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Lot 655
THIRTEEN NATIONAL PIG BREEDERS ASSOCIATION AND WESSEX SADDLEBACK PIG SOCIETY MEDALS comprising five silver and eight bronze, awarded to R.B. Taylor & Sons, including those for the Yeovil Show, 1929; Devon County Show, 1929; Tiverton Show, 1929; Dorchester Show, 1929; and Blandford Show, 1929, each in case of issue.
Lot 507
A fine and large pair of French bronze, parcel gilt and white marble Bacchic candelabra, probably Louis XVI late 18th century, each modelled as a plump dancing infant Bacchus, standing on one foot, their head and loins bedecked with fruiting vines, each holding a pair of fluted cornucopia with sconces applied with heavy fruiting vines and leaves, on low white marble fruited columns on bases with beaded boarders, 48.5cm(H) (2) Condition: Bacchus with vase bottom of cornucopia split towards the basel tip, metal work dirty, also marble with several small chips and general rubbings and grazing and discolouration, the base has oxidised metal, hook on the back possibly once for additional piece; Bacchus with blown up bladder, very similar to the proceeding, cornucopia not damage, also with hook on reverse possibly for additional item.
Lot 192
A Chinese Bronze Vase, 19th century, of polygonal form with flared neck, six-character seal mark13.5cm highTwo Chinese Hardstone Snuff Bottles, of flattened ovoid form6cm highTwo Chinese Spinach Jade Bowls, of everted circular form13cm diameter, carved hardwood stands (5)Bronze vase with dents, chips and scratching, patination lacking. One snuff bottle with chip to foot.
Lot 199
A Pair of Chinese Bronze Mythical Beasts, in Archaic style, standing four-square with circular covers21cm long, on carved hardwood basesOne model missing an ear, both wooden bases with a split, no other notable condition issuesEach bronze (not including wooden stand) 2,113 grams and 2,077grams
Lot 208
A Pair of Japanese Bronze and Mixed Metal Vases, Meiji period, of baluster form with everted rims, inlaid and engraved with cockerels on branches, bear three-character signatures22cm highBoth free from major dents, scratches and cracks, some overall surface wear, leaving a matt finish, some very minor dents and scratches
Lot 210
A Pair of Japanese Bronze Groups of Cranes, Meiji period, each as an adult and young, on a rounded rectangular base and cabriole legs24cm highBoth bases very slightly contorted, the models rock from side to side very slightly. The branches held in the beaks of the adult cranes are drilled for a further object / section not present. The branches are also attached to the cranes necks and on one model the joint has become detached. Good colour overall.
Lot 213
A Miyao Bronze Figure of a Lady, Meiji period, wearing traditional dress kneeling, a bowl in her left hand, an implement in her right, picked out in two tones of brown patination and gilt, three-character mark to gilt tablet18cm high, on matched hardwood basePossibly part of implement in right hand missing. Some typical minor surface wear and scratching.Height - 18cm (excluding base), 20.25cm (including base), approximately 10cm wide, approximately 9.5cm deep
Lot 237
A Burmese Bronze Opium Weight Converted to a Hand Seal, 19th century, cast as chicken, the matrix engraved with arms and motto of the Rickards family of Evenjobb, Radnorshire6.5cm highA Japanese Bronze Handle, 19th century, adapted as a hand seal, cast as a monkey and her young sitting on a tree stump, the steel matrix engraved with the crest of the Rowe family of Ballycross, Bridgetown, Ireland9cm high (2)Provenance: From the Rickards Collinson family. Emily Isadora Rowe married Arthur Rickards, 19th June 1869, at St Mary, St Denys & St George, Manchester
Lot 71
Pair of Louis XV style candlesticks. France, ca. 1870.Gilded bronze.Measurements: 24 x 14 x 14 cm.Pair of candlesticks made in bronze whose design is framed in the transition between the late baroque and the rococo. The model is the usual one throughout the Baroque period, a model of European origin characterised by a foot and a voluminous shaft. The ornamental motifs are reminiscent of examples of the decorative art of the Louis XVI period, but reinterpreted to suit 19th-century aesthetic tastes.
Lot 77
Sèvres vase. France, 18th century.Hand-painted porcelain and gilt bronze mount.With stamp on the inside of the lid indicating that the date of production was around 1753.Measurements: 48 x 25 x 19 cm.Ornamental vase with bronze base and structure. It is decorated with pictorial scenes, the front with winged angels and the back with musical instruments, both delicately worked in its brushstrokes. Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was moved here in 1756. One of Europe's leading porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had already been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved in 1756, was built on the initiative of Madame de Pompadur. Three years later, it was designated a royal factory, and from that time onwards it was the only one in France to use fine gold. In its early years, the factory produced mainly soft paste; hard porcelain, with kaolin, was not marketed in Sèvres until 1770. Among the innovations of this manufactory in the 18th century were coloured backgrounds and the use of biscuit for small sculptures. During the French Revolution, the factory suffered a decline in production, but experienced a revival between 1800 and 1847 under the direction of Alexandre Brongniart, who brought the factory international fame. During these years, many important technical innovations were made, and a number of contemporary artists collaborated with the manufacture. During this period, a new gilding technique was introduced, which was made shiny by burnishing the surface with an agate stone. The pieces were also decorated with opaque gilding, which was done by rubbing the gold with very fine sand. It was at this time that, for ornamental vases, a cartouche became established as the central theme, in the manner of an oil painting, with a gilt cartouche on a monochrome background. From the mid-19th century onwards, the dominant styles were eclecticism and historicism, and some models revived typologies from the past, such as the Mannerism of Fontainebleau and the Baroque of Versailles.
Lot 80
Neo-Gothic clock, 19th century.Patinated and gilded bronze.The machinery needs to be repaired. It does not keep the key, the pendulum and the chime bell.Measurements: 41 x 20 x 13 cm.Bronze table clock, with an architectonically inspired design. It represents a gothic church reproduced in its minimum details: with high pinnacles flanking a façade with openwork doors of ogival profile, and a great central rosette that works as the clock face. The Roman numerals and black baguet-type hands stand out against the gilt background.
Lot 82
Empire table clock. France, early 19th century.Gilt bronze.The pendulum is missing.The machinery needs restoration.Measures: 54 x 36 x 15 cm.French table clock of Empire style and period. It is made entirely of bronze, with a sculptural concept typical of this period. It is a piece of classical aesthetics, with a base decorated with borders and borders in bas-relief in the form of a frieze. Above it is a round figure representing the muse of love poetry, Erato, together with her lyre, a laurel wreath and several notebooks of poems. All of these elements rest on the clock case. The dial is numbered in black Roman numerals. The dial is framed by a border of flowers.
Lot 84
Empire table clock. France, early 19th century.Patinated and gilded bronze.In need of restoration. No pendulum. It shows wear and tear.Measurements: 45 x 31 x 13 cm.Table clock made in gilded and patinated bronze at the beginning of the 19th century. The piece has been conceived through a sculptural concept characteristic of this period. It consists of a base with sharp edges, reflecting the taste for clean volumes characteristic of the aesthetics of the period. On the upper part of the base, which is decorated extensively with a vegetal pattern with a central cup, stands a lady wearing a toga in the classical manner, pouring a pitcher over the clock case. The latter houses the white dial and Roman numerals. Scenes of this type were very common in the decoration of table clocks, often depicting mythical or religious figures, linked to a historicist sense and aesthetic.
Lot 85
Restoration period clock, France, ca. 1820.Gilt bronze.The machinery is in need of repair. The dial does not retain the hands.It has some faults and damage.Measurements: 68 x 28 x 12 cm.Table clock made in gilded bronze at the beginning of the 19th century. The piece has been conceived through a sculptural concept characteristic of this period. It consists of a base with sharp edges, reflecting the taste for clean volumes characteristic of the aesthetics of the period. In the upper part of the base, which is extensively decorated with a plant-like pattern, in the centre of which is a pavilion that reveals the figures of two figures, there is a sculptural group composed of round figures representing two winged figures dressed in togas, following models inspired by the classical period. They rest on a crescent with a dial, without hands and with Roman numerals. Both figures hold a banner with a bust portrait of a figure. These types of scenes were very common in the decoration of table clocks, often depicting mythical or religious figures, linked to a historicist sense and aesthetic.
Lot 87
Louis Philippe period table clock. France, ca. 1840.Gilt and patinated bronze.Honoré Pons movement.The pendulum and the bell are missing. The machinery needs restoration.Measurements: 41 x 29 x 10 cm.Table clock made in gilded and patinated bronze at the beginning of the 19th century. The piece has been conceived through a sculptural concept characteristic of this period. It consists of a base with sharp edges, reflecting the taste for clean volumes characteristic of the aesthetics of the period. On the upper part of the base, which is extensively decorated with a vegetal pattern in relief, stands a gallant man dressed in the 18th-century style. The latter rests on the clock case, which is inscribed on the base of what appears to be a cut tree. The gilt-bronze dial has Breguet-type hands and Roman numerals. Scenes of this type were very common in the decoration of table clocks, often depicting mythical or religious figures, linked to a historicist sense and aesthetic.
Lot 104
Arquimesa. Italy, 17th century.Walnut wood, ebonised wood, bronze, tortoise shell and metal.With keys.With antique xylophages. In need of restoration. It presents some faults in the interior handles.Measurements: 120 x 135 x 50 cm (chest); 84 x 157 x 56 cm (table).Baroque chest with architectural structure and inlaid tortoiseshell decoration combined with bronze applications. This model was widespread in 17th-century Europe, especially in Italy, but originated in the Netherlands. The decoration is concentrated on the front, and on the sides it is reduced to geometric inlays made by means of inlaid fillets. The handles are made of bronze. The sample is divided into three lanes, the central one slightly forward, with a Baroque façade structure. The side sections contain four identical drawers, the fronts of which are decorated with rectangular cut-outs. The bronze handles are decorated with plant shoots. The central street is the main feature, as is usual in Baroque bargueño architecture, and its structure shows the influence of contemporary architecture, with the columns standing out on the ground plan. However, it is enriched by the imagination and know-how of the cabinetmaker, in the base, columns veneered in tortoiseshell and raised on corbels, the niche with a round representation in bronze, flanked by figurative reliefs. This façade conceals a door that is skilfully concealed by the decoration, with an interior compartmentalised into drawers, the fronts of which are decorated with inlaid wooden fillets forming geometric grooves that match the general design of the cabinet. The cabinet is topped by a highly ornamented openwork runner with rich interlacing, and the wooden top is crowned with an imperial eagle above a tympanum.The bargueño stands on a matching table made of the same materials, in the Baroque style. Both legs are joined to the tabletop by wrought-iron fastenings.
Lot 116
Louis XVI French style chest of drawers, late 19th - early 20th century.Walnut wood and marquetry. Handles, applications and ornaments in gilt bronze.Wear and tear. Needs to be reworked. Presents some old xylophages and some faults.Measurements: 82 x 96 x 47 cm.Louis XVI style chest of drawers, French neoclassicism. It presents the structure of proportioned geometric volumes and straight lines typical of Louis XVI furniture, with balanced and stylised lines, different from those of the heavier furniture of the classicist baroque. It is a chest of drawers with three drawers. The two lower drawers have marquetry-worked fronts depicting floral and animalistic motifs, and have two lateral handles. The decoration of the upper drawer is enhanced by a gilt-bronze geometric border. All the drawers have locks and are framed by lighter-coloured wooden panels. The sides and top of the cabinet also continue the same decoration. The skirt has an oval projection ornamented with gilt reliefs.
Lot 254
A mixed lot of militaria, including a portrait miniature oil on porcelain of a Naval Officer by Albert P Steer, a pair of Naval binocular believed to have been from H.M.S. Bulldog, a W.L Byers brass miniature anchor, C.P.R Empress of Ireland collision pictures and book by James Croall, a Butterfield & Swire bronze medallion 1867-1967, a silver pated rose bowl by Walker & Hall engraved ‘Presented to Capt J Durrant ….. retirement 1969” from Tug Crew, items relating to Leading Seaman P.J Hale of H.M.S. Verdun, including medal ribbons, crucifix, cloth insignia, sailmakers palm, coloured prints, etc,(qty) Note: No in house shipping available for this lot
Lot 1165
A Muromachi Japanese Wakizashi sword with : urushi black saya/scabbard with seashell motifs. Handle of white tsuka-ito wrapped over stingray skin, with carp and cicada silver and copper habaki. Bronze tsuba with motif of fish, Fuji San, tree & river bank - both sides with traces of gilding. Overall length 21¾", hatawari: 14½". Accompanied by Japanese dealer's consignment note and last official Japanese Government registration card. MORE PHOTOGRAPHS & DETAILS AVAILABLE ON REQUEST.
Lot 24
GROUP OF FIVE BRONZE HUNTING KNIVES LATE EASTERN ZHOU DYNASTY, WARRING STATES PERIOD, ORDOS NORTH-EASTERN CULTURE 東周戰國時期 東北鄂爾多斯文化 各式青銅獵刀 （共五件） each knife of different design on the blade and pommelDimensions:longest: 21.8cmNote: Note: a closely comparable group of nine Ordos bronze hunting knives of various forms were sold at Bonhams Hong Kong, 25 May 2011, lot 540
Lot 25
BRONZE CENSER XUANDE MARK BUT 19TH-20TH CENTURY 十九至二十世紀 宣德款 銅鑄雙耳爐 supported on a short splayed foot, the squatted globular body attached with two loop handles on either end, the bronze with a brown patination, the base cast with a four-character apocryphal Xuande mark within a recessed rectangular reserveDimensions:14.6cm wide across handles
Lot 259
FOUR JAPANESE BRONZE WARES 銅鑄花觚、貘形薰爐 及 銅胎掐絲琺瑯饕餮紋對瓶（共四件） comprising: a trumpet-from gu vase with archaic decoration, 25.5cm high; a koro censer cast in the form of Baku, 23cm high; and a pair of cloisonné enamel 'Taotie' vases, 30.7cmDimensions:Heights: 23cm to 30.7cmProvenance:Provenance: Collection of Sir Richard Shepherd, MP.
Lot 27
GILT-BRONZE 'DOUBLE DRAGONS' RITUAL BELL, BIANZHONG 19TH-20TH CENTURY 十九至二十世紀 鎏金銅鑄雙龍捧珠編鐘 heavily cast, the cylindrical body boldly surmounted by a pair of addorsed dragons each crisply cast with a finely scaled arched back, the horned head raised with mouth agape bearing fangs, and supported on powerful extended front claws, the gently convex sides cast in sharp relief with a pair of animated five-clawed dragons striding amidst roiling seas and fiery clouds, centred to either side with an upright rectangular cartouche set on a tiered lotus stand and ornamented on three sides with symmetrical cloud scrolls, all between bands of formal foliate scroll and stylized cloudsDimensions:24.5cm high; 14kgProvenance:Provenance: Private collection, LondonNote: Note: comparable gilt-bronze ritual bells of similar design and dated to the Qianlong period, were sold respectively at Christie's Hong Kong, 3 Jun 2015, lot 3119 and Sotheby's New York, 15 September 2015, lot 160
Lot 278
ORMOLU-MOUNTED IMARI LIDDED JAR MEIJI PERIOD 明治 鍍金銅鑲伊萬里燒雙耳罐 decorated with gnarled tree and branches issuing flowers around the exterior with vertical bands, set with a pair of loop handles, mouth rim of the jar mounted with openwork gilded bronze, mouth rim of the lid and finial further mountedDimensions:25.5cm highProvenance:Provenance: Private Scottish collection, Edinburgh
Lot 28
TWO BRONZE CENSERS XUANDE AND ZHENWAN MARKS 宣德、珍玩款 銅鑄獸耳圈足及鬲式爐（兩件） one of archaic ge form, with three feet forming the bulbous body, flanked on both sides with a pair of mythical beast heads as knob handles, the base cast with a six-character Xuande mark in recessed panel; the other of open bulbous form with cast lion mask handles, the base cast with 'Zhen Wan (Precious Plaything)' markDimensions:16.5cm and 18.5cm diameters; 1409g and 1225g
Lot 29
BRONZE TRIAD OF PADMASAMBHAVA AND CONSORTS 銅鑄蓮花生大士與曼達拉娃及益西措嘉像 cast with the Guru Rinpoche seated on a double-lotus throne, right hand holds a vajra before his chest, left with kapala, a khatvanga issues from his left arm, flanked by standing Mandarava on his right and Yeshe Tsogyal on his left, the base sealed with a plaque incised with shou roundel enclosed by rosettesDimensions:13.5cm high; 581gProvenance:Provenance: Private Scottish collectionNote: Note: Compare to a slightly smaller example of Tibetan bronze figure of Padmasambhava, dated to the 16th century which was sold at Christie's New York, 19 September 2019, lot 22, Himalayan Art Resources, item no. 24582. Note the similarity of the facial features, composition of the triad, and two bulges on the back of the throne.
Lot 31
GILT-BRONZE 'DOUBLE PHOENIXES' CANDLE HOLDER QIANLONG MARK, 20TH CENTURY 二十世紀 乾隆款 銅鎏金百寶嵌雉鷄形燭臺 cast as a pair of phoenixes on a high rock enclosing a hollowed tree trunk, the feathers and lingzhi featuring various inlaid gemstones, the base with a four-character apocryphal Qianlong mark, with a fitted lacquer boxDimensions:19cm high; 1993g
Lot 32
GILT BRONZE FIGURE OF A GELUGPA LAMA QING DYNASTY, 19TH CENTURY 清 銅鎏金格魯派上師座像 cast seated on a double-lotus throne, right hand in bhumisparsha mudra, left hand rested on knee holding a rosary wrapped around his wrist, wearing a richly decorated robe, his face with large eyes in benevolent expression surmounted by the pandita cap of the Gelug order, the base sealed with a plaque incised with a crossed vajraDimensions:24cm high; 4527gProvenance:Provenance: Private collection, London; formerly in a private Italian collectionNote: Note: A copper alloy figure of a Sakya school lama, dated to ca. 16th century, is depicted similarly with this lot with corpulent contours, both hands over his knees with the left hand holding a mala, was sold in Bonhams Hong Kong, 2 Dec 2020, lot 1002
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