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Lot 372
A large mid-19th century mahogany longcase clock, inscribed J. Blagburn of Gateshead, the 14" Roman dial with subsidiary dial, enclosed by painted floral sprays and a peacock to the arch, with twin-train movement striking on a bell, enclosed by a moulded hood with turned finials, over a rectangular trunk incorporating turned columns and barrel-shaped mouldings, raised on a box base with bracket feet, with pendulum, weights and winder. 249cm
Lot 37
Jugendstilbrosche "Glockenblume" mit Diamanten zus. ca. 0,17 ct und Zuchtperlen, GG 18K farbig emailliert, tlw. mit Silber, 8,9 gr, ca. 5x3,5 cm, um 1900, Perlen später, altersgemäßer guter Zustand, österreichische Importpunzen, inkl. Etui. | Art Nouveau brooch "Bell Flower" with diamonds totalling ca. 0.17 ct and cultured pearls, 18K YG with coloured enamel, partly with silver, 8.9 gr, ca. 5x3.5 cm, around 1900, pearls later, good condition consistent with age, Austrian import hallmarks, incl. case. Gewicht 8,9g Legierung 750/000
Lot 151
A good quality 19th century ebonised bracket clock with a twin fusee movement chiming on 6 bells and striking on one bell with repeat - the arched engraved dial with date secondary dial and silent functions, the rocking pendulum arch to the top of the dial is inscribed Math to King hand ally - standing 44cm tall with handle down, 29cm x 18cm - running, with key, second dial not working, repeat working but chiming needs adjustment, case and glass good, silk has been replaced so possible restoration
Lot 490002
Vier Flaschen Whisky, Schottland, Kanada u. USA, 2. H. 20. Jh.: Ye Whisky of Ye Monks, Donald Fisher, Scots Whisky Edinburgh, Scotland, im Tonkrug, H: 18 ,5 cm, Gew.: 1,7 kg, mit org. Papiersiegel; Bell`s Blended Scotch Whisky, Arthur Bell Perth Scotland, 75 cl., Keramikflasche in Glockenform, Höhe 24,5 cm, verschweisster Verschluss; Segram`s Crown Royal, Blended Canadian Whisky,Joseph Seagram, Waterloo Ontario Canada, 0,75 Liter, Papiersiegel, gute Füllhöhe, in Stoffbeutel;Seagram`s Seven Crown, American Wiskey, Joseph Seagram Lawrenceburg Baltimore, 1 Liter, gute Füllhöhe, in originaler Pappschachtel, 2626 – 0078
Lot 6
A Chinese fold-out book of six Chinese immortals printed on silk together with accompanying legends printed in Chinese and English with sandalwood covers, a framed and glazed Chinese silk embroidery panel, a 19th Century brass bound family Bible, The Life and Work of W Holman Hunt, by Archdeacon Farrar and Mrs Meynell plus an album of Edwardian Christmas cards and a copy of 'The Song of the Bell'
Lot 111
SIX WHITE JADE SEALS, MID-QING TO REPUBLICChina, late 18th to early 20th century. Two seals of irregular form, one carved as a rock and the other as a bell with a loop handle. Two seals of rectangular form, one with a loop handle. One seal of cylindrical form, slightly tapering towards the top with a central piercing. One seal of square form with a slightly domed top. The stones of an even white tone, some with light or dark inclusions. (6)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, few minuscule nicks to edges. Some stones with natural fissures, some of which may have developed into very minor hairline cracks over time.Weight: 82.8 g (total)Dimensions: Height 4.1 cm (the largest)清中期至民國六枚玉印章中國，十八世紀末至二十世紀初。兩枚不規則形狀印章，一枚刻成岩石狀，另一枚刻成帶環鈕的鈴鐺。 兩枚矩形印章，一個帶有環形鈕。 一枚圓柱形，略向頂部傾斜，中間有一個穿孔。 最後一枚方形印章，頂部略帶圓頂。玉石為均勻白色，有些帶有淺色或深色内含物。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損。石料具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：縂82.8 克 尺寸：最大的高4.1 厘米
Lot 12
A MASSIVE CLOISONNE ENAMEL BELL, QING DYNASTYChina, 18th-19th century. Of flared form with a lobed bottom edge, an upper register of elaborate taotie masks on a key fret ground above stylized chilong, and a lower register of taotie masks and archaistic elements, separated by a raised bow-string band at the midsection. Suspended from two conjoined dragons at the top, with an apocryphal four-character mark Jingtai nianzhi above the edge.Provenance: From the private collection of a southern French military family, who stayed in Indochina during the first half of the 20th century, and thence by descent in the same family.Condition: Some wear, dings, dents, pitting, minor losses and manufacturing flaws. Two losses at bottom lobes with old fillings. The dragon finial slightly loose. Overall, fine condition and commensurate with age.Weight: 6.2 kgDimensions: Height 42 cmAuction result comparison: Compare with a closely related but considerably smaller cloisonne bell at Christie’s New York in Fine Chinese Ceramics and Works of Art on 16-17 September 2010, lot 1038, sold for USD 15,000.清代銅胎掐絲琺琅鈡 中國，十八至十九世紀。呈喇叭形，中空，撇口，底邊緣呈凸起狀，頂飾交龍鈕，龍背供起成孔。器身以藍色琺瑯釉為地，局部鎏金。銅鈡上部可見饕餮紋，其下部是螭龍紋，之後是神獸紋。 頂部懸掛著兩條相連的龍，邊緣上方有一個寄託款標記“景泰年制”。 來源：法國南部軍人家庭的私人收藏，該軍人20世紀上半葉住在印度支那，從那以後就在同一家庭中世代相傳。 品相：一些磨損、划痕、凹痕、麻點、輕微損失和製造缺陷。 底部裂片已修。 龍頭略松。 總體而言，狀況良好，與年齡相稱。 重量：6.2 公斤 尺寸：高42 厘米 拍賣結果比較：一件相近但小些的掐絲琺琅鈡見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2010年9月 16-17日 lot 1038, 售價USD 15,000.
Lot 234
A LARGE AND MASSIVE ‘DOUBLE VAJRA’ PORCELAIN CADDY FOR SACRED TEA, LATE MINGChina, late 15th to mid-17th century. Of square form, the sides painted with Buddhist lions and cubs with brocade balls and ribbons surrounded by scrolling clouds and flames, the cover with a continuous lotus scroll to the sides and a visvavajra, the utter symbol of protection, at the top. The interior is fortified with a vertical flange to each side, supporting the considerable weight of this storage canister.Provenance: British private collection. Condition: Overall in good condition with wear, firing flaws, kiln grit, pitting, and fritting, the unglazed ware burnt to orange at the base, all exactly as expected on late Ming wares. Small hairlines, traces of usage and minor losses around the foot rim. Two areas of old repair to shallow surface chips (ca. 3 x 3 cm each).Weight: 16.4 kg (excl. cover) and 1,576 g (the cover) Dimensions: Height 50.4 cmThe present caddy was used to store ‘Dian’ tea, served only in a sacred hall where all the monks of a monastery or temple would gather before the Buddha, after the tea bell was struck by the tea monk as an initiation of the tea ceremony.The visvavajra on the cover is a most potent and indestructible symbol of protection, placed in this particular spot not only to dispel evil, temptation, and deception from the four directions, but also to repudiate individuals from withdrawing - thus desecrating - the precious contents of this caddy.The double vajra motif appears to have entered the Chinese repertoire of porcelain designs with the increased popularity of Lamaism – Tibetan Buddhism - in the Yuan dynasty. As early as 1207 Ghengis Khan sent envoys to Tibet, and a system developed so that Tibet accepted Mongol protection and suzerainty while providing the Mongols with spiritual guidance. In 1239, however, a Mongol army under Koden, second son of Ogodai Khan attacked Tibet, and the Tibetans decided to negotiate. The result was that Tibet submitted to the Mongols and the latter appointed the abbot of the Sakya monastery to exercise political authority over the whole of Tibet. The magic of Tantric Buddhism appealed to the Mongols and when they were initiated into the practices of Lamaism, they began to adopt that type of Buddhism to take the place of their own Shamanism.When Kublai Khan took over the great Khanate in 1260, he made Lamaism the national religion of the Mongols. After the Mongols established the Yuan dynasty in China in 1279, Lamaism flourished, receiving huge grants of land from the ruling house and the nobility. Tibetan Buddhist iconography appeared on objects in a variety of media made for the Yuan court. These included motifs such as the double vajra, which is seen on blue and white porcelain of the period. The influence of Lamaism on these porcelains came not only from the interests of the Mongols themselves, but from the Tibetan and Nepalese craftsmen who held high positions at the imperial porcelain kiln at Jingdezhen. The famous Nepalese artist Aniko (1245-1306) was appointed head of the Imperial workshops in 1278.In the Ming dynasty a number of the Chinese emperors had a genuine interest in Lamaist Buddhism, but they also patronized Lamaism as a way of maintaining control over both the Tibetans and the Mongols, through the support of the powerful high lamas. The Yongle Emperor involved both Tibetan and Nepalese craftsmen in the building of his new palace in Beijing. He also involved them in the running of the Imperial workshops, as had the previous Mongol dynasty. Their influence can clearly be seen in the works such as exquisite gilt-bronze Buddhist figures in Tibetan-Chinese style made during this reign. These pieces and those of the succeeding Xuande period (1426-35) were made with reign marks and for ritual use by the Imperial household or as gifts from the emperor to high Tibetan lamas favored by the Chinese court.During the reign of the Chenghua Emperor (1465-87) there were 437 Tibetan monks holding high rank and 789 lamas who could enter the court freely. The emperor’s advisers became concerned by this preoccupation with Buddhism and the amount spent by the emperor in connection with it, so that they suggested a sharp reduction in his support of Buddhism. This appears to have been adopted for the middle part of his reign, but his resumption of expressed interest in Buddhism can clearly be observed through the arts produced in the latter years of the Chenghua reign. Among these, the ceramics made at the imperial kiln provide a good indication of the incorporation of Buddhist motifs, including Tibetan Buddhist motifs, on porcelains made for the court.Literature comparison: A somewhat simpler double-vajra and ribbon design can be seen on the interior of a blue and white dish, in the collection of the Palace Museum, Beijing, illustrated in Blue and White Porcelain with Underglaze Red (II), The Complete Collection of Treasures of the Palace Museum, vol. 35, Hong Kong, 2000, p. 9, no. 7. A dish with double vajra on the interior, which is similar to the Beijing dish, was excavated at the Ming imperial kilns from the late Chenghua stratum and is illustrated in The Emperor’s broken china – Reconstructing Chenghua porcelain, London, 1995, p. 77, no. 102. A double vajra can also be seen in the central medallion on the interior of a large blue and white bowl in the collection of the Idemitsu Museum, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, color plate 140. Compare also to a dish with a double vajra from the collection of Sir John Addis, illustrated by Jessica Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, no. 6:10.Auction result comparison: Compare with a blue and white dish from the Ming dynasty, showing a closely related double vajra as on the present caddy, at Christie’s London in Rarity and Refinement: Treasures from a Distinguished East Asian Collection, on 15 May 2018, lot 7, sold for GBP 81,250.明代末期大型青花金剛杵茶葉罐中國，十五世紀末至十七世紀中葉。茶葉罐外壁可見太獅少獅戲珠圖，四周是滾動的雲彩和火焰，頂部纏枝蓮紋，側面可見金剛杵。 來源：英國私人收藏. 品相：總體而言狀況良好，有磨損，燒傷缺陷，窯渣，麻點和燒結現象，露胎部部成橙色，完全符合明代晚期瓷器的特徵。 細小的裂縫，使用痕跡和腳沿周圍的輕微磕損。有兩處舊時修復區域小開片（每片約3 x 3厘米）。 重量：不含蓋16.4 公斤；蓋1,576 克 尺寸：高50.4厘米 拍賣結果比較：於2018年5月15日 倫敦佳士得 Rarity and Refinement: Treasures from a Distinguished East Asian Collection 拍場中，與一件明代時期藍白盤比較，出与本罐密切相关的双金刚，lot 7，售價GBP 81,250。
Lot 444
A LARGE AND MASSIVE IRON TEMPLE BELL, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Six massive ruggedly-cast arms suspending a bell of standard shape, the sides cast with four large rectangular cartouches, each representing one of the cardinal directions, separated by various inscriptions. The bell produces a perfect sound when struck.Inscriptions: East heavenly general Gao; North heavenly general Zhao; South heavenly general Zhou; West heavenly general Zhang. The West and South quadrants with the names of all people who contributed to the making of this bell and their places of origin.Provenance: Belgian private collection, by repute acquired before 1980. A noted Belgian private collector, acquired from the above.Condition: Extensive wear, rust, encrustations, nicks, and losses.Weight: ca. 65 kgDimensions: Height 77 cm明末清初大型鐡鐘中國, 十七至十八世紀。鐡鐘碩大，鐘體呈圓筒形，鐘腰呈垂直並略微束收狀，鐘口擴展。鐘躰上可見四個方條，方條裏注明了四方護法。鈡上刻有人名與地方。敲鐘時，會發出完美的聲音。 款識：東方高天將，北方趙天將， 南方周天將，西方張天將。在西方和南方部分，匯集了贊助人的名字和籍貫。來源：比利時私人收藏，據説購於1980年前。比利時知名收藏家，購於上述收藏。 品相：大量磨損，生鏽，結垢，缺口。 重量：約65 公斤 尺寸：高77 厘米
Lot 712
A MASSIVE AND RARE EAST JAVANESE TERRACOTTA FIGURE OF A BOAR, MAJAPAHITEast Java, 15th-16th century. Standing foursquare and wearing a collar incised with geometric motifs and suspending a large spherical bell, the face with a wrinkled snout, upward curving tusks, bushy eyebrows, and large bulging eyes, the spiral tail in relief over the right rear haunch.Provenance: Sotheby’s New York, Indian and Southeast Asian Art, 20 March 1997, lot 139. Estates of William R. Appleby (1915-2007) and Elinor Appleby (1920-2020), longtime donors to the Metropolitan Museum of Art in New York. Mrs. Appleby had a particular interest in Asian art, and she and her husband supported the Department of Asian Art as well as the Fund for The Met, providing for important acquisitions and institutional initiatives. The original Sotheby’s receipt, the catalog page, and a large photograph of the boar on Kodak paper, originally sent by Sotheby’s to the Applebys, accompany this lot.Condition: Superb condition with old wear, minimal structural cracks, some chipping to the hoofs, light scratches.Weight: 14.9 kgDimensions: Length 53.5 cmLiterature comparison: Compare with a related but smaller boar in bronze in the collection of the Metropolitan Museum of Art, accession number 1987.142.259.
Lot 740
A MASSIVE INDIAN CARVED BLACK STONE VOTIVE STUPA WITH FOUR BUDDHAS, PALA PERIODIndia, 10th-11th century. The stupa of bell-shaped form with a three-tiered square base. Buddha is repeated in various mudras within four foliate niches above four smaller, arched niches at the base, all referencing moments from his life.Provenance: Brook Street Gallery, Mayfair, London, 1970s. British private collection, acquired from the above and thence by descent within the same family to the present owner.Condition: Condition commensurate with age, extensive wear, natural weathering, bruises and losses.Weight: 15.5 kgDimensions: Height 34.5 cmSmall stupas such as this example were placed near massive stupas containing the ashes of the Buddha. By this time, the connection between the historic Buddha Shakyamuni, who revealed the Buddhist teachings on earth, and the Buddha Vairocana, who resides in heaven, was known from texts and accepted in religious practice. The dome of the stupa simultaneously represents Shakyamuni’s relics and Vairocana’s celestial presence. The four directional Buddhas look out of foliate niches. These small stupas held the ashes of the monastic dead, allowing deceased monks to be eternally in the presence of the Buddha Shakyamuni and perhaps even aided in their being reborn in one of the pure lands.Literature comparison: A closely related but smaller stupa, missing the tiered base, is in the collection of the Metropolitan Museum of Art, accession number 20.70, exhibited in the Metropolitan Museum of Art in “Cosmic Buddhas in the Himalayas” from 24 June to 10 December 2017.Auction result comparison: Compare with a related but slightly larger stupa at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 September 2015, sold for USD 20,000, and another at Christie’s New York in Indian and Southeast Asian Art on 18 September 2013, lot 241, sold for USD 16,250.
Lot 85
A BLACK AND WHITE JADE ‘ARCHAISTIC’ AXE-FORM OPENWORK PENDANT, 18 CENTURYChina. Finely carved in the form of an axe-form bell detailed with a band of archaistic dragons below neatly incised ruyi heads forming a beast head, all surmounted by a bi disk and a pair of confronting chilong. The translucent stone of an attractive white tone with veins and patches of black.Provenance: From a notable English private collector of Chinese jades. Condition: Excellent condition with minor wear, microscopic nibbling, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 85.2 gDimensions: Height 12.2 cmWith a fitted silk box. (2)Auction result comparison: Compare with a related white jade pendant, also in the form of an axe-form bell, of considerably smaller size and dated to the 18th/19th century, at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2013, lot 3329, sold for HKD 225,000.十八世紀仿古黑白玉鏤空雕斧式佩中國。鏤空雕刻斧形玉佩，龍紋與如意紋，斧頂一個玉璧和一對面對面的螭龍。 半透明的玉石，具有迷人的白色間帶有黑色的紋理和斑點。 來源：英國知名中國玉器私人收藏 品相：狀況極佳，有輕微磨損，細微的磕損，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：85.2 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近鐘形白玉佩，尺寸稍小，十八至十九世紀，見香港蘇富比 Fine Chinese Ceramics and Works of Art拍場2013年10月8日 lot 3329, 售價HKD 225,000.
Lot 1061
MALTA V ENGLAND / ENGLAND AUTOGRAPHS White cover issue for the International In Gzira 3/2/1971. The programme is signed on the centre pages by 18 players and Manager Alf Ramsey. Players include Martin Peters, Emlyn Hughes, Ray Clemence, Colin Harvey, Ralph Coates and Colin Bell. Fair to generally good
Lot 215
MANCHESTER CITY Fifty Manchester City original press photographs from 1960's to 1990's, covering the 1969 FA Cup Final, 1970 League Cup Final, ECWC Final 1974 League Cup Final, 1986 Full Members Cup Final plus match action and portrait pictures of Bell, Lee Marsh, Summerbee, Caton, White, Book, Mercer, Allison, Hendry, Hartford, Barnes etc. Generally good
Lot 37
Selmer baritone saxophone, serial number 21837 for 1936, fitted with Berg Larsen mouthpiece, together with soft case.99cm high.Condition report: The instrument has had a hard working life and shows a lot of wear, scratches and corrosion spots. There is a non original black metal attachment to the bell presumably for music to be attached to. Several of the key guards have been re-attached with soldered repairs. There looks like a solder repair to the neck. One key guard has one foot which is loose and needs reattaching. There are several of the screws holding the key guards in place which look like they have been replaced. There are some small dents around the neck join and two impressions around the middle of the body.
Lot 105
Bible, English.- The Psalmes of King David translated by King Iames Cum privilegio Regiæ Maiestatis, engraved frontispiece incorporating royal arms and pictorial title with portraits of David and James I, woodcut head-pieces and decorative initials, frontispiece trimmed to border and laid down, frontispiece and title detached, A3 small hole near head with loss of a few letters,water-stained, lightly browned throughout, contemporary blind-ruled and gilt calf, sympathetically rebacked, covers detached, spine ends and corners worn, rubbed, [STC 2736.5], 8vo, [Printed by Thomas Harper], [c.1637].⁂ Rare at auction. In fact mainly translated by William Alexander, Earl of Stirling.Provenance: 'Robert Reynolds, his booke, 1687'; David Bell (ink inscriptions to rear endpapers).
Lot 163
Theatre.- Bell (John) British Theatre, Consisting of the Most Esteemed English Plays, 20 vol., vol.4 from a different edition, engraved frontispieces and plates, some folding, half-title lacking to vol.1, nearly all uniform contemporary calf with red morocco spine labels, vol.4 in other contemporary calf with dark red and black spine labels and a little smaller, all spines gilt, lightly rubbed and spine ends chipped, still a bright and attractive set, 8vo, 1776-1778.⁂ Plates featuring many leading performers and playwrights of the day.
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