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Lot 2514
A Louis Philippe rosewood and brass marquetry library writing side cabinet, concave moulded top above a pair of glazed door and two small drawers, the projecting base with sliding plateau inset with tooled and gilt leather writing surface, above three further drawers, shaped end supports, turned stretcher boldly carved with acanthus, scroll feet, 158.5cm high, 112cm wide, 62cm deep, c.1840
Lot 2254
A Sheraton Revival mahogany crossbanded satinwood and marquetry display cabinet on stand, moulded cornice above an astragal glazed door enclosing three glass shelves, Chubb’s patent lock stamped 128 Queen Victoria St, London, the projecting base with tapered square legs, open incurve undertier, inlaid throughout with leaves and bell husks, 209.5cm high, 99cm wide, 38cm deep, c.1900
Lot 2691
An Edwardian Adam Revival mahogany floor-standing corner display cabinet, moulded cornice with pendant capital above a pair of leaded glazed doors enclosing two shelves, the slightly projecting lower half with a pair of flame-veneer centred doors, outswept forelegs, shaped stretcher, 170cm high, 62.5cm wide, 40cm deep, c.1905
Lot 2557
A Sheraton Revival satinwood and marquetry floor-standing bowfront corner display cabinet, moulded cornice above a glazed door enclosing two shaped shelves, the base with a cupboard door inlaid to the centre with a musical trophy on a walnut ground, shaped bracket forefeet, 185cm high, 63cm wide, 33cm deep, retailed by Nolan & Sons, Dublin & London, c.1900
Lot 1887
An Edwardian satinwood crossbanded mahogany and marquetry serpentine display cabinet, shaped pediment inlaid with acanthus and bell husk swags above a glazed door enclosing two shelves flanked by bowed glass panels, tapered square legs, spade feet, 174.5cm high, 123cm wide, 36cm deep, c.1905
Lot 269
A Lynton cabinet coffee can and stand, painted by Stefan Nowacki, signed with initials, with boat weathering a storm, within a circular jewelled reserve, flanked by turquoise and white enamel anthemions, tooled and gilt leafy foliage, gilt vertical pinstripe on a blue ground, gilt loop handle, conforming stand, the can 6cm high, the stand 13.5cm diam, gilt printed marks
Lot 2561
A Sheraton Revival satinwood crossbanded mahogany and marquetry display cabinet, moulded cornice above a deep frieze inlaid with an oval batwing patera and a pair of glazed doors enclosing shelves, the base with a pair of deep drawers, outlined throughout with boxwood and ebony stringing, tapered square legs, spade feet, 175cm high, 107cm wide, 37cm deep, c.1905
Lot 396
Rosewood inlaid music cabinet, c. early 20th century, the door with two matching panels of inlaid ivory and satinwood mythical masks, urns and swags, above a glazed panel, enclosing a shelved interior on a fixed plinth base, 106cm high, 54cm wide and 36cm deep. This item contains ivory and has been registered with the UK Government with the submission reference number V8QD3XMN.
Lot 401
19th century ebonised Boulle-work cabinet on base, the top section with two doors enclosing a shelved interior above a drawer and two further doors enclosing further shelves, decorated all over with brass inlaid panels with walnut panelling to the reverse of the doors, 188cm high, 80cm wide and 44cm deep.CONDITION REPORT: Has areas of old woodworm, mainly to the tops of both cabinets. Lacking areas of brass inlay and other areas of brass in need of repair. Door needing affixed to the lower section.
Lot 2351
Dinky a group of period Mirrors all with black backs - all have original "New from Dinky" tape applied to top and bottom (apart from five which have "Always Something New from Dinky"), great for display if placed in back of cabinet - conditions are generally Good to Good Plus - see photo (approx 6" x 6"). (10)
Lot 80
PETIT CABINET EN BOIS LAQUÉ ET INCRUSTATIONS EN PIERRES DURESXIXe siècle A SMALL EMBELLISHED LACQUER AND WOOD CABINET 19th CenturyOf rectangular form, the two hinged doors centered on a removable stile, set with lacquer panels inlaid with jade, semi-precious hardstones and wood depicting colourful birds perched on leafy and flowering branches, including prunus, with narcissus and peonies issuing from craggy rockwork, all on a pale orange lacquer ground, between silver-inlaid diaper borders and keyfret and ruyi-shaped bands with green-stained lotus ornaments, the sides similarly decorated the back with gilt floral sprays on a black lacquer ground. 44cm (17 3/8in) wide x 22cm (8 5/8in) deep x 44cm (17 3/8in) high. (2).Footnotes:PROPERTY FROM A DISTINGUISHED PORTUGUESE COLLECTION 葡萄牙顯赫收藏十九世紀 硬木嵌百寶花鳥紋櫃Provenance:Acquired by the grandfather of the present owner in Hong Kong, 6 July 1967, and thence by descent來源:葡萄牙私人收藏，現任藏家祖父於1967年7月6日於香港獲得，並由後人保存迄今This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 68
PETIT CABINET EN LAQUE NOIR ET INCRUSTATIONS EN PIERRES DURES ET NACREÉpoque Qianlong (1736-1795)A RARE MOTHER-OF-PEARL INLAID AND HARDSTONE-EMBELLISHED BLACK LACQUER TABLE CABINET, GUANPIXIANGQianlong（1736-1795）The black-lacquered cabinet of rectangular form, set with a pair of hinged doors, each with a recessed lobed panel embellished with mother-of-pearl, malachite, steatite, coral and wood inlays with various antiques around a vase with flowers, the sides decorated with a bat hovering above a flowering branch, the interior with an arrangement of six fitted drawers of various sizes decorated with different flowering and fruiting sprays, the hinged cover opening to reveal a removable tray inlaid with blossoming branches repeated on the inside of the cover, the cover decorated with a central rosette comprising four lotus flowers framed by formal lotus sprays, all within a squared archaistic scroll interspersed with ruyi-heads, the chamfered shoulder with narrow borders of confronted scrolled dragons and paired floral sprays before the straight sides with bats wreathed in clouds, the panels all with dense mother-of-pearl inlaid diaper borders, all raised on a flat base decorated on the front with cloud scrolls and on the sides with flower sprays, with a shaped gilt-metal lockplate and ruyi-shaped clasp, above a pair of shaped plates and pulls, the sides set with a pair of gilt-metal bail handles, later wood stand. 41cm (16 1/8in) wide x 34cm (13 3/8in) deep x 40cm (15 3/4in) high.Footnotes:清乾隆 黑漆嵌百寶官皮箱Small cabinets such as this piece were used as dressing cases by both men and women to store toiletries, or they were used on desks for the storage of stationary, writing implements and seals. Called guanpixiang, official boxes, their form and construction with its multiple drawers and sometimes trays resembles a cabinet rather than a box, and they were more often made in huanghuali or zitan. This fine cabinet is rather unusual and belongs to a small group objects inlaid with hardstones, jade and mother of pearl. The technique of inlaying a wide variety of precious and semi-precious stones and other materials onto wood and lacquer is attributed to the Ming master carver Zhou Zhu, active in Yangzhou in the Jiajing reign. Compare two hardstone-embellished lacquer table screens, illustrated in Palace Museum (ed.),Classics of the Forbidden City. Imperial Furniture of the Ming and Qing Dynasties, Beijing, 2008, figs. 312 and 313.For further information on this lot please visit Bonhams.com
Lot 54p
A MAGNIFICENT AND VERY RARE LARGE WOOD FIGURE OF THE BODHISATTVA GUANYIN IN WATER MOON FORMJin dynastySeated in rajalitasana, with the right arm resting on his right raised knee and his left arm and hand resting on the ground and supporting the body, the bare torso dressed in a short cape with long ribbons falling over his arms, a narrow, scarf draped over the left shoulder, falling diagonally across his chest and tied on the left in a large limpid knot, the lower body covered with a full diaphanous wrap-around skirt falling in linear folds around his legs and ankles, tied around the waist with an elaborate bow, a bejeweled necklace with an ornate central pendant lies at this chest, bracelets at his wrists, his rounded face with a serene, meditative expression, with arched brows above downcast eyes inlaid with black glass, with high cheekbones, small, full pursed lips and rounded chin, the hair drawn up into a high curled chignon with tresses falling to each shoulder where they are bound, divided into three wavy strands falling over his shoulders and arms, traces of blue, red and green pigments, and traces of gilding.111cm (43 3/4in) high.Footnotes THE PROPERTY OF A DISTINGUISHED FRENCH FAMILY 法國顯赫家族藏品金 木雕水月觀音坐像Provenance:Ta-Kou-Tchai (Studio for Understanding Antiquity) of Paul Houo-Ming-Tse (Paul Hou Ming-Zhi, ca. 1880-1949), Beijing, before 1930Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Encheres publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Acquired in Paris by the grandfather of the present owners before 1935, and thence by descentPublished, Illustrated and ExhibitedPaul Huo-Ming-Tse, Preuves des Antiquités de Chine Pékin, 1930, p.297Alphonse Bellier et Andre Portier, Collection Paul Houo-Ming-Tse de Pékin. Objets d'Art de la Chine de Époques Archaïques au XVIIIe Siècle., Vente aux Enchères publiques, Hôtel Drouot, 15, 16 et 17 Février 1932, lot 63Gazette de L'Hôtel Drouot, Numéro 19, Mardi 16 Février 1932, cover pageCabinet Portier, 100 Ans 1909–2009, Paris, 2010, fig.100The result of Re.S. Artes Radiocarbon Dating test no. C 145020A (E1 and E2) (9 May 2023) is consistent with the dating of this lot.來源：霍明志（约1880-1949)，達古齋，北京，1930年以前入藏巴黎德魯奧拍卖會，1932年2月15-17日，霍明志藏品專場，編號63現任藏家祖父於1935年前於巴黎獲得，並由後人保存迄今出版：霍明志,《達古齋古證錄》，北京, 1930年, 頁297巴黎德魯奧，《霍明志藏品專場圖錄》，編號63《巴黎德魯奧公報》封面，第19期，1932年2月16日Cabinet Portier,《百年鑒藏1909-2009》，巴黎，2010年，圖100法國Re.S.Artes實驗室碳-14測定結果，測試編號 C 145020A (樣本E1和E2，2023年5月9日）顯示本拍品年份與斷代相符 Eyes of CompassionThis impressive sculpture seated in a contemplative pose is a religious sculpture that was made in the 11th/12th century under the Jin dynasty (1115-1234). It represents the Buddhist Bodhisattva Guanyin whose Sanskrit name is Avalokiteshvara, 'the Lord who looks down'. Known as Guanshiyin in Chinese, the Bodhisattva Guanyin is the one who is attuned to the sounds of the worlds and hears all the world's suffering. His inward-turning gaze expresses The Bodhisattva's powers as a comforter of humans suffering and hardship while his naturalistic image expresses proximity and approachability. This Bodhisattva is known as the Bodhisattva of infinite compassion, he who has attained enlightenment and the utter state of bliss but who has deferred entering Nirvana to ease the suffering of all humans. As such he is one of the most important deities in Mahayana Buddhism.This magnificent figure of the Bodhisattva Guanyin is seated in the pose of 'Royal Ease', with his right hand resting on his right bent knee, a posture that is known as the 'Water-Moon' form of the Bodhisattva Guanyin (Shuiyue Guanyin in Chinese). The iconography is based on important Buddhist scriptures referring to the Bodhisattva Guanyin, in particular the Avatamasaka Sutra from the Huayan Jing , the Sutra of Flower Adornment, and the Fahua Jing, the Lotus Sutra. They portray the Bodhisattva Guanyin as the universal saviour who can embody many different forms, male and female, young and old. The 'Water-Moon' iconography is based on passages from the Avatamsaka Sutra which describe the young prince Sudhana visiting the Bodhisattva Guanyin on Mount Potalaka to receive the teachings of the Dharma. It is here that the Bodhisattva Guanyin could be found in deep contemplation of the moon's reflection on the water of the surrounding sea. His Chinese name ' Shuiyue Guanyin' refers to this pose and to his nature attuned to the sounds of the world and able to hear all the world's suffering ( guanyin).This figure is sculpted as male deity for his defined torso is clearly visible beneath his diaphanous robes and bejewelled necklace. His garments reveal the strong Indian influence on sculpture of this period, almost a thousand years since Buddhism first reached China from India. He is dressed luxuriously with diaphanous scarves and skirt falling in ample folds around his body. An elaborate necklace suspending a large central pendant adorns his chest and we can assume that he was wearing bejewelled earrings. His costly attire and regal posture remind us that Bodhisattvas originally were aristocratic princes. His hair is carefully tied back in a high chignon. A depression on the front of the top know indicates that a small carved figure of the Buddha may originally have been placed here. Amitabha was similarly revered as the figure of compassion and the figure of Guanyin was to be born from a ray of light emanating from the right eye of the Buddha Amithaba.During the 10th to 13th centuries, painted wooden figures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were made for Buddhist temples in Northern China. At that time, the North of China was ruled by the Jurchen Jin dynasty (1115-1234), a nomadic people from the steppes of Central Asia that had defeated in war the two largest and most powerful nations in Asia, the Khitan Liao and the Han Chinese. Under the Jin, Buddhism flourished. The Jin rulers were highly conscious of the fact that Buddhism was not a native Chinese religion. Under their patronage Buddhism received the official support and veneration it lacked in other parts of the empire. Consequently, a plethora of Buddhist temples thrived in and around Buddhist centres of religious activity in Taiyuan and Mount Wutai in modern Shanxi province. The Jurchen Jin rulers gradually adopted Buddhism as the state religion, thus establishing a rich legacy of temples, tombs, and artefacts.Large sculptures such as this magnificent figure of the Bodhisattva Guanyin in Water-Moon form were originally made for important Buddhist temples. These were often large structures with several halls of worship connected by courtyards where groups of vibrantly painted wood sculptures would be positioned along walls and around central figures of devotion. Due to the large demand for religious sculpture for the furnishings of Buddhist temples, craftsmen soon moved from working in stone to sculpting in wood, a material that was less expensive and could be worked more easily. Traces of bright cobalt blue pigment and gilding can be found in the back of the folds of the skirt of this figure hinting at the colours that once made this figure come alive. The sheer size of the figure that is worked entirely in the round conveys an almost life-like impression. For further information on this lot please visit Bonhams.com
Lot 146
A Victorian cast silver cabinet spoon, the finial as a mother with children, Charles & George Fox, London 1857 15.5cm long (cased), to/w a pair of Georgian bright-cut sugar tongs with spring hinge and acorn bowls (marks rubbed), an Edwardian pair of sugar tongs in the Georgian manner with shell bowls, Sheffield 1906, a cast silver salt spoon with shell bowl, London 1850, a pair of salt spoons London 1815 and a matched pair of salt spoons with shell bowls 1798/1809, 5.6oz total; lot also includes an electroplated marrow scoop
Lot 597
A pair of Royal Worcester cabinet tea cups and saucers, painted with fruit still lives, signed S. Wood - one saucer signed P. English, with gilt interiors, rims and handles Peach set - slight scratches to gildingMinor scratch on plate painting. No chips or cracksApple set - scratches to gilding (see cup on saucer) - and inside cup. No cracks or chips.
Lot 966
A late 19th century Japanese hardwood Shodana cabinet, Meiji period (1868-1912) with profusely carved and reticulated kacho-ga (birds and flowers) galleries and friezes surrounding the asymmetrical arrangement of open shelves and red lacquered Shibayama style sliding panels, drawers and hinged doors painted with Mount Fuji landscapes applied with two-tone carved bone cranes, falcons and flowers within gilded borders, standing on a conforming inward scrolling base, 132 cm w x 40 cm d x 228 cm h
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