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Lot 425
§ Prunella Clough (1919-1999) Hazy Daysigned 'Clough' (lower right)watercolour and gouache collage19 x 20cmProvenance:With Bear Lane Gallery Ltd., where acquired in November 1971Not examined out of the frame. Artist appears to have pasted the paper support down to a secondary support upon which is the signature. Clough has cut trimmed the paper unevenly in places, though this is intrinsic to the work and not the result of any damage. At the top of the image there are some discreet brown marks from the adhesive where the sheet has been pasted to the secondary support. Overall in nice condition.
Lot 263
A small collection of Royal Crown Derby Imari paperweightsto include 3 owls a Daybreak Owl, Nightingale Owl and one other, a teddy bear and a Willow Tit. The day break Owl has a silver stopper, the rest have a gold stopperVarious dates to the base, all appear in good condition.Tallest Owl 13cm high.
Lot 4248
Pelzmütze für Unteroffiziere im 1. Leib-Husaren-Regiment Nr. 1 Eigentumsstück aus einem Geflecht von spanisch Rohr mit schwarzem Fellbezug, das helle Schweißleder mit cremefarbenem Seidenripps. Versilberter Totenkopf und Vaterlandsbandeau, gewölbte goldene Schuppenkette an Steckrosetten, Offizierskokarden, schwarz-silbernes Feldzeichen in Offiziersausführung, roter Kolpak mit weißem Seidenfutter, silberne Fangschnur mit schwarzen Durchzügen. Größe ca. 55.USA-Los – weitere Infos hier 1st Death Head Hussar regiment Busby for NCO Black bear fur body. Silver NCO front plate skull with crossbones and bandeau with motto attached by one splint. Gilt convex chin scales with rosette side posts. Officer National kockarde with Prussian Black and Silver field badge. Red kolpak (bag) with white silk lining. Silver with black fleck bullion cords (contemporary). Tan leather sweatband, light tan silk lining. Size ca. 55 cm.USA lot - more info here
Lot 2252
2 Bären-Plastiken. Ungemarkt. 20. Jh. Eisbär auf Sockel, mit heller Laufglasur, Sockel restauriert und fein rissig (H 17,5 cm). Braunbär aus rotem Ton, unglasiert (H 19,5 cm). 2 bear sculptures. Unmarket. 20th c. Polar bear on base, with light running glaze, base restored and finely cracked (h 17,5 cm). Brown bear made of red clay, unglazed (h 19,5 cm). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 2122
Jugendstil-Tierfigur Bär. Bing & Gröndahl. Blaumarke und Stempelmarke. Modell-Nr. 2213. Polychrome Unterglasurbemalung. H 11 cm. Stehender Braunbär. Art Nouveau animal figure bear. Bing & Gröndahl. Blue mark and stamp mark. Model no. 2213. Polychrome underglaze painting. H 11 cm. Standing brown bear. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 120
Follower of VICENTE MARIANI I TODOLÍ (Valencia, 1765 - Madrid, 1819)."Ponte Veccio, Florence.Oil on copper.Size: 29,5 x 46 cm; 134 x 71 cm (frame).Vicente Mariani y Todolí (Valencia, 1765 - Madrid, 1819) was a Spanish intaglio engraver.Descended from an Italian family who settled in Spain, it seems likely that he began his studies at the Royal Academy of San Carlos in Valencia, although he soon moved on to the Academy of San Fernando in Madrid, where he was already enrolled in 1784. Under the protection of the Count of Fernán Núñez, Spain's ambassador in Paris, who made him his draughtsman and amanuensis, he was able to travel to the French capital in 1787, where he continued his studies with Jean Pillement. Some of the original landscape drawings in the Biblioteca Nacional de España and the Museo del Prado bear witness to this influence.On returning to Spain with the appointment of academician of merit he was involved in some of the projects promoted by the Royal Printing Works and the National Chalcography, such as the collection of Portraits of Illustrious Spaniards, in which he painted the portrait of Andrés Laguna, based on a drawing by José Maea, and the unfinished Views of Spanish Ports, for which he signed the views of the ports of Seville and Luarca (1795-1796). In December 1797 he joined the large group of engravers responsible for translating into print the drawings and observations of the flora of Peru and Chile obtained by the botanical expedition led by Hipólito Ruiz and José Pavón, a costly publishing project of which three volumes were published between 1798 and 1802 under the title Flora Peruviana et Chilensis, sive descriptiones et icones plantarum Peruvianarum, et Chilensium.... although his contribution to the project was reduced to one plate.He engraved a complete Apostolate on a drawing by Raphael Sanzio consisting of fourteen plates (the twelve apostles, the Saviour of the World and Saint Paul) for which he received 2,800 reals from the Royal Chalcography, which acquired the plates in 1799, and on behalf of the Company for the Engraving of the Paintings of the Royal Collections set up in 1789, he engraved a Virgin and Child by Murillo on a drawing by José Beratón. In 1818 the Royal Chalcography also bought two plates of Saint Michael and the Holy Cross from him for 1500 reales each.A member of the Academy of San Carlos in 1806 and chamber engraver, from July 1818 until his death the following year he held the post of caretaker of the Royal Gallery of Paintings, the origin of what would later become the Museo Nacional del Prado.
Lot 268
A collection of gold and silver jewellery,to include a 9ct white gold engraved wedding ring, Birmingham 1970, a 9ct gold spinel eternity ring, Birmingham 1965, a 9ct gold back and front heart locket, a sterling silver gilt Royal Antediluvian Order of Buffalos brooch, a sterling silver machine engraved christening bangle, a quantity of assorted silver chains, rings, pendants, bracelets, tested as approximately silver, etc., together with an assortment of base metal chains and pendants, etc. (qty)Finger size LE L½, approximately L¼9ct gold - 7.39g total, Silver - 99.00g totalCondition ReportSpinel eternity ring worn. Oval in shape, finger size is approximate.Marks/scratches to surfaces.Tarnish.As found.Some of the base metal chains and items of costume jewellery bear spurious marks and stampings - ignore marks.
Lot 3133
Voller Feldharnisch mit offener Sturmhaube, deutsch, um 1570 Große Sturmhaube, die einteilig geschlagene schwere Kalotte mit hohem, geschnürltem Kamm. Gegrateter Augenschim mit fein gebördeltem und geschnürltem Rand, seitlich geschlagene Arsenalmarkierung (drei Punkte). Große scharniergelagerte Wangenklappen mit je acht Gehörlochungen und fein gebördeltem und geschnürltem Rand. Angenieteter Nackenschirm. Im Scharnier zu öffnender Kragen mit gegrateter Vorderplatte. Der beweglich geschobene Halsreif mit kräftigem geschnürlten Brechrand. Gegratete Brustplatte mit kräftigem Tapul und nach innen geschlagenen Brechrändern. Anhängend zwei beweglich geschobene Bauchreifen mit vierfach geschobenen Tassetten. Mittig Lochung für die fehlende Schamberge. Rückenplatte mit beweglich geschobenem Gesäßreif und gebördelten und geschnürlten Rändern. Großes Armzeug mit vollen, sechsfach geschobenen Schultern. Volle Oberarmröhren mit geschlossenen Meuseln, im Scharnier zu öffnende Unterarmröhren. Gegratete Panzerhandschuhe mit vierfach geschobenen Handrücken und kräftig geschnürlten Knöchelrippen. Anhängend intakte Daumen- und Fingerschuppen. Spitz zulaufende Stulpen mit gebördelten und geschnürlten Rändern. Volles Beinzeug, die gegrateten Oberdiechlinge mit fein gebördelten und geschnürlten Rändern. Kräftig gegratete, vierfach geschobene Kniebuckel mit seitlichen Flügeln. Im Scharnier zu öffnende gegratete Unterdiechlinge mit sechsfach geschobenen Kuhmaulschuhen. Das Innere vieler Teile alt mit Mennige ausgestrichen. Belederung teils erneuert, vereinzelt defekt. Höhe ca. 178 cm.Feldharnisch in guter, schwerer Qualität. Formschön aus alten Teilen mit voll homogenem Arm- und Beinzeug zusammengestellt. Durch Reinigung und Restaurierung gut zu verbessern. A full suit of German field armour with burgonet, circa 1570 Large burgonet, the heavy, one-piece hammered skull rising to a tall, roped comb. Ridged peak with finely turned and roped edge, arsenal mark (three dots) struck on the side. Large hinged cheek-pieces pierced with eight holes each and finely turned and roped edges. Riveted neckguard. Hinged gorget with ridged front plate. The movable lame with robust, roped flange. Ridged breastplate with medial ridge distinctly drawn-out at the front. Attached two movable faulds with tassets of four lames. In the centre a recess for the codpiece. Backplate with movable culet and turned and roped edges. Large arm defences with six-lame pauldrons. Full rerebraces with closed couters, hinged vambraces. Ridged gauntlets with metacarpi sliding on four lames and distinctly roped knuckles. Attached intact finger scales and thumb plates. Pointed cuffs with turned and roped edges. Complete leg harness, the ridged cuisses with finely turned and roped edges. Robustly ridged, four-lame poleyns with lateral fans. Hinged ridged greaves with six-lame bear-paw sabatons. The interior of several parts coated with old minium paint. Leather partially replaced, defective in some places. Height ca. 178 cm.A suit of field armour of good, heavy quality. Elegantly composed of old parts with fully homogeneous arm and leg defences. Can be improved through cleaning and restoration.
Lot 125
Leslie Arthur Wilcox (British, 1904-1982)Jeannette, Trafalgar 1805 signed and dated 'LAWILCOX 70' (on Jeannette's raft lower centre)oil on canvas122.9 x 194cm (48 3/8 x 76 3/8in).Footnotes:ProvenanceWith Fortnum & Mason Ltd.This large work 'Jeannette, Trafalgar 1805' was painted for the RSMA Jubilee Exhibition at Guildhall, London. Mr Garfield Weston purchased the work, and for many years it hung in Fortnum and Mason's store, Piccadilly.During the battle of Trafalgar numerous boats went out to collect possible survivors. It was the crew of HMS Pickle who came across a female amidst the wreckage. William Robinson, also known as Jack Nastyface, who volunteered for the navel service in 1805 and wrote the following;'Among those who were thus preserved from a watery grave was a young Frenchwoman who was brought aboard our ship in a state of complete nakedness. Although it was in the heat of battle, yet she received every assistance which was at that time in our power; and her distress of mind was soothed as well as we could; until the officers got to their chests, from whence they furnished her with needles and thread to convert sheets into chemises and curtains from their cots to make somewhat of a gown and other garments so that by degrees she was made as comfortable as circumstances would admit; for we all tried who would be most kind to her'. The young woman was a survivor of the French 74 gun Achille and was the wife of one of that ship's crew who could not bear to be separated from him when he was ordered to sea. Disguising herself as a boy, she had entered the ship with him and had served at his side until she was told that he had been killed during the battle. Her reaction to his apparent death gave her away.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 43
Attributed to Francis Swaine (London circa 1720-1782)Thames shipping, a pair both bear a title and signature 'F Swaine' (on label attached to the reverse)pen, ink and washeach 27 x 36.2cm (10 5/8 x 14 1/4in). (2)Footnotes:ProvenanceJonathan Janson, UK.In the first drawing, a tall church spire is apparently St. Brides, Fleet Street. There is a small cutter-rigged hoy on the far left, a Thames peter boat fishing at 5 o'clock below it and a rowed lighter carrying sawn planks in the foreground. There is a City of London barge leading a larger barge in the centre of the composition, the latter with an unreadable design on the flag astern.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing clearly relates to both the right side of Plate 42, the third of five (Plates 40-44) comprising the Buck panorama of London from Westminster Bridge to the Tower, and the left side of Plate 43: the Buck version has moved the barges and lighter further west (left) from the drawing and they are on Plate 42, with the second barge - rather than the stern of the first - centred squarely in front of St Bride's (no. 47 in the Buck key), and the 'Fleet Ditch' (no. 49, with the small bridge over it) shifted to the left edge of Plate 43 in front of the square tower of St Sepulchre's (no. 50, but of which there is barely a trace on the drawing). The wide stairs off a square to the right of the Fleet are Blackfriars Stairs (no. 51).Plate 42's inscription says the view (from the south side of the river) was taken 'from Mr Everard's summer-House opposite to St Bride's Church' and that Plate 43 was from 'the West part of the Leads of St Mary Overy's church in Southwark' (i.e. Southwark Cathedral today)In the second drawing, there is an upstream barge at the riverfront in the background and a small four-oared and cabined barge at left of the sort used for official purposes such as the Navy Board and other government offices. There are lots of passenger wherries shown with pairs of oars and a typical Thames jetty (or 'bridge') of the grander sort, with stairs at the end, from which they operated before the river was embanked.In Ralph Hyde's A Prospect of Britain: the town panoramas of Samuel and Nathaniel Buck (London, 1994), this drawing is a coherent single study for the right side of Plate 43 and shows the view east of St Paul's. On the very left edge there is just the ghost of the spires of St Austin's (no. 65 in the Buck key) and Christ Church (no. 66) right up against the east end of St Paul's. St Mildred's (no. 67) and St James Garlickhythe (no. 68), also close together, are the first two spires more clearly visible to the right. The last relatively low steeple at far right (as in the print) is St Michael's Bassingshaw (no. 82). The 'bridge' jetty ending in stairs end seen on the drawing is identified on the prints as Steelyard Stairs (no. 76, on the site of Cannon Street Station today), with the three churches immediately behind being St Mary Aldermary (no. 73, square tower with pinnacle corners), St Michael, Colarts Hill (no. 74, spire) and the tallest spire that of St Mary-le-Bow (no. 75).Most of the vessels shown in the drawings reappear in the prints; slightly bigger or smaller, repositioned, with slight differences of detail but generally recognisable. All the Buck London panorama plates bear the same imprint date of 11 September 1749. It is a credible hypothesis that the pencilling of the background may be something Samuel Buck provided and asked Swaine (if it was Swaine) to supply the shipping taken from the same two viewpoints. The changes in the prints - of scale, slight detail, and positioning - would then have been those effected in transfer-copying by others, with the drawings generally more convincing as by someone who knew what they were doing in nautical terms. If Swaine did it, it would have been when he was in his early to mid-20s for things printed in 1749.We would like to thank Dr. Pieter van der Merwe for his help in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 132
A group of twenty-eight watercolours of tradespeople, servants, bearers and other figures, some inspired by works by John Gantz and Balthazar Solvyns Company School, South India, circa 1830-40watercolours on watermarked paper, removed from the original album and laid down on to modern card, original handwritten English inscriptions also excised and laid down on the same card, loosely tipped into modern album the smallest 120 x 90 mm.; the largest 200 x 285 mm.; original album 287 x 230 mm.; modern album 29.5 x 38 cm.Footnotes:ProvenanceFrom an album formerly in the collection of Lord Bath, Longleat (two paintings bear the impressed seal marks BATH/THYNNE, and an image of a crown (nos. 6 and 11 below).Private UK collection.The subjects of the paintings are as follows:1. Basket makers (watermark J Green & Son 1832).2. A carriage drawn by bullocks (watermark J Green & Son 1832).3. Bhishtis, 'or water carriers, who sell that article' (watermark J Green & Son 1832).4. The state carriage of the Rajah of Tanjore, drawn by elephants.5. A Parsee, 'an intelligent class of native, chiefly devoted to commerce. They were originally from Persia, and are fire-worshippers'.6. Toddy-wallahs, 'or men who climb Coca-nut trees to obtain the juice therefrom called Toddy when slightly fermented'.7. The fort on the rock at Trichinopoly.8. A fakir: 'A wretched fanatic, who has taken a vow that he will never remove his arm from its present position. Taken from nature'.9. A hookah bearer, 'a native servant whose exclusive duty is to attend to his master's hookah' (watermarked Whatman/Turkey Mill).10. Palanquin bearers 'in the act of travelling'.11. 'Natives halting with their bullock carts, under a Banyan tree, to take their meal'.12. Two men with a large pestle and mortar, turned by oxen, 'mode of expressing oil from coca-nuts'.13. Men drawing water from tanks: 'A tank, or reservoir of water, with mode of drawing the latter from it. These tanks are used for irrigation' (watermark J Green & Son 1832).14. A sepoy.15. A mendicant, or perhaps a seller of cloth (no inscription).16. A moonshee, 'or native teacher of languages', holding a book (watermark J Green & Son 1832).17. A sepoy cavalry trooper, on his mount.18. An Indian officer on horseback, 'not of the Company's service'.19. A Moty-boy [?], 'a native servant in the act of waiting at dinner'.20. A moonshee, seated in a chair with a book (watermark J Green & Son 1832).21. An Indian merchant, perhaps a seller of cloth, or beads (no inscription).22. 'A Peon, or Native Constable' (watermark J Green & Son 1832).23. A fakir, holding a staff and begging cup.24. 'A palanquin-bearer, fanning his master with a hand-punkah' (watermark J Green & Son 1832).25. A tailor.26. A seller of linen [?]27. A private of sepoys, carrying a rifle.28. A havildar, a sergeant of sepoys (watermark J Green & Son, date obscure).A fine group of varied figures studies by an Indian artist, several of them directly inspired by two European artists working in India: John Gantz and Balthazar Solvyns.Two in particular are almost exact copies after Solvyns: the hookah-bearer (9), and perhaps the seated tailor (25). Several are strongly reminiscent of scenes from John Gantz's Indian Microcosm, a volume of seventeen plates (coloured lithographs) of 1827 (basket-makers; carriage drawn by bullocks; bhishtis; the fort at Trichinopoly; carts under a banyan tree; pestle and mortar with coca-nuts; men drawing water from a tank; and the toddy-wallahs [?]).A larger group of paintings, with strikingly 'free and impressionistic' brushwork, seems to derive from a type tentatively attributed by Losty perhaps to Madras (though he admits there is nothing definite in this attribution), circa 1840-50. These are: the Parsee; the 'fanatic' fakir; the mendicant/seller of cloth; the moonshee; the moty-boy; the seated moonshee; the merchant (21); the Peon; the fakir holding a staff; and the bearer with a hand-punkah. This last figure, as well as the mendicant cloth-seller, appear in two almost identical paintings in the Tapi Collection, illustrated and discussed in J. P. Losty, Indian Life and People in the 19th Century: Company Paintings in the Tapi Collection, New Delhi 2019, p. 181, no. 46 (the latter described as a 'purveyor of skins').John Gantz (1772-1853) and his son Justinian (1802-62), both probably Austrians, were employed as draughtsmen by the East India Company circa 1800-1803. There are maps, survey drawings and sketches of forts by the former, who was also described as an architect. For two watercolours by John Gantz, depicting temples near Madras, dated 1818 and 1822, see Christie's, Exploration and Travel, with Visions of India, 21st September 2000, lots 259 and 260.Balthazar Solvyns (1760-1824), who was from Antwerp, arrived in Calcutta in 1791. He did not find success in portrait-painting, but was encouraged by Sir William Jones, the 'Orientalist', to start work on a series which would become A Collection of Two Hundred and Fifty Coloured Etchings Descriptive of the Manners, Customs and Dress of the Hindoos. This was not a great success in itself, but had a good deal of influence on other European artists, and on Indian painters producing studies of Indian figures for British consumption - as here.See Christie's, Visions of India, 10th June 1997, lot 129, for an album of forty watercolours by a European artist after Solvyns (the illustration in the catalogue shows the same figure of the hookah bearer (no. 9 above). For the hookah-bearer once more, along with three other lots from Solvyns' series, see Christie's, Visions of India, 25th May 1995, lot 25, and 23, 24 and 26.A number of paintings have the watermark J Green & Son (handmade wove paper produced at Hayle Mill, Kent, from 1815 until its closure in 1987), and the date 1832. One painting (no. 9) has the watermark Whatman/Turkey Mill. The mill, also in Kent, was the largest papermill in Britain from the mid-18th Century.For further information on this lot please visit Bonhams.com
Lot 138
A scene from a Ramayana series (the 'Second' Guler Ramayana), depicting Rama about to kill the demon king Ravana in the battle between the two armies Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 256 x 357 mm.Footnotes:ProvenanceBy family repute, acquired at Spink, London, in the 1980s.Private UK collection, 1980s-present.The scene depicts a climactic moment in the battle between the armies of Rama and of Ravana, the demon king, at which, after several days fighting, the arrows of Rama cut off each of Ravana's heads in turn - but they grow back again. Rama is reminded by his charioteer, Matali, to use his Brahma-weapon - which finally defeats the demon king.This superb painting is an illustration from the series known as the 'second' Guler Ramayana, attributed to the first generation of artists after Manaku and Nainsukh. The first section of the series is referred to by W. G. Archer as the Kangra Ramayana series, and is dated circa 1775-1780 (and also as the 'Bharany' Ramayana). This comprises illustrations from the first three books of the Ramayana. Our painting belongs to the second section of the series, comprising illustrations from Books Five and Six, and specifically to Book Six, the Yuddhakanda or the Book of War. Goswamy and Fischer date this second section to circa 1790 and list known paintings belonging to it (M.C. Beach, E. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p. 690).J. P. Losty discusses another illustration from Book Six depicting Ram, Sita, Lakshmana and the monkey army seated inside the golden chariot about to begin their return to Ayodhya. He dates this illustration to circa 1800 and attributes it to an artist from Guler, noting that the human faces are depicted with an angular profile characteristic of the Guler style and sharp noses which bear the influence of Nainsukh rather than the smoother profile usually associated with Kangra. He suggests that it is quite likely this second part of the series was painted in Guler during the last years of Raja Bhup Singh's reign prior to its annexation by Sikh forces in 1813. (See J. P. Losty, A Mystical Realm of Love: Pahari Paintings from the Eva and Konrad Seitz Collection, London 2017, no. 22, pp. 119, 122-123).Other examples from this series have appeared at auction: particular comparison can be made with the following:Christie's, Arts of India, 12th June 2018, lot 26 (depicting Rama, Lakhshmana and Sita at the hermitage of Bharadvaja).Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89 (Rama and Lakhshmana conferring with the monkey army while other monkeys are in combat with the demon army).Sotheby's New York, Indian and Southeast Asian Works of Art, 21st March 2012, lot 210 (Vibhishana bowing before Rama, surrounded by the monkey and bear army, with the fortress of Lanka in the background). Both of these have the noticeable pink-tinged ridges of the hills, seen in our painting, though less pronounced here.Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, 22nd March 2002, lots 59 and 60 (Guler or Kangra, circa 1790; the trees and branches carried by the monkeys are prominent - hints of Birnam Wood come to Dunsinane - and the decoration on the demon chariots is very similar).Sotheby's New York, Indian and Southeast Asian Works of Art, 20th March 2013, lot 319 (Rama and Lakhshmana wounded by the arrow of Indrajit).Sotheby's New York, Indian and Southeast Asian Art, 19th September 1996, lot 185 (the monkey army beginning their assault on Lanka under the direction of Rama).Sotheby's, Oriental Manuscripts and Miniatures, 23rd April 1997, lot 149 (Hanuman conducting a reconnaissance of the fortress of Lanka).Sotheby Parke Bernet, New York, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, 14th December 1979, lot 225 (there attributed to Garwhal, circa 1800).For paintings from the first series (1775-80), see for example:Goswamy and Fischer, op. cit., nos. 143-145, pp. 340-343.D. Ehnbom, Indian Miniatures: the Ehrenfeld Collection, New York 1985, nos. 116-118.S. Kossak, Indian Court Painting, 16th-19th Century, New Yorkl 1997, no. 62. Sotheby's New York, March 22, 2002, lots 47 & 48.Sotheby's, Oriental Manuscripts and Miniatures, 12th October 1981, lot 107.A. G. Poster, Realms of Heroism: Indian Paintings at the Brooklyn Museum, New York 1994, pp. 263-264, nos. 215 & 216.Other pages can also be found in the Mittal Collection, Shimla Museum, and the Metropolitan Museum of Art, New York.For further information on this lot please visit Bonhams.com
Lot 237
A late 16th century German parcel-gilt silver setzbecher or stacking beaker, no apparent town or maker's mark, possibly trace of a mark to the inside of the foot rim, circa 1570, circular form, central girdle, engraved with a silver-gilt border finely engraved with a gentleman holding a candle, a court jester playing a lute in front of a lady and gentleman, a man in a garden scene, two fish within a cloud cartouche, a lady cooking on a fire within a kitchen setting, and a lady working at a table preparing food, with a plain vacant circular cartouche, on a stem pierced with a running stag and a bear in foliate decoration, on a spread circular foot with scenes of a wild boar hunt, the underside with unidentified scratched symbols and scratched 'II' over XIII.L', height 8.5cm, approx. weight 6.5oz.
Lot 197
After Bernard Dunstan, In the Cabin, colour lithograph, titled and monogrammed in pencil, with personalised inscription verso,6x8cm; Milein Cosman, Bear Hug, limited edition, dry point, 15x12.5cm;Ruth Cyril, Au Clair de la Lune, limited edition soft ground etching, 15x23cm;and an indistinctly signed brush drawing of a Jewish elder.
Lot 24
Fourteen Beswick Beatrix Potter figurines, to include Foxy Whiskered Gentleman, Mrs Tiggy-Winkle, Tommy Brock; a Royal Albert Beatrix Potter Foxy Reading figurine; a Beswick Cairn Terrier; a Royal Doulton Rupert Bear Finishing Arrows and Stringing His Bow RB7 figurine; and a Royal Doulton Childhood Memories - Best Friends figurine.Qty: 18Condition report:The Beswick Beatrix Potter figurines in this lot comprise:Foxy Whiskered GentlemanMr Drake Puddle-DuckTailor of GloucesterMrs RabbitJemima PuddleduckGoody TiptoesCousin RibbyLady MouseMrs TittlemouseMr Benjamin BunnyAppley DapplyTommy BrockRebeccah Puddle-DuckMrs Tiggy-Winkle - with Warne & Co mark
Lot 215
VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com
Lot 324
DEUX STATUETTES DE L'IMMORTEL TAOÏSTE LI TIEGUAI EN PORCELAINE DE LA FAMILLE ROSEXVIIIe siècle, et montures européennes postérieures en bronze doréTWO FAMILLE ROSE FIGURES OF THE DAOIST IMMORTAL LI TIEGUAI 18th century, with later European ormolu mountsEach Daoist Immortal modelled standing with the right leg resting and supported on his crutch and right hand holding its terminal, each with the smiling head turned to one side with typical beard and his long flowing head coiled into a chignon, wearing long flowing robes in famille noire ground, one with dragon and clouds decoration and the other with prunus blossom and bamboo, the trousers rendered in pink enamel with the bear feet protruding, one leaning against a green-ground pedestal with clouds and the other standing atop an uneven green-ground, both bases adorned with French ormolu mounts, probably early 19th century. Overall, the largest 27.9cm (11in) high. (2).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) 十八世紀 粉彩李鐵柺像 一組兩尊來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 368
MASQUE BEMBERépublique Démocratique du CongoBois et pigments. 51cm (20in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935 (inv.no.1298)Jean-Pierre Rousset, Paris (1936-2021) BEMBE MASKDemocratic Republic of CongoWood and pigments.Les masques bembe de ce type auraient été liés aux représentations d'esprits de la nature et utilisés par les membres d'une société secrète qui les présentaient aux jeunes initiés. Les yeux figurés au centre de grands ovales creux peints en blanc auraient eu pour but de suggérer une capacité à voir dans le monde spirituel. Ce modèle qui porterait le nom vernaculaire d'Eluba serait associé à l'oiseau kolyulo. Cf : M.Félix, Maniema, Verlag Fred Jahn, 1989, pp.154-159.Bembe masks of this type would have been linked to representations of nature spirits and used by members of a secret society who presented them to young initiates. The eyes in the centre of large hollow ovals painted white would have been intended to suggest an ability to see into the spirit world. This model, which is said to bear the vernacular name of Eluba, would be associated with the kolyulo bird. See M.Félix, Maniema, Verlag Fred Jahn, 1989, pp.154-159.For further information on this lot please visit Bonhams.com
Lot 47
An Isabelle Limited Edition Teddy Bear No.404, together with a Charlie Bear 'Kerri' CONDITION REPORTIn our judgement, condition of lot is good. The black & white bear is called Kerri (CB171757)The red bear is called Duddle (SJ5452)Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
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