Full title: A Chinese famille rose brush washer with floral design, Qianlong mark, 19th C.Description:Dia.: 15,1 cm Provenance: With a label on the base for the collection of Sir Mark Heath. Mark Evelyn Heath was born at Emsworth, Hampshire on 22nd May 1927 into a naval family and was educated at Marlborough and Queens' College, Cambridge, where he read History. After National Service in the Royal Naval Volunteer Reserve, he joined the Diplomatic Service in 1950 and in 1982 became the first Ambassador to the Holy see. He was appointed CMG on his appointment as Minister to the Holy See in 1980 and then KCVO on the occasion of the Queen's visit the same year. After leaving the Vatican in 1985, Heath's final posting was as head of protocol in the Hong Kong Government. In 1986 the popular Governor of Hong Kong, Sir Edward Youde, suffered a fatal heart attack on a visit to Beijing, becoming the first Hong Kong Governor to die in office. Heath was in charge of arrangements for the funeral on December 9th, 1986. During Heath's time in Hong Kong, he developed a passion for Chinese ceramics. He frequented Christie's and Sotheby's and enjoyed strolling down Hollywood Road browsing the antique shops. Some of the items show a ‘C.Y.Tse Antiques and Collectibles' sticker from where some of his collection was purchased. The collection was brought back to his home in Bath in 1988 where he retired with his wife. Sir Mark died in 2005. 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
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Full title: A Chinese Canton famille rose brush pot with palace scenes all around, 19th C.Description:H 14,3 cm - Dia.: 13,2 cm 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A Chinese famille verte brush pot with an animated river landscape in relief, Chen Guozhi mark, 20th CDescription:H 12,9 cm - Dia.: 14,2 cm 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Two Chinese Song style celadon brush washers, 20th C.Description:H 7,7 cm - Dia.: 11,5 cm H 6,1 cm - Dia.: 22 cm 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A Chinese famille verte brush pot with figures in a landscape, KangxiDescription:H 12,6 cm - Dia.: 10,7 cm 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A Chinese famille verte brush pot with a bird and a butterfly among blossoming branches, KangxiDescription:H 13,1 cm - Dia.: 10 cm 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: Salvador Dali (1904-1989, after): 'Don Quichotte', serigraph on silk, ed. 1753/2000, dated 1989Description:Work: ca. 39 x 31,5 cm Frame: 80,5 x 72,5 cm The silkscreen with the 'Demart' copyright. In 1957, the eminent publisher Joseph Foret commissioned Dali to create an extraordinary composition of illustrations based on Miguel Cervantes' famous book 'Don Quixote'. Dali used an unusual technique: instead of using a brush and paint, Dali used an air gun that shot balls of ink. 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.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Sir Winston Spencer Churchill O.M., HON. R.A. (British, 1874-1965)Branksome Dene signed, inscribed and dated 'Mrs Cassel from Winston/1916.' (upper right)oil on canvas50 x 60 cm. (19 11/16 x 23 5/8 in.)Footnotes:ProvenanceThe Artist, by whom gifted to Lady Helen Cassel, thence by descent to the present ownerPrivate Collection, U.K.LiteratureDavid Coombs with Minnie Churchill, Sir Winston Churchill: His Life and His Paintings, Running Press, Philadelphia, 2004, p.240, fig.512 (C 525) (col.ill.)'It seems to me that, of all the countries in the world, this country is the one that should direct the attention of painters to the sea ... In the endless interpretations of those changing forms we will find a source of inspiration and a source of culture which ought to contribute to the general movement of our island life.' (Sir Winston Churchill, from 'Sea Power' in Art, July 1937) In his Catalogue Raisonné of Sir Winston Churchill's collected works, David Coombs gives the painting the informal title Branksome Dene, which places it as a view from the home of Churchill's close friend the financier Sir Ernest Cassel on the south coast of England. It is an important and truly unique work that gives insight into Churchill's earliest motivations, influences and ambitions as an artist. Moreover, it is a work that combines his passion for both painting and the sea, and in so doing draws together his personal and political life.Created in the earliest period of Churchill's practice as an artist, the painting successfully captures the calm atmosphere of the scene. It was the light, colour and mood of the sea that inspired the numerous seascapes that Churchill produced during his lifetime - from the coast of England to the south of France and even Miami, he spent many happy days with his paints and brushes by the sea. A year before gifting the present painting to the wife of his friend, Churchill first took up a brush in 1915. At that time, he was enjoying a much-needed retreat from political life in the Surrey countryside. It was during this period that he was encouraged to take up painting in order to counter a bout of deep depression. He swiftly became deeply devoted to his new 'pastime', taking up paints and brushes at home, with friends and on holidays. As David Coombs has written, 'It was the challenge and difficulty of capturing satisfactorily the scene before him which proved such a tonic to his mind.' From the outset Churchill sought to learn as much as possible about painting technique to develop his skills. He benefitted from knowing some of the greatest artists of the day, including Sir John Lavery, Walter (Richard) Sickert and William Nicholson, all of whom offered Churchill wisdom and advice. Alongside these painters was the British sea painter (Albert) Julius Olsen RA, who was a particular influence on his sea paintings. Churchill also sought to study from those artists he admired, travelling to Paris to see the Impressionists, sought out paintings by Turner, and copied the works of the great masters in order to apply their techniques. For the composition in the present painting Churchill fixes our gaze out to sea. The work is a tightly framed, compressing view of the coastline. The white cliffs reach out along the horizon out to the ship which thoughtfully structures the work and acts as a focus of the picture. Our view is enclosed by trees, lending a sense of intimacy to the work, with the foliage enhancing the horizon and cloud-filled sky. Churchill gently infuses the work with a sense of peace and serenity. The painting may be read as a moment of stillness before a gathering storm ahead, and the demanding times for which Churchill is perhaps most famous.Barry Phipps is an art historian and Fellow of Churchill College, University of Cambridge and we are grateful to him for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Ivon Hitchens (British, 1893-1979)Painted Nude: Dark Hair signed and dated 'HITCHENS/73' (verso); further signed, inscribed and dated again ''Painted Nude: Dark Hair'/1973/Presented to David Steen Esq. July 1977./by his friend Ivon Hitchens-' (on the stretcher)oil on canvas40.6 x 86.3 cm. (16 x 34 in.)Footnotes:ProvenanceThe Artist, by whom gifted to David Steen, thence by descent to the present ownersPrivate Collection, U.K.The present work was given by the artist to the photographer David Steen (1936–2015). During his long career from the late 1950s onwards Steen focused his camera on film stars, rock stars, prime ministers, a few criminals and countless men, women and children going about their everyday lives. The obituaries paid tribute: 'One of Fleet Street's most celebrated photographers...' (The Telegraph); 'Acclaimed for his portraits of cultural icons' (The Times). In the sweltering summer of 1976, Steen was commissioned by The Sunday Times Magazine to photograph Ivon Hitchens at his home near Petworth, West Sussex. The painter and photographer hit it off. Hitchens was photographed indoors and outdoors, at lunch, with his wife Mollie and, naturally, at work, there at the easel, a brush in each hand. Steen remembered that Hitchens reacted to the call of a bird flying above, and registered the note with a brushstroke on the canvas. When Steen left, he did so with a copy of Alan Bowness's Ivon Hitchens monograph inscribed by the painter, 'In memory of a very enjoyable day here from 10am to 4.30pm...' The following day Hitchens wrote to Steen. 'We much enjoyed having you...' and then: 'Please keep the attractions of this place – if any – to your own private concerns. You would be doing us a grave disservice if you divulged the address to all and sundry. There are always too many distractions and – in these times – too few 'clients' as such, and both take up precious painting time and daylight, with tiresome letter writing.' Hitchens signed off, 'We hope to see you again some day.' They did indeed meet again and stayed in touch. In the summer of 1977, Steen visited Hitchens at his home and was presented with this oil on canvas, Painted Nude: Dark Hair. The shots featured in The Sunday Times Magazine on 9th April 1978, shortly after the painter turned 85.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (Indian, 1915-2011)Untitled (Bhil Tribals) signed lower right and signed and dated 5/VIII/006 versoacrylic on canvas, framed181.5 x 120.5cm (71 7/16 x 47 7/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from the artist in 2007.'A Painterly Journey of Husain in his own wordsBorn in the Second decade of the 20th Century Venue of landing - Pandharpur in MaharashtraMy mother Zainab took seven rounds around my frail bodyand bade farewell herself.My grandfather Abdul the tinsmith, my father Fida the accountantAn infant Maqbool, a would-be painter headed towardsIndore then ruled by the Holkar dynasty.My rocking cradle now firmly placed in princelypilferage and pageantry.A motherless Maqbool wandered alone in the lanes and landscapes of Malwa, now Madhya Pradesh.A sketching pad the only companion. The Third decade made me conscious of the British Raj and the arrival of Gandhi on the political horizon.Glancing through the pages of the most popular illustrated weekly called 'Riyasat.'The fourth decade put forward a decisive proposal towhich I at one clung like along deserted child dashesinto his mother's lap.My painterly journey commences against odds and orthodoxy.My brush dips down into deep reds and sweeps across the blue space above - I paint a woman, her navel red and breast blue whosemaroon tits swollen-Then comes the Fifth decade and I meet the painted woman whohas swallowed her darkness to shoe me the eternal entrance.The ecstasy of pain. The aroma of dying wounds. Then under the cover of my tattered umbrella and flickering lanternI take my woman to distant lands. To Chinese terracotta and jade horses, to Italian virgins of Cimabue and Giotto,to tormented Rembrandt portraits, to Van Gogh's lonely chair and abandoned shoes. All of a sudden I come to a halt in front of Guernica.As the Sixth decade declares war of self-destruction in the name of 'Avant-garde'But my painted man, woman and animal remain neutral-there I lay aside my conventional tools for a while.And hold the 16mm movie camera to shoot an experimental film in Rajasthan, based on visual equation of cow plus umbrellaplus a lantern minus a shoe is equal to one unit, Man-Woman.The film so baffled the Berlin Film Festival to award the 'Golden Bear.'Followed by hesitant National awards,And also the much awaited promotion from Padmashree to Padmabhushan to Padmavibhushan. The universities of Mysore and Benaras conferred doctorates.The New York at publisher Harry Abraham compiled a Comprehensive volume and how one reaps the reward of neutrality is still a question.But before I find the answer-The Seventh decade rings my doorbell, And as I open the door Goddess Durga enters riding thetiger followed by 'Kanya' the most beautiful woman on Earth, eternally waiting at the banks of the river Gomti.There joins another stream of thought, ripples of wave, the river Voltawa, Maria of Slovakia.The Eighth decade, the decade of eternal mother, her white sarilights up the unlit lanes of Calcutta. I paint and unfoldseveral layers of her sari in search of my lost mother.Sometimes her trembling hand appears from the bodiless bundle of cloth. To touch the fugitive son?The Ninth decade brings all the arc lights, sound effects and cameras, cranes and crackles of tinsel town. Shoot of an art and cinema episode.A hundred feet of visual script painted on the lemon yellow sari.Madhuri the metaphor for my Gaja Gamini,the beautiful walk, her dancing toes touching the crest of our time.Why a painter's dreamflashes on the silver screen instead of the wallsof Ajanta and the Sistine chapel?'Rashda Siddiqui, In conversation with Husain paintings, Mumbai, 2001, pg. 16-17.Dating from 2006, this enormous work was made in Husain's ninth decade. It encapsulates the motifs that Husain has come to be known for, the reclining woman and the fierce and protective elephants. A perennial artist, Husain adapted to and depicted various themes, religions and ideas throughout his career. Here he is depicting the Bhils, the largest tribal group in western India. They populate the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra and Rajasthan, and Tripura in far-eastern India, on the border with Bangladesh. Also known as Adivasi's they speak various languages, and have regional dress variations, which might explain why Husain has refrained from depicting their clothing here. Known for their ability to live in the wild and hunt, the reclining woman appears to be protected by and content in the elephant's trunk. The elephant is perhaps shielding her from the blazing red sun emanating from the top left corner. Despite the sombre colours, there is a playfulness in the work. The brush strokes are sharp and short, and illustrate Husain's skilfulness as an artist, honed over a lifetime of experimenting, commenting and depicting innumerable topics.For further information on this lot please visit Bonhams.com
George Keyt (Sri Lankan, 1901-1993)Untitled (Girl with Ball) signed and dated 'G Keyt 67' upper middleoil on canvas, framed83.8 x 51.1cm (33 x 20 1/8in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, 1st April 2005, lot 142.An Anglo-Dutch of Burgher origin, Keyt grew up in Sri Lanka and attended Trinity College, Kandy. He had a consuming passion for literature and poetry, specifically Shakespeare and also devoted time to drawing and art. For a short period Keyt worked for a firm of photographers, manually enhancing the negatives with a brush. It was here that his friend, photographer Lionel Wendt, and later the leader of the '43 Group, of which Keyt was a founding member, noticed Keyt's skill and encouraged him to pursue art. Aged 26 in 1927, Keyt devoted himself to art and undertook a course on painting with the painter George de Niese. Keyt was also influenced by C.F. Winzer, the Ceylon Government's inspector of art in schools who rejected the naturalistic styles of painting favoured by art teaching that emulated Western Victorian and Edwardian traditions.By the early 1930s, the Cubism that would forever alter the character of his paintings began to emerge in his work. He broke away from academic naturalism and embraced modernism with bold colourful fervour. Upon seeing the 1932 and 1933 issues of French art magazine Cahiers d'Art featuring Cezanne, Picasso and Braque his passion for modernism was cemented. In the two works on offer in this auction we can see how he married modern European practises with ancient South Asian fresco techniques found at Ajanta and Sirgirya and subject matter that was largely rooted in local tradition. His works depicted women, children, villagers, dancers, tradesmen and gods often drawn from Hindu and Buddhist mythology.Pablo Neruda perhaps best summed up Keyt in his 1930 review of the exhibition at Zwemmer Gallery in London, in which Keyt works were featured alongside Picasso and Braque,'Keyt, I think, is the living nucleus of a great painter. In all his work there is the moderation of maturity, the beautiful stability of achievement – qualities most precious in so young an artist. Magically though he places his colours, and carefully though he distributes his plastic volumes, Keyt's pictures nevertheless produce a dramatic effect, particularly in his paintings of Sinhalese people. These figures take on a strange expressive grandeur, and radiate an aura of intensely profound feeling.' (M. Russell, George Keyt, Marg Publications, Bombay, 1950)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
Sayed Haider Raza (Indian, 1922-2016)Les Rochers signed and dated 'Raza 69' lower centre, further signed, dated, titled and inscribed Raza/P_782 '69/Les Rochers/10F and 'SHR-26' verso and 'YK520 CIN' on the stretcheroil on canvas54.7 x 46cm (21 9/16 x 18 1/8in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired by the owner from Galerie Lara Vincy, Paris (acquired directly from the artist;Private Collection, France (acquired from the above)Christies, South Asian Modern & Contemporary Art,11th June 2012, lot 55.Acquired by the current owner from the above.LiteratureAnne Macklin (ed.), SH Raza, Catlogue Raisonné 1958-1971 (Volume I), Vadehra Art Gallery & he Raza Foundation, New Delhi, 2016, p. 173 (illustrated)A fascinating aspect of Raza's long career lies in how he evolved at least three different modes of abstraction – and their particular reflection on his own life and experiences.At the time of painting these small works, Raza was going through one of the most significant periods of his painterly career. His stint at the JJ school, the early years in Paris and his exposure the life of an artist in post war Europe was already behind him. This phase may well have started during the early 1960s, when he travelled to the University of California at Berkeley from France and experienced for the first time the works of Sam Francis, Mark Rothko and other leading American abstract expressionists, who lent their work the primacy of colour. Completely devoid of any structure, allowing for a fluid evocation of emotion, their work led Raza to move dramatically beyond the School of Paris influences that he had hitherto been exposed to. As he allowed himself greater painterly freedom in the unfolding decade of the sixties, Raza's work was to become more gestural, the brushwork looser, and the painterly affect that he sought more emotive. Yet nothing about this confluence of impressions was simple or direct. An artist of his time who responded spontaneously to the great wave of abstraction that swept the West in the 1950s and 60s, Raza also had nurtured a slew of memories that tied him inextricably with his homeland. As he describes it, the dense forests surrounding Mandla, a district in Madhya Pradesh where his father served as a forest officer were an overwhelming memory, of a sensorium of sounds, shadow and movement, unknown and mysterious to the young child. The weight of the night as it descended on the forest – innocent of electricity, as the villagers returned to their homes - was occasionally broken by the dances and singing of the Gond tribals by firelight, which etched deeply on his impressionable mind. Years later, as he engaged with a more liberated, and spontaneous mode of painting, Raza reverted to that childhood memory, making his works rich with an inchoate movement, and the irrepressible pulsation of life. There was also the memory of Kashmir, which Raza visited in 1947, its rich explosion of colours and its landscape, the subject of a wealth of miniature paintings.Les Rochers (1969)The two small paintings on view cohere in terms of Raza's treatment; whether these are preparatory works for larger canvases or complete in themselves, they bear the dynamism and energy of this phase. In the earlier work titled Les Rochers (1969) Raza allows a heavy overhang of darkness to seemingly merge with the large rock like forms, making one indistinguishable from the other. The sense of a looming darkness, kindled by embers of colour that seem to rise at the base of the work suggests the deepening of shadow over the landscape, like the closing in of the night.About this time Raza was to make a series of works drawing upon the rich tones of Rajasthani paintings – red, black, white and yellow—which not only drew from the burning sands of the Malwa region and the blazing sun of the desert but the passionate music of Rajputana, and the rich symbolism of Tantric painting. Here we have the first inklings of the Bhanu mandala, or the form of the blazing sun – black, or red, and its associative form, the bindu, in paintings like Terre Rouge (1968). There is also the preoccupation with darkness, the pitch black of the night which will be fractured or broken through with shards of colour, in paintings like Les Rocher (1969) and La Nuit (1971). It is remarkable that Raza's paintings, devoid of all living forms – other than the Naga, or the cosmic serpent which wraps around the circumference of the earth, invoke life through the sheer vitality of colour.What the energy and spirit of these works indicate is Raza's exploration of primordial elements that appear to mark the beginnings of creation. The first few verses of the Rig Veda (c.1750 BE) are dedicated to the five elements that imbue the life force. On the earth -to-sky painted surface, even in the smallest works, he engages the power and mystery of the elements, drawing them into a great, cosmic churn. Indian art had never dedicated itself entirely to the landscape, and Raza stands like a solitary figure, closer to the Romantic poets of the 18th and 19th centuries, to Rilke and Lawrence in the sweeping agonistes that he draws from nature.The GroundMind you are, ether you areAir you are, fire you areWater you are, Earth you areAnd you are the Universe, mother...Saundaryalahiri verse 28It is against this background, of a vibrant evocation of the primal forces of wind, ether, fire and water, that the question of the ground arises. On what premise, both conceptual and artistic, is Raza grounding his work? While the paintings of the late 1960s and 70s fall under the broad rubric of the landscape, there is very little of the recognizable elements of nature on view. Instead, Raza seems to depend entirely on the energy of his brush strokes, and the sheer magic of colour to invoke a sensorial effect, of the seasons and the intensity of an Indian summer. It is in the churning, and the unexpected appearance of the circle, the square or a suggestion of a triangle in such works, that Raza is also preparing the ground for another mode of abstraction. This would lead him further into a recessed visual space, not to the Vedic pronouncement on the Panchamahabhutas or primal elements, but to the yantra, and its geometric symbolism. Codified by Adi Shankara in the Saundaryalahiri,(c 8th century) the geometry of the yantra is loaded with the signification of life giving energies. In secularizing them into a highly evolved geometric abstraction, Raza creates a unique language, which abandons concepts of time and space to create their own ground – of metaphysical reading perhaps, but also sheer visual pleasure.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
Abdul Wassai Hamdard (Afghanistani, B.unknown)Untitled (Three faces) two signed and dated W. Hamdard '99 lower left, one signed and dated W. Hamdard '99 lower rightoil on paper, framed30 x 23.1cm (11 13/16 x 9 1/8in).Footnotes:ProvenanceAcquired from the artist in Islamabad, Pakistan in the late 1990s.Abdul Wassai Hamdard fled Afghanistan alongside millions of Afghans in 1996 when the Taliban took over. He went to Pakistan, where he lived and worked until late 2001, after which he returned to Kabul, Afghanistan then in his late 30s. During his time in Pakistan, he painted daily from 9pm until dawn, and produced over 10,000 canvases, both oils and watercolours and established himself as one of Afghanistan's most promising and successful artists. It was during this time that the present lot was painted. With its strong Afghan identity and use of a palette knife, which he favoured over the brush, it is unsurprising to learn that upon his return to Kabul, his works were procured by Kabul's galleries and went on to sell well. He taught at Kabul University and also founded the Afghan Contemporary Art Prize alongside Tamim Samee and Jemima Montagu in 2008. His works were exhibited at the Norwegian, American and Indian Embassies.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
German bisque head baby doll, 241-7 head stamp, composition body and limbs, 56cm, with Christening clothing; vintage doll cot; child's ceramic tea set; toitoise shell and mother-of-pearl inlay brush; and doll clothing.Condition report:The dolls eyes are stuck shut, no cracks to the head, but it is quite grubby and marked. One finger has been reglued otherwise all there. The body appears good, just light wear to the edges.
A silver three piece dressing table set,marks for Daniel Manufacturing Company, Birmingham 1927 and 1928, comprising a hair brush, mirror and clothes brush each with milled decoration,together with two silver mounted cut glass perfume bottles,marks rubbed, 15cm and 14cm high,and a cased set of silver mounted manicure set,by Levi & Salaman, Birmingham 1913,case 16cm wide (qty.)Condition ReportThe dressing set with dents, slightly misshapen handles, scent bottles and stoppers with chips, one significant chip and minor scuffs and dents to silver mounts. Manicure set with scuffs and scratches. Scissors and file with marks rubbed.
A bronze Chinese brush pot,late Qing dynasty, the twin handles modelled as chi long dragons, signed Wu Bangzuo,11cm wide together with a Japanese metal incense burner,late 19th to early 20th century, the cover with finial modelled as a mythical creature, 15.5cm high (2)Condition ReportScratches and wear throughout. One handle to the Japanese burner is broken.
A group of four Chinese brush pots,20th century, comprising:three cylindrical bamboo examples, decorated with figures, or insects,17cm to 32.5cma square wood example, each panel decorated with birds and flowers, mounted with brass fittings to each corners, 19cm high,and a pair of gilt lacquered wood panels,19th century, carved with Buddhist figures, 29cm long, and a one-drawer table chest,20th century, each gilt lacquered panel, carved with figures or blossoming prunus trees,21 x 26 x 43 cm (7)Condition ReportAll bamboo brush pots - small chips and cracks.Wood brush pot - brass fitting dented, small chips to edges.Pair of panels - small chips in various locations, gilt and lacquer losses. One figure from each panel glued. One panel with sign of wood worm to the back and to the sides. Table chest - small chips and cracks to various locations, paint and gilt losses.. The weights are as follows: Three cylindrical examples – 307 grams, 314 grams and 818 gramsSquare example – 704 gramsGilt panels – 738 gramsChest – 5,000 gramsTotal – 7,881 grams
A collection of Chinese qianjiang enamelled porcelain,19th to 20th century, comprising:two shaped bowls, two incense holders, a brush pot, painted with figures or a landscape,12.5 to 20.5cm,five famille rose shaped stem bowls,painted with figures or a dragon among chrysanthemum,14.5 to 28cm,a famille rose circular ink box and cover, painted with peony and chrysanthemum, a six-character Qianlong mark to base,11cm diameter, and another famille rose box and cover, painted with peasants,11.5cm long (15)Condition ReportAll with minor enamel losses.Rectangular box - a small chip to corner of coverDragon stem bowl - rim chipped, surface scratches.Square stem bowl - rim chipped.Shaped bowl - Chips to the glaze.
A collection of Chinese famille rose porcelain, 20th century, comprising:a pair of tea bowls, covers and stands, a pair of vases, a bowl and cover, a large bowl, a lobed brush pot, and two plates, all decorated with shou characters among scrolling flowers, 9cm to 26.5cm diameter (14)Condition ReportPair of tea bowls - one cover chipped and cracked to rim. One cup with small chips to foot rim. Bowl and cover - cover restored.Pair of vases - chips to rim and to body. Enamel losses.Yellow plate - a 3.5cm hairline crack to rim.Blue plate - small chips to rim, and surface scratches.
A collection of Chinese monochrome porcelain, 20th century, comprising an archaic hu shaped vase flanked by tubular handles, a tapering vase with a flared rim, a large celadon vase, incised with scrolling flowers, a brush pot and an incense burner, similarly decorated with incised shou characters or flowers, 13cm to 44cm (5)Condition ReportBrush pot - glaze with crackles. Surface scratches and a small chip to foot rim. Large vase - surface scratches.Incense burner - a small burst bubble to glaze.Baluster vase - a small firing crack to glaze.
A collection of silver lidded, topped or handled vanity items to include: a cased part-set including four vanity jars, all hallmarked for London, with 2 glass jars (one a match holder) with hallmarked tops for London 1904 - W and Co, 2 small silver-rimmed bottles with stoppers, a Birmingham hallmarked handled set of tweezers, and a Birmingham hallmarked cased vanity brush for Samuel M Levi for 1909, with a silver plated vanity mirror case (no glass).
A collection of assorted items to include: 4 silver spoons by Cooper Bros & Sons 1929, 1934 and 1935 (53.8g); A Birmingham hallmarked silver mustard/condiment spoon, 1897 by Joseph Goster (5.4g); A 925 silver toothpick/pin holder (8.2g); along with 2 pairs of silver plated sugar tongs; A silver plate heart-shaped jewellery box; a silver plate teaspoon; a silver plate meat skewer; also another silver plate spoon; a silver plate apostle spoon; 3 silver plate place named / commemorative spoons and knife; a Caithness glass and silver plate spoon; a silver plated brush; a brass oriental, bone page marker; a pewter mustard pot by James Dixon and Sons, a boxed set of 4 silver plate Royal wedding spoons, an Ordnance Survey map, a small brass telescope, a plated cylinder box for formamints, English and Swedish 1200 words miniature book, a cylinder brass lid/weight, pencil leads in case, and 3 stone miniature eggs.
A men’s velvet smokers’ jacket with wide lapels in a complimentary sateen fabric. It is fully lined. Size 42-44” chest.A Christian Dior man’s suit in fine pinstriped wool. Late 1960s. Size 44” chest. The trousers are 34” waist and 44” inside leg. A ladies slub taffeta cream under slip. Size 10 and full length. A 1950s man’s dark grey wool overcoat. Two high breast pockets and two flap pockets. Three large buttons on the front.Summer weight mixed linen men’s jacket with a green lining. It has a breast pocket and two patch pockets, which are stained. Size 44” chest. A pair of man’s royal blue trousers. Late 60s-early 70s. The fabric is part-polyester and viscose, and the garment is made in England. Size 34” inside leg.A 1960s- 70s Wemco shirt in dark blue. 14 ½” collar. Pointed revers and two patch pockets. A 1960s man’s summer weight jacket in gabardine fabric, by Pegasus. Two breast pockets and two concealed pockets. A silk paisley necktie. All items very dusty and marked (will brush off) (9)
A late 30s-early 40s evening jacket with a tailcoat. The lining is partly quilted. Size 38” chest. Matching trousers with braces and a metal zip. A 1940s dove grey waistcoat by Austin Reed of Regent Street. Size 38” chestA 1930-40s evening waistcoat with brass buttons. A low scooped design. Size 38” chest.A late Edwardian, early 1920s pinstripe suit, made from worsted wool fabric with a button closure. Size 34” waist.A late Edwardian, early 20s black waistcoat in wool with silk pinstriped lining. It is double breasted and has two pockets. Size 38” chest.A late Edwardian tailcoat, made by Stansfield and Davis in Manchester. Size 42” chest.All items very dusty and marked (will brush off) (6)
Graduation gown with mortarboard by Henry Wilson & Co. of Cambridge. 1940sA 1940s-50s khaki army shirt, approx. size largeA pair of khaki army trousers. Made in 1954 by John Hammond & Co. Size 13, height 5’ 11”, inside leg 33 1/2” leg, waist 33”. A pair of 1950s men’s Harris Tweed trousers with turn ups and a metal zip closure. Size 32” waist. A Utility Wear, KFMC, navy blazer with wide revers. Size large.A 1950s Saxon Hawke of Saville Row tweed men’s blazer. Size large- X-large. A 1950s navy pinstripe suit by Cheval and made in England. The trousers are size 32” waistA late 1950s dark navy-blue John Collier jacket. Size 44” chest. A c.1969 ladies caprice skirt, made in England. It has kick pleats at the bottom. Size 12. A late 1950s early 1960s worsted wool pinstripe jacket. Size 44” chest.All items very dusty and marked (will brush off) (Q)
An assorted collection of silver to include; a pair of plain clothes brushes hallmarked Birmingham 1925 by William Hair Haseler, a matching dressing set consisting of two brushes and a mirror, all hallmarked Birmingham 1925 by William Neale and son Ltd, with another matching part dressing set consisting of the mirror and an oblong clothes brush, both hallmarked for Sheffield 1917 by James Dixon and sons Ltd, with a pair of salt and pepper pots hallmarked for London 1891 by Horace Woodward and Co, along with a Birmingham hallmarked smelling salts glass bottle (hallmarks rubbed) and two napkin rings, hallmarked Birmingham 1924 by Rolason Bros and the other for Sheffield 1931 by Atkin Brothers.
PENDLETON ROYAL AN UNUSED LUXURY TAN LEATHER 'WINDSOR' 12-BORE GUN CLEANING KIT, with a green baize lined tray containing a three-piece rosewood cleaning rod, brass jag, mop, bristle brush, phosphor bronze brush, dispenser of patches, nickel-plated round oil flask, rosewood and nickel snap caps, rosewood chamber brush handle with a Payne Galway 12g chamber brush, presented in a lined leather lockable motor case with brass corners, measuring approx. 13in. x 9in..
A RARE CASED 32 BORE RIFLED PERCUSSION TAKE-DOWN PISTOL-CARBINE SIGNED ROBERTSON, HADDINGTON WITH DETACHABLE BUTT AND SPARE BARREL, circa 1840, with browned octagonal 13in. barrels (one rifled, one smooth), the top-flats signed 'HADDINGTON', white metal fore-sights, colour hardened breech-blocks, fully engraved top-tang with standing notch rear-sight, border and scroll engraved colour-hardened bar-action lock signed 'ROBERTSON', engraved hammer with sliding safe behind, walnut half-stock with chequered bag-shaped butt, the back of grip with escutcheoned square socket to accept the detachable walnut butt-stock, blued spurred trigger guard bow, brass-tipped ramrod and complete in its original mahogany case compartmented and lined in green baize and including a three-way flask, breech-brush, nipple-key, wad-punch, bone nipple-pot and scissors ball-mould.
A CASED COMPOSED PAIR OF .30 (RIMFIRE) SHARP'S PATENT FOUR-SHOT POCKET-PISTOLS, serial no's. 12434 & 22435, circa 1870, with blued 3in. barrel-groups, plain brass frame signed 'C. SHARPS & CO PHILADA. P.A.' in a circle around the hammer axis screw on the right hand side and 'C. SHARPS PATENT 1859' on the left, centrally mounted blued hammer with rotary auto-indexing noses, chequered hard-rubber grips and push button openers, retaining much original blued finish, together with an English market burr walnut veneered case re-compartmented and relined in red felt and containing a later oiler and cleaning brush. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament
My Little Pony, Crimp 'n' Curl Hair Salon - Comes with: My Little Pony "Fifi", beauty trolly with tray, comb (1 tooth missing), sink & counter, 4 ribbons, ribbon display rack, 5 hair rollers, hair brush, cash register, 2 x hair clips, FiFi's fashion foam in spray bottle ( some contents remain), display case, chair, 2 x pony towels (1 with a slight mark), wall shelf, vinyl beauty smock (some tearing). Salon has damaged right hand hinge. Comes in original box which shows some signs of storage wear. (This does not constitute a guarantee)
My Little Pony, Stable Carry Case - A 1986 MLP carry case, together with 6 G1 baby ponies: First Tooth Baby Bouncy, with toothpaste, brush and teething ring; Baby brother and sister Sweet Celebrations; Baby Blossom, Baby Lemon Drop with comb and Baby Lucky. Together with a vintage MLP play mat approx 104 x 64 cm.
My Little Pony, Hasbro, Apple Delight - Daddy Apple Delight and Mummy Apple Delight, who comes with a pink flower brush. Both parents marked to the foot "87 HASBRO". Two Apple Delight baby ponies, also Hasbro. One wearing a bow tie and marked 88, the other slightly smaller and a creamier white marked 1984 and comes with a yellow comb.
My Little Pony, Hasbro - 4 x G1 ponies: "Steamer"/"Tracks" a big brother/adventure boy pony(marked "87"). (Year 5) comes with a purple conductors hat, a yellow bandana and a pink star brush. "Daddy Sweet Celebrations" (marked "87") comes with a green flower pick. "Lickety Split" (marked "84")(Year 3) comes with pink moon and stars comb. Brush and grow pony "Ringlets" (marked "85") comes with turquoise butterfly brush.
My Little Pony, Baby Buggy - Comes with a light green Baby Cuddles pony with Beddy Bye Eyes, wicker look carriage, baby bottle, blanket, pillow, teddy-bear brush, diaper, bonnet and ribbons. In original box which shows some signs of storage wear and has a small hole cut out of the back cover, approximately 1 x 1.5 cm (This does not constitute a guarantee)
A COLLECTION OF DESK STANDS AND ACCESSORIES, to include a brass double inkwell desk stand with pen rest and tray, the latter decorated with a swallow in flight (sd to the glass liners), another brass desk stand having twin ceramic lined inkwell and decorative panel engraved with fruits, a horn handled magnifying glass, a single brass inkwell stamped 'W, T & S' to base, a novelty wooden pen nib brush in the form of shoe brushes, with brass details, a Sheaffer pen holder, a plain brass seal in the form of a feather and a bird's foot, etc (12) (Condition report: most pieces appear in good condition, some damage and losses, and as stated)
A Han Dynasty cylindrical clay brush jar, with remnants of polychrome decoration, H: 22 cm. Losses to the plaster revealing much of the grey clay beneath. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots) Warrington Auction endeavours to accurately describe the items being sold, but all property offered for sale is strictly as-is, where-is, and with all faults. All representations or statements made by Warrington Auction and its representatives, or in the catalogue or publication or report, as to the correctness of description, genuineness, attribution, provenance or period of the lot, are statements of opinion only.
Medals, Great Britain & World, a collection of medals comprising a Royal Academy Exhibitors medal, circa 1800, the gilt bronze medal in the form of an artist’s palette obv. with The Prince of Wales feathers in relief and the legend ‘British School’, rev. etched ‘255’, NVF, a Death of William Pitt silver medal, 1806, by Thomas Webb, obv. with central bust and the legend ‘GVLIELMO PITT R.P.Q.E.’ rev. with rocky outcrop and tumultuous sea with the legend ‘PATRIAE COLVMEN DECVS’ above and ‘OB. A. MDCCCVI’ in exergue (Eimer 975), NEF with toning, a Hans Sloane copper medal, 1744, by A. Dassier, obv. bust left, rev. legend and date, garland above and wreath below (Eimer 588), EF, a Handel Centenary Festival silver pass, obv. bust left with legend ‘COMM. G. F. HANDEL, MDCCLXXXIV’, rev. with ‘SUB. AUSP. G. III.’ within a wreath, NEF with toning, a 10th Anniversary of the death of Matthew Boulton, early trial striking in copper of G F Pidgeon’s memorial medal, 1819, by G F Pidgeon, obv. with bust right wearing frock coat, MATTHEVS BOULTON, rev legend within wreath, INVENTAS AVT QVI VITAM EXCOLVERE PER ARTES, (Eimer 1114), NEF, a death of Charles James Fox 1806, by T. Webb, Eimer 979, NEF with some edge knocks and surface marks, together with a bronze medal of Louis David by Galle, NEF, a bronze medal commemorating the death of the artist Achille-Etna Michallon, by N.P. Tolier, NEF, a Continental Art Nouveau bronze plaque decorated with an artist with a palette and brush in their hand, NEF, a 1797 ‘cartwheel’ Twopence, Fair and a 1797 Penny, rubbed (7) Provenance: The Estate of Sir Jack and Lady Diana Baer.
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