MINKO: AN INLAID WOOD TONKOTSU WITH NOH AND KYOGEN MASKSBy Tanaka Juntoku Minko (1735-1816), signed Minko 岷江Japan, Tsu, early 19th century, Edo period (1615-1868)Of oval section and slightly tapering form, decorated with dark wood inlays depicting various masks comprising Okame, Hyottoko, Oni, Okina, Beshimi, and Shojo. The cord holes to the top of the cover are ringed in stained bone. One side of the box with a wood-inlaid rectangular reserve signed MINKO.WIDTH 8.3 cmCondition: Very good condition, minor wear, few small nicks, few light surface scratches.Noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, deities, and demons.Kyogen is a form of traditional Japanese comic theater. It developed alongside Noh, was performed along with Noh as an intermission of sorts between Noh acts on the same stage, and retains close links to Noh in the modern day. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Noh theater; kyogen is a comic form, and its primary goal is to make its audience laugh.Auction comparison: Compare a related wood tonkotsu with wood inlay by Minko at Galerie Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 156 (sold for 5,056 EUR). Another related tonkotsu by Minko was sold at Bonhams, Japanese Works of Art, 19 September 2008, New York, lot 5041 (sold for 4,800 USD).
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A SUPERB AND LARGE LACQUERED WOOD ZUSHI (PORTABLE SHRINE) CONTAINING A GILT WOOD FIGURE OF AMIDA NYORAIJapan, 18th century, Edo period (1615-1868)The exterior of the shrine lacquered black with gilt-metal fittings. The hinged doors are gold-lacquered on the interior and open to reveal a figure of Amida seated in dhyanasana atop a double-lotus throne supported on an elaborate tiered pedestal base carved with floral designs, key-fret, birds, prunus, and clouds, flanked by two slender columns supporting a shaped canopy with baku heads to either side, backed by a kohai (aureole) carved with thick swirling clouds and a central openworked flowerhead.Amida's hands are lowered above his lap and joined in mida no jouin (dhyana mudra). He is wearing a loose-fitting robe opening at the chest and cascading in voluminous folds. His serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular glass-inlaid byakugo (urna), his full lips forming a subtle smile, flanked by long pendulous earlobes. His hair is arranged in tight curls over the domed ushnisha with a second glass-inlaid jewel.HEIGHT 59.5 cmCondition: Good condition with some wear, flaking and minor losses to lacquer, small chips here and there, light surface scratches.Provenance: From a private collection in Zurich, Switzerland.
A LARGE AND IMPRESSIVE LACQUERED WOOD FIGURE OF THE HEAVENLY KING ZOCHOTENJapan, 16th century, Muromachi period (1336-1573)Exhibited: Morikami Museum and Japanese Gardens, Palm Beach County, Florida, April to August 2009.Carved from cypress wood and assembled in yosegi-zukuri technique. Powerfully modeled standing in a dynamic pose atop a vanquished demon lying on a naturalistically carved rockwork base, the guardian and demon both with large eyes inlaid with reverse-painted crystal. The guardian wearing Chinese-style robes and full armor. He is holding his sword in his raised right hand, poised to strike.HEIGHT 85 cm (excl. sword)Condition: Good condition with some wear, expected age cracks, flaking and minor losses to lacquer, possibly some re-lacquering and touch-ups, small nicks, light surface scratches, minor chips, few minor losses.Zochoten (Virudhaka) is one of the Four Guardian Kings, mighty protectors of the Buddhist law. Clad in armor, they stand at the four corners of a Buddhist altar, protecting the principal image. Each represents one of the four cardinal directions. The blue-faced, scowling Zochoten, stamping on a hapless, squirming demon, is the guardian of the south. He is the ruler of the wind. His symbolic weapon is the sword which he carries in his right hand to protect the Dharma and the southern continent. The aggressive stance and grimacing demeanor are standard for these guardians, whose mission is to ward off evil.Auction comparison:Compare a closely related lacquered wood figure of Zochoten, dated to the Nanbokucho period, 14th century, the figure 83 cm high, the base 25.4 cm high, at Christie's, Japanese & Korean Art, 24 March 2010, New York, lot 594 (sold for 47,500 USD).
A LARGE AND IMPRESSIVE GILT WOOD FIGURE OF AMIDA NYORAIJapan, 18th-19th century, Edo period (1615-1868)Carved from cypress wood and assembled in yosegi-zukuri technique, Amida seated in dhyanasana atop a lotus throne raised on an elaborate tiered hexagonal base carved with lotus, cloud, and foliate designs as well as key-fret and floral diaper, the topmost tier centered by a polychrome wood figure of a celestial maiden.His hands are lowered above his lap and joined in mida no jouin (dhyana mudra). He is wearing a loose-fitting robe opening at the chest and cascading in voluminous folds. His serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular glass-inlaid byakugo (urna), his full lips forming a subtle smile, flanked by long pendulous earlobes. His hair is arranged in tight curls over the domed ushnisha.The kohai (aureole) is elaborately carved in openwork with a flame-like design radiating from the central stylized lotus flowerhead.HEIGHT 93 cmCondition: Good condition with some wear, flaking and minor losses to lacquer, small chips, tiny nicks, light surface scratches, minor losses (particularly to the mandorla), minor old repairs.Provenance: From a French private collection.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.Auction comparison:Compare a closely related lacquer figure of Amida of similar size at Zacke, Fine Japanese Art, 2 December 2022 (sold for 18,200 EUR).
A LACQUER MINIATURE KODANSU (CABINET) WITH SCENES FROM SHITAKIRI SUZUME (THE TALE OF THE TONGUE-CUT SPARROW)Japan, 19th centuryOf rectangular form with recessed gold fundame edges, bearing a rogin-nuri ground finely decorated in iro-e togidashi-e and e-nashiji to depict scenes from Shitakiri Suzume, with elaborately dressed humanoid sparrows leading the elderly man into the bamboo grove to meet his sparrow friend, and others dancing and playing musical instruments to entertain the man while he enjoys a feast, the top of the box with a fan and a chest filled with treasure including jewels, coral, and shells. The top of the box with a silvered-metal handle and the hinged door with silvered-metal fittings chased and incised with foliate designs against a ring-punched ground. The door opening to three drawers decorated with clouds and mountain peaks designs on nashiji, the interior of the door decorated in gold and silver hiramaki-e and takamaki-e with mura-nashiji and hirame to depict the man's farmhouse.SIZE 10.6 x 8 x 11 cmCondition: Very good condition with minor wear, light surface scratches, minor age cracks.Provenance: Collection of Drs. Edmund and Julie Lewis, no. 98 (label to base). Bonhams, Property from the Collection of Drs. Edmund and Julie Lewis, Part I, 11 September 2019, lot 562. A private collection in New York, USA, acquired from the above. Drs. Edmund Jean and Julia Breyer Lewis are renowned experts in nephrology who met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. Known for their keen scholarship and high aesthetic standards, for the past three decades Ed and Julie have focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. As they traveled widely their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculptures from Greater Asia.Shitakiri Suzume, translated literally into 'Tongue-Cut Sparrow', is a traditional Japanese fable telling of a kind old man, his avaricious wife, and an injured sparrow. The story explores the effects of greed, friendship and jealousy on the characters.
A GILT WOOD FIGURE OF AMIDA NYORAIJapan, 18th-19th century, Edo period (1615-1868)Amida standing on a lotus dais raised on a compressed globular section carved in openwork with a Dharmachakra and foliage over a leafy base supported by a shishi seated in a recumbent pose atop an elaborate stepped circular pedestal with lotus and foliate designs. He is wearing a loose-fitting monastic robe draped over both shoulders, opening at the chest and cascading in voluminous folds. His hands are held in raigou-in mudra, welcoming the dead into his Pure Land. His serene face with heavy-lidded downcast eyes below gently arched eyebrows centered by a glass or rock crystal byakugo (urna), a broad nose, full lips, and a thin painted mustache, flanked by long pendulous pierced earlobes. His hair is arranged in tight curls over the domed ushnisha with a further glass or rock crystal inlay. The kohai (aureole) behind him with swirling clouds and a central lotus flower.HEIGHT 78 cmCondition: Good condition with minor wear, few minor age cracks, minor old repairs, light surface scratches here and there, the mandorla with few minor chips and a small loss.Provenance: From a German private collection.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.
AN IMPRESSIVE LARGE LACQUERED WOOD ZUSHI (PORTABLE SHRINE) CONTAINING A GILT WOOD FIGURE OF AMIDA NYORAIJapan, 18th-19th century, Edo period (1615-1868)Amida standing on a lotus dais raised on a compressed globular section carved with clouds over a leafy section supported on an elaborate tiered octagonal pedestal base, carved partly in openwork, decorated with lotus, jewel, foliate, key-fret, and floral designs. The slender columns are painted with elaborate brocade designs. The kohai (aureole) is intricately carved in openwork with swirling clouds, further with seven seated Buddhas, the topmost within a stupa, above a circular silvered mirror.The exterior of the shrine of a reddish-brown wood with copper fittings including shaped hinges and floral handles, the interior of the shrine lacquered gold.HEIGHT 89.3 cmCondition: Good condition with minor wear, little flaking to lacquer, few small nicks, light surface scratches, few minor old repairs.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.
A VERY RARE AND EARLY JAPANESE HANGING SCROLL PAINTING OF AN IMMORTAL, 14TH-16TH CENTURYJapan, 14th -16th century, Kamakura (1185-133) to Muromachi period (1336-1573)Painted with polychrome pigments and applied gold leaf on silk, depicting an immortal seated in dhyanasana above clouds, his hands lowered in dhyana mudra, surrounded by a halo, with long curly hair and a mustache, his expression painted sensitively with downcast eyes and red painted lips. Mounted as a hanging scroll with a clearly treasured blue silk brocade mounting with intricate geometric designs, ho-o (phoenix) and dragon medallions, as well as clouds, manji designs. With incised gilt brass fittings and roller ends.SIZE (image only) 90.5 x 39 cm, SIZE 190 x 63 cm (total)Condition: Old, worn condition with rolling and handling creases, scattered losses and possibly some minor touch-ups, light foxing and staining.Provenance: From a private collection in Dallas, Texas, USA.
A SIX-PANEL FOLDING SCREEN DEPICTING A BATTLE SCENEJapan, Edo period (1615-1868)Finely decorated with ink, gouache, watercolor and gold splash on paper with brocade silk mountings, depicting a detailed battle scene. Mounted to a black-lacquered wood screen with gilt metal fittings with incised decorations.Note the fine quality of the painting, particularly evident in the elaborate armor decorations, naturalistically painted horses, and overall dynamic composition. The six panels provide a panoramic view of the battle scene, from samurais in turbulent waters to those in the forefront of the battle, on ground.SIZE (when opened) 79 x 255 cmCondition: Good condition with minor wear, little soiling, creases, and occasional light scratches. Some tears and minor material loss now hardly noticeable due to the backing with occasional touch-ups.
A FINE SIX-PANEL BYOBU SCREEN DEPICTING SNOW COVERED PINESJapan, 18th-19th century, Edo period (1615-1868)Masterfully painted with ink, gouache, and watercolors on a gold background, and mounted to a brown-lacquered wood screen with simplistic copper fittings. The beautiful and large six-panel byobu (room divider) employs a refined and naturalistic technique to show gnarled pine trees in snow.SIZE (when opened) 174 x 350 cmCondition: Good condition with minor wear, little soiling, occasional light scratches, and few minuscule losses. Some repaired tears with touch-ups.Pine is an auspicious symbol in Japan, representing longevity due to its long life, and endurance as it remains green throughout the winter months which becomes evident on the present imagery with the wintry snow.
KISHI GANRYO (1798-1852): A BEAUTIFUL SIX-PANEL BYOBU SCREEN DEPICTING CRANES AND PINESBy Kishi Ganryo (1798-1852), signed Utanosuke Shiryo and sealed 'Ganryo no' and 'Shiryoin'Japan, 19th century, Edo period (1615-1868)Finely decorated with gouache and ink on a vibrant gold leaf background. Signed Utanosuke Shiryo, and with two seals: Ganryo no and Shiryoin (lower right corner). The panels are mounted with silk brocade borders, one made of thin white brocade, and the other, wide moss-green brocade. Mounted to a black-lacquered wood screen with gilt metal fittings with incised decorations.An exceptional and beautiful large six-panel byobu (room divider) with a refined and naturalistic painting of five red-crowned cranes surrounded by young pines. Two cranes are depicted lying on the ground, appearing to rest, with one shown sleeping. Two others stand nearby, one picking at its toes and the other in a relaxed pose with one leg half tucked up. The last crane is shown in motion, walking towards something that has caught its attention in the distant left.SIZE (when opened) 169.9 x 372.6 cmCondition: Very good condition with minor wear, little soiling, occasional light scratches, and few minuscule tears.Kishi Ganryo (1798-1852), was a Kyoto artist. He was the nephew, pupil and adopted son of Kishi Ganku (1749-1838). Like his father, he was a retainer of Prince Arisugawa and attached to the imperial court. His surviving work is extremely rare.The crane is one of the most prominent symbols of longevity and good fortune in Asia. The red-crowned, or Japanese, crane depicted in this painting is said to live for 1,000 years. Pine is an auspicious symbol in Japan, representing longevity due to its long life, and endurance as it remains green throughout the winter months. The pine trees depicted in this painting introduce a freshness and liveliness which complements the spirited movements of the cranes.
TSUKIOKA SETTEI: A KAKEMONO OF A COURTESANTsukioka Settei (1726-1786), signed Shinten'o oju gigaJapan, late 18th century, Edo period (1615-1868)Very finely painted with ink, gouache, gold, and watercolors on silk, mounted as a hanging scroll on a finely woven and embroidered silk brocade frame with lacquer handles. Depicting a courtesan wearing voluminous robes decorated with flower motifs, and a gold dragon embroidered black Haori coat, posed alone against a blank background. The red cuffs and hems provide the only bright spots of color. The courtesan depicted is from the high-ranking Oiran class. Her obi (kimono sahs) is tied at the front which is seen in the Kansai region of pleasure quarters.Signed and inscribed to the lower right with seal: 信天翁應需戯画 “Shinten'o oju giga” (Painted on commission with a light spirit by Shinten'o).The Seal: 姓源、氏木田、名昌信、字大渓、号雪鼎、初号月岡、自称、信天翁。“Sei Minamoto, uji Kida, na Masanobu, aza Daikei, go Settei, hatsugo Tsukioka jisho Shinten'o” (The honorary surname Minamoto, family name Kida; alternative names: Masanobu, Daikei, Settei, Tsukioka, personal art name Shinten'o)SIZE (image) 86.5 x 30.3 cm, 154 x 37.5 cm (including mounting)Condition: Very good condition with minor traces of wear and age and few small touch-ups. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Tsukioka Settei (1726-1786) was a prominent Japanese painter and print artist known for his exquisite depictions of beauties, particularly courtesans and geishas, in grand and elegant robes. He studied under Takada Keiho of the Kyoto Kano school, and his early works reflected the influence of Nishikawa Sukenobu. Settei's artistic talent blossomed, and he designed over fifty illustrated books, many of which depicted the manners and customs of women from historical eras. He gradually developed his own style and began to paint hanging scrolls of contemporary beauties, for which he is most renowned. His works featured bold patterning, intricate details, and the use of high-quality pigments, with red outlines on faces and limbs being a distinctive feature. Settei's paintings and prints also included erotica of refined technical skill. In about An'ei 1 (1772), Settei was elevated to the rank of Hogen, which he often used in his signature. His son, Sessai, and other pupils continued his artistic legacy, emulating his style in their works.Auction comparison:Compare with a closely related Kakemono sold at Bonhams, Japanese Works of Art 19 Mar 2009, New York, Lot 305 (sold for 6,710 USD).A restrained composition is one that is minimalistic, simplified, and carefully arranged to achieve a sense of balance and harmony. It often employs a limited color palette, simple shapes, and a deliberate use of negative space to convey a sense of calmness and order. A restrained composition is typically characterized by a lack of excessive detail, ornamentation, or unnecessary elements, creating a sense of understated elegance and refinement. It can be seen in various forms of visual arts, including painting, photography, and graphic design.
TSUCHIYA KOITSU (1870-1949), THE POND OF SARUSAWA, NARA ON A RAINY EVENINGBy Tsuchiya Koitsu (1870-1949), signed Koitsu with seal 'Shin'Japan, dated 1941Color woodblock print on paper. Vertical Oban. Signed Koitsu with 'Shin' seal on the bottom right corner of the image along with Baba Nobuhiko publisher seal on the left margin. Entitled Nara Sarusawa no Ike (Sarusawa Pond at Nara). This print appears to be part of the “export” version as it has the title and Koitsu signature written in the Latin script in the bottom margin. Vertical inscription along the right margin.Sarusawa Pond and the silhouette of Kofuku temple Pagoda on a rainy evening. The daylight still lingers at the horizon. The orange lights from the houses and streetlamps cast their reflections on the dark water surface.SIZE of the sheet 40.5 x 26.5 cmCondition: Great impression, registration and vivid colors. Very minor wear.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.
TSUCHIYA KOITSU (1870-1949), SENGAKUJI TEMPLE AT TAKANAWABy Tsuchiya Koitsu (1870-1949), signed Koitsu with seal 'Shin'Japan, dated 1933Color woodblock print on paper. Horizontal Oban. Signed Koitsu with 'Shin' seal on the bottom left corner of the image. With Doi Hangaten publisher watermark 'Doi' located on the top-left corner. Vertical inscription along the right margin.An evocative night scene of the Sengakuji Temple in the evening during rainfall. Beautiful colors illuminate the street as reflected light bounces off it. SIZE of the sheet 26.8 x 39.8 cmCondition: Great impression, vivid colors and registration. Wear commensurate with age with very minor browning.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.
TSUCHIYA KOITSU (1870-1949), TOMONOTSUBy Tsuchiya Koitsu (1870-1949), signed Koitsu with seal 'Shin'Japan, dated 1940Color woodblock print on paper. Vertical Oban. Signed Koitsu with the 'Shin' seal along the right margin of the image along with a black 6mm Watanabe publisher seal below it. Entitled Tomonotsu from the series Seto Naikai (Inland Sea). Vertical inscription along the left margin.Sailboats quietly float in the waning glow of sunset at a harbor in Tomonotsu.SIZE of the sheet 38.5 x 26.6 cmCondition: Great impression, good colors, with slightly trimmed margins and minor browning of paper commensurate with age. Two minor binding holes on the left margin and negligible residue of tape.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.Museum comparison:An identical print is in the collection of the Art Institute of Chicago, reference number 1990.607.280. Another identical print is in the collection of the Museum of Fine Arts, Boston accession number 52.45.
![Flash Gordon, Science Fiction Stories, First Issue [Vol. 1, No. 1], New York: Harvey Comics, October 1950, a well-preserved &](https://cdn.globalauctionplatform.com/f5bd8c5e-2f91-4139-9b4d-b0190129e957/1563fc79-22ee-4896-b276-b01c011263b4/468x382.jpg)
Flash Gordon, Science Fiction Stories, First Issue [Vol. 1, No. 1], New York: Harvey Comics, October 1950, a well-preserved & bright comic, very slight wear around upper spine, light vertical crease to cover. Together with The Adventures of Buck Rogers, The Big Big Book, Racine & Wisconsin: Whitman Publishing Company, 1934, contents very good with occasional pale marks/spots in places, hardcover worn & split around spine and corners (2)
![Baddam, [Benjamin]. Memoirs of the Royal Society, Vol. III only, scarce, illustrated with 14 engraved plates, 9 of which are](https://cdn.globalauctionplatform.com/f5bd8c5e-2f91-4139-9b4d-b0190129e957/c17289e8-2959-457e-9120-b01c01121c11/468x382.jpg)
Baddam, [Benjamin]. Memoirs of the Royal Society, Vol. III only, scarce, illustrated with 14 engraved plates, 9 of which are folding, London: G. Smith, 1739. Octavo, full contemporary calf, pp. [iii], 4-516, [iv]. Internally very good, some light handling marks & contemporary owner inscription on title, slight loss to one of the margins of plate 7 but not affecting engraved area, binding worn but intact. Together with Elliot's Medical Pocket-Book, Dublin: Gilbert & Hodges, 1801, bearing owner inscriptions of John Browne, M.D., the text interspersed with blank leaves for manuscript notes in a contemporary hand, worn, sold with all faults (2)
An important collection of correspondence to Prince Frederick, Duke of York and Albany (1763-1827) from various notable figures, including two ALS from Earl Grey [former Prime Minister] regarding the death and funeral of William III, 22 June 1837 & 5 July 1837, on black-edged mourning stationery; three ALS from The Marquess Cornwallis, Dublin Castle, November 1798 to January 1799 [while serving as Lord Lieutenant of Ireland], giving thanks to the Duke of York for allowing him to make use of his private secretary Sir Herbert Taylor; one ALS from Sir Ralph Abercromby, Fort Royal, 23 July 1797, informing the Duke of York that he must order Lieutenant Colonel O'Meara to return to England 'to save a valuable Life', and giving a good account of his conduct, 'particularly at Saint Lucia'; one ALS from Viscount Castlereagh, 22 January 1809, regarding the death of Sir John Moore; one ALS from The Marquess Wellesley, Apsley House, 26 October 1811 [while serving as foreign secretary], thanking the Duke of York for his 'gracious favour towards Colonel Ross'; one ALS from William Huskisson, Parliament Street, 27 November 1797, informing the Duke of York of the death of Frederick William II of Prussia; one ALS from Elizabeth Craven, Margravine of Brandenburg-Ansbach, 3 March 1801, appealing to the mercy and influence of the Duke of York regarding a young man called Charles Gough in the 24th Regiment of Light Dragoons who has been 'seduced by the Rebels' in Ireland, pleading, 'I know the heinousness of his crime - but as a poet I have said, that Man to be reclaimd must be forgiven', and ten letters to the Duke of York from Baron Hardenberg; Count Munster; General Budé; Prince of Orange; Duke of Berry; Duke of Orleans; Lt. Gen. Calvert; Duchess of Rutland, and Sir Herbert Taylor. Collection housed in archival wallets (20)Provenance: By descent of Lieutenant-General Sir Herbert Taylor GCB GCH (1775-1839), the first Private Secretary to the Sovereign of the United Kingdom, serving King George III, Queen Charlotte, King George IV, King William IV, Prince Fredrick, Duke of York and Albany, and additionally serving as aide-de-camp to Queen Victoria
Taylor, George; Andrew Skinner. Taylor and Skinner's Maps of the Roads of Ireland, Surveyed 1777, first edition, London & Dublin: Printed for the Authors and Sold by G. Nicol, I. Murray, & W. Wilson, 14 November 1778. Tall octavo, finely rebound in full crushed morocco with raised bands, attractive gilt pictorial design, marbled endpapers, top edge gilt. Folding map of Ireland frontispiece, engraved vignette title, pp. [xvi], 288pp. engraved maps, 16pp. list of subscribers. Contents very well-preserved, clean & bright, only the folding frontispiece with one tear, endpapers marked, handsome binding, tight & square, light bumping to corners and some splitting to upper joint
Jardine, Sir William. The Naturalist’s Library, Vol. III, Ornithology, Gallinaceous Birds, Edinburgh: W. H. Lizars, Stirling and Kenney, 1834. Octavo, contemporary half-morocco lettered in gilt, illustrated with 30 hand-coloured engraved plates, plus hand-coloured pictorial title and engraved frontispiece of Aristotle, pp. 232. Contents good & bright, plates vibrant, many with protective tissue-guards, lightly folded page corners, some light handling marks in places, binding tight & square but worn, early owner inscriptions on opening blanks
Milne, A. A. Winnie-the-Pooh, first edition, London: Methuen, 1926. Octavo, publisher's gilt green cloth, top edge gilt, illustrated endpapers, gift inscription dated 1926. Contents very good, clean & bright, a few very pale spots, binding very good, slight shelf-lean, light bumping to corners
Photography. Topographical & Architectural Views. A collection of approximately 70 mounted albumen prints, including European topo./arch. views, art/paintings/sculpture (inc. one of Dance of Death at Basel), various sizes, mounted on card album pages, some with manuscript captions, to include seven larger albumen prints, one stamped 'Achille Quinet' [French photographer, 1831-1900], the majority of smaller prints on slightly warped/cockled card but photographs generally good, the larger examples in good order but some with light spotting, c. 1870
HM King Charles III. An original stencil-painted rabbit produced by a very young Charles, c. 1953-54 [approximately five years of age], probably for his father, Prince Philip, in the form of an Easter card, inscribed 'Happy Easter', and again inside, 'Love From Charles', light tape-burn centrally, 13cm by 9cmProvenance: By descent of Henry Ramsay Maule (1915-1981), author and journalist who for 21 years was a British Correspondent for New York Daily News specialising in stories relating to the Royal Family. Maule collected and formed a personal archive during the 1950s to 1970s
Lewis, C. S. The Chronicles of Narnia, a complete set of first editions, London: Geoffrey Bles, 1950-56, comprising: The Lion, The Witch and The Wardrobe, 1st edition, 1950, colour frontispiece, pp. 173, octavo, publisher's cloth, internally very good, clean & bright, ffep with some pale spotting and one neat owner inscription, shelf-lean, cloth discoloured & spotted with some bumping to corners and bottom edge; Prince Caspian, 1st edition, 1951, colour frontispiece, illustrated map endpapers, pp. 195, octavo, publisher's cloth, internally good & bright with some creased corners and faint spotting in places, more pronounced spotting at colophon & rear endpapers, slight discolouration/marks to cloth, corners bumped, shelf-lean; The Voyage of the Dawn Treader, 1st edition, 1952, b&w frontispiece, illustrated map endpapers, pp. 223, octavo, publisher's cloth, internally very good & bright, a few tiny spots in places, cloth discoloured at spine with slight bumping to corners, slight shelf-lean; The Silver Chair, 1st edition, 1953, b&w frontispiece, illustrated map endpapers, pp. 217, octavo, publisher's cloth, internally good & bright but with a closed tear through p.11 and a few marks in places, pale spotting to endleaves & fore-edge, a few light marks to cloth, corners lightly bumped, shelf-lean; The Horse and His Boy, 1st edition, 1954, b&w frontispiece, illustrated map endpapers, pp. 199, octavo, publisher's cloth, internally very good & bright with some pale spotting to endpapers/fore-edge, discolouration to cloth, corners lightly bumped, slight shelf-lean; The Magician's Nephew, 1st edition, Bodley Head, 1955, pp. 183, octavo, publisher's cloth, internally good & bright with a few marks in places, spotting to first and final leaves including half-title & title, light marking to cloth, corners lightly bumped, shelf-lean; The Last Battle, 1st edition, Bodley Head, 1956, pp. 184, octavo, publisher's cloth, internally good & bright with occasional faint spotting, more pronounced spotting at endpapers, discolouration to cloth, corners bumped, very slight shelf-lean, including a loosely-inserted 11pp. booklet, Shall We Lose God in Outer Space?, by C. S. Lewis, London: S.P.C.K., 1959, paper covers (7)
Harry Potter. An important archive of original material & movie memorabilia acquired during the filming of Harry Potter and the Philosopher's Stone, and Harry Potter and the Chamber of Secrets, at Durham Cathedral, comprising: the original set of antique keys to the "Restricted Section" of the Library, used by Argus Filch [David Bradley], together with a copy of the return note from Warner Bros attesting to their use in Harry Potter and the Philosopher's Stone (seen on screen), dated 3 May 2001; signed copies of the first two books in the series, paperbacks (43rd & 28th issues respectively), signed by the three main child actors on set, i.e. Daniel Radcliffe [Harry Potter], Rupert Grint [Ron Weasley], Emma Watson [Hermione Granger], the second book additionally signed by Chris Columbus [Director]; two original admittance tickets to the film premieres in Leicester Square, London, being Cast and Crew Screenings of the first two films, 3 November 2001 (ticket no. 0629), and 2 November 2002 (ticket no. 1478), plus the original invitation and instructions for the Cast and Crew Screening of the second film on official Harry Potter/Warner Bros letterhead, addressed to the Head Porter at Durham Cathedral, as per the provenance below; two unused and sealed promotional t-shirts from the premiere, official Warner Bros merchandise, 2001; a quantity of paperwork amassed during the filming of the first two movies at Durham Cathedral, including filming schedules, call-sheets, timetables, memorandums addressed to the Head Porter at Durham Cathedral, initial requests from Warner Bros to film on location, hire sheets etc., a total of 87 sheets; a publicity photograph of the three main child actors bearing printed signatures, and an original Warner Bros business card for Neil Lamont, Supervising Art Director. The archive is in very good condition, the books are well-preserved, clean, bright, with very light creasing to the spine of the first, very slight wear to extremities, bearing neat owner inscriptions of the Head Porter at Durham Cathedral, as per the provenance. A unique opportunity to acquire an original prop and important memorabilia from the filming at Durham Cathedral, location of a number of iconic scenes in the first two filmsProvenance: The vendor was Head Porter at Durham Cathedral from 1982-2017, now retired. He has very fond memories of the busy period when he assisted the production team during the filming of Harry Potter. He explains that he stepped in and offered his own set of antique keys to the production team when they expressed their disappointment with the ones that had been specially made for the feature, hence their use in the film (often seen hanging from Argus Filch's belt), and subsequently returned to the vendor, as per the Warner Bros return note. Durham Cathedral have kindly confirmed this provenance
Typography & Printing Interest. Printing Types, Stephenson, Blake & Co. Ltd., Sheffield: The Letter Foundry, 1924. Quarto, publisher's olive green cloth lettered in gilt, pp. [xvii], 702. Main body of text good & bright, pale staining through prelims, binding tight & square with some marks and light bumps
Vaughan, Henry. Flores Solitudinis. Certaine Rare and Elegant Pieces, first edition, London: Printed for Humphrey Moseley, 1654. 12mo, finely bound in full 19th-century crushed morocco lettered in gilt with marbled endpapers and all edges gilt, pp. [xx], 191, 165, including four separate titles, each dated 1654, bearing armorial bookplate for Gwenllian E. F. Morgan, Brecknock [an antiquary and the first woman in Wales to hold the office of Mayor], later Ex Libris label for Christopher Bentley, pencil inscription at rear, ‘lacks the last leaf which was blank, otherwise perfect. B Quaritch.’ Contents very well-preserved, clean and bright, a few very faint little marks/stains, pale spotting to endpapers, binding tight & square, some light surface wear & bumping to corners. An excellent example of a scarce work
HM Queen Elizabeth II (1926-2022). An important autograph letter signed to her husband, Prince Philip, 23 January 1954, 'Darling', on two sides of Sandringham stationery. The correspondence deals light-heartedly with the issue of Philip's new beard, 'The family is split about the beard, Anne & me want it off, Charles wants it kept for him to see! What will you do?!' The letter closes warmly, 'All my love darling from your very loving Lilibet.' Provenance: By descent of Henry Ramsay Maule (1915-1981), author and journalist who for 21 years was a British Correspondent for New York Daily News specialising in stories relating to the Royal Family. Maule collected and formed a personal archive during the 1950s to 1970s
Milne, A. A. No More Christopher Robin!, illustrated by E. H. Shepard, an important article in which Milne explains his decision to cease writing about Christopher Robin for the sake of his son [on whom the character was based], 'I feel that the legal Christopher Robin has already had more publicity than I want for him. Moreover, since he is growing up, he will soon feel that he has had more publicity than he wants for himself. We all, young and old, hope to make some sort of name, but we want to make it in our own chosen way, and, if possible, by our own exertions...The bigger the circumference of light, the bigger the surrounding border of darkness waiting to be lit up....Well, I have had my thrill out of children's books, and know that I shall never recapture it. Or, shall I say, not until I am a grandfather?' This article is especially poignant when one considers Milne's later estrangement from his son. In a series of autobiographical works, Christopher Robin Milne has said, 'It seemed to me almost that my father had got where he was by climbing on my infant shoulders, that he had filched from me my good name and left me nothing but empty fame'. The article is featured in Woman's Journal, August 1929 [the month of Christopher Robin Mile's ninth birthday], pp. 20-21 & 158. Internally very good & bright, spine worn. Together with two other contributions by Milne to Woman's Journal: What Christopher Robin did in the Morning [May 1928], and Eeyore Joins the Game [June 1928], both internally good & bright but with defective covers (3)
HM King Charles III. An original illustration of a delivery van in a Harrod's-style livery, 'Happybright, Mr Charles's Shop', produced by a very young Charles, c. 1953-55 [approximately six years of age], probably for his father, Prince Philip, crayon & pencil, a light vertical fold-line and small split starting at lower edge, 17.5cm by 20cmProvenance: By descent of Henry Ramsay Maule (1915-1981), author and journalist who for 21 years was a British Correspondent for New York Daily News specialising in stories relating to the Royal Family. Maule collected and formed a personal archive during the 1950s to 1970s
Hone, William. Every-Day Book, in two volumes, and The Table Book & Year Book, in four volumes, illustrated by George Cruikshank, London: William Tegg & Co., [c. 1840]. Octavo, uniformly bound in full calf with morocco title labels, gilt spines, half-raised bands, some rubbing and light wear (6)
A 9ct gold hinged bangle, A 9ct gold hinged bangle, with floral engraving and push piece clasp, hallmarks for Birmingham, 1961, inner diameter 6.1cm, gross weight 37.9g.Overall condition goodWith safety chainClasp in working orderOnly very light scratches in keeping with occasional wearSponsor's marks O.P
A Hermès "Les Coupes" silk scarf by Francoise de la Perriere, A Hermès "Les Coupes" silk scarf by Francoise de la Perriere, the black and tan ground depicting a carriage pattern, signed Hermès, 70 x 70cm. With maker's box.70x70cmOverall condition goodLight marks in keeping with very occasional wear
Five pairs of Prada heels, Five pairs of Prada heels, to include a pair of black patent leather heels, a pair of black leather heels, a pair of coral patent leather heels, a pair of burgundy patent leather heels, and a pair of lizard skin heels, sizes 35, 35 1/2, 36 and 36 1/2 (UK sizes 2 to 3 1/2) (5). Overall condition good to fairBlack patent leather heels - size 36 1/2, unworn, with dustbagBlack leather heels - size 35, unworn, with dustbagCoral patent leather heels - size 35 1/2, unworn, with dustbagBurgundy patent leather heels - size 35, signs of very light wear, with dustbagLizard skin heels - size 36, signs of occasional wear, scuffs to soles, with dustbag
A pair of sapphire and diamond earrings by Alabaster & Wilson, A pair of sapphire and diamond earrings by Alabaster & Wilson, each designed as a circular shape yellow sapphire within a brilliant cut diamond surround, estimated total diamond weight 0.60ct, maker's marks for Alabaster & Wilson, stamped 18ct & Plat, length 1.1cm, gross weight 4.5g.Overall condition good to fairReplacement post fittingsMarks clear and legibleSome light abrasion to sapphires, visible with magnification only, diameters 5.6mmDiamonds bright and well matched
A 1940s 9ct gold Omega manual wind wristwatch, A 1940s 9ct gold Omega manual wind wristwatch, the signed circular dial with baton markers, manual wind movement with base metal cover within a 9ct gold case bearing hallmarks for Birmingham, 1947, numbered 66813 and 112792, to the fancy flat curb link bracelet with folding clasp, case diameter 17mm, length 16cm, gross weight 16g.Overall condition good to fairWatch working at time of cataloguing, Wilson 55 does not guarantee the working accuracy of any timepiece offeredScratches and discolouration in keeping with age and wearClasp in working orderDial with some light discolouration to edges and minor losses to 10, visible on close inspectionFolding clasp of bracelet with hallmarks for Birmingham
A Victorian coral diamond and split pearl brooch, A Victorian coral diamond and split pearl brooch, the old cut diamond inset to the oval shape panel, with split pearl and coral cabochon sides, length 4.8cm, gross weight 8.8g. Overall condition fair to goodScratches, abrasion and discolouration in keeping with age and wearJewellers inscriptions and areas of localised scratching to reversePin in working orderSome very light dents in placesSome adhesive to split pearl and coral settings, visible with magnification
A cultured pearl necklace, A cultured pearl necklace, the graduated single strand with a vari cut diamond push piece clasp, length 49cm.Overall condition good to fairSome adhesive to cultured pearlsClasp - in working order, marks wornDiamonds with light and dark scattered inclusions visible with magnification
Three pairs of Prada sliders, Three pairs of Prada sliders, to include two white pairs and a black pair, sizes 35 and 36 (UK size 2-3)(3).Overall condition fair to goodWhite sandals - unworn, discolouration and marks to leather, size 36, with dustbagBlack sliders - unworn, some light scuffs, size 35, with dustbagWhite sliders - unworn, discolouration and marks to leather, size 35, with dustbag
A sapphire and diamond cluster ring, A sapphire and diamond cluster ring, the oval shape sapphire within a vari cut diamond and circular shape sapphire tiered surround, estimated total diamond weight 0.50ct, ring size P, gross weight 6.6g. Overall condition good to fairScratches, discolouration and abrasion in keeping with general wearMarks worn Ring resizedAbrasion to principal sapphire, a couple of outer sapphires with chips, visible only with magnificationDiamonds well matched, with light inclusions visible only with magnification
Three stickpins, Three stickpins, to include a demantoid garnet and split pearl stickpin, a conch pearl stickpin and a pearl stickpin (3).Overall condition good to fairDemantoid garnet stickpin - with fitted case, some light abrasion visible only with magnification, garnets with typical inclusionsConch pearl stickpin - some abrasion, pitting and scratches to surface, visible with the unaided eye, flame visible with the unaided eye, approx. dimensions 7.25 x 4.7mmPearl stickpin - untested - off round shape, abrasion and scratches to nacre, approx dimensions 6.2 x 4.9mm
An 18ct gold cultured pearl, enamel and diamond brooch by Leo De Vroomen, An 18ct gold cultured pearl, enamel and diamond brooch by Leo De Vroomen, the South Sea cultured pearl within a brilliant cut diamond and blue enamel openwork surround, estimated total diamond weight 2cts, maker's marks for Leo De Vroomen, hallmarks for London, 1994, length 5cm, gross weight 34.8g. Overall condition goodLight scratches in keeping with occasional wearMost of the enamel is in good order, with light nibbles/wear to each of the corner sections Marks clearCultured pearl diameter 14.1mmDiamonds bright and well matched
A rare 1970s Jaeger for Pierre Cardin stainless steel Espace wristwatch, A rare 1970s Jaeger for Pierre Cardin stainless steel Espace wristwatch, the oval signed blue dial with white baton quarter markers, cal. 36 signed 17 jewel manual wind movement within a brushed stainless steel rectangular case signed Jaeger and numbered 580417, case width 34mm.Pierre Cardin Espace watches were produced between 1971 and 1973. Designed for Jaeger, the collection had 26 models in total, all created to reflect the 'Space Age' and to be sold at Cardin's Espace boutiques. Representing an experimental era of design, the Espace collection was offered with stainless steel and plastic cases, in eye-catching and unexpected designs. Fitted with 17 jewel Jaeger manual wind movements, these distinctive watches from a limited production frame are sought-after by watch and design collectors alike.Overall condition good to fairWatch working at time of cataloguing, Wilson 55 does not guarantee the working accuracy of any timepiece offeredOne pronounced nick to lower left of case, see imageLight scratches to glass in keeping with wear, glass with some slight movement in setting but secure
A diamond three stone ring, A diamond three stone ring, the circular cut diamond line with tapered shoulders, estimated total diamond weight 1.55cts, estimated colour I-J, estimated clarity P1-P2, stamped 18ct & Plat, ring size N, gross weight 3.5g.Overall condition good to fairScratches and discolouration in keeping with general wearRing band thinning very slightlyDiamonds brightPrincipal stone with a SR fracture to table and crown facets, internal fractures and inclusions visible with the unaided eye, side diamonds, one with a large dark SR inclusion under table facet, the other with scattered light and dark inclusions
A platinum diamond band ring, A platinum diamond band ring, the princess cut diamond line inset to the polished band, estimated total diamond weight 1.40cts, estimated colour J-K, estimated clarity SI-P2, hallmarks for London, ring size R, gross weight 8.3g.Overall condition good to fairScratches and discolouration in keeping with occasional wearDiamonds bright and well matched - with scattered light and dark inclusions visible only with magnificationOne diamond with chip to culet, visible through table facet of stone
Four pairs of Jimmy Choo heels, Four pairs of Jimmy Choo heels, to include a pair of nude patent leather heels, a pair of tri-colour patent leather heels, a pair of glitter heels, and a pair of leopard print heels, sizes 35, 351/2 and 36 (UK sizes 2-3)(4).Overall condition good to fairNude patent leather heels - size 35, signs of occasional wear, some light scuffs to sole, with sticker still attached, with dustbag, a couple of pen marks to one shoeTri colour patent leather heels - size 36, unworn, with dustbagGlitter heels - size 35 1/2, signs of light wear, scuffs to sole, with dustbagLeopard print heels - size 35 1/2, scuffs to sole, signs of light wear
A 9ct gold chain bracelet, A 9ct gold chain bracelet, the textured and polished flat curb link chain with a folding clasp, hallmarks for Sheffield, length 22cm, gross weight 48.4g.Overall condition goodLight scratches in keeping with occasional wearSponsor's marks C&AJHallmarks for Sheffield, 1992Clasp in working order
Three silver pocket watches, Three silver pocket watches, to include a half hunter pocket watch by J.W. Benson, an open face pocket watch by Mole & Lane, and one other unsigned, case diameters 48 to 52mm, gross weight 341g. Overall condition good to fairJ.W. Benson - watch working at time of cataloguing, 17 jewel movement, case with hallmarks for London, 1939, numbered 703040Unsigned - Reversing Pinion movement, numbered 423170, watch working at time of cataloguing, case with hallmarks for Chester, 1899, numbered 439115Mole & Lane - watch not working at time of cataloguing, light dents to case back, hairline cracks to dial, case with hallmarks for Birmingham, 1884, numbered 78680, hinge very slightly worn, wear to case back, movement signed and numbered
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534297 Los(e)/Seite