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Click here to subscribeThe porcelain applied with prunus sprigs and set with later gilt bronze mounts to the rim and foot and inscribed to the base ‘Escalier de Cristal, Paris’ the mounts 19th centuryHeight: 10cmProvenance: The Canterbury Auction Galleries 23rd May 2012, lot 318來源：售於坎特伯雷拍賣行2012年五月22日拍品號318Condition ReportThe porcelain of good creamy tone and translucency. The mount of very good quality, 19th century, concealing a chip to the rim by the handle, still presents well
Cast in the form of sinuous dragon-like mythical beasts, terminating in a goose neck hook, traces of original gilding and malachite encrustation together with three other bronze animal plaques (4)Length: 11cmProvenance: The belt hook from Kevorkian, Art d’Orient et de L’Islam, Paris來源：購自巴黎古董商KevorkianPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe belt hook: the goose neck slightly compressed and pushed to one side, traces of malachite encrustation, small area of flaking to reverse.The other three pieces all with some form of malachite encrustation, generally in good condition.
The horn of warm honey tone, carved in the form of an archaic Shang Dynasty bronze three-legged drinking vessel, ‘Jue’, with a pair of chilong dragons around the body holding sprigs of lingzhi in their mouths, applied collectors paper label G.11 1-6-1933Height: 12.2cmWeight: 130gA similar cup, dated to the Ming Dynasty, is illustrated in The Complete Collection of Treasures of the Palace Museum, Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, page. 138., cat. no. 124. Another similar is illustrated and discussed by Tom Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.93, cat. no. 46, from the collection of Mr Chun-hung Li. For a similar example sold see Woolley & Wallis, Fine Chinese Paintings and Works of Art, 21st May 2019, lot 55.相似犀角杯見北京故宮博物院清宮舊藏，見《故宮博物院珍藏文物珍品全集：竹木牙角雕刻》，香港，2002年，圖124，頁138，定為明代仿爵杯。另一相似犀角杯見 霍滿堂《中國犀角雕刻珍賞》香港，1999年，圖46，頁93。 又見於威立士2019年5月21日，拍品55號。Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory, rhinoceros horn and tortoiseshell. Accordingly, prospective purchasers should familiarise themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.Please note that an export licence will only be granted for rhinoceros horn objects providing the hammer price meets or exceeds the value of $100 per gram of the items weight.有意購買者請注意，由於若干國家禁止進口包含瀕危物種材料的物品，包括但不限於珊瑚、象牙、犀牛角和玳瑁的物品。因此，準買家如果打算將這批商品進口到另一個國家，則應在投標前熟悉相關的海關規定。 請注意，犀牛角拍品的出口許可證只有當落槌價格達到或超過每克100美元的價值時，才會頒發。Condition ReportOverall the Jue presents well, and of warm honey tone. There are five small blemishes to the interior, one a small worm hole, the others natural. There is a small nick to the rim, 3mm, evident in the photographs. There are other natural blemishes to the exterior, which have been carved over, two small worm holes coming through from the interior.
A natural pearl and diamond cluster ring, the pearl set within a surround of eighteen round brilliant-cut diamonds in white gold, size N 1/2 Accompanied by report number 78132-74 dated 27 November 2017 from GCS stating that the half-drilled bronze/golden pearl weighs 13.11cts (analysed loose) and measures 13.77 - 14.10 x 10.06mm and is natural saltwater with no indications of treatment.
Mohammed Ghani Hikmat (Iraq, 1929-2011)Female Form I bronzesigned 'Mohammed Ghani' and dated '89' in Arabic on the verso, executed in 198928 x 6cm (11 x 2 3/8in).Footnotes:Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the aboveFor further information on this lot please visit Bonhams.com
Ismael Fattah (Iraq, 1934-2004)Three Graces bronzesigned 'Ismail Fattah' and dated on the verso in Arabic14 x 11cm (5 1/2 x 4 5/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist in 1989, LondonFor further information on this lot please visit Bonhams.com
Adam Henein (Egypt, 1929-2020)The Amphora Carrier bronzesigned 'A. Henien' on the verso, executed in 195554 x 11cm (21 1/4 x 4 5/16in).Footnotes:Provenance:Property from a private collection, Cairo'I was steeped in Egyptian Pharaonic art, right from childhood. I lived with that art, I lived in that art, or rather it dwelled in me as soon as I began to sense and perceive the elements and beings of the world around me. Pharaonic sculpture appears as a block, which, although apparently stable and motionless, is animated by an inner movement, making the dense and intimidating mass into a block that is once compact and mobile. It is on the basis of this principle that the Pharaohs were able to combine heaviness with grace; their sculpted blocks seemed, in spite of their weight and their mass, to float on water.' - Adam HeneinThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rachid Koraichi (Algeria, born 1947)From the series 'Les Sept Stations Célestes' alabaster sculpture in two partsboth panels signed 'Rachid Koraichi', dated '2017' and inscribed '04.ED1/1' on verso in English and Arabic, executed in 201749 x 49cm (19 5/16 x 19 5/16in).Footnotes:Rachid Koraïchi is an Algerian artist whose work deals with the intersections of religion, culture, and history. Sufism is largely infused into his pieces that evoke themes of transcendence, spirituality and the connection to oneself and the divine. His work grapples with the multitude of ways that we connect ourselves with God and higher realms, and thus he deploys a multitude of different mediums: from alabaster tablets like we see in this lot, to threadwork, to bronze. Likewise, he is an artist of many forms: part ceramist, sculptor, print-maker, and all around visionary.Rachid Koraïchi's use of multiple mediums creates a fluidity that allows him to explore different historical, artistic and theoretical facets. In this particular artwork we see two exquisite alabaster tablets paired with Islamic calligraphy and design, weighing approximately 35 pounds each. The sculpted tablets draw references to key Islamic iconography, including the 'Alabaster Mosque' in Cairo. With a career spanning five decades, Rachid Koraïchi is a world-renowned artist with exhibitions that have been featured in the Venice Biennale, the MOMA, the inaugural exhibition at the Guggenheim in Abu Dhabi in 2015, and in the collection of the National Museum of African Art in Washington D.C. Koraïchi works in Paris with major projects in Algeria, Egypt, Spain, Tunisia, USA and Dagestan. Koraïchi won the prestigious Jameel prize in 2011, has been featured in 'The Future of Tradition', Haus der Kunst Munich 2010, and presented in 'Word into Art' at the British Museum, 2006. In this particular artwork we can appreciate his visual interpretation (left side) in comparison to the text (right side) in which he defines his posture as to how love should be portrayed to the ones surrounding us and Allah - ' Love does not own, and does not compare.' We are able to appreciate the dynamic and visual representation that Koraïchi has created based on the Chinese, Sumerian, Hebrew and Arabic alphabets accompanied by numbers, codes and drawings, the 'alphabet of memory' as he calls it. This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
After François Duquesnoy (Flemish, 1597-1643): A pair of patinated bronze busts of the Young Christ and the Virgin Maryprobably Roman School, 17th centurythe virgin with veiled head turned slightly to dexter, the young Christ with wavy haired head looking straight before him, both raised on veined marble plinth socle bases, 27cm high overall, the bronzes 16cm (2)Footnotes:Exhibited'Bronzes of the Renaissance', Chateau de Laarne, September-October 1967Models in terracotta for this pair of busts were in the collection of Cardinal Francesco Barberini in Rome. From them, Duquesnoy produced two pairs of casts in silver including one for Queen Henrietta Maria in London. Subsequent pairs cast in bronze were produced during the latter half of the 17th century.For further information on this lot please visit Bonhams.com
A late 18th / early 19th century Italian carved white marble figure of the Antinous Belvedereprobably Roman, after the antiquethe nude male modelled in contraposto stance with head turned slightly to dexter, his right hand on his hip, drapery held loosely in the crook of his left arm, standing beside a stylised tree stump on oval base, the figure raised on a contemporary ebonised moulded rectangular plinth, the figure 51cm high, 71cm high overall including plinth Footnotes:The antique marble statue of Antinous Belvedere was first recorded in 1543 when it was purchased for one thousand ducats by Pope Paul III for the courtyard of Belvedere garden in the Vatican. By 1545 it was in the statue court, where it remained until 1797. Tentatively attributed to the 4th century Attica sculptor Praxiteles or a close follower it was reproduced in both marble and bronze for the Palace of Versailles in the 1680's by the Baroque sculptor Pierre I Le Gros (French, 1666-1719) and was later admired and praised by the influential German art historian and archaeologist Johann Joachim Winckelmann (1717-1768) who wrote 'our Nature will not easily create a body as perfect as that of the Antinous admirandus'. Copies of the model were hugely popular in the 18th century appearing in the most prestigious collections of Europe as life-size editions or reductions in a variety of mediums such as the offered lot. In 1797 the Belvedere Antinous left Italy when it was ceded to the French as part of the Treaty of Tolentino, arriving in Paris with a triumphal procession a year later before being exhibited at the Musée Central des Arts. It was subsequently returned to Rome in 1816.Related LiteratureF. Haskell and N. Penny, Taste and the Antique, 'The Lure of Classical Sculpture 1500-1900', New Haven/London, 1982, pp. 141-143.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com
Pietro Bazzanti (Italian, 1825-1895): A carved white marble bust of the Venus de'Mediciafter the antiquelooking to sinister and signed signed and inscribed to the rear shoulders P. Bazzanti, Florence, on turned verde antico marble circular socle, 49cm highFootnotes:The relatively recent discovery of the sculptor Willem van Tetrode's bronze reduction of the Venus de'Medici when it was reunited with other sculptures from the lost cabinet at the Rijksmuseum in Amsterdam and the Frick Collection in New York in 2003 confirmed that this renown antique marble depicting the Goddess of love was known as early as the mid-16th century. Originally recorded as being located in the Villa Medici in Rome by 1638 which was the year the bust acquired its iconic title, it had by 1677 been subsequently sent to Florence where it was was installed in the Tribuna of the Uffizi where it remains today (although it was briefly replaced by Antonio Canova's Venus Italica when the bust travelled to France between 1803 and 1815 after Napoleon's occupation of Italy in 1799. Thought to be a Graeco-Roman adaptation of the fabled Aphrodite of Knidos by Praxiteles, the Venus de'Medici is perhaps one of the most celebrated and perhaps controversial sculptures from antiquity. Prized by Lord Byron and criticised by the Duke of Shrewsbury it is one the most famous of several ancient marble sculptures depicting the goddess Venus in an alluring 'pudica' pose. The statue's renown beauty inspired countless copies throughout the 17th, 18th and 19th centuries including plaster casts, full-size marbles, reductions in bronze, and bust versions such as the offered lot.Related LiteratureF. Haskell and N. Penny, Taste and the Antique, 'The Lure of Classical Sculpture 1500-1900', New Haven/London, 1982, pp. 325-328This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An Italian polychrome and gilt 'Cartapesta' arched figural relief of the Virgin and Christ Child mounted in a contemporary carved and decorated wood and stucco frameprobably Sienese or Florentine, late 15th centurythe Virgin clad in an incised and richly decorated floral robe, her downcast head with fair hair and draped headdress, holding the draped nude Christ Child before a blue background and surmounted by three bell flower hung fleur-de-lis motifs within an arched moulded rectangular frame with bead and roll narrow border, the upper corners with twin grotesque mask and cornucopia decoration, the base with a matching frieze of three mask heads and cornucopia united by leafy motifs, the arched relief, 67cm x 34cm, the outer rectangular frame, 92cm high, 53cm wide, 10cm deepFootnotes:Although the medium of Cartapesta, created from paper and cloth as a material for the plastic arts in Italy in 15th century is not intrinsically a valuable material, the process of its production is arguably a more complex and rarer one than the more familiar modern technique of papier-mâché which is made more simply using strips of paper and flour glue. As such it was held in equally high esteem to marble and bronze by Renaissances sculptors, evidenced by the Cartapesta figural relief of the Virgin Child by Jacopo Sansovino (1486-1570) which exists in versions at the Louvre and the National Gallery of Art, Washington.Using a pestle and mortar, the Cartapesta pulp would be created from scraps of paper and linen or cotton cloth and water. A protective layer of wax was added to the mould. Canvas backing was then needed to strengthen the relief; dampened, so that it could be stretched over the mould and applied with either flour paste or animal glue. The finishing process involved applying gesso in layers to create a smooth fine surface, which was then painted and gilded.Renaissance workshops developed their own secret methods and materials to make highly decorative objects for both secular and religious use including mirror frames and devotional reliefs of the Virgin and Child such as the present lot. Some Cartapesta objects were also made for more ephemeral use including civic festivals and religious feast days.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Albany china and bronze figure of an owl H7cm, Border Fine Arts figure of an owl and a mouse by Ray Ayres, Country Artists group of Little Owlets,Quantity of Portmeirion table ware decorated with roses and berries, German dinner service by Raymond Loewy in the Jet Rose pattern and nine Denby Caramel Stripes pattern bowls and twelve matching plates
John W. Mills (British, b.1993): A Bronze Sculpture of Buster Keaton,circa 1981-1982,bronze sculpture with black and green patina, depicting Buster Keaton as 'Johnnie Gray' in The General (1926), the base signed in cast John Mills, foundry mark indistinct, 57in x 22 1/2in x 12in (145cm x 57cm x 30.5cm)Footnotes:Provenance:Offered by the Royal Society of Sculptors.A celebrated sculptor with a career spanning over seven decades, John W. Mills produced the present sculpture as part of a wider series honouring his personal artistic heroes. Keaton was one of the more recent figures in the series along with Orson Welles. Other subjects included William Blake, Rembrandt, and Michelangelo.Buster Keaton is depicted in one of his most recognisable roles, train engineer 'Johnnie Gray'. He sports the flowing hair and billowing shirt seen in many of the films dynamic railroad sequences. The angular, almost flattened rendering evokes the frenetic energy of the actor for which he is so well known.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Elvis Presley: An Above-Life-Size Bonded Bronze Statue of Elvis Presley,brown patina, the internal structure of carbon fibre, with cold-cast bonded bronze, depicting Elvis Presley performing wearing a rhinestone jumpsuit with chained belt, stood atop a pile of open songbooks, unsigned, 71in x 53in x 25in (180.5cm x 134.5cm x 63.5cm)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Humphrey Bogart: A German Patinated Bronze Figure Cast by the Otto Strehle Foundry,20th Century,depicting Humphrey Bogart as 'Sam Spade' in The Maltese Falcon (1941), with copper brown patina, standing on an oversized film reel, stamped GUSS STREHLE along the rim, 14½in x 5⅛in (42.2cm x 13cm)Footnotes:Provenance:Ex-Lot 658, The Lauren Bacall Collection, Bonhams, New York, 31st March 2015.For further information on this lot please visit Bonhams.com
QUEEN: A Promotional Display Model of 'Frank the Robot' from the Album News of the World,1977,the freestanding model of plastic construction, comprising two moulded halves secured by screws, the body painted silver with bronze and black detailing to the eyes, mouth and ears, the chest bearing a vinyl sticker emblazoned QUEEN NEWS OF THE WORLD, the palms opened, originally holding a wire basket displaying a copy of the album (basket not present), 54in x 33in x 19in. (137cm x 84cm x 48.5cm)Footnotes:Provenance:Acquired by the vendor when they worked at Virgin Records in Bristol.As part of the promotional campaign for Queen's sixth studio album News of the World, a small number of display models were produced to advertise the new LP in select flagship record stores across the UK.On the album cover sleeve and inner gatefold, 'Frank' carries the bodies of Brian May and Freddie Mercury in one hand, as John Deacon and Roger Taylor tumble from his grasp. The original artwork was painted by American Sci-Fi artist Frank Kelly Freas (1922-2005), after whom the robot was likely named. Freas had previously painted an identical anthropomorphic robot for the October 1953 issue of Astounding Science Fiction magazine.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Designer sunglasses comprising 2 pairs of oversized Christian Dior sunglasses in the same design, a pair of Gucci 2002 bronze coloured metal half framed unisex sunglasses with original receipt ( £95) and a pair of Bruce Oldfield tortoiseshell effect unisex sunglasses, all with branded casesLocation:
Royal Humane Society bronze medal for a successful rescue (Henry Wallace Michels 1st May 1882), GVF, (claw slack, suspender adapted for brooch pin). £120-150 Note: This relates to an incident on the River Thames involving a father, his 3 sons and his wife?s cousin. The party of five found themselves in difficulty at Molesey Weir near Hampton Court; the father and his two eldest sons managed to get to safety but the 19 year old lady and the youngest son were still trying to get out when their boat became damaged and was washed over the weir. Michels, who had heard the lady?s screams, managed to save her but the 13 year old boy was washed away, his body being recovered 16 days later
A pair of mid 19th century Royal Artillery brass shoulder scales (worn); a pre WW1 trumpeter's bullion and wool embroidered arm badge; and a small quantity of military and other collar badges, lapel badges, etc, including Special Boat Service enamelled shield (brooch fitting (?) replaced by lugs, the enamel crinkled overall, probably when the lugs were replaced); King's Own and Ryl Tank Corps/Regt bronze collar badges, a 1939-45 War Medal, etc, many worn or damaged. £80-150
A good DB 14 bore percussion sporting gun by Ross of Edinburgh, 45½" overall, nicely re-browned twist barrels 29¾", the broad top rib engraved in gothic script "Rofs. Edinburgh", the underside of the breeches Birmingham proved and numbered "360", the breech tang engraved with pheasants and scrolls and inset with a small silver escutcheon; back action locks engraved with wavy borders, game dog in woodland setting, and pheasants, and signed "Rofs" in gothic script; nicely figured walnut halfstock with chequered wrist and engraved steel mounts, the bronze tipped wooden ramrod having concealed worm extractor. GWO & good clean condition, the bores excellent. The vendor has owned this gun for many years, has shot it regularly, and states that it is an excellent shooter. £500-550
A Chinese parcel-gilt bronze incense box and cover. The cover with flowering prunus branches. The base with sprigs of lingzhi, narcissus and lotus. Hu Weming Zhi incised four-character mark within a square. Diam. 7.5cm.Provenance: Property of an English gentleman, acquired in the 1990s and early 2000s.
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