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Lot 2902
China, twee famille rose porseleinen melkkannetjes, Qianlong periode (1736-1795), een met mandarijnendecor van figuren met kinderen, de ander met een exportdecoratie van duif bij pijl en boog (haarlijn, chipje, deksels ontbreken) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] h. 10-10,5 cm China, two famille rose porcelain milk-jugs, Qianlong period (1736-1795), one with Mandarin pattern of figures with children, the other with export decoration with dove near bow and arrow (hairline, chip, covers lacking), provenance: Dutch private collection
Lot 902
Full title: A Chinese blue and white 'sanduo' bowl, Kangxi mark and of the periodDescription:Dia.: 20,5 cm - H.: 9,5 cmÊ Provenance: An important Dutch private collection.Ê Condition: (UV-checked)- A short C-shaped ca. 3.5cm hairline on the underside of the bow, visible on in- and outside.- Otherwise in very good condition.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 83
JUAN LUNA Y NOVICIO (Badoc, Philippines, 1857 - Hong Kong, 1899). "Souvenir of the Battle of Lepanto ", 1887. Oil on canvas. Re-lined Signed, titled, dedicated to Vicente Romero Girón and dated in the lower left corner. Measurements: 20 x 19 cm; 52 x 48 cm (frame). Juan Luna's epic paintings were celebrated internationally, and it was "The Battle of Lepanto" (in homage to the Christian victory over the Ottomans in 1571) which brought him the greatest fame. In the same year in which he painted the historical theme of this naval battle (a commission from the Spanish Senate to the distinguished Philippine painter), he executed the portrait in question. As the dedication says, it is part of the same theme. Although it does not coincide exactly with any of the figures in the final painting, it has notable similarities with the main protagonists of the naval battle, as he would eventually conceive it. Firstly, we have John of Austria (of whom he made various preparatory drawings, and who in the final painting is placed at the bow of the ship, captaining the Christian fleet), wearing a helmet topped with a plume of feathers, with an aristocratic profile and a trimmed moustache, similar to the present figure. However, it is more likely that this is a self-portrait, as Juan Luna included himself among the sailors in Philip II's army (which also included Cervantes). Indeed, his features coincide with those of the personage who in the official commission wears a dalmatic and helmet. The fact that he is included as part of such a victorious feat attests (the royal galley sinking the Turkish galleon) to the self-esteem Juan de Luna owed to himself, and also to the pre-eminent place he enjoyed not only in the Spanish sphere, but also internationally. In the present portrait, we see the sitter in profile, looking straight ahead, with a fragment of sail breaking the composition diagonally, and his gaze straight ahead leads us to imagine his complacency at the enemy's shipwreck. "The Battle of Lepanto", a symbol of the Catholic triumph against the invading forces, was intended for the Senate Conference Room. In technique and style, we can appreciate the broad, vibrant, undone brushstroke characteristic of the Filipino painter, a language close to Impressionism but inscribed in a realism of naturalistic tone. Juan Luna trained at the Ateneo de la Compañía de Manila, where he was taught by Agustín Saéz. He entered the Academy of Fine Arts in the same city, where he was a disciple of Lorenzo Guerrero. In 1877 he was awarded a scholarship by the Manila City Council which enabled him to move to Madrid to further his training at the San Fernando School of Fine Arts. In the Spanish capital he became a pupil of Alejo Vera and travelled with him to Rome when the latter was appointed director of the Spanish Academy in that city. He subsequently settled in Paris, where he opened his own studio. He received important institutional commissions, among them the one he received in 1887 from the Spanish Senate, "The Battle of Lepanto". The Ministry of Overseas France commissioned another work from him, a composition representing Spain and the Philippines. Luna also took part in numerous official exhibitions, being awarded a second medal for "Cleopatra" at the National Fine Arts Exhibition of 1881 and a first medal for "Spoliarium" at the National Exhibition of Fine Arts of 1884. He also exhibited his works abroad, and in fact sent his canvases to the Paris Salon of 1886, where he was awarded the third medal. Two years later, in 1888, he was awarded a second medal at the Universal Exhibition in Barcelona. He took part in the Universal Exhibition in Paris, where he was awarded the third medal. Juan Luna's works are currently represented in important art centres such as the Prado Museum, the National Museum of the Philippines, the Cádiz Town Hall, the Captaincy General of Seville, the Government Delegation of the Basque Country, etc.
Lot 238
A BRONZE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY of rectangular form, the four-armed manifestation of Siva depicted in relief stepping to his left, wielding sword, shield, bow and arrow within a lobed arch with kirtimukha above, a diminutive figure of Daksha at his side with hands in anjali mudra, large carrying handle at the back 24.3 x 15 x 5cm approximately Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him. Sati who was Daksha's daughter as well as being Siva's wife was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha's head to avenge his wife. Other gods pleaded for Daksha's life but although Siva decided to spare him, his severed head could not be found so the head of a goat was substituted instead. ++Worn and slightly knocked
Lot 365
*A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and hide, of stylised female human form, her head forming the headstock with single string emerging from her chin, a tuning peg on one side, with long neck and rectilinear body, carved with hands, breasts and shallow linear decoration, hide resonator at the bottom front 58cm high approx. The dhodro banam is related to the sarinda or sarangi, usually with just a single string, played with a bow in vertical position, and thought to have origins in Central Asia. The Santal people consider these instruments as an aspect of their own self. This is evident in the overall shape, sometimes overtly depicting a human figure, at other times merely hinting at it, perhaps with the addition of human arms, as in lot 375. The Santal are a large tribe which speak their own language, and most live in the newly created Indian state of Jharkhand in Eastern India. Smaller groups are to be found in neighbouring states. For further infor...
Lot 403
*A NORTH INDIAN SARANGI, EARLY 20TH CENTURY wood, with bone, leather, hide and metal, the pear-shaped body with hide resonator, the thick tapered neck with inlaid fish motif, the headstock supported by an open Mughal style arch, multiple tuning pegs along one side of the neck and the top of the headstock, four larger pegs on either side of the headstock for the primary strings, together with an associated bow 67cm high (sarangi), 71cm length of bow (2) For an account of the evolution of the sarangi and illustrations of various types including examples similar to this, see Joep Bor, 'The Voice of the Sarangi' in the Quarterly Journal of the National Centre for the Performing Arts, Amsterdam 1987, pp.75-79. ++Worn and knocked, some replaced and repaired parts
Lot 404
*TWO SARINDA (BOWED LUTES), AFGHANISTAN OR PAKISTAN, EARLY 20TH CENTURY wood with mirror glass and metal inlay, the bodies of inverted egg-shape, with deep lobed indentations on either side, the lower section forming a hide-faced resonator, with short neck supporting a rectangular headstock set with turned tuning pegs, surmounted by upward scrolling finial, each with leather strap, one with coloured and beaded cushion 69, 59cm approx. high The sarinda is a distinctively shaped stringed instrument, played in upright position with a bow, found in India, Pakistan and Afghanistan. It is thought to derive from the dhodra banam sarangi (see lots 365-384). For a closely-related sarinda from Afghanistan in the Bengt Fosshag collection, see 'Rabab Sarangi Sarinda & Verwandte', no.9. ++Glass inlay with some damage and losses, some pegs replaced, various other mostly minor damages
Lot 405
*TWO SARINDA (BOWED LUTES), PROBABLY PAKISTAN, EARLY 20TH CENTURY wood with metal and mirror glass inlay, the bodies of inverted egg-shape, with deep lobed indentations on either side, the lower section forming a hide-faced resonator, with short neck supporting a rectangular headstock set with tuning pegs, surmounted by upward scrolling finial, each with leather strap and cloth hanging ornaments, together with an associated bow 69, 59cm approx. high See footnote to the previous lot. For a closely-related sarinda found in Karachi in the Bengt Fosshag collection, see 'Rabab Sarangi Sarinda & Verwandte', no.8. ++Some tuning pegs missing and replaced, various chips knocks and wear,
Lot 406
*A BALKAN GUSLE, CIRCA 1900 carved maple wood, the bulb-shaped body with hide resonator, surmounted by slender neck with scooped design, the finial in the form of a horseman, indistinct number engraved on the back of the neck 85cm long The gusle is played with a bow in a vertical position and is used throughout the countries of the former Yugoslavia and Albania to accompany singing. ++String and tuning peg missing, slightly marked, otherwise mostly good condition
![STELLA MEAD: THE ADVENTURES OF WIBBLY MOUSE, ill Lottie Gorn, London, Amex [1946], 1st edition, fo, original pictorial wraps](https://cdn.globalauctionplatform.com/0ec91f86-2237-43d9-9ad7-ae8400f265f4/ab61eaa7-e39e-432e-9946-ae91010778cc/468x382.jpg)
Lot 24
STELLA MEAD: THE ADVENTURES OF WIBBLY MOUSE, ill Lottie Gorn, London, Amex [1946], 1st edition, fo, original pictorial wraps worn + ANON: SEVEN MERRY ADVENTURES OF BILLY BOW - WOW'S SCHOOL DAYS, London, P M Productions, [1947], 1st edition, fo, original pictorial wraps + ANON: ADVENTURES IN FAIRYLAND, Otley Renwick [1931], 1st edition, 3 coloured plates, 4to, original pictorial wraps, one copy on COPAC + ANON: THE MAGIC WAND, Otley Renwick [1931], 1st edition, 3 coloured plates, 4to, original pictorial wraps, no copy on COPAC + ANON: OUR PETS TREASURE, [ill Harry B Neilson & others], Otley Renwick, [1931], 1st edition, 3 coloured plates, 4to, original pictorial wraps, one copy on COPAC + ANNE HOPE: THE PIXIES OF WILLOW WOOD..., Sevenoaks, J Salmon, circa 1943, oblong 4to, original pictorial wraps + ANON: PIGGY'S FROLICS, circa 1920, original pictorial wraps + ANON: THE CIRCUS ABC, London, Len-Art Series, ND, inscription dated 1944, 4to, original pictorial wraps + FRANK ADAMS (ILL): CINDERELLA, London, Blackie [1918], 1st edition, 2 mounted coloured plates, 4to, original pictorial boards worn, one copy on COPAC (9)
Lot 356
An 18th Century Bow figure of Neptune and dolphin, 19 cm high CONDITION REPORTS Has had significant repairs. The tail has been off the dolphin. Also losses to the extremities throughout, including to his laurel crown. Several large firing faults including down the back of his robes and across the robes at arm level. In need of a good clean. Wear to the paintwork throughout. Wear and tear conducive with age and use. See images for more details.
Lot 357
An 18th Century Bow figure of dancers, 15.5 cm high CONDITION REPORTS Her back leg has been replaced. There is a large crack running through the base of the piece. Generally all over filthy and in need of a good clean. Something is missing from the base of the peplum on his top. General wear and tear conducive with age and use - see images for more details
Lot 478
A gilt pair cased pocket watch, the movement inscribed "W Francis Manchester 4772", with tortoiseshell outer case cover, set with pin decoration, the inside bearing paper label inscribed "David Reid Watch and Clock Maker....Glasgow", together with a silver cased pocket watch, a further silver cased lady's pocket watch white white enamel dial set with blue Roman numerals and housed on a bow brooch and stamped "Sterling Silver" to back, a cameo mounted pendant and a further mother of pearl mounted cameo set ring
Lot 804
A Regency mahogany toilet mirror, the rectangular plate on square supports, the cross banded satinwood and rosewood strung bow fronted base with three drawers raised on ball feet 51.5 cm wide x 21 cm deep x 55 cm high together with another Regency toilet mirror, the rectangular plate on square reeded supports on a three drawer base to turned and reeded feet 56.8 cm wide x 22.6 cm deep x 64 cm high
Lot 929
A modern cream painted chest of three drawers on bracket feet 85 cm wide x 46 cm deep x 65.5 cm high, a similar two drawer chest 80 cm wide x 55 cm deep x 75 cm high and two aluminium flower vases and faux lilies, the vases 99 cm high, together with a pair of modern silver painted two drawer side tables on square tapered legs 130 cm wide x 53 cm deep x 75.5 cm high, two modern mahogany pedestal occasional tables 60 cm diameter x 60 cm high and a modern bow fronted mahogany foldover card table with two drawers on square tapered legs to spade feet 55 cm wide x 74.5 cm high, together with a wooden headboard and an upholstered headboard CONDITION REPORTS All ex-hotel pieces with subsequent wear, chips, etc.
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