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Lot 283
Character Doctor Who Radio Controlled Dalek x2 plus others, includes 12" bronze radio controlled Dalek, Good to Good Plus, untested, within Good opened packaging, loose 19" bronze Dalek, Good to Good Plus, untested. Also includes quantity of loose figures and miniature figures, all generally Good, unchecked for completeness. (qty)
Lot 625
The Royal Mint 5 ounce fine silver proof Coinex medal 1988 by the British Numismatic Trade Association, the reverse with William and Mary design 1688-1988, with certificate of authenticity 72/500, [spec: 999 silver 155.6g], boxed, also two The Royal Mint Spanish Armada 400th Anniversary 1588-1988 bronze commemorative medals, boxed. (3)
![WWI bronze death plaque [JAMES COOPER STEWART] and a WWI brass trench art vesta or matchbox holder inscribed Royal Engineers](https://cdn.globalauctionplatform.com/756c5b15-5b59-428d-aebd-b0ae0158bb52/13d6cba2-abe9-4b2d-8ddb-b0d201452a90/468x382.jpg)
![WWI bronze death plaque [JOHN MCWHIRTER] in carboard issue envelope. ](https://cdn.globalauctionplatform.com/756c5b15-5b59-428d-aebd-b0ae0158bb52/6b728325-bfdd-4237-bb16-b0d201452b07/468x382.jpg)
![WWI bronze death plaque [DAID LISTER] set into a mahogany block. ](https://cdn.globalauctionplatform.com/756c5b15-5b59-428d-aebd-b0ae0158bb52/62243339-87ae-4cce-86ed-b0d201452b98/468x382.jpg)
Lot 786
Japanese katana sword having curving 70cm long blade, the blade numbered '61278', pierced bronze tsuba, the tang not accessible, white metal grip, sword length 92cm, with scabbard. Provenance Brigadier Cornelius Joseph Tobin CBE of the 3rd/2nd Punjab Regiment Indian Army Ordnance Corps (1910-1998). There are no visible dents in the scabbard. There is no visible serial number on the scabbard mouthpiece.The press stud functions to release the sword from the scabbard.
Lot 839
A most unusual “Stanhope Stick”. This is a simple modern stick made in 1980.The handle is a bronze casting of a Labrador’s head. Overall length 37”/940mm. What makes this special is just below the handle are five holes small holes at regular intervals. Close inspection reveals each are fitted with a Stanhope Lens, each showing a view of London. A Stanhope Lens is a high powered magnifier that contains a microscopic photograph or drawing, that when viewed closely reveals a picture with amazing detail. These lenses are tiny! They measure 3.0 mm x 6.8 mm. and were fitted in a standard drilled 3 mm or 1/8" hole. Typical photographs from an advertising feature are shown here. The actual images mounted in the Stanhope Lenses in this stick, from top to bottom, are- 1)The Steam Ship Queen Elizabeth2)A Jaguar racing car 3) St Paul’s Cathedral 4) Views of London:- (Five images in one lens.) The Strand London Bridge Tower Bridge St Paul’s’ Cathedral The Law Courts London5) West Minister Abby. Background to Stanhope LensesThese novelty souvenirs that became popular during the 19th century, these objects (ranging from pens to sewing accessories to jewelry) are unique because of the tiny hidden image placed somewhere inside the object. The image can be found by holding the item up to the light and looking into a tiny hole where the magnified image becomes visible. These images range from landscapes to portraits and are about 1/10th an inch in diameter and 1/4 an inch long. The term “Stanhope” comes from the inventor of the Stanhope Lens, Lord Charles Stanhope (1753-1816) (Note: Lord Charles died before photography had been invented). In 1839, John Benjamin Dancer (1812-1887) attached a microscope lens to a daguerreotype camera and produced microphotographs. This new technology influenced Rene Dagron (1819-1900), a portrait maker in Paris, to invent the Stanhope by affixing a micro-image to a lens. After these new developments, Dagron manufactured novelties with tiny photographs in them beginning in the early 1860’s. Eventually Stanhope novelties began to lose their popularity as souvenirs and the last true Stanhopes were made in 1972 by Roger Reymond.The Stanhopes mounted in this stick originated from a house clearance in 2010. These are genuine antique glass lenses and the label on the box indicated them made in France in the 1960's. (The Stanhopes in this stick were mounted by collector B. J. Morrice in 2012. The stick,including the bronze handle, was made by a friend of Julia, his daughter, around 1980 and given to him by her as a present in 1981).
Lot 861
This Malacca cane has a “photo holder "set within the handle. However the picture set in to the recess of the knob appears to be a lithograph rather than a photo. (At some time this has been glued in place. However a photograph can always be placed over in, held down by the glass). The carved top is of a natural material and is fitted with a screw bronze cap which holds a very thick glass cover in place .The Malacca shaft is particularly stout. It is 35.5"/900mm in length and the knob has a diameter of 1.75"/45mm and depth of 1.25"/35mm. Metal ferrule appears original. Age around mid/late 1800s
Lot 143
Two Maidens by Bjorn Wiinblad (1918-2006 Danish) A Versatile Artist Known For His Unique Creations In Ceramics, Silver, Bronze, Textiles, And Graphics. Two Maidens, A 1981 Print On Paper Under Glass, Showcases Wiinblad's Artistic Brilliance. His Work Has Gained Recognition Worldwide, With Exhibitions Held Across Europe, The United States Of America, Japan, Australia, And Canada. Notably, Wiinblad Was Named Man Of The Year In New York In 1985 And Received The Prestigious American-Scandinavian Foundation's Cultural Prize In 1995. 65 x 65cm (WMFS 1)
Lot 69
RÉCIPIENT EN PORCELAINE À GLAÇURE JAUNE MONOCHROME, GUIMarque et époque Guangxu (1875-1908)A YELLOW-GLAZED ARCHAISTIC RITUAL FOOD VESSEL, GUIGuangxu mark and of the periodInspired by the archaic bronze type, the vessel of oblong form with a pair of loop handles surmounted by dragon heads, molded in relief with various bands of archaistic motifs, all covered with a rich mustard-yellow glaze, the base with incised Guangxu six-character mark. 29cm (11 3/8in) wide across the handles.Footnotes:清光緒 黃釉仿古紋龍耳簋 「大清光緒年製」楷書刻款 Vessels such as this archaistic vessel, gui, would have been part of a ritual altar set made for the Altar of Earth and would have comprised also a pair of dou, fu and xing-shaped vessels. Similarly-composed sets with archaistic designs would have been made in claire-de-lune, blue and red for ritual use in the Altars of the Moon, Heaven and Sun, respectively. For a related set of Qianlong date with a clair-de-lune glaze from the Palace Museum, Beijing, see Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors, 1662- 1795, London, 2005, pp.125 and 396-397, pls.34-37. For a similar gui and cover in cobalt glaze with impressed six-character Guangxu mark on the base, illustrated in Imperial Porcelain of Late Qing from the Kwan Collection, Hong Kong, 1983, no.144. See also the yellow glazed gui and cover identical to this lot sold in Christie's New York, 22-23 March 2012, lot 2109.For further information on this lot please visit Bonhams.com
Lot 28
STATUETTE DE GUANYIN EN BRONZE PARTIELLEMENT DORÉDynastie Ming (1368-1644) A PARCEL-GILT BRONZE FIGURE OF GUANYINMing DynastySeated in dhyanasana, presenting a scroll, dressed in a diaphanous robe draped over shoulders and arms and falling in ample folds over her legs, the face with a serene expression, flanked by pendulous earlobes suspending heavy earrings, the hair gathered in a high chignon behind an elaborate crown centred on a small figure of Amitabha, covered with a fine shawl, with a separately cast stand of circular shape cast with rows of overlapping lotus petals on an openwork base. 47.5cm (18 3/4in) high. (2).Footnotes:明 局部鎏金銅觀音坐像Provenance:Acquired by the parents of the present owners, and thence in the family by descent來源:現藏家父母珍藏，後經家族流傳至今For further information on this lot please visit Bonhams.com
Lot 26
RARE STATUETTE DE VAIROCANA EN BOIS LAQUÉ ORFin de la dynastie Ming/début de la dynastie QingA RARE LACQUER-GILT WOOD FIGURE OF VAIROCANALate Ming/early Qing Dynasty Seated in vajrasana on a double lotus base, with both hands in dharma chakra mudra, wearing a fine diaphanous robe covering both shoulders and falling in large regular folds over his lap and legs while leaving his feet bare, his face is with a serene expression, with downcast eyes between arched eyebrows, smiling lips, his hair gathered in tight curls, together with an associated tiered lacquer-gilt wood pedestal. The figure: 36.2cm (14 1/4in) high., the figure and pedestal: 58cm (22 3/4in) high. (2).Footnotes:明末/清初 漆金木毘盧遮那佛坐像Provenance:The figure: Formerly in a German collection.The pedestal: Collection of Eduard von Grützner (1846-1925)Hugo Helbing, Munich, 4 June 1930, lot 712Collection of Heinrich Vetter (1910-2003), MannheimLempertz, Cologne, 4 July 2003, lot 165來源：佛像：德國舊藏底座：Eduard von Grützner（1846-1925）收藏Hugo Helbing拍賣行，慕尼黑，1930年6月4日，編號712曼海姆Heinrich Vetter（1910-2003）珍藏倫佩茨拍賣行，科隆，2003年7月4日，編號165Stylistically, the present work can be related to a corpus of Buddhist gilt-lacquer sculpture commissioned during the reigns of the Kangxi and Qianlong Emperors at the Buddhist site of Rehol, near Chengde in Hebei province. As the Mongols were fervent followers of Tibetan-style Buddhism, Kangxi ordered the construction of various Tibetan-style Buddhist temples ordered around the axis of Qingchui. Under the reign of his grandson, the Qianlong Emperor, the site was expanded massively, with the layout of the site mirroring the Buddhist cosmology of a mandala. The central focus of worship for many of these temples were large gilt-lacquered wood sculptures, including the 22-meter-high figure of Thousand-Armed Avalokiteshvara at the Puning Temple. Most similar to the present work are three massive figures of Buddhas located in the Zongyin Hall, constructed in 1766, see Buddhist Art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, p.29. Characteristic of many of these lacquered sculptures was the deeply colored gilding, almost in imitation of patinated gilt-bronze, applied over thick red or black lacquer. A smaller dry lacquer figure of related modelling in the Metropolitan Museum of Art, New York is published by Alan Priest, Chinese Sculptures in the Metropolitan Museum of Art, New York, 1944, pl. CVVVI, with an inscribed paper label scroll contained in an interior cavity dating to the 9th year of the Yongle reign, corresponding to 1411.For further information on this lot please visit Bonhams.com
Lot 25
IMPORTANTE ET TRÈS RARE PAIRE DE VASES EN PORCELAINE CÉLADON À DÉCORS MOULÉS ET RÉHAUSSÉ D'ORMarques et époque Qianlong (1736-1795)A MAGNIFICENT AND VERY RARE PAIR OF CELADON-GLAZED MOULDED AND GILT-DECORATED ARCHAISTIC VASES AND COVERSQianlong moulded and gilt six-character seal marks and of the periodEach vase of square form, raised on a short straight foot and rising to a straight neck, both of corresponding square form, each side subtly moulded and highlighted in gilt against a pale translucent celadon ground with a musical chime, a wan symbol and endless knot, all tied with fluttering ribbons held between a bat at the top and a smaller bat at the bottom, the central design bordered by an intricate scrollwork of interlaced stylised dragons, with almond-shaped eyes and beak-like noses, with horns bent backwards, their thin bodies highly stylised and dissolving into a dense scrollwork, tails linked by heart-shaped rings, their outlines emphasised with fine gilt borders, the foot and neck moulded and gilt with a keyfret band, the square covers of domed form, centering on a bud-shaped knop within a border of raised bosses, each side with a moulded musical chime above a large stylised bat, the outlines highlighted in gilt, the luminous glaze a pale celadon tone. 18.5cm (7 1/4in) and 18.3cm (7 1/8in) high. (4).Footnotes:清乾隆 粉青釉模印描金仿古紋方蓋瓶一對「大清乾隆年製」款Provenance:Acquired in China in the late 19th century and thence by descent in the family to the current owner來源：於十九世紀末得自中國，後經家族流傳至現藏家This pair of vases are very rare for multiple reasons: their shape and decoration which were inspired by archaic bronzes and jades, their luminous celadon glaze which evokes the pale and translucent celadon glazes of the Song dynasty, the subtly moulded designs around their sides highlighted with fine lines of gilding, the impressed and gilt marks on their bases and the fact that they comprise a pair. While they appear to be unique, they are deeply rooted in the tradition of imperial porcelains made in the 18th century under the Qianlong emperor. They illustrate the emperor's knowledge of antiquity and his appreciation of past traditions. His interest in antiquarian studies, or the studies of bronze and stone inscriptions (jinshixue 金石學), was the driving force behind the compilation of major catalogues of antiquities in the imperial collections which documented and illustrated the increasingly large imperial collection of ancient artifacts including archaic bronzes and jades, many of which were displayed in the halls and chambers of the imperial palaces.Under the Qianlong emperor, archaic bronzes and jades in the imperial collections often supplied models for porcelain forms and designs. In fact, imperial records of the Qianlong period note that the emperor urged the craftsmen working in the imperial workshops to follow the styles and specifications recorded in ancient catalogues. However, more often, the same craftsmen used ancient shapes and designs to create unique and exquisitely crafted objects, especially porcelains, such as evident in the present pair of vases.In their square shape, these two vases evoke the form of a neolithic jade cong 琮, a tall, squared cylindrical vessel that may have served as a status symbol in Chinese pre-dynastic history. The subtly moulded design of intricately interlaced dragons that adorns all four sides of each vase, however, is more obviously borrowed from archaic bronzes as well as archaic jades of the Eastern Zhou dynasty (770-256 BC), when the dragon motif developed into more and more abstract, angular interlaced scrollwork in relief, inlay or openwork, with the animals' bodies and limbs morphing into curled, comma-shaped extensions, and their heads small and stylised but for large exaggerated eyes. The delicate translucent pale celadon glaze which is applied to the entire surface of both vases and covers, including the bases, envelopes the low relief decoration ever so subtly carved at slightly different levels, allowing it to pool in the recesses and thinning to a pale, almost white tone on the raised parts of the design thus creating a delicate contrast of celadon tones, highlighting the dense, undulating archaistic design. Based on the fine, high-fired celadons of the late Tang dynasty, and the lustrous celadon glazes of the Southern Song dynasty developed in the Longquan kilns in Zhejiang, the glaze on the present vases is a product of the potters experimenting in the Qing imperial kilns. In the 18th century considerable effort was put into the perfection of much-appreciated celadon glazes. Potters perfected an even and paler celadon glaze using considerably less iron, modifying and adapting it even further to achieve a notably finer texture and, more importantly, a cooler, pale celadon colour with a clear, translucent bluish tone.No other vase of the same shape and design of this pair of vases appears to be recorded. A pair of small square vases with canted sides and covers, entirely covered in a similar translucent pale celadon glaze but of the Yongzheng period, was sold in Sotheby's New York, 5 and 6 November 1996, lot 857. In general, celadon-ground gilt-decorated porcelains are rare, with only few examples recorded. See, for instance, a pair of archaistic celadon-ground gilt-decorated vases with gilt six-character seal marks, from the J.M. Hu Collection, sold Sotheby's Hong Kong, 8 April 2010, lot 1803a. Compare also with a celadon-glazed vase with a moulded and gilt-decorated design, also with an impressed and gilt Qianlong seal mark to the base, sold Sotheby's Hong Kong, 18 and 19 May 1982, lot 340. The distinctive archaistic interlaced dragon design that embellishes the sides of both vases is more commonly associated with a small group of double-walled vases commissioned by and made for the Qianlong emperor. They pierced outer wall of these vases is in the shape of a complex design of small archaistic interlaced dragons with small heads and large, almond-shaped eyes and sinuous bodies dissolving into scrollwork, with outlines enhanced by fine gold lines, as seen on a double-walled Yangcai reticulated vase, sold Sotheby's Hong Kong, 10 July 2020, lot 1, or on another Yangcai reticulated vase, in the collection of the National Palace Museum, Taipei, illustrated in Stunning Decorative Porcelains from the Ch'ien-lung Reign, Taipei, 2021, cat.no.69 (Fig. 1).Impressed and gilt six-character Qianlong seal marks are known from a number of porcelains, mostly examples where forms, designs or glazes are archaistic, see, for example, a small imitation-gilt bronze archaistic tripod censer with an impressed and gilt Qianlong seal mark and of the period, sold Christie's Hong Kong, 27 November 2019, lot 2906. Or on a small tea-dust glazed gilt and silver-decorated washer in the collection of the National Palace Museum, published in Catalog of the Special Exhibition of K'ang-Hsi, Yung-Cheng and Ch'ien-Lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, cat.no.95.For further information on this lot please visit Bonhams.com
Lot 30
PAIRE DE PETITES STATUETTES D'AMITAYUS EN BRONZE DORÉXVIIIe siècleA PAIR OF SMALL GILT-BRONZE FIGURES OF AMITAYUS18th centuryEach seated in vajraparyankasana on a lotus base, the hands in dhyanamudra, the face with a serene expression, hair drawn up in a high chignon behind an elaborate five-pointed crown. Each 11.5cm (4 1/2in) high. (2).Footnotes:十八世紀 鎏金銅無量壽佛坐像一對ProvenanceAcquired in China in the late 19th century and thence by descent in the family to the current owner來源：於十九世紀末得自中國，後經家族流傳至現藏家For further information on this lot please visit Bonhams.com
Lot 31
STATUETTE D'AMITAYUS EN BRONZE DORÉDatée de l'année xinsi de l'époque Qianlong (1761)A GILT-BRONZE FIGURE OF AMITAYUSDated to the xinsi year of the Qianlong period (1761) Heavily cast seated in dhyanasana on a rectangular plinth with foliate edges and a long cloth draped over the front, the back fitted with a separate flaming mandorla, with hands held in dhyana mudra, wearing a diaphanous robe draped over one shoulder and a foliate crown, the face with a serene expression, the base incised with an inscription reading Da Qing Qianlong xinsi nian jingzao (Respectfully made in the xinsi year of the Qianlong period in the Great Qing Dynasty, 1761). 21.2cm (8 3/8in) high. (2.157kg).Footnotes:清乾隆 1761年 鎏金銅無量壽佛坐像 「大清乾隆辛巳年敬造」款Provenance:Emil Richter, Dresden, 7 and 8 April 1924, lot 329.來源：德累斯頓Emil Richter珍藏，1924年4月7日至8日，編號329For further information on this lot please visit Bonhams.com
Lot 93
IMPORTANTE ET RARE STATUETTE DE PARVATI EN ALLIAGE DE CUIVREInde du Sud, période Cola, vers XIIe siècle A RARE LARGE COPPER ALLOY FIGURE OF PARVATISouth India, Cola Period, ca. 12th centuryThe goddess is portrayed here standing in an elegant tribhanga pose. Her graceful figure is of slender yet voluptuous modelling with high rounded breasts, a pinched waist, and a supple belly. Her beguiling gaze, through long half-moon eyes, set within her gentle oval face. Her left arm lingers seductively in lolahasta mudra, mimicking the tail of a cow. Her right is bent, raising her hand in katakamukha mudra, once holding a separately cast flower. She wears a tall crown, called a karanda mukata, of piled rings diminishing in size and culminating in a lotus bud. The concentric patterns within her crown are repeated throughout her necklaces, armbands, girdle, and garment, embellishing the bronze's texture. 60cm (23 5/8in.) highFootnotes:南印度 朱羅王朝 約十二世紀 銅雪山女神立像While the subject is modelled in the classic Chola idiom, this particular figure distinguishes itself by the lifelike fluidity of its stance, its amiable countenance, and the attention to detail its creator has lavished on the goddess's ornamentation. Bijoux cup the back of her ears. Luxurious locks of hair brush against her shoulders. Her tresses direct our gaze down towards the auspicious marriage string (mangalasutra) tied around her neck. A fine garment is tied with a fan-shaped splay above the small of her back, and decorative ribbons swirl across the front of her thighs. Uma—whose suprasensuous form embodies shakti, the primordial cosmic energy—is portrayed here in a sensitive and intimate interpretation of divine femininity. The sculpture is a testament to the technical genius of the artist, epitomizing the confident and time-honored aesthetic canon of the Chola empire.Following Sivaramamurti's stylistic chronology, the figure exemplifies the mature Chola style of the 12th century. Her elongated makara earrings and shoulder tassels that no longer terminate in the shape of a pipal leaf are generally indicative of the 11th century or later (Sivaramamurti, South Indian Bronzes, New Delhi, 1963, pp.29-31). The lines accentuating her solar plexus and the relatively simple treatment of her bangles and necklaces are customary in the 12th and 13th centuries. A good, close stylistic comparison for this bronze is a 12th-century seated Uma which is part of a Somaskanda ensemble, published in Vidya Dehejia, The Sensuous and the Sacred: Chola Bronzes from South India,, New York, 2002, p.131, no.16.Provenance:John & Berthe Ford Collection, Baltimore, by 1970Robert Bigler, Zurich, 2008Published:Diran Dohanian, The Art of India: Sculpture, 1st century B. C. to 18th century A.D., Rochester, 1961, no. 56.Pratapaditya Pal, Indo-Asian Art: The John Gilmore Ford Collection, Baltimore, 1971, no.19.Exhibited:The Art of India, The Memorial Art Gallery of the University of Rochester, 1961.來源：福特伉儷（John and Berthe Ford）珍藏，巴爾的摩，1970年Robert Bigler，蘇黎世，2008年出版：Diran Dohanian，《The Art of India: Sculpture, 1st century B. C. to 18th century A.D.》，羅徹斯特，1961年，編號56帕爾博士（Pratapaditya Pal），《Indo-Asian Art: The John Gilmore Ford Collection》，巴爾的摩，1971年，編號19展覽：《The Art of India》，羅徹斯特大學紀念美術館，1961年This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 20
TROIS BOUCLES DE CEINTURE EN BRONZE DORÉ ET JADE SCULPTÉLes jades: Dynastie Ming (1644), les montures: XVIII/XIXe siècleA GROUP OF THREE JADE AND GILT-BRONZE BELT BUCKLESThe jades: Ming Dynasty, the gilt-bronze mounts: 18th/19th centuryComprising a carved and pierced white jade plaque with a bird amidst dense foliage, mounted in gilt-metal, an oval carved and pierced white jade plaque with a sinuous qilong dragon amidst flowering branches, with a gilt-metal mount, and a triangular carved and pierced white jade plaque featuring a curled sinuous qilong dragon. 6.2cm (7/16in), 7.3cm (2 7/8in) and 10.5cm (4 1/8in) long. (3).Footnotes:鎏金鑲玉帶鉤三件 玉：明鎏金帶鉤：十八/十九/十九世紀For further information on this lot please visit Bonhams.com
Lot 361
Φ Jonathan Kenworthy (b.1943) The Master Hand Signed, dated and numbered KENWORTHY '80 3/7, and stamped with Meridian Bronze foundry mark (to base) Bronze with a brown patina 35 x 30.4 x 18.4cm Exhibited: New York, Coe Kerr Gallery, Jonathan Kenworthy: Horsemen of the Hindu Kush: Bronzes & Drawings, October-December 1979In 1977 Jonathan Kenworthy travelled to Afghanistan, and in the mountains of the Hindu Kush was captivated by a society where the horse was integral to their way of life. Kenworthy produced a series of bronzes depicting the game of Buzkashi, where the horsemen have to snatch an object from the ground, carry it over a two-mile course and return to deliver it into a target circle. Of the present work, Jonathan Kenworthy wrote 'For men who live on horses the saddle is as much an armchair as it is a driving seat. With an eloquent expression of appreciation this expert Afghan rider watches the action'.
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