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283284 Los(e)/Seite
Los 25
A small quantity of silver jewellery to include teardrop shaped agate pendant on chain; a pair of hoop earrings; porcelain plaque portrait brooch (af); jasperware brooch; a mother of pearl ring and matching drop earrings; thistle brooch set with amethyst paste; marcasite clover ring; paste solitaire ring; folding fan pendant etc, gross weight approx. 50.5g
Los 1257
Watercolour - Titled on mount - self portrait of Sir Alfred Munnings, 22.5cm x 20cm excluding large mount & frame. Signed A J Munnings in pencil, and signed Alfred Munnings verso & inscribed 'at the easel, and with a pencil sketch of a horse to the back. Purchased from our auction rooms some decades ago, and re framed more recently.
Los 1285
English School (Mid-Late 19th Century) Half portrait of Lady in Mourning. Sitter is dressed in black with delicate lace underclothes and bonnet scarf. Posed wearing gold mourning ring and holding a gilt red leather book and pair of lorgnettes. Behind is a velvet backdrop and red oxblood leather chair. Oil on canvas in gilt frame. Size incl. frame, Height 97cm Width: 83cmCOURIER OR COLLECT ONLY
Los 1287
Collection of 4 framed miniatures including hand painted portrait of a lady in gilt brass frame, indistinct monogram, an early portrait bearing the later inscription to the reverse 'Queen Catherine of Braganza' 17th century - Although the frame is later (probably 19th century), the miniature does appear to be much earlier, together with 2 other hand painted miniatures (4)
Los 1410
FOOTBALL INTEREST: A Collection of Football Memorabilia relating to Harry Sellars (1902-1978) who played for Stoke City FC between 1923 and 1935. The collection includes a Wedgwood Dip Blue Jasperware Tea for One set stamped 'Stoke City v Wolverhampton Wanderers Winners Souvenir 1929 N S Royal Infirmary F C C' a/f, a Cauldon 'N S Infirmary Port Vale v Stoke Winners' fruit bowl and a Booths pin dish with printed portrait of H. Sellars. Ephemera notably includes a photograph of Sellars with team and Stanley Matthews out of kit along with many photographs of the team and key members of Stoke City FC during the 1920-30's. Programmes and Newspaper cuttings etc. (1 Tray)
![[ Autograph ] A signed promotional portrait photograph of the Russian operatic singer Evgeny Nesterenko as Boris Godunov](https://cdn.globalauctionplatform.com/0f824530-3b7b-4b8f-b253-b219011d473c/77edea71-3e49-483a-9b9b-b21e012399c0/468x382.jpg)
Los 1668
Joseph Simpson (British, 1879 - 1939)A chiaroscuro portrait of the Earl of Lonsdale (The Yellow Earl) dressed in formal evening attire, looking down contently from a theatre box or similar vantage point, drypoint etching, signed in graphite, in double card mount and slender ebonized frame, 43 x 53 cm overall[ Joseph Simpson was born in Carlisle and attended the Glasgow School Of Art, he began his career working in Edinburgh as an illustrator and cartoonist, and later taught briefly at the London School of Art. In 1918 he was made an official war artist for the Royal Air Force, and went on to exhibit his widely known etchings in both national and international galleries. ]
Los 1669
Joseph Simpson (British, 1879 - 1939)"Portrait of an Old Lady", a portrait of a wisened elderly woman looking wryly at the viewer, a shawl draped over her shoulders, drypoint etching, signed and numbered "23/40" in graphite, 1928, in card mount and slender ebonized frame under glass, 53 x 43 cm overall[ Joseph Simpson was born in Carlisle and attended the Glasgow School of Art, he began his career working in Edinburgh as an illustrator and cartoonist, and later taught briefly at the London School of Art. In 1918 he was commissioned as a Royal Air Force War artist, and went on to exhibit his widely recognised etchings both nationally and internationally. ]
Los 1708
Frank Bertioli (b circa 1832, exh 1884-89, London and Great Corby, Carlisle)"The Last Look. July 16th 1899", half portrait of Mary Pigg of Great Corby, the girl wearing a straw boater and pinafore with blossom, portrayed gazing confidently and contentedly at the viewer, watercolour, signed and titled in graphite, in gilt frame under glass, 26 cm x 20 cm overall [Bertioli was listed on the 1901 census as a portrait artist of Great Corby, then aged 67. His birthplace was given as Middlesex and he had exhibited at Tullie House in 1896 from a Great Corby address.]
![[ Autograph ] Signed promotional portrait photographs of first season Gladiators stars Shadow and Scorpio together with a car](https://cdn.globalauctionplatform.com/0f824530-3b7b-4b8f-b253-b219011d473c/267dfb90-593c-42f5-b696-b21e0124eab2/468x382.jpg)
![[ Autograph ] Walter Stoneman (1876-1958), portrait of Sir Winston Churchill, taken 1 April 1942, silver gelatin photographic](https://cdn.globalauctionplatform.com/0f824530-3b7b-4b8f-b253-b219011d473c/bfc3f6e9-3ad4-4a46-b180-b21f00a978f7/468x382.jpg)
Los 184
The C.I.E. and Gold Kaisar-I-Hind Medal group of four awarded to Sir Richard Amphlett Lamb, K.C.S.I., C.I.E., Indian Civil Service, member of the Executive Council of the Governor of Bombay 1910-15 The Most Eminent Order of the Indian Empire, C.I.E., Companion’s 2nd type breast badge, gold and enamels, complete with integral gold brooch bar; Kaisar-I-Hind, V.R.,1st class, 18 carat gold, hallmarked London 1900, complete with integral gold brooch bar; Delhi Durbar 1911, silver; India General Service 1854-95, 1 clasp, Burma 1887-89 (Mr. R. A. Lamb Dy. Comr.) nearly extremely fine (4) £3,000-£4,000 --- Richard Amphlett Lamb was born at Poona, India, on 4 April 1858, son of Veterinary Surgeon William Lamb, 3rd Bombay Cavalry. Educated at Highgate Grammar School, he passed the Indian Civil Service examination in 1877 and was posted to Bombay, where he joined the Indian Civil Service in 1879. He served first at assistant collector, magistrate, and later as forest settlement officer, at Kandesh. He was one of the younger civilians selected for service in Upper Burma where he was appointed Deputy Commissioner in 1887. For his share in suppressing the dacoity which so long delayed pacification he was awarded the medal and clasp. After his return to his own Presidency as a collector, it fell to him in 1897 to act as chairman of the Poona Plague Committee soon after the assassination of its first chairman, his civilian colleague, Mr Rand. Later, he made an excellent Commissioner of the Central Division, for he had a thorough grasp of the complicated revenue system, and was both assiduous and sympathetic. He also did good wrk in the Secretariat, where he filled various departmental secretaryships, and in the Commissionership of Customs, Salt, &c. He was appointed a member of the Executive Council of the Government of Bombay, for which Lord Sydenham selected him in 1910. He was awarded the Kaisar-I-Hind medal (1st Class-Gold) in 1900, and appointed C.I.E. in 1901; C.S.I. in 1909, and knighted as K.C.S.I. at the Delhi Coronation Durbar in 1911. Sir Richard married at Colaba, Bombay, on 31 May 1901, Kathleen Maud, daughter of Lieutenant-Colonel J. P. Barry, I.M.S., and had a family of four sons. He died at his residence, Tudor House, Broadway, Worcestershire, on 27 January 1923. Sold with the following original photographs and documents: i. Studio portrait in uniform wearing I.G.S. medal. ii. Studio portrait in uniform wearing C.I.E., K-I-H, and I.G.S., Ahmednagar January 1903 (two versions, standing and seated). iii. Studio portrait seated in uniform wearing C.S.I., C.I.E., K-I-H and I.G.S., dated December 1909. iv. Studio portrait in uniform wearing K.C.S.I., C.I.E., K-I-H, Delhi Durbar 1911 and I.G.S. (two versions, standing and seated). v. Various documents of appointment to the Bombay Civil Service in 1879, together with Birth and Marriage certificates, and five obituary press cuttings. vi. Court cane in ebonised wood with gilt finial engraved with monogram ‘RAL’ vii. A particularly fine album created in commemoration of the 1911 Delhi Durbar, the cover embossed in gilt lettering ‘Coronation Durbar. Delhi. 1911.’ containing numerous invitations for Sir Richard and Lady Lamb to the many and various official celebrations for the Delhi Durbar, including plan of camp of the Governor of Bombay, captioned photographs of the members of same, invitations to the State Entry and Coronation Durbar of the King Emperor, large fold-out panoramic photograph of the Durbar celebration, other invitations to State Garden Party at Delhi Fort on 13 December 1911, and to Investiture held the following day, the occasion on which Lamb was invested with the K.C.S.I. For the recipient’s miniature dress medals, see the following lot (Lot 185).
Los 627
An exceptionally rare Zanzibar Order of the Brilliant Star First Class Set of Insignia. Zanzibar, Sultanate, Order of the Brilliant Star, Hamad bin Thuwaini (1893-96) issue, First Class set of insignia, comprising sash badge, 92mm including wreath suspension x 61mm, silver-gilt and enamel, the central medallion the painted portrait of Sultan Hamad bin Thuwaini on gold, unmarked, minor white enamel restoration to tips of points, and green enamel restoration to top of wreath by suspension; Star, 85mm, silver and enamel, the central medallion the painted portrait of Sultan Hamad bin Thuwaini on gold, Ch. Billard, A. D. Marie succ., Paris, cartouché to reverse, with retaining pin with silver marks and two additional support hooks, one tip of star slightly bent, with full sash riband, good very fine and of the highest rarity (2) £3,000-£4,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Los 293
Three: Captain C. J. Temperley, Royal Air Force, late Northern Cyclist Battalion and Royal Flying Corps, who was wounded in aerial combat on 28 October 1917, while piloting an S.E. 5 of 60 Squadron British War and Victory Medals (Capt. C. J. Temperley. R.A.F.); Territorial Force War Medal 1914-19 (Capt. C. J. Temperley. N. Cyc. Bn.) housed in a contemporary glazed display frame with free standing mount to reverse, extremely fine (3) £700-£900 --- Provenance: Dix Noonan Webb, March 2008. Clifford James Temperley was born in Newcastle-upon-Tyne on 20 June 1894 and served pre-War as a Gunner in the 55th Sunderland Battery, Royal Garrison Artillery, and then as a Lance-Corporal in the Northern Cyclist Battalion. Following the outbreak of the Great War he was commissioned Second Lieutenant in the Northern Cyclist Battalion on 25 November 1914, before undergoing pilot training at the Military School at Farnborough, receiving his “Wings” in June 1915 (Certificate No. 1367). Officially seconded to the Royal Flying Corps on 27 August 1915, he joined 15 Squadron at Dover and remained employed on the Home Establishment for the next two years. Promoted temporary Captain and appointed a Flight Commander on 27 August 1917, Temperley was posted to the Western Front on 29 September 1917, joining 60 Squadron, Royal Flying Corps, an S.E. 5 unit operating out of St. Marie Cappel, which included by Billy Bishop and Albert Ball within its ranks. It was intended that Temperley take up appointment as a Flight Commander, but in lieu of his lack of experience in Scouts in France, the Squadron C.O. vetoed the idea. As it transpired, Temperley was downed just a few days later, on 28 October 1917, on what was his first operational patrol, when he was wounded in the foot in a combat near Vlamertinger and forced to crash land near Poperinghe. Invalided home, he did not return to duty until April 1918, with an appointment at the Air Ministry, following which he served as a Staff Officer until the end of hostilities. He was placed on the Unemployed List in January 1919, and died in 1939. Sold with the recipient’s Great War photograph album, containing approximately 25 images of fellow pilots, aircraft and ‘prangs’; a fine-quality studio portrait photograph of the recipient in uniform, in a contemporary glazed frame; and copied research.
Los 186
The Victorian campaign group of three awarded to Staff Veterinary Surgeon William Lamb, 3rd Bombay Light Cavalry India General Service 1854-95, 1 clasp, Persia (Vet. Surgn. W. Lamb. 3rd Lt. Cavy.); Indian Mutiny 1857-59, 1 clasp, Central India (Vte. Surgn. W. Lamb, 3rd Regt. Bombay Cavy.); Abyssinia 1867 (Vety. Surgn. W. Lamb Bomb: Army) suspension crudely repaired below the crown on this; together with two prize medals: a. Edinburgh Veterinary College, Session 1848-49, engraved silver circular medal with stepped rims, 50mm, hallmarked Edinburgh 1848, the reverse engraved ‘Presented to Mr William Lamb for the Best Set of Notes of a Portion of Professor Dick’s Lectures’, fitted with floral scroll and ring for suspension; b. Highland and Agricultural Society of Scotland, struck silver medal, 45mm, the reverse engraved ‘To Mr William Lamb Worcestershire 1850’, the edge additionally engraved ‘For best examination on veterinary medicine and surgery Edinburgh Veterinary College.’, generally very fine or better (5) £1,600-£2,000 --- William Lamb was born at Hampton Bishop, Herefordshire, on 24 June 1832. He arrived in India on 10 March 1853, where he was appointed Veterinary Surgeon to the 3rd Bombay Light Cavalry. He served with the 3rd Bombay Light Cavalry in the Persian campaign of 1856-57, including the taking of Reshire and Bushire in December 1856; capture of Borazgon, 6 February 1857, and battle of Khooshab, 8 February 1856. In Central India in 1857-58 and 1859, including siege of Ratghur, relief of Saugor, and siege of Gurrakota, January 1858; siege of Jhansie, March & April; battle of Betwa, April; battle of Koonch, siege of Calpee, and attack on rear guard at Elora, May; taking of Morar, siege of Gwalior pursuant to Jowree and Alipore, June 1858; taking of Mhow and Mahoni, 1859. Mentioned in GGO 272 of 1859, ‘Vetry Surgeon Lamb 3rd Lt. Cavalry... most useful to me in getting on the baggage and conveying orders. Mr Lamb rode into camp at my request to report the presence of the enemy and returned at very considerable risk of being cut off.’ Also mentioned ‘as having led up a Troop of the 3rd Lt. Cavalry in the charge which resulted in the capture of the enemy’s guns &c,’ Served in the Abyssinian campaign of 1867-68, in general supervision of the Veterinary Department Land Transport Train; mentioned in despatches London Gazette 30 June 1868, and promoted to Staff Veterinary Surgeon for ‘valuable services with the Abyssinian Expeditionary Force.’ He died in October 1888. Sold with original vellum commission as Veterinary Surgeon from 10 March 1853, Statement of Services to September 1873, three portrait photographs, including one in uniform wearing medals, and marriage certificate. For the recipient’s miniature dress medals, see the following lot (Lot 187).
Los 5
Pair: Paymaster-in-Chief R. J. M. Macleod, Royal Navy Egypt and Sudan 1882-89, undated reverse, no clasp (R. J. M. Macleod, Payr. R.N. H.M.S. Arab.); Khedive’s Star, dated 1884, unnamed as issued, mounted as worn, together with companion miniature medals, the Egypt with dated reverse, the Khedive's Star undated, dark toned, good very fine (2) £500-£700 --- Approximately 76 no clasp medals awarded to H.M.S. Arab. Robert John Moore Macleod was born on 3 March 1844, and joined the Royal Navy as an Assistant Clerk on 13 September 1860. Promoted Assistant Paymaster on 3 March 1865, and Paymaster on 4 March 1879, he served in H.M.S. Arab from 15 February 1881 to 28 May 1885, and was in commissariat and transport charge of the Naval Brigade landed for the protection of Suakin, in the Eastern Sudan, in March 1884 during the Sudanese campaign. Promoted Staff Paymaster on 17 February 1886, and Fleet Paymaster on 4 March 1891, he transferred to the Retired List as Paymaster-in-Chief on 11 October 1903, and died on 21 June 1936. Sold with a good selection of original documents, including various Certificates of Examination; Commissions as Assistant Paymaster (1865), Paymaster (1879) these two on vellum, Staff Paymaster (1886), and Fleet Paymaster (1891); Commissions appointing him as Secretary (4), to Rear-Admiral Henry D. Hickley, Senior Officer on the Coast of Ireland, May 1885; to Rear-Admiral Hon. Walter C. Carpenter, Senior Officer on the Coast of Ireland, January 1887; to Rear-Admiral James E. Erskine, Senior Officer on the Coast of Ireland, December 1888; and to Vice-Admiral James E. Erskine, Commander-in-Chief in the North America and West Indies Station, March 1895; and four portrait photographs taken at various stages of his naval career, together with other related family letters and photographs; and copied service record and medal roll extract.
Los 52
A VERY RARE SMALL INSCRIBED ZITAN BRUSHPOT, BITONGSigned Xu Fang and Li Tianzhi, cyclically dated to the Wuxu year corresponding to 1658 and of the periodThe tall cylindrical vessel of dark-brown tone incised around the exterior with a portrait of a gentleman and calligraphic inscriptions in clerical script. 10.5cm (4 1/8in) high.Footnotes:戊戌年（1658） 紫檀雕詩文筆筒「徐枋」「龍湫山人」款Provenance: a Danish private collection來源： 丹麥私人收藏The inscription above the portrait of the gentleman in seal script reads: 蜃園肖景(影) which may be translated as 'The portrait of Shenyuan', with the seal and signature of Xu Fang 徐枋（1622-1694）.The main inscription in clerical script reads: 野態何煩彩莙痕，為留模樣與兒孫。心中應有難言意，不共攜家住鹿門。俟齊園後余自題，崆峒為刊於此。Which may be translated as: Retreating to wilderness (I) should not feel discomfort about consuming wild vegetation, as it serves as a model for the sons and grandsons. Grappling with sentiments that resist easy expression, (I) could not take my family to live in seclusion. After waiting for the completion of Qi Garden, I inscribed this myself. Kongtong carved this here (for me).The signature reads 'Longqiu shanren' 龍湫山人 (The Mountain Man of Longqiu) which is the self-proclaimed title of Li Tianzhi 李天植(1591-1672) who is also known as 'Shenyuan xiansheng' 蜃園先生 (The Gentleman of Shenyuan). Li Tianzhi passed the Imperial examination in the sixth year of the Chongzhen period (1633), gaining the rank of 'juren', but he was carefree by nature and had no intention of pursuing an official career. After the fall of the Ming dynasty, he retired to Chen Mountain and lived in seclusion. He established a school in a temple and made a living by teaching. After residing there for ten years, he found the school affairs too bothersome, so he retreated to his family's estate, Shenyuan, and earned a living by selling his writings and woven baskets. Despite his financial difficulties, when the villagers tried to support him with provisions, he declined their help. Local officials, hearing of his reputation, visited him, but he evaded them by climbing over the wall. See Li Keqiang and Yue Shuzhen, Jin, Yuan, Ming ren cihua 金元明人詞話, Tianjin, 2012, p.665.Compare with a related zitan brushpot, with calligraphy and incised portrait, 17th/18th century, illustrated by M.Flacks, Custodians of the Way: Chinese Scholar's Objects in Precious Woods, London, 2014, p.124.See a also a related inscribed zitan brushpot, 18th century, which was sold at Sotheby's Paris, 18 April 2013, lot 80.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 147
SUNQUA (CIRCA 1840) OR STUDIO OFA British Clipper at Bocca TigrisOil on canvas, framed. 49.5cm (19 1/2in) high x 62.2cm (24 1/2in) wide.Footnotes:順呱（約1840年）或其畫室 英國帆船在虎門 布面油畫 有框Provenance: Martyn Gregory, London來源： 倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, Images of the East: Catalogue 97, London, 2017-2018年, p.71, no.76.展覽著錄： Martyn Gregory，《Images of the East: Catalogue 97》，倫敦，2017-2018，第71頁，編號76The present painting shows a British ship near the Wantong Islands at Bocca Tigris (modern-day Humen), the straits at the entrance of the Pearl River estuary. This meticulously painted ship portrait could be an early work by Sunqua, see for example, a related painting of a clipper by Sunqua, c.1835-1840, illustrated by C.Crossman The Decorative Arts of the China Trade, Woodbridge, 1991, p.125.For further information on this lot please visit Bonhams.com
Los 174
A HUANGHUALI RECTANGULAR CORNER-LEG LOW TABLE, AIZHUOQing DynastyThe rectangular panelled top set within a wide border above a recessed waist and a plain apron, supported on four legs of square section terminating in hoof-feet and joined with four humpback stretchers. 93.5cm (36 3/4in) wide x 51.5cm (20in) high x 46.5cm (18 1/4in) deep.Footnotes:清 黃花梨有束腰羅鍋棖馬蹄足矮桌Provenance: Klas E Böök (1909-1980), Sweden, acquired during his service as Swedish Ambassador to Beijing, 1956-1961, and thence by descent来源： Klas E Böök (1909-1980)，瑞典，在擔任瑞典駐北京大使期間獲得，1956-1961，並由後人保存迄今。A Swedish diplomat and civil servant, Mr Böök first had a career in banking, that led up to the position of Governor of the Swedish National Bank from 1948 to 1951. His diplomatic career began when he was appointed head of the Commercial Department of the Swedish Ministry for Foreign Affairs and envoy from 1947 to 1948. He was Minister in Ottawa from 1951 to 1956, Ambassador in Beijing from 1956 to 1961, and also accredited as envoy to Bangkok from 1956 to 1959. Böök was the Swedish Ambassador to New Delhi, India, and also accredited to Colombo and Kathmandu from 1961 to 1965 and in Bern from 1965 to 1972. He had special assignments for the Swedish Foreign Ministry from 1972 to 1975.This simple, elegant form is one of the most frequently employed in Chinese furniture construction. Whilst the spare strong lines conveyed the rigor and discipline required of the scholar, the rich graining and warm color of the dense resinous hardwood add a sumptuous touch, alluding to the luxuries available to the elite of the time.Tables such as the present one would most likely have been used as side tables in a scholar's studio to support art objects, such as incense burners, table screens and other antiques. See, for example, a side table featured in 'Self Portrait of Wang Xizhi', of the Song dynasty (960-1279), depicting the scholar seated at the centre of the composition in his studio flanked by a small rectangular side table laid with boxes and other objects, illustrated in Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.206. Compare with a related huali table, late Ming dynasty, illustrated by C.Clunas, Chinese Furniture, London, 1988, p.88, no.33, and another huanghuali table, 16th-17th century, illustrated by G.W. Bruce, Living with Ming - the Lu Ming Shi Collection, 2000, p.110, no. 23.Compare with a related huanghuali corner-leg table, 17th century, which was sold at Christie's Hong Kong, 30 May 2022, lot 2906.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Los 160
LAMQUA (ACTIVE 1825-1860)Portrait of the 'Hong Merchant' Houqua, circa 1850Oil on canvas, framed. 63.5cm (25in) high x 48.8cm (19in) wide.Footnotes:約1850年 關喬昌（活躍於1825-1860） 行商伍秉鑒肖像 布面油畫 有框Provenance: John Kearsley Mitchell (1793-1858)Silas Weir Mitchell (1829-1914)Martyn Gregory, London來源： John Kearsley Mitchell (1793-1858)Silas Weir Mitchell (1829-1914)倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited:Martyn Gregory, Catalogue 100: Two Centuries of 'China trade' paintings 1770-1970, 2019-2020, pp.76-77, no.89展覽著錄： Martyn Gregory，《Catalogue 100: Two Centuries of 'China trade' paintings 1770-1970》，2019-2020年，第76-77頁，編號89 John Kearsley Mitchell was an important Philadelphia doctor who made three voyages to China as surgeon on board a ship. He published in The Philadelphia Journal of the Medical and Physical Sciences in 1821 detailing the medical anomalies he encountered during his travels. His son, Silas Weir Mitchell, was also a leading physician in Philadelphia sometimes nicknamed the father of psychiatry for his pioneering work on the nervous system.Wu Bingjian (1769-1843), known to Westerners as Houqua, was the most prominent Hong merchant in Canton (Guangzhou) during the early nineteenth century. Hong merchants were a group of Chinese wholesalers in Guangzhou with whom Westerners conducted their trade. Born in the same year as Napoleon and Wellington, Houqua's death in 1843 coincided with the opening of the Treaty Ports. In the early 1800s, he was perhaps the richest man on earth, with a web of contacts spanning the globe. His wealth, estimated at $26 million in 1834 (for comparison, banker Nathan Rothschild possessed $5.3 million in 1828), was primarily amassed through trade in luxury goods, alongside shrewd investments in American railways and other new technologies. Houqua was so renowned that Madame Tussaud's in London displayed a waxwork figure of him.Robert Bennet Forbes noted Houqua's leadership, stating, 'by his great wealth, intelligence, and position, he was universally recognized as their leader' (Personal Reminiscences, 1882, p.370). As an investor, banker, and entrepreneur, Houqua earned the respect of both Chinese and Western colleagues. He was known for both his wealth and frugality: 'His generosity was boundless, and in accounts he was singularly methodical and precise, never multiplying them beyond what was absolutely necessary. The two or three rooms which he occupied during hours of business in his vast, well-regulated Hongs were furnished with simplicity itself' (William Hunter, The 'Fan Kwae' at Canton before Treaty Days, 1825-1849, 1882, pp.29-30).Chinese 'export' portraits of Houqua likely originated from a series of portraits painted by George Chinnery, a British artist residing in Macao and Guangzhou in the 1820s-1840s. One such portrait, now in the HSBC Collection in Hong Kong, was exhibited at the Royal Academy in 1831. This painting was copied by unidentified Chinese artists in Guangzhou workshops as well as by foreign artists like Speakman. These portrait copies served as important branding tools, displayed in the offices of businessmen worldwide, demonstrating Houqua's extensive reach and financial empire. See R.Hutcheon, Chinnery, Hong Kong, 1989, p.78.During the second and third decades of the nineteenth century, the American merchant house Perkins & Co. had a particularly close connection with Houqua. However, in 1829, Russell & Co. took over the Perkins agency and its valuable association with Houqua. Samuel Russell of Middletown, Connecticut, who had gone to China under the auspices of Edward Carrington of Providence, founded Russell & Company as a commission house on January 1, 1824. His palatial house in Middletown was completed in 1830. For many years, Russell & Co. was the leading American business on the China coast, maintaining profitable trading connections with India, Europe, and the United States. The firm was absorbed into Shewan & Co. in 1891.Portraits of Houqua hung in the substantial homes of several New England families associated with Russell & Co., including the Lows, Forbes, Heards, and Delanos. These portraits, including the present one, were likely gifts from Houqua himself. Judging by Houqua's age in this portrait, it was probably executed in the early 1830s. Samuel Russell, described as 'genial and kindly' by William Hunter, retired at the end of 1836.See a very similar portrait of Houqua in the Metropolitan Museum of Art, New York, and illustrated by J.Harrison-Hall and J.Lovell, China's Hidden Century 1796-1912, London, 2023, p.245.Saleroom notices:Please note that the provenance and publication information is incorrectly stated in the printed catalogue, but is correctly stated in the online description, and should read 'John Kearsley Mitchell (1793-1858), Silas Weir Mitchell (1829-1914)' with the piece illustrated in Martyn Gregory, Catalogue 100.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 162
LAMQUA (CIRCA 1820-60) OR STUDIO OFPortrait of a Chinese MerchantOil on canvas, in original lacquered and gilt Chinese export frame. 83.8cm (33in) high x 64.2cm (25 1/4in) wide.Footnotes:關喬昌（約1820-60）或其畫室 中國商人肖像 布本油畫 有框Provenance: Thomas B. Williamson, USAMartyn Gregory, London來源: Thomas B. Williamson，美國倫敦古董商Martyn Gregory Published, Illustrated and Exhibited: Henry and Sidney Berry-Hill, Chinnery and China Coast Paintings, Leigh-on-Sea, 1970, pl.95Martyn Gregory, Images of the East, London, 2017-2018, p.86, no.88. 展覽著錄： Henry and Sidney Berry-Hill，《Chinnery and China Coast Paintings》， 濱海利，1970年，圖版95Martyn Gregory，《Images of the East》，倫敦，2017-2018年，第86頁，編號88The identification of the sitter as 'Ten Qua' likely stems from a portrait by Lamqua in the Peabody Essex Museum, Salem, Mass., where the subject — possibly the same individual depicted here — is also labeled 'Tenqua.' The embroidered badge on his robe likely features a wild goose, which, along with the opaque blue button on his official hat, signifies his status as a civil official of the fourth rank.For further information on this lot please visit Bonhams.com
Los 163
SPOILUM (ACTIVE 1774-1805)Portrait of a Young ManOil on oval canvas, in original Cantonese gilt frame. 43.2cm (17in) high x 35.6cm (14in) wide.Footnotes:史貝霖（活躍於1774-1805年） 年輕男子肖像 布面油畫 有框Provenance: Martyn Gregory, LondonA Hong Kong private collection Martyn Gregory, London來源： 倫敦古董商 Martyn Gregory香港私人收藏倫敦古董商 Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, Hong Kong and the China Trade: Catalogue 70, London, 1997, p.67, no.107.Martyn Gregory, Catalogue 100: Two Centuries of 'China Trade' Paintings 1770-1970, London, 2019-2020, p.82, no.95. 展覽著錄： Martyn Gregory，《Hong Kong and the China Trade: Catalogue 70》，倫敦，1997年，第67頁，編號107Martyn Gregory，《Catalogue 100: Two Centuries of 'China Trade' Paintings 1770-1970》，倫敦，2019-2020年，第82頁，編號95The Cantonese artist known to Westerners as Spoilum was the first Chinese export artist to develop a distinctive and recognisable style. His earliest documented work is a reverse-glass painting of Captain Thomas Fry, dated 1774. However, Spoilum was not the only Cantonese artist creating glass portraits for Western clients at the time. Little is known about Spoilum or his studio beyond a handful of documented paintings and literary references, making it challenging to definitively distinguish his work from that of his contemporaries.For further reading, see P.Conner, 'The Enigma of Spoilum and the Origins of China Trade Painting,' in The Magazine Antiques, CLIII no.3, March 1998, pp.419-425. In other portraits by Spoilum, the artist pays meticulous attention to details such as braid and buttons; in this particular portrait, the artist's skilful depiction of the frills in the sitter's cravat stands out. For illustrations of comparable portraits of English sitters by Spoilum, with similar dimensions and oval frames, see C.Crossman, The Decorative Arts of the China Trade, Woodbridge, 1991, pp.38 and 45.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 161
SPOILUM (ACTIVE 1774-1805)Portrait of a Western Man in a Chinese LandscapeOil and silver on reverse of glass, framed. 61cm (24in) high x 45.7cm (18in) wide.Footnotes:史貝霖（活躍於1774-1805） 在中國風景中的西方男子 玻璃鏡畫 有框Provenance: a Swedish private collectionMartyn Gregory, London來源： 瑞典私人收藏倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, Merchants and Mariners: Catalogue 98, London, 2018-2019, p.97, no.97. 展覽著錄： Martyn Gregory，《Merchants and Mariners: Catalogue 98》，倫敦，2018-2019年，第97頁，編號97The Chinese export artist known to Westerners as Spoilum, is renowned today for his oil portraits on canvas, painted in Canton (modern Guangzhou) between 1785 and 1805. However, it is evident that he was earlier engaged in painting reverse-glass portraits of Western merchants, depicting them either standing or seated in a style reminiscent of the English portrait artist Arthur Devis; often with a river landscape in the background. His earliest known work is a reverse-glass portrait of Captain Thomas Fry, dated 1774. For similar reverse-glass portraits that share compositional elements with the present picture, see also Martyn Gregory, Catalogue 81, London, 2005-2006, no.117, and Catalogue 78, London, 2002, no.108. Another example can be found at the Lady Lever Art Gallery, Port Sunlight (acc.no.LL 8824).In the current portrait, a young man, likely a merchant trading in Canton, wears a dark blue coat over a cream waistcoat, holding his stick and hat in his extended right hand. He stands on a path bordered by rocks and flowers, beside a tree overlooking a river, where a Chinese official's boat is anchored. A pheasant and a parakeet appear in the sky above.For further details about Spoilum's portraiture, see P.Conner, 'The Enigma of Spoilum and the Origins of China Trade Painting,' in The Magazine Antiques, March 1998, vol.CLIII, p.418, no.3.For further information on this lot please visit Bonhams.com
Los 142
ATTRIBUTED TO JEAN DENIS ATTIRET (WANG ZHICHENG 1702-1768)Portrait of a Young Prince thought to be Yonghuang (1728-1750)Oil on Korean paper, in beaded giltwood frame and glazed. 70.5cm (27 3/4in) high x 58.4cm (23in) wide.Footnotes:傳 王致誠（1702-1768） 年輕皇子肖像「或為永璜（1728-1750）」 紙本油畫 鏡框Provenance: Martyn Gregory, London, acquired in 1999Collection of John Keane (1931-2022)Martyn Gregory, London來源：倫敦古董商 Martyn Gregory，獲得於1999年 John Keane (1931-2022)舊藏倫敦古董商 Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, In the Wake of the Indiaman: catalogue 76, London, 2000, pp.28-29, no.38. 展覽著錄： Martyn Gregory，《In the Wake of the Indiaman: catalogue 76》，倫敦，2000年，第28-29頁，編號38Since the establishment of missions to China by the Jesuit Matteo Ricci in the late 16th century, missionaries had utilised their knowledge of Western technology to serve the Emperor. Among the most celebrated in the arts were Giuseppe Castiglione (郎世寧, 1688-1766), who worked as an artist at the Imperial Court from 1715 until his death in Beijing in 1766, and Jean-Denis Attiret (王致誠, 1702-1768), who reportedly executed 'more than two hundred portraits of persons of different ages and nations', including a 1754 portrait of the Qianlong Emperor. These artists were succeeded by others, notably Giuseppe Panzi, who entered the Emperor's service in 1773. During the British embassy's visit led by Lord Macartney in 1793, Panzi and the French Jesuit Louis de Poirot (1735-1814), who had joined the Emperor's service in 1771, were summoned to Jehol as portrait-painters, see L.Pfister, Notices biographiques et bibliographiques sur les Jésuites de l'ancienne mission de Chine, 1552-1773, Shanghai, 1954, pp.966-974, and J.L.Cranmer-Byng, 'Lord Macartney's Embassy to Peking in 1793 from Official Chinese Documents', Journal of Oriental Studies, Hong Kong., IV, 1-2, 1957-8, pp.150-151.The strongest case for the attribution of the present work comes from a careful study of the eight portraits of Dzungar Mongolian tribal chieftains within the collection of seventeen portraits of meritocratic officers in the Museum für Völkerkunde, Ostasienabt in Berlin. The attribution of these works has been subject to change over time. Initially Rasidonduk and Veit (1990) assumed that all the works were of the hand of Jean-Denis Attiret. However, this was proved false by Wang Ching-ling (2016) who noted the records of the Collection of Archives of the Imperial Household Department of the Qing dynasty stated Giuseppe Castiglione was the painter of the portrait of Dawaqi (-1759) from the set. Records also noted that paintings from the set were created by Giuseppe Castiglione and Ignaz Sichelbarth (艾啓蒙, 1708-1780) and others. Beyond this he provides a stylistic assessment of the works which is not altogether convincing. This is critiqued by Wang Youmin (2020) ('On the Oil Portraits of Qing Dynasty Dzungar Mongolian Tribal Chieftains Collected in Berlin', Journal of Gugong Studies, vol 20) but neither Wang is able to provide definitive attributions beyond the Dawaqi portrait. Aside from this portrait perhaps the most interesting work as a point of comparison is that of Che Ling (1697-1758) which Wang (2016) attributes to Jean-Denis Attiret and Wang (2020) attributes to Jean-Denis Attiret or Giuseppe Castiglione. The interest of this piece is that it is the closest stylistically to the present work. In particular the treatment of the eyes with a heavy outline to the upper edge, and a lightly positioned dot of white to the upper left quartile of the pupil. The brushwork is similarly pared back with well blended colours and shading. There is also a tendency in both paintings to enlarge the jawline beneath the sitter's right cheek, this is also observed in the Dawaqi portrait. The present sitter, unlike Che Ling, wears a conical hat, in common with six of the eight sitters in the group of works. The level of detail of the black brocade wrapped rim, where the gold detailing has been made out, is only present in the portrait of Dawaqi. Thus the present work shares characteristics with two of portraits but appears to be a distinct hand from the portrait of Dawaqi, being more consistent with the painting of Che Ling. As such this piece may be best attributed to Jean-Denis Attiret. Regarding the identity of the sitter there are various factors that lead us to his identity. First, it is apparent that the sitter must be a Royal Prince. His conical hat with red topknot (huang taizi xiji fu guan皇太子夏吉服冠) is recorded in the Huangchao li qitushi 皇朝禮器圖式 as designated for princely use. Furthermore, the pale whiteness of his skin is of a hue reserved royalty, see for example, for example in the Portraits of the Qianlong Emperor and His Twelve Consorts, in the collection of the Cleveland Museum of Art, in contrast to the more ruddy complexions of the eight Dzungar Mongolian tribal chieftains' portraits.Second, he must have been a young man at the time when his portrait was painted and third, he must have had sufficient status to have his portrait painted as a young man. Although our comparisons above date to around the year 1755, oil paintings were being produced as far back as 1745, the year of creation of the portrait of Huixian (1711-1745) (illustrated in China: the Three Emperors 1662-1795, cat no 96). It is also noted in letters by Amiot in 1754 that Jean-Denis Attiret engaged in portrait painting soon after his arrival in China (Giuseppe Castiglione: A Jesuit Painter at the Court of the Chinese Emperors, p.106). He arrived in China in 1737. This is important because the prince who appears to fit these criteria most closely is the Qianlong Emperor's first-born son, Yonghuang (永璜, 1728-1750). He is often depicted close to the Emperor directly beside his second son who died at the age of eight with a number of the portraits having been done posthumously. This includes the painting in the collection of the Palace Museum entitled Hongyi Watching Lotus Plants Whilst Playing the Qin (弘曆觀荷撫琴圖) attributed to Castiglione. Here the two sons are depicted behind the Emperor, with the older characteristically partially obscured behind a vertical pillar, the younger depicted posthumously. Another portrait entitled Qianlong Enjoying New Year Celebrations (乾隆帝歲朝行樂圖軸) thought to date to 1747 depicts the princes at the apparently slightly younger age of 19. The former portrait, the more naturalistic of the two compares favourably with the present portrait. There are similarities in the upper line of the eye, the curve of the nasal bridge, the jawline and curve of the cheek bones, the overall shape of the ear including the protruding antihelix. Whilst he died at the age of twenty-two it is also worth noting that he appeared in a number of portraits after his death as did his younger brother.The closeness of Yonghuang to the Qianlong Emperor is well noted. They appear in at least five group portraits together. Following Yonghuang's death the Emperor composed numerous poems eulogising his son.For further information on this lot please visit Bonhams.com
Los 143
ATTRIBUTED TO IGNATIUS SICHELBART (1708–1780), GIUSEPPE PANZI (1734-1812) OR LOUIS ANTOINE DE POIROT (1735-1813)Portrait of an OfficialOil on Korean paper, wood frame. 59cm (23 1/4in) wide x 71.5cm (28 1/8in) high.Footnotes:傳 艾啟蒙（1708-1780）、潘廷章（1734-1812）或賀清泰(1735-1813) 官員肖像 紙本油畫 有框Provenance: Martyn Gregory, London, acquired in 1999來源：倫敦古董商 Martyn Gregory，獲得於1999年 The present portrait has a very different character to the other two included in this sale and should instead be compared against two distinct groups of portraits. The first is the group of nine portraits of 'Heroes from the Hall of Purple Splendour' held in the Museum für Völkerkunde, Ostasienabt in Berlin dated to 1775-1776. Wang Ching-ling provides convincing documentary evidence that the work could be by Ignatius Sichelbart (艾啟蒙, 1708–1780), Giuseppe Panzi, (潘廷章, 1734-1812) and Louis Antoine de Poirot (賀清泰, 1735-1813) whilst preferring attributions to the latter two for stylistic reasons; see Wang Jingling, 'Bolin shoucang de ziguang ge gong chen xiang ji qi xiangguan zuopin xinlun' in Gugong xueshu jikan, Taipei, 2016, pp.153-214. These attributions derive from stylistic analysis which is not considered sufficient basis for an attribution. The second is a group of a further eighteen works offered by E.J in Brill 1985, of which seventeen were later published by Sotheby's Hong Kong, 9 October 2021, Portraits of Valour: Imperial Bannermen Portraits from a European Collection. These works do not have definitive attributions although the Sotheby's catalogue dates them as circa 1771-1776.The closest portrait is that of Naqiba 納親巴 from the first group, attributed by Wang as by Giuseppe Panzi. Whilst we can situate it within the context of these works, a direct attribution and identification cannot be made.Wear marks to the surface of the present work indicate that it was not rolled and therefore was unlikely to have left the palace at the same time as the Berlin pieces.An analysis of the paper used in this portrait by Mr. Peter Bower reveals it is a blend of paper mulberry (Broussonettia papyrifera) with another fibre, likely the inner bark of the Than tree. Such blends were common in 18th century China but are rarely found in later papers.For further information on this lot please visit Bonhams.com
Los 164
SPOILUM (ACTIVE CIRCA 1774-1805)Portrait of a Sea CaptainOil on canvas, framed. 61cm (24in) high x 47cm (18 1/2in) wide.Footnotes:史貝霖（約活躍于1774-1805）商船船長肖像 布面油畫 有框Provenance: an American private collectionMartyn Gregory, London來源： 美國私人收藏倫敦古董商Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, Images of the East, London, 2017-2018, p.90, no.92.展覽著錄： Martyn Gregory，《Images of the East》，倫敦，2017-2018年，第90頁，編號92The Cantonese artist known to Westerners as Spoilum, sometimes spelled 'Spillem' or 'Spilum', is the earliest identifiable Chinese 'export' artist. In the 1770s, Spoilum specialised in painting reverse-glass portraits of visiting Western merchants. By the mid-1780s, he had transitioned to depicting these merchants, and occasionally their Chinese counterparts, in oils on canvas; see P.Conner, 'The Enigma of Spoilum', Antiques CLIII no.3, March 1998. Spoilum's portraits are distinguished by several characteristic features: a pale area above the sitter's left shoulder, hair that appears detached from the ears, and a severe mouth softened by small creases at the corners.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 141
ATTRIBUTED TO GIUSEPPE CASTIGLIONE (LANG SHINING, 1688-1766) Portrait of Prince Guogong (1733-1765), sixth son of the Yongzheng Emperor Oil on Korean paper, with beaded gilt-wood frame and glazed. 52cm (19 1/4in) wide x 68.5cm (25in) high. For further information on this lot please visit Bonhams.com
Los 6439
Gesigneerd Hausman, 1830 en 1800 Portret van een dame / portret van een heer tweemaal doek, herk. Christie's Amsterdam, 16 april 2007, lot nr. 213, 58 x 50 cm. [2] A Portrait of an Elegant Lady, wearing a Blue Dress And Coral Jewellry; A Portrait Of A Distinguished Gentleman, Waering A Black Coat With White Collar, signed Hausman 1830 and 1800, oil on canvas
![Franse school, 18e eeuw Portret van een heer doek, 58 x 53 cm. [1] French School, 18th century; a portrait of a nobleman, bus](https://cdn.globalauctionplatform.com/90f4b0ca-bd38-47e6-bf38-b211011e52e7/77b15c8e-6a4a-4f6d-bf7b-b212011d3187/468x382.jpg)
![Russische school, 19e eeuw Portret van Alexander I doek, 72 x 58 cm. [1] Russian School, 19th century; portrait of Alexander](https://cdn.globalauctionplatform.com/90f4b0ca-bd38-47e6-bf38-b211011e52e7/c0d3f74c-e1eb-4df7-b890-b212011d3ca8/468x382.jpg)
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