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66972 Los(e)/Seite
Los 510
A quantity of various 18thC and other ephemera, indentures, letters, writing, some stamped, some hand written and printed etc., to include an 1810 mortgage, a 1771 indenture regarding a Mr Sibthorp to Mr Strangeways, various other related ephemera etc., contained in a tin trunk, 33cm high, 51cm wide, 36cm deep.
Los 39
A Japanese Bronze Model of an Elephant, the large pachyderm striding forward with trunk lowered, the texture of the skin well rendered, foundry seal to its belly, height 32.5cms, length 44cms, Meiji PeriodCondition Report: Tusks originally inlaid but now removed. Wear to bottom of feet. DirtyCondition Report Disclaimer
Los 45
Y A Japanese Bronze Group of an Elephant Balanced on a Ball, its trunk raised and holding a bamboo stem upon which a further ball is balanced, a smaller elephant stands on its companion's back with its trunk wrapped around the the bamboo branch, details are well rendered, the tusks inlaid, the whole terminates in a spike that fits into a socle in the rootwood stand, height overall 72.5cms, Meiji-Taisho eraCondition Report: Slight dents, casting flaws, one tusk missing, one broken but presentCondition Report Disclaimer
Los 503
IZAAK WALTON AND CHARLES COTTON: THE COMPLEAT ANGLER, ed James Rennie, Edinburgh, W & R Chambers, London W Orr, Dublin W Cully, 1883, 4 engraved plates as called for, extra illustrated with a further 84 plates, the first blank with ownership signature of Thomas Charlton Smith as Lt Col, followed by inscription of his nephew, dated March 1850, "The mark on the cover of this book was caused by a cannonball carrying off the lid of the trunk that contained it, my Uncle was at the time May 1842 besieged by the insurgent Boers in his entrenched camp near Port Natal, the trunk lay in his own tent", the battle of Congella began on 23rd May 1842 and ceased on 25th June, old half morocco gilt worn, top board detached
Los 485
A LATE 19TH CENTURY JOSE A. CUNHA MAJOLICA CENTREPIECE, the trumpet shaped central vase above a circular tier moulded with three sunflowers and foliage supported by three urchins with arms aloft, central tree trunk and triform base, impressed oval mark to underside 'JOSE A. CUNHA PORTUGAL CALPAS RAINHA', height approximately 31cm (condition: restoration to circular section, the white togas are overpainted from an original red which shows through where there is paint loss, firing cracks in the base and several glaze chips and scuffs throughout)
Los 560
A PAIR OF 19TH CENTURY CONTINENTAL BRONZE FIGURES, in the form of a classical male holding a companion wearing long robes, both on circular bases, both incomplete, may be missing candle arms or similar, height approximately 30.5cm (2) (condition: male figure has a break/hole and screw hole below the lyre, the female has a shallow circular void in the tree trunk to her side)
Los 341
A late 19th / early 20th century Chinese hardstone table screen, applied with carved hardstone, mother of pearl and ivory depicting figures and immortals in a garden, within a hongmu frame, width 62cm height 96.5cm depth 28cmCondition: A few sections missing from the relief decoration, notably trunk of the tree, areas around the arms of two central figures and head of the lower left figure, lower plaque depicting flowers has numerous losses, frame showing one old split bottom right and slightly coming apart at the back but overall good condition
Los 835
An early 20th century cabin trunk by Friedrich Wallauer of Darmstadt, with black painted metal banding, brass mounts and original striped fabric lined interior, with original lock and working key, W.76cm D.49cm H.52cmCondition: Exterior dirty and worn from use with various old initials, inscriptions and label remains, metalware worn and oxidised but looks to be intact, key working, interior scuffed around edges, both leather straps have broken at the tips, remaining leather distressed but intact
Los 932
A bronze garden statue modelled a classical maiden, standing beside a tree stump, H.115cm Condition: Light to mid chocolate brown patination with greenish patination to the tree trunk and base, base plinth has two holes drilled through it, front right and back left, back of the statue has a large hole drilled through it in her hair, perhaps this was to hold some sort of light fitting.
![A 1920's Brooks car trunk. Has various locks and original leather side handles. Comes with key. [41x80x41cm]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/d138332e-926d-49ff-992d-abc400029f59/468x382.jpg)
![Military Ammo trunk. [26x66x40cm]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/3ac70916-5565-4492-b87a-abc40005b031/468x382.jpg)
![A 19th century solid pine painted trunk. Detailed with metal bounds and locks. Studded to the top 'Shore House' [47x90x48cm]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/54a4405e-5e5e-4404-a44b-abc40005bcef/468x382.jpg)
![Antique pine painted trunk. [31X90X43cm]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/a1100053-ecbd-481b-b3e7-abc40005e8d9/468x382.jpg)
![Antique Rustic leather bound pine trunk. Detailed with stud trims and initials to the top. [41x93x46cm]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/30f515db-01a5-4a39-b58b-abc40005eae2/468x382.jpg)
Los 273B
A Collection of antique and vintage collectors toys to include a Wooden hand made elephant figure with moving limbs and trunk, Mohair straw filled dog, Hand made wire and material kangaroo, Plaster bear figure, Hand carved dog figure possibly black forest and Able Seaman Simon Ship's cat produced by Nauticalia
![A Vintage metal travel trunk, Vintage Shoe cleaning box and a vintage wooden storage box [Up-cycled]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/477d974b-05b5-462a-b51e-abc4000b211c/468x382.jpg)
Los 40
Sohrab Sepehri (Iran, 1928-1980)Untitled (from the Tree Trunk Series) oil on canvas, framedsigned 'Sepheri' in Farsi (lower left), executed circa 1970s85 x 120cm (33 7/16 x 47 1/4in).Footnotes:Provenance:Acquired from the artist in 1972 by a private collector, IranThence by descent to his daughter,Acquired from the above by Dr Maleki, TehranAcquired directly from the above by the present ownerNote:The present work is accompanied by the copy of a Letter of Authenticity signed by the Director of the Tehran Museum of Contemporary Arts and the works previous owner, Dr Maleki'I have never known two poplars to be enemiesI have never witnessed a willow selling its shade to the groundThe elm tree freely bestows its branch to the crow-and wherever there is a leaf- my passion blossoms likes a bush -bathing me in the joy of existence'- Sohrab SepehriThe present lot is an exceptional example from Sohrab Sepehri's celebrated Tree Series. Executed in the early 1970's, the depiction of Trees, for Sepehri, represented an escape from the harsh urban environment that he found so oppressive and melancholic, longing for a return to the verdant pastures of his native Kashan. Sepehri's strong representational impulse propelled by a love of the natural landscape of his native of Kashan and the near monastic technical discipline honed from his study and mastery of Eastern painting techniques. Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of Sepehri's work was firmly rooted in this landscape, and he often bemoaned the long periods of absence from Kashan he had to endure when exhibiting and working abroad.Sepeheri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Removed from the sphere of urban tumult, an unblemished natural world exhibited order, harmony and simplicity.Sepehri's focus however, fell on perhaps nature's most visually striking and symbolically potent inhabitant; the tree. Monolithic, life-exuding, and perpetual, the tree is both the ultimate example of the force of nature, and its symbolic focal point, harbouring all four elements of life; soil within its roots, water within its ducts, expelling life giving oxygen and providing the fuel for fire, its form and significance gripped Sepehri's creative faculties.Sepehri's choice in depicting this singular archetype of nature derives from his belief in the beauty of the concise. Zen tradition encourages the shedding of excess and the absence of the superfluous, to this end Sepehri depicts only trunks, for he was no realist, and was concerned more with the meaning of a tree, its aesthetic essence, than construing its actual physical occurrence in a specified landscape.Combined with this, he employs a limited palette, consisting of coloured grays and dark greens. The limiting of colour to an absolute minimum is a conscious exercise in terseness, echoing the formal restraints of the Zen haiku which are limited to seventeen syllables, and reflecting Sepehri's belief that economy in colour resulted in greater artistic lucidity. Despite this terse palette, Sepehri manages to faithfully capture the texture, complexity and light and dark tonal variations between his tree trunks, delineating gracefully where trunks and branches engage, interlope and separate.Ultimately, for Sepehri, the depiction of a tree was a meditative endeavour, in the Japanese tradition of 'hitsuzendo', an attempt at creative self-reflection. Unlike Western traditions where the artist uses his faculties to fashion a work into existence, the Zen painting tradition holds that the 'man the art and the work are all one'.Flawlessly executed, the present work is not only superlative in its composition but stems from one of the most creatively fertile years in Sepehri's career, when the artist had no fewer than four major solo exhibitions in Paris, new York and Tehran. Archetypal, exemplary and sublime, the present painting is a work that is truly deserving of the title, 'best of breed'For further information on this lot please visit Bonhams.com
Los 361
Jonathan Hall of Sleaford. A Georgian oak and mahogany crossbanded longcase clock, rectangular painted dial decorated with shell spandrels, dial bearing Roman numerals, eight day movement with bell strike, the case with a domed top, over fluted columns raised on a crossbanded and line inlaid trunk and rectangular base, feet lacking, with pendulum weight and key, 215cm H.
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66972 Los(e)/Seite