A SMALL GREEN AND BROWN JADE CROUCHING BEARHan DynastyCarved from an olive-brown stone with a more translucent and paler area around the hindquarters, the animal with its head raised slightly to the left. 5.5cm (2 1/8in) long.Footnotes:漢 青玉沁色熊把件Provenance: Paul Singer (1904-1997), New York, acquired circa 1950s-60s (by repute)Bonhams London, 10 November 2011, lot 301A British private collection來源： Paul Singer (1904-1997) 舊藏，紐約，約獲得於1950s-60s (據傳)倫敦邦瀚斯，2011年11月10日，拍品編號301英國私人收藏This fine collection of jade and hardstone carvings was studiously formed by a London-based British collector over the past fifteen years. The collector, a professional cellist, would regularly visit our London rooms during the Chinese art sales, looking carefully and studying each jade carving, with a fondness to those of animals or mythical beasts. He always visited the exhibition at least twice, with his mantra being that if the object did not make sufficient impression on him to recall it in detail, then it's not for him. The first piece he acquired from Bonhams was the fine yellow hardstone carving of a lion and cub, Qianlong – a truly magnificent piece, of mesmerising colour and exquisite carving. It also benefited from having been collected by R.H.R. Palmer who acquired it in 1936, with a possible earlier connection of the piece to the imperial collections. Also of note in the collection, and of obvious attraction to the collector, was the rare category of yellow jade carvings. These do not come up often and were greatly treasured in the past as indeed today. To have three of those is quite something, particularly with two carvings dating to the Ming and one, a very fine example of the late 17th century. It is now for the next collector to admire and enjoy them.Small jade animal sculptures are often associated with Imperial Han dynasty mausoleums and may have been part of an effort to create a miniature Paradise of Immortals, where Han emperors hoped to reside in the afterlife. For a detailed discussion, see J.F.So 'The Functions of Jade Animal Sculptures in Ancient China' in Chinese Jade Animals, Hong Kong, 1996, pp.29-30. See also a related jade bear with brown markings, early Western Han, illustrated in Ibid., p.24, fig.4.See a related white jade bear, Western Han dynasty, with its head raised, excavated from Weicheng District, Xianyang City, Shaanxi Province, in the Xianyang Museum, illustrated in Gu Fang, The Pictorial Handbook of Ancient Chinese Jades, Beijing, 2007, p.271. Additionally, see a related large jade weight in the form of a bear, Western Han dynasty, excavated at Beidongshan and in the Xuzhou Museum, Jiangsu Province, illustrated by J.C.S.Lin, The Search for Immortality: Tomb Treasures of Han China, Cambridge, 2012, no.37.For further information on this lot please visit Bonhams.com
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A PALE GREEN AND RUSSET JADE 'CHILONG' POMMELLate Ming/early Qing DynastyThe attractive stone retaining the original russet skin, boldly worked into the skilful depiction of a chilong with long scaly body writhing around the exterior with a large archaistic monster-face on the side, the pale green background intricately worked with archaistic leiwen scroll, the interior a pale mottled green. 7cm (2 3/4in) long.Footnotes:明末/清初 青玉帶皮雕螭龍柄端飾件Provenance: Mary and George (1920-2009) Bloch Bonhams Hong Kong, 24 November 2010, lot 288A British private collection來源： Mary 和 George (1920-2009) Bloch香港邦瀚斯，2010年11月24日，拍品編號288英國私人收藏This fine collection of jade and hardstone carvings was studiously formed by a London-based British collector over the past fifteen years. The collector, a professional cellist, would regularly visit our London rooms during the Chinese art sales, looking carefully and studying each jade carving, with a fondness to those of animals or mythical beasts. He always visited the exhibition at least twice, with his mantra being that if the object did not make sufficient impression on him to recall it in detail, then it's not for him. The first piece he acquired from Bonhams was the fine yellow hardstone carving of a lion and cub, Qianlong – a truly magnificent piece, of mesmerising colour and exquisite carving. It also benefited from having been collected by R.H.R. Palmer who acquired it in 1936, with a possible earlier connection of the piece to the imperial collections. Also of note in the collection, and of obvious attraction to the collector, was the rare category of yellow jade carvings. These do not come up often and were greatly treasured in the past as indeed today. To have three of those is quite something, particularly with two carvings dating to the Ming and one, a very fine example of the late 17th century. It is now for the next collector to admire and enjoy them.The quality of the stone and workmanship on this pommel is exceptional. The skill of the artisan in incorporating the natural skin colour of the stone into the subject is consistent with that displayed on other jades from the Qing Court Collection, in the Palace Museum, Taipei. Compare the depiction of the chilong to that on a jade 'horn-shaped' censer, illustrated in Through the Prism of the Past: Antiquarian Trends in Chinese Art of the 16th to 18th Century, Taipei, 2003, p.153, pl.III-18. The censer, 17th century, shares the same colour of stone to the current lot. The same scroll motifs worked into the stone closely match those on a jade cup illustrated Ibid, p.162, pl.III-28. See also a green jade sword bi with taotie and chilong, Qing dynasty, in the Qing Court Collection, illustrated in The Compendium of Collections in the Palace Museum: Jade, 9, Beijing, 2011, p.126.For further information on this lot please visit Bonhams.com
A WUCAI SQUARE VASECirca 1650Finely decorated in underglaze blue and red, green, aubergine and yellow enamels with different scenes of officials and attendants on each of the four sides, surmounted by a slightly-waisted neck with three boys at play amidst rockwork. 37cm (14 1/2in) high.Footnotes:約1650年 五彩人物故事圖方瓶Provenance: D & M Freedman Ltd., LondonRoy Davids (1943-2017), no.60Bonhams London, 6 November 2014, lot 49The Li Fan Thompson collection, London 來源： 倫敦古董商D & M Freedman Ltd.Roy Davids (1943-2017)，編號60倫敦邦瀚斯，2014年11月6日，拍品編號49範麗收藏，倫敦The decoration around the vase are scenes taken from popular novels and legends printed in woodblock print books. In one scene, the elderly figure bowing beside a fishing rod can be identified as the hermit Jiang Ziya. King Wen of Zhou sought the advice of this hermit scholar. According to Chinese legend, the last king of the Shang dynasty was corrupt and cruel. Jiang Ziya had once served him, but was disillusioned and retired to spend the rest of his days fishing, waiting to serve a new and moral king. It is said that he used no hook at all, believing that the fish would come to him on their own, echoing the future King Wen who later sought out his service.Compare with another square vase painted with scenes of Daoist figures, dated 1645-1660 and with very similar shoulder and neck decoration, which is illustrated by C.J.A.Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, London, 1997, no.78. See also another vase, also with tasselled objects and boys on the shoulder and neck, in the collection of the Nelson-Atkins Museum of Art, Kansas City, Missouri, illustrated by S.Little, Chinese Ceramics of the Transitional Period, New York, 1983, p.102, no.44, where the author notes that whilst the shape may have been derived from earlier Transitional vases based on European models, the present wucai type was almost certainly produced for the domestic market.For further information on this lot please visit Bonhams.com
A SET OF THREE PAINTED POTTERY EQUESTRIAN MUSICIANSYuan/Ming DynastyComprising three musicians, all facing forwards seated on the horses arranged with bridles and saddles, each horse standing four square on a rectangular base, two musicians playing trumpets while the third holding a pair of cymbals, with traces of red, black and orange pigments. The tallest 36.5cm (14 3/4in) high. (3).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價元/明 彩繪騎馬樂工佣 一組三件Provenance: Berwald Oriental Art Ltd., LondonA European private collection, acquired from above on 4 July 2014來源： 倫敦古董商Berwald Oriental Art Ltd.歐洲私人收藏，從上處獲得於2014年7月4日The facial features of the figures are finely rendered, with engraved eyes and eyebrows highlighted in black pigments, and lips adorned with red pigments, all contributing to a serene and vivid expression. Ming tomb figures, such as the musicians featured in the present lot, are often positioned at the forefront in processions. Compare with a similar painted pottery equestrian musician, illustrated in Imperial China: The Art of the Horse in Chinese History, 2000, Lexington, p.165, pl.158.See also a related polychrome pottery procession, Ming dynasty, which is illustrated in Treasure from the Shanghai Museum: 6000 years of Chinese art, San Francisco, 1984, p.115 and p.172, pl.115.For further information on this lot please visit Bonhams.com
LIN FENGMIAN (1900-1991)Fishing Boats off the CoastInk and colour on paper, signature and seal of the artist mounted, framed and glazed. 33cm (13in) square. Footnotes:林風眠(1900-1991) 江邊漁船 設色紙本 鏡框 款識：林風眠鈐印：林風暝印Provenance: an English private collection, acquired by the owner's parents in China, and thence by descent來源： 英國私人舊藏，由現所有者父母購自中國，並由後人保存迄今Lin Fengmian, a native of Meixian, Guangdong Province, is one of the most important artists in 20th-century China. His grandfather was a stone carver, and his father was a local painter. Lin learned both trades during his childhood and in 1919 travelled to France, where he studied and worked for six years at Dijon Art College and the École Nationale Supérieure des Beaux-Arts in Paris. In France, Lin studied European painting, particularly the works of Matisse, Picasso, and Modigliani. In 1923, he travelled extensively in Germany. In 1979, he settled in Hong Kong, where he spent the remainder of his life. Lin's work integrated the Impressionists' technique of working with outdoor lighting with traditional Chinese ink and wash, successfully blending Western principles of composition with Chinese colour and ink figure sketches. For more details, see Three Thousand Years of Chinese Painting, New Haven, 1997, pp.323-324.In the mid-1950s, the new Communist government encouraged artists to serve the people and depict scenes of common folk at work. Along with artists from the Shanghai Artists Association, Lin Fengmian travelled several times to the fishing grounds at Zhoushan, Zhejiang Province. Since then, Lin created a series of paintings portraying the life and work of fishing villages. For more details, see Art 60 Years in China 1949-1979, Shijiazhuang, 2009, pp.72-73.Compare with a related painting by Lin Fengmian, of cormorants by the fishing boats, which was sold at Sotheby's Hong Kong, 30 April 2022, lot 3175.For further information on this lot please visit Bonhams.com
A GE-TYPE FOUR-LOBED SQUARE BRUSH WASHERQing DynastyWith lobed sides rising to a brown mouth lip, covered overall in a bluish-grey glaze with crackles stained brown, the glaze thinning at the foot to reveal the dark-brown body underneath. 6.5cm (2 1/2in) long.Footnotes:清 仿哥釉四方花口洗Provenance: Dr Carl Kempe (1884-1967), Sweden (label)The Li Fan Thompson collection, London 來源： Carl Kempe博士(1884-1967)，瑞典 （據標籤）範麗收藏，倫敦 Published, Illustrated and Exhibited: Museum of Far Eastern Antiquities, Stockholm, 1931, no.245 Mostra D'Arte Cinese (Exhibition of Chinese Art), Venice, 1954, p.133, no.467 (dated as probably Ming dynasty)Bo Gyllensvärd, Chinese Ceramics: In the Carl Kempe Collection, Goteborg, 1964, p.73, no.187 (dated as Ming dynasty)展覽著錄： 東亞博物館，斯德哥爾摩，1931年，編號245《Mostra D'Arte Cinese （中國藝術展）》，威尼斯，1954年，第133頁，編號467（斷代為或明）Bo Gyllensvärd，《Chinese Ceramics: In the Carl Kempe Collection》，哥德堡，1964年，第73頁，編號187（斷代為明）Dr. Carl Kempe (1884-1967) was a prominent Swedish industrialist who served as the CEO of Mo och Domsjö AB, a leading company in the Swedish pulp and paper industry. Dr. Kempe resided at Ekolsund, a historic former Swedish royal palace, where he also maintained his distinguished art collection. As an early and active member of the Oriental Ceramic Society, he amassed one of the finest European collections of Chinese art created in the mid-twentieth century.Inspired by the wares of the Song dynasty, the present lot is a fine piece reminiscent of antiquity. See a related Ge-type square washer, Ming dynasty, in the Qing Court Collection, in the collection of the Palace Museum, Beijing (acc. no. 故00145208). Compare with a related pentafoil Ge-type washer, Yuan-Ming dynasty, which was sold at Christie's New York, 23 September 2022, lot 943. See also a related Ge-type square washer, Ming dynasty, which was sold at Christie's New York, 23 March 2018, lot 717.For further information on this lot please visit Bonhams.com
A RARE AND VERY LARGE PALE GREEN AND GREY JADE CARVING OF A RECLINING HOUNDLate Qing Dynasty/RepublicThe slender recumbent hound carved with its head turned facing the rear, with front paws together and hind legs tucked beside its belly, the back finely detailed with the spinal ridge, the ribs well defined, the stone of greenish and dark tone suffused with brown inclusions. 30.7cm (12in) long.Footnotes:晚清/民國 玉臥犬Provenance: Christie's London, 4 April 1979, lot 226James Basil Wilson and Julia Wilson, and thence by descent來源： 倫敦佳士得，1979年4月4日，拍品編號226James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今In 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office in Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of expatriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.Jade carvings of dogs, generally depicted in a recumbent posture, were made from the Tang dynasty onwards but are seldom found in such exceptionally large size as the present lot.Dogs were long valued for their fidelity and alertness. The dog first appears in Chinese art as the hound of the hunt, becoming next the ferocious dog of war, and lastly the fearless guardian of the Palace and the Temple. It was common practice for pottery models of dogs to be buried during the Han dynasty, in the belief that they would keep the deceased master's company in the afterlife. This motif was later revived in the Yuan period and continued in a mannered and simplified form into the Ming and Qing dynasties. Jade carvings such as the present lot may have been owned by those who wished to be known for their hunting skills, an activity that was associated with rank and status. Compare with a related pale green and russet jade crouching hound, Song dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p.366, pl.26:10; and another example of a pale green and russet jade hound but in a sitting posture, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware III, Shanghai, 1995, no.86.Hounds formed a central part of the hunting practices of the Qing Court, keen to maintain the Manchu traditions. The importance of the hounds to the Qianlong emperor is clearly evident from the series of paintings of favourite dogs commissioned from the Jesuit Court painter Giuseppe Castiglione, and in the later ten-leaf album painted by Ignaz Sichelbarth, circa 1745-1758; see two paintings by Castiglione depicting recumbent hounds, in the Palace Museum, Taipei, nos.GuHua00373400000 and GuHua00374000000; and Ten Fine Dogs, a ten-leaf album in the Qing Court Collection by Sichelbarth, painted after Castiglione, illustrated by E.S.Rawski and J.Rawson, eds., China: The Three Emperors 1662 - 1795, London, 2005, pp.188-189, no.84.Furthermore, the importance of hounds in Qing Court culture manifested itself not just in jade carvings and paintings, but also in ceramics. See for example, a green-glazed model of a hound, 18th century, in a pose very similar to Castiglione's portrayal of a dog named 'Sudden-flight Magpie', illustrated in Portrayals from a Brush Divine: A Special Exhibition on the Tricentennial of Giuseppe Castiglione's Arrival in China, Taipei, 2015, pp.238-239, no.V-22. This suggests the possibility that the production of such 'portraiture porcelain' of dogs was connected to Western missionaries in the 18th century.For further information on this lot please visit Bonhams.com
A RARE BLANC-DE-CHINE FIGURE OF BUDDHA SHAKYAMUNILate Ming DynastyExquisitely modelled in a cross-legged seated position, with the hands in dhyana mudra, wearing a robe gracefully draping over the body, revealing his right arm and chest above the dhoti, an ushnisha emerging from the tight curls above the downcast face with a serene, benevolent, and smiling expression, covered with a creamy ivory-white glaze, wood stand. 16.5cm (6 1/2in) high. (2).Footnotes:明晚期 德化白釉佛坐像Provenance: Formerly in the collection of J.M. Hu (1910-1993)Roger Keverne Ltd., LondonThe Li Fan Thompson collection, London, acquired from the above circa 2010-2011來源：胡惠春（1910-1993）舊藏倫敦古董商Roger Keverne Ltd.範麗收藏，倫敦，約2010-2011從上處獲得 Published, Illustrated and Exhibited: R.Keverne Ltd., Summer Exhibition, London, 2010, pp.50-51, no.37. 展覽著錄： R.Keverne，《夏季展覽》，倫敦，2010年，第50-51頁，編號37Compare with a very similar blanc-de-Chine figure of Buddha, Ming dynasty, late 16th-mid 17th century, in the collection of the National Museum of Asian Art, Washington (acc. no. F1904.111). See a similar blanc-de-Chine figure of Buddha, Qing dynasty, in the Qing Court Collection, illustrated in Dehua Wares Collected by the Palace Museum I, Beijing, 2016, p.150, no.49. See also a related blanc-de-chine figure of Buddha, late Ming dynasty, which was sold at Christie's New York, 14 September 2018, lot 1349.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
1 Large early 20th century Armand Bargas Art Nouveau lady. Here is a beautiful rendition of an Art Nouveau women by the artist Armand Bargas. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
2 Large 19th century beautifully engraved examples. This lot consists of two great very large flat thick and heavy steel buttons with designs. The one has a great Art Nouveau design with flowing scrolls while the other has an array of designs and patterns on it. Both are in great condition especially for their age. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
1 Large early 20th century pictorial shell head button. This beautiful thick and heavy pearl button shows much chatoyancy and is embedded with a nicely detailed silver Art Nouveau lady design. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
1 Large 21st century button by Eileen Yatsattie of New Mexico. Here is a wonderful example of her work of a realistic shaped Turtle on Zuni pottery. Her buttons are an incredible work of art and deserve the attention collectors like to give to her magnificent creations. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
1 Large medium 19th century Art Nouveau design with gilding. Here is a beautifully executed example from the Art Nouveau period of the late 1900's. The beautiful smokey pearl is inset with several green faceted paste jewels and engraved and gilded. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
18 Medium size 19th & 20th century examples including Victorian. This selection includes some beautiful glass examples including the flying bird, the clear examples with cutting, the beautiful Art Nouveau lady and so much more. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
1 Large 19th century button with silver and gold gilt. This gorgeous Art Nouveau flowing designed smokey and engraved pearl button is highlighted by the silver and gold painted gilt of the flowers and leaves. The pearl itself is cut around the edge creating an odd shape of the button. Nice. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
3 Medium late 19th early 20th C. buttons including Mucha style. This small card includes a nice Art Nouveau silver lustered white glass depicting a Ginkgo leaf, a pretty molded white Victorian glass with multi colored tint and a nice medium white glass head button in the style of Alphonse Mucha, the artist often credited as being the Father of the Art Nouveau period. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
12 Medium 19th & 20th century examples including heads. This card includes a detailed scarce Katherine of Aragon, a nice brass cup with a sailing ship, a tinted brass lady with a harp, a beautiful Art Nouveau lady in the Alphonse Mucha style, a brass realistic head and more. Notice Nikki's detail info on each button and what she paid. These go for many of her cards in the auction so look closely at the details. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
1 Large early 20th century button of a bird and foliage. The design of this button is reminiscent of the Art Nouveau designs of the times. The flowing lines and scrolls are beautifully executed and the detail of the graceful bird accent the design very well. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
A CHINESE CARVED GREY STONE PANEL FRAGMENT carved in low relief with equestrian figures and horse drawn chariots, 38 by 64 cmProvenance:PC Lu Gallery Hong Kong.Acquired by Peter O'Toole, 5 January 1964.Works of Art from the Collection of Peter O'Toole, Katherine House Gallery, Marlborough, 13 May - 24th June 2017. Peter O'Toole (1932 – 2013) was an English stage and film actor. He attended RADA, the Royal Academy of Dramatic Art, and began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company. In 1959 he made his West End debut in The Long and the Short and the Tall, and played the title role in Hamlet in the National Theatre's first production in 1963. Excelling on the London stage, O'Toole was known for his "hellraiser" lifestyle off it.Making his film debut in 1959, O'Toole achieved international recognition playing T. E. Lawrence in Lawrence of Arabia (1962) for which he received his first nomination for the Academy Award for Best Actor. He was nominated for this award another seven times.His interest in Chinese Art emerged from his time spent on location filming ‘Lord Jim’ in 1964, the locations including Hong Kong and Mainland China and again when he played the tutor in 'The Last Emperor'.Footnote: The present panel is stylistically close to the Eastern Han (25-250AD) wall carvings found in the Wu Family Shrines in Shandong Provence, China; see Cary Y Liu, Recarving China's Past, New Haven and London: Yale University Press, 2005, p. 204. 青石雕板碎片
A JAPANESE GILT-BRONZE APSARA, PROBABLY KAMAKURA PERIOD, 13TH CENTURY cast in the Chinese Tang dynasty style, the heavenly maiden depicted in full flight, wearing a long flowing robe and scarf billowing around the shoulders, playing a musical wind instrument, traces of gilding, mounted on a wood stand, the figure 15cm wideFootnote: For a similar bronze, see The Museum of East Asian Art, Bath, item ref:BATEA:1044.
ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874 - 1951), LANDSCAPE, ARRAN watercolour on papermounted, framed and under glassimage size 27cm x 20cm, overall size 48cm x 39cmNote: Painter, printmaker, stained glass and furniture designer, born in Greenock, Renfrewshire. In the early 1900s he worked for the Glasgow cabinet makers Wylie and Lochhead, in 1908 married the artist Jessie M King and moved to Manchester where he managed and designed for George Wragge Ltd, notably stained glass, then for about three years prior to World War I the Taylors lived in Paris. They set up a school there, Atelier Shealing, then when they had settled in Kirkcudbright ran a summer school on the Isle of Arran. Modern French art, the Scottish Colourists and the Ballets Russes all affected Taylor’s art. He showed extensively at RSA, also at RSW and Royal Glasgow Institute of the Fine Arts as well as abroad.
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