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Silver candlestick, BWG, on a square base with Corinthian column with garland and floral decoration. Equipped with a square capital with curled corners. 10x10x21cm. approx 228 grams. In good condition

Capital antique gold with silver choker, 750 / 000-835/000, generously set with diamonds. Necklace made of volute-shaped links, set with rose-cut diamonds. In the diamond shaped center piece of the choker is 1 round rose cut diamond, approx ø10mm, in each corner of the diamond shape is an oval rose cut diamond, approx 8.2x5mm. The space between the large diamonds has an openwork floral decoration set with many diamonds. At the bottom of the center piece hangs a pear-shaped rosette with a large pear-shaped rose-cut diamond, 12x9.8mm in the middle. Around this is an edge with 20 diamonds with an old cut. width 73mm. length 43 cm. In good condition 

Capital antique yellow gold bracelet, 585/000, on the top with silver set with old diamonds. Bracelet with a large center piece set with 9 rose-cut diamonds, graduated in size. 4.5-7.8mm. These nine stones have a rim completely set with small rose-cut diamonds. The middle part has S-shaped links set with a small diamond. The bracelet is equipped with a box lock with safety. Width 13 mm. length 18 cm. about 23 grams. In good condition

Capital white gold ring, 585/000, with diamond and emerald. Ring with a large rosette with an oval cut emerald and 6 pear-shaped cut emerald. Between the emerald are 24 brilliant cut diamonds, approx 1.40 ct, P. ø rosette 23.5 mm. ø 58 mm. about 9.2 grams. The emeralds have various inclusions. In good condition

A plate glass low coffee table on inverted Corinthian capital supports. H.40 W.130 D.90cm

Charles II, Halfcrown, 1676, Shillings (8), of William III, Anne, George I, II, III, George IV (2), William IV and Victoria; together with (perhaps) an Edward III Penny and a Henry VIII Halfgroat (these clipped), all fitted in a wooden framework and set in a hand-drawn architectural background. The Shillings are set in four pairs, vis-à-vis and shaking hands, each wearing period clothing and enclosed in an arcade. The hammered coins form the centre of capital letters. Below the reverse of the 1676 Halfcrown and the second George IV Shilling are set within the legend ‘New Utterings of Old Coins and Recoinings of Old Utterances, Illustrated by T.C. Hine’s Pastime Sketchings’. Above and below are rhyming couplets and quotes from Shakespeare [12]. Coins in varied state, some gilt or coloured, an amusing and unusual Victorian numismatic puzzle or riddle (c. 1880?); set in a contemporary glazed frame [this somewhat distressed], almost certainly a UNIQUE item £150-£200 --- Thomas Chambers Hine (31 May 1813-6 February 1899), born in Covent Garden, London, was an influential 19th century architect who based himself in Nottingham from 1837 and was active in the city until the early 1890s. He was responsible for the design of many of Nottingham’s private and public buildings between 1850 and 1890, including the Adams Building in the Lacemarket (1855), All Saints’ Church (1863-4) and Nottingham Castle Museum (1875-8). His interest in church architecture led to his involvement in the restoration and alteration of many of Nottinghamshire’s medieval churches, and surviving detailed sketches reveal his passion. Towards the end of a long obituary published in the Nottingham Guardian on 11 February 1899, is the following: ‘He was also an ardent antiquarian, being for close upon 30 years a Fellow of the Society of Antiquarians and among his collections are a number of historical cartoons which he cleverly conceived and drew round the various faces of old English coins, a series which has on more than one occasion been exhibited in the Castle Museum’

Continental lidded porcelain vase having gilded and painted ram's head mounts with relief moulded semi-nude mythical and other figurines, gold crown to the base with a capital N. 22cm high approx. (B.P. 21% + VAT)

Banda Bahadur triumphant over the slain bodies of his enemies after the Battle of Sirhind Punjab, by the artist Sohan Singh (Indian, 20th Century), circa 1950-60oil on canvas, signed lower left, inscribed in gurmukhi Banda Bahadur Fateh Sirhind lower centre 73 x 59 cm. Footnotes:Banda Bahadur (circa 1670-1716) was a prominent Sikh military commander, and a disciple of Guru Gobind Singh. He fought a series of successful actions against Mughal forces, including the sacking of the Mughal provincial capital, Samana, in 1709, and the siege of Sirhind in 1710, which resulted in Sikh control of territory stretching from the Sutlej to the Yamuna. He was captured in 1716 and died under torture.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 rare Safavid oil painting of an African soldier Persia, Isfahan, circa 1680-90oil on canvas, affixed with a fragmentary old label on the stretcher reading Portrait of an Indian Officer 122 x 79.5 cm. Footnotes:ProvenancePrivate English aristocratic collection, London. Acquired by the vendor's mother in Jaipur during a visit to the court of Maharajah Man Singh II in the mid 1960s.Bonhams have the privilege of presenting an enigmatic and unique painting depicting a flamboyant African soldier in Safavid Persia. Immensely rare, the present work is quite likely to be one of the first ever depictions of an African subject in Persian oil painting, and one of the earliest artistic records of the black African community whose descendants continue to reside in the Gulf region.Isfahan was referred to as 'half the world' (nisf-i jahan) by the 16th Century. Shah 'Abbas (reg. 1588-1629) had moved his capital from Qazwin, Safavid political power had grown, there was a flowering of culture in Persia, and Isfahan, in particular, became a nexus of trade and cultural exchange. Along with the Ottoman Sultan and the 'Grand Mughal', Safavid Persia and Shah 'Abbas ('The Sophy' or 'The Great Sophy', an expression probably deriving from a mishearing of 'Safavi'), were touchstones of grandeur and exoticism in Western consciousness at the time.One thinks of the striking image, spread across a double page in a folio volume, of the Maidan-i Naqsh-i Jahan in Isfahan, in Voyages de Corneille le Brun par la Moscovie, en Perse, et aux Orientales (Amsterdam 1718) – where the broken lines of the tents of the bazaar, where all sorts of business was being transacted amongst several nationalities, contrast with the more austere lines of the Safavid architecture surrounding them. As Cornelius de Bruyn's accompanying account put it: 'The greater part of this plaza is full of tents, where all kinds of things are sold [...] One continually sees a prodigious crowd of people and among other things a large number of people of quality who come and go to the court' (see S. R. Canby, Shah 'Abbas: the Remaking of Iran (London 2009), pp. 260-261, no. 127, illustrated). And one also thinks of the group of twenty-one paintings discussed by Eleanor Sims in her essay below – the depictions of people of various ethnicities, genders, in different forms of dress, alongside types of decorative objects - and so to our painting of a young African man.While the painting is – as Eleanor Sims argues below – a type, and one playing on variations in Safavid fashion, it must surely refer ultimately to a real-life soldier, a musketeer or tofangchi, a division of the Persian army primarily composed of foreign mercenaries. A figure (albeit one with white skin) which appears in the Kaempfner Album (produced in Isfahan in 1684-85) in the British Museum is highly reminiscent of our subject, in pose, weaponry and dress: the hat with its plume, the two straps which pass over his shoulders (to a backpack?), the accoutrements around his waist, the red-orange breeches, and the white banded gaiters. The British Museum catalogue describes him as a royal bodyguard. Leaving aside western Europeans, most foreigners in Safavid Persia, whether free or slaves, were closer to home – they were from the Caucasus, Georgia, Circassia, or notably, Armenian, in the flourishing town of New Julfa. But an African must have been in a minority, by geographical accident (and less common than in Ottoman Turkey, where black Africans, often eunuchs, were more commonly in positions of power at court). Our figure demonstrates his confidence in his rank and profession, his dress and (to some degree, at least) his wealth, create a well-to-do image, almost dandyish.Eleanor Sims traces his relation in this respect to the 'Tehran Suite' of paintings. In addition, both figures in an Afsharid oil painting, done around fifty years later, wear long coats with the same horizontal frogging on the chest (albeit with much more embroidered decoration on the coats), and the male figure wears the same vertically-striped undershirt - and these figures are of a notably higher class (the catalogue description speculated whether the male might be a son of Nadir Shah). See Sotheby's, Fine Oriental Manuscripts and Miniatures, 22nd & 23rd May 1986, lot 175 (dated to circa 1735-45).Whether he was a slave, who had come to Persia via the Arab trade from East Africa and the Indian Ocean into the Gulf (whose descendants to this day form an Afro-Iranian community in the south of the country); whether he had been freed as a condition of service in the Persian army; whether he was a free man who had ended up in the melting-pot of 17th Century Isfahan; or whether he is strictly a 'type', perhaps made African to cater to an existing European interest in blackamoors, and other signifiers of 'the exotic' (especially if he had a female companion painting, as Sims suggests) - we will doubtless never know. What does seem to be clear is that this painting is a rare, perhaps unique portrayal of an African in the Safavid army, and of an African in Persia.An African Youthby Eleanor SimsCould a picture offer any greater degree of 'exotic' than does this oil-painted figure of a young African wearing imaginatively interpreted 17th-century Safavid Persian clothing?He is one among a presently recorded number (21) of large rectangular pictures, painted in oil on canvas. All are single figures; all are dressed in fine 17th-Century Safavid clothing; all comfortably fill their picture-space. Their dress, especially that of the women, usually also distinguishes their ethnicity and religious affiliation: Muslim Persian, Armenian and Georgian Christian. Several men among the 21 may instead be Europeans in Safavid garb, but they are the exceptions within the genre. And with a different exception, none is either signed or dated; all but three are anonymous.Such paintings were almost surely commissioned by Europeans in the cosmopolitan melange of peoples visiting Safavid Isfahan in that century (Eleanor Sims, 'Five Seventeenth-Century Persian Oil Paintings', Persian and Mughal Art, ed. Michael Goedhuis, London 1976, pp. 223-32). Struck by the 'exotic' inhabitants they saw, many wanted images to take with them, when they returned to their own countries. English travellers seem to have been especially desirous of owning these 'exotic' personages, especially when they could be executed on a scale not unlike the oil-painted portraits already hanging on their walls. Indeed, many can be connected with houses or families: in Wiltshire (see Mary Arnold-Forster, Basset Down: An Old Country House, London 1949, p. 147; Eleanor Sims, 'The 'Exotic' Image: Oil-Painting in Iran in the Later 17th and the Early 18th Centuries', in The Phenomenon of 'Foreign' in Oriental Art, ed. Annette Hagedorn, Wiesbaden 2006, pp. 135–40 passim; eadem, 'Six Seventeenth-century Oil Paintings from Safavid Persia', in God is Beautiful and Loves Beauty: The Object in Islamic Art and Culture, New Haven & London 2013, pp. 343, 346-47), and in Northamptonshire, (eadem, 'Five Seventeenth-Century Persian Oil Paintings', pp. 241-48). Three are known to have been in English royal possession since the middle of the 17th century (1651; noted on the Royal Collection Trust Website; two published in Epic Iran: 5000 Years of Culture, J. Curtis, I. Sarikhani-Sandmann, and T. Stanley, London 2020, cat. 183-84). But that this youth is black makes him an especially exotic figure, even for 17th-century Isfahan.He stands in an open landscape whose horizon is at mid-figure height. The fore- and middle-ground show rows of grassy... This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A prince seated on a dais at night with female attendants Mughal, 18th Centurygouache and gold on paper, laid down on a large album page with gilt-decorated floral inner borders, a single line of large nasta'liq script in black ink within cloudbands above and below the painting, note in nasta'liq in lower inner border, outer border with stylised floral motifs painting 120 x 128 mm.; album page 355 x 250 mm.Footnotes:The Persian couplet, written in a fine nasta'liq hand, is not related to the painting, and was originally composed by a Safavid Persian judge, Qadi Nur al-Din Muhammad Isfahani (d. AH 1000/AD 1591-91), who lived in the capital, Qazvin, during the Shah Tahmasp period, and who was the author of a number of poems.For further information on this lot please visit Bonhams.com

Matthew Noble (British 1818-1876), a marble bust of Frederick Dawes Danvers Esq. (1796-1867), the sitter portrayed facing forwards and with serene visage, signed and dated London 1868, 76cm high, presented on an associated veined black marble plinth, overall height 178cm Provenance: the Ducommun dit Verron collectionNoble was one of Britain's leading portrait sculptors, exhibiting regularly at the Royal Academy from 1845 until his death. Several of his busts of royalty and political figures, including a portrait bust of Prince Albert, are included in the collection of the Victoria and Albert Museum, London.Condition Report: The drapery and edges of the truncation are a little scuffed and scratched in places, with a handful of small chips and losses. More pronounced area of scuffing to the lower left of the drapery and the reverse.The marble is quite creamy in colour though the face (and to a lesser extent the right shoulder) has some slightly yellower mottling, and there is darkening to the reverse particularly under the shoulders. Small scratched area to nose, and a tiny loss to the right inner ear.Overall in presentable condition.The modern associated plinth bears usual minor marks and scuffs and has some rubbing to gilt capital but is overall in presentable order. Please see additional lot images for visual reference to condition.Condition Report Disclaimer

A pair of French Empire-style gilt-bronze and bronze table lamps,each with cast acanthus capital over a reeded column and on a circular spreading base, fitted with an ivory pleated shade,44.5cm high (2)Condition report: Re-wiring required, abrasions and rubbing to the base foot rim drilled for cable.

A mid 19th century J.Schwieso giltwood, satinwood and rosewood concert harp, with brass plaque signed on one side "Schwieso & Co., Improvement, No. 263 Regent Street London," the reverse "Schwieso late foreman to S. Erard, No. 417"; brass-mounted satinwood soundboard fluted columnar pillar, relief carved angels on capital, eight pedals, five sound holes, 43 strings W.2ft 9in. H.5ft 7in.

A Continental Baroque revival polychrome earthenware jardiniere and pedestal, c.1905, the jardiniere moulded with masks and classical motifs, the columnar pedestal with Corinthian capital, unmarked, total height 149.5cm

* GERARD M BURNS, WINTER WALK oil on canvas, signed 60cm x 60cm Framed. Note: The typical gallery price for a Gerard Burns 60 x 60cm painting is £3500. Note 2: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include: Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include: Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include: Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Surgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

A French Gilt Brass Table Lamp, in Louis XIV style, as an Ionic capital applied with masks within sunbursts on leaf scroll feet, 32cm high, with tasselled shade. Good working condition, shade new and in excellent condition

A Companion’s Badge in GOLD and enamels of the finest manufacture, 53x45 mm, with all-roundmade lions, the upper loop struck with a “TD HD” mark and gold marks (the capital “U” markwith serif within a shield, for 1815); original, broad ribbon with golden suspension bar and upper,golden buckle.A beautiful and rare piece in extremely fine condition. I R!

A 2nd Class decoration: the cross in silver with red and white enameled arms, 52x49mm, silver roses and branches, with fine engravings on their reverse; obverse centre medallion in white enameled gold, with applied, golden bust of the saint, with white enameled upper cross, silver outer circlet; white enameled reverse medallion with golden roses and applied, ornated, capital monogram “E” in gold, with upper loop struck with “A”, “greyhound’s head” and “F.R” (within a lozenge) marks; suspension ring struck with two “A” marks; original ladies’ bow ribbon (detached from the cross), together with a miniature bow ribbon of the Austrian Red Cross decoration with applied, green enameled “War Decoration”; in the original, red morocco, fitted case of issue with silver embossed, Austrian coat-of-arms and four, cursive “E” on the lid; inner cushion with gold printed maker’s mark of Rothe & Neffe, Vienna.A rare decoration of this Ladies’ Order, created by Emperor Franz Joseph, in memory of her wife, Empress Elizabeth, assassinated in Geneva in 1898, one week after her death;Very fine condition, nice, dark patina. I R!

A set of the Order: white enameled cross in gold of maltese type with ball finials, flanked by matte-finished, golden “w” monograms; centre medallion in gold with embossed crowned lion rampant, holding raised sword and arrows; blue enameled reverse medallion with the motto “ViRTUS NOBILITAT” in golden lettering, within golden border; hinged, royal crown with finely embossed and chiseled details and round suspension ring passing through the orb together with short ribbon; breast star in silver with diamond-like chiseled arms and gilt borders; the edge, fitted with a thin, decorative chainlet; blue enameled centre medallion with the order’s motto in gilt, capital lettering; the upper arm, surmounted by silver royal crown with golden inner cap; concave, polished, gilt reverse with thin, vertical pin of round section and two side-hooks.A beautiful, rare, early set, excellent condition.Dim.: the badge, 73,0 x 48,0 mm.; the star, 46,0 x 45,0 mm. I R!

AN EDWARDIAN MANTLE CLOCK the white dial with Arabic numerals and marked Ramsay Dundee, the French movement marked WBK & Fils, Paris 20860, with impressed crown above a capital A in a circle, 28cm high Condition Report: the enamel dial has cracking. A couple of small dents to the wood long the top rim and lid.

An early Victorian 'Campaign' design brass-mounted mahogany rectangular writing slope, monogrammed plaque dated Feb:y 1852, hinged cover adjustable on a ratchet and enclosing a blue velvet-lined writing surface, itself hinged and enclosing compartments, a fitted bottle and a pen tray, the base with a pegged drawer, brass capital angles, the sides with swan neck carrying handles, indistinctly stamped lock, 30cm wide, c. 1850

A North European walnut floor-standing pricket candlestick, iron spike, triform pillar set with mirrored panels, the capital and base carved with acanthus scrolls, 124cm high, 19th century

A pair of carved limewood figural supportseach having a capital formed from baskets of fruit and flowers atop the head of a dancing youth, on an hexagonal base carved to its moulded edge with acanthus, 41cm high (2)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

Neolithic flint knives and fragments etc. from Wimbledon & Merton, and a dolerite hand-axe, together with 17th/18th century tile fragments, 18th century plaster mouldings from Llwyn-y-Brain mansion near LLandovery, a pine Ionic capital' fragmentCONDITION: Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Antiquities and Asian works of art, principally collecting from the 1930s to the 1970s. He intially lived in Wimbledon, Greater London and was involved with local archaeological digs undertaken by the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975. Further items from the collection to be offered in our 30th March Fine sale.

Four various artworks to include Artist Proof Confrontation at Brodgar, Orkney signed, Photo signed Andrew Faulkner, Ian Hamilton Finlay 'Corinthian Capital' and Limited edition 106-730 1857 J & J Cash Ltd Weavers Coventry signed Falcon Hildred and dated 82.

A Late 19th Century French Marble and Gilt Metal Mounted Plant Stand, the pivoting top above a leaf cast capital with column support, the stepped base with guilloche and reeded border, on scrolled feet, 24cm by 24cm by 111cm

HEMINGWAY, Ernest (1899-1961). Winner Take Nothing. New York: Charles Scribner's Sons, 1933.8vo. Original black cloth, gold labels to upper cover and spine (slight rubbing to spine label); pictorial dust jacket (some chipping or toning). FIRST EDITION, FIRST ISSUE, with the capital "A" on the copyright leaf, and with the dropped "t" in "two hundred twenty-five pounds" on p. 159. In the FIRST STATE dust jacket with Stalling' review on the rear panel. Hanneman A12a. For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

HEMINGWAY, Ernest (1899-1961). To Have and Have Not. New York: Charles  Scribner's Sons, 1937.8vo. Original publisher's black cloth gilt; original dust jacket (some slight chipping at head of spine and corners, otherwise bright).  FIRST EDITION, FIRST PRINTING with the Scribner's seal, and the capital "A" on the copyright page. Hanneman A14a.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

A contemporary silver gilt pedestal beaker by Goudji of Paris, having all-over hammered exterior with inset oval rock crystal, the base finished with a ring of sodolite, stamped with a capital G and further Goudji Sterling Paris 925 verso, h.9.3cmCondition report: Handling and gilt wear to exterior throughout.Long running crack to cabochon inset at left hand side.Further areas of internal faults/imperfections.

^ A Grey Marble Column, 19th century, the square top on a cavetto capital, plain column, circular foot and square plinth, 156cm high. Weathered and with some chips.

^ A Grey Veined Marble and White Marble Column, 19th century, the square plinth on a cavetto capital and plain stem on circular base and square plinth, 118cm high. Scuffed. Some chipping.

A carved wooden Corinthian column capital, width 18ins, height 8.5ins

A pair of painted hardwood statuary pedestals, each as a Cornithian column with an incurve square top above an acanthus capital, fluted cylindrical pillar, stepped circular base, the largest 101.5cm high, 30cm square, the other 76.5cm high, 30cm square (2)

The important and unique West Africa 1899 C.M.G. and Defence of Legations group of four awarded to Doctor Wordsworth Poole, Principal Medical Officer in Central Africa 1895-97 and West Africa, 1897-99, who was Mentioned in Despatches for his services as Physician to the British Legation during the Siege at Peking The Most Distinguished Order of St. Michael and St. George, C.M.G., Companion’s breast badge, gold and enamels, with integral gold ribbon buckle, some small chips to the enamel of both centres; Central Africa 1891-98, straight bar suspension, 1 clasp, Central Africa 1894-98 (Wordsworth Poole, P. M. O), officially engraved in upright serif capitals; East and West Africa 1887-1900, 1 clasp, 1897-98 (Dr. Wordsworth Poole, W.A.F.F.), officially impressed naming; China 1900, 1 clasp, Defence of Legations (Wordsworth Poole, M.B., C.M.G., Legation), officially engraved in sloping serif letters, the usual style for officers, the group mounted on a contemporary wearing bar, toned and unless otherwise described, nearly extremely fine (4) £20,000-£26,000 --- Provenance: A. A. Upfill-Brown Collection, Buckland Dix & Wood, December 1991; Dr. A. L. Lloyd Collection, Bonhams, March 2013. C.M.G. London Gazette 2 January 1900: ‘For services as Principal Medical Officer of the West African Frontier Force on the Niger.’ Wordsworth Poole, who was born into a medical family at St. Paul's Cray, Kent, on 7 December 1867, was the son of Samuel Wordsworth Poole, an M.D. of Aberdeen and, later, vicar of St. Mark’s, Cambridge, and the grandson of Richard Poole, an eminent physician, psychiatrist and phrenologist, who practised in Edinburgh. He was educated at St. Olave’s School, London, where he won several scholarships and then proceeded to St. Catherine's College, Cambridge where he entered the medical faculty. Completing his training at Guy's Hospital, and qualifying as an M.B. and B.C.H., he was unimpressed with the humdrum prospects of a provincial G.P., and Wordsworth Poole, after a short time as house surgeon, went forth to play his part in Empire, later jotting: ‘There was a young Cambridge M.B. Said I won't be a Cambridge G.P. But to Africa's shore I'll stick ever more And now he's a K.C.M.G.’ Fortunately for posterity’s sake, during his time in Central Africa, Poole kept a journal and wrote many letters to members of his family. Edited and published circa 1960 by Michael Gelfand under the title ‘Doctor on Lake Nyasa - Being the Journal and Letters of Dr. Wordsworth Poole (1895-1897)’ these writings, often quoted below, provide a rare insight into an important period of British rule in Central Africa, dealing as they do with the final overthrow of the armed forces of the African chiefs and Arab leaders who conducted a huge traffic in slaves around and beyond the shores of Lake Nyasa. They also contain much of interest from a medical perspective and many references to the life led by the early Europeans in the protectorate. British Central Africa On 5 January 1895, Poole was appointed to the Administration of the British Central Africa Protectorate as second Medical Officer. Bidding farewell to his brother, Francis, at Cairo on 19 February 1895 he embarked for Zomba, via Suez, Zanzibar and Mozambique, arriving on 17 April. Upon arrival, he observed in a letter to his Aunt Mary that there was a great mixture of nationalities in the tiny community of Zomba: ‘There are British, Yaos, Atongas, Arabs, Hindi, Goanese, Zanzibaris, Makua from Mozambique, Persians, a jJew, Zulus, Angoni - all speaking different languages’. As was to be expected, Poole at once commenced to treat the sick, one of his first calls was to make an African a wooden leg, his leg having been bitten off by a crocodile. Promotion was swift and, following the resignation of the incumbent, Dr. Rendall, by October he held the post of Principal Medical Officer, on the recommendation of the Commissioner, Sir Harry Johnston, who said of him, he had 'shown himself to be a most capable man and he can stand the climate and likes the country.' Wordsworth’s job was not an easy one, however, involving as it did, leaving his post at a moment’s notice to attend to members of the administration. Malaria and its complication, blackwater fever, were the most serious disadvantages of the country. The mortality rate amongst the officials and settlers must have been one of the highest in the world with an overall annual death rate of around 10 percent. The death rate among officials was particularly high. In 1897-98 there were 81 officials, of whom one-fifth were always on leave. Out of the total of 65 in the country there were 12 deaths (18 per cent), practically all in the prime of their life. Although conditions for the handful of Europeans in the capital were harsh, Poole discovered he could get by set apart from fair-skinned females; his military neighbours, on the other hand, he found rather trying. 'Take them all round,' he wrote, 'soldiers are about the most uninteresting men out - Their calling seems to wash anything original out of them and they become exasperating bores.' However, he enthusiastically entered the social life of the place, becoming secretary of the sports club and building a tennis court. Being of literary interests, he was also the prime mover in establishing a library. In September 1895, Wordsworth Poole took part in the first of several expeditions to suppress slavery on the southern shores of Lake Nyasa. As the expedition approached Chief Matipwiri's village, he was conscious of the ever present dangers ‘It was difficult to get rid of an uncomfortable feeling that some of the enemy lurking in the grass might loose off a gun at you, trusting for his chance of getting away in the long grass, in which they dodge about like hares. This did actually happen, for just as we were setting about to bivouac, three of the enemy fired from the bush, hitting no one but one of them got dropped by two bullets’. Contemplating the forthcoming battle 'I had been thinking all day what I should do when the action commenced,' he imagined himself treating the casualties, with his, 'boy carrying my Winchester to be handy’ in case he should be attacked when attending to the wounded. The reality, however, was somewhat different. The enemy evaporated and, ‘various parties went out burning villages and killing a few folk.’ The following month, enabled by an absence of sickness in Zomba, Poole was thrilled to join Major C. E. Edwards on his campaign against Zirafi, a powerful chief living on a steep and impregnable hill covered with boulders of rock, ‘with people potting at you from good cover.’ The skirmishing en-route was described by Poole in a letter to his mother ‘I and my hospital carriers were passing a clearing when about 70 yards away from us two guns blazed off from behind rocks. The porters threw down their loads and hooked. My boy ran up to me with my rifle, and I was trying to catch sight of someone to fire at (I’m fairly steady with the rifle now) when I saw a flash and some smoke, followed by another, and a bullet fell near my feet, knocking up dust into my face’. They pushed on, intent on punishing the naughty Zirafi, but, on finding the enemy's town abandoned, embarked upon the next stage of the campaign against the wicked Mponda, who in turn gave himself up in fear of the oncoming white men. Poole, meanwhile, was busy in his hospital and had been performing several operations, ‘Last Saturday I took off a man’s hand. He had been shot through the wrist by one of Zirafi’s men about six week’s ago. Since then he has had Tetanus, but recovered at Fort Johnston. He is...

The Indian Mutiny Medal awarded to Captain, later Major-General, L. Russell, Bengal Engineers, who served under General Havelock during the first Relief and second Defence of Lucknow, and was wounded on the day the Residency was finally relieved by Sir Colin Campbell; for his services he was twice Mentioned in Despatches and achieved fame as one of the personalities of the Defence of Lucknow Indian Mutiny 1857-59, 1 clasp, Defence of Lucknow (2nd. Capt. L, Russell, Exec. Engr.) extremely fine £1,800-£2,200 --- Provenance: George McIlroy Collection. Lindsay Russell entered the Bengal Engineers in December 1847 and served as Brigade Major of Engineers during the Great Sepoy Mutiny. He is listed on the Roll of Officers and Staff of the Shahjehanpore Brigade as having been present at ‘all the actions leading to the reoccupation of Cawnpore and in the advance to Lucknow with General Havelock. Present at the Defence of Lucknow. Disabled by wound.’ The Siege of Lucknow, by Rutz Rees, gives the following account: ‘The Chief Engineer, Crommelin, meanwhile superintended the defensive works of the new palaces. With the miners placed at his disposal, he soon foiled most of the enemy’s mining operations, and sank shafts and began galleries in every direction. In carrying out these labours he owed much to the energy and courage of Lieutenant RusseII, his Major of Brigade. The enemy however could not be driven out of a portion of the palaces, which they had maintained possession of, after having exploded a mine. Colonel Napier, accompanied by Colonel Purnell and Moorsome, however reconnoitred the enemy’s position one dark night with perfect success, and Lieutenant Russell of the Engineers, was then directed to attempt to blow up the Mosque which the enemy had maintained. He was perfectly successful; a great number of the insurgents were blown into the air and we maintained a capital point from which to command the Khaz Bazaar.’ Wounded in action, Kaye and Malleson, in their History of the Indian Mutiny, state: ‘An open space, nearly half a mile in width, still intervened between the assailants and the advanced positions of Outram and Havelock. This space was exposed to a heavy musketry fire from the Kaisarbagh and could not be crossed without imminent risk. But the risk did not prevent the two gallant generals and their staff from crossing the space to meet the Commander-in-Chief. They started eight officers and one civilian. They were Outram, Havelock, Napier (now Lord Napier of Magdala), Vincent Eyre, young Havelock (now Sir Henry Havelock), Dodgson, the deputy Adjutant General, the aide-de-camp Sitwell, the engineer Russell, and the gallant Kavanagh. They had not gone many paces before they were seen by the enemy, and the musketry fire from the Kaiserbagh redoubled. Napier was struck down, young Havelock was struck down, Sitwell and Russell were struck down. Outram, Havelock, Eyre, Dodgson and Kavanagh alone reached the Moti Mahal uninjured. Then to borrow the appropriate language of Sir Colin Campbell, “The Relief of the Lucknow Garrison has been accomplished”.’ For his gallantry, Russell was twice Mentioned in Despatches by Sir Henry Havelock, firstly for his actions at the Battle of Futtehpore: ‘My orders were conveyed in the field boldly, actively and intelligently by my aide-de camp, Lieutenant Havelock, 10th Foot, and the following officers: Lieutenant Moreland, 1st Fusiliers; Lieutenant Moorsome, H.M.’s 52nd Light Infantry; Captain Sheehy, H.M.’s 81st Regiment; Captain Russell, Engineers; and Captain McBean’; and secondly for his gallantry during the Relief of Lucknow, in the last despatch written by Havelock prior to his death: ‘I must commend all the officers in charge of detachments, but most prominently Colonel Purnell, 90th Light Infantry, whose conduct throughout the affair evinced the most distinguished gallantry, united to imperturbable coolness and the soundest of judgement; as well as Lieutenants Russell, Hutchinson and Limond of the Engineers, and Captain Oakes (attached), who showed the way to several points of attack.’ Russell became, in time, one of the personalities of the second Defence of Lucknow, and wounded on the day that the Residency was finally relieved by Sir Colin Campbell he features in the famous painting The Relief of Lucknow by Thomas Barker. Advanced Colonel in March 1878, he retired on 11 May 1881, and was granted the honorary rank of Major-General. He died at his home in Folkestone, Kent, on 9 May 1904, aged 74. Sold with a photographic image of the recipient, and copied research.

An oakwood pedestal with Korinthian capital, Germany, ca. 1900/ 1910. With salamander motif. Meas. H: 115 cm. Estimate: € 60 - € 80.

A BLACK CAPITAL BEER FRIDGE BELIEVED IN WORKING ORDER BUT NO WARRANTY

Owen Jones, three chromolithographs, column capital and other designs 1844, 38 x 54cm

Nameplate CAPITAL RADIO'S HELP A LONDON CHILD ex British Railways class 47 diesel 47366. Built by Brush Traction works number 647 and introduced July 1965. Named March 1994, the nameplates removed April 1996. Withdrawn January 1999 and scrapped August 1999 at EWS Wigan Component Recovery Centre. Name previously carried by 47710 August 1991 - August 1993. Cast aluminium in as removed condition and measures 38.25in x 8.75in. Sold on behalf of DB Cargo (UK) Ltd and comes complete with a certificate of authenticity.

Pop Music. Two Capital Radio Music Festival Jackets, one featuring Coca Cola logo, purportedly used by Kenny Everett and Dave Cash, former DJ's at Capital Radio.

MAXWELL, Lieutenant-Colonel W.E - Capital Campaigners The History of the 3rd Battalion (Queen Mary's Own) The Baluch Regiment : colour frontis, Org. cloth, 8vo, Aldershot, 1948. With - Hayden, Sir Henry & Cosson, Cesar, Sport and Travel in the Highlands of Tibet, illust, org. cloth, 8vo, 1927. With one other.(3)

A Victorian oval moulded giltwood frame wall mirror, with associated carved stag head capital, 71cm high, a pair of Victorian balloon back cane seat bedroom chairs and a pair of Victorian oval gilt gesso frame mirrors with leaf borders, 38cm high x 34cm wide, (5).

Sarah Jeffries Morph One, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Painter, Collagist and Image Activist Painter, Collagist and Image Activist Education 2002-04 Royal College of Art, MA Painting 1999-02 Bucks University, BA Fine Art 1996-99 Canterbury College, GNVQ Art & Design   Solo Shows 2013 Female, Pili Pili Gallery, Knokke, Belgium 2011 Once Upon a Time..., Pili Pili Art Gallery, Knokke, Belgium 2008 Within These Walls, Waterhouse & Dodd, Mayfair, London 2004 Persona, Putignano Arte, Putignano, Italy Two Person Shows 2019 Picture Interrupted, Mike Bartlett & Sarah Jeffries, Transition Gallery London 2005 We've Been Here Before, Laura Green & Sarah Jeffries, Blyth Gallery, Imperial College London Selected Group Shows 2019 People Pictures, Jack House Gallery, Portsmouth, Hampshire 2019 Indoor Voices, Curated by Graham Crowley, Greystone Industries, Suffolk 2018 LANDSCAPE, The Lone Wolf Projects, Sluice Exchange, Berlin 2018 Transcendence, The Cello Factory, Waterloo, London 2017 Connect/Disconnect, Watch This Space Gallery, Eastleigh, Hampshire 2016 The Cat Show, PAPER Gallery, Manchester 2016 Let's Make a Better World, The Cello Factory, Waterloo, London 2015 Existence, Zoe Hawkins Gallery, Winchester, Hampshire 2012 The Zeitgeist Open 2012, ZAP, London 2011 Help a Capital Child Fundraising Art Event, Chelsea Football Club, London 2009 Lineart Fair, Pili Pili Art Gallery, Knokke, Belgium 2009 Impossible Exchange, Frieze, London 2009 Summer Exhibition, Pili Pili Art Gallery, Knokke, Belgium 2008 The Chef, The Artist, The Architect & His Curator, Full Moon At The Fortezza, Italy 2008 Art Hamptons, Waterhouse & Dodd Stand, New York 2008 The Painting Room, Transition Gallery, London   Awards 2010 Commendations, Aesthetica Creative Works Annual 2004 Fine Art Pyramid Award, Deutsche Bank, London 1999 Painting Skills of The Year, Canterbury College, Kent, Waterhouse & Dodd   It's great to hear about Art on a Postcard and very happy to be involved.

Sarah Jeffries Morph Two, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Painter, Collagist and Image Activist Education 2002-04 Royal College of Art, MA Painting 1999-02 Bucks University, BA Fine Art 1996-99 Canterbury College, GNVQ Art & Design   Solo Shows 2013 Female, Pili Pili Gallery, Knokke, Belgium 2011 Once Upon a Time..., Pili Pili Art Gallery, Knokke, Belgium 2008 Within These Walls, Waterhouse & Dodd, Mayfair, London 2004 Persona, Putignano Arte, Putignano, Italy Two Person Shows 2019 Picture Interrupted, Mike Bartlett & Sarah Jeffries, Transition Gallery London 2005 We've Been Here Before, Laura Green & Sarah Jeffries, Blyth Gallery, Imperial College London Selected Group Shows 2019 People Pictures, Jack House Gallery, Portsmouth, Hampshire 2019 Indoor Voices, Curated by Graham Crowley, Greystone Industries, Suffolk 2018 LANDSCAPE, The Lone Wolf Projects, Sluice Exchange, Berlin 2018 Transcendence, The Cello Factory, Waterloo, London 2017 Connect/Disconnect, Watch This Space Gallery, Eastleigh, Hampshire 2016 The Cat Show, PAPER Gallery, Manchester 2016 Let's Make a Better World, The Cello Factory, Waterloo, London 2015 Existence, Zoe Hawkins Gallery, Winchester, Hampshire 2012 The Zeitgeist Open 2012, ZAP, London 2011 Help a Capital Child Fundraising Art Event, Chelsea Football Club, London 2009 Lineart Fair, Pili Pili Art Gallery, Knokke, Belgium 2009 Impossible Exchange, Frieze, London 2009 Summer Exhibition, Pili Pili Art Gallery, Knokke, Belgium 2008 The Chef, The Artist, The Architect & His Curator, Full Moon At The Fortezza, Italy 2008 Art Hamptons, Waterhouse & Dodd Stand, New York 2008 The Painting Room, Transition Gallery, London   Awards 2010 Commendations, Aesthetica Creative Works Annual 2004 Fine Art Pyramid Award, Deutsche Bank, London 1999 Painting Skills of The Year, Canterbury College, Kent, Waterhouse & Dodd   It's great to hear about Art on a Postcard and very happy to be involved. Condition Report:   Condition Report Disclaimer

A pair of  Edwardian silver column candlesticks, acanthus scroll capital, on stepped bases, by Levesley Brothers, Sheffield, 1907 20cm high, filled (CR: marks slightly rubbed, dents, splits and knocks to bases 

A vintage cased Weston Master II exposure meter together with a cased Capital exposure meter. From a private collection.

A PAIR OF SILVER COLUMNAR CANDLESTICKS, WITH CORINTHIAN CAPITAL ON BEADED SQUARE FOOT, NOZZLES, 26.5CM H, MARKS RUBBED, BY MARTIN, HALL & CO LIMITED, SHEFFIELD C1910, LOADED Condition reportPolish wear and dents; solder repair at base of one

A pair of 1980’s silver hallmarked candlesticks having beaded decoration to the sconce, tapered capital, tapered column with a knob to the centre raised on a two step circular base. Hallmarked Birmingham 1981 by W I Broadway & Co and stamped “Filled. Measures: 18cm tall. Total gross weight: 526g

A pair of late Victorian silver candlesticks each designed as a Corinthian column, raised on a square base, London 1899, height 18.5cm and an Indian octagonal bowl having a shaped rim, raised on an octagonal foot, weight of bowl 212 gms, (2). Condition Report Candlesticks: Candlestick One; a few perforated holes at the top of the capital, no serious damage to the corners, otherwise a few surface marks and dents. Candletick Two; it is bent to one corner, most apparent when the sconce is removed, the same corner of the sconce is also bent, one corner of the base is dented, otherwise a few small few dents and knocks. The silver bowl has an inscription 'Barrack Pore Spring Meeting 1917', otherwise in good condition, the foot is slightly pushed up into the bottom of the bowl.

19 th C Campaign Chest of Drawers - a Naval / Military Teak chest comprising 2 short drawers and three long drawers , all inlaid with boxwood on turned and raised short legs, circa 1830, with campaign brass handles and brass fitments ( no wooden dowels). Once owned by the captain of the WW2 Prince of Wales ship where WS Churchill and US President Franklin D Roosevelt signed the Atlantic Charter , (comes via family) 39 1/2? wide x 18? deep x 40" High. (101.4 x 46.6 x 102.5 cm) John Catterall "Jack" Leach, DSO, MVO was a British naval officer. He was the only captain of HMS Prince of Wales. John Leach was awarded his DSO as a result of his pursuit of the Bismarck after the Hood had been sunk by the German ship. Leach died when the ship sunk on the 10 th December 1941 aged 47 The Prince of Wales was a King George V Class Royal Navy battleship. She had an extensive battle history, first seeing action in August 1940 while still being outfitted she was attacked and damaged by German aircraft. She was involved in several key actions of the Second World War, including the May 1941 Battle of the Denmark Strait against the German battleship Bismarck and then attempting to intercept Japanese troop convoys off the coast of Malaya . She was sunk on 10 December 1941, her final battle, which was three days after the attack on Pearl Harbour. She was sunk alongside HMS Repulse by Japanese bombers. They became the first capital ships to be sunk solely by air power on the open sea.

A Victorian walnut and ormolu mounted quarter striking bracket clock, Payne and Co., London circa 1880, the eight inch silvered dial with Roman numerals, flanked by gilt capital Corinthian columns, supporting a blind fret carved foliate frieze and curved pediment, embossed in relief with floral garland, surmounted by a flared pedestal dome with flaming urn finial, each corner with a similar finial, all on a stepped base with cast scrolling bracket feet, gilt side handles, the dial signed and numbered 4245, also to the movement, 45cm wide, 72cm high, 30cm deep

A GUAN-TYPE ‘LIAN’ TRIPOD CENSER, SONG DYNASTYChina, 960-1279. Finely potted, the exterior decorated with three bands of horizontally molded ribs, reminiscent of archaic Han dynasty bronze vessels, supported on three cabriole legs, covered overall with an exquisite ‘orange-peel’ glaze suffused with strongly contrasting black and russet crackles.Provenance: Old German private collection, Stuttgart. Swiss private collection, acquired from the above. Four old collector’s labels to base, ‘No. 1’, ‘A[…] 168’, ‘[…] 44’, the fourth obscured by the third label placed on top. Condition: Old wear and manufacturing flaws, six evenly spaced spur marks to the base, one foot has been reattached, small chip to a foot. Incense residue accumulated over centuries has baked into the crackling, mostly to the interior, resulting in roughened and eroded areas of the glaze, especially to the lower interior edge.Weight: 624.6 gDimensions: Height 9 cm, Diameter 13.3 cmThe shape of the present lot was inspired by archaic bronze containers, lian, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. This archaistic shape was also produced in the Duyao glaze during the Northern Song period as exemplified in a related Ruyao tripod incense burner from the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, p.2, no.1.The distinctive shape appears to have survived in spite of the Northern Song dynasty’s demise. Examples were made at the Guan kiln, re-established by the exiled Court in the suburb of the Southern Song capital Hangzhou. For a related Guan tripod incense burner, Southern Song dynasty, in the National Palace Museum Collection, Taipei, see Dynastic Renaissance: Art and Culture of the Southern Song, Antiquities, Taipei, 2010, p. 98, no. II-5.Literature comparison: Compare with a Ding censer of closely related form at Bonhams in Fine Chinese Art on 10 November 2016, lot 6, and a related Ge censer (note the characteristic spur marks, nearly identical to the present lot) at Sotheby’s London in Fine Chinese Ceramics and Works of Art on 12 July 2006, lot 48. Compare also with a bronze cylindrical censer of closely related form, though of slightly larger size, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 22 March 2013, lot 1279, and a related Longquan censer at Sotheby’s New York in Harmony of Form, Serenity of Color: A Private Collection of ‘Song’ Ceramics on 23 March 2011, lot 534.宋代仿官窯短紋三足爐 中國，960-1279年。該爐直口、三蹄形足、身有三組凸起旋紋，讓人聯想到古代漢代青銅器皿，通體施清亮的“橙皮”釉釉，強烈對比的黑色和赤褐色開細碎紋片裝飾精美。 來源：德國斯圖加特私人老收藏；瑞士私人收藏, 從上述收藏購得。爐底四個藏家標簽‘No. 1’, ‘A[…] 168’, ‘[…] 44’, 第四個被第三個放置在頂部的標籤遮蓋。品相：舊時磨損和製造缺陷，在底座上均勻分佈了六個齒痕，一足已經重新連接，一隻足上有磕損。 幾個世紀以來積累的熏香殘留物已烤入釉面，主要散佈在內部，導致釉料粗糙和腐蝕，特別是內部下部邊緣。重量：624.6 克 尺寸：高9 厘米, 直徑13.3 厘米

A ‘GUAN’ TRIPOD CENSER WITH TRIGRAM DECORATIONS, QINGChina, 18th-19th century. Of compressed globular form, the shallow sides with raised trigram decorations rising to an everted and incurved rim, set to either side with a pair of upright square loop handles, all supported on three short tapering feet.Provenance: French private collection, acquired from Chayette & Cheval, Paris, on 13 May 2005. A copy of the invoice accompanies this lot.Condition: Very good condition with minor wear and firing flaws, old crack to rim with associated glaze loss to the interior, small glaze nicks to one handle.Weight: 616.7 gDimensions: Height 10 cm, Diameter 14.5 cmCovered overall in an opaque gray glaze with darker shadings around the edges and suffused with a network of dark gray and golden crackles in simulating 'iron wire' and 'gold thread'.In its glazing and form, the present incense burner vessel was made to imitate one of the most celebrated official wares of the Song dynasty, Guan, made for the Imperial court in the capital Hangzhou. Several Guan pieces, conserved in the Imperial collection for half a millennium, inspired the Yongzheng and Qianlong emperors, both of whom were ardent admirers of Song dynasty ceramics, to commission modern versions of these wares in the 18th century.Literature comparison: An 18th century crackle-glazed tripod censer with a lengthy Qianlong imperial inscription is illustrated in Obtaining Refined Enjoyment, The Qianlong Emperor's Taste in Ceramics, National Palace Museum, Taipei, 2011, no. 67.Auction result comparison: A related, Guan-inspired censer from the Qing dynasty, of slightly larger size was sold by Sotheby’s New York in Chinese Art Through the Eye of Sakamoto Goro – Ceramics on 17 March 2015, lot 44, for USD 150,000.清代官窯式八卦三足爐 中國，十八至十九世紀。三足爐呈球狀，爐身表面有凸起的八卦紋裝飾，兩側均有一只直立的方形環手柄，三足短且成錐形。 來源：法國私人收藏，購於巴黎Chayette & Cheval, 2005年5月13日。隨附發票複印件。 品相：狀況極佳，有輕微磨損和燒制缺陷，舊裂紋到圈足，爐內失去釉質，一個手柄上有釉面小磕損。 重量：616.7 克 尺寸：高 10 厘米, 直徑 14.5 厘米 拍賣結果比較：一件清代官窯式香爐，尺寸稍大，售于紐約蘇富比 Chinese Art Through the Eye of Sakamoto Goro – Ceramics 拍場，2015年3月17日，拍號44, 售價USD 150,000.

AN INSCRIBED IMPERIAL CLOISONNE ENAMEL SNUFF BOTTLE WITH MATCHING STOPPER, QIANLONG MARK AND PERIODChina, 1736-1795. Finely decorated in bright enamels and gilt with two lobed turquoise-ground panels, one enclosing lotus flowers and bamboo, the other inscribed in gilt with a poem by the Qianlong Emperor about the magnolia paintings of the Ming dynasty master Shen Zhou, dedicated by the infamous Yu Minzhong, the recessed gilt-copper base delicately incised with a four-character mark Qianlong nianzhi and of the period.Inscriptions: To one panel, at the top, yuzhi (‘Imperial’), bottom left, chen Yu Minzhong jing shu (‘respectfully written by your servant, Yu Minzhong’). Two seals.Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong.Condition: Excellent condition with minor wear, microscopic nibbling, and manufacturing flaws, such as pitting and open bubbles.Stopper: Cloisonne enamel with gilt-copper collar and spoon, all matching.Weight: 90.5 gDimensions: Height including stopper 72 mm. Diameter neck 17 mm and mouth 4 mmThe pear-shaped body, yuhuchun, rising from a short circular gilt-copper foot to a short waisted neck with a gilt-copper top. The panels are surrounded by lotus flowers growing from leafy vines, with a lappet border above the foot and a band of ruyi heads below the rim. The matching stopper with a central flower encircled by scrolling vines above a geometric border.The inscription is dedicated by Yu Minzhong (1714-1780), an official from Jintan in Jiangsu province, who served as Chief Grand Councilor from 1773-1780 and was one of the most powerful ministers in the government. He received his jinshi degree with the highest honors, then became a first-class compiler of the Hanlin Academy, and eventually served in many official posts, first in the provinces and from 1750 onwards mainly in Beijing. There he was in the direct company of the Qianlong Emperor in the capital as well as on tours and advised him on many important policy matters. One of his tasks consisted of editing the Emperor's poems, which, having often been composed during brief intervals between audiences, he afterwards had to write down from memory and reputedly seldom made a mistake.Literature comparison: A cloisonne wall vase with the same poem and dedication by Yu Minzhong is in the collection of the National Palace Museum Beijing. For a cloisonne panel with a poem written by Yu Minzhong, with the inscription again dedicated by the minister, see Sotheby’s Hong Kong, 2 May 2005, lot 534.Auction result comparison: Compare with a related cloisonne miniature zhadou, with a closely related Qianlong four-character reign mark incised to a gilt base and of the period, at Christie’s Hong Kong in The Imperial Sale Important Chinese Ceramics and Works of Art on 31 May 2010, lot 2080, sold for HKD 162,500, and a related cloisonne bottle vase (12.3 cm high), with a Qianlong mark and of the period, at Christie’s Hong Kong in Reverence and Perfection – Magnificent Imperial Cloisonne Enamels from a Private European Collection on 29 May 2013, lot 2057, sold for HKD 300,000. Compare also with a cloisonne snuff bottle with a Qianlong mark and of the period but of a different form at Sotheby’s Hong Kong in Snuff Bottles from the Mary & George Bloch Collection: Part VII on 26 November 2013, lot 108, sold for HKD 250,000.乾隆款與年代銅胎掐絲琺琅鼻烟壺中國，1736-1795年。裝飾精美的琺瑯，兩面開光，其中一幅可見蓮花和竹子，另一幅上有乾隆的詩作，描寫明朝大師沈周的玉蘭花。内凹的鍍金銅底座，精巧地刻有四個字的“乾隆年制”。 款識：御制，磊落偏饒韻，芳華不藉春，臣于敏中敬書。兩枚鈴印。 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，有輕微磨損，輕微磨損和製造缺陷，例如點蝕和氣泡。 壺蓋：景泰藍，鎏金蓋托，小壺匙，皆匹配 重量：90.5 克 尺寸：含蓋總高72 毫米，頸部直徑17 毫米，嘴部直徑4 毫米 拍賣結果比較：一件相近微型渣斗，乾隆四字款，見香港佳士得 The Imperial Sale Important Chinese Ceramics and Works of Art 拍場，2010年5月31日 lot 2080, 售價HKD 162,500；一件相近景泰藍瓶 (高12.3厘米)，乾隆款與年代，見香港佳士得 Reverence and Perfection – Magnificent Imperial Cloisonne Enamels from a Private European Collection 拍場，2013年5月29日 lot 2057, 售價HKD 300,000 ；一件景泰藍鼻烟壺，乾隆款與年代，見香港蘇富比 Snuff Bottles from the Mary & George Bloch Collection: Part VII 拍場，2013年11月 26日 lot 108, 售價HKD 250,000.

A GILT SILVER SNUFF BOTTLE FROM THE QUEEN CONSORT OF SIAM, YUE HE MARKChina, 1870-1880. Finely incised with a central monogram within an oval reserve on a foliate ground. The concave base stamped with a two-character Yue He mark.Provenance: Sunanda Kumariratana (1860-1880). From the private collection of Dr. Mary Kaufman, New York, USA. Thence by descent within the same family. Dr. Kaufman (1927-2013) was a well known NYC snuff bottle collector. Old collector’s label to base, ‘436’. Kumariratana was the Queen Consort of Siam. She and her daughter drowned when a steamboat collided with their ship on the way to the Royal Summer Palace. There is an often-repeated myth that the many witnesses to the accident did not dare to touch the queen, a capital offense, not even to save her life. However, this was not the case, as the King's diary shows that boatmen dived into the water, pulled the queen and her daughter from the entangling curtains, and carried them to another boat, where attendants worked in vain to resuscitate them.Condition: Very good condition with minor wear, occasional light scratches, few small dents, and minuscule nicks here and there. The spoon is lost.Stopper: CoralWeight: 21.2 gDimensions: Height including stopper 46 mm. Diameter neck 9 mm and mouth 6 mmSilver items bearing Yue He or Tan Yue He marks are of outstanding quality. The Chinese firm was commissioned by members of the Thai Royal family to produce a variety of items that can be dated to the 1870s and 1880s. The present snuff bottle was made for Queen Sunanda Kumariratana (1860-1880), queen consort of Siam, as it is marked with her personal insignia.Literature comparison: Paul Bromberg, Thai Silver and Nielloware, Rover Books 2018.來自暹羅皇后的鎏金銀鼻烟壺，粵和款中國，1870-1880年。在卷葉紋地上橢圓形開光。 内凹底足上可見“粵和”二字。來源：Sunanda Kumariratana (1860-1880)；美國紐約Mary Kaufman博士私人收藏，之後傳承於同一家族。Kaufman博士(1927-2013)是一位紐約知名鼻烟壺收藏家。 老收藏家的標籤“ 436”。品相：狀況極佳，有輕微磨損，偶有輕微划痕，少量小凹痕以及局部的微小刻痕。小壺匙丟失。 壺蓋：珊瑚 重量：21.2 克尺寸：總高46 毫米；頸部直徑9 毫米；嘴部直徑6 毫米 帶有“粵和”或“譚粵和”印記的銀製品質量卓越。這家中國公司受到泰國皇室成員的熱烈追捧，生產了各種可以追溯到1870和1880年代的物品。 目前的鼻煙壺是為暹羅Sunanda Kumariratana皇后（1860-1880）製作的，上面印有她的個人徽章。

AN IMPERIAL WHITE JADE ‘HAITANG’ BRUSHWASHER, WITH A POEM BY CHEN YUYI, YONGZHENG MARK AND PERIODChina, 1723-1735. Carved to one side in shallow relief with leafy crabapple (haitang) branches, blossoms and small fruit, as well as craggy rockwork, the reverse superbly incised with a poem. The translucent stone of a spectacularly pure white tone with a single russet and cloudy white vein, masterfully incorporated into the depiction. The base neatly incised with a four-character seal mark Yongzheng nianzhi and of the period.Inscriptions: Two lines from a poem composed by the famous Song Dynasty poet Chen Yuyi (1090-1138), which may be translated as 'the crab apple flower displays its pink blossoms, standing alone in the rain'.Provenance: A private Danish collection, acquired in Asia prior to 1922, thence by descent within the family. A private collection in Europe, acquired in Sweden prior to 2000. Old illegible collector’s label to base. Old inventory number ’90.635.42.3’ to interior, indicating a prior museum deaccession. Condition: Excellent condition with minor old wear. Natural flaws to stone.Weight: 119.5 gDimensions: Height 3.4 cm, Length 9.3 cmA handscroll in the Victoria & Albert Museum, titled Guwan tu (Pictures of Ancient Playthings), made for the Yongzheng emperor as a pictorial inventory of his palace collections, includes a guan-type brush washer of Haitang-form. It is possible that the present jade washer was commissioned by the emperor and made by the palace workshops using the guan washer as a prototype, because of its distinct crabapple form.The form of this elongated four-lobed washer supported by a broad foot rim directly references the crabapple (haitang), which is also the subject of both the poem incised to one side as well as the relief carving to the other. The crabapple could be combined with other emblems to create auspicious rebuses. Its second character, ‘tang’, is homophonous with the character for ‘hall’ and, by extension, ‘the family home’. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2).One of the most striking things about the present washer is that the mark on the base is incised with a series of apparently wheel-cut lines to build up the thickness of the strokes in a style very similar to that found on glass objects from the Beijing Palace workshops during the early to mid-Qing dynasty. With this as a clue to provenance, the very slight flaws in the material also indicate a Palace workshops origin, since this is a prominent feature found in a group of jade objects attributable to the court.The stone shows minuscule inclusions, which is almost hallmark of early Imperial jades, during a time where lapidaries worked by Imperial command striving to create small items of the purest white jade, which began in the Yongzheng period, marking the transition from the mottled pebbles of the Ming dynasty to the flawless white vessels of the Qianlong reign. Hence the most superb jades of the Yongzheng period, such as the present lot, have minuscule flaws which are masterfully integrated into the design and show the absolute highest level of manual polishing of all time, creating a smooth, somewhat ‘oily’ surface with an unctuous feel and lustrous appearance, the latter especially when sunrays shine through the material.Chen Yuyi (1090-1138) was a poet and politician of the Song dynasty. His biography was included in the History of Song. He composed some of the best shi poetry of the Song era and was a native of Loyang, coming from an official family. He obtained his degree in 1113 and held a number of minor posts before moving to the capital. When North China was invaded by the Jin, he had to flee for his life and his poetry became much more intense and emotionally charged. He returned to official service in the exiled Song court in Hangzhou in 1131.Jade vessels inscribed with Yongzheng reign marks and of the period are extremely rare. The only published examples from museum collections appear to be a small number preserved in the holdings of the Palace Museum, Beijing. No other Yongzheng reign-marked white jade vessel has been sold ever at a major auction house outside of China.The Palace Museum, Beijing has published five jade vessels inscribed with Yongzheng reign-marks: a green jade handled cup, a green jade flared bowl, a pale green jade cup, a black and white jade bowl, and a pale green jade brush washer, illustrated in Compendium of Collections in the Palace Museum, Jade. Qing Dynasty, vol. 10, Beijing, 2011, pls 146, 153, 154, 187, and a set of black jade rings, illustrated in Compendium of Collections in the Palace Museum. Jade. Qing Dynasty, vol. 9, Beijing, 2011, pl. 224. The marks are intricately articulated in the same archaic-style seal script in two columns, undoubtedly in the same production process.Literature comparison: Compare with a related white jade washer, of oval form and carved with a chilong, in the Palace Museum, Taipei (collection number K1C003785N000000000PAB). Compare also with a related pale green jade brush washer, Yongzheng four-character mark and of the period, from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum. Jade 10. Qing Dynasty, Beijing, 2011, p.237, no.187. Compare also with two jade bowls in the Palace Museum, Beijing, with Yongzheng reign marks, Cultural Relic nos. 00103853 and 00102973.清雍正款白玉題詩海棠式洗中國, 1723-1735年。海棠式洗呈四瓣海棠之形，曲壁，線條流暢圓潤，圈足隨形。一面淺浮雕多葉的海棠樹，上面可見海棠花與小花骨朵。旁邊假山岩石。背面刻有一首詩。白玉光瑩溫潤，些微赤褐色脈紋，巧妙融入整體。整器造型端莊，雕刻嫻熟。底足可有四字款“雍正年制”。款識：宋代詩人陳與義(1090-1138)：海棠不惜胭脂色/獨立濛濛細雨中來源：丹麥私人收藏，1922年前購於亞洲，自此保存在同一家族。歐洲私人收藏，2000年前購於瑞典。底部可見老收藏標簽。筆洗内有舊收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 圖片：收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 品相：狀況極佳，輕微使用磨損。玉石自然缺陷。 重量： 119.5 克 尺寸：高3.4 厘米, 9.3 厘米 這件細長的四瓣花口形洗由海棠四出花瓣演變而來，同時也對應了所刻的詩句以及另一面的浮雕花卉。海棠花的"棠"字與"堂"同音，與其他花卉可以組成“玉堂富貴”的意思。清宮也有很多利用海棠進行創作的例子，請參見香港邦瀚斯的御製竹根雕海棠式洗（2012年11月24日，Lot 323）（圖1），以及倫敦邦瀚斯的掐絲琺瑯開光纏枝蓮紋海棠式花盆一對，2012年11月8日，Lot 250（圖2）。 圖片：御製竹根雕海棠式洗, 清初, 香港邦瀚斯, 2012年11月24日, lot 323, 售價HKD 150,000. 圖片：掐絲琺瑯開光纏枝蓮紋海棠式花盆一對, 倫敦邦瀚斯, 2012年11月8日, lot 250, 售價GBP 37,250. 本海棠式洗最引人注目的一件事是，在其底座上的有兩道切割線，以强調玉洗雕工的細緻感，其樣式與北京料器製品相似。這可以作爲出處的一個線索，材料上的細微瑕疵也表明了此洗來自御用工坊的，因為這是根據現有研究發現的宮廷玉器中突出特徵。玉石上略帶皮色，這可以説是早期清代宮廷玉器的特徵。清初，御用工坊努力創造出最純净的白玉小器物。雍正時期是明朝使用的籽料至乾隆年間無瑕的白色器皿的過渡期。 因此，雍正時期最精湛的玉器（如這件白玉洗）具有微小的瑕疵，這些瑕疵被巧妙地運用到設計中，顯示出有史以來最清湛拋光工藝，玉器表面緻密細膩，瑩潤凝脂，尤其是當陽光透過玉料時。陳與義 (1090-1138) 宋代詩人及政治人物，在宋史中可找到其生平。他是宋代傑出的詩人，洛陽人，出生於士族。1113年中進士，之後擔任不同職位，直至進入首都。北宋敗於金人時，他不得不南遷避難，詩歌變得更加憂國憂民。 1131年，他回到南宋杭州的宮廷繼續任職。Victoria & Albert Museum有一幅《古物圖》, 描繪了雍正帝的宮廷收藏，包括一件海棠式官窯筆洗，很可能是此次拍品的原型，而這件拍品也很可能也曾存在於雍正帝收藏中。雍正款的玉器留世極少。博物館藏品中唯一公開發表的例子似乎是保存在北京故宮博物院藏品。在中國以外的大型拍賣行中，沒有其他雍正款白玉器被出售。北京故宮博物院曾在《故宮博物院藏品大系：玉器編10》中介紹了五件雍正款玉器：青玉雙耳杯，青玉撇口碗，淺青玉杯，黑白玉碗及淺青玉洗(見《故宮博物院藏品大系：玉器編10》，北京2011年，圖146, 153, 154, 187)以及一組墨玉板指，見《故宮博物院藏品大系：玉器編9》，北京，2011年，圖版224。兩玉碗之刻款與現器之銘款均為篆書，形神一致，應出於同一人之手無疑。文獻比較：一件相近螭龍玉洗，橢圓形，見臺北故宮博物院 (藏品編號K1C003785N000000000PAB)；另一件雍正四字款綠玉筆洗見《故宮博物院藏品大系：玉器編10 》，北京2011年，237頁, no 187；北京故宮中還有兩件雍正款素面玉碗（編號 00103853 與 00102973）。

AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。

A LARGE SANDSTONE FIGURE OF VISHNU, PRE-ANGKOR PERIODKhmer Empire, 9th century. Standing in samabhanga with the legs slightly apart, wearing a short sampot, draped around the waist, knotted with folds falling at the front, pulled through the legs and tucked into the belt at the back, the rounded torso with an incised navel.The serene face with a ridged brow above almond-shaped eyes with incised pupils, a broad nose, and full lips forming a subtle smile, flanked by long pendulous earlobes, the wavy hair pulled up into a columnal chignon behind the tiara incised with stylized palm leaf lappets.Provenance: From an old Belgian private collection. Condition: Good condition, commensurate with age, extensive wear and losses, nicks, scratches, structural cracks, encrustations, soiling.Weight: 50.2 kgDimensions: Height 102 cmMounted on an associated metal base. (2)The artistic styles that developed during the Pre-Angkor period, before the capital was moved north to Angkor, exhibit a wider range of artistic motifs than those that would develop during the Angkor period. Phnom Da, located in Southern Cambodia, was an important center of artistic creation during the 6th-7th centuries.Expert’s note: In the present example, the sampot’s particular arrangement of folds and its low placement on the hips, as well as the subtle roundness to the stomach and attentively carved musculature of the back, exemplify the pre-Angkor period.Auction result comparison: Compare with a related sandstone torso of Vishnu, from the same period and of related size but lacking the head, at Christie’s New York in The Doris Wiener Collection on 20 March 2012, lot 158, sold for USD 98,500.

A BRONZE FIGURE OF RAMA, VIJAYANAGAR PERIODSouth India, 16th-17th century. Cast standing in tribhanga on a circular double-lotus base supported on a stepped square plinth, the hands in katakamudra, dressed in a short dhoti secured with a beaded belt and richly adorned in jewelry and the sacred thread, the face with elongated eyes flanked by pendulous earlobes, surmounted by a conical headdress, and backed by a shirashchakra.Provenance: French private collection. Condition: Excellent condition with minor wear, traces of use, malachite encrustations, minuscule nicks, dents and light scratches here and there.Weight: 398.4 gDimensions: Height 16 cmRama is a major deity of Hinduism and the seventh avatar of the god Vishnu, one of his most popular incarnations along with Krishna, Parshurama, and Gautama Buddha. He is the central figure of the ancient Hindu epic Ramayana, a text historically popular in the South Asian and Southeast Asian cultures. Rama is especially important to Vaishnavism, and ancient Jain Texts also mention Rama as the eighth balabhadra among the 63 salakapurusas. In Rama-centric traditions of Hinduism, he is considered the Supreme Being.The Vijayanagara Empire was based in the Deccan Plateau region in South India. It was established in 1336 by the brothers Harihara I and Bukka Raya I of the Sangama dynasty, members of a pastoralist cowherd community that claimed Yadava lineage. The empire rose to prominence as a culmination of attempts by the southern powers to ward off Islamic invasions by the end of the 13th century. At its peak it had subjugated almost all of South India’s ruling families and the Sultans of the Deccan region, thus becoming a notable power. It lasted until 1646, although its power declined after a major military defeat in the Battle of Talikota in 1565 by the combined armies of the Deccan sultanates. The empire is named after its capital city of Vijayanagara, whose ruins surround present day Hampi, now a World Heritage Site in Karnataka, India. The writings of medieval European travelers such as Domingo Paes, Fernao Nunes, and Niccolo Da Conti, and the literature in local languages provide crucial information about its history. More recent archaeological excavations at Vijayanagara have revealed the empire's power and wealth.Auction result comparison: Compare with a related but slightly larger bronze of Rama at Sotheby’s New York in Indian, Himalayan & Southeast Asian Works of Art on 22 March 2018, lot 1019, sold for USD 13,750.

Rare, gold and agate money changer’s seal. Medieval period. Italy. Gothic. 14th century. Large, mounted stone in the shape of an almond that depicts a money changer at work at a table covered with coins. Inscription on the edge “+ SIG [ILLVM] TITVS BINI CAMPS[ORIS]. IESI (Seal of Tito Bini, money changer in Iesi). The profession of money changer appeared at the end of the 12th century. Their work became indispensable due to the quantity of different currencies in circulation. They worked at a bench or table in a shop which opened onto the street, like the artisans. Iesi, the town that appears in the inscription, is an Italian town located in Marche, which was at its zenith in the 14th century as the capital of an independent state. It is in an excellent state of preservation, apart from two small imperfections in the carving work.