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Lot 419
Vinyl - 10 Punk / Post Punk albums by UK bands to include: The Sex Pistols - Never Mind The B****cks (original UK 1977 A5 / B7 matrices) VG+ / VG+, The Clash x 2 (The Story Of The Clash, Combat Rock), Joy Division - Substance 1977-1980, Ruts - Grin & Bear It, The Undertones - Hypnotised, The Stranglers - The Collection, Public Image Ltd. - The Greatest Hits So Far (UK 1990 double album), Redskins - Neither Washington Nor Moscow, Dub War - Pain (UK 1994 limited edition with stickers, MOSH 121). Condition at least EX apart from where mentioned
Lot 499
Vinyl - 6 Bob Dylan / as Great White Wonder (GWW) original 1970’s Private Pressing albums to include: Talkin’ Bear Mountain Massacre Picnic Blues. (Original Private press, Red Vinyl, Trade Mark Of Quality), VG+ / VG+, VD Waltz (Original Private press, Red Vinyl, Trade Mark Of Quality), VG+ / VG+. Motorcycle (+ Trade Mark Of Quality insert, Wheel Records), While There Establishment Burns (Purple Vinyl, Winklhofer Records 1848), Burn Some More (Yellow Vinyl + Insert, TMOQ / Trade Mark Of Quality), Great White Wonder (Double album, White Labels). Condition VG+ overall
Lot 515
Vinyl - 35 mainly Britpop / Alternative / Indie Limited Edition 7” singles including Coloured vinyl, to include: P . J. Harvey (IS 607), The Stone Roses (ORE 31), Morrissey, Cast (Numbered Green Vinyl), Sleeper, Huggy Bear x 2, Therapy ? (Clear Vinyl), Reef (Marbled Green / Mint vinyl), Elastica, Happy Mondays, Tindersticks, Digable Planets (Promo stickered, EKR 159), Pop Will Eat Itself x 2 (Orange and Green Vinyl), Whipping Boy (Clear Vinyl), Quickspace, Ligament, Stiltskin, Creaming Jesus (Pink Vinyl), The Wonderstuff, Daisy Chainsaw, Tabitha Zu, Prince, The KLF, and others. EX overall
Lot 634
Vinyl - 2 Original UK albums on Vertigo Records to include: Black Sabbath - Paranoid (Original UK large swirl Vertigo, Big Bear credit, Vertigo Records 6360 011) gatefold sleeve VG, Vinyl VG, comes with swirl inner sleeve. Beggars Opera – Pathfinder (Original UK Swirl Vertigo, Vertigo records, 6360 070) Gimmix 6 part poster cover VG-, Vinyl VG+.
Lot 951
Full title: A rare pair of large Italian maiolica albarelli with 'Golden Horn' decoration, probably Venice, middle of the 16th C.Description:H.: 34 cm The design is inspired on Iznik ceramics from the first half of the 16th C., which arrived in Italy where they influenced the more classical designs. Examples of originals are a.o. conserved in the Louvre (External link available on rm-auctions.com), the Walters Art Museum (External link available on rm-auctions.com) and the Ashmolean Museum (External link available on rm-auctions.com). Both albarelli bear a text banner, one inscribed 'sir de aq citri', the other inscribed 'sir de iugibis'. Above and below the banner, a yellow-ground medallion shows putti in various positions as well as a grotesque ornament.Provenance:- An important French private collection. Ref.:- Sotheby's, London, Oct. 3, 2012, lot 253, for a bottle with this design, attributed to Venice. (External link available on rm-auctions.com)- The British Museum, London, Registration number 1990,0502.1, for a smaller and less elaborate example, attributed to Genoa. (External link available on rm-auctions.com)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
Lot 103
A GILT BRONZE 'BEAR' WEIGHT, HAN DYNASTY, EX ADOLPHE STOCLET COLLECTION 漢代銅鎏金熊鎮，前ADOLPHE STOCLET收藏Published: A. Koop, Early Chinese Bronzes, London, 1924, page 70, pl. 92.Georges A. Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection, Part I, Brussels, 1956, pages 372-373. China, 206 BC-220 AD. Powerfully cast as a coiled front-facing bear with a menacing expression, its mouth wide open baring its sharp teeth, the round ears pricked up, the fur neatly incised and claws well detailed. The round weight with a small loop to the interior.Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Condition: Magnificent condition, commensurate with age. Old wear, minor nicks and scratches, rubbing to gilt. The lead or cement core to the interior has been removed. The bronze with a rich, naturally grown patina overall and scattered soil, malachite and cuprite encrustations.Weight: 70.5 gDimensions: Diameter 5.5 cm Expert's note: The present lot once had a lead or cement core, enabling its usage as a weight. A small loop to the interior, designed to secure this core, is still in place. The removal of the core may indicate usage as an ornament at some point in its very long history.Weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The bear has been a popular totemic emblem in China since ancient times. China's foundation myths hold that the legendary Yellow Emperor, or Huang Di, early on lived with his tribe in the northwest, presumably in modern Shanxi Province, but then later migrated to Zhuolu, in present-day Hebei Province, where he became a farmer and tamed six different types of ferocious beasts, including the bear, or xiong, with which the Yellow Emperor ever since has been linked. According to legend, Gun — said to have been the great-grandson of the Yellow Emperor and the father of Yu the Great, or Da Yu — stole a special soil with which he planned to build dikes in an attempt to control the Yellow River's constantly recurring and very devastating floods. He failed in his mission, however, and, as punishment for his theft, was killed by Zhurong, the God of Fire. Gun's corpse turned into a yellow bear, or huangxiong, and jumped into a pool. A while later, a golden bear, alternatively said to be a golden dragon, emerged from the corpse's stomach and ascended into heaven, where the Yellow Emperor instructed it to complete his father's work in taming the Yellow River's waters. That bear turned out to be Da Yu, who — according to popular belief — heroically controlled the floods and became the mythological forefather of China's Xia dynasty. Therefore, the bear has been prominently associated with legendary rulers and Chinese national foundation myths since the earliest times.Bears are native to China, their presence there known since antiquity. They were kept in Han imperial zoos and parks, where the emperor and his entourage enjoyed watching them in performance or in combat with other animals. On the other hand, they were perceived as enlightened creatures and it was believed that they resided in spiritual mountains and possessed the ability to intermediate between heaven and earth. Bears have also been linked with military prowess, shamanism, and immortality. As a corollary, it might be noted that the words for 'bear' and 'virility' are exact homonyms, pronounced xiong. According to the 'Rites of Zhou', Zhou Li, edited during the Han dynasty, bears were employed in exorcism rituals, their skin worn over the head of the performer who, holding a lance and a shield, led the officials to perform the Seasonal Exorcism by searching through houses and driving away pestilences. See J. Lagerway, Early Chinese Religion. Part One. Shang through Han (1250 BC-220 AD), Boston, 2008, page 287. Auction result comparison: Type: Related Auction: Christie's New York, 24 September 2020, lot 888 Price: USD 32,500 or approx. EUR 35,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze circular mat weight, Han dynasty Expert remark: Compare the related circular form and manner of casting and gilding. Note the size (8.6 cm). 漢代銅鎏金熊鎮，前ADOLPHE STOCLET收藏中國，西元前 206 年至西元 220 年。 正面熊身盤成一圈，表情凶狠，齜牙咧嘴，圓耳豎起，細節生動。圓形鎮，內部有一個小環。出版：A. Koop，《Early Chinese Bronzes》，倫敦，1924年，第 70頁，圖 92。 Georges A. Salles和Daisy Lion-Goldschmidt，《Adolphe Stoclet Collection》，上冊，布魯塞爾，1956年，第372-373頁。 來源：Adolphe Stoclet 收藏，是 Stoclet 家族的後裔。Adolphe Stoclet (1871-1949 年）是一位比利時工程師、金融家和著名收藏家。他出生於比利時銀行家家庭，父親去世後成為比利時興業銀行董事。他與Suzanne Stevens (1874-1960）結婚，她是藝術評論家、歷史學家、收藏家，也是商人Arthur Stevens（1825-1909）的女兒以及畫家Alfred Stevens（1823-1906）的侄女。Stoclet夫婦與巴黎和維也納的前衛藝術圈有聯繫，在那裡他們遇到了Josef Hoffmann（1870-1956），後者設計了布魯塞爾著名的Stoclet宮。其餐廳的壁畫由Gustav Klimt（1862-1916）繪製。Palais Stoclet 如今已被聯合國教科文組織列為世界遺產，其奢華的環境是有史以來最重要的藝術收藏之一，其中包括埃及和中國雕塑、中世紀意大利繪畫和金屬製品、琺瑯和文物，拜占庭和羅馬時期的藝術品以及前哥倫佈時期的藝術。 品相：磨損，輕微刻痕和劃痕，鎏金有磨損。內部的鉛或水泥芯已被移除。表面自然包漿，並散佈著土壤、紅藍色結殼。 重量：70.5 克 尺寸：直徑 5.5 厘米 此類銅鎮用於壓住用於座椅或棋盤遊戲六博的編織墊的角部。在中山靖王劉勝（西元前 113 年）的王后窦绾的墓中，還發現了動物形鎮，以及食物和酒水器皿。它們通常被製成動物形狀，盤繞成圓形，或者製成人物形狀，甚至山形。 一般為銅鎮，鎏金，嵌寳或錯金銀，銅鎮體現了其所有者的崇高社會地位。 熊在漢代是祥瑞威武之獸。熊與漢代的思想觀念、熊圖騰信仰等密不可分。 從民俗文化意義上講，它們皆具有驅邪避惡、保護墓主人靈魂不受侵擾、肉體不受侵害的作用，最終目的是説明墓主人升入仙界。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2020年9月24日，lot 888 價格：USD 32,500（相當今日EUR 35,000） 描述：漢鎏金銅虎形席鎮 專家註釋：比較相近的圓形的外形、鑄造風格和鎏金。請注意 尺寸 (8.6 厘米)。
Lot 116
A ZITAN FIGURE OF A DEER HOLDING LINGZHI, 18TH CENTURY 十八世紀紫檀雕鹿銜靈芝China. Superbly carved in a recumbent posture with the hind legs drawn in and the front legs bent with the hooves placed together, the muscular body of the stag is well detailed and further accentuated by the characteristic natural 'crabs claw' marks of the wood, the face with neatly incised round eyes and funnel-shaped ears, the animal grasping a large, naturally carved lingzhi sprig in its mouth.Provenance: English trade.Condition: Fair condition with old wear, expected age cracks to the wood, some with associated losses and old fills, minute losses to the antler tips, all more or less as expected from a zitan figure with an age of 300 years or more. Elegant, naturally grown patina with a decent, lustrous shine overall.Weight: 255.9 gDimensions: Length 12 cmExpert's note: In ancient Chinese mythology, deer were considered to live a thousand years and believed to be the only animals capable of finding lingzhi, and so as in the present lot, are often portrayed holding the sacred fungus in their mouth. The deer is also a foremost Daoist emblem of longevity and the inclusion of lingzhi in the depiction is generally regarded as adding further to the symbolism. Thus, Shoulao and Magu, the God and Goddess of Longevity, are often accompanied by deer. Finally, deer are also a symbol of wealth since the Chinese word for deer, lu, is a homonym for the salary of an official.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2017, lot 3047 Price: HKD 875,000 or approx. EUR 113,000 converted and adjusted for inflation at the time of writingDescription: An extremely rare imperial zitan figure of a bear, Qing dynasty, Qianlong periodExpert remark: Note the larger size (33.9 cm) and the superb condition. Compare the manifold similarities exhibited by the carving style and technique.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.十八世紀紫檀雕鹿銜靈芝中國。圓雕而成一隻祥鹿，前腿彎曲，後腿收緊，口銜靈芝，昂首回眸做觀望狀，雙角飛揚，呈跪臥之姿。木料天然“蟹爪”紋進一步突出鹿的身形健壯。靈芝回曲起伏、圓潤飽滿。 來源：英國古玩交易。 品相：磨損，預期的木材老化裂縫，一些相應的缺損和舊的修補，鹿角尖端的輕缺損，與300年或以上的紫檀雕像預期的一樣。自然包漿，光滑瑩潤。 重量：255.9克 尺寸：長12厘米 專家注釋：在中國古代神話中，鹿象徵著長壽，經常被描繪成嘴裡叼著靈芝，表達了仙風道骨，且長命百歲，萬壽無疆之祝福。而此鹿俯臥於地，又取“福祿“之意。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年4月3日，lot 3047 價格：HKD 875,000（相當於今日EUR 113,000） 描述：清乾隆罕見御製紫檀雕熊 專家評論：請注意較大的尺寸 (33.9厘米) 和極佳的品相。比較雕刻風格和技術等多方面的相似性。
Lot 53
A MEDICAL THANGKA WITH THE TREE OF DIAGNOSISTibet, 19th to early 20th century. Distemper and gold on cloth. Well painted in bright polychrome pigments, the central register with a large medical tree with four main stalks representing the four roots of treatment (diet, behavior, medication, and external therapy), with the blue-skinned Bhaisajyaguru (Medicine Buddha) seated in dhyanasana on a lotus pillow surrounded by a double aureole and peony blossoms to the right of the tree.Provenance: From an Austrian private collection.Condition: Very good condition with minor wear, minimal fading, light soiling, some staining, and minor fraying to edges.Dimensions: Size 70 x 88.9 cmThe upper register is painted with twelve figures, consisting of both monks and deities, each flanked by a bright nimbus and halo. The lower register contains three lines of medical text.This painting depicts the methods of treatment used in the Tibetan system of medicine. The first stem stands for diet treatment, which has six branches. The first two branches with ten and four blue leaves, respectively, show the diet and the drink best suited to treat lung disorders. The third and fourth branches with seven and five yellow leaves, respectively, stand for the diet and drink suitable for mkhris-pa disorders and the fifth and sixth branches with six and three white leaves, respectively, stand for the diet and drink recommended for bad-kan disorders.The second stem illustrates behavioral treatment. It has three branches with two leaves each representing the behaviors beneficial for the three humors.The third stem depicts the different medications. It has a total of 15 branches and 50 leaves. The first six branches each bear three leaves. These refer to the tastes and medicinal qualities favorable for treating rlung, mkhris-pa and bad-kan disorders, which are shown as blue, yellow, and white leaves. The seventh to the twelfth branches bear a total of 23 leaves representing different medicinal preparations: broth and medicinal butter, decoctions and powders, pills and specific medicinal powders.The fourth stem stands for external therapies, which are generally used as a last resort after all other treatments fail. It consists of three branches. The two blue leaves on the first branch portray the external therapy used to treat rlung disorders. The three yellow leaves on the second branch stand for external therapies used to fight mkhris-pa disorders and the two white leaves on the third branch signify external therapies used on bad-kan disorders.Literature comparison:Compare a related 'Tree of Diagnosis' thangka in the American Museum of Natural History, New York, included in the exhibition Body and Spirit: Tibetan Medical Paintings, 25 January-17 July 2011. Compare three further related thangkas in the Rubin Museum of Art, illustrated on Himalayan Art Resources, item nos. 1131-1133.
Lot 258
A fascinating pattern book from a British earthenware manufactory, circa 1805-15Manuscript notebook containing circa 150 hand-painted designs for teaware, showing patterns for full plates and borders, numbered and coded for use within a factory, some with further annotations, manuscript list of prices at rear, 53 leaves, circa 19 blank, pen and watercolour, partial watermarks for Ruse & Turners 1805, reused marbled endpapers, original calf, 8vo (18mm x 120mm)Footnotes:This charming yet tantalising pattern book will have been used within a British pottery manufactory at the start of the 19th century. It records tableware patterns, drawn by hand either as a section of the border of a plate, or as the complete design used on a plate or saucer. These are identified by a sequence of pattern numbers ranging from 6 to 154 with some gaps. Some of the earlier patterns have been re-numbered, indicating perhaps a new partnership or change of factory ownership. This might have coincided with the decision to record the factory's patterns within this book. A watermark of 1805 within its pages gives us the earliest possible date for when this illustrated record was compiled, although the first patterns are incomplete and may have been copied from an earlier volume or unbound sheets of individual patterns.The earliest patterns suggest this began as a manufactory of creamware at the turn of the 19th century. Many appear to be copies of patterns used by major manufactories such as Wedgwood, Spode and Davenport. Subsequently pearlware or 'whiteware' was probably made, with a slight possibility that some patterns were intended for bone china. Stylistically, all of the patterns would appear to predate 1815. Two sections within the book bear the headings 'Painted Tea Ware' and 'Enamelled Tea Ware'. The former probably refers to underglaze painting (now known as Pratt Ware), while the latter indicates the use of overglaze enamel colours. Significantly, many patterns refer to the use of 'luster', which will have been painted in silver (or Platinum) lustre.This small pattern book begins with a few drawings showing pottery shapes that were popular in the period around 1800-10. Tables at the end of the book link some of the pattern numbers with a cost price per dozen, presumably to be used when pricing a complete tea service. Alongside each drawn pattern, a letter and number code gives a different price in shillings and pence. This code probably helped the pottery determine the wages paid to the decorating departments responsible for completing each pattern.The lustreware patterns that appear within the pages of the present lot may provide clues to the maker responsible. The future study of this pattern book may benefit from comparison with the Leeds Pottery pattern books which have been published almost in their entirety by John Griffin in 2005. Leeds was a creamware manufactory that subsequently made other ceramic bodies and some painted decoration included the use of lustre. Many other lustre-decorated tablewares and their makers are discussed by Geoffrey Godden and Michael Gibson in their book Collecting Lustreware (1991). On page 42 the authors note '...The Stoke-on-Trent City Museum contains several hundred lustred articles closely packed on twenty-two deep shelves, yet, we believe, only six of these pieces bear a maker's mark.' Little wonder that the maker of this pattern book has so far proved elusive.There are presently two mystery groups known to British porcelain collectors as 'The Pattern Book Factory' or 'Pattern Book class'. A pattern book by an unknown china maker working in Staffordshire in the period 1800-09 is preserved in the Victoria & Albert Museum and interestingly, this maker used 'metalic' decoration (or in other words platinum lustre) on some of its porcelains. See Godden's Encyclopaedia of British Porcelain Manufacturers (1988), pp.579-585. This fascinating notebook maybe gives us a new Pattern Book Factory and its discovery starts a search for missing links to any of the numbered patterns within its pages.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 421
A mixed lot of jewellery comprising a ring marked '14K' weight 2.2g, a dolphin ring marked '9ct', a pair of earrings marked '375', a pair of teddy bear stud earrings marked '375' and a pair of hallmarked 9ct gold earrings tuds, weight 2.4g, a pair of synthetic ruby white metal earrings marked 'AT' and a gilt metal bird brooch.
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