一層層狀盔甲，可能源自公元三世紀的薩珊波斯頭盔。 十四至十七世紀，西藏並不穩定，許多地區世俗統治者爭奪權力，戰爭並不少見。 西藏大量的裝甲生產就是這種情況的結果。 現在的頭盔，帶有精美的錯銀龍紋，是一個很少見的例子。 文獻比較： 比較一件非常相近十四至十七世紀西藏鐵頭盔，收藏於蘇格蘭國家博物館，編號A.1909.406 A. 比較一件相近的十六至十七世紀西藏鐵頭盔，見紐約大都會藝術博物館，編號2008.354。
A LOT WITH A TIBETAN BRONZE GHANTA AND VAJRATibet, 18th - 19th century. The bronze vajra extending to four pronged ends issuing from makara heads, with a central knob flanked by lappet bands and beaded edges. The domed bronze ritual bell, decorated with a band of vajras between beaded borders, cast with overlapping lotus petals, rising to the central shaft with a Buddha head, crowned with lotus petals, surmounted by a four-pronged half-vajra, the ends issuing from makara heads. The bell produces a clear, pure, and long-lasting sound when struck. Condition: Overall good condition with minimal surface wear. The vajra with few minuscule nicks, light scratches, and areas of malachite encrustations. The ghanta bell with minor casting flaws as well as few minuscule nicks, and occasional light scratches. Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s - 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna. Weight: 154 g (the vajra), 127,1 g (the ghanta) Dimensions: Length 12.3 cm (the vajra), Height 11.1 cm (the ghanta)
TWO SILVER BUTTER TEA SETS, QING DYNASTYTibetan-Chinese, 19th century. Comprising a silver cup, stand, and cover. The silver elements are finely embossed and engraved with floral decor, dragons, and auspicious symbols.Condition: The silver shows surface wear, nicks, and warping, and light surface scratches, otherwise good condition. Provenance: Hungarian private collection.Weight: 313 g and 354 gDimensions: Height 17.6 cm and 18.5 cm
A THANGKA OF AVALOKITESHVARA, 19TH CENTURYTibet. Distemper on cloth, with a silk brocade frame, mounted as a hanging scroll with wood handles. Depicting Avalokiteshvara with eleven heads and eight arms, adorned in an elaborate dhoti, flowing patterned robes and jewelry, with two hands held together in namaskara mudra, one held out in varada mudra, and the other hands each holding a different attribute including a dharma wheel, a mala, and a lotus blossom, standing against a halo radiating golden threads of light, atop a large lotus. Inscriptions to the backside.Condition: With extensive wear, soiling, creases, and losses. Provenance: Croatian Private collection. Dimensions: Image size 21 x 14.5 cm, size incl. mounting 40 x 33.5 cm
A WOOD "TREE TRUNK WITH BATS AND LINGZHI" BRUSHPOT, BITONG, 17th CENTURYChina, 17th century. Naturalistically carved in high relief with protruding burls and recesses to simulate a gnarled section of a tree trunk, incorporating several elements of nature, such as a fish and several bats, lingzhi mushroom, a flower, and a fish. The wood with several natural crevices and knots.Condition: Good condition with minor wear, occasional light scratches and small nicks, and some natural age cracks. Provenance: Hungarian private collection.Weight: 561.1 g Dimensions: Height 14.2 cm
A LARGE PAINTING DEPICTING SHOULAO AND AN ATTENDANT, BY GU JIANLONG (1606-1687), DATED 1679 顧見龍(1606-1687)款《長壽仙芝》，1679年China. Ink and watercolors on paper. Depicting Shoulao holding a lingzhi fungus in his right hand, his face with a cheerful expression, dressed in fine robes with a floral hem, a jade pendant in the form of a ruyi cloud tied to his waist, followed by his attendant carrying his master's cane with attached gourd, the attendant also dressed in fine robes embellished with medallions of scrolling clouds, both standing in a rocky landscape below a gnarled pine tree backed by clouds, with rockwork issuing lingzhi in the foreground.Inscriptions: Upper left, inscribed 'The magical fungus of immortality', 'Painted in the autumn of the Year of Ji Wei (corresponding to 1679) in the manner of Tang Ziwei (also known as Tang Yin, 1470-1523)', 'Painted in the Studying Straw Hall of Deep Willow', and signed 'Yun Chen Gu Jianlong'. Two seals, 'Gu Jianlong Yin' and 'Yun Chen'. Provenance: From the collection of James Kedzie Penfield, and thence by descent in the same family. James Kedzie Penfield (1908-2004), after graduating from Stanford, joined a hand-picked team who traveled to China to work for the American Diplomatic Corps during the 1930s and 1940, where, according to his daughter, he spent the best years of his life. During his stay, he established friendships with local artists, including Zhang Daqian, one of the most famous Chinese painters of the 20th century, and was gifted a painting by him as a farewell present, which was sold at Woolley & Wallis on 1 July 2020, lot 15, for GBP 50,000. In 1954, James Penfield became the High Commissioner for Austria and was sent there to re-establish a neutral and democratic country.Condition: The painting with extensive wear, tears, creasing, losses, touch-ups, soiling, and stains, but overall displaying remarkably well despite obvious signs of age. Mounted and stabilized behind a solid wood frame with glass. The frame with few small nicks and light scratches.Dimensions: Image size 226 x 107 cm, Size incl. fame 239.5 x 119.5 cmGu Jianlong (1606-1687) was born in Suzhou Taichang and served at the Qing court as a painter during the 1660s and 1670s, where he painted portraits of the Emperors Shunzhi and Kangxi as well as of the Imperial family.Literature comparison:Compare a related silk scroll painting by Gu Jianlong, in the British Museum, registration number 1910,0212,0.486. Compare also a related portrait of Ma Shiqi (1650-1714), illustrated in Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art, p. 347-348, no. 255.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 852Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writingDescription: With signature of Gu Jianlong (1606-after 1687), Shoulao on a White DeerExpert remark: Compare the closely related motif. Note the slightly smaller size (182.5 x 97 cm).顧見龍(1606-1687)款《長壽仙芝》，1679年中國，紙本水墨設色。壽老右手持一株靈芝，面帶喜色，身著細花邊長袍，腰佩如意佩，侍從手持仙杖跟在後面，仙杖上掛著一個葫蘆，同樣身著精美的長袍，上面飾有雲紋理。一側青松高聳，祥雲浮動。面前地上靈芝遍地。 款識：長壽仙芝, 時己未之秋仿唐子畏筆意寫於深柳讀書草堂，雲臣顧見龍製；鈴印：顧見龍印，雲臣 來源：James Kedzie Penfield私人收藏，保存在同一家族至今。James Kedzie Penfield (1908-2004) 從斯坦福大學畢業後，於1930 年至 1940 年間前往中國為美國外交使團工作。據他的女兒說，他在那裡度過了一生中最美好的時光。在中國，他與藝術家建立了友誼，其中包括二十世紀最著名的中國畫家之一張大千，並獲張大千贈送一幅畫作為告別禮物，該畫於 2020 年 7 月 1 日在 Woolley & Wallis 售出，Lot 15，售價 50,000 英鎊。1954 年，James Penfield 成為高級專員，並被派往奧地利重建一個中立和民主的國家。 品相：磨損、撕裂、摺痕和汙漬，儘管有明顯的年代痕跡，但整體狀體極好。帶玻璃的木框。框架有一些小劃痕。 尺寸：畫面226 x 107 釐米, 總 239.5 x 119.5 釐米 顧見龍(1606-1687) 生於蘇州太倉，1660 至 1670 年代在清宮任畫家，曾為順治、康熙及皇室畫像。 文獻比較： 比較一件相近的顧見龍絹本設色卷軸畫，收藏於大英博物館，館藏編號1910,0212,0.486。比較一件相近《馬世奇(1650-1714)》畫像，見Wai-Kam Ho編，《Eight Dynasties of Chinese Painting：The Collections of the Nelson Gallery-Atkins Museum》，堪薩斯市和克利夫蘭藝術博物館，頁347-348，編號255。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年3月19日，lot 852 價格：USD 50,000（相當於今日EUR 53,000） 描述：顧見龍（款，1606-1687年後），《白鹿壽老》 專家評論：比較非常相近的主題。請注意尺寸稍小(182.5 x 97毫米)。
A PAINTING WITH DONKEYS, MANNER OF HUANG ZHOU (1925-1997)China, 20th century. Ink on paper, painted with four donkeys in a variety of poses. Signed and stamped with two red artist seals. Condition: Excellent condition with only minor wear mostly along the borders, a small stain and few light creases. Provenance: Private collection Paris, France. Dimensions: Image size 67 x 44.5 cm Auction result comparison: For similar paintings of donkeys, yet firmly attributed to Huang Zhou, see Christie`s New York, Fine Chinese Paintings on 7-21 July 2020, lot 39, sold for USD 15,000, and Christie`s Hong Kong, Exquisite Eye: Chinese Paintings Online on 16-30 May 2022, lot 1625, sold for HKD 214,200.
AN INLAID WOOD BRUSHPOT, BITONG, c. 1920sChina, late Qing Dynasty (1644-1912) to Republic period (1912-1949). Of cylindrical form with a flat base, the rim and foot slightly raised, inlaid with fine mother-of-pearl details of yellow, blue, and pearl colors, depicting two boys holding double gourds issuing from leafy branches. The wood is of an attractive deep-reddish brown tone with natural striations and graining. Condition: Overall good condition with minor wear, small nicks, dents, light surface scratches, few expected minor age cracks. Naturally grown patina overall. Few small inlays missing. The base with a central opening. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1487 g Dimensions: Height 18 cm
A LARGE CARVED BURLWOOD DISPLAY STANDChina, late Qing Dynasty (1644-1912). Naturalistically carved and consisting of three parts, the base carved in openwork as craggy rockwork with lingzhi mushrooms, consisting of different levels and three flat areas for displaying objects, the upper part is mounted with a pine tree and a tall blooming tree. The glossy wood of dark brown to warm honey-brown color. Condition: With minor wear, several natural age cracks and scattered losses and repairs, few nicks and occasional light scratches. Provenance: French private collection. Weight: c. 4.6 kg Dimensions: Height 69 cm
A GILT-DECORATED POWDER-BLUE GROUND BRUSHPOT, QINGChina, Qing Dynasty (1644-1912). Of circular section, finely painted in gold to the body with a continuous riverside scene depicting fishermen on boats among trees, rockeries and mountainous peaks in the distance, on a powder-blue ground. Condition: Good condition with minor wear especially to the gilt, occasional light scratches and firing flaws such as pitting. Provenance: Private collection Paris, France. Weight: 2077 g Dimensions: Height 14.5 cm
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