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Bonhams
Lot 1

TIFFANY: '1837' HOOP EARRINGS Signed Tiffany & Co., length 1.8cmFor further information on this lot please visit Bonhams.com

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Bonhams
Lot 205

GEM-SET BRACELETSet with sugarloaf-cut citrine, aquamarine and amethyst, mounted in 18 carat gold, Robinson & Pelham maker's mark, London hallmark, length 19.0cmFor further information on this lot please visit Bonhams.com

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Bonhams
Lot 193

DIAMOND FEATHER BROOCH, 19TH CENTURYOval and cushion-cut diamonds, mounted in silver and gold, later pin fitting, diamonds approx. 3.40cts total, fitted case by Harvey & Gore, 28 Burlington Arcade, London, W1J 0NXFor further information on this lot please visit Bonhams.com

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Bonhams
Lot 286

EMERALD AND DIAMOND RINGStep-cut emerald and brilliant-cut diamonds, emerald very approx. 2.50cts, diamonds approx. 0.55ct total, ring size approx. O½ Footnotes:The Gem & Pearl Laboratory: Colombian origin, evidence of negligible clarity enhancement, report number 23176, 19 May 2023.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 287

BOODLES & DUNTHORNE: DIAMOND SINGLE-STONE RING, 1998Old brilliant-cut diamond, mounted in 18 carat gold, diamond very approx. 2.10cts, maker's mark for Boodles & Dunthorne, London hallmark, ring size approx. LFootnotes:Please note this lot has VAT at the prevailing rate on the hammer price and buyer's premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 40

GARRARD: SAPPHIRE BRACELET, CIRCA 1980Circular-cut sapphires mounted in 18 carat gold, maker's mark G&Co Ld, London import mark, length 17.6cm, weight approx. 68.0g, fitted case by Garrard & Co. Ltd, 112 Regent Street.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 156

PEARL AND DIAMOND EARSTUDS4.6mm - 4.7mm pearls, old and cushion-cut diamonds, pearls untested, length 1.2mm, cased by Harvey & Gore, 4 Burlington Gardens, London, W.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 277

NATURAL PEARL NECKLACE WITH DIAMOND CLASP, CIRCA 1915The two rows of 2.2-6.4mm pearls, on an old brilliant-cut diamond clasp, diamonds approx. 1.55cts total, length of shortest strand 58.6cmFootnotes:The Gem & Pearl Laboratory: extensive sample, natural saltwater, report number 23731, 19 September 2023.Please note this lot has VAT at a preferential rate of 5% on the Hammer Price and VAT at the prevailing rate on Buyer's Premium.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

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Bonhams
Lot 89

VAN CLEEF & ARPELS: EMERALD-SET 'FRIVOLE' PENDANT/NECKLACECircular-cut emerald, signed VCA, numbered JD977183, maker's mark, lengths: pendant 1.0cm, chain 40.0cm, maker's pouch and box, accompanied by a certificate of authenticityFor further information on this lot please visit Bonhams.com

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Bonhams
Lot 192

EMERALD AND DIAMOND RINGStep-cut emerald, fancy and baguette-cut diamonds, emerald approx. 3.75cts, diamonds very approx. 0.70ct total, ring size approx. K½ Footnotes:The Gem & Pearl Laboratory: Colombian origin, evidence of moderate clarity enhancement, report number 23693, 9 September 2023.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 5

TIFFANY: 'RETURN TO TIFFANY' NECKLACE AND BRACELET Signed Tiffany & Co., lengths: necklace 39.5cm, bracelet 18.9cm, each with maker's pouch (2)For further information on this lot please visit Bonhams.com

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Bonhams
Lot 130

EMERALD AND DIAMOND RING, 1989Step-cut emerald, brilliant-cut diamonds, mounted in 18 carat gold, emerald approx. 3.65cts, UK hallmark, ring size approx. K½ Footnotes:The Gem & Pearl Laboratory: Colombian origin, moderate clarity enhancement, report number 23673, 8th September 2023.For further information on this lot please visit Bonhams.com

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Jones & Jacob
Lot 191

A pair of Tiffany & Co, 14ct gold cufflinks in fitted case, 18.8g

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Jones & Jacob
Lot 223

A Chinese watercolour, After Fan Zeng (b. 1938) "Old Man with a Tortoise", signed & inscribed, 21" x 32", in black frame

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Jones & Jacob
Lot 252

Arthur Gilbert (1819-1895): oil on canvas, "Wye Bridge & Hereford Cathedral", 7 1/2" x 10", in gilt frame

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Jones & Jacob
Lot 253

A 19th century oil on board, signed & inscribed verso, "Arundel Castle", 7" x 9", in birdseye maple frame

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Jones & Jacob
Lot 32

A Crown Staffordshire for T Goode & Son Hoho bird decorated milk jug and sugar bowl, five matching plates, a Royal Copenhagen "onion" pattern cup and saucer, a matching saucer and three side plates, a blue and white marble effect wash bowl and jug, a rosewood tea caddy and various other decorative ceramics, etc

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Jones & Jacob
Lot 140

An Edwardian novelty silver pepper shaker, formed as a stylised chauffeur, by Saunders & Shepherd Chester, 1908

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C & T Auctioneers and Valuers Ltd - Live
Lot 693

Rare and Historically Important 2nd Battalion Ox & Bucks Light Infantry Fibre Rim Airborne Forces / Paratroopers Steel Combat Helmet, superb untouched as found early fibre rim steel helmet with original regimental colour insignia for the Ox & Bucks Light Infantry, who served as an Air Landing regiment during the D-Day landings, famous for taking Pegasus Bridge. The shell is heavily worn and pitted. The interior of the shell has the remains of the original liner system with rubber pads but no leather sweatband. Helmet is also accompanied by the remains of the leather harness chinstraps which have hardened and come detached. Attached to the liner is an inked label written in French with a date 1952. Overall a superb and rare original airborne helmet worn during one of the most famous actions of WW2. The 2nd Battalion, Oxford and Buckinghamshire (Ox and Bucks) Light Infantry were stationed in India on the North West Frontier (as 52nd Ox and Bucks Light Infantry) at the start of WW2, before being recalled to the UK. In the early years of the war, they formed part of the 31st Independent Infantry Brigade, undertaking Home and Coastal Defence roles in Wales, East Anglia, London and Kent. At this stage in the war, the British Airborne Forces consisted of just the 1st Parachute Brigade. In September 1941 however, the War Office decided that a Brigade of glider infantry should be raised to compliment them. The 31st Infantry Brigade was selected for this task and accordingly, on 10 October 1941, it was renamed the 1st Airlanding Brigade. In addition to the 2nd Oxford and Bucks Light Infantry, this experimental formation consisted of a further three battalions; the 1st Battalion Border Regiment, 1st Battalion Royal Ulster Rifles and 2nd Battalion, South Staffordshire Regiment. Gliders were seen as a necessary method of supporting airborne operations, as they were able to carry additional infantry to reinforce the parachute brigades, and also heavy equipment, such as jeeps and Anti-Tank Guns. It was this factor, and the subsequent formation of the 1st Airborne Division, that made it possible for the role of the British Airborne Forces to advance beyond the small-scale and infrequent commando raids that had been previously envisaged. The transformation to an Airborne Battalion saw the 2nd Ox and Bucks remain in England and start training for the planned invasion of North West Europe the following year as part of the redesignated 6th Airlanding Brigade of 6th Airborne Division. Elements of the Battalion (D Coy and parts of B Coy) formed a Coup de Main force, tasked with an attack on the bridges over the River Orne and adjacent Canal in Normandy, subsequently known as the attack on Pegasus Bridge. The Battalion's involvement in the successful Coup de Main action at Pegasus Bridge, under Major John Howard proved one of the most remarkable British Airborne actions during WW2. The 2nd Battalion itself would continue to see Airborne action however, serving as part of the 6th Airborne deployment to the Ardennes and the Rhine Crossing in early spring 1945.

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Bourne End Auction Rooms
Lot 373

An Elizabeth II silver cigarette box by Elkington & Co, Birmingham 1964, the lid with engine turned pattern, opening to a fitted wooden interior, 24 cm wide

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Bourne End Auction Rooms
Lot 535

A miscellaneous lot to include a twin handled copper preserve pan, a small wall hanging print tray containing various dried flowers, stones and seashells; and a framed and glazed modern map of Buckingham signed J Wilson and published in a limited edition 8/50 by G & WB Whittaker, the map printed with a hare Location:

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Galerie Zacke
Lot 168

A MONUMENTAL HEAD OF VAIROCANA, THE PRIMORDIAL BUDDHA, CIRCA 500-800 ADExpert's note: The present head is extraordinarily rare due to its exceptional size and history as part of a towering statue, likely standing around four meters tall, once gracing the exterior of a significant temple or cave shrine. It portrays a most important solely Buddhist subject, showcases a clear Gupta influence not seen in later Chinese sculpture, and was carved from red sandstone, a direct tribute to the art of Mathura. It therefore dates back to the Tang dynasty, if not considerably earlier, with a vanishingly small possibility of originating at the beginning of the Song dynasty. Powerfully yet sensitively sculpted, the full rounded face is carved with soft bow-shaped lips, the elongated eyes elegantly delineated beneath gracefully arched brows, the hair in crisply carved curls. Surmounted by a tall crown with three figures in high relief representing the Buddhas of the past, present, and future, each seated in dhyanasana on a lotus throne.Provenance: From the personal collection of J. J. Lally, New York, USA. With two labels from J. J. Lally, each inscribed with the number '4154'. James J. Lally was a renowned antique dealer and connoisseur, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970, he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986 he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong-a bronze vessel shaped like a gravy boat-decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands." The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats," Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalogs that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalogs. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques," and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records. Condition: Excellent condition, commensurate with age. Old wear, encrustations, and erosion. Obvious losses, minor nicks and scratches. The originally rather porous sedimentary rock now almost completely smoothed out by more than a millennia of weathering and worship. Magnificent naturally grown patina overall, giving the stone a deep auburn color.Weight: 120 kg (incl. stand) Dimensions: Height 60.1 (excl. stand) and 95 cm (incl. stand)With a fitted stand. (2)Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

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Galerie Zacke
Lot 2

AN IMPERIAL PAIR OF QUADRILOBED CLOISONNE ENAMEL 'LOTUS' VASES, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. Each baluster body is distinctively four-lobed and rises from a splayed foot to a waisted neck surmounted by a trumpet mouth with an everted lip in gilt-copper. Decorated around the exterior with bands of lotus blooms borne on meandering leafy scrolls between bats, ruyi and stylized lappet bands, all reserved on a deep turquoise ground. The recessed gilt copper base neatly incised with a five-character mark Qianlong nianzhi ze and of the period. (2)Provenance: From the collection of J. J. Lally, New York, USA. To each box, a collector's label, 'Lally & Co. New York' with handwritten inventory number '4289.' James J. Lally was a renowned antique dealer and connoisseur, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986, he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong-a bronze vessel shaped like a gravy boat-decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands." The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats," Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalog that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalog. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques," and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: Excellent condition with expected manufacturing irregularities and wear to gilt, minute hairlines, dents and nicks to enamels. Minor losses to enamels with associated old fills. Overall displaying exceptionally well.Weight: 1494.1 g and 1499.2 gDimensions: Height 36.3 cm (each) Each with a padded silk box and cover. (4)Literature comparison: Compare a closely related pair of cloisonne enamel vases, 34 cm high, with the same five-character Qianlong marks as the present lot, at Dorotheum, Vienna, 27 September 1994, lot 1041. Compare a closely related pair of cloisonne enamel 'lotus' vases, 36 cm high, also with five-character Qianlong marks, the fifth character being 'ze', illustrated by Brinker and Lutz, Chinese Cloisonne: The Pierre Uldry Collection, Asia Society, New York, 1989, no. 282, p. 74, where the authors note: “During the Qianlong period (1736-1795) an additional character, the significance of which is obscure, is occasionally found below the usual mark." The authors go on to suggest the 'ze' character may be an indication of the use or category of the object on which it is inscribed.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2010, lot 110 Price: GBP 37,250 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: A large and rare cloisonne enamel vase, gu, Qianlong incised four-character mark within a double square and of the period Expert remark: Compare the related cloisonne decoration, lotus motif, and incised reign mark. Note the size (57 cm), different form, absence of an additional character to the reign mark, and that the lot comprises only a single vase.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 28 May 2014, lot 3005 Price: HKD 400,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A fine Imperial small cloisonne enamel 'lotus' dish, Qianlong incised six-character mark within double rectangles and of the period Expert remark: Compare the related cloisonne decoration, lotus motif, and incised reign mark (albeit six characters). Note the size 13 cm), different form, absence of an additional character to the reign mark, and that the lot comprises a single bowl. 乾隆五字款及年代一對銅胎掐絲琺瑯海棠式瓶中國, 1736-1795年。銅胎，長頸，撇口，圈足外撇。全器作海棠四瓣花形。全器滿飾纏枝蓮紋，瓶口飾如意，頸部可見蝙蝠，足部可見芭蕉葉紋。底足內鎏金並刻有“乾隆年製 則"。 (2) 來源：紐約 J. J. Lally私人收藏，每個盒子上都有一個藏家標籤，寫著 '4289'。 品相：狀況極佳，製造不規則性和鍍金磨損、微小的冲線、琺瑯上有凹痕和刻痕。只有非常小的缺損，和相應的舊修補。 重量：分別為1494.1 克與 1499.2克 尺寸：各高 36.3 厘米 蓋盒内襯絲緞。 (4) 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

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Galerie Zacke
Lot 210

AN IMPORTANT SILVER-INLAID GOLD REPOUSSE BOWL DEPICTING GARUDA, VIETNAM, FORMER KINGDOMS OF CHAMPA, CIRCA 10TH CENTURYSuperbly worked, the deep rounded sides supported on a tall faceted foot and flaring to a beaded rim, finely decorated to the exterior with overlapping trefoil-arched panels enclosing rosettes and scrolling foliage, below interlocking scrolling vines. The foot with square panels and indented corners enclosing rosettes, all against ring-punched grounds. The interior with a circular silver-inlaid base depicting a winged Garuda with human face, wearing a richly incised dhoti, foliate crown, and fine jewelry, his arms raised as if about to take flight, surrounded by leafy lotus blossoms, enclosed by a beaded border. Provenance: Ex-Collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Condition: Good condition, commensurate with age, with old wear and casting flaws, small losses, some tarnishing, and dents, all exactly as expected of a gold object more than a thousand years old.Weight: 243.9 g Dimensions: Diameter 18.8 cm Garuda is a half-bird, half-human creature that appears in both Hinduism and Buddhism. The mythological account of Garuda's birth in the Mahabharata identifies him as the younger brother of Aruna, the charioteer of the sun god, Surya. Garuda's mother, Vinata, mother of the birds, was tricked into becoming the slave of her sister and co-wife, Kadru, mother of the nagas (serpents). The lasting enmity between the birds, particularly Garuda, and the serpents is attributed to this. The nagas agreed to release Vinata if Garuda could obtain for them a drink of the elixir of immortality, the amrita or soma. Garuda performed the feat, thus giving the snakes the ability to slough off their old skins, and on his return Garuda met Vishnu, agreeing to serve him as his vehicle. Garuda is described in one text as emerald in color, with the beak of a hawk, roundish eyes, golden wings, and four arms and with a breast, knees, and legs like those of a hawk. He is also depicted anthropomorphically, with wings and hawk-like features. Sometimes images of Garuda are used by devotees of Vishnu to designate their affiliations; such images appear on coins throughout various periods and on jewelry and ritual vessels, like this lot. Garuda, also known as Garula, are golden-winged birds in Buddhist religious texts. Under the Buddhist concept of samsara, they are one of the Aṣṭagatyaḥ, the eight classes of inhuman beings.Expert's note: Depictions of Garuda with a human face like on the present lot are considerably rarer than their bird-faced counterparts, but are found across different cultures and materials. Compare an ivory relief depicting Garuda from Nepal, 10 cm high, dated to the 14th century, in the Victoria & Albert Museum, accession number IS.124-1999. Compare a bronze plaque depicting Garuda from East Java, 12.7 cm high, dated c. 1300, in the Norton Simon Museum, accession number P.2003.01.10. Compare a terracotta sculpture of Garuda from Western Thailand, 48 cm high, dated to the first half of the 7th century, excavated from site 40, Khu Bua, Ratchaburi Province, by the Fine Arts Department, Thailand, in 1962, and now in the National Museum, Bangkok, exhibited by the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, 14 April-27 July 2014. Compare a granite figure of Garuda from India, Tamil Nadu, 137.8 cm high, dated second half of the 8th to early 9th century, in the Metropolitan Museum of Art, accession number 1983.518. Compare a gray schist turban ornament with Garuda from Gandhara, 11.4 cm high, dated 2nd-3rd century, at Christie's New York, 18 March 2015, lot 4009.

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Galerie Zacke
Lot 22

AN EXCEPTIONAL YELLOW JADE FIGURE OF A BEAR, HUANGXIONG, HAN DYNASTY, CHINA, 202 BC - 220 ADExpert's note: At peace with itself and the world, the bear appears to be enjoying the moment and is wholly lacking the ferocity that typifies most Han-dynasty representations of bears, tigers, and other wild beasts, marking this as an astonishingly rare and naturalistic sculpture. The stone is calcified throughout, but a single patch of the original jade fades from a fine yellow tone through a deep orange into a remarkable cinnabar red, exemplifying the fact that jade can have almost any color.Special care seems to have been given to this jade bear after its rediscovery. Not only has the stone been finely polished by a dedicated craftsman after it's retrieval from the earth - extensive soil encrustations remain visible all over the exterior - but it was also repaired with a neatly lacquered replacement piece meticulously inserted to the lower jaw. This lacquer repair, likely Japanese in origin, interplays nicely with the red shades on the left hind leg of the bear. The conclusion of this author is that the present lot was probably found at some point around the 18th century, where it was treated as described above, and eventually brought to Japan, where the red lacquer repair has been carried out. From there it made its way to Europe, probably at some point in the earlier part of the 20th century. Also note that until 1945, the German Reich and the Japanese Empire were close allies, exchanging on many different levels of culture.The small yet compelling sculpture represents a plump bear seated on its haunches in a moment of repose. The round eyes gazing forward and flanking the nose, the forehead with a central line below the attentively raised ears, the spine extending to the short, peach-form tail with very fine incised lines on either side, the haunches well rounded and extending to the muscular legs and clawed paws, with one tucked underneath. The opaque jade is of a deep yellow hue with orange, red and russet shades, covered almost entirely in ancient calcification.Provenance: From a German private estate, by repute acquired by an unknown ancestor long time ago and in the family ever since. Condition: Good condition, commensurate with age, displaying exceptionally well. Signs of wear and weathering, losses, nicks, calcification and encrustation as a result of an extended period of burial. An ancient red lacquer 'Kintsugi' style repair to the lower jaw, most likely applied in Japan a long time ago. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. The calcification also covers most of the incision work, which becomes apparent from looking at the tail which is not completely calcified.Weight: 212 g Dimensions: Height 6.6 cmAuction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 108 Price: HKD 6,700,000 or approx. EUR 859,000 converted and adjusted for inflation at the time of writing Description: An exceedingly rare and important white and russet jade carving of a bear, Western Han dynasty Expert remark: Note the related facial features of this jade bear. Note the size (5.7 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 20 Price: EUR 247,500 or approx. EUR 283,000 adjusted for inflation at the time of writing Description: A rare celadon-yellow jade bear, Song dynasty or earlier Expert remark: Compare the closely related subject. Compare also the fine detailing and incision work. Note the slightly smaller size (5.1 cm) and celadon-yellow color.Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 May 2014, lot 18 Price: EUR 4,207,500 or approx. EUR 4,818,000 adjusted for inflation at the time of writing Description: A rare yellow jade mythical animal, Song dynasty or earlier Expert remark: Compare the closely related pose. Compare also the related carving with similar drooping chest and rotund belly as well as the fine detailing and incision work. The mythical animal has a bear-like appearance with the addition of wings and horns. Note the slightly smaller size (5 cm) and yellow color. Note also that this jade was previously published and exhibited by J. J. Lally & Co., Chinese Archaic Jades and Bronzes from the Estate of Professor Max Loehr and Others, New York, 1993, cat. no. 85.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

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Galerie Zacke
Lot 268

A SIX-PIECE 'CHRYSANTHEMUM' 900/1000 SILVER TEA & COFFEE SERVICE, OVER 2 KG TOTAL WEIGHT, LATE QING DYNASTYInscribed: Several pieces stamped with 'IS' and '90'China, late 19th to early 20th century. All pieces made from solid silver 900/1000. Comprised of a coffeepot, a teapot, a cream jug, a sugar bowl, a stand and a burner, each vessel is set with a bamboo-form handle and decorated with chrysanthemums in high relief. The hinged covers are further incised with bamboo leaves and have finials in the form of bamboo stalks. The handles bear circular insulators carved from organic material. (6)Provenance: Property from the private collection of Walter Knoke (1885-1952), assembled in China during the 1920s and 1930s, and thence by descent in the same family.Condition: Very good condition with minor wear, few small nicks, light scratches, and minuscule dents. The larger teapot missing the covers hinge pin.Weight: 557.2 g (smaller teapot), 268.2 g (sugar bowl), 189.9 g (cream jug), 702.4 (larger teapot), 344.2 (stand and burner) Dimensions: Length 26.7 cm (smaller teapot), 16.8 cm (sugar bowl), 15.1 cm (cream jug), 23 cm (large teapot) Auction result comparison:Type: RelatedAuction: Sotheby's London, 5 November 2014, lot 335Price: GBP 11,875 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: An Export Silver Tea Set Qing Dynasty, 19th CenturyExpert remark: Note that this set also contains a silver tray. 清末六件菊花紋茶或咖啡杯具，900/1000 銀，重2公斤多中國，十九世紀末至二十世紀初。純銀 900/1000 製成。由咖啡壺、茶壺、奶油壺、糖罐、支架和爐組成，每件器皿均配有竹形手柄，並飾有高浮雕菊花。 鉸接蓋竹葉紋，並具有竹杆狀的流。手柄帶有由有機材料雕刻而成的圓形絕緣體。 (6) 款識: 可見'IS' 與 '90'字樣 來源：Walter Knoke（1885-1952 年）私人收藏，於上世紀二十年代至三十年代在中國收藏，並由同一家族傳承。 品相：狀況極好，有輕微磨損、少量小刻痕、輕微劃痕、微小凹痕。較大的茶壺缺少蓋子鉸鏈銷。 重量：557.2 克 (小茶壺)，268.2克 (糖罐)，189.9克 (奶油罐)，702.4克 (大茶壺)，344.2克 (底座和燃器) 尺寸：長26.7 厘米 (小茶壺)，16.8 厘米 (糖罐)，15.1 厘米 (奶油罐)，23 厘米 (大茶壺) 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2014年11月5日，lot 335 價格：GBP 11,875（相當於今日EUR 18,000） 描述：清十九世紀外銷銀菊紋茶器一套 《恒昌造》款 專家評論：請注意此茶具套有一件銀盤。

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Galerie Zacke
Lot 378

A RED OVERLAY GLASS 'DRAGON AND PHOENIX' SNUFF BOTTLE, ATTRIBUTED TO THE BEIJING PALACE WORKSHOPS, QIANLONG PERIODExpert's note: This bottle is particularly distinguished by the excellence of the composition, with a strong and vigorous line imbued with the confidence of a highly accomplished carver. It is a masterpiece, with a superb juxtaposition of dragons and bats. The details are crisply finished with several differing layers of relief.China, 1736-1795. Of ovoid shape, finely carved through the outer deep ruby-red layer to the translucent milky-white ground with a single dragon, its scaly body curled across both front and reverse, with a large and well detailed head, grasping in its jaws the crested head of a phoenix with a slender body curled around the shoulders and extending back to join the elaborately scrolled tail of the dragon, a bat on each side partly hidden by cloud billows. Provenance: The Levendowsky Collection. Robert Kleiner & Co. Ltd., London, United Kingdom, 2001. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 25 October 2001, confirming the dating and attribution above, accompanies this lot. Robert Kleiner (1948-2014) was an important expert and dealer of Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Condition: Very good condition with minor wear and minimal manufacturing irregularities, as well as minor nibbling to mouth.Stopper: GlassWeight: 38.1 g Dimensions: Height incl. stopper 72 mm, Diameter neck 12 mm, mouth 8 mm Auction result comparison: Type: Related Auction: Christie's Hong Kong, 7 October 2014, lot 21 Price: HKD 325,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writing Description: A superb red glass overlay 'dragon and phoenix' snuff bottle, probably imperial, attributed to the palace workshops, Beijing, 1715-1750 Expert remark: Compare the related form, color, and manner of carving. Note the snowflake ground and the size (64 mm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 23 November 2014, lot 182 Price: HKD 200,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: a ruby-red overlay white glass 'dragons and pearl' snuff bottle, Qing dynasty, Yongzheng / Qianlong period Expert remark: Compare the related form, color, and manner of carving with a similar sinuous dragon. Note the snowflake ground. 乾隆時期涅白地套寶石紅料龍鳳紋鼻煙壺，或爲内務府製中國，1736-1795 年。 直柱頸，溜肩，圈足。涅白地套寶石紅色，雕刻出一條龍，龍神矯健修長，龍首大，雕刻生動，嘴中銜著鳳首，線條流暢，鳳首和龍尾相連，兩側各有一隻蝙蝠飛舞。 來源：Levendowsky收藏；英國倫敦Robert Kleiner & Co. Ltd.，2001 年；英國私人收藏，購自上述藝廊。此拍品附有 Robert Kleiner & Co. Ltd. 於 2001 年 10 月 25 日開具的原始發票副本，確認了上述日期和來源。英國倫敦Robert Kleiner收藏，2008年7月。Robert Kleiner是英國的一位中國藝術品和鼻煙壺的主要權威之一。他出版了許多書籍。 品相：狀況極好，有輕微磨損和最小的製造不規則，壺口輕微磕損。 壺蓋：玻璃 重量：38.1 克 尺寸：含蓋高72 毫米, 頸部直徑12 毫米, 壺口直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年10月7日，lot 21 價格：HKD 325,000（相當於今日EUR 45,500） 描述：1715-1750年北京御製白地套紅料龍和鳳凰紋鼻煙壺 專家評論：比較相近的外形、顏色和雕刻風格。請注意雪白地和尺寸(64毫米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年11月23日，lot 182 價格：HKD 200,000（相當於今日EUR 28,500） 描述：清雍正 / 乾隆雪霏地套寶石紅料雙龍爭珠鼻煙壺連水彩紙本畫 專家評論：比較相近的外形、顏色和雕刻風格。請注意雪白地。

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Galerie Zacke
Lot 4

AN IMPERIAL CLOISONNE ENAMEL JARDINIERE, SUPPORTED BY THREE GILT-BRONZE 'KNEELING BOYS' FEET, QIANLONG PERIODPublished: Cohen & Cohen, Tyger Tyger!, Antwerp, 2016, pages 72-73, no. 32.China, 1736-1795. The vessel with gently flared sides and supported by three feet, cast in gilt copper-alloy as kneeling boys dressed in voluminous robes incised with lotus blossoms and leafy vines, draped in billowing scarves, their faces well detailed with smiling expressions. The exterior of the vessel finely decorated with two rows of rectangular panels separated by raised gilt bands of twisted-rope design, each panel with five flowerheads brightly enameled in shades on a of blue, yellow, green, and white, borne on scrolling tendrils reserved on a rich red ground. The rim neatly incised with lotus blossoms and foliate scroll.Provenance: Cohen & Cohen, Antwerp, 2016. A noted private collection in New York, USA, acquired from the above.Condition: Excellent condition with some old wear, expected small losses with associated old fills, minor rubbing to gilt, minor nicks to enamels and metals. Shallow surface scratches. Expected manufacturing flaws such as minimal pitting. The interior has a good naturally grown patina with malachite encrustations.Weight: 1,484 g Dimensions: Height 18.2 cm, Diameter 15.5 cm The present vessel's bucket shape echoes a rustic wooden pail with vertical slats bound by rope and is clearly designed as an amusing variant of this standard artisan vessel, executed in expensive cloisonne enamels. Such conceits were very popular with the early Qing emperors, who took a particular pleasure in instructing their Palace and external craftsmen to recreate familiar objects in entirely different materials: archaic bronzes in jade, eel-trap nets in porcelain, bronze incense burners in lapis lazuli, or rhinoceros horn carvings in silver.Jardinieres of this shape still exist in the Qing Court Collections and have been published. Indeed, some still survive with additional embellishments at the top confirming that they were intended to be displayed in the Forbidden City and other Imperial palaces as pails of flowers, because some were deliberately fitted with simulated flower arrangements comprising miniature flowering trees, created with curling wire branches and suspending green hardstone leaves set with carnelian, crystal and other semi-precious hardstones.Literature comparison:Compare a closely related cloisonne flowerpot, dated to the mid-Qing dynasty, in the National Palace Museum, Beijing, illustrated in the Compendium of Collections in the Palace Museum: Enamels 4, Cloisonne in the Qing Dynasty, Beijing, 2011, p. 35, no. 6. Compare a closely related gilt-bronze and cloisonne jardiniere illustrated in Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr. Robert Chang's Collection, Suzhou, 2009, pp. 84-85. Compare a closely related gilt-bronze and red cloisonne-enamel jardiniere supported by three boys, dated to the mid-Qing dynasty, illustrated in the Prime Cultural Relics Collected by Shenyang Imperial Palace Museum: The Enamel Volume, Shenyang, 2007, pp. 204-205. This example shows that the jardiniere was used to hold hardstone imitations of auspicious flowers.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 27 November 2019, lot 37 Price: HKD 313,125 or approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: A rare imperial gilt-bronze and cloisonne-enamel jardiniere, Qianlong Expert remark: Compare the closely related form, decoration, and feet depicting kneeling foreigners. Note the larger size of the vessel (24.8 cm), which makes the kneeling foreigner figures look rather small in comparison. Also note that a vessel with kneeling foreigners feet is not registered in the Imperial collections, unlike the kneeling boys feet, of which numerous examples are documented. 乾隆時期御製銅胎掐絲琺瑯三足盆中國, 1736-1795年。盆斜腹敞口，三童子以跪姿肩負盆。童子為鎏金銅，穿著纏枝蓮花紋長袍，面露微笑。盆外壁如木桶狀，紅地飾花卉錦地，三道扭繩撞的鎏金束繩。琺瑯色彩明亮生動。盆口工整地刻有卷葉蓮紋。 出版：Cohen & Cohen, Tyger Tyger!, 安特衛普, 2016, 72-73頁, 圖 32。 來源：安特衛普Cohen & Cohen藝廊, 2016年；美國紐約知名私人收藏，購於上述藝廊。 品相：狀況極佳，有一些磨損，缺損有相應的修補，鎏金有輕微摩擦，琺瑯和金屬上有微小的刻痕。表面有淺劃痕。鑄造不規則，例如麻點。內部自然包漿，綠色結殼。 重量：1,484 克 尺寸：高 18.2 厘米, 直徑 15.5 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

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Galerie Zacke
Lot 57

AN INSCRIBED OVERLAY GLASS 'CAT AND BUTTERFLY' SNUFF BOTTLE, BY WANG SU, YANGZHOU SCHOOL, CHINA, 1820-1840Inscriptions: To the front, upper right, 'Xiaomou' (Little Prunus). The flattened bottle of rounded rectangular form, superbly carved through the outer olive-brown layer to the translucent milky-white body to one side with a cat seated on a pierced craggy rock beside flowering chrysanthemum, the feline looking up at two butterflies fluttering above. The other side is similarly decorated with sprays of bamboo springing from rockwork. Both sides are separated by sprigs of grass on the shoulders. The front is carved with a three-character inscription. Provenance: Robert Kleiner & Co. Ltd., London, United Kingdom, 2010. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 30 June 2010, confirming the signature of Wang Su and dating above, and stating the purchase price for the present lot of GBP 5,000 or approx. EUR 10,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Robert Kleiner (1948-2014) was an important expert of Chinese snuff bottles, beginning his long career at Sotheby's in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.The base lacquered with two old collector's inscriptions, '137' and 'JBO'. Condition: Superb condition with minimal surface wear, light scratches, and manufacturing irregularities.Stopper: Glass in imitation of coralWeight: 39.5 gDimensions: Height incl. stopper 75 mm, Diameter neck 14 mm and mouth 6 mm Wang Su (1794-1877) was a prominent literatus and painter from the Yangzhou area. Very few snuff bottles are actually signed by the artist, who preferred to use the seal 'Xiaomei' ('Little Prunus'), which he always used on his paintings as well. On one documentary bottle in a Hong Kong collection, both names appear together: 'Xiaomei, Wang Su' (see JICSBS, Spring 2001, page 23, fig. 26). Wang Su was also an accomplished seal carver. He seems to have lived his life in Yangzhou, was a professional painter who achieved a level of fame early in life, and probably was able to commission snuff bottles with his name on them. The earliest dated Xiaomei-signed bottle was made in 1821 (JICSBS Spring 2011, page 23, fig. 29), when he was in his late twenties and beginning to be known locally. He became more widely known and acknowledged as an artist only later in his career.Cats and butterflies are symbols of longevity. The cat (mao) is a homonym for 'seventy', while the butterfly (die) shares the same sound as 'eighty'. Together, they form a rebus for maodie. This term implies that one would live to be seventy or eighty - considered high age in ancient China.Literature comparison: Wang Su's name appears on a small group of bottles from the Li Junting School, including one in the Bloch Collection, illustrated Hugh Moss, Victor Graham, and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Vol. 5, Glass, no. 1046. Compare another snuff bottle by Wang Su, illustrated in Robert Kleiner, Previous Playthings: Important Chinese Snuff Bottles From the Mack Collection, 2000, no. 34. Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 63 Price: HKD 120,000 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: An inscribed olive-brown glass overlay 'hunter and fisherman' snuff bottle, Sun Shihua, probably Yangzhou, 1807-1867 Expert remark: Compare the closely related form, color with similar olive-brown overlay on milky-white ground, and manner of carving. Note the size (68 mm) and the different inscription. Update 25.9.2023: The design on the present bottle is likely based on a subject found in a Qing Huapu - a painting manual - from the second half of the 19th century in which Wang Su's works appears . The painter Wang Su himself was, however, not the carver who made the present lot, as once believed.1820-1840年王素涅白地套料耄耋鼻煙壺扁平壺，溜肩，修長，涅白地套橄欖棕色料，精美地雕刻著一隻貓，坐在盛開的菊花旁邊的假山上，貓抬頭看著上面飛舞的兩隻蝴蝶。另一面也裝飾著竹子和山石。款識：小某作 來源：英國倫敦Robert Kleiner & Co. Ltd.，2010 年；英國私人收藏，購自上述藝廊。隨附Robert Kleiner & Co. Ltd. 於 2010 年 6 月 30 日開具的原始發票副本，確認拍品出自王素，並註明的購買價格為 5,500 英鎊或約 10,000 歐元（在撰寫本文時已根據通貨膨脹進行換算和調整）。 品相：狀況極佳，表面磨損、輕微劃痕和製造不規則。 壺蓋：仿珊瑚料器 重量：39.5 克 尺寸：總高75 毫米，頸部直徑14 毫米，壺口 6 毫米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

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Beeston Auctions
Lot 89

10 vintage issues of Fiesta, adult erotic/glamour magazine, dating from the late 1960's & 1970's.

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Beeston Auctions
Lot 42

Krys Leach, local artist - nude oil on canvas board in painted wood frame, entitled "Perm & Pearls". Signed to lower left and titled, signed & dated to reverse. Frame size approx. 35.5cm x 56cm.

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Lot 13

10 vintage 1970's issues of Men Only, adult erotic magazine from Paul Raymond. From volumes 40 & 42.

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Lot 214

First Issue, volume 1 No. 1 of Busty & Hung US vintage transsexual interest adult erotic magazine from 1979. In very good condition.

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Lot 19

6 issues of Playboy; Entertainment for Men magazine, in unopened original cellophane packaging. All from 2014 & 2015, to include 80's Playmates Special Collectors Edition.

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Lot 206

Issue No. 1 of Big & Fat adult erotic magazine featuring larger and plus sized models, from 1993.

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Lot 140

6 vintage smaller & pocket sized adult erotic magazines to include Sex Medicin 1, Super Sex and Swedish magazine Ero.

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Lot 45

10 vintage issues of Penthouse; The (International) Magazine for Men, from the late 1960's & early 70's.

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Lot 6

8 assorted vintage adult erotic magazines from the late 1970's & 1980. To include Playbirds & Listen with Playbirds, Cockade and Vol 1 issues 2, 3 & 5 of Adults Only Video from 1980.

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Lot 166

4 vintage specialist fetish adult erotic photographic books. To include Kinky Kats, Rubber Girls and The Leather Latex & Rubber Scene.

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Lot 254

First 3 issues, Volume 1 issues 1 - 3 of Transvestite Trans-formed, specialist fetish adult erotic magazine. From 1979 & 80. All in excellent condition for age. Part of a large private collection of specialist/fetish adult material. All have price stickers on front cover.

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Lot 81

10 assorted adult erotic magazines featuring mature women, to include 50 Up, 40+, 60 Up and The Very Best of 50 & Over!

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Lot 22

10 vintage 1970's issues of Men Only, adult erotic magazine from Paul Raymond. From volumes 37, 39 & 41.

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Beeston Auctions
Lot 96

Krys Leach, local artist - nude oil on patterned fabric, entitled "Port wine". Mounted on board & cellophane wrapped. Titled, signed & dated to reverse. Mount size approx. 47cm x 51.5cm.

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Lot 2

8 1990's issues of Playboy; Entertainment for Men, adult magazine, to include front covers featuring Drew Barrymore, Pamela Anderson, Bo Derek & Patti Davis.

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Beeston Auctions
Lot 275

A framed & glazed original black & white photograph of Kate Moss. Frame size approx. 55cm x 46cm.

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Lot 66

10 issues of Club International, adult erotic magazine, from volumes 35, 36 & 37.

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Lot 282

6 issues of Guys in Gowns; Transvestite Adventure Stories vintage adult erotic fiction books from Empathy Press. Book No's 50 - 54 (inclusive) & 66. All in very good condition. Part of a large private collection of specialist/fetish adult material.

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Lot 59

10 vintage late 1970's & early 80's issues of Men Only, adult erotic magazine from volumes 41 - 46.

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Lot 228

8 assorted issues of Playboy; Entertainment for Men, adult erotic magazine from the 1980's & 90's. To include Playboy Press Playboy's Nudes.

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Lot 192

8 vintage smaller & pocket sized adult erotic magazines to include Pocket Playbirds, Topsy, Exposure and Whitehouse Special.

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Lot 258

6 issues of Men in Skirts; Unique Stories of Men Forced to Wear Female Clothes, to include issue No. 1. Vintage adult erotic fiction books from Empathy Press. Book No's 1, 5, 7, 9, 10, 15 & 15. Issue No. 1 has beige coloured cover rather than yellow. All in very good condition. Part of a large private collection of specialist/fetish adult material.

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Lot 190

9 assorted issues of International H&E naturist/nudist magazine, to include Monthly and Quarterly editions.

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Lot 281

6 issues of Skirted Men; Tales of Transvestism vintage adult erotic fiction books from Empathy Press. Book No's 12, 14, 19, 21, 27 & 28. All in very good condition. Part of a large private collection of specialist/fetish adult material.

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Lot 226

10 issues of Club International, adult erotic magazine from Paul Raymond, dating from the early 1990's. From volumes 21, 22 & 23.

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Lot 80

8 vintage late 1970's & early 1980's issues of Swish!, specialist fetish spanking/C.P adult erotic magazine. All in excellent condition for age.

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Lot 216

5 vintage US adult erotic magazines featuring black models from Parliament Publications. From 1989, 90 & 91.

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Lot 109

10 assorted adult erotic magazines to include vintage. Lot includes Mayfair, Knave, H&E, Red Light and Electric Blue.

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Lot 9

5 vintage 1970's issues of Pocket Playbirds to include first issues, Volume 1 No's 1 & 2. Together with issues 4, 5 & 6. All in excellent condition for age.

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Lot 69

Krys Leach, local artist - nude oil on canvas board in painted wood frame, entitled "Stocking Tops". Signed to lower right and signed & dated to reverse. Frame size approx. 64cm x 33.5cm.

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Beeston Auctions
Lot 191

6 assorted vintage smaller & pocket sized specialist fetish adult erotic magazines. To include Sex Bizarre, Erotica Grotesque and Spanking & C.P Review.

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