* PHILIP RASKIN (SCOTTISH b. 1947), WINDSWEPT SKY II oil on canvas, signed, titled label verso image size 76cm x 76cm, overall size 89cm x 89cm Framed. Note: Born in 1947, Philip studied at the Glasgow School of Art in the 1960s. However, due to his father's untimely death, he had to postpone his career in art and left art school to enter the business world where he stayed for the next 30 years. For 20 of those years, he was the well known proprietor of The Inn on the Green, a celebrated jazz restaurant, in Glasgow. During this time, he maintained his contact with the world of art however, by running a schedule of art exhibitions and openings within the venue. Upon leaving the restaurant in the 1990s, Philip returned to his easel and brushes and since then has become a successful full time artist with broad appeal. He now lives and works from his studio just outside Glasgow. Philip's unique style is instantly recognisable combining a heavy impasto application of the paint alongside more delicate and sensitive brush strokes. Focussing mainly on landscape painting, his inspiration comes from the islands of the west coast of Scotland with Barra, Islay, Jura and Arran being some of his favourite locations. He deftly captures the essence and light of the landscapes through his work, the rugged shorelines, dramatic seascapes and ever changing skies. "I tend to paint very private places for the viewer to own and enjoy. No people, no houses, no telegraph poles; just expansive skies, mist tumbling on a distant hillside and a silence broken only by lapping water and gulls ascending".
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A 20th century Chinese jade bowl on wood stand, 12.5cmDiam, with a 20th century Chinese prunus pattern ginger jar on stand (repaired lid), 14cmH, a 19th century Chinese straight or brush vase with four character mark to base (rim chipped), 20cmH, and a 19th century cloisonne enamel and brass pot, (4)
A group of Oriental items, including a pair of blue and white plates (repaired) with marks to base, a glazed horse and saddle, three carved wood figures, a resin brush pot, with two other figures, with a Chinese Imari bowl with mark to base, 20cmW, with a Chinese vase, decorated with birds and flowers, with mark to base, 15cmH, (2)
A silver and tortoiseshell backed six piece brush and mirror set comprised of a hand mirror, four brushes and a comb, Birmingham 1920, by E S Barnsley and Co., the silver mounted tortoiseshell backs each inlaid with a silver Neo Classical oval cartouche, all housed in fitted box CONDITION REPORT: Please note - Descriptions do not include condition reports. Please contact us to if you require further information or images.PLEASE CONSIDER SHIPPING COSTS BEFORE BIDDING. THE COST OF SHIPPING MAY AFFECT YOUR DECISION TO BID.
A Victorian lady's dressing box, the burr wood box inlaid with shield shaped escutcheon, the red leather interior fitted with a removable mirror, a removable tray fitted with various ivory and gilt-metal mounted tools, a brush, knife, scissors, etui, silver thimble etc, with assorted silver-plated glass bottles and an eyebath, 24 cm wide
Corgi Original Omnibus - Keil Kraft - Tower Trams - A collection of 20 x unboxed trams and 1 x bus in 1:76 scale and 4 x unmade tram model kits. Includes Brush Railcoach in Blackpool Zoo livery, Blackpool Balloon tram in Pleasure Beach livery, Volvo Olympian in Kowloon Motor Bus livery and others. The models all appear in Good overall condition with some storage marks and some may have minor damage / small parts missing. The kits all still have their parts sealed in bags. (This does not constitute a guarantee) (5)
A Chinese blue and white brush pot,Kangxi (1662-1722), of cylindrical form, painted with panels of precious objects, chrysanthemum by rocks, or a landscape, 18cm diameter16cm high清康熙 青花山水清供图笔筒Condition report: Surface scratches, rim chipped, some burst bubbles to glaze near base. 18cm diameter.Provenance: From a private English collection in Suffolk.18cm diameter
A Chinese blue and white brush pot,Kangxi (1662-1722), of cylindrical form, painted with an emperor meeting officials in a courtyard, 19.5cm diameter17.8cm high清康熙 青花人物故事图笔筒Condition report: Surface scratches, rim chipped. Base not flat.Provenance: From a private English collection in Suffolk.
A Chinese blue and white brush pot,Kangxi (1662-1722), of cylindrical form, the exterior finely inscribed with the text of the Shengzhu de Xianchen Song (Ode to the Finding of Virtuous Officials by the Divine Ruler) in kaishu script, finished with a seal mark reading Xi Chao Chuan Gu (Transmitting Antiquity from the Court of Kangxi), the base centred with a recessed circle enclosing a six-character Kangxi mark in underglaze blue,18.2cm diameter14.5cm highThe text Shengzhu de Xianchen Song was written by the Western Han poet Wang Bao (90-51 BC) for the Xuan Emperor (91-48 BC), in praise of the Emperor's attainment of able ministers. For a similar lot, see Sotheby's, London, 15 May 2007, lot 52;for examples with the same inscription, see Sotheby's, Hong Kong, 2 October 2018, lot 141 and Christie's, London, 5 Nov 2019, lot 188.清康熙 青花圣主得贤臣颂文笔筒 《大清康熙年制》青花楷书款 《熙朝传古》青花篆书章Condition report: Surface scratches.Provenance: From a private English collection in Suffolk.
A Chinese overlay Peking glass brush pot, decorated in spinach green with two scholars seated in a boat in a lotus pond, against a purple ground, four-character Qianlong mark to base, 14.7cm high Condition report: Surface scratches. Foot rim with small chips Rim with minute chips and a 2cm long deep scratch.
A group of Oriental ceramics including a Chinese yellow grand moon flask, an 18th-century sauceboat, an early 20th-century brush pot, etcCondition report: Moon flask - 25cm high, both handles have been repaired and with losses. some rubbing to the gilded areas and with some wear to the painted surface. Crackle glazed vase - 14cm high, with some slight surface scratches but no visible losses or repairs. Brush pot, 13.5cm, in good overall condition (20th century). Tea bowl - 8cm diameter, good condition. Pair of small vases - 5.5cm tall, each with some firing imperfections but otherwise OK. Sauceboat - large loss to the spout, several minor chips to the side with the spout and a hairline there also. Both sides of the main body with large chips and hairlines issuing from them. Hairline to the back of the body where the handle meets. Firing imperfections throughout.
ANONYMOUSEdo period (1615-1868), 18th century50 of the 100 Poets; a six-panel folding screen affixed with 50 sheets painted in ink and colour on paper mounted on a gold-sprinkled black paper ground, in silk mounts; unsigned. Overall: 170cm x 370cm (67in x 145 5/8in); each shikishi approx., 33cm x 24cm (13in x 9 7/16in).Footnotes:This is the right-hand half of what was formerly a pair of panels affixed with all hundred poets selected for Hyakunin isshu (100 Poems by 100 Poets), the famous anthology compiled by Fujiwara Teika (1162–1241). While some portraits are generic, many have unambiguous markers referring either to themes in the poems or characteristics of the poets, making it possible to establish that the 50 images are arranged in the order set by Teika, reading from top to bottom and right to left. Among the better-known are Kakinimoto no Hitomaru (third, with brush in hand and writing box at his side); Yamabe no Akahito (fourth, the only poem that mentions Mount Fuji); Sarumaru (sixth, 'the wandering stag calls'); Ono no Komachi (ninth, Japan's best known female poet); Semimaru (tenth, the blind biwa player); Ariwara no Narihira (17th, autumn leaves on the Tatsuta River); Oshikochi no Mitsune (29th, white chrysanthemums); Ki no Tomonori (33rd, cherry blossom); Ki no Tsurayuki (35th, plum blossom); Sone no Yoshitada (46th, 'sailing over Yura strait'); and Onakatomi no Yoshinobu (49th, 'like sentry fires at the imperial gate'). All 100 poems, with readable English translations, can be conveniently accessed at jti.lib.virginia.edu/japanese/hyakunin/hyakua.html.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
A black-lacquer small suzuribako (box for writing utensils) and coverMeiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryThe exterior of the inrobuta (flush-fitting lid) decorated in predominantly gold takamaki-e with stalks of windswept chrysanthemums bending over the black lustrous lacquer ground, continuing over the sides, the inside of the lid similarly lacquered with stencil-like cranes and butterflies, the interior baseboard lacquered to match, fitted with a suzuri (ink-grinding stone) and a silver square suiteki (water dropper), with one black-lacquered fude (writing brush) embellished with a crane and butterfly, a miscellaneous inkstick, unsigned; with a lacquered wood storage box. 3.4cm x 16.5cm x 14.7cm (1 3/8in x 6½in x 5¾in). (8).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
A shell-inlaid yatate (portable brush and ink container)Somada style, Meiji era (1868-1912), late 19th/early 20th centuryEntirely inlaid with iridescent small flakes of shell to create tightly clustered geometric and hanabishi (flowery-diamond) motifs, the octagonal bowl with a matching hinged, shell-inlaid cover, unsigned; with a lacquered-wood storage box. 16.6cm (6½in) long. (2).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
A fine cloisonné-enamel and musen ('wireless') rounded rectangular trayBy Namikawa Sosuke (1847-1910), Meiji era (1868-1912), late 19th centuryDecorated with an egret partially obscured among tall bearded irises growing in a pond, after a design by Watanabe Seitei, on a ground graduated in colour from yellow at the top to pale grey at the bottom, the egret worked with white musen ('wireless') enamel plumage, its beak, leg, and eye subtly highlighted in gold wire, the outlines of the blades of grass and the petals on the white iris also in gold wire, the reverse worked in gilt wire enamel with numerous densely patterned cherry blossoms in pale brown on a dark plum-coloured ground, applied with a shakudo rim, inscribed on the bottom right Seitei with a seal; signed on the reverse in silver wire with the Sakigake (seal of Namikawa Sosuke). 20cm x 14.5cm (7 7/8in x 5¾in).Footnotes:For a lobed tray by the artist depicting an egret perched on a willow branch, see Oliver Impey and Malcolm Fairley, The Nasser D. Khalili Collection of Japanese Art, vol.3, Enamel, London, Kibo Foundation, 1994, cat. no.91. A pair of yellow-ground vases by the artist also depicting egrets on willow branches is illustrated in ibid., cat. no.92.One of the greatest craft entrepreneurs of the later Meiji era, Namikawa Sosuke was until recently best known in Japan for a set of 32 decorative panels commissioned for Tokyo's Akasaka Rikyu Palace, completed in 1909. These date from the last years of his very productive life, nearly three decades after he began to experiment with the technique known as musen shippo ('wireless' enamelling), his most enduring contribution to an art form that developed at extraordinary speed in Japan between the mid nineteenth century and the early years of the twentieth century. In Chinese cloisonné enamelling, the wires separating the different areas of fused and polished enamels that made up a design also served to hold the enamels in place during the firing process, and the individual areas of colour were relatively small. Sosuke, followed shortly after by his rivals, managed to improve the chemistry of the enamels so that they adhered more securely to the metal bases of his wares, allowing him to introduce large areas of colour into his designs, although it is thought that wires between different colours still had to be painstakingly applied and removed at each stage of manufacture. Thanks to these and other technical breakthroughs, later Meiji-era enamellers were often able to emulate the effects of brush painting on paper or silk. In recognition of his achievements, in 1896 Sosuke was appointed to the order of Teishitsu Gigeiin (Artist-Craftsman to the Imperial Household).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
A 1930's William Neale & Son silver hallmarked dressing table set having mint green guilloche enamel to the backs of each. The set consisting of a handheld mirror, two hair brushes and two clothes brushes. Hallmarked Birmingham 1936. Mirror measures 28.5cm, smallest brush measures 13.5cm. Gross weight 574g .
A collection of 19th Century and later silver hallmarked items to include a pair of George IV silver berry spoons having scalloped bowls with repousse fruits (hallmarked Dublin 1825, measures 24cm, weight 132g), a cut glass dressing table pot with a silver lid (hallmarked Birmingham 1907, measures 9cm tall), a silver topped scent bottle (hallmarked Birmingham 1888, John Goffe & Son) and a silver plated vesta case (measures 6.5cm), an Art Nouveau silver backed clothes brush (hallmarked Birmingham 1910, measures 15cm, together with a matching back without brush, silver weight approx 22g).
A silver hallmarked set of miscellaneous dressing table wares to include two ladies dress brushes and 2 vanity mirrors. Total weight 516.48g. Smallest item measures 15cm in length and largest measures 27cm length. Hallmarked Birmingham R for 1941. One brush unassociated, rubbed hallmarked present.
Early 20th Century watercolour of Scarborough by the artist Garman Morris.The artist has depicted a gentle seascape with small ships sailing through the calm waters. The artist's fine attention to detail contrasted with large sweeping brush strokes, expertly highlights the ambience of the scene. 70cm w x 28cm H
Vintage clothing and accessories to include garters by Noble Jones of Burlington Arcade, clasps in the form of gates with the words 'No Thoroughfare' and 'Quite Private', a yellow parasol, fringed kid leather evening gloves, other white and cream leather evening gloves, pink kid leather evening gloves and a pink ostrich feather head piece, two bowler hats, silk and other handkerchiefs, a wooden shoe last, a 1930s green and cream plastic dressing table mirror and brush, peacock feathers a fur stole etc.
A modern white painted display cabinet, later decorated with gilt foliate scrollwork, with single glazed door and four interior shelves, raised on stile supports, 179 x 44.5 x 34cm. CONDITION REPORT the texture of the paint is quite coarse with very obvious brush strokes visible throughout, the gilt heightened decoration has been applied freehand and as such has a rather rustic look, there are additional LEd strip lights attached to this cabinet, sold electrically untested.
An early 20th century walnut roll top desk with fitted interior, gilt tooled leather writing surface above single long drawer flanked by a brush-in slide above four short drawers, raised on plinth base, the roll top with applied brass plaque inscribed, 'To Doctor V. Lucas in appreciation of his kindness May 1952, from FM Parle', the brass escutcheon further inscribed 'The Victoria Desk Warranted Scotch Manufacture', 118 x 107 x 62cm (af). CONDITION REPORT There are areas of staining and fading to the top with further light surface scratches throughout, there are pieces of trim missing from the lower portion of the pedestal and the opposing side, the gilt tooled leather writing surface is heavily worn to the left hand side with further wear ton the right hand side, otherwise appears in fairly good order
A quantity of ceramic water buffalo, four 20th century Yixing coffee cups and saucers, a small Oriental brush pot and a decorative octagonal ceramic planter.Provenance: Part of the Paul Lightfoot Collection. CONDITION REPORT Some of the water buffalo ceramics have damage, one has had one of its legs broken and replaced, another had a broken hoof and crack to the leg, etc.
A collection of various pieces of silver, comprising; a four division toast rack, a pair of cauldron salts, a hand mirror, a hair brush, four napkin rings, a vesta case, a cigarette case, two silver topped glass dressing table jars, a pepper pot, a silver mounted glass snuff bottle, a silver topped scent bottle, a collection of silver spoons, a pair of sugar tongs and a watch albert, together with a cased pair of fish servers, a plated dish, two plated vesta cases, a white metal spoon, two white metal slices, a silver knife etc
An Edward VII silver backed hairbrush, embossed with masks, birds and scrolls, Birmingham 1909, silver backed hand mirror embossed with flowers and scrolling leaves, Birmingham 1901, and a Victorian silver backed clothes brush, embossed with flowers and rococo scrolls, vacant reserve cartouche, Birmingham 1899. (3)
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51252 item(s)/page