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Lot 965
A PAIR OF BLACK OPAL, DIAMOND AND SAPPHIRE EARRINGS, BY WEMPE each mounted with a free-shaped black seam boulder opal, total weight 26,29cts, the conforming asymmetrical surround embellished with brilliant-cut diamonds, total weight 0,20cts, and circular mixed-cut sapphires, total weight 0,56cts, in 18ct gold, clip-and-post fittings, impressed W 2
Lot 143
Aviation Brochures. A collection of seventeen American airline brochures and timetables, etc., c. 1929-38,including Pan American Airways, United Airlines, TWA, Colonial Air Transport Inc., Transcontinental Air Transport Inc., North West Airways Inc., Aeromarine Flying Boats, Grand Canyon Boulder Dam Tours Inc., Newark Airport, etc., mostly multi-page or folding, printed in colours, some minor dust soiling, otherwise VG (19)
Lot 19341
A very impressive and large Chinese celadon jade elephant, 19th/20th century the large celadon jade boulder well carved as an elephant, his head turned to one side, and with three small children grooming and washing him, one child holding a lingzhi stem The depiction of elephants and children grooming is a common theme in Chinese art throughout a variety of mediums. The Qing court was reported to be amoured with animals such as horses and elephants, with elephants being known to symbolise peace and the children symbolising prosperity Literature: For a similar composition, but with two boy attendants and dated to the eighteenth century, see `China The Three Emperors Royal Academy of Arts 2005`, no 300 which comes from the Palace Museum Beijing (Gu90193). For another similar example with one boy on an elephant dated to the early 20th century, see `Later Chinese Jades, from the Asian Art Museum of San Fransisco`, 2007, pg.89 14.5cm high, 18cm wide, 12cm deep In good conditionView on auctionatrium.com
Lot 169
A Chinese hardstone boulder carving, 20th century, carved in high relief with sages on a mountain path amid pine trees and pavilions, approximately 12cm high. In light of the changing international market practices for the auctioning of Oriental Works of Art, Dreweatts advises prospective bidders that we will require registered bidders to provide additional evidence of identity and, at our sole discretion, we may also request financial references that might include the lodging of a £2,500 security deposit by a bank transfer or debit card prior to the commencement of the sale. In the event that a deposit is sought it will be returned, without interest and at the bidder`s cost with respect to transaction charges, within 7 working days of the end of the sale. In all circumstances it is at Dreweatts sole discretion as to whether we are prepared to accept bids from any bidder and we urge interested bidders to make their sale registration applications as early as possible, and in any event no later than mid-day on Monday 19th September.
Lot 468
An Exceptionally Fine Chinese Imperial Jade Brushwasher, Qing dynasty, the base with a four character Qianlong nian zhi mark in lishu or clerical script and of the period 1736-95, 15cm across, 6.1cm high. The body of a translucent beige-white nephrite with warm brown markings applied to one end. The hexafoil form set on four highly formalised lingzhi-shaped feet, the rim set with two foliate flanges along the longer sides carved in low relief in archaistic style, the two longer sides with elaborate taotie heads, the ears and fang-like protusions in the form of stylized kui dragons, all suspended from rings attached to an upper formalised lingzhi head. Provenance: Previously in a private collection in Florida. Catalogue Note: For another water vessel of similar form in the Imperial Collection, Beijing, with a closely related design of low relief taotie hanging from a ring and set beneath a remarkably similar rim flange, see Zhongguo yuqi quanji, Jade, Vol. 6, Qing dynasty, p.218, pl.318. Compare the rare four character mark carved in lishu or clerical script with examples from the Palace Museum. Cf. L Yang and E Capon, Translucent World, Chinese Jade from the Forbidden City, no.111. This script style was also commonly used in the addition of Imperial compositions to vessels, mounts and stands under the Qianlong Emperor, see The Complete Collection of Treasures of the Palace Museum, Jadeware (III), nos. 75 and 78, where the characters Qianlong are very similarly written on two massive boulder carvings. The use of staining to either enhance natural pebble skin or to simulate pebble material was well established by the Song dynasty. During the Qing dynasty, and particularly during Qianlong`s reign, staining appears regularly on a series of nephrite wares, many of which are still in the Imperial Collection, as a standard aesthetic and symbolic option. This is a Premium Lot. If you wish to bid on this lot please refer to page 3.
Lot 17269
A very impressive and large Chinese celadon jade elephant, 19th / 20th century, with a wood stand the large celadon Jade boulder well carved as an elephant, his head turned to one side, and with three small characters grooming and washing him, with a carved dark hardwood stand. For a similar composition, but with two boy attendants and dated to the eighteenth century, see China The Three Emperors Royal Academy of Arts 2005 , no 300 which comes from the Palace Museum Beijing (Gu90193). " Ht 14.5cm/ 18.5cm (overall), Width 18cm, Depth 12cm In good condition. View on auctionatrium.com
Lot 340
Lots 340-343 - Sold by order of Braganza Investments Ltd. Crichel House is located near the village of More Crichel in Dorset. It is surrounded by 400 acres of parkland, which includes a crescent-shaped lake covering 50 acres. The original Tudor house, owned by the Napier family, was largely destroyed by a fire in 1742, and the house was subsequently rebuilt. Humphrey Sturt inherited the house in 1765. The four exceptional jade treasures (lots 340-343) were among those collected by Napier George Henry Sturt, the 3rd Baron Alington of Crichel, and his daughter the Hon. Mrs Mary Anna Marten OBE, both of whom were keen collectors. This is demonstrated by the Sparks’ archive, which lists 93 entries on the account of Lord Alington and 19 on that of Mrs Marten. Mrs Marten was a trustee of the British Museum from 1985-98, a trustee of the Royal Collections and established the Ancient Persia Fund in memory of Vladimir Lukonin of the Hermitage Museum, St. Petersburg. An Exceptional and Extremely Rare Large Chinese Imperial White Jade Carving of a Recumbent Deer with its Young. Qing dynasty, Qianlong period 1736-95, 20.5cm long, together with a contemporary hardwood stand. The beast sits with a serene, contented expression and is carved from a massive white jade boulder, which is heightened by warm brown markings. It is depicted holding lingzhi fungi and with a leafy branch in its mouth. The body gently curves to the right to protect its fawn, which reaches up with its head and left front foot, to nibble at a leaf. The facial features with protruding nostrils and bright eyes are finely defined. The antlers, between trumpet-shaped ears, rest on the shoulders, and are carved with ruyi terminals framing the upper spinal vertebrae, which extend to accentuate the superbly defined body. The tail curls beside and between its hind legs, the hooves are boldly carved to the underside. The wood stand is deeply carved as a bed of uneven rocks with a few tufts of leaves and flower heads at the border. Provenance The 3rd Baron Alington of Crichel (1896-1940), the Hon. Mrs Mary Anna Marten OBE (1929-2010), Crichel House, Dorset.:Catalogue note: The deer or ‘Lu’, in Daoist mythology, is a symbol of long life. Stanley Charles Nott, in his Chinese Jade Throughout the Ages states that in China, ‘the stag is considered to live a thousand years’. It is believed to be the only animal capable of searching out the sacred lingzhi fungus, and so as in the present piece, is often portrayed holding lingzhi in its mouth. Shoulao and Magu, the God and Goddess of Longevity are often accompanied by deer. The Chinese word for deer ‘Lu’, is homophonous with the words for ‘road’ and ‘six’, it is a pun for ‘emolument’ or ‘official salary’ and can be used to represent Luxing, the God of Rank and Emolument. Two deer together means ‘may all the roads be smooth’ or ‘may everything go smoothly’ and so, becomes an important rebus for doing business. Compare with the two jade carving of three rams, cf. Important Chinese Jades from the Personal Collection of Alan and Simone Hartman, Christie’s Hong Kong, 28 November 2006, lot 1418 and 27 November 2007, lot 1560. For another group of a deer with its young from the De An Tang Collection, see Christie’s Hong Kong, 29 May 2007, lot 1590. Estimate: Refer department.
Lot 341
Lord Alington of Crichel. Napier George Henry Sturt, the 3rd Baron Alington of Crichel, was born in 1896 and succeeded to the title in 1919. In 1928 he married Lady Mary Sibell Ashley-Cooper, and their only child, Mary Anna Sibell Elizabeth Sturt, was born the following year. Along with the Sitwells, Lord Alington was a founder member of the Magnasco Society, which was formed in London in the 1920s by a group of elite connoisseurs to revive the Baroque style. With its theatrical fantasy it offered an alternative to the pre-war simple elegance and the post-war Art Deco modernism. The Magnasco Society organised exhibitions of seventeenth-century art and, through aficionados including Cecil Beaton and Lord Gerald Wellesley, became synonymous with a neo-Baroque interior style fashionable for that decade. In 1940, Lord Alington was commissioned as an RAFVR officer and posted to Cairo in July, where he died of pneumonia two months later. As he died without male issue, the title of Baron Alington of Crichel became extinct on his death. A Massive Chinese Mottled-Grey Jade Carving of a Recumbent Water Buffalo. Qing dynasty, 18th/19th century, 29.5cm. Carved from an enormous grey-green boulder dappled with darker more vivid and with paler mottling. The beast lies on its side with its head turned to the left which is resting on a front leg. The face has a pleasing contented expression with well defined eyes and nose, and with the horns curling around the neck. The coat is carved with loosely fitting skin through which the ribs and vertebrae are visible. The finely incised tail is thrown over massive haunches; the hooves are all well defined. Provenance: The Hon. Mrs Mary Anna Marten OBE (1929-2010), Crichel House, Dorset. Purchased prior to 1953. Exhibited: Chinese Jade Throughout the Ages, an exhibition organised by the Arts Council of Great Britain and the Oriental Ceramic Society, May-June 1975, Victoria and Albert Museum, catalogue no.396, where it is described as Ming dynasty. Catalogue note: For other massive jade carvings of water buffaloes, cf. Chinese Jade Throughout the Ages, an exhibition organised by the Arts Council of Great Britain and the Oriental Ceramic Society, May-June 1975, Victoria and Albert Museum, no.395 and 397, the latter from the collection of Somerset de Chair. In the introduction to chapter XIX, Large Animal, Ming and Ch’ing Periods, they are discussed as being: ‘among the most ambitious and monumental examples of jade ever worked in China; and perhaps all of them once had their place in the pavilions and various palaces in Peking.’ See also J C S Lin, The Immortal Stone, Chinese jades from the Neolithic period to the twentieth century, pp.48-50.
Lot 342
An Extremely Rare Chinese Imperial Gilded Spinach-Green Jade Buddhist Lion Dog. Qing dynasty, Qianlong period 1736-95, 20cm. Boldly carved from a massive spinach-green boulder, crouching with his head turned to the left and baring his teeth to reveal a slightly upturned tongue. The face with large eyes above a ruyi-shaped nose, tilts upwards; the angular chin is fringed with a short curling beard. His floppy scroll-like ears fall either side of the head and are divided by four rows of a tightly scrolling mane. The form of his body is accentuated by the pronounced, well-defined spine from which his flame-like coat falls. The mane, hair and scrolling tail are all finely incised and heightened in gold. The underside reveals four crisp claws beneath each paw. Provenance: The Bruce Collection, the 3rd Baron Alington of Crichel (1896-1940), the Hon. Mrs Mary Anna Marten OBE (1929-2010), Crichel House, Dorset.Exhibited: The International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935/6, catalogue no.2821. Illustrated: S C Nott, Chinese Jade Throughout the Ages, Pl.LXIII. Catalogue note: The lion was first introduced into China from India, following the arrival of Buddhism, and is not represented in jade carvings earlier than the Han Dynasty. The lion is the king of beasts and is associated with high rank and military power. Most Buddhist temples in China have two lion dogs, carved in stone or cast in bronze or iron as guardian figures at the entrances. These figures are either depicted with both front legs on the ground, or with one foot raised on a ball and puppy; whereas with most jade examples, the lion is crouching, cf. J C S Lin, The Immortal Stone, Chinese jades from the Neolithic period to the twentieth century, p.52. Chinese lions resemble Pekingese dogs, and are known as ‘Lion Dogs’, and are often portrayed with brocade balls. According to tradition, Buddha was born ten times as a lion, six as an elephant and once as a hare.
Lot 14341
A finely carved soapstone boulder, probably 19th century The muttonfat to grey coloured boulder finely carved with a scholar and two young attendants with carved leaf design to the reverse, with later wood stand." Approximately 12cm high without stand Condition: Good View on auctionatrium.com
Lot 467
A Chinese celadon jade boulder, carved in high relief and openwork with a sage and attendant beneath a pine tree, the reverse with a pathway and pine tree and a five row calligraphy inscription and seal mark highlighted in blue, the stone with black inclusions and calcification, 16cm wide, 12.5cm high, carved wood stand
Lot 30
A boxed Tru-Vue Bakelite film strip viewer, and another unboxed example, also a quantity of film reels, comprising Aztec Ruins National Monument no.801 Boulder Dam no.3, Gunnison Lake City Creede region no.717, Skyline Drive no.328, Colorado Monument no.709, Western Air Vacation no.329, New York City no.1010, Hollywood unknown number, along with Pacific no.501, 1017 Rockefeller centre, Redwood highway unknown number, Salt Lake City no.606, Black Canyon of the Gunnison no.705, Boulder Dam no.603, The Royal Judge no.721, Williamsburg no.1412, Panama no.1530, Great Sand Dunes no.716, New York City no.109, Great South West no.802, San Francisco no.525, Plymouth and the Pilgrims no.1402, New York World`s Fair no.1206, Yosemite no.2, New York World`s Fair no.1205, Crest of the Continent no.710, Williamsburg no.1411, Jamestown and Yorktown no.1410, Crossing Continental Divide no.723, American Alps no.702, Washington unknown number and a safety film unknown number, (all in original boxes except the safety film), with original instruction card
Lot 221
A Chinese carved quartz vase decorated with birds amongst branches (damages) 23.5cm high, boulder carving with a dragon and fish (damages) 10cm high, a large inside painted perfume bottle (cracked) 16cm high, ginger jar, an alabaster of Buddha and a painted plaster model of a Tang horse rearing up on a rectangular base, 39cm high (6)
Lot 148
Sullivant (William S.) musci and hepaticae of the pp. i-iv -8 9-121 (122) 22 plates (of which I-VIII are grasses IX-XIV are Filices and Lycopodiaceae and XV-XXII are Musci; according to the list of plates and title these latter should be I-VIII) lower margins rather water-stained contemporary dark green cloth publisher`s cypher on front cover marbled edges [agrees with 2 copies on World Cat.; not mentioned by Stafleu 13.403] New York Ivison Blakeman Taylor 1871; Icones muscorum...mosses peculiar to the eastern United States 129 engraved plates original black cloth trifle worn contemporary bookplate of J.A. Swan lacks the supplement published 10 years later [Stafleu 13.409] Cambridge MA 1864 § Austin (Coe) Musci appalachiani; supplement 1 [only one published] decorative wrappers bit soiled Closter NJ (printed at Oquawka Ill.) 1878 § Weber (William Alfred) and Patricia Nelson. Key to Genera of Colorado Mosses [16]pp.text + folding leaf of instructions + orange slip `random-access key `+ 203 green punched cards + 1 yellow overlay card together in card box [Boulder] 1972 (slip `revised edition 1974` pasted on) § Tuckerman (E.) and C.C. Frost. A Catalogue of Plants growing without cultivation within thirty miles of Amherst College water-stained original printed wrappers chipped [Stafleu 15.284; 5 entries on World Cat.] Amherst 1875; and two others similar to the third v.s.(7) ***Punch card keys must have had a short floruit and a very short survival span. No copy of the Weber on Copac or World Cat.(!).
Lot 342
A Large Chinese Imperial Lapis Lazuli Boulder Carving, incised with a poem, Qing Dynasty, 18th century, with a later gilt bronze stand, 23cm (26cm including the stand).One side depicts a Luohan sitting amongst rocks with a squirrel on his lap, and with a gnarled tree clinging to a ledge across from a waterfall. The summit beneath clouds inscribed with a poem in five lines, the characters gilded. The reverse with a large knotty pine tree and water cascading from rocks also beneath clouds. The stone flecked and speckled with gold. The ormolu stand well cast with three fruiting leafy pomegranate branches.The poem reads:`Yu Ti Luo Han Zan,Wan Wu Wo Bei He Shu He Qin,Shou Fu Shan Wu Xi Qi Xing Xun,Xun Ze Bu Rao Xi Ze Wu You,Yu Zhu Zhong Sheng Fo Tu You You.`which can be translated as: `Imperial inscription in praise of the Luohan,The ten thousand things are complete in me; all comers are like the family,In my hand I hold a squirrel; I rejoice that it is good-natured.Being good-natured, it is not disturbed; being joyful it has no regrets,And together with all sentient beings, we wander in the land of Buddha.`ProvenanceThe Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953.Catalogue NoteIn China, lapis lazuli is known as qing jin shi (blue-gold stone). Although lapis beads have been excavated which date to the Han dynasty, there are no records of the use of lapis before the Qing dynasty. Cf. Ming Wilson, The Colour of Stones, Transactions of the Oriental Ceramics Society 1997-98, vol.62. p.34.Cf. Zhongguo yuqi quanji, vol. 6, Shijiazhuang, for another lapis lazuli carved boulder in the Palace Museum, Beijing, 1993, pls. 262 and 263. and another in the Le Shou Tan, (Hall of Joyful Longevity). See also Sotheby`s Paris, 18th December 2009, lot 206 for a smaller example.With thanks to Professor Roderick Whitfield and Ching-Yi Huang of SOAS their help in cataloguing this lot.
Lot 336
A Rare Chinese Jade Inscribed Boulder Carving, Qing Dynasty, Qianlong period 1736-95, incised with a poem, and with five seal marks including Qianlong Chenhan, 18.5cm high, 15.3cm wide. Worked from a pale celadon coloured stone with honey brown striations, and carved with a solitary Luohan, sitting in a rocky outcrop and wearing loose flowing robes decorated with a geometric pattern. The Luohan, is about to open a hand-scroll, he has left his shoes at the front of the base. The rocks are inscribed with six columns of calligraphy including one rectangular, and four square seal marks, the calligraphy with traces of gilding. The poem reads: `Liao Yi Qie Fa, Can Ru Shi Jing, Shui Liu Shi Leng, Feng Guo Hua Xin, Shi Hu Lun Di, Shi Guang Ming Zang, Li Yi Sao Chu, Shi Wei Li Zhang`. The lower section is inscribed: `Di Shi San Wei Ba Na Ta Ga Zun Zhe` (the thirteenth Luohan Banata) The seals read: `Ta Ge (the chamber of Ta), `Ying Chu Lan Xiang`, `Hui Yue Se ? You Sheng, `Wei Jing Wei Yi`, `Qian Long Chen Han`. Provenance A private collection in Monaco, purchased at Spink & Son Ltd., before 1982. With thanks to Ching-Yi Huang of SOAS for her help in cataloguing this lot.
Lot 339
A Fine Chinese Imperial, Lapis Lazuli Small Mountain Carving Inscribed with a Poem by the Qianlong Emperor, Qing Dynasty, Qianlong period, 1736-95, and incised with a poem, 9.8cm high, 13cm wide, (14cm including the stand). Exquisitely carved with a single hut beneath two trees all beneath a mountain, and with six columns of calligraphy above a solitary figure on a flat stone ledge, which crosses a gushing river. The poem reads: `Yu Zhi Xu Ting Na Cui n, Xu Ting Ruo Yi Ju Chui Yi Ceng Bu Chuang Ling, Mian Mian Shi Zuo Zhe Ying Zhi You Bie Jie Tu Ta Feng Cui Na Wu Yi`. This poem, by the Qianlong Emperor is listed in his poetry collection Yu Zhi Shi Ji, Volumn III, no.99. The term `Xu Ting` is a certain type of pavilion often seen in Chinese gardens. In the Imperial gardens there must have been many `Xu Ting`, as this is not the only time that the Qianlong Emperor mentions `Xu Ting` in his poems. Provenance A private collection in Monaco, purchased at Spink & Son Ltd., 31st July 1967 for £540. Catalogue Note; Cf. Chinese Jade Throughout the Ages, an Exhibition organised by the Arts Council of Great Britain and the Oriental Ceramic Society, 1975, p.20, no,494, for another lapis lazuli mountain carving from the Avery Brundage Collection in the Asian Art Museum of San Francisco. See also Zhongguo yuqi quanji, vol. 6, Shijiazhuang, for another lapis lazuli carved boulder in the Palace Museum, Beijing, 1993, pls. 262 and 263 and another in the Le Shou Tan, (Hall of Joyful Longevity). See also the catalogue note to lot 342. With thanks to Ching-Yi Huang of SOAS for her help in cataloguing this lot.
Lot 30
A Pair of Royal Worcester Porcelain Sheep Painted Pedestal Ewers, Ernest Barker, 1913, each painted with two sheep in boulder strewn misty glens, the reverse with heather vignettes, both signed, with concave sided trumpet necks and leaping spouts, on leaf tip moulded circular feet, puce printed crown and wheel mark, and date code, shape 1581, 16cm high
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