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Click here to subscribeHornby - Lima - Triang - Other - Over 20 unboxed OO/ HO passenger coaches. Lot includes Jouef 1st Class coach in SNCF; Triang Mk1 CK composite corridor in BR green;Lima CCT van in Tartan Arrow crimson/cream and similar. Items all show age and play wear, some with missing / broken parts, generally ranging Poor - Good in condition. All items are unchecked for completeness. (This does not constitute a guarantee)
DC - Marvel - Comics. Approx. 50 comics appearing in Excellent condition, mostly in plastic sleeves to include: DC #15 Aug 1991 Green Lantern, Mosaic Part Two of Four.DC #34 Dec 1992 Green Lantern, The Third Law Part 2 of 3. DC #110 Green Lantern - Green Arrow As You've Never Seen Them! and similar. (This does not constitute a guarantee).
Jaeger Le Coultre gold cased watch with square dial, number and arrow head markers, in gold case with large gold lugs, 34mm longTotal weight 9.6 gramsHallmark on back of case- appears to be Helvetia's head, therefore Swiss 18ct gold.Watch is not running. The sides of the case have been removed (as seen in the images) and no strap is present.
Ca. 1500-1000 BC. A nice Levantine black stone cylinder seal from the second half of the second millennium BC. It depicts a donkey, a worshiper or priest, holding a arrow-shaped cult stand, and a four-pointed star or bird. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:16mm / W:6.7mm ; 3.4gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.; ex. 1970s/early80s UK art market.
Ca. 8th-7th century BC or later. A grey stone cylinder seal from the Neo-Assyrian period. It depicts a charioteer shooting at a lion (an arrow is stuck in the lion’s head). Further motifs: a date palm, rosettes, a two-winged sun-disc, a nearly closed ring, a small lion underneath the horse pulling the chariot. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:41.9mm / W:20.3mm ; 31.3gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.;
1945 WWII British military-issue Commando sweater or Mountain sweater, a khaki-coloured, knitted pullover the neck threaded with a metal-tipped drawstring, label "S.D. & S. LTD. - Size 2 - 1945" with broad arrow to interior. Some moth damage, darned and stitched. Used by British Commandos and Special Boat Service in WWII.
Omega pocket watch. A vintage Omega white metal open-face pocket watch, the white enamelled 42mm dial with Arabic numerals and subsidiary dial; together with an open face pocket watch by Thomas Russell & Son, Liverpool, the white metal case stamped with a broad arrow and numbered 'A. 89674'; and another pocket watch.
Pullman Type N brass table lamp stamped on the side of the base ORION. From a Kitchen car built in 1951 by the Birmingham Carriage and Wagon Company Smethwick and used on the Southern Region Festival of Britain Golden Arrow service set and was notable for being used by Her late Majesty Queen Elizabeth II on 14th October 1956, during a visit to the Medway Towns. Now preserved it resides at Pecorama Seaton Devon. In excellent condition, complete with original Pink celluoid shade (undamaged) and original 2 pin 24v cable and plug stands 21in tall. * Note as this operates at 24v under no circumstances should it be used on a 240v home supply.*
Pullman Type A brass table lamp stamped on the side of the base TC248. The first-class Pullman parlour car to which this lamp (from 1948) belonged was originally bestowed the name Minerva and built by the Birmingham RC&W Co in late 1924. It was loaned almost immediately upon completion to the Wagons Lits Company in 1925 and numbered No.60 to run on Milan-Cannes Pullman services. During 1930, No.60 returned to the UK and was subsequently renamed Lady Dalziel and often allocated to the Golden Arrow. By 1948, it was remodelled as Car No.248 Third-class (second-class from 1956) until 1962 when it was converted back to first-class, and became Athene before withdrawal from service in September 1963. In good condition stands 20in tall.
A LARGE BRONZE 'CHILONG' FOUR-TUBE ARROW VASE, TOUHU, YUAN TO MING DYNASTYChina, 1279-1644. Heavily cast with a compressed globular body rising from a stepped foot and surmounted by a tall slender cylindrical neck, with four tubular rings surrounding the mouth. The body cast in relief with two beast masks suspending loose rings flanked by qilin and short flanges, the neck similarly cast with two chilong dragons. The foot and base of the neck decorated with archaistic motifs.Provenance: Swedish trade. Condition: Good condition with minor wear and casting irregularities, few minuscule nicks and dents here and there. The body and neck cast separately and joined together, with the neck being somewhat loosened. Excellent, naturally grown patina overall.Weight: 10 kg Dimensions: Height 58.5 cmVases such as the present lot were designed for the ancient Chinese game of touhu, or 'arrow-throwing', which would form part of the entertainment at banquets and is mentioned in early classical texts such as the Chunqiu Zuo Zhuan attributed to Zuoqiu Ming (c.556-451 BC). Contestants would aim feathered arrows at the various cylinders applied to the vase, with higher points awarded for the less accessible openings. The loser was made to drink wine, leading to increased inebriation and diminished throwing accuracy.Literature comparison: See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no. 63. For a similar example, see Chinesische Kunstgeschichte von Oskar Muensterberg, Esslingen, 1910, p. 136.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2022, lot 43 Price: HKD 318,000 or approx. EUR 37,000 converted at the time of writing Description: A rare and large 'eight-tube' 'eight immortals' arrow vase, touhu, Ming dynastyExpert remark: Compare the related form, manner of casting, and size (55 cm). Note the vase also has four tubes to the neck around the mouth, although unlike the present lot there are also four additional tubes around the body. Auction result comparison: Type: Related Auction: Bonhams London, 6 November 2014, lot 388 Price: GBP 18,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A large and unusual bronze 'arrow' vase, touhu, Ming dynastyExpert remark: Compare the related form, manner of casting, chilong decoration, and size (55 cm). Note the vase also has four tubes to the neck around the mouth, although unlike the present lot two of them are slanted and there are also four additional tubes around the body.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2022, lot 5 Price: HKD 255,000 or approx. EUR 30,000 converted at the time of writing Description: A very large and rare bronze 'bagua' arrow octagonal vase, touhu, Yuan/Ming dynastyExpert remark: Compare the related manner of casting, chilong decoration, four tubes around the mouth, and size (60.6 cm). Note the octagonal form and bagua decoration.元至明大型螭龍紋四貫耳投壺中國，1279-1644年。投壺唇口，口沿兩側附雙貫耳，形成三個並列的口部，其下頸部兩側一對貫耳。壺身修飾螭龍等，中部鼓腹，龍耳活環。各部紋飾錯落有致。 來源：瑞典古玩交易。 品相：狀況良好，有輕微磨損和鑄件不規則處，輕微刻痕和凹痕。壺身與頸部分體鑄合，頸稍鬆。包漿良好。 重量：10 公斤 尺寸：高58.5 厘米 文獻比較： 一件相近的十七世紀上半葉貫耳投壺，見《The Chinese Scholar's Studio: Artistic Life in the Late Ming Period》，紐約，1987年，編號63。一件相似的例子，見《Chinesische Kunstgeschichte von Oskar Muensterberg》，埃斯林根，1910年，頁136。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2022年5月29日，lot 43 價格：HKD 318,000（相當於今日EUR 37,000） 描述：明銅八仙八貫耳投壺 專家評論：比較相近的外形、鑄造風格和尺寸 (55 厘米)。請注意瓶口旁有四口，與現在的拍品不同。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2014年11月6日，lot 388 價格：GBP 18,750（相當於今日EUR 27,000） 描述：明銅饕餮紋投壺 專家評論：比較相近的外形、鑄造風格、螭龍裝飾和尺寸 (55 厘米)。請注意瓶口旁有四口，瓶身還有數個貫口。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2022年5月29日，lot 5 價格：HKD 255,000（相當於今日EUR 30,000） 描述：元/明銅八方八卦獸紋投壺 專家評論：比較相近的鑄造風格、螭龍裝飾、瓶口旁有四口和尺寸 (60.6 厘米)。請注意八角形的外形和八卦裝飾。
A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。
A RARE BRONZE ARROW VASE, TOUHU, SONG - YUAN DYNASTYChina, 13th-14th century. The bottle-shaped body rising from a flaring foot to a long neck tapering towards the galleried rim and flanked by two tubular handles, cast to the body with a band of single-horned dragons above a leiwen ground, the neck and handles with a wider and narrower band of leiwen, the body and neck divided by two ribs and stiff leaves, the foot with further stiff leaves.Provenance: From a private estate in Staffordshire, United Kingdom. Condition: Very good condition with minor wear, small nicks, light scratches, few dents, minor cracks, tiny losses, and casting flaws. Solid, naturally grown patina overall.Weight: 2,732 g Dimensions: Height 38.8 cmExpert's note: Large arrow vases from this early period are exceedingly rare, especially with a dragon design in such high relief. Further note the clever and elegant alignment of the two elongated narrow tubes with the neck of the vessel, which also serves as the main tube.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3384Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Archaistic Arrow-Handled Vase Song / Yuan DynastyExpert remark: Compare the related cast and design. Note the much smaller size (24.6 cm).宋至元銅投壺中國，十三至十四世紀。長直頸、兩側貫耳，圓鼓腹。鼓腹上雷紋地單角龍紋，頸部和手柄有寬窄不一的雷紋帶，頸部和腹部弦紋帶，頸部和足部修飾蕉葉紋。 來源：英國斯坦福郡私人舊藏。 品相：狀況極好，有輕微磨損、小刻痕、輕微劃痕、少量凹痕、輕微裂紋、微小損失和鑄造缺陷。整體包漿緊實。 重量：2,732 克 尺寸：高 38.8 厘米 專家注釋：這一時期的投壺非常罕見，尤其是龍形浮雕如此之高。請注意兩個細長的頸部與貫耳的對稱。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年10月7日，lot 3384 價格：HKD 325,000（相當於今日EUR 47,000） 描述：宋 / 元銅饕餮紋貫耳壺 專家評論：比較相近的鑄造和設計。請注意尺寸較小(24.6 厘米)。
A BRONZE ARCHAISTIC ARROW VASE, TOUHU, SONG TO YUAN DYNASTYChina, late 12th to 13th century. Of slender pear shape with long neck, rising from a flaring foot to a straight cylindrical rim flanked by a pair of tubular handles, the handles and neck decorated with a band of leiwen, the design repeated at the foot. With a naturally grown, fine brownish-black patina overall.Provenance: Collection of Arnold Vissiere, Paris, France, thence by descent in the same family. Arnold Vissiere (1858-1930) was a French sinologist born in Paris and one of the creators of the French School of the Far East system. He worked as an interpreter at the French legation in Beijing and became a professor at the Ecole des Langues Orientales Vivantes in 1911. Later, Vissiere was appointed Consul General in Shanghai and then Minister Plenipotentiary in China. He also worked at the National Library on the catalog of Chinese books. Vissiere collected Chinese art including Chinese maps, some of which are exhibited in the Musee Guimet.Condition: Very good condition with minor wear, few nicks, small dents, light scratches, small cracks with associated minor losses, and casting flaws.Weight: 691.1 g Dimensions: Height 26.8 cmLiterature comparison:Compare a related bronze arrow vase, 21.6 cm, also dated Song to Yuan dynasty, late 12th to 13th century, in the Metropolitan Museum of Art, accession number 2021.294.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 11 June 2021, lot 3192Price: HKD 75,000 or approx. EUR 9,100 converted and adjusted for inflation at the time of writingDescription: A bronze 'wave' two-handled tool arrow vase, Yuan dynastyExpert remark: Compare the related form and decoration. Note the much smaller size (17.9 cm).宋至元仿古銅投壺中國，十二世紀末至十三世紀。修長的梨形，長頸，圈足外撇，頸部雙貫耳。貫耳和頸部飾有雷紋紋飾帶，圈足處重複。整體細膩棕黑色包漿。 來源：法國巴黎 Arnold Vissiere，在同一家族保存至今。Arnold Vissiere (1858-1930) 是一位生於巴黎的法國漢學家，法國遠東學派體系的創始人之一。他曾在北京的法國大使館擔任翻譯，並於 1911 年成為 Ecole des Langues Vivantes 的教授。後來，Vissiere 被任命為駐上海總領事，隨後被任命為駐華全權公使。他還在國家圖書館從事中文圖書目錄工作。 Vissiere 收藏了包括中國地圖在內的很多中國藝術品，其中一些在吉美博物館展出。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、小裂紋以及相關的輕微缺損和鑄造缺陷。 重量：691.1 克 尺寸：高26.8 厘米 文獻比較： 比較一件相近的宋至元十二至十三世紀投壺，21.6 厘米，收藏於大都會美術館，館藏編號 2021.294。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2021年6月11日，lot 3192 價格：HKD 75,000（相當於今日EUR 9,100） 描述：元銅海水紋投壺 專家評論：比較相近的外形和裝飾。請注意尺寸小很多(17.9 厘米)。
A LARGE TIBETAN-CHINESE PAINTING OF AVALOKITESHVARA SAHASRABHUJA, EARLY 20TH CENTURY1900-1950. Gilt, ink and watercolors on paper, mounted as a hanging scroll. The thousand-armed, eleven-headed deity standing in samabhanga on a lotus dais emerging from a lake in a verdant landscape with colorful swirling clouds, surrounded by seated Buddhas and teachers. His main hands are clasped together in anjali mudra, his secondary hands holding attributes including a bow and arrow, lotus blossom, rosary, and dharmachakra, with countless further hands radiating around him.Provenance: English trade. Condition: Excellent condition with minor wear.Dimensions: Image size 138 x 88 cmOne prominent Buddhist story tells of Avalokiteshvara vowing never to rest until he had freed all sentient beings from saṃsara. Despite strenuous effort, he realizes that many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitabha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteshvara tries to reach out to all those who needed aid but found that his two arms shattered into pieces. Once more, Amitabha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.Expert's note: Tibet was a de facto independent state between the collapse of the Manchu-led Qing dynasty in 1912 and its annexation by the People's Republic of China in 1951. In 1913, the Dalai Lama, who lived in exile in India, returned to Tibet and declared that Tibet's relationship with China ended with the fall of the Qing dynasty and proclaimed independence. Nonetheless, Tibetan paintings from this period such as the present lot exhibit the typical Chinese influences also seen in earlier thangkas from the 18th and 19th centuries, including the swirling colorful clouds and bluish-green verdant landscape.Auction result comparison: Type: Related Auction: Bonhams Paris, 10 June 2021, lot 46 Price: EUR 4,080 or approx. EUR 4,400 converted and adjusted for inflation at the time of writing Description: A thangka of Sahasrabhuja Lokeshvara, Tibet, early 20th century Expert remark: Note the significantly smaller size (60 x 40 cm)二十世紀初漢藏千手觀音唐卡1900-1950年，紙本水墨設色描金，掛軸。蓮座從碧湖升起，山間祥雲，千手觀音上身肩搭帔帛，帔帛繞兩臂而下，流暢圓轉。正面雙手合十，右邊三手分別持念珠、法輪、施無畏印；左邊三手執蓮花、弓箭、淨水瓶。下身著長裙，以立姿站於被蓮莖托起的蓮花之上。 來源：英國古玩交易。 品相：品相極佳，輕微磨損。 尺寸：畫面138 x 88 厘米 一個佛教故事講述了觀世音菩薩發誓永不休息，直到他將所有有情眾生從輪迴中解脫出來。儘管付出了艱辛的努力，他還是意識到還有許多不幸的眾生沒有得到救度。在努力理解這麼多人的需求之後，他的腦袋裂成了十一塊。阿彌陀佛見狀，賜給他十一頭，讓他聽苦難的呼聲。觀世音菩薩聽到這些呼聲並領會了它們，試圖伸出手去幫助所有需要幫助的人，卻發現他的兩隻手臂都碎成了碎片。阿彌陀佛又一次來助他，賜他千手去救苦眾生。 專家注釋：這一時期的西藏繪畫（例如本拍品）展現了十八世紀和十九世紀早期唐卡中常見的典型中國影響，包括漩渦狀的彩雲和青綠山水景觀。 拍賣結果比較： 形制：相近 拍賣：巴黎邦瀚斯，2021年6月10日，lot 46 價格：EUR 4,080（相當於今日EUR 4,400） 描述：二十世紀初期西藏千手觀音唐卡 專家評論：請注意明顯尺寸較小(60 x 40 厘米)。
A d-Scan of Singapore teak boardroom table of shaped rectangular form on twin arrow head supports, bears makers label and stamp to underside of top 274 cm long x 120 cm wide x 75.5 cm high together with a set of eight mid 20th Century Verco Office chairs with green leather upholstered backs and seats
PARKER 51 FOUNTAIN PENwith a red plastic body and a gold coloured metal lid with a broken arrow clip, a Parker 61 fountain pen with a grey body and a gold coloured metal lid, lacking gold inset arrow above nib, two Platignum fountain pens, Waterman's fountain pen with side fill and a 14ct nib and an unmarked fountain pen (6)
A CHINESE TEA BOWL AND SAUCER the porcelain late Kangxi, with blue square seal marks, the engraving probably Dresden, circa 1720-25, painted in underglaze blue with birds perched on flowering branches issuing from rockwork, the Batavian brown exterior wheel engraved, each with a flying Cupid holding an arrow and a heart and birds perched on flowering branches and a basket, 11.5cm diameterProvenance: Bt. Robert McPherson Antiques, June 2014.Literature: Espir, op.cit., fig.12.
Cabot Watch Company (CWC) gentleman's British Army military wristwatch with luminous hands and hour markers, Arabic numerals, railroad minute track, black dial, stainless steel case marked to the back 'W10/6645-99 5415317 2868/05' beside ministry broad arrow and quartz movement, on NATO style canvas strap, case diameter 35mm.
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