Laszlo, Carl. Sammlung von 34 (2 signierten) Einladungs- und Klappkarten, Flug- und Doppelblättern, Leporellos, Ausstellungskatalogen etc. sowie 3 Plakate zu Laszlo, Panderma und Galerie Delta. Ca. 1956-1966.Die Sammlung enthält u.a.: I. Die schiefen Frauen. 1958. Signiertes und gestempeltes Flugblatt. - II. 1967. Klappkarte, wohl zu Neujahr. Von Laszlo signiert. - Panderma zeigt Basler Surrealistengruppe im Albansaal, Basel, Januar-Februar 1957. - Mit Doublette bei der "Basler Surrealistengruppe" ausgestrichen wurde. - III. Panderma Festival de la Fin du Monde 1. Einladungskarte. 1958. - IV. Nichts ist der Mensch. Flugblatt. 1959. Mit zahlreichen Anmerkungen von unbekannter Hand. - V. Panderma Theaterabend. Flugblatt. 8.1.1958. - VI. Helft Hüte verbrennen. Flugblatt. Basel, 1957. - In 2 Varianten in unterschiedlichem Format. - VII. Bevor Neo-Dada da war, war Dada da. Flugblatt. Basel, 1966. - Mit Zeitungsausschnitt dazu. - VIII. Panderma Programm. Theatre Fauteuil, 1958. Faltblatt mit Einlage. - IX. Faltblatt zu Laszlos Buch "Die Homosexualität des Mannes im Szondi-Text. 1956. - X. Panderma. Festival de la fin du monde 1. Januar, Februar 1958. Programm. 8 S. - XI. 2 Doppelblätter zur Ausstellung Lajos Kassak Galerie Tobies & Silex Köln, 1966. - Mit Texten von Arp und Laszlo. - XII. Studiobühne an der Universität Hamburg. 16 S. Zu Laszlos Sechs Einakter. Mit Texten von C. Laszlo, B. Brock u.a. - XIII. Affiche. 5. und 11. Druck. Stuttgart, 1960. Sonderausgaben zu Panderma und Laszlo. - XIV. Guido Biasi. Katalog zur Ausstellung Galerie Delta, Basel, um 1960. - XV. Nacht der unbekannten Wirklichkeiten (Panderma Figurenball). Einladungskarte. Basel, 1957. Anrede ausgestrichen. - XVI. Briefbogen der Zeitschrift Panderma. Mit gedrucktem Briefkopf. Doppelt gefaltet. - XVII. Die Rampe bringt Carl Laszlo's Aufruf zum Luxus. Plakat. 1961. Mehrfach gefaltet. - Werbeplakat zur Publikation Schuld. Steinigung der Nach. 1960. - XVIII. Dädalus-Reihe 1. - XIX. Hundertwasser. Plakat zur Ausstellung Galerie Delta, Basel, 1960. - Insgesamt gut erhalten. - Beigegeben: 2 Original-Photographien. Silbergelatine. Beide zeigen wohl Werke aus Laszlos Sammlung. 17 x 23 cm. Verso von Laszlo bezeichnet "(unleserlich) 1920. Coll. C. Laszlo...". - 16,5 x 12 cm. - Beide etwas kratzspurig. - Provenienz: Archiv Carl Laszlo.
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Albrecht, Dietrich. flug/fluxBLATTzeitung Nr. 4 und 15. Mit zahlreichen Abbildungen, Beilagen und Stempeln. Stuttgart, reflection press, 1969 und 1971. 29,5 x 21 cm. Klemmschiene und geklammert.Der Künstler und Verleger Dietrich Albrecht, auch Albrecht/d. (1944-2013) beschäftigte sich u.a. mit Fluxus, Mail Art und Aktionskunst. U.a. nahm er 1970 an der 10. Tokyo-Biennale und 1977 an der 10. Biennale de Paris teil, gründete 1971 mit Wolf Vostell und Günter Sarée das "Unabhängige Olympische Komitee" (UOK) und trat 1974 in London auf der Ausstellung "art into society - society into art" gemeinsam mit Beuys auf. - I. Heft 4: Eins von 30 von Albrecht nummerierten, signierten und datierten Exemplaren. - U.a. Mit Vostells Aktionsanleitung Klinkenputzen. - II. Heft 15: "wald-und-wiesen-nummer bedeutet hier: hinweise - flugblätter - grafik - -konzeptionen - vorschläge - mitteilungen - 000000 - etc." (2. Bl.). - Enthält Beiträge von Gerz, Vostell, Beuys, Tress, Rywelski, Vautier, Furnival, Staeck (beigelegter 10000 DM-Schein) u.a. - Ein Blatt von Vautier ("to change art destroy ego") mit Randläsuren, sonst gut erhalten. - Beigegeben: 10 meist hektographierte Flugblätter, 9 Einladungkarten und Postkarten, 1 Kleinplakat sowie 4 mehrseitige Schriften von Albrecht bzw. reflection press. Ca. 1969-1988. U.a. Faltkarte zur flug/fluxBLATTzeitung 18. Das neue Programm der CDU/CSU. - Umweltgalerie. 4 Blatt zur Ausstellung Albrechts 1980. - NS-Werbung oder die Faschisten sind wieder da... Kleinplakat. - Hektographierte Neuerscheinungsliste der reflection press. 2 Bl. - Gut erhalten.
Grimm, Jacob. Silva de Romances viejos publicada por Jacobo Grimm. Vienna de Austria, en casa de Jacobo Mayer y Comp., 1815. XXVIII, 318 S., 1 Bl. 13,5 x 11 cm. Pappband der Zeit mit Rückenschild (fleckig).Erste Ausgabe. - Denecke/Teitge, Bibliothek der Brüder Grimm 36 - Henning/Lauer, 200 Jahre Brüder Grimm 524. - "Die romances der Silva ... stammen mit drei Ausnahmen alle aus dem Antwerpener Cancionero von 1555, den Jacob Grimm aus der Göttinger Bibliothek wohl schon 1809 in Händen gehabt und eine Abschrift davon gefertigt haben muß. Das Manuskript scheint ein Jahr später druckfertig gewesen zu sein, da das Erscheinen der Lieder bereits im November 1810 von ihrem Herausgeber angekündigt wurde. Allerdings zögerte sich die Veröffentlichung noch Jahre hinaus, da Jacob Grimm lange keinen Verleger fand, und die Sammlung erst 1815 zu Wien herauskommen konnte." (Hennig/Lauer S.486f.). - Die Herausgeber der Unbekannte(n) Briefe der Brüder Grimm widmen der "Verlegergeschichte der Spanischen Romanzen" einen mehrseitigen (S.48-52) Abschnitt. "Die Verlegergeschichte von Jacob Grimms Spanischen Romanzen ist reich an bitteren Enttäuschungen." (S.48). - Leicht gebräunt, stockfleckig. Stempel auf dem Titel "Ex libris Rückerti".
Höke, Bernhard. Sammlung von 1 Original-Photographie, 4 Plakaten, 12 Flugblättern, Karten und Kleinschriften sowie 1 Buchpublikation. Ca. 1966-1968.Bernhard Höke ist in den 1960er Jahren mit vielfältigen, gleichermaßen provokativen wie Aufsehen erregenden Happenings aktiv. - Das Happening in Berlin endete im Chaos: "Dem Publikum half da keine Pille mehr, sondern nur noch die Rote Garde der Freien Universität. Auf Konterrevolution gestimmt, sorgte sie für ein Brutal-Happening. Zarte Intellektuellenfäuste griffen in den dekorativen Überbau der Hökeschen Ereignisse und zerstörten. Entkräftete Leseratten der proletarischen Revolution krochen auf allen Vieren den entkleideten Darstellerinnen nach. Die Sozialismus-bewegten Kinder sehr gutbürgerlicher Eltern kompensierten Rohrstock-Pädagogik und pinkelten auf erleuchteter Bühne. Verklemmte Provos provozierten mies." (Kai Hermann DIE ZEIT, 24.03.1967). - I. Ereignisse aus Schaustücken. 3 Kleinplakate. 38,5 x 29 cm. Zusammen mit einem Flugblatt in bedruckter Original-Plastikhülle "Höke ppp a.k.t.i.v.". - Zur Ausstellung St. Stephan, Wien 1967. - II. Ereignisse aus Schaustücken. Mehrfach gefaltetes Plakat zur Ausstellung Akademie der Künste/Rene Block, Berlin 1967. Verso bedruckt. 67,5 x 47,5 cm. - Beiliegend: dazugehöriges Flugblatt. - III. Original-Photographie. Silbergelatine. Vintage. Verso handschriftlich bezeichnet und mit Adressstempel Hökes. 15,5 x 22 cm. - "Environment-room galerie René Block Berlin März 1968 Gold-Schaum-Goldschaum 'flow over'". - IV. Notizen zu Schaustücken und Ereignissen. Berlin, Grützmacher, 1966. - V. Was sollen wir machen? Wien, 1967. Doppelblatt. - werkstatt blatt 1. - VI. Was machen wir heute und morgen? Wien, 1967. Doppelblatt. - Kurz und Brief 2. - VII. Immer flexibel bleiben Flugblatt. - VIII. 2 Flugblätter des "Institut für visuelle Kommunikation." 1969. - Gut erhalten.
Hammer-Purgstall, Joseph von. Eigenhändiger Brief mit Unterschrift, wohl an den Berliner Diplomaten und Orientalisten Heinrich Friedrich von Diez. Wien, Januar 1809 (Tagesdatum offen gelassen). 3 S. auf einem Doppelblatt feinen holländischen Schreibpapiers, auf der vierten Seite hastiges Postskript mit mehrzeiliger Streichung. 22,5 x 18,5 cm.Früher und inhaltsreicher Brief Hammers. Er berichtet ausschließlich vom Projekt der "Fundgruben des Orients", deren erster Band noch 1809 erschien. Analog dem französischen Paralleltitel "Mines de l'Orient" nennt er sie "Minen". "Hier theuerster Freund erhalten Sie den Prospektus des oriental. Journals zu dem ich Ihnen in meinem lezten Brief Hoffnung machte, u. zugleich eine herzliche Aufforderung im Namen des jungen H. Rzewuski (des Grafen Wenceslaus Rzewusky als Finanzier der Zeitschrift) daran Theil zu nehmen ... Das ganze Werk ruht übrigens auf meinen Schultern. - Ich habe nicht nur die Redakzion sondern auch die Correspondenz mit den Mitgliedern im Namen des Grafen ausschließlich auf mich genommen. Chabert und Dombay werden blos das typographische besorgen. Wenn Sie wie ich noch immer hoffe bis Ostern selbst kommen so bringen Sie uns wohl selber eine kleine Gabe fürs erste Heft mit, und da Ihr Weg über Leipzig gehen wird, so bitte ich Sie Härteln in meinem Namen die türkischen Vorschriften abzufordern die ich ihm ... geliehen habe, weil er selbst ein schönes orientl. Alphabet gießen zu wollen versprach. Zugleich bitte ich Sie von Nikolai die beiden Übersetzungen türkisch(er) Gesandtschaftsreisen zu begehren, welche ich auf Ihre Veranlassung für ihn übersetzte, von denen er aber weiter keinen Gebrauch machen zu wollen scheint. Dieselben sind gerade recht für die Minen; die wie ich hoffe wenigstens Ouseley's (Oriental) Collections ersetzen sollen." - Demnach hat der Adressat Übersetzungen Hammers aus dem Türkischen an den Berliner Verleger Friedrich Nicolai vermittelt, die unpubliziert blieben und behoben werden sollten. Dies weist deutlich auf Diez hin, der bei Nicolai veröffentlichte. Zum ersten Band der Fundgruben lieferte Diez zwei Übersetzungen aus dem Türkischen, die von Hammer mit kritisch-polemischen Anmerkungen versehen wurden und von Druckfehlern entstellt waren. Diese Verunglimpfung führte zu einer heftigen Gelehrtenfehde, die auch Goethe aufmerksam verfolgte. Die Nachschrift behandelt die Frage nach dem Format der Zeitschrift, "4to wäre besser (als Folio), allein es wird um so weniger Etwas daran zu ändern seyn, als Titel und Umschlag schon danach gestochen ist." - Alte Bleistiftnotiz zum Schreiber am Fuß der ersten Seite, Ränder etwas stockfleckig, sonst tadellos.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),COLOUR IN THE HILLS, SPAINoil on boardimage size 41cm x 46cm, overall size 57cm x 62cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),CLYDE FERRYoil on boardimage size 40cm x 40cm, overall size 58cm x 58cm Framed.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* JOHN KINGSLEY RSW DA PAI (SCOTTISH b. 1956)CRETAN LANDSCAPEoil on canvas, signedimage size 61cm x 76cm, overall size 79cm x 94cm Framed and under glass.Provenance: we are grateful to John Kingsley for confirming the title and commenting "It was near Rethymnon (Crete) as I recall, in the area of the ruined fortress above the town. I visited there around 1990".Note: John Kingsley was born in Glasgow in 1956. He studied drawing and painting at Glasgow School of Art from 1973-77. His art tutors included James Downie Robertson, David Donaldson and Geoffrey Squire. From 1980-86 he exhibited in one-man shows at the annual S.N.O. Promenade Concerts at the Kelvin Hall, Glasgow and in 1986 he was elected a member of Group 81 Artists, who exhibited regularly at the McLellan Galleries, Glasgow. John Kingsley has established a reputation as a leading Scottish contemporary artist. He was a finalist in the Hunting Art Prizes competition in London in 1989, 1993 and 1998, and was highly commended in the same competition in 1996. In 1991 Kingsley won the William Bowie Landscape Prize and in 1992 the Mary Armour Award at the Paisley Art Institute. Kingsley has an international reputation with art works in many public and private art collections across Europe, Australia, Canada and the USA. His paintings are found in the art collections of HRH The Duke of Edinburgh, Argyll and Bute District Council and the Royal College of Physicians and Surgeons, Glasgow and in numerous corporate collections throughout the UK.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
A pair of Chinese famille rose 'Lotus pond' dishes, Republican, painted to the interior with egrets in a lotus pond, both inscribed with da ya zhai mark to the well and the base with yong qing chang chun mark in iron red, 14.2cm diameter 民国 粉彩"永庆长春"款一路联科图盘一对Condition Report: minor wear to the iron red glazeCondition Report Disclaimer
A Japanese Arita apothecary bottle, Edo Period, late 17th century, decorated in underglaze-blue to the globular body with birds among sprays of pomegranate and peony, the cylindrical double-ridged neck with upright flowers, 15.5cm high Provenance: From the collection of the late J.B. da Silva (1918-2003) and by family descentCondition Report: damaged and repaired surface glaze with wearCondition Report Disclaimer
ULLOA (ALFONSO DE)La historia dell'impresa di Tripoli di Barberia, della presa del Pegnon di Velez della Gomera in Africa, et del successo della potentissima armata Turchesca, venuta sopra l'isola di Malta l'anno 1565. La descrittione dell'Isola di Malta. Il disegno dell'isola delle Zerbe, & del Forte, fattoui da Christiani, et la sua descrittione, ?second edition, woodcut device on title-page, folding engraved plate of the siege of Tripoli, historiated initials, light damp-staining, marginal worming and smudging, fire mark to lower pastedown, contemporary vellum with manuscript title on upper cover, ties missing, worn [EDIT 16 CNCE 48562; Adams U 39; Atabey 1257, Palau 343402], 4to, [Venice, 1566]Footnotes:An account of the Great Siege of Malta of 1565, when the Ottoman Empire attempted to conquer the island. There may have been two separate issues of this ?second edition. Adams, in fact, mentions a second preliminary gathering 'b' instead of '*', as in this copy, and does not mention the plate depicting the siege of Tripoli, that is also present here. There is another edition, undated, printed in Venice, by Francesco Rampazetto that has the addition of 'Nuovamente ristampata' to the title-page.Provenance: Famiglia Conti di Thiene, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
GHELEN (JOHANN VON)Relazione compendiosa, ma veridica, di quanto e passato nel famoso assedio dell'Imperial Residenza di Vienna, attaccata da Turchi li 14 Luglio, e liberata li 12 Settembre 1683, woodcut head- and tail-pieces, light dampstain to final 2 leaves, a few pencil marginal notations, later wrappers, ink title on spine, small 4to, Vienna and Bologna, Giacomo Monti, 1684This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
RYCAUT (PAUL) and GIOVANNI SAGREDODie Neu-eröffnete Ottomanische Pforte, 2 parts in 1 vol., second edition in German, half-title, additional engraved pictorial title, title printed in red and black, numerous engraved illustrations throughout, early ownership inscription on engraved title, some spotting and damp-staining, later half calf gilt, hinges starting [Atabey 1072; cf. Blackmer 1463], folio (303 x 202mm.), Augsburg, Johann Jacob Schonig, 1694-- RYCAUT (PAUL) The Present State of the Ottoman Empire,third edition, engraved frontispiece, 2 engraved plates, 19 engravings in the text, short tear touching text on title, damp-staining (heaviest to title), later half vellum gilt [Atabey 1067; Blackmer 1463], folio (300 x 200mm.), John Starkey and Henry Brome, 1670; Istoria dello stato presente dell'Imperio ottomano, second Italian edition, half-title, engraved additional title, title with printer's device, 21 engraved illustrations by Isabella Piccini, early ownership inscription on first flyleaf, 2 small wormholes to some leaves, and single wormhole to margin of S3 to end, contemporary limp vellum, 4to, Venezia, Combi & La Noù, 1673; The Present State of the Ottoman Empire, sixth edition, engraved additional title (lower margin cropped touching text), 24 engraved illustrations, early ownership inscription on title, toned, repair to fore-margin of pp.81-82 touching illustration, later calf gilt, minor wear [ESTC R219046], 8vo, R. Clavell, 1686--SANSOVINO (FRANCESCO) Gl'annali turcheschi ouero vite de principi della casa othomana, second edition, engraved arms of the barons Zborowski on the title and on verso of c4, modern morocco gilt [EDIT16 CNCE 27022], 4to, Venice, Enea de Alaris, 1573; Lettera o vero discorso sopra le predittioni fatte in diversi tempi da diverse persone. Le quali pronosticano la nostra futura felicita, per la guerra del Turco l'anno 1570, modern quarter morocco gilt [ESTC CNCE78929], folio, Venice, 1570 (6)Footnotes:'This was Rycaut's most important work .. his information on the Ottoman Empire came from several sources - Turkish records, members of the government and Ulema, and from a Pole who had spent 19 years at the Ottoman court' (Blackmer).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
LEONARDO DA VINCIA Treatise of Painting... Translated from the Original Italian... to Which is Prefix'd, the Author's Life, engraved portrait frontispiece, title printed in red and black, 35 engraved plates (4 folding), 2 plates shaved just within platemark not touching image, short tear to pp.17/18, light arc of dampstaining to a few leaves towards end, contemporary panelled calf, red morocco spine label, worn, joints weakened, 8vo, J. Senex, and W. Taylor, 1721Footnotes:FIRST EDITION IN ENGLISH of Leonardo da Vinci's Trattato della pittura, compiled from manuscripts written during his lifetime, but first published in Italian in 1651. In these Leonardo outlined his influential theories regarding anatomical drawing, perspective, and other elements of artistic composition.Provenance: Edward Pawlet (died 1768), barrister at the Middle Temple, inscription dated 1729 inside upper cover, three years after he had been elected as a Fellow of the Royal Society. His library was dispersed in 1769; J.W. Upham, 1801; D.B. Robinson, 'great great neice [sic] of the above, 1898', all ink inscriptions inside upper cover.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
GALLONIO (ANTONIO)Trattato degli instrumenti di martirio, e delle varie maniere di martoriare usate da' gentili contro Christiani, descritte et intagliate in rame, FIRST EDITION, title in red and black, 47 full-page engraved illustrations by Antonio Tempesta after Giovanni Guerra, early ownership inscription on title, occasional spotting, minor soiling and some damp-staining, later velvet with blue and gold printed brocade paper endpapers, minor wear [Brunet II 1468; Graesse III 19], 4to (240 x 170mm.), Rome, Ascanio and Girolamo Donangeli, 1591Footnotes:A graphic work on the Roman torture and execution of Christian martyrs. Bound in velvet with brocade paper endpapers - one of the rarest and most valuable types of decorated paper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
NUNES DA SYLVA (MANOEL)Arte minima, que com semibreve prolacam trata em tempo breve, second edition, woodcut vignette on title page, one engraved plate, woodcut musical notation and diagrams, title repaired at margins, following 12 leaves (including plate) repaired at lower corner, marginal damp-staining and light soiling, contemporary dark tan calf, rebacked with original spine laid down, minor wear, in a modern buckram chemise and slipcase, small 4to (197 x 143mm.), Lisbon, Miguel Manescal, 1704--MONTEIRO (JOANNES) Portugalliae Reges ad vivum expressi, contemporary speckled calf, rebacked,Lisbon, 1742--SABUGOSA (CONDE DE) O Paço de Cintra, later calf antique, 4to, Lisbon, 1903--DA COSTA (AGOSTINHO REBELLO) Descripçao topografica, e historica ca Cidade do Porto, contemporary red morocco gilt, 4to, Porto, 1789--DE ALMEIDA (NICOLAU TOLENTINO) Obras Completas de Nicolau Tolentino de Almeida, contemporary marbelled calf, 4to, Lisbon, 1861; and 20 other works on Portugal (31)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of Chinese famille rose flower pots, Republican, enamelled on the exterior with pheasants in flight amongst peony sprays, under the rim with an iron-red 'tian di jia chun' (spring throughout heaven and earth) mark dividing two dragons within a cartouche below the rim and four-character mark 'da ya zhai zhi' (Studio of Great Elegance), 24.5cm high 民国 大雅斋款粉彩四方花盆一对Condition Report: scratches to the surface and some firing cracks near the cornersCondition Report Disclaimer
Three: Deck Hand E. Lambert, Royal Naval Reserve 1914-15 Star (DA.601, E. Lambert, D.H., R.N.R.); British War and Victory Medals (601D.A. E. Lambert. D.H. R.N.R.) very fine Three: Able Seaman J. Hazell, Royal Navy, later Royal Fleet Reserve British War and Victory Medals (189837 J. Hazell. A.B. R.N.) VM officially re-impressed; Royal Fleet Reserve L.S. & G.C., G.V.R., 1st issue (189837 (Ch. B.3505) J. Hazell. A.B. R.F.R.) very fine (6) £70-£90
Follower of Zhu Da (1626 - 1705), 18th century, ink and colour on silk, depicting leafy flower branch, signed ba da shan ren with a seal by the artist and two other seals to the bottom right corner, 26cm x 24cm excluding mount, framed and glazed.朱耷 （傳）花卉水墨絹本，玻璃鏡框款識：八大山人鈴印：「八大山人」、「□□□□」、「□□」Please refer to department for condition report
Tsue Da Tee (Cui Dadi 1903 - 1974), ink on paper mounted on silk, fan leaf, written with Chinese characters in archaistic style, signed and dated autumn, 1970, with two artist seals, excuding mount 54cm long.崔大地(1309-1974) 書法扇面，水墨紙本寫於一九七零年三秋鈴印：「大地」、「崔」cf. Tsue Da Tee moved to South East Asia around the age of 30, especially active in Singapore and Malaysia. He was the Tutor of Calligraphy Society of the Hua Yi Secondary School in Singapore, who exhibited in South East Asian and Europe since 1946.Please refer to department for condition report
Bernardo BellottoReiterbildnis des königlichen Pagen Gintowt1773Öl auf Leinwand60,3 x 55,5 cm1773 im Auftrag Stanislaus II. August Poniatowski, König von Polen, geschaffen;dessen Sammlung, Königlicher Palast in Warschau;Sammlung Fürst Joseph Poniatowski, Schloss Belvedere, Warschau, ab 1798;Sammlung Henry Kent, Florenz, 1910-11;Privatsammlung, Frankreich;Sotheby‘s Monaco, 5. Dezember 1991, Lot 167;Sammlung Erna Weidinger (1923–2021)1910 Mailand Le tre espositioni rettrospecttive MCMVIII-MCMX. Ausstellung Miniaturen und Fächer, Giovanni Carnevali, bekannt als il Piccio, Porträts aus dem achtzehnten Jahrhundert, S. 72, Nr. 18, pl. XIII1911 Florenz, Mostra del ritratto italiano dalla fine del sec. XVI all' anno 1861, S. 80, Nr. 13Das Gemälde ist Teil einer Serie von vier bekannten Reiter- bzw. Pferdebildnissen Bernardo Bellottos und wurde für den polnischen König Stanislaus II. August Poniatowski (1732-1798) geschaffen. Im Jahre 1773 notierte Bellotto in seinen Aufzeichnungen der für den Hof gelieferten Werke: "quattro picolli quadri die invenzione con cavalli presi dalla natura e Figure...", für welche er insgesamt die Summe von 200 Dukaten erhalten hatte (Kozakiewicz, 1972, S. 388). Während sich zwei dieser Gemälde "Reitstunde des Fürsten Joseph Poniatowski gehalten von Oberst Königsfels" (Abb. 1) und "Pferdeknecht ein Pferd führend" (Abb. 2) heute im Nationalmuseum Warschau befinden, ist das "Reiterbildnis eines Polnischen Husarenoffiziers" (Abb. 3) im Kunsthistorischen Museum, Wien, beheimatet (vgl. Kozakiewicz, 1972, S. 387-91, Nr. 431-433). Der Verbleib des vorliegenden Werkes war lange unbekannt. Um 1910/11 war es durch Ausstellungen und eine Schwarzweißabbildung in der Sammlung Kent, Florenz, dokumentiert, bis es schließlich aus einer französischen Privatsammlung stammend 1991 in Monaco auf einer Auktion wieder aufschien. 2017 wurde es dann von Bozena Anna Kowalczyk (wohl erstmals) in einer wissenschaftlichen Publikation in Farbe abgebildet (Kowalczyk 2017, S. 268). Die für den polnischen König geschaffene, nahezu quadratische Vierer-Serie besteht aus zwei leichten Querformaten und zwei leichten Hochformaten. Wohl aus mangelnder Dokumentation gibt die Literatur für vorliegendes Gemälde jedoch jeweils die identen Maße zu dem Werk im Kunsthistorischen Museum an, wobei der heutige Bildausschnitt jenem der Abbildung im Ausstellungskatalog von 1910 entspricht. Eine vergleichbare Capricci-Serie Bellottos mit unterschiedlichen Formaten, jeweils zwei Quer- und zwei Hochformaten findet sich in der Galleria Nazionale in Parma (vgl. Kowalczyk 2017, S. 268 u. 148). Die beiden Warschauer Gemälde zeigen Pferde und Figuren vor dem Hintergrund einer phantasievoll-monumentalen Barockarchitektur mit Palastflügeln, Portiken und einem Arkadengang, während die beiden hochformatigen Werke die stolzen Reiter beim Ausritt in einer südlichen, ebenfalls imaginären Landschaft zeigen, welche im Hintergrund Capricci-artige Bauelemente enthält. Alle vier Werke sind durch die sie dominierenden, strahlend weißen Rösser verbunden. Auch die in Rot und Grün leuchtenden Uniformen ziehen sich als verbindendes Element durch die Gemälde. Im Gegensatz zu den Posen der anderen Werke, ist der "Page Gintowt" und sein Schimmel nahezu frontal abgebildet. Beide blicken den Betrachter erhoben an und scheinen nahezu auf diesen zuzureiten. Alberto Rizzi beschreibt diese emotionale Ausdruckseinheit von Pferd und Reiter wie folgt: "Dieser Reiter, der mit angelsächsischer Sicherheit im Sattel sitzt, erinnert ein wenig an jene Diener, die das Gehabe ihrer Herren annehmen und sie dabei karikieren… Der Oberkörper des jungen Mannes ebenso wie der Kopf seines nicht minder eleganten Pferdes heben sich gegen den Himmel ab, ein Effekt, der der Darstellung einen majestätischen Charakter verleiht." (Rizzi 1991, S. 133).Der Dargestellte ist durch den ursprünglichen Titel "Le page Gintowt à cheval, suivi d’un palfrenier à livrée du Roi", 1795 aufgeführt im Katalog der Galerie des Königs Stanislaus II. August Poniatowski, eindeutig zu identifizieren (Mankowski 1932). Stefan Kozakiewicz widmete dieser Gruppe von Pferdebildern 1967 einen eigenen Aufsatz und stellt fest, dass der Reiter im Gegensatz zum in früheren Ausstellungen falsch überlieferten Titel ("Adliger im sächsischen Kostüm") die polnische Offiziersuniform trägt. Es handelt sich möglicherweise um Celestino Dziewialtowski Gintowt, später Major des königlichen Heers und Generaladjutant des Königs ("È probabilmente Celestino Dziewialtowski Gintowt, figlio di Antonio, nel 1779 maggiore dell’esercito della Corona, nel 1780 aiutante di campo generale del re", vgl. Kozakiewicz 1967, S. 42, Fußnote 21). Auch wenn die Wurzeln derartiger Pferdedarstellungen im Rahmen von Herrscherbildnissen oder Illustrationen von Reitschuldarstellungen bis ins 16. Jahrhundert zurückgehen, ist diese Serie einzigartig im Schaffen Bellottos. Es sind des Künstlers erste Genrebilder. "Obgleich Szenen aus dem wirklichen Leben eine große Rolle in seinen Veduten spielten, waren sie nie vorher Hauptgegenstand der Darstellung. Dass sie gerade in Warschauer Zeit dazu wurden, entspricht der größeren Bedeutung, welche die Staffage allgemein in den Ansichten aus dieser Zeit einnahm. Wenn ihnen in den Veduten letztlich auch keine führende Stellung eingeräumt wurde, waren sie doch mit der wirklichen Umgebung in vollem Einklang; hier aber nun, wo sie Hauptthema sind, stellt der Künstler sie in einen irrealen Rahmen". Waren bislang Pferde in Bellottos Veduten nur Staffageelemente, werden sie hier zu den Protagonisten. Sowohl bei den dargestellten Figuren handelt es sich um bestimmte hofnahe Personen, als auch die Pferde wurden wohl in den königlichen Ställen direkt von Bellotto studiert – "presi dalla natura", wie der Künstler selbst vermerkt. "Die Anregung zu diesen Gemälden erhielt der Künstler wahrscheinlich vom König während der Arbeit an der im gleichen Jahr 1773 entstandenen großen "Ansicht von Warschau mit der Terrasse des Königlichen Schlosses" (Abb. 4): sie hatte Bellotto mit den Themen und Personen seiner ersten Genrebilder vertraut werden lassen." (vgl. Kozakiewicz 1972, Bd. 1, S. 165 + 174ff.).Neben den Vorlieben seines königlichen Auftraggebers spielte wohl des Künstlers eigenes Interesse an Pferden auch eine große Rolle zur Entstehung dieser Spätwerke – Bellotto starb bereits 1780 in Warschau infolge eines Schlaganfalls. Ausgebildet in der Werkstatt seines berühmten Onkels Antonio Canal (1697-1768), dessen Beinamen "Canaletto" er auch in der Folge annahm, spezialisierte Bernardo Bellotto sich vornehmlich auf Veduten: zuerst der Tradition folgend jener seiner Heimatstadt Venedig, später dann die Städte seiner jeweiligen Auftraggeber, wie z.B. Dresden, München, Wien und zuletzt Warschau. Im 1746 entstandenen "Capricci mit dem Kapitol" (Galleria Nazionale, Parma) verwendete Bellotto erstmals ein Pferd als markantes Figurenelement. Von da an spielten Pferde, Reiter und Kutschen zunehmend eine Rolle als Staffage in seinen Capricci und Veduten. Neben eigenen Studien dienten wohl auch die Darstellungen zeitgenössischer Künstlerkollegen, wie beispielsweise der berühmte englische Pferdemaler George Stubbs (1724-1806) als Inspiration (vgl. Kowalczyk 2017, S. 268 u. 148).
Joh. Bapt. Lampi d. Ä.Herrenporträt (Lorenzo da Ponte?)um 1790-1800Öl auf Leinwand69 x 56 cmDorotheum Wien, 2. Dezember 1969, Lot 66, Tafel 47;Dorotheum Wien, 20. März 1973, Lot 69, Tafel 57;österreichische Privatsammlung; Dorotheum Wien, 29. September 2004, Lot 307;Sammlung Erna Weidinger (1923–2021)2006 Wien, Albertina Wien, Mozart. Experiment Aufklärung im Wien des ausgehenden 18. Jahrhunderts, Nr. 386Herbert Lachmayer (Hg.), Mozart. Experiment Aufklärung im Wien des ausgehenden 18. Jahrhunderts, Ausstellungskatalog Albertina, Wien 2006, S. 282, Nr. 386, S. 168 Abb.Johann Baptist Lampi d. Ä. zählte zu den berühmtesten und beliebtesten Porträtisten seiner Zeit. Zu seinen Auftraggebern gehörten Persönlichkeiten aus dem Kaiserhaus, darunter Franz I. und Josef II., sowie Adel und das gehobene Bürgertum.Der fein gemalte Gesichtsausdruck erscheint wach und repräsentativ mit einem angedeuteten Lächeln auf den Lippen. Der betonte Blick des Dargestellten richtet sich selbstbewusst aus dem Bild, direkt dem Betrachter zu. Das Gemälde weist deutliche kompositorische und stilistische Gemeinsamkeiten mit Lampis Porträtkunst in den Jahren um 1790-1800 auf. Dr. Pancheri verweist hierzu in seinem Gutachten vor allem auf die Porträts von dem Miniaturmaler Nicolas Soret (Genf, Musée d'Art et d'Histoire), Graf Franz von Saurau oder Baron Johann Baptist von Puthon.Die Identifizierung des Dargestellten als Lorenzo Da Ponte (1749-1838) wurde erstmals 2004 in den Raum gestellt. Auch der Katalog für die Albertina-Ausstellung 2006 folgt dieser vorsichtigen Zuordnung und weist darauf hin, dass es demgemäß das einzige erhaltene Porträt Da Pontes aus dessen Wiener Schaffensperiode wäre (vgl. Kat. Albertina 2006, S. 282). Dr. Roberto Pancheri hält dies für nachvollziehbar, zumal der von Josef II. zum "Poeta dei Teatri imperiali" ernannte Librettist von 1781/82 bis 1791 überwiegend in der Kaiserstadt verweilte und Lampi ebenfalls zu dieser Zeit in Wien tätig war. 1783 begegnete Da Ponte Wolfgang Amadeus Mozart und sollte in den Folgejahren mit den gemeinsamen Opern "Le nozze di Figaro", "Don Giovanni" und "Così fan tutte" endgültig Berühmtheit erlangen. Lampi indes wurde mit mehreren Bildnissen des Kaisers beauftragt und schließlich 1786 als Professor an die Wiener Kunstakademie berufen. Mit zunehmendem Ansehen und Wohlstand ist es nur naheliegend, dass der venezianische Dichter und der aus Trentino stammende Maler in der Hauptstadt Bekanntschaft schließen konnten.
Gussluster mit PorzellanbestückungMessing, sudvergoldet; Rokoko-Stil, 18 flammig; 1 Porzellantasse und Messingreifen fehlen; elektrifiziert, ohne GewährH. 115 cm; Dm. 99 cmEs handelt sich hier wohl um ein Einzelstück, welches meist so entstand, dass der Auftraggeber des Lusters ein Speiseservice aus einer Asienreise mitbrachte und die Metallarbeit diesem angepasst wurde. Hier war das Porzellan wohl kein Souvenir einer Asienreise, da die untere Schale ein Produkt der Firma Szolnay ist.
RAMMSTEIN - LIEBE IST FUR ALLE DA CD BOX SET (METAL CASE - UNIVERSAL 2724408). A special 2009 Limited Edition CD box set of Rammstein's album Liebe Ist Fur Alle (2724408, the set presented in a 60cm x 27cm x 16cm hand-crafted aluminium case. Inside the box lid, the band's logo is mirrored. The set contains a special 2xCD edition (with G-rated second track), 6 rubber dildos, high quality metal handcuffs & a bottle containing lube. All in M/ New condition).
A pair of large Chinese lacquered jade and hardstone inlaid 'trompe l'oeil' display cabinet panels, late Qing dynasty, formed as a pair of rosewood display shelves with pierced ivory borders housing carved 'precious' vessels with ivory and carved wood stands including a bowl of fruit, a vase of flowers, a ruyi sceptre and ritual vessels, 89x66cm, fitted silk lined casesIvory exemption acquired. Reference number: R1WZBWAA.清中期 紫檀框黃漆地百寶嵌博古圖掛屏一對Note: As is recorded in Jianyangcongbi《尖陽叢筆》, a Qing dynasty book written by Wuqian (吳騫), Zhouzhu (周柱) was the first person in late Ming or Early Qing dynasty to invent the technique of inlaying lacquer panels with ‘Hundred Precious Materials’ (百寶嵌) such as jade, jadeite, pearls, corals, and ivory (其法以金、銀、寶石、珍珠、珊瑚、碧玉、翡翠……象牙……嵌於檀、梨、漆器之上……五色陸離，難以形容，真古以來未有之奇玩也). Such impressive inlaid design panels bespeak of the High Qing scholarly sensibility, and were popular among members of the Imperial household, especially during the reigns of Emperors Yongzheng and Qianlong. This can be seen in the detail of similarly inlaid doors of an imperial huanghuali cabinet in the Palace Museum, Beijing, illustrated by Hu Desheng in Ming Qing gong ting jia ju da guan, vol. II, Beijing, 2006, pp. 554-5.Apart from the ‘Hundred Previous Materials’, each of the pairs of panels depict the theme of ‘Hundred Antiques’ (博古), a collection of emblematic forms comprising ruyi handles, scholar’s objects, and archaic vessels. A pair of panels with similar shape, colour scheme, material, inlaid technique and theme is now exhibited in the Sui'an room (隨安室) in the Yangxindian (養心殿), which had been the bedroom of the Qing emperors in the Forbidden city since Qianlong emperor. Chinese collectors’ appreciation of this design continues until this day. Please refer to department for condition report
A SET OF CRYSTAL WINE GLASSES BY DA VINCI Cut glass design, seventeen in total 22cm (height) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A SET OF CRYSTAL WINE GLASSES BY DA VINCI Cut glass design for red wine, eighteen in total 24cm (height) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A SET OF CRYSTAL HIGHBALL GLASSES BY DA VINCI Cut glass design, seventeen in total 15cm (height) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Bronze nach Renaissance-Vorbild"Nessus raubt Deianeira", Italien um 1860. Dunkel patiniert. Kentaur, auf d. Hinterbeinen stehend, m. beiden Armen eine sich wehrende Frau geschultert wegschleppend, d. bärtigen Kopf angestrengt zur Seite gewandt. Auf rechteckigem Holzsockel m. profil. Kanten. Ungemarkt. Patina u. Holz leicht berieben, ihr Arm-Ansatz sichtbar/ Finger leicht verbogen. Ges.H 47 cm Nach Kleinbronze v. Giovanni da Bologna (um 1590), u.a. im Kunsthistor. Museum Wien.Akt, Barock, Florenz, Frau, Giovanni da Bologna, Italien, Kentaur, Manierismus, Mann, Mythologie, Nymphe, Pferde, Wien
1. komplettes Wandtelephon von L.M. Ericsson, 1880Modell "Coffin", gemarkt: "Patent L.M. Ericsson & Co., Stockholm", mit Helikal-Mikrophon, Bell-Typ-Hörer mit Lederbezug und Prägung "Ericsson", 3-lamelligem Kurbelinduktor, Doppelwecker und Handkurbel, Holzgehäuse. - Literatur: Christian Jacobäus, "L.M. Ericsson 100 Years", Band III, S. 17. - Außerordentlich selten, da nur ein Jahr hergestellt! Start Price: EUR 6000 Zustand: (2-3/-)The First Complete Wall Telephone Set by L.M. Ericsson, 1880Coffin model, marked: "Patent L.M. Ericsson & Co., Stockholm", with helical microphone, leather-covered Bell-type receiver, stamped "Ericsson", 3-part crank inductor, double bell and crank, wood case. - Literature: Christian Jacobäus, "L.M. Ericsson 100 Years", Volume III, p. 17. - Extraordinarily rare, produced for one year only! Start Price: EUR 6000 Condition: (2-3/-)
Bewegte Nähmaschinen-Skulptur aus der "Steampunk"-Ära, 1970er JahreFrankreich, unbekannter Künstler. Kinetische Skulptur (56 x 38 x 104 cm), aus industriell erzeugten gußeisernen Elementen hergestellt (Nähmaschinengestell Singer, Fahrradketten, Transmissionsantrieb), wild aussehende weibliche Gestalt, der assistiert wird von kleinen "fleißigen Geistern", angetrieben durch einen Elektromotor (110 Volt) - erinnert an den berühmten Stummfilm "Moderne Zeiten" mit Charlie Chaplin, in dem nicht der Mensch die Maschine, sondern die Maschine den Menschen beherrscht. - Ein hervorragendes Beispiel der französischen "Art Brut" der Nachkriegszeit. Jetzt im Angebot zu einer Zeit, da Roboter-Automaten und "Steampunk" gefeiert werden. Start Price: EUR 450 Zustand: (2/2)Steampunk Automaton Sewing Machine, 1970sFrance, artist unknown. Kinetic sculpture created from found materials (cast-iron "Singer" treadle, steel pavement grille, bicycle chains, pulley, belt and a DERI transformer) depicting a woman at a sewing machine, assisted by surprising unseen forces that carry out most of the work, 27 ½ x 21 x 41 in. (56 x 38 x 104 cm). The electric motor (110 volts) causes the wild-haired woman to operate the machine with the aid of an imp on the treadle and a pair of bolt-headed robots working the crank, while a third robot swings wildly from the end of the pulley. - A surreal and exciting work of kinetic art. Start Price: EUR 450 Condition: (2/2)
44 Polyphon-Platten Ø 62,5 cm, um 1900 Der Vogelhändler; Fern vom Ball; Hannovers Königsgruß; Verlor'nes Glück; Donauwellen; La Paloma; O schöne Zeit, o selige Zeit; Letzter Gruß; Wiener Blut; Komm Karline, komm; Bayrischer Marsch; Bienenhaus-Marsch; Wenn die Blätter leise rauschen; Waldbäurische Ländler; Hipp, Hipp, Hurrah!; Die Mühle im Schwarzwald; Polonaise aus der Oper Mignon; Hab'n Sie nicht den kleinen Cohn geseh'n; Marsch der finnländischen Reiterei; Lagunen-Walzer; Der Schlittschuhläufer; Martha; Ein Sommernachtstraum; La Mattchiche; Ist denn kein Stuhl da für meine Hulda; Wiener Schwalben; Die Czarin; Pariser Einzugsmarsch; Stille Nacht, heil'ge Nacht; Freischütz; Tannhäuser; Russische Nationalhymne; Am wunderschönen Rhein; Bitte schön; Ballsirenen; Zapfenstreich und Gebet; Brautchor aus Lohengrin; Die Post im Walde; Der Rattenfänger; Weißt du Muater'l was i träumt hab'; Cavalleria Rusticana und 3 Platten mit unleserlichen Titeln. - teilweise rostig, müßten gereinigt werden. Start Price: EUR 240 Zustand: (3-4/3)44 Polyphon Discs Ø 24 ½ in., c. 1900Der Vogelhändler; Fern vom Ball; Hannovers Königsgruß; Verlor'nes Glück; Donauwellen; La Paloma; O schöne Zeit, o selige Zeit; Letzter Gruß; Wiener Blut; Komm Karline, komm; Bayrischer Marsch; Bienenhaus-Marsch; Wenn die Blätter leise rauschen; Waldbäurische Ländler; Hipp, Hipp, Hurrah!; Die Mühle im Schwarzwald; Polonaise aus der Oper Mignon; Hab'n Sie nicht den kleinen Cohn geseh'n; Marsch der finnländischen Reiterei; Lagunen-Walzer; Der Schlittschuhläufer; Martha; Ein Sommernachtstraum; La Mattchiche; Ist denn kein Stuhl da für meine Hulda; Wiener Schwalben; Die Czarin; Pariser Einzugsmarsch; Stille Nacht, heil'ge Nacht; Freischütz; Tannhäuser; Russische Nationalhymne; Am wunderschönen Rhein; Bitte schön; Ballsirenen; Zapfenstreich und Gebet; Braut-chor aus Lohengrin; Die Post im Walde; Der Rattenfänger; Weißt du Muater'l was i träumt hab'; Cavalleria Rusticana and 3 discs with illegible titles. - Partly rusty, in need of cleaning. Start Price: EUR 240 Condition: (3-4/3)
Oil painting on canvas Signed and dated lower left R. Lentini 1930. Published in the book Rocco Lentini civic gallery of Modern Art Palermo, 113 figure 128. Rocco Lentini was born in Palermo on February 17, 1858. Da young he attended evening school to help his father, a much appreciated decorator, in the activity he carried out in the noble palaces of Palermo and in the Carolino theater. At the age of 15 he entered the studio of Francesco Lojacono, the influence generated by the landscape architect led to the creation of his first works '' The portal '', '' Piazza Pretoria '' and '' The palace of the Hermits ''. During his life he actively participated in Sicilian cultural life, carrying out some of the most important enterprises in his hometown, including the decorations and frescoes for the Massimo, Politeama, Bellini theaters, for the central station and for the interiors of the building. of the Eagles. He also organizes the "I Sicilian exhibition of black and white painting, sculpture", held at Villa Gallidoro, as well as being the founder and one of the directors of the monthly '' Artistic and archaeological Sicily ''. Along with numerous national and international exhibitions, such as in Rome in 1929 at the Casa d'Arte Baldi, he took part in the Venice Biennials of 1905 and 1922. Artist who ranges from painting, engravings, sets, illustrations and decorations, dies in Venice November 20, 1943 at his home in Dorsoduro. in frame 63 h x 47.5 cm, without frame 50 x 40 cm. Rocco Lentini 1930
VERMEIL-SEGENSKREUZ Russland, Moskau, Dmitrij Aleksandrow, 1852 Silber, getrieben, ziseliert und vergoldet. L. 26,8 cm, 276 g. Punziert mit Stadtmarke, Beschaumeisterzeichen, Feingehalt '84' und Meistermarke 'DA' in Kyrillisch. Schmalseiten mit '1859' datierter Gravurinschrift in Kyrillisch. Min. gedellt.
CLOISONNÉ ENAMEL 'NEW YEAR'S SCENE' TABLE SCREEN QING DYNASTY, 18TH-19TH CENTURY 清 董誥款 銅胎掐絲琺瑯《李士達歲朝圖》木框桌屏款識: 豐年景自煙村見/衣食麤完具盖蔵/梅朶芳菲報春信/桞條搖曵漏韶光/招呼東舍西隣近/戯耍騃童稚子忙/獨有圍爐題句者/屠蘓最後飲猶强/御製題李士達歲朝圖/臣董誥敬書/臣/誥 depicting a village surrounded by trees adjoining misty and hilly mountains, a mother holding a boy's hand on a bridge joining further boys at play outdoors whilst a couple peeping through the door watching firecrackers, further figures indoors, one scholar reading before a large window, a group of people eating and drinking next door, inscribed with a poem by Qianlong, signed and sealed Dong Gao, all at the upper right-hand corner of the gold sky, with wooden frameDimensions:48.8cm x 34.2cmNote: Note: Inspired after appraising the ink and colour on paper scroll depicting the New Year's scene in a village by Li Shida (1550-1620), which is now in the collection of The Palace Museum Beijing, Qianlong emperor (reign 1735-1796) composed a poem dedicated to this painting. It is compiled in the fourth collection, fifty-fifth volume of the Siku Quanshu (Library of the Four Treasuries), entitled 'Li Shi Da Sui Chao Tu' (李士達歲朝圖, The New Year's Scene by Li Shida). The naming of the painting, 'Li Shi Da Sui Chao Cun Qing Tu Zhou' (李士達歲朝村慶圖軸, Scroll Painting of New Year's Scene in a Village by Li Shida) is according to the content of the poem by Qianlong Emperor. [1]It is indicated in the inscriptions on the top right that, this cloisonné enamel panel is made according to Li Shida's painting. The inscriptions and the imperial poem, 'carefully written by Minister Dong Gao (1740-1818)', who was a high-ranking civil servant who served the Qianlong and Jiaqing emperors. [1] Sheng, Zhongqiang, "Li Shida suichao cunqingtu tushi yu neihan yanjiu" (Style and Substance of the The New Year's Scene by Li Shida), Art in China, No. 2 (2020): 152-159
LARGE SPINACH JADE ARCHAISTIC 'CONG' VASE QING DYNASTY, QIANLONG FANGGU MARK, 18TH CENTURY 清 '大清乾隆倣古'刻款 碧玉雕仿古饕餮蟬紋螭龍耳琮式瓶 carved as rectangular cong form, supported on a short splayed foot, the sides subdivided into three mains sections, the middle section carved in low relief with stylised taotie head with large horns, the upper and lower section further incised decorated with a cicada motif flanked by four horizontal divisions, either side of the vase carved with two sets of tree entangling chi-dragons in openwork as handles, the base inscribed with a six-character 'Da Qing Qianlong Fanggu (Made in imitation of antiquity in the Qianlong reign of the Great Qing dynasty)', the stone of dark spinach-green tone with some black inclusionsDimensions:32cm highProvenance:Provenance: Formerly in the collection of Adrianus Cornelis Maria Verhelst (b. 26th February 1955), The Netherlands.Note: Note: The use of fanggu mark, meaning 'imitating antiquity', was used during the Qianlong reign on archaistic jade vessels. The present lot with its archaic jade inspired cong form and design of taotie mask embodies the artistic pursuit of fanggu. Compare a related archaistic spinach green jade square gu vase and a gong vessel with chi-dragon decoration, both with Qianlong fanggu mark and of the period, from the Qing Court Collection, are in the National Palace Museum, Taipei, museum number Gu Yu 故玉248 and 732.
A RARE POLYCHROME LACQUER CIRCULAR BOX AND COVERXuande six-character mark and of the periodThe cover decorated with two bearded scholars each carrying a guqin under their arms, all beneath a gnarled pine tree with finely incised grain on a rock ledge, mountains and clouds in the distance, all on a diaper-pattern ground, the sides with wave patterns, the interior and base lacquered black, with fitted box. 11cm (4 2/8in) diam. (3).Footnotes:明宣德 彩漆戧金松下高士紋圓蓋盒「大明宣德年製」楷書刻款Provenance: Idemitsu Museum, Tokyo 來源：出光美術館,東京Endowed with cosmological and metaphysical significance and empowered to communicate the deepest feelings, the guqin, beloved of sages and of Confucius, is the most prestigious instrument in China and played an important part in the musical rituals of the Ming dynasty. The 'Collected Statutes of the Ming Dynasty' Da Ming Huidian records that the 'The Harmonious Ensemble' (Zhonghe Shaoyue) which played Court ritual music during ceremonial occasions, had ten guqin in their orchestra. The guqin was also played in private contexts or in small groups and many Ming dynasty princes and emperors were accomplished musicians themselves. Some Ming princes even made important contributions to musicology and music theory. For example, the first Prince of Lu (1568-1614), brother to the Wanli emperor, had hundreds of guqin made for his household and in 1634 wrote a treatise about the instrument, the Guyin Zhengzong; see J.Kenneth Moore, et al, Musical Instruments: Highlights of the Metropolitan Museum of Art New York, New York, 2015, p.63.Compare with a related circular box and cover, but made of only red lacquer, Xuande six-character mark and of the period, illustrated by S.Kwan, Chinese Lacquer: The Muwen Tang Collection Series, Hong Kong, 2010, pp.196-197, no.56. See also a related polychrome lacquer circular box and cover, 15th century, but decorated with lotus, illustrated by N.de Bisscop and W.G.de Kesel, Chinees Lakwerk, Zutphen, 1982, p.95. See also a related polychrome lacquer round box and cover, incised Xuande six-character mark and of the period, of similar palette, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, pp.86-87. A larger related box and cover, incised Xuande six-character mark and of the period, in the Qing Court Collection, is illustrated in ibid., p.88, no.62. See also a polychrome lacquer incense stand with related landscape design, 16th/17th century, illustrated in Karamono: Imported Lacquerwork - Chinese, Korean and Ryukyuan (Okinawa): Selections from the Tokugawa Art Museum, Nagoya, 1997, no.123. See also a related polychrome lacquer circular box and cover, Xuande mark and of the period, illustrated in 100 Masterpieces of Asian Art from the Tokyo National Museum, Tokyo, 2009, no.54.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 TIANQI AND QIANGJIN LACQUER 'DRAGONS' TRAYWanli incised eight-character mark cyclically dated to the Dingwei year corresponding to 1607 and of the periodOf rectangular form with canted corners and elegantly decorated with two writhing five-clawed dragons each confronting a flaming pearl in the centre, amidst ruyi-clouds and crashing waves and rocks, on a wan-diaper ground, the sides decorated with meandering peony scrolls, the base lacquered black and with incised and gilt mark Da Ming Wanli Dingwei nian zhi, Japanese wood box and cover. 35.1cm (13 3/4in) wide. (3).Footnotes:明萬曆，一六〇七年 戧金填漆雙龍戲珠紋長方盤「大明萬曆丁未年製」楷書款See a tianqi and qiangjin lacquer incense stand, with nine dragons, also with Wanli mark and also dated to the Dingwei year (1607), is in the Los Angeles County Museum of Art (acc.no.M.2004.51). Compare with a related polychrome lacquer rectangular tray with filled-in and engraved-gold decoration, with double dragon, Wanli, illustrated in East Asian Lacquer: The Florence and Hebert Irving Collection, New York, 1991, pp.120-121, no.51. Another related tianqi and qiangjin lacquer dragons tray, Wanli mark and cyclically dated to 1623, is illustrated in Chinesische Lackarbeiten, Stuttgart, 1979, pp.130-131, no.79. See also a further example of a tianqi and qiangjin lacquer tray, Wanli 20th year, corresponding to 1592 and of the period, illustrated in Catalogue of Selected Masterpieces from the Nezu Collections, Tokyo, 2001, p.170, no.202.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 VERY RARE DOCUMENTARY TIANQI AND QIANGJIN LACQUER 'DRAGON' BOX AND COVERWanli eight-character mark cyclically dated to the Jiachen year corresponding to 1604 and of the periodThe square box and cover with canted corners, the cover superbly decorated in polychrome lacquer and gilt with red and black five-clawed dragons, contesting a 'flaming pearl' above turbulent waves and amidst cloud scrolls, all reserved on a diaper ground, the rounded sides with recessed panels incised with peony sprays framed by ruyi-scrolls below and to the corners, the box similarly decorated, the interiors and base lacquered red, the base incised and gilt with the mark Da Ming Wanli jiachen nian zhi, Japanese wood box. 15.9cm (6 1/4in) square. (4).Footnotes:明萬曆，一六〇四年 戧金填漆海水江崖雙龍戲珠紋方蓋盒「大明萬曆甲辰年製」楷書款Provenance: Nagatani Inc., Chicago, Illinois, 2 July 1951. Stephen Junkunc III (d.1978), Illinois來源：芝加哥Nagatani Inc.，1951年7月2日史蒂芬•瓊肯三世（1978年逝）舊藏Notable for the lavish use of gold, conveying a vivid representation of the two Imperial five-clawed dragons contending the flaming pearl, the present box is a fine example of lacquer wares produced for the Court during the Wanli period. It is unclear when the qiangjin technique was first used, but it appears to have already been in use during the third century AD, as seen on the cover of a box discovered in the tomb of Zhou Ran, a high-ranking official, dated 249. Boxes of all shapes and sizes were made during the Wanli period, some in specifically conceived shapes, such as the long rectangular examples used to hold fans, others, such as the present example, which may have been used as a container for a gift of sweetmeats.The animated dragons, a popular design on qiangjin and tianqi lacquerwares during the Jiajing and Wanli periods, can be seen on the covers of several lacquer boxes and covers in the Palace Museum, Beijing, illustrated in The Compete Colletion of Treasures of the Palace Museum: Lacquer Wares from of the Yuan and Ming Dynasties, Hong Kong, 2006, nos.179, 181, 183 and 186. The auspicious message conveyed by the symbols decorated on the present box, with the juxtaposition of the five-clawed imperial dragons surrounded by ruyi clouds, links the ruler to the wish for long life, a wish that is mirrored in the mountains that symbolise longevity and the sea which represents good fortune. The constant dialogue between different workshops is evident when comparing porcelain and lacquer pieces. For example, diaper patterns originally taken from brocade designs and incorporated into the carved lacquer repertoire in the 14th century began appearing on porcelain designs in the 16th century; see, for example, a Wanli mark and period wucai rectangular box decorated with a pair of dragons in a panel surrounded by a diaper pattern, which was sold at Christie's London, 26 October 1964, lot 96.Compare with a related tianqi and qiangjin lacquer square box and cover, Wanli mark and period, dated to 1610, but with a single dragon on the cover, illustrated in East Asian Lacquer: The Florence and Hebert Irving Collection, New York, 1991, pp.123, no.53. Another lacquer square box of similar form, dated 1601, is illustrated by S.Riddell, Dated Chinese Antiquities, 600-1650, London, 1979, p.215, no.174; see also a closely related tianqi and qiangjin lacquer box, Wanli mark, dated to 1616, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, no.183.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
DARK KNIGHT, THE (2008) - Set of Three The Gotham Times Newspapers CoversThree The Gotham Times newspaper covers from Christopher Nolan's action thriller sequel The Dark Knight. Gotham's local newspaper appeared as set dressing throughout the film, and were later distributed by Warner Bros. as promotional giveaways.This set consists of three production-made, black-and-white newspaper covers headlined "Harvey Dent Joins Race for Gotham DA," "City at War: Batman Saves Entire Family," and "Batman: Savior [sic] or Menace." Two covers feature photographs of Harvey Dent (Aaron Eckhart), and one features a photograph of Batman (Christian Bale) with additional stories on the interior pages. All exhibit horizontal fold lines. Dimensions (each): 29.25 cm x 31.75 cm (11.5" x 12.5") Estimate: £1,200 - 1,800 ΩThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
A RARE CLOISONNÉ ENAMEL 'DA JI' DOUBLE GOURD VASEQianlongElegantly modelled with a large globular lower bulb with four stepped cartouches containing the characters Ji, supporting a slightly smaller upper bulb with a further four stepped cartouches containing the characters da, rising to a waisted neck with a narrow mouth, entirely decorated around the body in vibrant tones of yellow, blue, red and white enamel with geometric diamond-patterns, the foot and central waist with bands of floral scrolls, the mouth with pendant plantain leaves. 28.7cm (11 1/4in) high. Footnotes:清乾隆 銅胎掐絲琺瑯「大吉」葫蘆瓶Provenance: Roger Keverne Ltd., LondonPublished, Illustrated and Exhibited: R.Keverne, Summer Exhibition, 2010, London, p.94, no.69.來源：倫敦古董商Roger Keverne Ltd.展覽著錄：R.Keverne著，《夏季展覽》，倫敦，2010年，頁94，編號69See an identical cloisonné enamel double gourd vase, Qianlong, likely the pair to the present lot, in the Metropolitan Museum of Art, New York, illustrated by B, Quette, Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York and Paris, p.274, no.99, where the author notes that the geometric pattern is rare on cloisonné enamel but more often found on piecework textiles 'intended for use in Tibetan Buddhist rituals, notably to cover cymbals or for placement under ritual objects'. The pattern derives from Ming dynasty textiles; see He Li and M.Knight, Power and Glory: Court Arts of China's Ming Dynasty, San Francisco, 2016, no.44.The characters Da Ji express the wish for good fortune and are frequently used to decorate vessels of double-gourd shape. The bottle gourd itself is associated with the Eight Daoist Immortals, particularly with Li Tieguai who used the gourd as a container for medicine. Daoist fairies are also often depicted with double gourds from which fly five red bats – representing the Five Blessings. Double gourds are also symbolic of prosperity and abundance, and in particular, an abundance of male children, which is further reinforced by the characters, da ji, meaning 'highly auspicious', in enamel. As a specific rebus, because they are born from leafy tendrils, the phrase for bottle gourds on a vine is huluman, while the combination of vines with tendrils reads as mandai: these two phrases together suggest the rebus hulu wandai 'May you have numerous descendants'.For further information on this lot please visit Bonhams.com
A RARE ZITAN-FRAMED KINGFISHER-FEATHER-INLAID 'LANDSCAPE' PANEL18th/19th centuryExquisitely decorated with lavish use of turquoise-blue kingfisher feathers reserved on a luxurious velvet ground, depicting rugged mountains surrounding a lake with two large pavilions in the foreground, all amidst pine, bamboo and wutong trees, a full moon hanging in the sky, all set in a skilfully carved zitan frame with cloud scrolls. 89.5cm (35 1/4in) long x 71.5cm (28 1/4in) wide.Footnotes:十八/十九世紀 紫檀邊框點翠山水圖掛屏Provenance: a European private collection來源：歐洲私人收藏This remarkable panel demonstrates the exceptional artistry of the 18th century craftsmen reproducing idyllic landscapes in a variety of materials and in the case of the present lot, utilising the brilliant enduring colours of kingfisher feathers meticulously inlaid within the design. The popularity of the use of the prized feathers in appliqué technique reached its peak in the 18th century, with the majority of workshops specialising in utilising the feathers for decoration and in carving the precious zitan wood, located in Guangzhou. Such works were commissioned by the Qing Court and made as Imperial tribute. Compare with a pair of related screens with kingfisher feather decoration, Qianlong, in the Shengyang Palace Museum, and a further panel in the Forbidden City, illustrated by B.Jackson, Kingfisher Blue: Treasures of an Ancient Chinese Art, Berkeley, Toronto, 2001, pp.30-31 and 186. See also three other screens decorated with kingfisher feathers, mid Qing dynasty, made in Guangzhou as Imperial tribute, illustrated by Hu Desheng, Ming Qing Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 2006, nos.388, 394 and 396.Compare with a related pair of zitan-framed kingfisher feather inlaid 'landscape' screens, Qianlong, which were sold at Bonhams London, 2 November 2021, lot 49.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
ATTRIBUTED TO QI BAISHI (1864-1957)PumpkinsHanging scroll, ink and colour on paper, inscribed and bearing signature of Baishi Laoren, with two artist's seals Qi Da, Wushier nian Bashiba. 102cm (40 1/4in) long x 33cm (13in) wide.Footnotes:傳齊白石 南瓜與蚱蜢 設色紙本 立軸Provenance: Mrs Hazel Elfwendahl (1923-2018), and thence by descent來源：Hazel Elfwendahl夫人（1923-2018）舊藏，並由後人保存迄今Hazel Elfwendahl (1923-2018) was wife of Bo Elfwendahl (1928-2004) Sweden's Vice Consul with the Royal Swedish Consulate in Hong Kong 1957-1962. During their diplomatic posting to Hong Kong, Mrs Elfwendahl took great interest and acquired during these years a deeper knowledge into Chinese art, and also an opportunity to peruse painting and calligraphy studies for the Chinese Master, Mrs Chow Leung Chen Ying. Mrs Elfwendahl's keen interest established several friendships with Hong Kong art collectors.Qi Baishi (1864-1957) is perhaps the most famous Chinese artist of the 20th century. He is noted for his whimsical, playful, and seemingly simple style of painting. Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. When he came across the 'Mustard Seed Garden Manual of Painting', that sparked his interest to paint. He did not start learning painting and calligraphy until he was 27. After he turned 40, he travelled, visiting various scenic spots in China. After 1917 he settled in Beijing. Qi is known for the freshness and spontaneity that he brought to the familiar genres of birds and flowers, insects and grasses, hermit-scholars and landscapes.Compare with a similar painting of pumpkins and grasshopper, by Qi Baishi, which was sold at Christie's Hong Kong, 8 July 2020, lot 1081.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 BLUE AND WHITE CIRCULAR BRUSH AND INK STANDChang ming fu gui mark, late 16th centuryThe drum shaped stand with three circular and one rectangular opening around a smaller central circular opening on a raised knob, the top surface painted with wave-pattern, the straight sides with a wide band of egrets among lotus between slightly raised borders of coins, the recessed base with maker's mark translated as 'long life, riches and honour'. 13cm (5 1/8in) diam. Footnotes:明十六世紀晚期 青花五孔筆插「長命富貴」款Provenance: S.Marchant & Son, London, 24 May 1966John Burke da Silva (1918-2003)Sotheby's London, 10 November 2004, lot 591Exhibited: Oriental Ceramic Society, The Chinese Scholars Desk, 17th to 18th Century, Ashmolean Museum, Oxford, 1979, no.46. Oriental Ceramic Society, Research Display of Chinese Sixteenth Century Ceramics, British Museum, London, 1994, no.44 (illustrated p.6)Published: John da Silva, 'Three Types of Chinese Brush Stand', Oriental Art, vol.XXIV, no.3, Autumn 1978, p.326, fig.2. S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.22-24, figs.2-3 來源：倫敦古董商 S.Marchant & Son，1966年5月24日John Burke da Silva (1918-2003)蘇富比倫敦，2004年11月10日，拍品591號展覽：東方瓷器協會，《The Chinese Scholars Desk, 17th to 18th Century》，阿什莫林博物館，牛津，1979年，編號46東方瓷器協會， 《Brushpots: A collector's view》，大英博物館，倫敦，1994年，編號44（圖版頁6）錄著： John da Silva, 'Three Types of Chinese Brush Stand'，《Oriental Art》，第24卷，編號3號，1978年秋季，頁326，插圖2號S.Marsh, 《Brushpots: A collector's view》，香港，2020，頁22-24，插圖2-3號John da Silva was born in the United States of a Portuguese father and American mother, whose parents had come to America from France in the middle of the 19th century and founded a chocolate factory in San Francisco. After the Second World War he joined the Foreign and Commonwealth Office. The job took him to many parts of the world. His love of Chinese porcelain stemmed from a posting to the Embassy in Rome in 1954, where he happened to stay in a rented flat that housed a large collection of Chinese and Japanese works of art. He regularly purchased Chinese works of art from auction houses in London in the 1960's. He Joined the Oriental Ceramics Society in 1960, serving on the Council from 1977-1980 and from 1984-1987 and as Honorary Treasurer from 1992-1994.The use of this vessel is clarified by a painting of the famous philosopher Wang Yangming (1472-1529) seated at his writing desk which illustrates a handscroll of his letters and other related material. The piece is shown on his desk with three brushes placed, tips upwards, in it, together with a small vase of flowers, an inkstone and a water dropper or paper weight. The natural assumption is that the rectangular section is to hold an inkstick, which is confirmed by the late Ming scholar Wen Zhenheng, who in Zhang wu zhi ('A Treatise on Superfluous Things') under the heading of brushpots wrote:'...there are also drum-shaped ones with holes in them for inserting brushes and ink.' See a similar blue and white brush and ink stand, Jiajing, illustrated by G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, pp.226-227, no.212. See also another similar blue and white brush and ink stand, 16th century, in the Percival David collection in the British Museum (acc.no.PDF,B.605). Compare also with a similar blue and white vessel, but decorated with fish, Jiajing, illustrated in Blue and White Porcelain with Underglazed Red (II): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2000, no.114.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 BLUE AND WHITE 'KUI XING' BRUSH STANDWanliFinely moulded as a standing screen applied with a figure of Kui Xing riding a cloud, his scarves billowing in the wind and clad in deer-skin, the screen decorated in cobalt-blue with phoenix, the north-star constellation, and a dou measure, behind the screen a container with later liner, painted with a pheasant above floral sprays, the screen with a roundel containing a leaping carp. 16cm (6 1/4in) high.Footnotes:明萬曆 青花魁星筆插Provenance: Sotheby's London (according to S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, p.28)Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, p.29來源：倫敦蘇富比（據S.Marsh於《Brushpots: A Collector's View》，香港，2020，頁28之記述）錄著：S.Marsh，《Brushpots: A Collector's View》，香港，2020，頁29.On the reverse of the screen is Kui Xing, the God of Examinations worshipped by scholar-officials and candidates in the Imperial Examinations. For more infomation on Kui Xing see the footnote to Lot 3 in this catalogue.See a similar blue and white brush stand, Wanli, illustrated by John da Silva, 'Three Types of Chinese Brush Stand', Oriental Art, vol.XXIV, no.3, autumn 1978, p.327, figs.3-5. Compare also with a related blue and white 'Kui Xing' table screen, Ming dynasty 16th century, which was sold at Sotheby's London, 4 November 2021, lot 347.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
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