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A Victorian mahogany bow fronted chest with two short and two long drawers raised upon bracket feet, 88.5cms wide, 45.5cms deep and 91cms tall

A Victorian mahogany bow fronted chest of two short and three long drawers raised upon outswept legs, 106cms wide, 52cms deep and 105cms tall

Early 20th century Scottish silver oval trinket box raised on four reeded bun feet, the pierced hinged lid with cast 18th century style man and woman courting couple scene, ribbon and bow and foliate scroll decoration, the body with repoussé hunting and village scene, gilt lined interior, makers Hamilton & Inches, Edinburgh 1911, dimensions approx 5.5cm x 9cm (h x l)

Egyptian silver tantalus, containing two cut glass decanters, the stand raised on four ball feet, pierced swag and garland body, the sides with cast ribbon and bow motif and vacant marquise cartouche, cast acanthus leaves to the handle, height approx 31cm, stamped 900

A Walnut Case Grandmother Clock, with Elliot three train movement, 154cm; together with two bow front hanging corner cupboards

A bow fronted Mahogany Bedside Chest of four drawers on cabriole legs.

20th century 7/8 Violin, one piece back, unlabelled, with bow, in Rushworth and Dreaper case

John Galliano for Christian Dior: a Belle Époque Style Crystal Choker and Earrings SetLate 1990sGunmetal hardware with crystal embellishments, the choker with lattice work design and bow to one side, the earrings clip fastening with C D drop design (2)Condition Grade AChoker 30cm long, 3.3cm wide, earrings 8cm longFor further information on this lot please visit Bonhams.com

Late Victorian tea ware comprising eleven cups, twelve saucers, twelve cake plates, waste bowl, cake platter with bow detailing, decorated with sprays of pink and blue flowers with cobalt blue banding and gilding (37)Condition Report:One saucer and one side plate have been repaired, two cups are missing handles, staining to waste bowl, some loss of gilding etc

A LARGE GILT-LACQUERED BRONZE FIGURE OF BUDDHA, RATTANAKOSIN KINGDOMThailand, reign of King Rama III, 1824-1851. Finely cast seated in virasana with his right hand lowered in bhumisparsha mudra and his left held in karana mudra above his lap, wearing a close-fitting sanghati densely decorated with diapered floral designs and embellished in 'gesso' with floral roundels (pha lai) conveying a lavishly embroidered cloth. His serene face with heavy-lidded eyes below a raised, double-arched brow, the bow-shaped lips flanked by elongated earlobes. The hair arranged in tight curls. The distinct 'double' eyebrows are a rare detail.Provenance: French trade. Condition: Good condition with some wear, small nicks, light scratches, minor losses, extensive wear and some flaking to gilt. Consistent naturally grown patina overall.Dimensions: Height 57 cmBuddha images wearing such patterned robes, a symbol of royalty, were introduced during the reign of King Rama III (reigned 1824-1851) and disappeared thereafter. It is thus most likely that this majestic sculpture was one such royal commission produced under King Rama III's reign.Literature comparison:See further examples of Rattanakosin-period gilt-lacquer bronze Buddha images discussed in Rod-Ari, The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign, The Walters Art Museum Journal, vol. 73, 2018, figs. 1-5.

AN IMPORTANT AND MONUMENTAL BLACK STONE HEAD OF TARA, PALA PERIODOpinion: This particular work should be considered a most important example from an era that saw the production of some of the finest sculptural works ever produced in India. The quality of the carving, coupled with the life-size proportions, indicates that this was likely part of a monumental statue that was a principal focus of worship.India, 10th-12th century. Finely carved with a benevolent expression, having full bow-shaped lips, rounded cheeks, and heavy-lidded eyes beneath a swirled high chignon surrounded by an elaborate jewel-swagged diadem. The ears pierced at the helix with hanging gems and set with massive ear spools. The surface smoothly polished.Provenance: From a noted private collection in the United States. Acquired in Lille, France, previously in a Belgian private collection. Condition: Very good condition consistent with an example of great antiquity. Wear, losses, structural cracks, minor nicks, light scratches, signs of weathering and erosion. Fine, naturally grown, rich, smooth patina overall.Dimensions: Height 38 cm (excl. stand) and 45 cm (incl. stand)Mounted on a modern stand. (2)Expert's note: The iconography of the carving points to this being an image of Syama Tara, a female bodhisattva known as the Mother of Liberation. Figures of similar iconography show the bodhisattva seated on a double-lotus throne, with right leg extending below the throne and right foot supported by a lotus, all surrounded by a large mandorla, flanked by pearls and flames or adorative figures such as apsaras. This complete picture gives us an idea of the original scale and grandeur of the complete life-size work, which is unusual for its fine craftsmanship and monumental scale, pointing to a sculpture that was likely made for passing pilgrims. For a figure with similar distinctive features, including the massive ear spools and jewel-swagged diadem, see the Khadiravani Tara dating to the reign of Ramapala, acc. no. 3824/A25158 in the collection of the Indian Museum of Kolkata.Auction result comparison:Type: RelatedAuction: Christie's, New York, 20 March 2009, lot 1203.Price: USD 43,750 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A black stone head of Vishnu, Northeastern India, Pala period, 12th centuryExpert remark: Note the much smaller size (24 cm) and almost complete loss of the ears.Auction result comparison: Type: Related Auction: Christie's New York, 17 September 2003, lot 22 Price: USD 47,800 or approx. EUR 70,000 converted and adjusted for inflation at the time of writing Description: An important large black stone head of a crowned Buddha, Northeastern India, Bihar, Pala period, 10th/11th centuryExpert remark: Note the larger size (48.2 cm).

A GRAY SCHIST FIGURE OF A WINGED ATLAS, ANCIENT REGION OF GANDHARA, 3RD - 4TH CENTURYThe atlant squats with his right leg raised, his toes outstretched, his right hand resting on his knee and his left still holding part of the superstructure which was originally located above him. His face superbly carved with almond-shaped eyes below bushy furrowed brows and full bow-shaped lips, framed by thick tufts of hair, flanked by his large wings.Provenance: An old private collection in France. Acher Eskenasy, Paris, France, acquired from the above in 2001. LP Collection Paris, France, acquired from the above. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris. Condition: Good condition, commensurate with age. Extensive wear, losses, nicks, scratches, structural cracks, signs of weathering and erosion, encrustations. With an old sand-colored pigment coating.Weight: 8,241 g (incl. stand) Dimensions: Height 30.5 cm (excl. stand) and 35.5 cm (incl. stand)With a fitted wood stand. (2)Only a few sculptures communicate so clearly the classical legacy in Gandharan art. His mature, bushy face recalls the portraits of Greek and Roman gods and leaders, while his Herculean musculature evokes the athletic ideal. Furthermore, the atlant type stems from a tradition in classical architecture of depicting male and female figures supporting architectural superstructures best known from The Ten Books on Architecture by Vitruvius, dedicated to Emperor Augustus (see Rowland, Vitruvius: Ten Books on Architecture, Cambridge, 1999, pages 83 and 135).In the Gandharan context, similar examples in stucco surviving in situ line the veneer of stupa bases at Taxila and Hadda, recording the placement of such figures at Buddhist sites. Whilst maintaining a similar function and a clearly Western look, the Gandharan version differs from the classical prototype in the common inclusion of wings and the primarily ornamental rather than architectural function of the figure. Moreover, while we have evidence from which to understand his context at Buddhist sites, his precise identity remains a mystery. He has been called a disguised yaksha, a lesser Greek god, and a Garuda, yet there is no archaeological or textual foundation to underpin any of these claims (see Foucher, L'art Greco-Bouddhique du Gandhara, 1905, page 208, and Errington, The Western Discovery of the Art of Gandhara and the Finds of Jamalgarhi, London, 1987, page 67). Perhaps, the term “Atlas” ties him too closely to the classical prototypes, at the risk of obscuring added layers of meaning in the unique Gandharan context.Literature comparison: For a further discussion of winged Atlas figures from Gandhara, see P. Pal, Asian Art at the Norton Simon Museum, vol. 1, fig. 35, p. 68. For similar examples of winged “Atlas” figures, see W. Zwalf, A Catalogue of the Gandhara Sculpture at the British Museum, 1996, pp. 206-211, fig. 355-368. Two other examples survive in the Claude de Marteau collection in Brussels and the Peshawar Museum (see Kurita, Gandharan Art, vol. II, Tokyo, 1990, figs. 448 & 453, pp. 155 & 157).Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 March 2014, lot 66 Price: USD 245,000 or approx. EUR 280,000 converted and adjusted for inflation at the time of writing Description: A schist figure of a winged atlas, Ancient region of Gandhara, 3rd/4th centuryExpert remark: Note the larger size (40 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2007, lot 238Price: USD 12,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Gray Schist Figure of Atlas, Gandhara, 2nd/3rd Century Expert remark: Compare the subject, style of carving and material. Note the slightly smaller size (28.5 cm).西元三至四世紀犍陀羅灰色片岩阿特拉斯像阿特拉斯像雕刻逼真、雄偉有力，呈坐姿，右腿半力，右手撐在膝蓋上，左腿彎曲，肩膀後面張開翅膀；臉龐刻畫細緻，雙眉濃密，大眼圓睜，嘴唇豐滿，長髮披肩。 來源：法國私人舊藏；巴黎Acher Eskenasy收藏，2001年購於上述收藏；法國巴黎LP Collection 收藏，購於上述收藏。Acher Eskenasy是一位著名的法國學者和亞洲及部落藝術收藏家。他以前擁有的主要藏品現在被重要的收藏和博物館收藏，例如紐約的大都會藝術博物館和巴黎凱布朗利博物館。 品相：條件良好，大面積磨損、缺損、刻痕、劃痕、結構裂縫、風化和結殼，帶有沙色顏料塗層。 重量：8,241 克 (含底座) 尺寸：高 30.5 厘米 (不含底座) 與35.5 厘米 (含底座) 木底座。(2)

A VERY LARGE 'ROBIN'S EGG' ENAMELED AND GILT PORCELAIN FIGURE OF AMITAYUS, QIANLONG TO JIAQING PERIODChina, 1736-1820. Heavily potted, seated in dhyanasana on a cloth draped over a rectangular plinth with a shaped recessed gilt panel above a dragon emerging from crashing waves. His hands are lowered in dhyana mudra and holding an alms bowl. He is wearing long flowing robes opening at the chest adorned with a beaded jeweled necklace. His serene face with heavy-lidded eyes, gently arched brows, a circular urna, and bow-shaped lips. His hair elegantly falling in tresses over the shoulders and piled up into a topknot surmounted by a jewel behind the foliate tiara. The cloth, base, robe, hair, and jewels enameled in robin's egg with details picked out in turquoise and blue. The face, torso, hands, feet, tiara, and dragon gilt. Provenance: From an old German private collection, acquired in the 1970s and 80s. Thence by descent. Condition: As expected, the tips of the tiara, topknot, fingers, earrings and dragon's horns are restored to perfection. Further with glaze recesses, flaking and abrasions. Microscopic remnants of pigment which indicate that the figure was painted at some stage. Gilt porcelain figures of such a large size are usually restored to a much wider extent, due to their fragility, and it is therefore exceedingly rare to find one in such a well-preserved state overall.Weight: 5,156 g Dimensions: Height 43.5 cmExpert's note: Gilt porcelain figures of bodhisattva were produced from the Qianlong period onwards. The inspiration for such figures may have come from Ming dynasty bronze prototypes, such as the Xuande period gilt-bronze figure currently in the Berti Aschmann Foundation, Museum Rietberg, illustrated in On the Path to Enlightenment, Zurich, 1995, no. 72. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898.Literature comparison: For a related example from the Malcolm MacDonald collection, no. DUROM.1969.358, and now in the Oriental Museum, University of Durham, United Kingdom, see Ireneus Legeza, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, London, 1972, p. 122, no. 72. Another enameled porcelain figure of a bodhisattva is illustrated by Lou Pin-heng, Precious Treasures of My Humble House, Taipei, 1988, pg. 54, no. 12Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 52 Price: USD 68,750 or approx. EUR 80,000 converted and adjusted for inflation at the time of writing Description: An unusual enameled and gilt-decorated figure of a bodhisattva, Qing dynasty, 18th / 19th centuryExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the related size (40 cm). Note the different pose and base. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2008, lot 578 Price: HKD 960,000 or approx. EUR 169,000 converted and adjusted for inflation at the time of writing Description: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the much smaller size (29 cm) as well as the different pose and base.乾隆至嘉慶時期爐鈞釉描金無量壽佛坐蓮像中國，1736-1820年。此尊無量壽佛結跏趺坐穩坐於波濤之上，一條金龍從水中探出；雙手施禪定印，托缽；高螺發，面龐圓潤，耳大垂肩，額際寬廣，慈眉善目，表情溫和慈祥；頭戴五葉佛冠，項配瓔珞，更顯法相尊嚴。其面部及身體露膚處均施金釉，佛冠、瓔珞及綬帶等則以金釉和爐鈞釉搭配裝飾，瓔珞處採用爐鈞釉以仿松石、青金石的效果，絢爛多姿，富麗堂皇。 來源：德國私人舊藏，購於上世紀七十至八十年代，保存至今。 品相：頭飾、高髻、手指、耳環和龍角的尖端都已恢復。有釉面凹陷、剝落和擦傷。輕微的顏料殘留表明該造像曾經經過彩繪。如此巨型的鎏金瓷像，由於其易碎性，修復範圍通常要大得多，因此，整體保存如此好的造像極為罕見。 重量：5,156 克 尺寸：高43.5 厘米

A MAGNIFICENT GILT BRONZE FIGURE OF MAITREYA, 17TH CENTURY, PUBLISHED BY SCHROEDERPublished: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pages 446-447, nos. 121D & E (illustrated).Central Tibet. Finely cast, seated in bhadrasana ('European pose') on a stepped rectangular throne with his feet resting on a lotus blossom, the hands in dharmachakramudra holding the stems of lotuses flowering along his upper shoulder supporting a flask and stupa, clad in a richly pleated robe neatly incised with geometric and floral designs. His serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised urna and bow-shaped lips, flanked by long pierced earlobes. The hair arranged in tight curls, the high ushnisha surmounted by a jewel.Provenance: From the collection of Mr. and Mrs. John Marsing, and thence by descent in the family. John Marsing (1918-1998) was a Danish businessman who, at the age of 20, had established a pharmaceutical company, Marsing & Co. The firm expanded during the mid-20th century and had branches all over Europe, Canada, and Korea. Marsing was very interested in Asian culture and a passionate collector of Asian works of art, particularly from the Himalayas, China, and Korea. He built a substantial collection over decades, buying in Asia and from antique dealers in Denmark as well as auction houses all around Europe. Condition: Good condition with some wear and casting irregularities, small dents, minor losses, remnants of pigment. The base sealed.Weight: 987 g Dimensions: Height 17.5 cmMaitreya awaits the day when the teachings of the Gautama Buddha, Shakyamuni, are forgotten by earth's inhabitants, at which point he will descend from the Tushita Heaven to become a Buddha. The present lot exudes reassurance through his benevolent facial expression and graceful gesture. It depicts Maitreya in his Buddha form, which is much rarer than the more commonly encountered bodhisattva form. Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2022, lot 424 Price: USD 44,100 or approx. EUR 40,500 converted at the time of writing Description: A gilt-bronze figure of Maitreya, Tibet, 17th-18th centuryExpert remark: Note the larger size (26.7 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot. Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 28 Price: USD 35,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Maitreya, Tibet, 16th/17th centuryExpert remark: Note the slightly larger size (21.8 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot.十七世紀重要銅鎏金彌勒佛坐像西藏中部。彌勒通體鎏金，雙手當胸結說法印，並持蓮花莖，雙腿垂足而坐，為“善跏趺坐”，跣足踏於覆蓮台上，承坐於高束腰金剛座上；螺發，肉髻高聳，摩尼寶珠頂嚴；面龐飽滿，額際高廣，白毫凸出，雙眼微合，凝視天下，法相端莊；雙耳垂齊，頸部蠶節紋明顯。上身穿坦右肩袈裟，下穿僧裙，衣領暗刻纏枝紋，衣褶自然流暢，原裝全包式封底，封板中心鏨刻十字金剛杵紋。出版：Ulrich von Schroeder，Indo-Tibetan Bronzes，香港，1981年，第446-447頁，圖 121D & E。 來源：John Marsing私人收藏，在同一家族保存至今。John Marsing (1918-1998) 是一位丹麥商人。二十歲時，他成立了一家製藥公司 Marsing & Co。該公司在二十世紀中葉擴大規模，在歐洲、加拿大和韓國都設有分公司。Marsing 對亞洲文化非常感興趣，並且熱衷於收藏亞洲藝術品，尤其是來自喜馬拉雅山、中國和韓國的藝術品。幾十年來，他的收藏一直在發展，從亞洲、丹麥的古董商以及歐洲各地的拍賣行購買。品相：狀況良好，有一些磨損和鑄造不規則、小凹痕、輕微缺損、顏料殘留。底座密封。 重量：987 克 尺寸：高17.5 厘米 此拍品通過突出彌勒仁慈的面部表情和優雅的手勢散發出慈悲之心。它以佛陀的形象描繪了彌勒，這比更常見的菩薩形像要罕見得多。

A BRONZE FIGURE OF VISHNU, ANGKOR PERIODKhmer Empire, 11th-12th century. Well cast, standing in samapada on a square base, eight-armed, holding his implements, the primary right hand with a bow, dressed in a long sampot secured at the waist with beaded belts, adorned with jewelry and a sash around the upper body. The face with a serene expression and almond-shaped eyes below a gently arched eyebrow, flanked by elongated earlobes, surmounted by a headdress and conical chignon. The bronze with a rich, naturally grown, solid patina with malachite and cuprite encrustations.Provenance: An Austrian collection, acquired at auction in Holland. By repute previously in an old private estate. Condition: Very good condition with wear, few nicks, small dents and losses, light scratches, and signs of weathering and erosion. The marble base with traces of use and minor nicks.Weight: 2,328 g (incl. stand) Dimensions: Height 19.5 cm (excl. stand) and 27.7 cm (incl. stand)Mounted to an old, neatly faceted black marble base, dating from around 1900. (2)Auction result comparison:Type: RelatedAuction: Christie's New York, 21 September 2007, lot 366Price: USD 21,250 or approx. EUR 27,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Lokeshvara, Khmer, Angkor Period, Bayon style, 13th centuryExpert remark: Compare the pose. Note the larger size (26.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 23 July 2020, lot 37Price: USD 9,375 or approx. EUR 9,800 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Vishnu, Khmer, 10th-11th centuryExpert remark: Compare the pose. Note the larger size (27.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five-headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Compare the pose. Note the much larger size (32 cm).

A LARGE TIBETAN-CHINESE PAINTING OF AVALOKITESHVARA SAHASRABHUJA, EARLY 20TH CENTURY1900-1950. Gilt, ink and watercolors on paper, mounted as a hanging scroll. The thousand-armed, eleven-headed deity standing in samabhanga on a lotus dais emerging from a lake in a verdant landscape with colorful swirling clouds, surrounded by seated Buddhas and teachers. His main hands are clasped together in anjali mudra, his secondary hands holding attributes including a bow and arrow, lotus blossom, rosary, and dharmachakra, with countless further hands radiating around him.Provenance: English trade. Condition: Excellent condition with minor wear.Dimensions: Image size 138 x 88 cmOne prominent Buddhist story tells of Avalokiteshvara vowing never to rest until he had freed all sentient beings from saṃsara. Despite strenuous effort, he realizes that many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitabha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteshvara tries to reach out to all those who needed aid but found that his two arms shattered into pieces. Once more, Amitabha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.Expert's note: Tibet was a de facto independent state between the collapse of the Manchu-led Qing dynasty in 1912 and its annexation by the People's Republic of China in 1951. In 1913, the Dalai Lama, who lived in exile in India, returned to Tibet and declared that Tibet's relationship with China ended with the fall of the Qing dynasty and proclaimed independence. Nonetheless, Tibetan paintings from this period such as the present lot exhibit the typical Chinese influences also seen in earlier thangkas from the 18th and 19th centuries, including the swirling colorful clouds and bluish-green verdant landscape.Auction result comparison: Type: Related Auction: Bonhams Paris, 10 June 2021, lot 46 Price: EUR 4,080 or approx. EUR 4,400 converted and adjusted for inflation at the time of writing Description: A thangka of Sahasrabhuja Lokeshvara, Tibet, early 20th century Expert remark: Note the significantly smaller size (60 x 40 cm)二十世紀初漢藏千手觀音唐卡1900-1950年，紙本水墨設色描金，掛軸。蓮座從碧湖升起，山間祥雲，千手觀音上身肩搭帔帛，帔帛繞兩臂而下，流暢圓轉。正面雙手合十，右邊三手分別持念珠、法輪、施無畏印；左邊三手執蓮花、弓箭、淨水瓶。下身著長裙，以立姿站於被蓮莖托起的蓮花之上。 來源：英國古玩交易。 品相：品相極佳，輕微磨損。 尺寸：畫面138 x 88 厘米 一個佛教故事講述了觀世音菩薩發誓永不休息，直到他將所有有情眾生從輪迴中解脫出來。儘管付出了艱辛的努力，他還是意識到還有許多不幸的眾生沒有得到救度。在努力理解這麼多人的需求之後，他的腦袋裂成了十一塊。阿彌陀佛見狀，賜給他十一頭，讓他聽苦難的呼聲。觀世音菩薩聽到這些呼聲並領會了它們，試圖伸出手去幫助所有需要幫助的人，卻發現他的兩隻手臂都碎成了碎片。阿彌陀佛又一次來助他，賜他千手去救苦眾生。 專家注釋：這一時期的西藏繪畫（例如本拍品）展現了十八世紀和十九世紀早期唐卡中常見的典型中國影響，包括漩渦狀的彩雲和青綠山水景觀。 拍賣結果比較： 形制：相近 拍賣：巴黎邦瀚斯，2021年6月10日，lot 46 價格：EUR 4,080（相當於今日EUR 4,400） 描述：二十世紀初期西藏千手觀音唐卡 專家評論：請注意明顯尺寸較小(60 x 40 厘米)。

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF TARA, NEPAL, 18TH-19TH CENTURYThe four-armed deity seated in lalitasana on a double-lotus base with beaded upper rim, the main left hand held in vitarka mudra and the main right lowered in varada mudra, the other two hands holding a short staff and sutra. The palm of one hand and sole of one foot each incised with a stylized flowerhead. She is dressed in a diaphanous robe and billowing scarves, and richly adorned with beaded jewelry.Provenance: From the Folker Collection, Denmark. Mr. Folker, an industrialist and well-known collector of Himalayan art, bought from Danish dealers and noted auctioneers such as Lau Sunde and Bruun Rasmussen. Condition: Good condition with minor wear and casting irregularities, small dents, minuscule nicks, minor losses, rubbing to gilt, the base unsealed.Weight: 903 g Dimensions: Height 17 cmHer serene face with sinuously lidded eyes, gently arched brows, a raised urna, and bow-shaped lips forming a calm smile, flanked by elongated earlobes with large circular earrings, the hair arranged in a topknot with a vajra finial behind the foliate tiara, the head backed by a mandorla.Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2011, lot 326 Price: USD 10,625 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of White Tara, Nepal, 18th centuryExpert remark: Compare the closely related base, mandorla, and repousse elements, as well as the related size (18.7 cm). Note the different pose and number of arms.十八至十九世紀尼泊爾錘鍱鎏金銅度母像四臂度母結右舒遊戲姿坐於蓮台之上，左手當胸結三寶印，右手撫膝施五羅陀手印，另兩手執短杖和經卷。其面容慈悲安詳，雙眉之間有白毫，面帶微笑，神情恬淡怡然；長耳垂，佩戴大耳環；頭髮梳成高髻；葉狀王冠後有一個金剛杵頂飾，有光背。緊貼肢體的天衣帛帶，佩戴著華麗的串珠首飾。 來源：丹麥Folker私人收藏。Folker先生是一位實業家和著名的喜馬拉雅藝術收藏家，從丹麥經銷商和著名拍賣商如 Lau Sunde 和 Bruun-Rasmussen 處購買。 品相：狀況良好，有輕微磨損和鑄造不規則、小凹痕、微小刻痕、輕微缺損、鍍金摩擦、底座未密封。 重量：903 克 尺寸：高17 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年9月13日，lot 326 價格：USD 10,625（相當於今日EUR 12,500） 描述：十八世紀尼泊爾鎏金銅白度母像 專家評論：比較非常相近的底座、光背和、錘鍱元素，以及相近尺寸 (18.7 厘米)。請注意不同的姿勢和只有一對手臂。

A GUAN-TYPE LONGQUAN TRIPOD CENSER, LIAN, SOUTHERN SONG DYNASTYPublished: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 332.China, 1127-1279. The cylindrical body is encircled by three sets of raised bow-string bands, comprised of two ribs above the three foliate-molded ruyi-head supports, three encircling the mid-body and three below the flat inward-canted mouth rim. The censer is covered overall with a rich, finely crackled, bluish-green glaze which thins slightly on the rim and raised decoration, the unglazed edge of the tapering rim on the underside burnt orange in the firing.Provenance: The Jiyuanshanfang Collection. Currently housed on New York's Upper East Side and originally founded upon an old family collection, a comprehensive catalog of the Jiyuanshanfang collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Good condition commensurate with age, showing expected old wear, traces of usage and shallow surface scratches. Some firing irregularities, the rim with a short hairline and associated microscopic loss, the foot rim with a tiny crack, one ruyi foot with an old kintsugi repair. The interior with remnants of calcification and russet discoloration to the crackle, consistent with temporary use as a jardiniere.Weight: 808.3 g Dimensions: Diameter 14 cmThe shape of the present censer originates from archaic bronze lian vessels, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. This archaistic shape was also produced in the Ruyao glaze during the Northern Song period as exemplified in a related Ruyao tripod incense burner from the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, p. 2, no. 1. Ceramic vessels of this form are often molded with bow-strings around the body, such as the well-known Northern Song Ru censer in the Percival David Collection, illustrated in Sekai Toji Zenshu, vol. 12, Tokyo, 1977, p. 70, no. 62.Expert's note: The glaze on this censer is a particularly good example of the attractive bluish-green tone characteristic of the finest Longquan glazes of the guan type.Literature comparison: A closely related Longquan tripod censer, in the collection of the Hangzhou Archaeological Bureau, is illustrated by Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 149, no. 116. A small Longquan censer of similar form was discovered in 1991 in Suining, Sichuan province, amongst a cache of ceramics dating from the late Southern Song period, and is illustrated in Newly Discovered Southern Song Ceramics, A Thirteenth-Century “Time Capsule”, Tokyo, 1998, p. 32, no. 23.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2018, lot 527 Price: USD 62,500 or approx. EUR 71,500 converted and adjusted for inflation at the time of writingDescription: A Longquan celadon tripod censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and bluish-green glaze. Note the similar size (14.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2002, lot 151 Price: USD 204,000 or approx. EUR 325,000 converted and adjusted for inflation at the time of writingDescription: A rare Longquan celadon ribbed censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and finely crackled bluish-green glaze. Note the similar size (14.3 cm).南宋龍泉窯仿官釉弦紋三足爐中國，1127-1279年。爐口沿較寬，直壁，圈足，足下承三個雲頭形足，三足與圈足在同一平面。器身凸起弦紋。通體施青釉，釉面開片，沿口略薄，圈足端無釉，呈橙色。出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，頁332。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。 品相：品相良好，可見磨損與使用痕跡，表面有淺劃痕。一些燒製不規則現象，邊緣有短細裂紋和相關的細微缺損，足部邊緣有微小裂縫，一個如意足有金繼修復。內部有鈣化殘留物和裂紋的黃褐色變色，表明此器可能曾被用作花盆。 重量：808.3 g 尺寸：直徑14 厘米

A BLACK STONE HEAD OF BUDDHA, MON-DVARAVATI PERIODThailand, 8th-9th century. Powerfully carved, the ovoid face with a prominent, ridged brow, heavy-lidded and incised eyes, broad nose above full bow-shaped lips, the head flanked by elongated ears and surmounted by an ushnisha covered with snailshell curls.Provenance: A French private collection built between ca. 1980 and 2012. Thence by descent. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, small chips, and few losses.Weight: 3,700 g (incl. stand) Dimensions: Height 19.7 cm (excl. stand), 26.5 cm (incl. stand)Mounted to an associated Plexiglas stand. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, the Dvaravati polity was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly AD 550-650. Due to the large number of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha are heavily influenced by contemporary Indian sculptural styles, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and which are therefore characteristic of the Mon Dvaravati style. Compared to earlier and later Thai kingdoms, Dvaravati was relatively geographically and economically isolated, which contributed to the distinct qualities of its sculpture, such as the aforementioned eyebrows, the broad face, and the full, prominent lips. Additionally, the local stone was tough and difficult to work with, leading artists to prefer thick, strong features over softness and subtlety. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2019, lot 874Price: USD 43,825 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A blackstone head of Buddha, central Thailand, Dvaravati period, circa 8th centuryExpert remark: Compare the related facial features, the color of the stone, and curls. Note the size (23.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 12 September 2012, lot 620Price: USD 31,250 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A black stone head of Buddha, Thailand, Mon Dvaravati period, 8th/9th CenturyExpert remark: Compare the related facial features, the color of the stone, and curls. Note the size (26.7 cm).

A RARE AND IMPORTANT STUCCO FIGURE OF BUDDHA, ANCIENT REGION OF GANDHARA3rd-4th century. Superbly modeled standing on a square plinth and holding the folds of his sanghati in his left hand, the robe finely detailed with voluminous folds, the serene face with bow-shaped mouth, aquiline nose, and heavy-lidded eyes flanked by pendulous earlobes, the hair in thick locks over the ushnisha.Provenance: An old private collection in Paris, France. Indian Heritage, Paris, France, acquired from the above. LP Collection Paris, France, acquired from the above. An expertise signed by Frederic Rond, owner of Indian Heritage, dated 27 August 2015, addressed to the present owner, and dating the present lot circa 3rd century, accompanies this lot. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces. Condition: Good condition, commensurate with age. Restoration to where the feet connect with the base. Several smaller breakages and losses with associated minor repairs and old fills. Nicks and light scratches. Signs of weathering and erosion, encrustations. Good patina.Dimensions: Height 87 cm (excl. base) and ca. 110 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence exemplified in this large-scale figure of Buddha. With idealized proportions, beatific expression, and flowing robes, the serene figure is the embodiment of compassion.Literature comparison: Compare two related Gandharan stucco figures of standing Buddhas in the National Museum, New Delhi, dated 2nd-3rd century, illustrated by Giovanni Verri, et al., Investigations of a Gandharan stucco head of the Buddha at the Victoria and Albert Museum (IM.3-1931), Techne, issue 48, 2019, fig. 13. Compare a related example illustrated in Kurita, Gandharan Art, Vol. II, Tokyo, 1990, no. 305.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2012, lot 16 Price: USD 98,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An important polychromed stucco figure of Buddha, Gandhara, 3rd/4th centuryExpert remark: Note the similar size (80 cm) and faint remnants of polychrome pigments.犍陀羅罕見灰泥佛陀立像三至四世紀。佛陀立於方座上，佛像面容呈橢圓形﹐眉目端莊﹐鼻樑高而長﹐雙眼微垂，雙眉之間有白毫，頭髮呈波浪形並有頂髻﹐身披希臘式大褂﹐衣褶多線條流暢。 來源：法國巴黎私人舊藏；法國巴黎Indian Heritage藝廊，購於上述收藏；法國巴黎LP Collection收藏，購於上述遺產。隨附一份由Frederic Rond，Indian Heritage藝廊擁有者，於2015年8月27日出具的文書，收件人為現在的持有者，指出此拍品為三世紀產物。Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。它位於巴黎聖日爾曼德佩區，提供大量原始和古典作品。 品相：品相良好，腳與底座連接的位置有修補。一些較小的破損和缺損以及相關的小修和舊填充物，刻痕、劃痕和輕微風化和侵蝕，結殼。包漿良好。 尺寸：高 87 厘米 (不含底座)，約110 厘米 (含底座) 除了片岩，灰泥也是古代犍陀羅地區流行的造像材料。灰泥是一種輕質、可塑的材料，很容易通過細節和造型傳遞出這種大型佛像所體現的情感存在感。理想化的比例、祥和的表情和飄逸的長袍也象徵著慈悲。 文獻比較： 比較兩件相近的公元二至三世紀犍陀羅灰泥佛陀立像，收藏於新德里，見Giovanni Verri編，〈Investigations of a Gandharan stucco head of the Buddha at the Victoria and Albert Museum (IM.3-1931)〉，《Techne》，卷48，2019年，圖13。比較一件相近的例子，見Kurita，《Gandharan Art》，卷II，東京，1990年，編號305。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月20日，lot 16 價格：USD 98,500（相當於今日EUR 116,000） 描述：公元三至四世紀犍陀羅灰泥佛陀立像 專家評論：請注意相似的尺寸(80 厘米) 和些微地顏料殘留。

A SHALLOW CAFE-AU-LAIT GLAZED BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. The gently rounded sides rising from a shallow foot to a lightly flared rim, the body embellished with a raised double bow-string band, the interior and exterior covered with a lustrous cafe-au-lait glaze of a reddish-brown tone, the white base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: Sotheby's Hong Kong, May 2000, lot 724 (according to label to base). A distinguished Asian collection, acquired from the above. Sotheby's Hong Kong, 3 October 2018, lot 3644. A noted private collection, acquired from the above. Condition: Very good condition with some wear and minor firing irregularities, shallow surface scratches, and few small glaze bumps.Weight: 274 g Dimensions: Diameter 17 cmWith a silk storage box. (2)Literature comparison: It is rare to find a bowl of this type with a Qianlong mark, but one is in the collection of the Asian Art Museum, San Francisco, illustrated by He Li, Chinese Ceramics, A New Comprehensive Survey, New York, 1996, p. 284, no. 565. For a Kangxi precursor of this Qianlong example see the bowl in the Percival David Foundation, illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, no. 233. Yongzheng-marked examples are represented by one illustrated in Old Oriental Ceramics Donated by Mr. Yokogawa, Tokyo National Museum, 1953, pl. 389, and another included in the exhibition, Chinese Antiquities from the Brian S. McElney Collection, Hong Kong Museum of Art, 1987, no. 100.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 8 April 2011, lot 3012 Price: HKD 325,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A shallow cafe-au-lait glazed bowl, seal mark and period of QianlongExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm). Auction result comparison: Type: Near identical Auction: Christie's New York, 19 September 2006, lot 380 Price: USD 36,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writing Description: A cafe-au-lait-glazed shallow bowl, Qianlong seal mark in underglaze blue and of the periodExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm).乾隆款及年代紫金釉弦紋碗中國，1736-1795年。口外撇，淺弧腹，腹中部有雙圈弦紋，圈足。內外壁通體施紫金釉，釉面柔和，足內施透明釉，底書青花“大清乾隆年製”篆書款。 來源：香港蘇富比，2000年5月，lot 724 (根據碗底標籤)；一個知名亞洲收藏，購於上述拍賣；香港蘇富比，2018年10月3日，lot 3644；一個知名私人收藏，購於上述收藏。 品相：品相極好，有一些磨損和輕微的燒製不規則，輕微表面劃痕與釉面凸起。 重量：274 克 尺寸：直徑 17 厘米 配置內襯方盒。 (2) 文獻比較： 此類型的碗有乾隆款較罕見，但有一件收藏於舊金山亞洲藝術博物館，見He Li，《Chinese Ceramics，A New Comprehensive Survey》，紐約，1996年，頁284，編號565。一見康熙時期例子，收藏於Percival David Foundation，見東方陶瓷學會，《The World's Great Collections》，卷6，東京，1982年，編號233。雍正款例子，見Mr. Yokogawa捐給 Old Oriental Ceramics，東京國家博物館，1953年，圖389；另一件展覽於《Chinese Antiquities from the Brian S. McElney Collection》，香港藝術館，1987年，編號100。 拍賣結果比較： 形制：幾乎相同 拍賣：香港蘇富比，2011年4月8日，lot 3012 價格：HKD 325,000（相當於今日EUR 52,500） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2006年9月19日，lot 380 價格：USD 36,000（相當於今日EUR 48,000） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。

A REGENCY MAHOGANY BOW FRONT CHEST OF DRAWERS early 19th century, with two short and three long graduated drawers, on shaped bracket feet, 105cm high x 103cm wide

Diamond and ruby brooch, of bow and spray design, set throughout with single cut, five marquise and one brilliant cut diamonds, 4.3cm long, 9.3g gross approx

19th Century French brass and ormolu mantel clock with urn finial, Japy Freres & Cie, retailed by Guibal a Paris, 3-inch dial with Roman hours and Arabic minutes, behind bevelled convex glass and beaded bezel, the two-train movement outside countwheel-striking on a bell, the case with urn and swag surmount over leaf-capped scrolls and a bow-breakfront base on toupie feet, 21cm wide x 30.5cm high, sold with pendulum

An English blue and white porcelain cream boat, Bow shape, circa 1750s, reeded and painted with a Chinese landscape in the Lowestoft style, wishbone handle, 11.5cm long

French School, mid 19th century, portrait of a young lady, bust length wearing a blue shawl, pearl hair ornament and blue bow tie, pastel on canvas, 43 by 31cm, unframed

A 9ct gold bow brooch with oval gold pendant, pearl set leaves with topaz drop

Arthur Simpson of Kendal, an Arts and Crafts oak sideboard, the kneehole dresser base with two drawers over single drawer, flanked by cupboard doors, bow fronted and applied with riveted heart shaped handles and hinged by Rathbone, below a panelled backboard with tapered slatted side panels, the legs united by square section stretchers, 182cm wide, 153cm high, 60cm deep

C Charles for Max Le Verrier, an Art Deco patinated art metal figure of an archer, circa 1925, modelled as a boy with bow, resting on a tree stump, black marble base, incised mark M Le Verrier, 38cm long

Max Le Verrier, Archer, an Art Deco patinated art metal figure, circa 1925, modelled as a man with bow, on stepped composite stone base, impressed mark to base M Le Verrier, 27cm high

Pierre le Faguays, Diana, an Art Deco bronze figure, circa 1925, modelled as a woman with bow, on a rocky outcrop, signed in the cast Le Faguays, Susse Fres Edts Paris, impressed foundry mark, 65cm high

A 19th century Scottish mahogany bow front chest of two short over three long drawers flanked by spiral turned pilasters92 x 118 x 59cmProvenance:Property of a collector, removed from Moggerhanger Park, Bedfordshire

20TH CENTURY INDIAN SCHOOL "Hunter on horseback with bow and arrow by tree and stream", watercolour gouache on canvas, laid on board, unsigned, 81 cm x 109 cm

A late George III oak bow fronted hanging corner cupboard, the dentil cornice over two mahogany banded doors flanked by fluted side pilasters, over a shallow moulded plinth base, 81 cm wide x 47 cm deep x 102 cm high

Two early 20th Century beech and elm stick back smoker's bow chairs of typical form, raised on turned legs united by stretchers, approx 67 cm wide x 50 cm deep x 80 cm high

An Army & Navy CSL Societies Works leather hat box, initialled to top "T.B.B.", 50 cm wide x 36 cm deep x 29 cm high, together with a pair of mahogany bow fronted bedside cupboards, an oval occasional table on fluted tapering supports, an Edwardian mahogany two tier occasional table on slender cabriole legs, a mid 20th Century painted tin dolls' pram and a collection of Booths/Myotts green and floral decorated tea / dinner wares

A collection of twelve various Lladro figures including "Boy and girl on a seesaw" 23 cm long x 19.5 cm high, "Swimming swan" 18 cm high, "Girl with wide rimmed hat and dress with bow" 26 cm high, "Girl with wide rimmed hat held in front of her" 25 cm high, "Musician angel", "Kneeling angel", four "Children in bedclothes" various, "Maid with cow" and "Ballerina lying down" etc, together with a Nao figure, a Valencia figure and a Zaphir figure (15)

19th century Russian Imperial Dragoon Sabre. Brass knuckle bow stamped K.K.K. 127, and 16. Blade length 84cm

A ceramic figurine of "Adrienne", HN2304 by Royal Doulton. Blue dress and bow to hair with pale green shawl. Approx. 19cm tall.

A pair of gilt framed portraits of Military men in ornamental oval frames with bow detail. Each approx. 24cm tall.

* Enigma fan. A fan with riddles, published by T. Balster, January 31, 1792, folding paper fan, the engraved leaf with central oval medallion portrait of a lady, and scattered cartouches containing puzzles and riddles, hand-coloured details and outlines, verso with a ten commandments tablet hanging from a large bow above a laurel wreath incorporating further conundrums, toned and a few fox spots, some short edge-splits and discolouration from adhesive repairs, 8 cm horizontal closed tear to lower edge with adjacent small loss on verso (repaired), mounted on wooden sticks, 25 cm (9.75 ins), together with:Fortune-telling. The Art of Divination, Publish'd by Dyde & Scribe, circa 1800, folding paper fan, the etched leaf with hand-coloured medallion portrait of a bearded man holding a large open tome bearing the title 'Book of Fate', flanked by various predictions in a grid, browned and worn, with repairs and some small losses, mounted on wooden sticks, 28.5 cm (11.25 ins) QTY: (2)NOTE:Both fans are fare: Neither is to be found in the Schreiber Collection, which lists two other fans printed by Thomas Balster ('The Queen's Royal Fan', and 'The Map of England'), and one by Dyde & Scribe ('Charade Fan'); we have not traced another of either of these fans sold at auction or held by an institution.

* Clothing. A beaded and metalwork Victorian bodice, by Power, Sloane Street, London, circa 1870s, cream satin silk boned sleeveless bodice, hand and machine-stitched, and elaborately hand-beaded and embroidered all over with oak leaves and acorns, using simulated seed pearls, paste stones, seed beads, spangles, cream silk thread, and heavy metal threads worked in stem stitch and bullion stitch, incorporating a wide ruched band of cream chiffon above the waist, metal hook and eye closures to rear, lined with cream silk, woven waist band fastener to lining with maker's name 'Power 132 Sloane Street S.W.', worn, with fabric perishing in places and some losses to embellishments, bust 76 cm (30 ins), waist 46 cm (18 ins), length 46 cm (18 ins), together with a cream silk satin short-sleeved wedding dress with short train, circa 1910, overlaid with elaborately embroidered and beaded chiffon, faux flower posy at waist and 2 more to bow detail of train, woven waist band fastener to lining with maker's name 'Osborn 31 & 32 Sussex Place S.W.', worn, and a late Victorian bodice and skirt of cream silk satin and lace, the skirt with short train, 4 cm tear to right-hand side of bodice, skirt foxed and spottedQTY: (4)NOTE:A beautiful bodice embellished with that symbol of prosperity and good fortune, the acorn, most likely made for a wedding or perhaps a court occasion, by Power who were court dressmakers in Sloane Street, London.

* Coronation robes. A set of robes belonging to Lord and Lady Cross, 1901 and later, comprising: a silver gilt Viscount's coronet, hallmarked R. & S. Garrard & Co., London, 1901, with 16 silver balls (tarnished), crimson velvet cap, with gold thread finial topped with a pineapple (latter detached), and ermine fur trim to base rim, lined with cream silk stamped with maker's name in gilt, 23 cm (9 ins) x 21 cm (8.25 ins); a Viscount's robe of crimson velvet with miniver cape, collar, and edging, the cape with 2.5 rows of ermine tails, fur toned, lined with cream silk, lining discoloured and perishing at neck, and soiled at foot, cream grosgrain ribbon ties (later?), velvet to reverse of fur collar perishing, length 193.5 cm (491.5 ins); a long crimson velvet waistcoat, lined with cream silk, lining stained and perishing in places, fur trim removed, length 91 cm (231 ins); a silver gilt Viscountess's coronet, hallmarked Edward Barnard & Sons Ltd, London, 1936, with 16 balls (tarnished), crimson velvet cap finished with a gold thread pineapple, base rim trimmed with ermine, cream silk lining and drawstring compartment, diameter 13.5 cm (5.25 ins); a Viscountess's fitted kirtle of crimson velvet, scalloped edges and sleeves trimmed with miniver (several areas of insect damage to fur at hem), fastening at front embellished with seed pearls and beads, partially lined with cream silk (lightly soiled in places at foot), bust 82 cm (32 ins), waist 76 cm (30 ins), sleeves 26.5 cm (10.5 ins), length 160 cm (63 ins); a Viscountess's mantle of crimson velvet, edged with miniver (a couple of small areas of insect damage at foot) and with capelet of miniver with 2.5 rows of ermine tails (lightly toned), lined with cream silk (somewhat perished overall, though holding), length 261.5 cm (103 ins); and a pair of gold metal shoulder cordons, each composed of wide twisted cord tied in a bow, the tails each terminating in a tassel, overall length 58 cm (23 ins), together with order of service volume: The Form and Order of the Service that is to be Performed and the Ceremonies that are to be Observed in the Coronation of their Majesties King George VI and Queen Elizabeth in the Abbey Church of S. Peter, Westminster on Wednesday, the 12th day of May, 1937, Eyre and Spottiswoode, 1937, printed in red and black throughout, original Japanese vellum, with monarch's armorial gilt stamped to upper cover, 4toQTY: (9)NOTE:Provenance: From the Cross family, by direct descent.The Viscount's robe and coronet were worn by Richard Assheton Cross, 1st Viscount Cross (1823-1914), at the coronation of Edward VII in 1902, and possibly by the 1st Viscount a second time, at the coronation of George V in 1911. Both sets of robes and coronets were worn at the coronation of George VI in 1937, by the 3rd Viscount, Assheton Henry Cross (1920-2004), when he was only 17, and his mother, Maud Evelyn Cross (1889-1976), the 3rd Viscount having inherited the title as a minor aged 12. Both sets of coronation robes were worn again, at Queen Elizabeth II's coronation in 1953, by the 3rd Viscount and his wife Patricia Mary Cross (1928-2014).Richard Assheton Cross, 1st Viscount Cross, was a British statesman and Conservative politician who served as Home Secretary between 1874 and 1880 under Benjamin Disraeli, and again between 1885 and 1886 under the Marquess of Salisbury. A lawyer and banker, Cross is widely acknowledged as one of the country's outstanding home secretaries. The Cross Act of 1875 empowered municipalities to buy and demolish slums and to build housing for rental. In the same year Cross carried through Parliament: the Factory Act, regulating the employment of women and children in textile mills; the Public Health Act, a comprehensive sanitary code; and two statutes reinterpreting Gladstone’s trade-union legislation of 1871. Cross was created viscount in 1886, and held the secretaryship for India from that year until 1892. From 1895 to 1900 he was Lord Privy Seal.Cross was a fellow of the Royal Society, a bencher of the Inner Temple, and an ecclesiastical commissioner, and was keenly interested in the affairs of the church. His honours included, besides the viscountcy, the Knight Grand Cross (1880) and Knight Grand Commander (1892). He was among the small band of her ministers to whom Queen Victoria gave her close personal friendship. He is mentioned frequently in her journals from 1877 until 1900, often as a guest at the royal residences of Balmoral, Windsor and Osborne.An attractive set of robes, with interesting provenance, offered in timely fashion in this, the year of the coronation of King Charles III.

* Worth (House of). A 1930s cocktail dress, dark blue silk georgette(?) dress, with square neckline to front and v-shape to back, pleated bodice with knot detail, ruched short sleeves, and 3/4 length skirt, metal zip closure to back, fully lined, woven label 'Boutique Worth Paris', a few small marks, but overall in good condition, bust 76 cm (30 ins), waist 60 cm (23.5 ins), sleeves 18 cm (7 ins), length 108 cm (42.5 ins), together with 10 other early-mid 20th century garments, including: a moss green satin cocktail dress with strapless ruched crepe bodice, with Harrods label (size 34); a 1950s 3/4 length moss green taffeta dress with cap sleeves (latter a little worn at edges), and large ruched border to skirt terminating in an over-sized bow to rear; a puce pink satin cocktail dress with straps, with woven label 'Suzy Perette New York'; a pale grey silk 3/4 length coat, with peach lining, 3/4 length sleeves with upturned cuffs, and large pocket flaps with Turk's head buttons; a fitted sleeveless brown cocktail dress with gored skirt, woven label to waist 'Jacques Heim Paris Cannes Biarritz', various sizes and condition (mostly in good condition), plus 9 20th century hats, including 2 with Bergdorf Goodman label, and 2 Harrow school caps, one with 'W.A. Stimson Ltd' labelQTY: (22)

* Mirror. A large painted and gilt trumeau overmantle, English, circa 1790-1810, mirror, 87 x 111 cm (34.25 x 43.5 ins), surmounted by a large rectangular oil on canvas panel, depicting a grisaille dancing female figure with tamborine, within a beaded pointed oval frame, flanked by a nude bacchante on either side, the body of each terminating in a large volute of vine leaves, tendrils, and grapes, faint craquelure, some minor spotting and tiny chips, 53 x 112 cm (21 x 44 ins), gilt moulded beaded frame, topped by a ribbon with tasselled bow (strengthened behind with wooden baton, loss to top of bow), the painting and mirror separated by a gilt carved frieze with Bacchus's head in the centre, flanked by floral volutes, lower edge of frame with frieze of laurel branches, some light rubbing to frame, cream baton strips sometime attached to sides, brass mirror plates for hanging on verso, 175 x 122 cm (69 x 48 ins) QTY: (1)NOTE:A beautiful and impressive overmantle mirror, the subject matter suggesting that it might originally have been commissioned to hang in a dining room.

PAIR OF CHINESE BLUE AND WHITE PORCELAIN VASESwith a frilled collar above bow decoration, the bodies decorated with cranes, with character mark to base, 24cm high (2)

UNUSUAL RUBY AND DIAMOND CLUSTER RINGthe pear cut ruby in diamond surround and surmounted by a diamond set bow, on eighteen carat gold shank with decorative pierced shoulders, ring size N

SELECTION OF FIVE TEDDY BEARScomprising a Chad Valley Winter Woolies 2002 with a burgundy jacket, 40cm high, Russ Berrie Alton Towers Hotel bear with a burgundy bowtie, 34cm high, Monty Bear for Debenhams bear with a red bow and bell, 35cm high and a white plush bear with a violet jumper, 36cm high (5)

SIX PLUSH TEDDY BEARScomprising a German Clemens growler with a frill collar and jointed limbs, 27cm high, German jointed bear with matching jumper and hat, 25cm high, Bramble Interflora bear with a brown bow, 23cm high, Kandy Toys bear with a tan waistcoat and jointed limbs, 25cm high, The Teddy Bear Collection hiking bear with jumper and ruck sack, 17.5cm high and a Stonegate bear 'City Of York' with jointed limbs, 22cm high (6)

BEAUTILITY MAHOGANY DRINKS CABINETwith a bow front above a pair of central glass sliding doors with a mirror back and glass shelf, flanked by pair of chessboard cupboard doors above three central drawers and a pair of cupboard doors, standing on tapering splayed supports, 102.5cm x 122cm

MAHOGANY BOW FRONT CUPBOARDwith a pair of doors opening to reveal a shelved interior above a drawer, on bracket feet, 98cm high; together with a mahogany mirror back chest with three drawers, 133cm high (2)

FRANCE & SON DANISH TEAK DRESSING STOOLwith a bow shaped seat, standing on tapering supports, 38.5cm high

A bow, the arched bow with twine, 123cm long 

A 19TH CENTURY MAHOGANY BOW FRONTED CHEST OF TWO SHORT ABOVE THREE LONGER GRADUATED DRAWERS, with later handles, raised on bun feet, H 116 cm, W 117 cm

A George III mahogany bow-front side-board, with five fitted drawers and raised on square tapered legs. 178x92x79cm. With key.

A Georgian mahogany bow-front chest of four long drawers. 100x93x55cm.

An  mahogany bow front chest-on-chest of seven drawers. 70x152x47cm.

A reproduction mahogany and button-back leather upholstered swivel bow arm desk chair.Not original casters. Ends of arms have been re-upholstered.

An antique elm-seated bow-arm Captain's chair.

A Victorian ebonized and satinwood strung bow-end credenza, with glazed doors, inlaid walnut panels and marquetry decoration. 156x107x40cm