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Lot 3179
Seven modern Steiff teddy bears comprising two limited edition '1908 Paul the Growler' bears Nos.1124/3000 and 1310/3000; 028649 Classic Teddybear 23; 005992 Classic Teddybear 28 (black); 071249 Mungo Meerkat 30; 079139 Reclining dog for American Kennel Club; and 029561 Petsy gespitzt (1928) 16cm; together with a Mrs. McCatty's limited edition 2156 Sophie bear No.1557/1750; all unboxed but most with labels (8)Condition Report: All in reasonably good condition consistent with age, use and being unboxed.Dog lacking lacking card label.
Lot 3182
Steiff teddy bear with golden plush body, revolving head, applied eyes, vertically stitched nose and mouth and jointed limbs; button to left ear H26cm; and two other Steiff teddy bears, each with open mouth and button with tag to left ear (3)Condition Report: Golden plush in good condition.Other two more loved and a little grubby. Lighter coloured one lacking eyes.
Lot 3183
Steiff 'The Millenium Bear' in mohair, exclusively for Danbury Mint with golden pendant and card label H32 cm; another modern Steiff teddy bear as a seated panda with cub; and boxed Gund Barton's Creek Collection 'Lavender N' Lace' teddy bear with card label (3)Condition Report: All in good condition.Both Steiff bears a little grubby from being unboxed.
Lot 3184
Deans Rag Book Mickey Mouse soft toy, circa 1930's, black velveteen head and body, with cream face and hands, red shorts and yellow felt shoes with leather soles, marked Reg. No. 750811 to neck H20cm; mid-20th century woodwool filled plush covered teddy bear with revolving head, applied eyes, vertically stitched nose and mouth and jointed limbs H52cm; soft toy figure of Rupert Bear; and Japanese clockwork tin-plate and plush covered mechanical toy of a gnome riding a donkey (4)Condition Report: Mickey - playworn and grubby with moth damage to shoes, hole in left ear and damage to one finger.Teddy bear - well loved and grubby with bald patches.Rupert - sound but a little grubby from storage.Japanese - does wind-up and run and in reasonable condition for age.
Lot 3187
Modern Steiff teddy bear - The Millenium Bear No.34709 with golden pendant H32cm; in original box with paperwork; together with a Steiff ball-point pen in case sent to the vendor as compensation for a delay in receiving the bear.Condition Report: Bear in good condition.Box with all over mottled storage staining.
Lot 3190
Three modern Steiff teddy bears - limited edition 'Teddy Bear 2003' No.3016/4000 H36cm; in original box with paperwork; 'Classic 1906 Teddy Bear' H51cm; and 'Classic 1920 Teddy Bear' H25cm; both with labels but unboxed (3)Condition Report:All in good condition but a little grubby from minor loving and open storage.
Lot 3198
Two Steiff plush covered teddy bears, each with button and label in ear H35cm; Steiff plush covered reclining dog with open mouth; another teddy bear dressed as a doctor; and an English teddy bear (5)Condition Report: Steiff teddies in reasonable condition consistent with age and use.Steiff dog in reasonable condition but lacking eyes and ear button.Dr. Teddy - good condition.English teddy - well loved and quite grubby.
Lot 52
A pair of Clarice Cliff Coral Firs pattern, hand painted pottery cube form candle holders, pattern number 658, bear Clarice Cliff Bizarre factory back stamps to base, 6cm square Condition: very small chip to foot rim of one, some scratches and paint loss Overall cannot see any major cracks, chips, or restoration, the collection was made over time from the NEC “Antiques for Everyone Fair”, so all would have been vetted and of a standard.
Lot 53
A pair of Clarice Cliff Coral Firs pattern hand painted pottery cube form candle holders, pattern number 658, bear Clarice Cliff Bizarre factory back stamps to base, 6cm square Condition: Blemishes and minor paint losses Overall cannot see any major cracks, chips, or restoration, the collection was made over time from the NEC “Antiques for Everyone Fair”, so all would have been vetted and of a standard.
Lot 128
ASSORTED ROYAL CROWN DERBY & ROYAL WORCESTER CABINET CHINA, including 1128 pattern Imari jar & cover, 1927 pattern pill box & cover, Teddy Bear, Duckling paperweight, and 3262 figure 'Saturday's child works hard for a living' (5)Provenance: private collection South WalesComments: very good all around.
Lot 256
TAKAHASHI HOUN: AN IMPORTANT WOOD NETSUKE OF A MYTHICAL ELEPHANTBy Takahashi Houn (Hogen Houn, 1810-1854), signed Houn 鳳雲Japan, c. 1850, Edo period (1615-1868)Published:Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 5327 and illustrated on pl. LXIX.Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 211, no. 891.Bandini (1977) Values and Record prices, Part II in Journal of the International Netsuke Collectors' Society, 5 /3, p. 20, listed as joint 5th most expensive netsuke at auction in that year.Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 200.La Gazette Drouot, no. 21, 27 May 2011 p. 177.D. Wright's report of the Wrangham sale in International Netsuke Society Journal, 31/2, p. 35, discussed and illustrated.G. Wilhelm's report of the same in Bulletin Association Franco-Japonaise, no. 110, pages unnumbered, discussed and illustrated.Exhibited:Ashmolean Museum, Oxford, Inro. An exhibition of Japanese Inro from the collection of E.A. Wrangham, October-November 1972, no. 34.Finely carved, the elephant-like animal reclining with its head turned back, the movement producing folds throughout the body and neck, the mouth slightly opened smiling benevolently, with large wrinkly ears and trunk, the trunk curling around one of the long tusks which rest against the mythical animal's body, forming a compact composition. The underside with generously excavated himotoshi and the signature in Tensho characters HOUN.Takahashi Houn was a pupil of Kokei (lot no. 186) and worked in Edo (Tokyo), where he was awarded the title Hogen for his carving of Buddhist images. He was highly respected during his lifetime, carving the 500 Rakan (fig.1.) for the Kamakura temple. Furthermore, he was the master of Takamura Toun, a highly respected carver of Buddhist wood figures and master of the celebrated artist Takamura Koun (1852-1934), for an example of the latter's work see fig. 2.Only very few netsuke are recorded by Takahashi Houn and this is the only illustrated netsuke by the carver in literature. The reason is likely that he focused his attention on carving larger scale Buddhist images commissioned by various temples. The unique treatment of material and subject clearly show the roots of this celebrated carver, the present carving really being more a Buddhist sculpture rather than a netsuke, akin to the highest-level Kamakura carvings, though in miniature form.LENGTH 4.7 cmCondition: Very good condition, few light surface scratches.Provenance Ex-collection W. L. Behrens (1861-1913). Sold at Glendining's, London, 1-8 December 1913. Glendining's, London, November 1931. Anonymous sale, Sotheby's London, 11 January 1965, lot 93, purchased by Edward A. Wrangham. Sold at the latter's second sale, Bonhams London, 10 May 2011, lot 90 (sold for GBP 19,200). French private collection, acquired from the above reputedly in competition with Edward 'Ned' Johnson III.The elephant-like mythical being depicted in this netsuke is by no means an ordinary elephant, but rather a religious creature frequently depicted in early Buddhist art or a baku (nightmare-devouring creature). The wrinkly body and trunk, long tusks, and smiling attitude bear an uncanny resemblance to the famous imaginary elephants (sozo-no-zo) from the Nikko Tosho-gu. This type of elephant was also frequently depicted in Buddhist art as the familiar of Fugen Bosatsu or on various architectural elements depicting baku.Museum comparison:Compare a related wood figure of The Eleven-Headed Kannon, by Takahashi Houn, in the collection of the Ashmolean Museum.
Lot 302
HAKUHAKUSAI: AN AMUSING WALRUS TUSK RYUSA MANJU NETSUKE DEPICTING A STRETCHING DARUMABy Hakuhakusai, signed Hakuhakusai 白々斎Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, partly carved in openwork, poking fun at a yawning and stretching Daruma in front of iron bars – an allusion to a brothel window. The face is finely detailed with incised facial hair, hooped earrings, and sumi-stained chest hair. The reverse with an inscribed poem, 'Momo kuri sannen kaki hachinen, Daruma wa kyunen narikaneru' 桃栗三年柿八歳、達磨ハ九年成兼る ('Planted peach and chestnut trees take three years to bear fruit, persimmons take eight, and it took Daruma nine years [of facing the wall and meditating] to achieve enlightenment'). This humorous depiction of Daruma satirizes the enlightenment he achieved. The reverse with a single himotoshi, the cord attachment within. Signed on the back, HAKUHAKUSAI. The stained ivory has a rich yellow with a deep, honey-yellow hue.DIAMETER 3.8 cmCondition: Good condition with minor wear, some nibbling to the interior rim.Provenance: Tamenne Gallery, Brussels, 24 May 1968. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 302
Two Modern Steiff Cherished Teddy Bears comprising Chelsea teddy bear and lamb on wheeled base, certificate and box,and Other Bears including Daisy jointed bear with straw bonnet, certificate and box, Christopher with patchwork heart and Benji seated teddy bear with honey pot and bee, all with certificates and boxes, Steiff cosy year teddy bear in brown, (in four Steiff boxes - 5 bears)
Lot 32
GREY POTTERY GRANARY JAR HAN DYNASTY 漢 弦紋熊足灰陶倉 decorated with four sets of triple ribs on the cylindrical body, supported on three bear-form feet, the bears moulded in minute detail with bulging eyes, full mane and an upper limb holding an object towards the mouth Dimensions:29cm high Provenance:Provenance: Sotheby's, 1984. Previously in the S.C. Coles Collection (according to collector's inventory). The base with two labels indicating it was exhibited in the Oriental Ceramic Society, 1963, no. 32.Dr. Kenneth P. Lawley's inventory number: Cer.98. Note: Note: A larger comparable pottery granary jar, Han dynasty, with more stylised rendition of bear-feet, is illustrated in Ben Janssens Oriental Art, 2010, p. 15. Also compare to a granary jar with a pale green glaze, formerly in the Charles B. Hoyt collection, now in the Museum of Fine Arts in Boston, accession no. 50.1843, illustrated in The Charles B. Hoyt Collection: Memorial Exhibition, Boston: Museum of Fine Arts, 1952, pl. 26.Please note this lot will be offered with no reserve. 本拍品不設底價
Lot 11
Charming painted figure of a young girl pushing a carriage with her teddy bear in it. In hues of earthy orange, pink, tan and brown. Anri metal logo emblem affixed to base. Design Valentine backstamp. Sarah Kay engraved to back of base. Signed on bottom. Dimensions: 4.75"L x 2.75"W x 6.5"HEdition Number: 664/4000 Manufacturer: AnriCountry of Origin: ItalyCondition: Age related wear.
Lot 13
Charming painted figure of a young girl in her nightdress holding her doll and teddy bear. In hues of earthy yellow, orange, tan and brown. Anri metal logo emblem affixed to base. Design Valentine backstamp. Sarah Kay engraved to back of base. Dimensions: 4"L x 3.5"W x 6.75"HEdition Number: 749/4000 Manufacturer: AnriCountry of Origin: ItalyCondition: Age related wear.
Lot 228
Both of these adorable bears are made from clear faceted crystal and comes with expressive jet-black button eyes. The larger bear has his arms closer together and the smaller bear has his farther apart. The Larger piece measures 1.75"L x 1.75"W x 2.5"H. Swarovski etched backstamp. Artist: Max SchreckIssued: 20th centuryManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 229
Both of these adorable bears are made from clear faceted crystal and comes with expressive jet-black button eyes. The larger bear has his arms far apart and the smaller bear has his closer together. The Larger piece measures 1.75"L x 1.5"W x 2.75"H. Swarovski etched backstamp. Artist: Max SchreckIssued: c. 1981Manufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 231
These three little adorable bears are made from clear faceted crystal and come with expressive jet-black button eyes. The larger bear has his arms far apart and the smaller bears have theirs closer together. The Larger piece measures 1.5"L x 1.5"W x 1.75"H. Swarovski etched backstamp. Artist: Max SchreckIssued: 20th centuryManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 62
Eugeniusz Zak (Polish, 1884-1926)A Young Man in Profile signed 'Eug. Zak' (upper left)mixed media on paper46.0 x 37.5 cm (18 1/8 x 14 3/4 in).framed 52.5 x 43.75 x 3.5 cm (20 2/3 x 17 1/5 x 1 2/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. During the following period he painted several works depicting the same sitter in the same position. One of these is the well-known Young Acrobat, 1919 (sold at Skinner Boston in 2017 and previously exhibited at Towarzystwo Zachety Sztuk Pieknych, Warsaw), which bears many similarities to the present painting. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso's Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani's works. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com
Lot 60
Eugeniusz Zak (Polish, 1884-1926)A Young Man in Profile signed 'Eug. Zak' (upper right)oil on canvas mounted on paperboard53.0 x 37.0 cm (20 7/8 x 14 9/16 in).framed 41.0 x 57.0 x 3.0 cm (16 1/8 x 22 3/8 x 1 1/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. During the following period he painted several works depicting the same sitter in the same position. One of these is the well-known Young Acrobat, 1919 (sold at Skinner Boston in 2017 and previously exhibited at Towarzystwo Zachety Sztuk Pieknych, Warsaw), which bears many similarities to the present painting. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso's Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani's works. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com
Lot 56
Eugeniusz Zak (Polish, 1884-1926)A Man with a Cravatunsigned; collections label from Zbioryz T Rudnickich (affixed to the backing board) graphite on paper 31.0 x 25.0 cm (12 3/16 x 9 13/16 in).framed 43.0 x 34.5 x 2.0 cm (16 11/12 x 13 3/5 x 4/5 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com
Lot 46
Eugeniusz Zak (Polish, 1884-1926)The Lovers signed 'Eug. Zak' (lower right)tempera and pastel on paper44.0 x 36.5 cm (17 5/16 x 14 3/8 in).framed 46.0 x 53.0 x 3.0 cm (18 1/8 x 20 3/4 x 1 1/4 in).Footnotes:ProvenanceVladimir Raykis, Galerie Zak, Paris. Alfred Tarski, Berkeley, California (acquired from the previous September 17, 1958).Estate of Eva Kristina Ehrenfeucht (by family descent from the previous).N.B.Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under Jean-Léon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland. Often associated with the group of early twentieth-century artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak's stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak's works maintained the nostalgic and melancholic tone he had adopted during the war.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com
Lot 183
TATEBAYASHI KAGEI (ACTIVE MID-18TH CENTURY)Hen and Rooster Edo period (1615-1868), mid-18th centuryNifukutsui pair of kakejiku (hanging scrolls), ink and colours on silk in silk mounts, depicting a hen (right) and rooster (left), sealed at right and left respectively Hoshuku (see below) and Taisei no in (Seal of Taisei); with wood tomobako storage box inscribed Niwatori no zu nifukutsui Kingyuzon Taisei Kakei hitsu (Pair of scrolls of chickens brushed by Kingyuzon Taisei Kakei), signed inside Koson Mitsunobu ki (Recorded by Koson Mitsunobu) and sealed Mitsunobu Hogen. Overall: 181cm x 58cm (71¼in x 22 7/8in); image: 94.2cm x 40.2cm (37 1/8in x 15 7/8in). (3).Footnotes:Originally a physician in the service of the Lord of Kaga Province, Tatebayashi Kagei, who used a wide range of names during his career as a painter, is said to have been a pupil of either or both of the famous brothers Ogata Kenzan (1663-1743) and Ogata Korin (1658-1716)—inheriting the latter's name as Korin Sansei (Korin III)—and to have been chiefly active during the Horeki era (1751-1764). Both scrolls in the present lot bear two seals: the first Hoshuku, originally used by Korin himself, and Taisei, one of Kakei's many names. The storage box accompanying this pair is signed by Ikeda Koson (1803-1868), a leading pupil of Sakai Hoitsu (1761-1829), who revived Korin's style in the early nineteenth century.For fresh research into Kakei, see Yasuda Atsuo, 'Edo jidai ni okeru Korin imeji no hensen ni tsuite (On the Changing Image of Korin in the Edo Period,' part 2, no. 4., Aichi Kyoiku Daigaku kenkyu hokoku, 63 (March 2014), pp.17-26, accessible at core.ac.uk/download/pdf/147574295.pdf.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
A FINE FAMILLE VERTE 'KUI XING' BRUSHPOT, BITONGKangxiThe cylindrical vessel with straight sides finely enamelled around the exterior with a continuous scene of Kui Xing holding a brush and a musical chime riding the mythical ao (fish-dragon) amidst crashing waves and rocks, his scarves billowing in the wind, along with a square dou measure, the reverse with a sixteen-character inscription and red and gilt seal reading 'Mu Shiju'. 14cm (5 1/2in) high.Footnotes:清康熙 五彩魁星點斗詩文筆筒「木石居」款Provenance: a Danish private collectionS.Marchant & Son, London, 9 May 2014Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.242-243, fig.PB 96. 來源：丹麥私人收藏倫敦古董商S.Marchant & Son，2014年5月9日展覽著錄：S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第242-243，插圖PB 96Identified by the writing brush held in his raised hand and his iconic 'back-kick' posture, Kui Xing 魁星 ('Chief Star') is a Daoist deity worshipped to obtain academic success. It would therefore, have been extremely auspicious for a scholar to have his items decorated with this figure, to inspire him in his writing and achieve examination success. The ladle or 'dipper' (as Kui Xing is also associated with the North Star) is depicted on the present lot in the form of a square vessel. Kui Xing is often portrayed with a demonic appearance, a hideous face, a horn-like protuberance on his head, and a sinewy body. According to legend, he was once a mortal scholar with outstanding literary skills but was repeatedly failed in the civil service examinations due to his repulsive appearance. Out of frustration and humiliation, Kui Xing threw himself into a river, where he was saved by a mythical monster called an ao. He then ascended to the Big Dipper and became the stellar patron of the literati and the God of Literature. To dream of Kui Xing before an exam was considered very auspicious. The inscription reads:雲路那堪雙著腳，月殿爭看獨點頭。繡園Which could be translated as:The cloud road could not bear people who stand with two feet.People in the Moon Palace rushed to see the only person whose head was touched [by the brush of Kui Xing]. Xiu Yuan Compare with a very similar famille verte brushpot, early 18th century, in the Groninger Museum, Holland, illustrated by J.A.Jorg, Famille Verte Chinese Porcelain in Green Enamels, Lier, 2011, p.89, no.90.See also a related famille verte 'Kui Xing' brushpot, Kangxi, which was sold at Sotheby's New York, 20 March 2018, lot 371.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 13
A DOCUMENTARY BLANC-DE-CHINE BRUSHPOT, BITONGSigned Lin Yanyang, cyclically dated to the Renzi year corresponding to 1672 and of the periodThe vessel of gently tapering form with recessed base and unglazed foot rim, incised around the exterior with an inscription in cao shu, with signature, covered in a creamy-white glaze extending to the interior. 11.6cm (4 1/2in) high. Footnotes:1672年 德化白釉詩文筆筒Provenance: a French private collectionS.Marchant & Son, London, 24 November 2006Published, Illustrated and Exhibited: S.Marchant & Son, Blanc de Chine, London, 2006, no.81a.S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.180-181來源：法國私人收藏S.Marchant & Son，倫敦，2006年11月24日展覽著錄： S.Marchant & Son，《德化白瓷》，倫敦，2006年，編號81aS.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第180-181頁The inscription around the exterior of the brushpot notes the last three lines from the short essay Recording the Night Tour to Chengtian Temple (記承天寺夜遊), by the famous Song dynasty literatus Su Shi (1036-1101):何夜無月？何處無竹柏？但少閒人如吾兩人者耳。Which may be translated as:What night is without the moon? Where is there no bamboo and cypress? But there are few idlers like the two of us.According to Su Shi, one night in 1083, he was unable to sleep, so took a walk to Chengtian temple to find his friend Zhang Huaimin who also was awake. They thus took a walk together in the courtyard. The short essay captures the essence of friendship, so valued by the literati. Friendship, as one of the 'Five Human Relationships' (五伦) according to Confucianism (which included husband and wife; children and parents; elder and younger brothers; ruler and subject), was the least constrained by some sort of hierarchy and freely chosen. Dated blanc de-Chine brushpot are rare. P.J.Donnelly discusses blanc de Chine brushpots as follows: 'they are found in two main forms, solid-walled and reticulated. Among the earliest are the plain ones rather like tumblers, tapering slightly from the mouth. These are often of high quality and often bear inscriptions in grass script'; see P.J.Donnelly, Blanc de Chine, London, 1969, p.119. Compare with a similar inscribed blanc de Chine brushpot, late Ming/early Qing dynasty, illustrated in Dehua Wares Collected by the Palace Museum II, Beijing, 2016, pp.522-523, no.239.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 284
Cudeman knife in original box with black leather sheath, Unopened DSL 21 in 1 stainless steel pocket knife with belt pouch, red multi-tool pocket knife in black carry pouch, 'For Honest Fisherman/For Dishonest Fisherman' ruler knife, Franklin Mint Knightstone Collections knife and a Franklin Mint collectors knife with Bear imagery to handle (6)
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