A «Mwana Pwo» Mask, wood, fibers and metal, It has metallic rings in both ears, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), faults and defects, purchased in Dundo, Lunda-Norte, in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Figs. 10 and 11 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, pp. 14-15. Original work available at https://memoria- africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 3, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila» (dash); - on the cheek: «Misoji (tears), «Lumba» (wheels) and cruciform marks; - on the chin and next to the lips: «Mipila» (singular «Mupila»); - on the nose: «Cangongo». Separating the "trilobed" hairstyle from the forehead is a row of 9 round brass studs. Two hoops to make earrings. [...] [...] Purchased on the outskirts of Dundo - Lunda, in June 1965, after a long week of talks and negotiations [...] and a new mask that had been offered to me by the Dundo Museum and executed by its private sculptors". The hairstyle depicted on the mask may be the "Kalarika" hairstyle, which is a Tshokwe hairstyle worn by women - vd. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisbon: Junta de Investigações do Ultramar, 1960, p. 130, fig. 124-125. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 17 cm
We found 23406 price guide item(s) matching your search
There are 23406 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
23406 item(s)/page
A «Mwana Pwo» Mask, wood, fibers, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), missing headdress and neck netting, other faults and defects, possibly from Luena, Moxico Province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 186, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Pwó»: "Well-sculpted protruding ears with pierced lobes; thin, upturned nose, with large, well-designed nostrils; open mouth with two rows of teeth; pointed, projecting chin. Decoration: on the forehead, from one ear to the other a symmetricaldecoration made with incisions that intersect (?) obliquely, with an undecorated space in the centre Tattoos: under the ears, on the forehead: variant of «Txiguelenguele» or «Samanana» characteristic of the Tshokwe (?). [...] On the faces: a tattoo on each side, symmetrical. [...] Offered by Jorge de Jesus Mouta, [...] on 6/3/72. This mask had been offered to him by an old merchant from Luena who had owned it for many years [...]. Comparing this piece with others that I had or have and that I saw up close, it seems to me that this one is lighter, which results from being much less thick, which is very clearly seen in the part of the faces that are broken, where the wood is not even 1 millimeter thick. Is this low thickness of the mask a feature of antiquity? I think so." For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, fig. 40-45 (como "Masque Pwo"/"Pwo"); the catalogue "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola" In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nº 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/collection/search/319264? ft=Pwo&offset=0&rpp=40&pos=1,, Dim. - 17,5 cm
A ceremonial hatchet, wood and metals, carved decoration "Figures carrying a cage"., Angolan - Holu, 20th C. (1st half), in need of bonding resin, minor faults and defects, purchased in Loremo - Camaxilo, District of Lunda. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 217, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Machadinha Cerimonial» : "Offer from the Administrator of the Pungo-Andongo Post, Mr. Rogério Monteiro Pinto on March 25, 1974. It had been purchased by him[…] in Loremo - Camaxilo, District of Lunda. I had difficulty classifying this item: Camaxilo is a Tshokwe area […], but this item did not fit the style. It was suggested to me that it would be Songo. Dr. António Barros Machado solved the problem with the photographs that he presented in his Monthly Report 7/1970; the photographed item even looks the same at first glance […]. Given the […] similarity between the items I own and the one photographed, if they didn't come from the same sculptor's hand, they are certainly from the same artistic centre". It could belong to a sculptor: "The sculptor's art, 'songi' (derived from 'kusonga', to sculpt), enjoys great prestige. His emblem consists of a small ceremonial adze with a handle shaped like an ornamental human head, which he carries on his shoulder." cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, p. 24. Vd. similar hatchet in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 37, nº 4. "Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them". - cf. JORDÁN, Manuel - “Os Tshokwe e Povos Aparentados”. In “Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa”. Lisboa: Museu Nacional de Etnologia, 2000, p. 114., Dim. - 43 cm
A shell-shaped basin, D. José I, King of Portugal (1750-1777), 833/1000 silver, decoration en relief, Portuguese, signs of use, minor bruises, Porto assay mark (1792-1803), João Pinto Pereira maker's mark (1762-1778). Notes: vd. ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisboa: IN-CM, 2018, P17 e P367; SOUSA, Gonçalo de Vasconcelos e "Dicionário de ourives e lavrantes da prata do Porto, 1750-1825", Civilização Editora, 2005, pp. 381 a 384. Identical copy can be found represented as "Bacia de barba" in the collection of Eng. Sebastião de Torres Vaz Freire - vd. SANTOS, Reinaldo dos; QUILHÓ, Irene - "Ourivesaria Portuguesa nas Colecções Particulares". Lisbon: Author Edition, 1974, p. 91, fig. 97., Dim. - 33 x 29 cm; Peso - 887 g.
A «Mwana Pwo» Mask, wood, fibers, cowries, polychrome traces, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), wear, minor defects, purchased at Sanzala Muanachina, near Luena. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 233, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Mácara Muana Puo»:"Tattoos: - on the cheeks: 2 circles w/ crossed crosshatch -Lumba, nº 30 from the book "Tatuagens da Lunda" by Mesquitela de Lima; 2 tears under each eye «Massoja» [...]; - on the forehead: 2 « Mupila» on each side of the forehead [...]; Cangongo, on the forehead over the nose; - on the chin: «Cangonga» (?). [...] This piece was purchased on 07/12/74, at Sanzala Muanachina, near Luso [Luena], Km 1036 on the right side of the railway, beyond the Benedictine Mission. Its owner was the professional dancer Muanachina Samoroci(?), very well known in the region". Cf. bibliography cited by the collector - LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, p. 35, fig. 30. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo"/"Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Africa, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264? ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 20,5 cm
A «Salampassu» mask, wood, copper and fibers, Democratic Republic of Congo, 20th C., faults and defects, purchased in Sandoa region (Katanga). Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 15, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara - Asalampasu»: "One of the characteristic features of these masks is the protruding forehead that overshadows the poorly differentiated features of the face. [...] Purchased in the Sandoa region (Katanga) by Luís de Carvalho, a merchant in Luau [former Teixeira de Sousa] and former employee of the C. F. B. railway and offered by him in 1966". Cf. Bibliography referred to by the collector: (possibly) FAGG, William Buller - "Sculptures africaines: les univers artistiques des tribus d'Afrique noire". Paris, Fernand Hazan, p. 65, tribe 100. Another «Salampassú» mask is represented in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 153, nº 15., Dim. - (total) 58 cm
A «Salampassu» mask, wood, copper, fibers, pigment traces, Democratic Republic of Congo, 20th C. (mid), minor faults and defects, purchased from a merchant of Luau (former Teixeira de Sousa - border with the Kalanga), who had brought it from Sandoa (Katanga), in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 16, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara - Asalampasu»: "Purchased [...] to a merchant from Luau [former Teixeira de Sousa] (border with the Kalanga), which he had brought from Sandoa (Katanga) in 1966". Another «Salampassú» mask is represented in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 153, nº 15., Dim. - (total) 51 cm
A «Mwana Pwo» Mask, wood, fibers and metal, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), minor defects, from the region of Saurimo, province of Lunda-Sul. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 7 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa)- Angola, pp. 13-14. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 4, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila»; - on the cheeks: «Masoji» (tears), «Tubenga» (which is not straight); - on the nose: «Cangongo». - The nasal septum is perforated to be crossed by a stick (mutondu wa zulu), ethnic mutilation that was widely used by the populations of northeastern Angola, but is now in disuse. - Several cross-shaped signs (variants of «mipila»?) all over the face. On the forehead are two brass head studs. [...] Purchased on May 30th. [19]70 to Sanssango Tchiouga, a Tshokwe dancer who represented(?) in the Lumeje region. This dancer lived in the Soba Jamba sanzala (Luena), north of the C. F. Benguela railway line [...]. The mask, his costume and two rattles were kept in a good wooden box with a lid [...]. Purchasing the mask was very difficult because the dancer said that the mask had come from the region of Saurimo (Henrique de Carvalho) and that in Lumeje there was no sculptor who could make another one as beautiful and good [...]. For this reason, after a long conversation, not only with me, but also with his friends, whom he asked for advice, he decided to sell it [...] but when he handed it over, tears came to his eyes, it was a pity to part with it and to have to go without dancing for a while until he found another". According to Marie Louise-Bastin "The name of the mask is Pwo, "Woman", or Mwana Pwo, "Girl". It used to represent a mature woman who had proved her fertility by having a child. More recently, due to changing African values - possibly under European influence - this mask has represented a girl and the hope of having many children. The male masquerade, embodying the female ancestor, guarantees fertility to the spectators during his performance. He has fake breasts and wears cloth draped around his hips and a heavy crescent-shaped belt that bounces up and down as he moves his back. In the past, these gestures were discreet and elegant in order to teach women graceful manners. When ordering a mask, the dancer offered a brass coin, the symbolic price of a bride. Treated as if it were a person, the mask was often buried by the death of the dancer, whose profession generally passed to the nephew. A professional sculptor ('songi') was then tasked with producing a new mask, a process that formerly took several weeks. He worked in the bush, using as a model a woman whose beauty he admired. To that end, he took every opportunity to meet her and observe her features, including her tattoos, hairstyle, and jewelry. For this reason, female masks are often portraits; although they share the fundamental characteristics of all Tshokwe sculpture, each piece varies in subtle ways. The technical mastery of the sculptor, combined with the inspiration caused by the model, explain the great variety of sculptural expression always found in Tshokwe art. The «mukishi wa Pwo» adorns many objects, such as drums, sanzas and knife sheaths. When a female image works as a counterpoint to a representation of the male «Cihongo» mask, reference is also being made to the «Pwo». If the owner of the «Pwo» mask became ill, it was customary to consult a diviner to find out if it was the spirit of the «Pwo» mask that was causing the illness. If the dancer no longer had a mask, he would order a new one and inaugurate it near the «cota», after his wife had sacrificed a chicken over the head of the mask. He would then dance before the assembled village. Finally, there would be a communion meal between the dancer and his wife. The same ritual would be performed in the case of someone who had neglected a mask still in use. The dancer kept the «Pwo» mask usually in the «mutenji» hut outside the village or hidden in a basket in his own house.) cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, pp. 102-103. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo/Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264?ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 19 cm
A "Bird" mask, wood, fibers, fabric, plastic and glass beads, possibly a representative mask of the species «Bucorvus cafer» - southern ground hornbill, Angolan - Tshokwe, 20th C. (2nd half), wear, defects, wear patina, carved by the sculptor Savula and purchased in Sandando, Moxico province, in 1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 175, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Ngúngu»: "It represents a bird [...] (Bucorvus caffer). Ornithomorphic figure mask. [...] According to information from the owner of the mask and its sculptor Savula and the dancer who used it, Tchikua, this mukixe represents the bird Ngungu [...] The mask and costume (identical to Muana Pwó's) were wrapped in burlap, and the package placed inside the hut, in a corner, close to the ceiling. The dancer wore a very thick and heavy «muia» (dancing belt) (a section of about 1 meter in perimeter) (part of the muia’s filling was made of stones), with a fur tail and several bells. It was the first ornithomorphic mask(?) from Angola that I saw [...]. Purchased on 18.3.71, in Sandando, [...] from its owner and sculptor Savula. The mask was used by the professional dancer Teluikua(?)." See bibliography referred to by the collector - FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 18., Dim. - 30 cm
A COLLECTION OF SILVER MINIATURE ITEMS To include: a German bird box, post 1886 .800 standard, with a hinged cover, embossed with C-scrolls, applied with two birds, a twisted stem and on a cross foot, 9cm (3 1/2in) high; a Dutch bird cage, sponsor's mark for Samuel Boyce (or Boaz) Landeck, import mark for London 1901, with a loop handle, a domed wirework cage and on a shaped circular base, 6cm (2 1/4in) high; a Dutch set of seven fire tools and stand, .833 standard, circa 1916, 15.5cm (6in) high; a Dutch wheelbarrow with chest, sword mark, embossed with putti and a seated figure, 9cm (3 1/2in) long; a wash basin; and other items 312g (10.05 oz) gross Condition Report: There is no condition report available for this lot and is sold as foundCondition Report Disclaimer
Ca. 2nd millennium BC.A stone vessel characterized by its cylindrical shape, featuring straight walls that rise vertically from a flat base. The basin of the vessel is generously proportioned, allowing for ample capacity, while the rim slightly everts, adding a subtle touch to its overall form. These cylindrical vessels were predominantly utilized for storing and transporting various substances, such as liquids, grains, or even precious goods. The generous basin and straight walls allowed for efficient storage and easy handling, while the flat base ensured stability. The vessels' practical functionality made them indispensable in daily life, serving the needs of households, merchants, and travelers alike. Bactria, an ancient region located in present-day Afghanistan, holds a rich historical and cultural legacy. Situated along the ancient trade routes, Bactria flourished as a vibrant hub of commerce and cultural exchange between the East and the West. The production of stone cylindrical vessels, such as the one, signifies the mastery of stone craftsmanship in Bactrian culture. Size: L:80mm / W:120mm ; 550g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 100-300 AD.A redware plate fashioned with a shallow and rounded countenance showcases a broad flange encircling the basin. A delicate mantle of earthly encrustations veils the plate's surface, endowing it with a dignified patina that stands as a quiet witness to the passage of centuries. Size: L:50mm / W:200mm ; 540g Provenance: Private London collection, pre-2000s.
Santa Cruz, located on the central coast of California, is a vibrant coastal city known for its laid-back atmosphere, scenic beauty, and outdoor adventures. Here's an overview of what makes Santa Cruz a captivating destination:1. Beaches: Santa Cruz boasts beautiful beaches that attract locals and visitors alike. The iconic Santa Cruz Beach Boardwalk is a seaside amusement park with thrilling rides, arcade games, and entertainment. Nearby, Main Beach and Cowell Beach offer opportunities for sunbathing, swimming, and surfing. Natural Bridges State Beach is known for its rock formations and tide pools, providing a unique coastal experience.2. Santa Cruz Wharf: The Santa Cruz Wharf is a popular attraction that stretches out into Monterey Bay. Visitors can enjoy panoramic views of the coastline, indulge in fresh seafood at the waterfront restaurants, or go fishing off the pier. It's also a great spot for wildlife sightings, including sea lions and seabirds.3. Santa Cruz Mountains: The Santa Cruz Mountains offer a picturesque backdrop to the city. This forested region is home to numerous state parks and hiking trails, including Henry Cowell Redwoods State Park and Big Basin Redwoods State Park. Exploring these parks allows visitors to experience the awe-inspiring beauty of ancient redwood trees and enjoy outdoor activities like hiking, camping, and picnicking.4. Surfing and Water Sports: Santa Cruz is renowned for its surf culture and is often referred to as the birthplace of mainland surfing in the United States. Steamer Lane is a famous surf spot where experienced surfers can catch impressive waves. There are also opportunities for paddleboarding, kayaking, and boating in the area.5. Downtown Santa Cruz: The vibrant downtown area of Santa Cruz offers a mix of eclectic shops, boutiques, restaurants, and art galleries. Pacific Avenue is the main street lined with unique shops, cafes, and street performers, creating a lively and bohemian atmosphere. The weekly Santa Cruz Farmers Market showcases fresh produce and local products.6. Natural Wonders: Santa Cruz is surrounded by natural wonders that attract nature enthusiasts. The nearby Monterey Bay National Marine Sanctuary is home to diverse marine life, and visitors can take whale-watching cruises to observe whales, dolphins, and other sea creatures. The Seymour Marine Discovery Center provides educational exhibits and activities for learning about marine ecosystems.7. Santa Cruz Surfing Museum: Located in a lighthouse overlooking Steamer Lane, the Santa Cruz Surfing Museum celebrates the rich surfing history of the area. Visitors can explore exhibits showcasing vintage surfboards, photographs, and memorabilia, and learn about the sport's evolution in Santa Cruz.Santa Cruz's blend of stunning beaches, outdoor activities, surf culture, and relaxed vibe make it a popular destination for nature lovers, adventure seekers, and those looking to unwind by the coast. Whether enjoying the beach, exploring the redwood forests, or immersing oneself in the vibrant downtown scene, Santa Cruz offers a laid-back and enjoyable California experience.Measures 24 x 36.Mounted to linen.
Chinese porcelain Famille Rose circular wash basin, the interior decorated with cockerel, flowers and peaches, within a turquoise ground rim with bats, clouds and peaches, the exterior decorated with copper red bamboo leaves, Dia.29.3cm, possibly Yongzheng period (repair to rim). Provenance: Purchased from Woolley & Wallis 11th November 2009 (Part Lot. 215).
Two tea sets, a Crown Staffordshire set decorated with carnations comprising thirteen tea plates, two serving plates, twelve saucers, twelve cups, a jug and a basin, a/f and a navy and gold tea set comprising eight cups and saucers, fourteen small plates, three serving plates, a milk jug and hot water jug **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**
A Royal Worcester Figure by F. G. Doughty, 'My Favourite', together with similar Royal Doulton figures, a pair of Volkstedt figures, Kaiser and Sitzendorf examples, a Staffordshire figure of red riding hood and a Royal Copenhagen vase (one tray), together with a Wedgwood 'Pomegranate' pattern basin
FOURNEL HENRI. Basin of the Lower Loire, Report Addressed to T. Lamie Murray Esquire on the Resources of the Concession of Languin & Best Mode of Turning Them to Profitable Account. 53pp. Old annotations. 1839; bound with Report Addressed to the Proprietors on the Resources of the Concession of Languin by Thomas John Taylor Esquire, Earsdon, Near Newcastle-upon-Tyne, 28pp plus detailed 12pp Supplementary Minutes, 1839. This Thomas John Taylor's own copy with his bookplate.
Harvie-Brown, J. A. (editor) A Vertebrate Fauna of Scotland, complete set, several volumes inscribed or with letters comprising: Sutherland, Caithness, and West Cromarty; Outer Hebrides; Iona and Mull; Orkney Islands; Argyll and the Inner Hebrides; Moray Basin; Shetland Islands; North-West Highlands and Skye; Tay Basin and Strathmore; Tweed Area; Forth. Edinburgh: David Douglas [-Oliver and Boyd], 1887-1935. First editions, 11 works in 12 volumes (Moray Basin in 2 volumes), 8vo, original green cloth, top edges gilt, numerous plates including pictorial title-pages, Iona and Mull with bookplate (Lumley Graham), Outer Hebrides inscribed 'Norman Maclachlan, May 4th 1889, subscriber's copy' on front free endpaper, Moray Basin inscribed 'To Sir Herbert Maxwell Bt M.P., with the Publisher's very kind regards, June 27th 1896', and containing 2 autograph letters and 2 autograph notes from Harvie-Brown to Maxwell (all signed or initialled, 1897-1904, on various natural history and ornithology matters including the growth of mistletoe on oak, the jay population in the south-west counties of Scotland, the salmon, etc., one of the notes on verso of printed compliments slip and apparently concerning fire damage to Harvie-Brown's home of Dunipace, Larbert; all housed in 2 envelopes mounted to endpapers), Shetland inscribed 'H. Saunders, with T. E. Buckley's compts', spines of 6 works sunned, Sutherland [etc.] spine with small tear to rear joint and fraying to head and foot, Outer Hebrides spine defective [Mullens & Swann p. 282, all volumes except Shetland, p. 199, and Tweed and Forth, not listed]. Together with 5 others, Scottish ornithology, comprising: George Sim, The Vertebrate Fauna of "Dee", Aberdeen, 1903, first edition, 8vo, original cloth; Robert Gray, The Birds of the West of Scotland including the Outer Hebrides, 1871, first edition, original pictorial cloth gilt; J. A. Harvie-Brown, The Capercaillie in Scotland, 1879, first edition, original pictorial cloth gilt, laid-in autograph letter from Scottish ornithologist James Bartholomew to Dr. I. D. Pennie; John Morell McWilliam, The Birds of the Firth of Clyde, 1936, first edition, original cloth, dust jacket; ibid. The Birds of the Island of Bute, 1927, first edition, original cloth Note: Note: '[Harvie-Brown's] contributions to ornithological science are literally legion ... His greatest work, however, and the one that will form an imperishable monument to his name, is the series of volumes on the vertebrate fauna of Scotland, most of which were written either by himself, or in collaboration with other ornithologists' (Mullens & Swann). The projected accounts of the Clyde and Solway areas do not seem to have materialised. Sir Herbert Maxwell (1845-1937), recipient of this copy of A Fauna of the Moray Basin, was a Conservative politician, noted author and authority on salmon fishing.Provenance: From the library of Dr Ian Durance Pennie (1916-2002), Scottish physician and ornithologist. Pennie was co-founder and vice-president of the Scottish Ornithologists' Club, and contributed numerous articles to journals including the Scottish Naturalist, British Birds and the SOC's own Scottish Birds. He spent most of his career in Sutherland, serving as the Sutherland correspondent for the SOC's annual Scottish bird report, and was remembered in his obituary as a 'major contributor to Scottish ornithology' (Scottish Birds, 2002, pp. 57-8).
A George VI three-piece silver tea set, Sheffield 1937 by Francis Howard Ltd, comprising a silver teapot of octagonal form with hinged cover, ebony finial and angular handle on spreading stepped foot, a two-handled sugar basin and milk jug all of conforming design, total weight of items 38.49 ozt. (3)
H&R Daniel - Three teapots and covers, and a part servicethe first teapot circa 1830-34, of 'Ribbed Variation B' form, pattern 5229, printed and hand-coloured in colours with a Fence design, unmarked, 16.5cm high; and the second, of 'First Bell or Bath' shape, circa 1834-5, pattern 6161, printed and hand coloured with flower sprays and moulding pick out in green, unmarked, 17.5cm high; and a 'Second Bell' teapot, printed and hand coloured with flowers (all at fault); and a part service, of 'Second Gadroon' form, pattern 4002, decorated with sepia trays, comprising slop basin, 18.5cm diameter; six sideplates, 18.5cm diameter; one plate, 21cm diameter and a further plate 22.5cm diameter (qty)Provenance: The Michael Berthoud Collection.Condition:Imari teapot - Badly crackedFirst Bell or Bath teapot - Numerous body and spout cracks.Part service - 21cm diameter plate with a foot rim chip.
An Edwardian four piece silver tea service Mappin & Webb Ltd, Birmingham, 1912 & 1914, of bellied form, comprising a teapot, hot water jug / coffee pot, milk jug and sugar basin, the teapot measuring 10¼ in. (26cm.) long, weight 51.7 tr.oz. *Overall good, some small pin dents on bellies, some hallmarks slightly rubbed in places.
A George III silver matched three piece tea service The teapot, Alice & George Burrows, London, 1806, sugar basin and jug having gilt interiors by different maker’s, indistinct marks, London, 1806/07, of oval bellied form with reeded decoration, raised on ball feet, teapot measuring 10 5/8in. (27cm.) long, weight 37.4 tr.oz. *Maker’s marks rubbed on jug & basin, very small shallow impressions , good.
A Victorian silver sugar basin Thomas Bradbury & Sons, London, 1899, of twin handle oval baluster form, ornate foliate rim, cartouche inscribed with initials, 6¾in. (17.2cm.) wide; together with a Bailiwick of Guernsey silver ten shilling coin, mounted as a pendant on a silver chain, weight 8.6 tr.oz. (2)
A Wemyss 'Queensberry House' wash set, circa 1895, comprising a chamber pot, two soap dishes with liners and covers, a twin-handled sponge bowl and liner, and a basin and ewer, each painted with the EAW cypher below a coronet set within heart-shaped panels tied with ribbons, impressed marks to undersides (11)the chamber pot 22cm diameterProvenance:Lady Wolverton, Queensberry House, Newmarket, SuffolkSale; Christie's, Queensberry House, May 5 1987, lot 230Sale; Lyon & Turnbull, 26 August 2008, lot 146 (the chamber pot)Sale; Lyon & Turnbull 13 August 2014, lot 6 (basin and ewer)Sale; Lyon & Turnbull, 17 August 2016, lot 23 (the soap dishes), lot 24 (the sponge bowl)Note: All bearing the ‘EAW’ monogram, this lot formed part of an extensive set of Wemyss, gifted to Lady Edith Amelia Wolverton (née Ward), the only daughter of the 1st Earl of Dudley, on her marriage to Frederick Glyn, 4th Baron of Wolverton in 1895.Slight crazing and slight discouration to the interior of the bowl
A good Victorian four piece silver tea set by Frederick Elkington, comprising hot water pot, 23.5cm high, teapot, milk jug and sugar basin, 72 ozt, each oval form with engraved scrolling foliage and other decoration, overall in good condition with no obvious signs of restoration or damage, the milk with slight bend to rim (4) Sold with Ivory Declaration from APHA number RQX6C6SP
Y A matched George V four-piece tea-service Mappin & Webb, Sheffield 1915/16, comprising, a waterpot, teapot, a swing-handled sugar basin and a milk jug, all of hexagonal lobed form, engraved McN to body of each Dimensions:Height of waterpot: 27.5cm, combined weight: 67oz Note: Note:With non-transferable CITES self-certification number:WEWCM1TEPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A matched four-piece tea-service Viners, Sheffield 1931/2, comprising a hot water pot, a teapot milk jug and a sugar basin, all of demi-fluted circular outline, C-scroll handles, each raised on a circular foot; together with a sugar caster, Adie Bros, Birmingham 1927, of panelled baluster outline, the pierced pull off lid with stepped finial, to a hexagonal footDimensions:Height of water pot: 22cm, weight (all in): 42.5oz
A matched George V three-piece tea-service Atkin Brothers, Sheffield 1919/20, comprising a teapot, twin-handled sugar basin and a milk jug, all of panelled oval outline, engraved R to body of each, with C-scroll handles with threaded border, each raised on four ball feetDimensions:Height of teapot: 15cm, combined weight: 38oz
Y A Victorian three-piece tea-service John Dixon & Sons, Sheffield 1870, comprising, a teapot, twin-handled sugar basin and a milk jug, all of lobed outline, engraved floral and foliate decoration throughout, engraved initials to the oval cartouche to one side, vacant to the other, with angular scroll handles to each with ivory inserts to the teapot Dimensions:Height of teapot:15.5cm, combined weight: 56oz Provenance:Provenance: Private Scottish Collection from Moray Note: Note:With non-transferable CITES self-certification number: AWULNHA7 Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A late Victorian matched bachelor’s three-piece tea-service Deakin and Son, Sheffield 1896, comprising teapot, the sugar basin and cream jug, Sheffield 1922, all of oval form demi ribbed; together with a christening mug, Mappin and Webb, 1937, of baluster form, cast scroll handle with a lion motif, the body engraved with monogram and GVIR coronation date and State Coach engraved round baseDimensions:Weight (all in): 33oz
Y A 1930s four-piece tea-service Walker & Hall, Sheffield 1938, comprising a teapot, waterpot, twin-handled sugar basin and a milk jug, all of baluster outline with slightly lobed body, cast shell and foliate rim, S-scroll handles, ivory handles to teapot and waterpot with ivory finials, each raised on a lobed foot Dimensions:Height of waterpot: 20.5cm, weight (all in): 65oz Note: Note:With non-transferable CITES self-certification number:BERTX88APlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Y A Victorian four-piece tea and coffee-service The Barnards, London 1872, comprising a coffee pot, teapot, twin-handled sugar basin and a milk jug, all of pear shape, with engraved scroll and foliate decoration, vacant cartouches to either side of body, plain scroll handles, with ivory inserts to the teapot and coffee pot, the hinged lids with knopped finials Dimensions:Height of coffee pot: 25cm, combined weight: 67oz Provenance:Provenance: Private Scottish Collection from Moray Note: Note:With non-transferable CITES self-certification number:S63WES97 Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Y A George V matched four-piece tea-service Lawson & Co, Glasgow 1916/17, comprising a waterpot, teapot, twin-handled sugar basin and a milk jug, all of oval outline with cast stylised border, foliate clasped handles, ivory inserts to handle of teapot and waterpot, each raised on four foliate clasped feet; together with an associated pair of sugar tongs, Hutton & sons, Sheffield Dimensions:Height of waterpot: 24cm, weight (all in): 63.5oz Note: Note:With non-transferable CITES self-certification number:LNCCADSPPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Y A Victorian four-piece tea and coffee-service Martin, Hall & Co, London 1875, comprising a tall coffee pot, teapot, twin-handled sugar basin and a milk jug, all of tapered urn form, chased scroll border of Regency design, engraved T to oval cartouche, pineapple finial to hinged lids of coffee pot and teapot, acanthus clasped C-scroll handles, with ivory inserts to teapot and coffee pot, each raised on a circular foot with foliate border Dimensions:Height of waterpot: 32cm, combined weight: 80oz Note: Note:With non-transferable CITES self-certification number: R85DCG8PPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Y An early 20th-century American four-piece tea service marked Gorham, Sterling silver, comprising a waterpot, teapot, twin-handled sugar basin with pull-off lid and a milk jug, all of baluster outline with demi-fluted scroll chased work, below chased floral detail, engraved L to centre, the S-scroll handles with ivory insulators to teapot and waterpot, the domed lids with acanthus clasped bud finials, each raised on a circular domed foot Dimensions:Height of waterpot: 29cm Note: Note:With non-transferable CITES self-certification number:JDNRD1AWPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A matched 1930s four-piece tea-service R & W Sorley (of Glasgow), London 1936/7, comprising a waterpot, teapot, twin-handled sugar basin and a milk jug, all of panelled octagonal outline, gothic M engraved to body with an engraved wave border, angular handlesDimensions:Height of waterpot: 19cm, weight (all in): 56.5oz
Y A matched late Victorian three-piece tea-service The Barnards, London 1888/92, comprising a teapot, twin handled sugar basin and a milk jug, all of globular fluted form with a beaded border, engraved floral border to waist with engraved initial F, C-scroll handles, raised on a circular foot; together with an associated milk jug, Elkington & Co, Birmingham 1870 of similar design, lower fluted bulbous body with beaded border to rim Dimensions:Height of teapot: 11cm, combined weight: 30oz Note: Note:With non-transferable CITES self-certification number: X8BEQSMYPlease be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A 1950s four-piece tea-service Adie Brothers Ltd, Birmingham 1958, comprising a waterpot, teapot, twin-handled sugar basin and a milk jug, all of oval outline, with a gadrooned border, angular handles, each raised on four ball feetDimensions:Height of waterpot: 19.5cm, combined weight: 50.5oz
A matched George V five-piece tea and coffee-service Adie Bros, London 1919/20, and Birmingham 1924, comprising waterpot, teapot, twin handled sugar basin, a milk jug and later coffee pot, all with a waisted girdle, cut card scroll detail to the S-scroll handles and spouts, the coffee pot and teapot spouts each modelled as a sea serpent, the domed lids with knopped finials, each raised on a circular footDimensions:Height of waterpot: 26cm, weight (all in): 95oz
Y A late Victorian three-piece tea service Henry Atkin, Sheffield 1893, comprising teapot, twin handled sugar basin and a milk jug, all of oval moulded outline, with a lower gadrooned body, chased floral and foliate decoration, with engraved initials to a central cartouche, vacant cartouche to other side, with C-scroll handles, each raised on four paw bracket feet Dimensions:Height of teapot: 14cm, combined weight: 36.5oz Note: Note:With non-transferable CITES self-certification number: 96WUUTK4Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A 1930s three-piece tea-service Viners, Sheffield 1932, comprising a teapot, twin-handled sugar basin, and a milk jug, all of bulbous circular outline with a foliate border to the rim, presentation engraving to the teapot, each raised on four bracket feetDimensions:Height of teapot: 14.5cm, weight (all in): 31.4oz
Loading...-
23406 item(s)/page