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Lot 224
A Yoruba Carved Wood Figure, Nigeria, as a man seated astride a horse, on an oval plinth with chequered edge, bearing traces of original painted decoration, 40cm; a Yoruba Wood Headdress, Mali, carved as a parrot perched on a boulder type skull cap (split), decorated in muted blue and red pigments, and with a woven cotton rope face covering, 45cm (2)
![Earliest Irish Aviation History A Rare Tangible Memento [Ferguson (Harry)] A framed piece of the broken Propeller, of the fi](https://cdn.globalauctionplatform.com/ee246395-60b7-454d-9e77-af4800b2843c/b26746e6-eba9-483a-977e-af51011b5cc1/468x382.jpg)
Lot 607
Earliest Irish Aviation History A Rare Tangible Memento [Ferguson (Harry)] A framed piece of the broken Propeller, of the first plane, built and flown by an Irishman, Harry Ferguson, in December, 1909 at Hillsborough Co. Down. Ferguson was born in Co. Down in November 1884. He became a mechanic and inventor and is principally known for his role in the development of the modern tractor. He also developed the first four-wheel drive Formula One car. In the 1900’s the young Harry became intrigued with the huge interest in the emerging technology of powered human flight and was captivated with the early American exponents of flight, the Wright brothers, who made the first ever plane flight in North Carolina, USA in 1903. The first person to achieve powered flight in England was Alliott Verdon Roe in June, 1908. However, human flight had not been achieved in Ireland by that time. Harry developed a keen interest in the theory of flight and travelled to several air shows including exhibitions in Rheims on the Continent and at Blackpool England in 1909. He took notes of various designs of the early aircraft and came back fully enthused. He convinced his brother that they should try and build their own craft at their workshops in Belfast, which they did, and came up with the design for The Ferguson Monoplane. They continued to tweak their design and made many changes and improvements, and finally decided to make their first attempt to get if off the ground at Hillsborough, Co. Down. They towed the plane behind a car through Belfast streets for the event. They were at first delayed with propeller trouble and continued to make alterations. After a delay of about a week, caused by bad weather, the plane finally took off from Hillsborough on 31st December, 1909. Harry Ferguson became the first Irishman to fly and the first Irishman to build and fly his own aeroplane. His exploits at Hillsborough were followed with a flight of one mile at Massereene Park, Co. Antrim in April, 1910, and in June, Ferguson made a number of flights on Magilligan Strand, where in August he won a prize for a flight of more than three miles. His most notable appearance was to be at Slieve Donard Hotel, Co. Down in July, 1910. Provenance: The O’Rahilly Family of Michael Joseph O’Rahilly, Republican Leader, shot and killed in 1916. O’Rahilly had become friendly with Ferguson about 1910 and both were founding members of the Irish Aero Club. O'Rahilly was instrumental in arranging for Harry Ferguson’s aeroplane to be displayed at Aonach na Nollaig, 1911. This was an exhibition to promote “Goods of Irish manufacture” held at Rotunda Hall, Dublin. Earlier O’Rahilly had brought his family to Newcastle for an air show in July, 1910 at Slieve Donard Hotel where a prize was offered for a flight from Newcastle to Belfast. The event attracted a very large crowd of about 20,000 people. Ferguson and his plane were the main attraction. However, on the day his plane never got airborne because of very windy weather, and in the attempt the plane’s wheel hit a boulder and the propeller was damaged. A member of the present owner’s family came away with this piece of the broken propeller, and it has remained at their family home 40 Herbert Park, Ballsbridge until recently. It is now being sold by one of the O’Rahilly grandchildren. References: Montgomery (Bob) “Early Aviation in Ireland” O’Rahilly (A.) “Winding the Clock. O’Rahilly and the 1916 Rising” 1991. McNally (Frank) “Irishman’s Diary. I.T.” Nov 2009
Lot 277
MASK - Kenner - A selection of 2 unboxed vehicles with figures with 2 VHS tapes, housed in an empty Boulder Hill box which is tape damaged but still collectible. Volcano with Jacques Lafleur & Matt Trakker. Rhino with Bruce Sato & Matt Trakker. Items appear in good condition, helmets included. Box has storage wear. (This does not constitute a guarantee).
Lot 259
AN OPAL AND DIAMOND PENDANT ON CHAIN The pendant and chain in platinum, the oval cut boulder opal flanked with three rows of graduated diamonds The opal weighing approximately 6.21cts, the diamonds totalling approximately 0.50cts 40cm long 11.42g Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 222
WILHELM SCHMIDT: AN EXCEPTIONAL BOULDER OPAL, GEM-SET AND HARDSTONE BUST, CIRCA 1890Portraying Mars, the Roman god of War, in Ajax helmet surmounted by a vulture, sculpted from a single boulder opal, his bearded face and neck and the vulture's legs and bald head carved in dark brown ironstone matrix resembling deeply patinated bronze, the winged helmet and the vulture's plumage highlighted by utilising the thin layers of precious opal within the host rock, the opal with additional intricately engraved feather and scroll detail, the helmet and vulture's eyes inlaid with brilliant-cut diamonds, the vulture wearing a ropetwist collar, backed in engraved yellow gold. The torso clad in engraved fish-scale gold armour, the draped folds of the toga rendered in carved chalcedony, with rose-cut diamond fastening. Mounted on a silver circular collar with gold acanthus leaf scrollwork and set with three cabochon turquoises and a single cabochon emerald. The whole on a rectangular tapered, polished hardstone pedestal of exquisite purple and green colouration. Each face of the pedestal in-set with an oval cameo withing gold ropetwist frame; an idealised Roman goddess in sardonyx at the front, and three labradorite cameos to the sides and back variously depicting Minerva, Cleopatra and Isis, on a green hardstone base, signed W.Schmidt on reverse of toga, repair in chalcedony toga, three diamonds deficient, lengths: 31 cm total, the bust 14 cm, the plinth 14 cm, Footnotes:ProvenanceHerbert Maxwell Stuart (1842-1921) The date of purchase by Maxwell Stuart is unknown but the sale is mentioned in a typed transcript of a letter of reminiscences, written in 1926, by Wilhelm Schmidt to his friend and business associate Dr George Frederick Kunz of Tiffany, 'Bust of Mars, in opal matrix, size 5 inches, face and neck in brown matrix, Ajax helmet in opal of finest quality...Purchased by Mr Herbert Maxwell Stuart of Scarthingwell Hall, Tadcaster.' Schmidt continues, 'Mr Herbert Maxwell Stuart, the lineal descendant of the Stuarts and owner of their estates in Scotland and Yorkshire was a purchaser of many of my works. He was greatly interested in precious stones.'Maxwell Stuart amassed a large collection of unmounted specimen gems, including the largest facetted topaz, known as the Maxwell Stuart Topaz. Part of his collection was sold after his death at Christie's on 22 June 1921, including several opal cameos, unattributed in the catalogue but most likely carved by Schmidt. This bust was not part of the sale. It was purchased, unattributed, as a beautiful object of vertu by the family who currently own it. This highly important signed opal carving by the prodigiously gifted Victorian cameo engraver Wilhelm Schmidt (1845 – 1938) represents a uniquely important example of Schmidt's pioneering opal carving technique, the scale of ambition setting it apart from his other known works. Until recently, it was believed Schmidt never signed his work and this is the only fully signed piece so far traced, underscoring its exceptional importance. Wilhelm Schmidt was born in Idar Oberstein, the European centre of the mineral, gemstone and lapidary trades, where large deposits of carnelian and other agates, found during the 16th - 17th centuries, gave rise to an illustrious gem engraving industry. This instilled in Schmidt 'a great love of art in every expression' and despite being born with an eye defect, he conceived a passion for gem engraving from an early age. In 1860, at the age of fifteen, he was sent to Paris, as an apprentice in the lapidary studio of his cousin, Louis Purper. The head of the studio was the cameo-cutter, Arsène, whom the young Schmidt came to admire greatly and who trained him in the waning neo-classical tradition.Schmidt stood out as a remarkable talent, winning prizes for drawing and draughtsmanship, but by the time he graduated, the voracious thirst for cameos and intaglios by connoisseur collectors and students of antiquity was rapidly drying up. Schmidt's cousin closed his studio to pursue a more profitable career as a pearl dealer, whilst Wilhelm struggled on for several tough years trying to make ends meet as a gem engraver. He found work by cutting portrait cameos and an early commission was from an elderly American, Mr Fox, whom Schmidt described as 'practically the only important dealer in precious stones in New York', for onyx cameos of General Grant and Abraham Lincoln, heroes of the American Civil War.At the outbreak of the Franco-Prussian War, Schmidt was expelled from Paris and returned home in 1869. Much to his relief, he was not called up to fight against his adopted country, or Napoleon III, to whom he referred patriotically as 'mon Empereur'. He remembered in old age, 'I shall always gratefully remember France, as the country where I learnt and studied the art of precious stone engraving. Therein I found pleasure, happiness, and contentment throughout my long life.'In 1870, he emigrated for the second time, setting up in London an engraving business trading alongside his gem-importer brother Louis. London directories from 1870 list 'Schmidt and Nourick, importers of precious stones' at 59 Hatton Garden, and by 1872, the firm was styled 'Louis Schmidt', below whose name appeared 'Schmidt, W., Cameo Engraver'. In the same way he took his French identity to heart whilst living in Paris, Schmidt became thoroughly anglicised, calling himself William, speaking excellent English and proudly becoming a naturalised citizen in 1887.London, like Paris, had a rapidly dwindling pool of specialist patrons of the glyptic arts but Schmidt successfully navigated the macro-economics of the jewellery industry by adapting to new tastes and by pioneering innovative techniques. He carved and sold numerous cameos, for use in ornamental jewellery, to the best London jewellery firms working in the fashionable Archaeological Style, including John Brogden, Guiliano, Castellani, Child & Child and Edwin Streeter, as well as to leading jewellers in America such as Marcus and Tiffany. Although these carvings were unsigned and the retailers did not credit the engraver in their finished jewels, this and his portrait cameo business, afforded him enough money to live comfortably with his second wife, six daughters and one stepson.Schmidt's gemstone-dealing brother supplied him with a plentiful source of unusual and rare specimens with which he could work. His wide repertoire of materials included labradorite, malachite, tourmaline, crocidolite, moonstone, zircon, tourmaline, malachite, lapis lazuli, sapphire, amethyst, topaz and, most unusual of all, opal that was to become his trademark.In 1874, Schmidt invented a distinctive and challenging new technique of carving opal to create striking three-dimensional sculptures through its contrasting layers. To quote the late scholar Gertrud Seidmann, a connoisseur of Schmidt's work, to whom we are indebted for much of our knowledge of him:'Opal cameos, if rare, were not unknown (in the 19th century) but Schmidt had invented a novel technique: instead of carving the whole cameo from precious opal, he used blanks with a thin layer of precious opal overlaying the matrix, in the same way in which the contrasted layers of agates were traditionally used to set off the background.'In 1878, London jeweller John Brogden unveiled a necklace set with opal cameos - carved by Schmidt - at the Paris Exhibition. The necklace caused a sensation and was awarded a gold medal and high praise from the press. The Telegraph described it as a 'wonder of wonders'. However, only Brogden was credited and awarded the Cross of the... 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 9245
Assorted poetry etc, including Doris Lessing: 'Fourteen Poems', Scorpion Press, 1959, limited edition (225/500), numbered, original plain stapled wraps, dust wrapper; Ernest Rhys: 'The Masque of the Grail', L, Elkin Mathews, 1908, 1st edition, original printed wraps; Nicholas Moore: 'Buzzing Around With a Bee and Other Poems', London, Poetry (London), [1942], 1st edition, 19,[1]pp, original pictorial wraps, scarce; Denton Welch: 'A Last Sheaf', L, John Lehmann, 1951, 1st edition, 1 full page plate + decorations in text by Welch, plus 9 illustrations of Welch paintings on 7 pages at end, patterned EP's, orig. cloth gilt, dust wrapper by Denton Welch; Fairfax Hall: 'Voyage and Other Poems', Oxford, Basil Blackwell, 1929, 1st edition, original cloth gilt; Charles Dalmon: 'Singing As I Go, Poems, Lyrics & Romany Songs', L, Constable, 1927, 1st edition, signed & inscribed by author to FFEP "sincerely yours in Fascism and love of Chanctonbury Charles Dalmon Feb.14.'35", original paper covered boards. Charles Dalmon (1862–1938) was a British poet, 1890s decadent, 1920s film designer, and friend of Noël Coward. In December 1934 he joined the British Union of Fascists; Frank Tonkinson: 'Life Is What It Makes You', [1974], orig. printed wraps; Nigel Carr: Twenty Short Poems', [London, circa 1897?], orig. stitched wraps; Eric Linklater: 'A Sociable Plover', L, 1957, 1st edition, signed & inscribed to FFEP, orig. cloth gilt, woodcut ills. and d/w by Reynolds Stone; Gary Erb: 'The Margin's Notes', Boulder CO, Laughing Waters Press, 1996, inscribed dedication by author at front and limitation 60/300, orig. printed wraps; Carlota [Oppenheimer]: 'Melodie', Munich, Bachmair, 1933, 1st edition, rebound morocco gilt by Hatchards; plus 5 others similar (16)
Lot 125
A boulder opal and diamond brooch, the opal carved as an Indian head, mounted onto two arrows, with each arrowhead set with three round brilliant cut diamonds, estimated approximate total diamond weight 0.50ct, pin and revolver fitting, dimensions 6.5 x 3.5cm, unmarked, tested as 9ct gold, weight 10.8g
Lot 15
A 9CT GOLD BOULDER OPAL RING, of a rectangular form bolder opal displaying flashes of green, blue, yellow and small amounts of red, between layers of matrix, clear resin to the surface, milgrain collet setting, bifurcated shoulders leading onto a polished band, hallmarked 9ct Birmingham, ring size O 1/2, approximate gross weight 6.7 grams (condition report: some wear to the resin surface, general light wear all round)
Lot 7097
Konvolut von 2 Opalen, geschliffen und Rohstein, größter Stein: Boulder-Opal in Freiform von ca. 2,3 ct (26 x 10 mm), sehr lebhaftes Farbspiel, neuwertig. WBW: ca. 500 €. Alle Steine ohne detaillierte gemmologische Prüfung! (8.1)| Bundle of 2 opals, cut and rough stone, largest stone: boulder opal, freeform, approx. 2.3 ct (26 x 10 mm), very vivid play-of-colour, mint condition. Replacement value approx. 500 €. All stones without detailed gemological testing!
Lot 407
Russell Chatham (American, 1939-2019). Lithograph titled "Montana Suite: Boulder Valley Fall," depicting a grove of trees at the vase of a hill, 1991.Pencil signed, dated, and numbered 38/275 along the lower right.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 33 3/4 in x width: 44 1/2 in. Framed; height: 41 in x width: 52 in.
Lot 261
Frans David Oerder, Dutch / South African 1867-1944- A Boer War battle scene; grey wash heightened with white on paper, signed and dated ‘FD Oerder / 1900’ (lower left), 29 x 21.7 cm. Provenance: Anon. sale, Spink London, 20-21 October 1999, lot 817.; Private Collection, UK. Note: The present work, en grisaille, shows a British Officer, sword in hand, leading a party of Irregulars as they storm a boulder-strewn slope amid artillery and small-arms fire. Oerder was a Dutch-born Pro-Boer artist. Ryno Greenwall notes: 'In 1899 Oerder joined the Boer forces and sketched in the field. He is regarded as South Africa’s first official war artist. He was accompanied by Nicholaas Hofmeyer, a history lecturer at the Staats Gymnaium in Pretoria. Hofmeyer was appointed the official chronicler of the War by Kruger. This led to his writing 'Zes Maanden bij de Commandos', which was published in the Hague in 1900. Oerder was interned as a P.O.W. at the camp on Meintjieskop. During his internment he continued with his drawings and paintings. His artistic ability came to the notice of the British authorities, who approached him to do sketches and portraits. Consequently he was allowed certain privileges not normally granted to prisoners. He was eventually allowed to return to his studio, where he continued to work. He was however still kept under house arrest.' Oerder’s paintings can be found in the MuseuMAfricA, the Anglo-Boer War Museum in Bloemfontein and the University of Pretoria. Please refer to department for condition report
Lot 389
Noelle Phares Orbs Against The Crimson, 2022 Acrylic and Gouache on Paper Signed verso 16 x 11cm (6¼ x 4¼ in.) About Noelle Phares brings a fresh perspective into her contemporary landscape paintings through examination of the tension between organic and synthetic. As an environmental scientist by training, she allows the same topics that drove her work in the natural sciences to now guide her creative endeavors. Her body of work combines landscape elements with structural geometry to create fractured architectural landscapes that explore the ever-encroaching presence of humanity into previously pristine open spaces. Noelle exhibits regularly via fine art galleries domestically and internationally and has collaborated with outdoor brands such as Merrell, Wylder Goods, 4FRNT Skis, and Smartwool. She holds a BS in Biochemistry, and an MS in Environmental Science. She has been painting throughout the American West over the last decade, and currently lives and paints full-time out of Denver, Colorado. Education Master of Environmental Science and Management, University of California Santa Barbara, 2014. Bachelor of Science, Biochemistry, University of California Santa Barbara, 2008. Select Exhibitions/Awards 2/2023 (Upcoming): Solo exhibition, Boulder Museum of Contemporary Art - Boulder CO 3/2022: Solo exhibition, Space Gallery - Denver CO 10/ 2021: Solo exhibition, Hancock Gallery - United Kingdom 7/ 2021: Solo exhibition, Harris Harvey Gallery - Seattle WA 3/ 2021: Group exhibition, Western Gallery - Austin TX 10/ 2020: Solo exhibition "Fountainhead", Space Gallery - Denver, CO 2/ 2020: Group exhibition, Western Gallery - Austin TX 9/ 2020: Solo exhibition, Space Gallery - Denver, CO Gallery Representation Space Gallery, Denver CO. Harris Harvey Gallery, Seattle WA. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Lot 390
Noelle Phares Green-Washed Boughs, 2022 Acrylic and Gouache on Paper Signed verso 16 x 11cm (6¼ x 4¼ in.) About Noelle Phares brings a fresh perspective into her contemporary landscape paintings through examination of the tension between organic and synthetic. As an environmental scientist by training, she allows the same topics that drove her work in the natural sciences to now guide her creative endeavors. Her body of work combines landscape elements with structural geometry to create fractured architectural landscapes that explore the ever-encroaching presence of humanity into previously pristine open spaces. Noelle exhibits regularly via fine art galleries domestically and internationally and has collaborated with outdoor brands such as Merrell, Wylder Goods, 4FRNT Skis, and Smartwool. She holds a BS in Biochemistry, and an MS in Environmental Science. She has been painting throughout the American West over the last decade, and currently lives and paints full-time out of Denver, Colorado. Education Master of Environmental Science and Management, University of California Santa Barbara, 2014. Bachelor of Science, Biochemistry, University of California Santa Barbara, 2008. Select Exhibitions/Awards 2/2023 (Upcoming): Solo exhibition, Boulder Museum of Contemporary Art - Boulder CO 3/2022: Solo exhibition, Space Gallery - Denver CO 10/ 2021: Solo exhibition, Hancock Gallery - United Kingdom 7/ 2021: Solo exhibition, Harris Harvey Gallery - Seattle WA 3/ 2021: Group exhibition, Western Gallery - Austin TX 10/ 2020: Solo exhibition "Fountainhead", Space Gallery - Denver, CO 2/ 2020: Group exhibition, Western Gallery - Austin TX 9/ 2020: Solo exhibition, Space Gallery - Denver, CO Gallery Representation Space Gallery, Denver CO. Harris Harvey Gallery, Seattle WA. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
![[TRAVEL] Blunt, Lady Anne. A Pilgrimage to Nejd, first edition, two volumes, Murray, London, 1881, original pictorial grey c](https://cdn.globalauctionplatform.com/287b5566-bf0e-4ed5-a536-aec500a7ec98/747705b9-35dc-444c-9fd8-af3b00dced19/468x382.jpg)
Lot 428
[TRAVEL] Blunt, Lady Anne. A Pilgrimage to Nejd, first edition, two volumes, Murray, London, 1881, original pictorial grey cloth gilt, plate and text illustrations, volume one with folding map at end, volume two with twenty-four page publisher's catalogue dated Oct. 1880, octavo; together with Blunt, Lady Anne. Bedouin Tribes of the Euphrates, reprint, Best Publishing Company, Boulder, Colorado, 1960, original red cloth, plate and text illustrations, octavo, (3). Condition Report : Nejd: vol. 1 rubbed, with split lower hinge. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 263
A RARE CLOISONNÉ MAGPIE ON A MALACHITE BOULDERQianlongElaborately cast as a magpie realistically enamelled in black with white patches on the wings and tail within gilt cloisons to suggest the various feathers, the bird leaning downwards with beak open and head slightly cocked to its left, the tail raised high behind, and the two claws clutching onto a deeply hollowed malachite rock, associated rosewood stand.43.5cm (17 1/8in) high (2).Footnotes:Provenance: John Sparks Ltd., London, purchased 2 July 1965 (receipt)John Eric Drummond, 18th Earl of PerthJames David Drummond, 6th Viscount Strathallan, Stobhall Castle, Perthshire, ScotlandThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 7103
9-teiliges Konvolut Edelsteinscheiben u. -aggregate, best. aus 3 Achatscheiben, 1 Rhodochrositscheibe, 1 Malachitscheibe, 1 Türkis, 2 Lapislazuli, 1 Boulderopal (Oberfläche mit Rissen). Größte Scheibe ca. 8,5x8 cm.| 9 pc bundle precious stone discs and aggregates: 3 agate discs, 1 rhodochrosite disc, 1 malachite disc, 1 turquoise, 2 lapis lazuli, 1 boulder opal (surface cracked). Largest disc ca. 8.5x8 cm.
Lot 61
A bespoke Royal Insignia white and gilt metal figure of a pearl diver with gold plated shorts, basket, sea weed and rope. Studded with cultured pearls and swimming over a faceted jade boulder. The resin malachite effect base is mounted on a gilded metal frame. Makers mark to the base. Given by Sheikh Tamim bin Hamad Al-Thani, the Emir of Qatar. H.26 W.23 D.13cm
Lot 359
A CELADON AND RUSSET JADE MINIATURE MOUNTAIN, QING DYNASTYChina, 1644-1912. Carved to the front with two wayfarers pulling horses over a bridge towards a pavilion located on the top of the rock, below a waterfall cascading down the rocks. The reverse also with a waterfall and a path along the rocks. The translucent stone of a fine celadon tone with patches of russet and creamy white and russet veining, the inclusions skillfully used to enhance the craggy rockwork.Provenance: From an old English private collection, and thence by descent in the same family. Condition: Good condition with minor wear, a small chip to a lower corner, and little nibbling to exposed areas. The base with a repair to one foot.Weight: 158.6 g (excl. stand) Dimensions: Height 8.6 cm (excl. stand) and 11 cm (incl. stand)With a finely carved, open worked, and fitted stand dating to the same period. (2)These mountains, boldly and irregularly carved with rocky paths, waterfall, and vegetation, are often inhabited by tiny figures, exemplifying the concept of 'landscape in miniature.' Compact and upright domed boulders depicting scholars or immortals ascending a path were popular during the Qianlong period, as they symbolized the ascending career of the scholar-literati within the civil service. Boulder mountains testify to the jade carvers' tremendous skills and reflect their reverence for the natural qualities of the stone. They were able to carve elaborate and lively tableaus within the confines of the boulder, keeping the silhouette intact while artistically manipulating the natural 'imperfections' of the stone to enhance the design.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 989 Price: USD 5,625 or approx. EUR 6,200 converted and adjusted for inflation at the time of writingDescription: A small pale greenish-white jade 'mountain', 18th-19th centuryExpert remark: Compare the similarly carved rockwork and figures as well as the related size (9.2 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2021, lot 698Price: EUR 5,625 or approx. EUR 6,100 converted and adjusted for inflation at the time of writingDescription: A celadon and russet jade boulder, China, Qing dynastyExpert remark: Compare the related color of the jade and skillful use of russet inclusions. Note the size (14 cm).清代青玉留皮小山子中國，1644-1912年。山子前面可見兩名旅者將馬拉過一座橋，上方可見一個亭子，下方是瀑布；反面也有瀑布和石徑。青色玉石留皮，巧妙利用赤褐色和乳白色的紋理體現崎嶇的岩石結構。 來源：英國私人老收藏，保存在同一家族至今。 品相：狀況良好，輕微磨損，下角有小磕損。底座的一隻腳已經過修復。 重量：158.6 克 (不含底座) 尺寸：高8.6 厘米 (不含底座) 及 11 厘米 (含底座) 鏤空雕刻的來自同一時期的底座。 玉山子即圓雕山林景觀，分別雕出山林、人物、動物、飛鳥、流水等，層次分明，各具形態，這種山林景觀的雕刻，從取景、佈局，到層次排列都表現和滲透著繪畫的章法，在乾隆時期十分流行，因為它們也象徵著步步高升。玉山子體現了雕師的精湛技藝，也反映了他們對石材自然品質的崇敬，巧妙利用山子原有形狀、紋理以及顔色雕刻出精緻而生動的畫面。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月23日，lot 989 價格：USD 5,625（相當於今日EUR 6,200） 描述：,十八至十九世紀青白玉山子 專家評論：比較非常相近山石、人物雕刻型態，以及相似的尺寸 (9.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2021年12月10日，lot 698 價格：EUR 5,625（相當於今日EUR 6,100） 描述：清代青玉留皮山子 專家評論：比較相近的玉石顏色，以及巧妙利用赤褐色的雕刻技巧。請注意尺寸 (14 厘米)。
Lot 28
A LAPIS LAZULI FIGURE OF BUDDHA, QING DYNASTYChina, mid-18th to 19th century. Superbly carved, seated in dhyanasana with the hands lowered in dhyana mudra, supporting a globular jewel, wearing a loose-fitting robe falling down the body in naturalistic folds, the wide face bearing a contemplative and serene expression marked by heavy-lidded downcast eyes and framed by long pendulous earlobes and sharply carved curls of hair surrounding a small ushnisha. The stone of an intense, striking blue hue amid veins in various shades of gray beneath glimmering mica flecks.Provenance: A private collection in New England, USA. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Excellent condition with minor old wear and possibly microscopic nicks here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 301.5 g Dimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Lapis lazuli was highly prized during the Qianlong period, as evidenced by a pair of Qianlong period stone lions dyed to imitate the stone, included in the exhibition Tributes from Guangdong to the Qing Court, Hong Kong, 1987, cat. Nos. 71 and 72, and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, plate 354. The stone was mostly imported from Afghanistan, and was used principally for carving vessels, figures in relatively small sizes and boulder or grotto carvings, often with solitary luohans. Little Buddha figures, such as the present lot, were often made for smaller Imperial altars during the late 18th century and onwards.Literature comparison: Examples of lapis lazuli figures of Buddha are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, no.81; and by M. Knight, He Li and T. Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 327, dated to the 18th century. Compare a closely related lapis lazuli figure of Buddha, dated 18th century, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021. Compare a closely related lapis lazuli figure of Buddha, 18th century, in the Metropolitan Museum of Art, accession number 30.95.324. Compare a closely related ivory figure of Buddha, dated late Ming to early Qing dynasty, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 143, cat. no. 113.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 25 June 2013, lot 8009 Price: USD 52,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A carved lapis lazuli figure of the BuddhaExpert remark: Compare the related carving style and the similarities of the stone. Note the larger size (18cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代青金石佛像中國，十八世紀中期至十九世紀。精雕細琢，阿彌陀佛結珈趺坐，雙手結印，托寳珠，身穿寬鬆長袍，紋理流暢，面容慈祥，雙眼微垂，長耳垂，螺髻。青金石閃爍的雲母斑點，深淺不一的灰色紋理，醒目的藍色。 來源：美國新英格蘭私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏。 品相：狀況極好，有輕微磨損，大面積微小劃痕。具有天然紋理和裂縫的石料，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：301.5 克 尺寸：高10 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
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