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66972 Los(e)/Seite
![Pitch pine linen trunk. [55x75x53cm]](https://cdn.globalauctionplatform.com/2afa8013-4455-4b2d-9d3c-afb901095e0c/5a31fdc0-8de4-4e12-a147-afbd0125ca77/468x382.jpg)
![Pitch pine linen trunk. [55x75x53cm]](https://cdn.globalauctionplatform.com/2afa8013-4455-4b2d-9d3c-afb901095e0c/01a73795-191f-4612-99c4-afbd0125cd6e/468x382.jpg)
Los 139
Great Western Railway 12 inch mahogany cased drop dial trunk railway clock with a chain driven fusee movement that has rectangular plates and shaped shoulders. The mahogany case has an 8 piece segmented wooden surround, one side access door present but the right hand side one missing and a bottom door with a lock but no key, the GWR ivorine clock numberplate GWR 387 is screwed to the front of the drop, the spun brass bezel is also missing but the hinge is present so could be easily replaced. The original dial has GWR in block style and SKARRATT WORCESTER ghosted under the GWR and at the bottom. A nice example in original working condition complete with pendulum and key. Circa 1870, originates from South Molton station with a note from the previous owner stating this. Would make a superb clock with a little bit of work.
Los 269
Louis Vuitton: a Monogram Gemine Shoe Trunk1960sMonogram canvas with leather trim and brass hardware, brown cotton interior fitted with eight compartmentsCondition Grade C69cm high, 37cm wide, 23cm deep, includes six internal cushions and luggage tagFor further information on this lot please visit Bonhams.com
Los 270
Louis Vuitton: a Ladies Low Monogram Steamer Trunkc.1890Stencilled monogram canvas, wood bound with leather trim and brass hardware, 'R.C' monogrammed to the lid and either side, the interior with one flat lift out tray and one deeper tray fitted with compartments and doors, labelled and numberedCondition Grade D100cm wide, 53cm deep, 54cm highFor further information on this lot please visit Bonhams.com
Los 272
Louis Vuitton: a Rayee Striped Canvas 'Mail' Trunkc.1890sStriped beige and brown canvas exterior with 'morocco' painted metal frame and handles, brass locks and catches, roller wheels to underside, the lid opens to beige printed-paper-lined interior with label to rear surface, with pink ribbon pinned lozenge pattern to inside of lid, fitted with interior lift-out trayCondition Grade C+75.5cm wide, 43.5cm deep, 42cm high, includes keysFootnotes:For a 'Mail Trunk' of similar design, see 100 Legendary Trunks - Louis Vuitton, New York, 2010, page 159-164.For further information on this lot please visit Bonhams.com
Los 247
A SANDSTONE FIGURE OF DANCING GANESHA, MADURAI, 12TH CENTURYSouth India, Tamil Nadu. Finely carved in a dancing pose, his left side with four arms, one hand holding the hem of his robe, another holding his broken tusk, the coiled trunk extended toward the left side, his face with almond-shaped eyes and neatly incised arched brows, the head surmounted by an elaborate crown.Provenance: Parminder Soin, Munich, Germany, by 1983. A private collection in Germany, acquired from the above and thence by descent. A copy of an expertise, signed by Parminder Soin, owner of Alte Indische und Asiatische Kunst, Munich, Germany, dated 12 August 1983, dating the present figure to the 12th century and attributing it to a Shiva temple in Madurai, stating a value of DEM 20,000-22,000 or approx. EUR 17,500-19,500 (converted and adjusted for inflation at the time of writing), accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, encrustations.Weight: 23.7 kg (incl. stand) Dimensions: Height 51 cm (excl. stand) and 55 cm (incl. stand)Mounted on an associated stand. (2)Madurai, a major city in the Indian state of Tamil Nadu and its cultural capital, is built around the Meenakshi Temple, which acted as the geographic and ritual center of the ancient city of Madurai. Madurai Meenakshi Sundareswarar temple was built by the Pandayan Emperor Sadayavarman Kulasekaran I (reigned 1190-1205). The temple is a major pilgrimage destination within the Shaivism tradition, dedicated to Meenakshi Devi and Shiva. Other temples in Madurai include the Koodal Azhagar and Kallalagar temples, which are dedicated to Vishnu, and the Madurai Mukkuruni Vinayagar Ganesh temple.Known as the Remover of Obstacles and worshipped for auspicious beginnings, Ganesha is a beloved Hindu deity. Regardless of his elephant head, multiple arms, jewelry, and plump figure, his character is clever and his body remarkably agile, as demonstrated by his dancing steps in the present example. Like the other Hindu gods, Ganesha manifests a variety of appearances, always recognizable by his elephant head. The theme of the dancing Ganesha, in which he follows in the footsteps of his father, Shiva Nataraja, also captivated the sculptors of Central India, who produced some of the liveliest examples between the 8th and 11th centuries, the present lot however being in no way inferior to such pieces.Auction result comparison: Type: RelatedAuction: Christie's New York, 20 March 2019, lot 645 Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writing Description: A Red Sandstone Stele of Dancing Ganesha, Central India, 10th-11th CenturyExpert remark: Compare the related style, carving technique, pose, material and size (62 cm).
Los 244
A WHITE MARBLE FIGURE OF GANESHA, HINDU SHAHI, AFGHANISTAN, 822-1026Finely carved, the coiled trunk raised toward the mouth as he has just sampled a sweet from the bowl held in his right hand, the face with almond-shaped eyes below elegantly arched and raised brows centered by an urna, the hair secured by a beaded headband.Provenance: Dr. Rene Schroeder, Luxembourg, 1973. Yvette Starck, Luxembourg, acquired from the above and thence by descent. A Belgian private collection, acquired from the above. A copy of the original invoice from Dr. Rene Schroeder, dated 10 September 1973 and addressed to Yvette Starck, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, signs of weathering and erosion, structural cracks, minor old repairs and fills, encrustations.Weight: 17.3 kg (incl. stand) Dimensions: Height 39 cm (excl. stand) and 45 cm (incl. stand)Mounted on an associated stand. (2)The Hindu Shahis (822-1026) were a dynasty that held sway over the Kabul Valley, Gandhara, and western Punjab during the early medieval period in the Indian subcontinent. The dynasty was established after the overthrow of the Turk Shahis. Shaivism was practiced by the Hindu Shahis and likely was also the predominant religion. Saura was practiced by some subjects, as were Buddhism and Islam. Scholarship on the Hindu Shahis remains scarce and details regarding past rulers can only be assembled from disparate chronicles, coins, and stone inscriptions.Literature comparison: Compare a related marble figure of Ganesha, 22.6 cm high, attributed to Pakistan or Afghanistan and dated to the Shahi period, 7th-8th century, in the Art Institute of Chicago, reference number 2012.689. Compare the related manner of carving of a Hindu Shahi white marble linga, with similar eyes and brows, dated 9th century, in the Metropolitan Museum of Art, accession number 1980.415. A related white marble figure of Ganesha, 47.5 cm high, attributed to the Hindu Shahi or post-Gupta period, Punjab Hills, dated mid-9th century, was exhibited at Asian Art in London by Joost Van den Bergh in Objects of Veneration: Sculpture & Paintings from Gandhara, Burma, Khmer, Ceylon, India & Tibet, 5-14 November 2015.
Los 246
A SILVER-INLAID COPPER ALLOY FIGURE OF GANESHA, SOUTH INDIA, C. 1650-1750Well cast seated on a square base with spreading feet, his vehicle the rat found prominently at the front, holding in his secondary hands two axes and in his primary hands his broken tusk and sweets which he is sampling from with his elegantly curved trunk. He is wearing a short dhoti and an upavita. His almond-shaped eyes are finely inlaid in silver. His head is surmounted by a tiered conical crown and backed by a floral halo. With an attractive, buttery patina, this personal shrine image has clearly been the object of much affection under the devotee's thumbs over the past centuries. Provenance: German trade. Condition: Good condition with some wear, casting flaws, small nicks, minor losses, dents, light scratches. Fine, naturally grown patina with areas of malachite encrustation.Weight: 2,284 gDimensions: Height 18.2 cmLiterature comparison: Compare a related bronze figure of Ganesha, 16.5 cm high, also attributed to South India and dated 1650-1750, in the Victoria & Albert Museum, accession number IM.76-1914.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2001, lot 42 Price: USD 8,813 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A Bronze Figure Of Ganesha, South India, 17th Century Expert remark: Note the similar size (19 cm)
Los 204
'PLUM BLOSSOMS', BY QI BAISHI (1864-1957), DATED 1923China. Ink on paper, with a Japanese silk brocade mounting. Exquisitely painted with a flowering plum tree in the winter, the branches and twigs mostly upright with few hanging down, the blossoms and buds neatly detailed, the thicker branches executed with bold, dynamic brushstrokes.Inscriptions: Lower left, signed 'Baishi weng' (old man Baishi), inscribed 'The winter plum blossoms and the rest of the year, a thousand-year friendship with the rest of the year', and dated 'in the Winter of the Year of Guihai' (corresponding to 1923). The last character (託) indicates that this work was painted by Qi Baishi in order to entrust it to the recipient.Provenance: Kono Shuson, Japan, acquired directly from the artist. A private collection, acquired from the above, and thence by descent. The back with an old Japanese paper label from Kono Shuson, stamped and inscribed 'Dai yonhyaku-ju-roku-go, Sai Hakuseki sensei, Kono Shuson sei' (Number 416, Painting of Winter Plum Blossoms by Master Qi Baishi, compounded by Kono Shuson). Two further paper labels, each inscribed '7541'. Kono Shuson (1890-1987) was a Japanese painter and a pivotal figure in promoting the Nanga (Chinese literati) school of paintings in Japan. With Tomioka Tessai (1836-1924) as a consultant, he founded the Nihon Nanga-in (Japan Literati Painting Academy) and visited China frequently, including his first documented visit in 1923, the year the present work was painted. This is when he probably met Qi Baishi for the very first time, shortly after Qi's initial exhibition in Japan (see lot essay below). He then began to import Qi Baishi's works to Japan, together with the paintings of other contemporary Chinese artists, selling them at the Takashimaya Department Store and other notable places. He always mounted such paintings on Japanese kakejiku scrolls. For a work bearing a similar label from Kono Shuson, see for example Bonhams Hong Kong, 2 March 2022, lot 29, by Zhang Daqian (1899-1983), Scholar under Willow Tree. Condition: Good condition with some wear, soiling, and few minor abrasions.Dimensions: Image size 106.5 x 56 cm, Size incl. mounting 144 x 68 cmQi Baishi painted plum blossoms in several styles, including copies of those painted by Jin Nong (1687-1763), which the present lot shares some affinities with, including the absence of colors. Qi Baishi's later plum paintings are primarily inspired by Wu Changshuo (1844-1927), who preferred bright colors and introduced an epigraphic aesthetic to the art of painting. Here however, Qi depicts the plum tree with its upward trunk and branches in calligraphic strokes of somber ink. The present painting can therefore be said to reflect an earlier style in painting plum blossoms for Qi Baishi, whose earliest works depicting this subject are dated by inscription to the year 1921, two years before the present work was executed. Qi's paintings are, first of all, reflections of things and feelings that he had personally experienced in life. In the case of plum blossoms, his fondness of this subject resulted from nostalgia for his hometown in Hunan, where his dwelling, named 'Studio of Hundred Plums', was surrounded by a plum grove.Qi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Qi Baishi moved to Beijing in 1916 and earned his living there by selling paintings. However, his painting style was not welcome in Beijing at that time. Taking the advice of Chen Shizeng, Qi Baishi began his famous "initiating self-art-reform in senile age", which finally led Qi Baishi to tremendous success. In 1922, Chen Shizeng visited Japan. He brought some works by Qi Baishi for exhibition and sale. This was the first time that Qi Baishi's paintings were shown in Japan, and anywhere outside China. It is probable that Kono Shuson (the first owner of the present work) saw Qi's work at this exhibition and was inspired to make his first trip to China less than a year later in 1923, meeting with the master for the first time. As recalled by Qi Baishi: “After Chen Shizeng returned to Beijing, I was told that all my paintings sold at very nice prices! Each of my paintings sold for at least 100 silver coins, and the landscape paintings were even more expensive, 250 silver coins for one that was only 60 inches long! I never imagined such prices in China! And I was also told that the French planned to exhibit my works and those of Shizeng in the Paris Art Expo. The Japanese were going to film my life and work for a movie! All this was just amazing! Afterwards, many foreigners came to Beijing to purchase my paintings, and I have been better off since then. It was Shizeng who helped me in my career and life - I will remember this forever.” (Baishi Laoren Zishu, Shandong Huabao Publishing House, 2000, pp. 131-133)Auction result comparison: Type: Related Auction: Beijing Council International Auctions, 4 December 2013, lot 984 Price: CNY 632,500 or approx. EUR 110,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, The ink plum blossom (1923)Expert remark: Compare the related manner of painting with mostly upright branches and using only ink. Note that the work was painted in the same year (1923) as the present lot. Auction result comparison: Type: Related Auction: Poly International, Beijing, 17 December 2017, lot 1930 Price: CNY 862,500 or approx. EUR 142,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Plum blossom (1924) Expert remark: Compare the related manner of painting, also using only ink, but with more hanging branches than the present lot. Note that the work was painted one year later (1924) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 9 December 2020, lot 48 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (with signature of, 1863-1957), Plum BlossomsExpert remark: Note the much smaller size (26.5 x 19 cm) of this work and the low estimate of only USD 300-600, which was clearly overruled by the market, with bidding eventually ending at USD 18,750.1923年齊白石款《寒梅圖》
Los 303
A CARNELIAN AGATE 'PEACH AND LINGZHI' RETICULATED DOUBLE VASE, 18TH CENTURYChina. The vessel with two receptacles carved as gnarled tree trunks, further cast in relief and openwork with a leafy branch bearing peaches and a bat perched on the trunk as well as lingzhi sprigs, the striking contrast between the white agate and bright-red carnelian inclusions ingeniously used to great effect. Provenance: Scottish trade, United Kingdom. Condition: Excellent condition with minor old wear. Natural inclusions and fissures to the stone. Fine manually applied polish overall, with an elegant lustrous shine, as expected from an authentic 18th-century carving from this distinct group.Weight: 515.1 g (excl. base) and 564.7 g (incl. base)Dimensions: Length 12 cm, Height 9.1 cm (excl. base) and 10.6 cm (incl. base)With a matching and finely carved openwork hardwood base in the form of rockwork with flowers, grass, and lingzhi. (2)Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2017, lot 362Price: 225,000 HKD or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A large carnelian agate 'sanduo' vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related form with two receptacles and fine openwork carving as well as the related motif with tree trunk and peach. Note the larger size (21.3 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 13 May 2021, lot 46Price: GBP 45,250 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A large carnelian agate 'sanduo' vase, 19th centuryExpert remark: Compare the closely related form, also with two receptacles and fine openwork carving as well as the similar motif with tree trunk and peach. Note the larger size (19 cm) and the green stained bone and wood stand.十八世紀南紅瑪瑙靈芝祝壽紋理花插中國。花插選用整塊南紅瑪瑙雕製成樹樁狀，外壁紅色處採高浮雕及鏤雕技法琢壽桃、靈芝，枝葉錯落有致，枝幹虯曲，果實豐碩，整體構思巧妙。瑪瑙質地細膩油潤，紅白二色分明。局部挖空以供插花。 來源：英國蘇格蘭古玩交易。 品相：狀況極佳，有輕微磨損。瑪瑙有天然夾雜物和裂縫。整體手工拋光細膩，散發出優雅的光澤。 重量：515.1 克 (不含底座)，564.7 克 (含底座) 尺寸：長 12 厘米，高 9.1 厘米 (不含底座) ，10.6 厘米 (含底座) 配置鏤空雕刻的花、草、靈芝紋硬木底座。 (2) 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2017年11月30日，lot 362 價格：225,000 HKD（相當於今日EUR 29,000） 描述：清十八世紀南紅瑪瑙巧雕福壽三多花插 專家評論：比較非常相近外型和鏤空雕刻，以及相近的主題，有三個樹樁和桃子。請注意尺寸 (21.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯， 2021年5月13日，lot 46 價格：GBP 45,250（相當於今日EUR 54,000 ） 描述：十九世紀南紅瑪瑙「三多」花插 專家評論：比較非常相近外型，精美的鏤空雕刻，以及相近的主題，有三個樹樁和桃子。請注意尺寸較大 (19 厘米) 和綠色骨質與木底座。
Los 688
A SMALL BRONZE FIGURE OF GANESHA, 12TH CENTURY OR EARLIEREastern India. The potbellied deity well cast seated in Royal Ease atop a neatly incised circular double lotus base, holding in his four hands a goad, noose, broken tusk, and bowl of sweets from which he samples with his elegantly curved trunk, wearing a conical headdress.Provenance: From an old private collection in the United Kingdom, acquired in Shanghai and Hong Kong from the 1930s onwards, and thence by descent. Condition: Good condition, commensurate with age. Extensive wear, small losses, minor dents, minuscule nicks, signs of weathering and erosion, encrustations. Fine, naturally grown, rich patina with malachite encrustations.Weight: 99 g Dimensions: Height 5 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 17 December 2021, lot 3015 Price: HKD 16,380 or approx. EUR 2,000 converted and adjusted for inflation at the time of writing Description: A small bronze figure of Ganesha, Pala, Eastern India, 12th centuryExpert remark: Compare the closely related pose, attributes, and size (4.9 cm). Compare also the related lotus base, though with a beaded edge more typical of the Pala period, and the similar patina with malachite encrustations, though less pronounced than on the present lot.
Los 301
Pair of 19th century Meissen figure, ‘the Race Goer and his Companion’, after Michel Victor Acier, he modelled holding a telescope, she examining the race card she holds in her right hand, with lace detail to the hat and dress, on rococo scroll base with gilt highlights, blue cross swords mark, incised D65 and D66, Pressnummern, 20cm highThe figure of the gentleman has an area of restoration to the left hand. The coat has a chip to one front corner and on the back near the tree trunk. Under UV light the neck area does light up, but to the naked eye we can see no signs of restoration.The figure of the lady has signs of restoration to the hood. There are some minor losses to the lace.Both figures have light surface scratches, nibbles around the base, various minor nibbles to the edges and raised decoration, such as his hat, her cloak. Some similar losses and wear to the glazed finish.
Los 436
Fine walnut and floral marquetry-cased 8-day longcase clock George Murgatroyd, London, circa 1700, the 12-inch square brass dial having silvered Roman chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and inner quarter hour track, additionally signed Geo: Murgatroyd, London framing a matted centre with ringed winding arbors, silvered subsidiary seconds ring and calendar aperture within engraved scroll border, within crown and twin cherub supporters to spandrels, engraved signature 'George Murgatroyd London' to lower edge,the four (formerly five) finned pillar movement with anchor escapement, inside countwheel striking on a bell, regulated by seconds pendulum, the case with floral marquetry-inlaid caddy top, hood door, throat moulding, long trunk door (with oval lenticle) and base, the trunk door incorporating an urn, birds, tulips and other flowers, scrollwork etc, the plain hood sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with moulded skirt, 227cm high (sold with two weights plus pendulum and winder)George Murgatroyd is recorded in Britten, F. J., 'Old Clocks and Watches and their Makers' as working in London circa 1710 - however, features such as the convex throat moulding to the case, and ringed winding holes coupled with stylised sword-hilt half hour markers to the dial, would suggest a date just prior to this for the current lot.Dial - general tarnishing to silvered chapter ring. Discolouration to edges of brass dial. Movement - one hole to front plate is unused (so something has been removed). There is packing to upstands beneath seatboard.Case - damage and depletions commensurate with age, including (but not limited to):Superstructure (over caddy) may be an old replacement, and has been reattached. Front corners of caddy surmount appear to be separate sections, of slightly different colourGlazed side panels of hood are replacedSime cracking to moulding beneath hood door.Losses and fading to vertical edges of hood door- mainly from handling.Veneer and carcase losses to one front corner of throat moulding.Losses to inlay at top of trunk doorSome wrinkling to veneer surrounding trunk door.Lock is later and applied (originally did not have a lock)Base has moulding loss to back edge at one side.Horizontal cracks to sides of base.Later plinth cuts through base of inlaid panel.Small losses to crossbanded border.Some old drill holes to backing.
Los 103
A Chinese travelling trunk, probably pig skin and another smaller. Early 20th century, each with brass mounts, handles red paper label with calligraphy, largest height 28cm, width 45cm, depth 31cm. (2)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.
Los 435
A Chinese porcelain figure of a lady leaning on a tree stump. Height 29.5cm, width 17cm, depth 9cm.An item has been lost from the top of the tree trunk. One finger chipped on the left hand. Some natural lack of colour in the tree stump. No other chips or cracks. Signs of wear and age underneath the figure.www.davidlay.co.uk/auction/lot/lot-435---a-chinese-porcelain-figure-of-a-lady-leaning-on-a-tree-stump/?lot=109436&so=0&st=435&sto=0&au=215&ef=&et=&i
Los 107
W. A.B Leach, postcards, photos and ephemera of his life. In his original labelled/named trunk including his passport with many stamps of his travels, bank statements and investments, letters, death certificate, order of service, etc.Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.
Los 14
A tin trunk, the handles inscribed "Milner's Liverpool", a set of Reuben Heaton & Sons "The Ever Ready" scales, a set of Gascoigne's scales, a modern brass bell, a pair of racing field glasses, a box of vintage door furniture, a stoneware dog's bowl by Moira Pottery Co. Ltd, a mid 20th Century leatherette covered roulette wheel and counters, various modern prints and a modern wall clock, etc
Los 266
Edwardian oak chest of two short and two long drawers with brass ring handles, on bracket feet, gilt metal patent label to one drawer, 80cm x 106.5cm x 53cm, an oak twin door video/TV cabinet, three Edwardian cane seated wide chairs, and a vintage tin trunk with wood effect painted finishLocation:
Los 342
A Georgian oak longcase clock by Wood of Grantham, square dial with painted spandrels, chapter ring bearing Roman numerals, two train, eight day movement with bell strike, the hood with turned columns, brass capped, the trunk of plain form, raised on bracket feet, with pendulum and weights, 194cm high.
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66972 Los(e)/Seite