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Lot 329
Early 20th century portrait miniature of a young girl collecting flowers in wide gilt frame; together with a Victorian small needlework picture, two ambrotype cabinet pictures, two early 19th century silhouette miniatures, a further portrait miniature; and a late 18th century stipple engraving by John Gillray depicting the well-known Whig barrister Thomas Erskine, 'Councillor Ego', as a supporter of the French Revolution
Lot 337
Two Royal Worcester figures, 'The Parakeet', modelled by F.G. Doughty, another figure 'Grandmother's Dress'; together with two Royal Doulton figures 'Autumn Breezes', HN1934 and 'Top o' the Hill', HN1834; and a Coalport cabinet plate painted with apples and grapes signed indistinctly (one tray)
Lot 506
AN EXCEPTIONALLY RARE IRON-RED ENAMELED 'WUFU' WATERPOT, QIANLONG MARK AND PERIODChina, 1736-1795. The compressed body supported on a short straight foot and rising to a waisted neck with slightly everted rim. Finely painted to the exterior with five bats in flight. The base with a four-character iron-red mark Qianlong nianzhi and of the period.Provenance: The Ezekiel Collection. Acquired by Marcus Ezekiel. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Marcus Ezekiel formed an extensive collection of Chinese art, mostly ceramics, but with a small group of Chinese glass and a cabinet of snuff bottles. At his death in 1927 this collection was left to his wife, effectively as a pension fund. In 1930, she sold 225 pieces at Christie's for a little over £5,000, and in 1946 a group of 271 pieces went to Sotheby's, including a number of Song dynasty ceramics. The present lot, however, remained in the collection as a “piece de resistance”, possibly due to its exceptional rarity.Condition: Excellent condition with minor wear and firing irregularities. The foot with a small glaze recess and associated flaw, most likely occurred during the manufacture. The glaze with fine crackling. The base with remnants of black ink probably due to extensive usage.Weight: 67.0 g (excl. base)Dimensions: Width 6.6 cm (at the widest points), Height 4.8 cmWith a finely carved and openworked hardwood base supported on five bracket feet, dating to the Qing dynasty. (2)Five bats (wufu) form the auspicious wish for you to have the Five Blessings, which are old age, wealth, health, love of virtue, and a peaceful death. They were first mentioned in the chapter on Hongfan ('The Great Plan') in the ancient text Shangshu, compiled during the Warring States period (475-221 BC).Expert's note: During the 18th century, a group of fine porcelain objects prominetly depicting the wufu motif were made. However, most of these also show other decorations, making the present waterpot, of fine soft-paste porcelain with a magnificently unctuous feel to the glaze and showing exclusively the five bats, an exceedingly rare example of Imperial Qianlong porcelain.Auction result comparison: Compare a pair of related dishes (15.9 cm diameter), decorated to the interior with five bats and to the exterior with a floral band against a green ground, also with a Qianlong mark and of the period, at Christie's New York in Fine Chinese Ceramics and Works of Art Part I on 14 September 2012, lot 1574, sold for USD 122,500, and a related dish also decorated to the interior with five bats and to the exterior with carps against a cafe-au-lait ground, with a Yongzheng mark and of the period, at Sotheby's Hong Kong in Fine Chinese Ceramics And Works Of Art on 11 April 2008, lot 3064, sold for HKD 967,500. 乾隆款及年代罕見礬紅釉五福水丞中國，1736-1795年。水丞口略外撇，削肩，鼓腹，圈足。肩部及腹部礬紅釉繪製五隻蝙蝠。畫面充滿了古樸的氣息。圈足内書“乾隆年製”篆書款。 來源：Ezekiel收藏。Marcus Ezekiel購置。Ezekiel 收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。 Marcus Ezekiel收藏了大量中國藝術品，主要是陶瓷，但也收藏了一小部分重要的中國料器。品相：狀況極佳，有輕微磨損和燒製瑕疵。 足部有一個小的釉面凹陷和相關瑕疵，很可能發生在製造過程中。 釉面有細碎開片。 水丞内有黑色墨水餘留，可能是使用造成的。 重量：67.0 克 (不含底座) 尺寸：最寬處6.6 厘米，高 4.8 厘米 清代鏤空硬木五足底座。 “五福臨門”最早出自戰國《尚書·洪範》。所記載的五福是：“一曰壽、二曰富、三曰康寧、四曰修好德、五曰考終命”。 專家注釋：十八世紀時，出現了一系列以“五福”為主題的精美瓷器。 不過，大部分都是和其他紋飾一起。現在的水丞，使用上等材料，釉面華美，只展示了五隻蝙蝠，這是乾隆御製瓷器中極為罕見。 拍賣結果比較：比較一對乾隆款及年代的綠地五福盤 (直徑15.9 厘米) ，見紐約佳士得Fine Chinese Ceramics and Works of Art Part I 2012年9月14日 lot 1574, 售價USD 122,500 ；一件雍正款及年代醬釉五福鯉魚盤，見香港蘇富比Fine Chinese Ceramics And Works Of Art 2008年4月11日 lot 3064, 售價HKD 967,500。
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Lot 172
In cedar wood, with ebony and stained bone inlays, measurements: 13 x 27.5 x 15 cm. Provenance: private collection, Paris, Export permit attached. The piece that we present stands out for it's quality and the use of inlay marquetry, an Andalusian technique characteristic of the Spanish Late Middle Ages as an ornamental procedure for furniture and household items. The term inlay, whose origin is found in the Arabic word tarsi (inlay), traditionally applied to the ornamentation of pieces of furniture with fine fragments of different colors and textures, as well as with other materials such as bone and ivory. We find the origin of this industry in Córdoba, during the Omeya al-Andalus, it will not be until the time of the Nasrid sultanate, when its use becomes popular in noble and courtly environments as a procedure to ennoble objects of the wealthiest classes. After the capture of Granada, even before the conquest, we find pieces produced with the same Moorish influence. As a synonym, the Spanish word “marquetry” is usually used. Already in the Caliphate period, an excellent cabinet-making workshop located in the Umayyad Córdoba was active in al-Andalus. A technique that consists of gluing small prismatic portions (triangular and/or trapezoidal) of ivory or bone – in natural color or dyed, together with small polygonal pieces of selected woods, often of exotic origin (aloe, ebony, sandalwood, boxwood). , lemon Tree…), to which fragments of tortoiseshell or mother-of-pearl and even small metallic silver or bronze points were added. To achieve the green color of the inlays, the most used technique was to obtain it based on copper compounds impregnated in the bone. Even after the capture of Granada, Moorish artisans ran inlay workshops located in places like Seville, Aragon or Catalonia. These converted masters would be in charge of keeping this production alive throughout the Modern Age, even exporting it to the New Continent. Also noteworthy is the use of inlay since the 14th century in workshops in northern Italy, applied to pieces of ivory or bone. Far from disappearing, in the 18th and 19th centuries the marquetry of the Moorish tradition acquired a great diffusion in the Peninsula, deeply rooted in the artisan practice of southern Spain, in such a way that even today it is possible to acquire in Granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of Mudejar artisans. Works in comparison: Nazarí casket in marquetry, Instituto Valencia de Don Juan, Madrid, inv. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. in such a way that even today it is possible to acquire in Granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of Mudejar craftsmen. Works in comparison: Nazarí casket in marquetry, Instituto Valencia de Don Juan, Madrid, inv. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. in such a way that even today it is possible to acquire in Granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of Mudejar craftsmen. Works in comparison: Nazarí casket in marquetry, Instituto Valencia de Don Juan, Madrid, inv. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”. nº 4862 Reference bibliography: “GALÁN, Medieval Ivories of Islam, p. 483” ; “Yes. CALVO CAPILLA, “Two inlaid chests”, in IG BANGO TORVISO (coord.), Wonders of medieval Spain. Sacred treasure and monarchy, Valladolid, 2001, vol. I, p. 120, no. 36; Art and cultures of al-Andalus, cat. No. 156”.
Lot 92
Aberfeldy-30 Year old-1991Distilled 1991, hand bottled 2021 by Burn O'Bennie Distillery.2nd Fill Bourbon Cask. Bottle One of One. In hand crafted Scottish Walnut presentation case By Stevie Stuart, cabinet maker. Label illustration: Peter Howson X Burn O' Bennie. World is on Fire Series Sketch No. 5 for The One Million Trees Project. Level: very top shoulder. Included in this lot is the original artwork that was used in the label design. Peter Howson (b.1958), World is on Fire Series, Sketch No. 5 for The Million Trees Project, signed and dated 'Howson 2021' (lower right), mixed media on paper, 29.5 x 40cm.70 cl. Single malt, 42.8% volume1 bottle and original mixed media on paperFootnotes:The sale proceeds of this lot will be donated to The River Dee Trust which has pledged to plant one million native trees to help save endangered species, including our iconic wild salmon. The trees provide cooling shade against dangerously rising water temperatures, and nourishing the whole ecosystem.Tasting note: A magnificent Aberfeldy not disguised by the cask. Candle wax, wall flower and honeycomb on the nose with sweet, light vanilla on the palate and a rich peppery finish.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
Lot 1610
A Continental porcelain lithophane base cabinet cup and saucer, late 19th century, the tapered cup painted with a bathhouse within a landscape, the base with a lithophane of a girl and dog, the cup and saucer otherwise with foliate gilt decoration, black painted 'Das neve Badehaus' to base of cup, height of cup 12cm, diameter of saucer 15.4cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1373
A group of mostly Ridgway porcelain cabinet plates and tablewares, 19th century, including a two-handled low-footed dish, painted with a central riverside view of ruins within a gilt overlaid turquoise rim, reserved with floral panels, length 26.5cm, a cream ground plate, painted with three floral panels within raised gilt scroll framing, flanked by low relief moulded flower detail, pattern No. 732, diameter 22cm, and a cobalt blue ground square dish, painted with flowers, length 22cm (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1671
A Meissen cabinet plate, late 19th century, painted with birds against a basketweave moulded ground, the pierced rim reserved with three further bird panels, cancelled crossed swords in underglaze blue to base, diameter 23.5cm (restoration to rim), together with three Volkstedt porcelain figures (some faults and restoration).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1370
A Ridgway porcelain cabinet plate, circa 1845-50, pattern No. 6/2767, painted with a central still life study of a flower basket on a marble ledge beside a pineapple, the cobalt blue rim reserved with salmon pink foliate scrollwork and trellis panels, edged in gilding, diameter 23.5cm (fine starcrack), together with a Ridgway Bates & Company cabinet plate, circa 1856-58, painted with a boy tying a girl's shoe within a gilt overlaid cream border, unmarked, diameter 23.3cm. Note: a similar plate is illustrated by Geoffrey Godden in 'The Illustrated Guide to Ridgway Porcelains', pl. 139.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1662
A Royal Worcester cabinet plate, third quarter 20th century, painted by N. Bunegar, signed, with a still life study of fruit within a gilt gadrooned rim, black printed factory mark to base, diameter 27cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1658
A Royal Worcester gilt ground cabinet plate, third quarter 20th century, painted by J. Skerrett, signed, with a central still life study of fruit within the acid etched gold ground, gilt printed, painted and impressed factory marks, diameter 27.3cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 175
18th Century Indian (Gujarat or Sindh) ivory-inlaid coromandel table cabinet, probably Portuguese Colonial, fitted with eight drawers arranged to resemble nine (uppermost a double-fronted long drawer), each with fine foliate scroll inlay and knob handles within stringing, the roof and side panels having conforming scroll decoration and later brass carry handles within double courses of concentric stringing, raised on four bun feet, 39cm x 28cm x 26cm highCondition report: Age-related horizonta cracks to roof, veneer cracks and and some ivory stringing losses, all as per images and commensurate with age. Central deep drawer with vacant area for lock. Later carry handles as catalogued. Feet may be associated (could have had a stand).
Lot 494
Mid 18th Century mahogany bureau cabinet, circa 1750, the upper stage with 'broken' architectural pediment over fielded panelled doors enclosing three adjustable shelves over four short base drawers, the lower section with sloping fall enclosing fielded panelled cupboard between drawer and pigeon holes, over four graduated cockbeaded long drawers with Chippendale-style escutcheons and swan-neck bale handles, on bracket feet, 93cm x 53cm x 231cm highCondition report: Upper section in basically good order - one rear support to pediment detached but present. Lower section with loss to one corner of fall, general knocks and wear to sides, one base side moulding loose, one rear bracket foot detached but present.
Lot 498
Mid 19th Century Italian walnut and marquetry secretaire cabinet, having cavetto-moulded frieze drawer inalid with opposed zoomorphic beasts between lyres, the fall profusely inlaid with Neptune and mer-children beneath angels holding bellflower swags, enclosing a pillared interior with chequer parquetry drawers, all between urn-centred cabriole supports flanking marquetry cupboard doors, 102.5cm x 55.5cm x 140cm highCondition report: Grain cracking and lifting to roof, small losses including to lower edge of frieze drawer and to right upright beside fall front, horizontal splits to fall and to cupboard doors (as with most inlaid furniture of this type).
Lot 200
An Edwardian mahogany banded and inlaid shoe cabinet, early 20th century, 133cm high, 60cm wide, 58cm deep Provenance: The property of a lady and gentleman, removed from a Cheshire country house, purchased Sotheby's, Chester, 17th October 1990, lot 57 (£800) Condition Report: Fairly high gloss finish- some scratches to top and front door with horizontal scuff to centre approx 4" Condition Report Disclaimer
Lot 202
A late 19th/early 20th century mahogany and glazed bowfront table top shop display cabinet, glass shelf interior, 52cm wide, 72.5cm high. Provenance: The Simon Neal Collection Condition Report: Typical surface wear, scratches and scuffs from heavy use and handling- has key to the back door Condition Report Disclaimer
Lot 71
A mahogany standing corner cupboard, circa 1780 and later, the arched panel doors enclosing shaped shelves and three drawers, 140cm high, 62cm wide, 62cm deep Provenance: Oakley House, the Collection of Eustace Gibbs, 3rd Baron Wraxall, KCVO, CMG Condition Report: Marks, knocks, scratches, abrasions consistent with age and use, old splits and cracks notably above doors, this originally was a wall mounted cabinet which has had bracket feet and a solid top fitted to allow use a as a standing cupboard, some later green paint to shelf edges, the escutcheons are bone, Condition Report Disclaimer
Lot 62
A 1940's mahogany twelve setting canteen of cutlery including 1942 William Hutton & Sons Sheffield silver dinner forks, side forks, soup spoons, dessert spoons, tea spoons, four table spoons & two serving spoons, all with rat tails, cabinet 29in high x 18.5in wide x 13.75in deep, silver weight approx. 3540g
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