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Click here to subscribeEarly Victorian silver tea pot of melon forn, with engraved dedication, hinged domed cover with flower head finial and leaf mounted S handle, on a cast base, together with a matching cream jug (London 1836) Richard William Atkins & Walter Nathaniel Somersall. All at approximately 30ozs. Tea pot 29cm across. (2)
Victorian silver tea pot of tapering cylindrical form, with engraved Gothic style decoration, hinged flat top cover with strapwork finial and a plain loop handle, on a circular base, together with a matching covered sugar bowl (Birmingham 1865) Elkington & Co. All at approximately 40ozs. 22.5cm across. (2)
A fine quality George IV silver mustard pot of cauldron form, with applied floral decoration, gadrooned border, hinged domed cover with shell finial and twisted scroll handle, on three mermaid caryatid legs London 1828) Charles Fox, together with a pair of Georgian sugar nips and a pair of Spanish silver candlesticks. Approximately 9ozs weighable silver. (4)
A CHINESE EXPORT PORCELAIN ‘MANDARIN EXPORT’ HOT CHOCOLATE POT AND COVER CHINA, QING DYNASTY, 18TH CENTURY, CIRCA 1780 Possibly made after a continental Europe silver chocolate pot, this porcelain chocolate pot is finely adorned in famille rose enamels with ladies and boys in a garden, one of the ladies holding a ruyi scepter, one boy playing the flute, one other boy picking grapes on a table. The shape is of interest, with an horizontal handle and a spout with a rocaille design and with the finial topping the lid being shaped as a peach. H: 17,5 cm Note: Compare with an almost identical chocolate pot and cover sold at CHRISTIE’S New York, USA, 2017-01-17, lot 180, for USD 2,750. 中国出口瓷- 玛德琳热巧克力锅 18世纪 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A JADE EMBELLISHED INGOT-SHAPED ‘LOTUS POND’ PEWTER ENCASED YIXING TEAPOT BY FAN LUZENG DATED TO A SÌ HÀI 巳亥 YEAR CORRESPONDING TO 1839 CHINA, QING DYNASTY Of hexagonal shape, that of a gold or silver ingot, made of Yixing terracotta clay all covered with a pewter, the handle, the finial and the point of the beak made of jade. One side is engraved with a lotus pond whilst the other side is engraved with a calligraphy. Wiith a seal mark impressed in the central flattened area reading ‘‘范述曾製’, lit. ‘Fàn shù céng zhì’, for the artist Fan Luzeng. H: 8 cm Notes: 1. Pewter-encased Yixing teapots appear to have been invented by scholar-connoiseur Zhu Jian in the early 19th century, and Yang Pengnian (楊彭年) was one of the finest makers of these pots at the time, and so was Fan Luzeng (范述曾). Fan's works were commonly incised by scholars with poems or other scholar's taste subjects such as the 'three friends of winter'. 2. Compare with a pewter encased yixing teapot by the same artist sold at BONHAM’S Hong Kong, China, 2011-11-28, lot 205, for HKD43,750. 宜兴“荷塘”茶壶-范述曾作 己亥年，1839 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A CLOISONNE ENAMEL ‘AUSPICIOUS SYMBOLS’ LIDDED TEAPOT CHINA, LATE QING DYNASTY, 19TH CENTURY Of faceted shape, with a foo dog finial, adorned in polychrome enamels with auspicious flowered vases against a black ground to each side of the body, also adorned with ‘The Eight Treasures of Buddhism’ (babao) and flowers against a light blue ground on the other parts. H: 16 cm Weight: 831 grams 景泰蓝带盖茶壶 中国，晚清，19世纪 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A THREE-LEGGED ‘LOTUS’ LIDDED CLOISONNE INCENSE BURNER CHINA, LATE QING DYNASTY, 19TH CENTURY Of compressed globular body, resting on three legs with mythical beasts, the body flanked by two mythical beasts handles with loose rings, with a waisted neck, an everted rim and a dome-shaped lid topped by a lotus finial / grasp. The polychrome enamels depict lotus scrolls against a light blue green on a copper base. Fine chiseling of the finials, the handles and the mythical beasts of the legs. H: 20 cm Weight: 664,5 grams 三足带盖莲纹香炉 中国，晚清，19世纪 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A PALACE SIZE THREE-PIECE (3) CLOISONNÉ ‘LOTUS’ ALTAR GARNITURE, ELEMENTS OF A WUGONG CHINA, LATE QING DYNASTY, 19TH CENTURY It consists of: - one three-legged incense burner with a compressed globular body and a trumpet neck flanked by two handles and topped by a parcel reticulated and chiseled lid with a dragon-shaped finial, it is finely decorated in cloisonne enamels with lotus scrolls and flowers as well as confronted dragons against a light turquoise blue ground, the legs have nice gilded beast faces, the lid is parcel open-worked and chiseled with bats, the finial is intricately reticulated with a five-clawed dragon amidst clouds; - two cloisonne beaker or yenyen vases adorned with taotie masks, stylized banana leaves and lotus flowers and. H (the biggest, the incense burner): 48 cm Note: Known as wugong (the five offerings - here missing a pair of candleholders), wares of this type were made in the finest materials to serve as ceremonial furnishings in the many shrines, temples and ritual spaces within the compounds of the Imperial palaces. Altar garnitures typically comprise an incense burner, placed in the center, flanked by two candleholders and gu-shaped vases, all placed on tall stools, as seen in a 20th century picture of the Daxiongbaodian of the Tanzhe Temple near Beijing, illustrated in Helmut Brinker and Albert Lutz, Chinese Cloisonné. These ceremonial wares were conventionally modeled after archaic bronzes from the Shang and Zhou dynasties. By the Song dynasty this practice had already been established, but abandoned at the beginning of the Ming, when the Hongwu emperor decreed that daily utensils were to be used during state rituals. It was however reinstated in the first part of the Qianlong emperor’s reign, reflecting the emperor’s interest in the correct performance of ceremonies and rituals. 景泰蓝莲花摆件三件套 中国，晚清，19世纪 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A LARGE AND HEAVY CASTED ‘DRAGON AND SEA CREATURES’ INCENSE BURNER AND COVER, XIANGLU 香爐 WITH AN APOCRYPHAL MARK OF EMPEROR XUANDE CHINA, LATE QING DYNASTY TO REPUBLIC / MINGUO PERIOD Heavy cast. It rests on a tall spread foot divided into two registers, the lower one adorned with lotus petals. The slender body, of oval shape, is completed by an oval lid of dome shape topped by a finial resembling a lotus bud. The upper lateral parts of the incense burner are flanked with mythical beast handles whilst the lid is open-worked with a flying and coiled dragon amidst clouds. The base bears an apocryphal mark of Emperor Xuande of the Ming Dynasty (大明宣德年製). H: 25 cm Weight Notes: 1. The battle scenes with horse riders may have been drawn after the ‘Romance of the Three Kingdom’ (Sānguó yǎn - 三國演), a 14th-century historical novel attributed to Luo Guanzhong. It is set in the turbulent years towards the end of the Han dynasty and the Three Kingdoms period in Chinese history, starting in 169 AD and ending with the reunification of the land in 280 by Western Jin. 2. It is acknowledged that this type of vessel (the combination of this shape and see creatures) emerged during the 17th century, somewhere around the Transitional period. Indeed, a specimen has been found in a tomb dated 1675, near Beijing. 3. Compare with an incense burner of related shape, though dated to the 17th century, preserved in the collection of Paris Asian Art Museum (also known as Cernuschi museum), France, under accession number M.C. 669. Also compare with a related incense burner, though dated to the 17th century, sold at CHRISTIE’S Hong Kong, China, 2019-05-29, lot 2990, for €83,092. 重铸龙与海兽带盖大香炉，带宣德仿款 中国 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
PROPERTIES FROM A FRENCH COLLECTOR OF JADE CARVINGS AND SNUFFBOTTLES A ROCK CRYSTAL SNUFF BOTTLE CHINA, POSSIBLY LATE QING DYNASTY Its body is of flattened rectangular shape with round corners and shoulders surmounted by a short cylindrical neck. Its front part is carved in low relief with two fruits and two scrolls bound with ribbons, possibly a symbol of one of the Eight Daoist Immortals. The inner part is well hollowed. Offered at auction together with a stopper with a crouching mythical beast finial. H (stopper excluded): 5 cm Weight: 50 grams Provenance: Property from a French collector: a collection of jade and stone carvings and snuff bottles assembled over two decades. Pieces either bought privately or at public auction. 水晶鼻烟壶 中国，可能为清末期 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
FORMERLY THE PROPERTY OF JUAN CARLOS KATZENSTEIN (1925-2018): A PROMINENT ARGENTINIAN DIPLOMAT (BY REPUTE) A COLLECTION OF SEVEN (7) MANDARIN’S HAT FINIALS CHINA, QING DYNASTY The bases are made of bronze whilst the beads are made of glass of various colors. H (the biggest): 6 cm Provenance: - a private collection; - Juan Carlos Katzenstein (1925-2018), an Argentinian Diplomat, who was an Ambassador in Beijing, China, from December 6, 1975 to January 2, 1978, and later to the Holy See (Vatican) and to the Sovereign Order of Malta from 1989 to 1991 (by repute). Note: Hats were an important part of official dress in all levels of government, and the finial worn on a hat was an indication of the wearers rank. The significance of the hat for military or civil officials is shown by the way the hat comes first in the regulations stipulating the correct dress code for court. Easily identified, hat finials were introduced in 1727 by the Yongzheng emperor and were worn on all official and public occasions. In 1730 regulations were introduced to allow the use of coloured glass instead of precious stones 一组七（7）个东方帽饰 中国，晚清 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A pair of Edwardian inlaid mahogany hall chairs, each with marquetry inlaid and banded pierced splats, with later red upholstered seat, over square tapered legs terminating in spade feet, 86cms high; together with another Edwardian inlaid mahogany chair; and a Victorian rosewood firescreen with central needlework panel depicting an urn and flowers, barley twist supports, on a plinth base (one finial missing), 72 x 108cms high.
A Chinese Transitional wucai 'boys' vase and cover, c.1640, painted with ladies watching over boys playing in a rockwork garden, 41cm high,Long curved crack downward from neckrim, approx. 40cm, almost reaching footrim; area at shoulder professionally restored with re-painting, evidence visible both inside and out, area approx. 15 x 10cm. Cover rim with two chips, approx. 4 x 2cm and 10 x 8mm, clearly seen; frits to glaze around finial, probably a manufacturing imperfection.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 41cm high,
A 19th century Austrian silver-gilt and painted enamel timepiece, Karl Bender, c.1880, heart shaped, mounted with fresh water pearls and a figural finial, elevated by a figure of Poseidon on a triangular base, the corners set with three hippocampi, enamelled with floral scrolls and oval panels depicting classical scenes. Hallmarked Austrian-Hungarian assay city letter A (Vienna), Makers mark KB (Karl Bender, active 1874-1892), width 12cm, height 24cmSome minor loss to the gilding in places. Some 'touching up' to some of the enamelling within the hippocampi.The mark “KB” appears on some of the finest objets d’art produced in Vienna in the last quarter of the 19th century. Objects of the highest quality - such as tazzas, cups, nefs, clocks, cornucopias - were made in Vienna, emulating the style of Italian Renaissance and Baroque, using beautifully carved rock crystal or hand-painted enamel, and mounted in elaborate silver-gilt mounts and set with precious stones. The striking quality of such pieces, and the unique use of finely painted enamel, is typical of a handful of Viennese makers, such as Hermann Böhm and Hermann Ratzersdorfer.Competing with the above firms, some of the finest objects of this kind are marked “KB” on the silver mounts. These initials have been long attributed to Karl Bank, jeweller active in Vienna between 1895 and 1924.Further research recently demonstrated that these superb pieces are in fact the work of Karl Bender. His workshop was located in Vienna from 1875 until 1880 at Wienstrasse 63 and then at Grüngasse 25 from 1881 until 1892 (see Waltraud Neuwirth, Wiener Gold and Silberschmiede und ihre Punzen, 1867-1922, Vienna, 1976, p. 102). Bender trained under the goldsmith Hermann Leichter, specialising in revivalist precious-metal objects mounted in enamel and hardstone.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. width 12cm, height 24cm
A Chinese archaistic green jadeite vase and cover, late Qing dynasty, with a pair of elephant head ring handles, above bands of scrolls and taotie masks,Provenance- the vendor’s father acquired this vase while living in Hong Kong in the mid 1950s. 14.5 cm high, Silver wire inlaid wood stand, cover finial missingThe finials to the cover is missing. There are a few tiny splinter chips to the edge of the inner flange of the cover and to the rim of the vase with some other areas of small abrasion around the rim. Natural inclusions and veining to the stone, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 14.5 cm high, Silver wire inlaid wood stand, cover finial missing
A 19th century Italian silvered and ormolu mounted mother of pearl casket, of urn form, with figural finial, width 15cm, depth 7cm, height 11cmOverall slightly oxidised and a little loose at the stem, but essentially good condition, small verdigris marking at the front, lid closes tightly, stem has a nut to the base so can be tightened.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. width 15cm, depth 7cm, height 11cm
A Chinese archaistic green and russet jade miniature vase and cover, fanghu, 19th century, carved in relief with C-scrolls, the cover with green glass ball finial,Provenance- from the collection of the vendor’s late father who collected Chinese works of art in Hong Kong from 1950 to the 1970s. He lived in Shanghai from 1947-48 and became a successful businessman living and working in Hong Kong from 1949 until his death in 1994. 6.7 cm high, foot re-carved, wood standThere is some slight abrasion to the inner flange of the cover and the inside edge of the rim. The foot appears to have been re-– shaped, natural inclusions in the stone otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 6.7 cm high, foot re-carved, wood stand
A Chinese bronze ‘finger citron’ censer and cover, late Ming dynasty, modelled with leaves, tendrils and buds, the cover with a small finger citron finial, 18cm high, 31cm long, lid fixedTypical minor casting imperfections. Occasional small old repairs, tiny dents and wear to the base consistent with age and use. The cover is original but has a later screw fixing holding it in position, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 18cm high, 31cm long, lid fixed
An early 20th century French ormolu and champleve enamel clock garniture, the mantel clock of architectural four glass form with urn finial, Arabic dial and Marti eight day movement, with a pair of matching two handled urn ornaments, clock: height 50.5cm urns: height 32.5cmClock in very good clean condition, very slight oxidisation to the dial with some very light spotting to the ormolu case, movement stamped Made in France and numbered 72, going but not tested for time keeping, one of the urns is in a near dismantled state and will need re-assembling, champleve enamelling is similar but not identical to the main mantel clock, feet also differ slightly.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. clock: height 50.5cm urns: height 32.5cm
A 19th century French industrial windmill clock, by Guilmet the silvered brass case with turret top on a tapered body having brickwork engraving standing on a black marble base, either side of the case with calibrated thermometer scales flanking a silvered barometer and matching clock dial with Roman numerals fronting an eight-day spring-driven movement below rotating wind sails powered by a separate movement in the base wound by a key behind the small hinged door Height 47cm.Case rather dirty and oxidised, finial and sails have been repaired. Movement goes but stops. Sails do operate.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. Height 47cm.
Jean Baptiste Dubuc L'ne à Paris. A Louis XVI bronze and ormolu mounted white marble mantel clock, of portico form, with eagle and serpent finial flanked by sphinx, signed enamelled Roman dial and lower architectural case with caryatid flower and putti motif decoration, unsigned silk suspension countwheel movement, width 43cm, depth 11cm, height 60cmOverall looks to be in honest condition, untouched for many years, ormolu and bronze have been refinished at some point, ormolu now has an attractive matted tone, bronze a dark chocolate finish, sunburst pendulum looks a litte weedy and is possibly a replacement, some oxidisation to the feet.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. width 43cm, depth 11cm, height 60cm
Payne & Co, 162 New Bond Street, London. An early 20th century ormolu mounted red boulle mantel clock, with Neptune finial and foliate scroll case, enamelled Roman dial and signed eight day movement, width 20cm, depth 12cm, height 37cmOverall looks to be in good clean condition, some very slight wear or rubbing to the ormolu but no real faults noted, movement looks complete and is going but not tested for timekeeping, numbered 15026 14, comes with original brass pendulum, height given is to the top of Neptune's staff which looks to be a later replacement for what was probably once a trident, height with the staff is 35cmPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. width 20cm, depth 12cm, height 37cm
F.H. Danvin. A 1930's French Art Deco bronze mounted onyx and marble clock garniture, the central mantel clock of stylised geometric form surmounted by a model of an Asian pheasant, with dial signed De Vis Poitiers, with a pair of electrically internally lit bird finial side ornaments, clock: width 32cm, height 46cm, side ornaments: width 15cm, height 31cmOverall in good clean condition, perhaps some slight oxidisation and rubbing to the silvering of the birds and very minor nicking to the edges of the marble cases, clock has an eight day countwheel movement striking on a bell which is going but not tested for timekeeping, side ornaments will require re-wiring.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. clock: width 32cm, height 46cm, side ornaments: width 15cm, height 31cm
A good pair of George II embossed silver gilt two handled pedestal cups and covers, by Benjamin Gignac, engraved with tarms of Sherlock impaling Fontayne, for Thomas Sherlock (1678-1761), Bishop of London, Master of the Temple and for his wife Judith, daughter of Thomas Fontayne of the Meltoopn on the Hill, Yorkshire and decorated with acanthus leaf and foliate motifs, the covers with a fruiting pineapple finial, London, 1746/7/8, height 22.3cm, 57oz.This pair of cups were presented to Sherlock in 1748 when he was elevated to the Bishopric of London. Provenance: Thomas Sherlock, Bishop of London (1678-1761) and his wife Judith Fontayne and subsequently Sotheby's Benacre Hall, Suffolk auction, May, 2000, lot no. 909.Some minor loss to the gilding on the raised area of the decoration in places, otherwise in good condition. Hallmarks clear.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A late 1970's parcel gilt silver coffee pot, modelled as a dallah, by Asprey & Co Ltd, London, 1979, height 30cm, 38oz.Obvious small scratches around the body and some loss to the gilding in places. Loss of gilding/colour to finial also. Hallmarks clear.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of Swiss gold, polychrome enamel and seed pearl set double sided drop earrings, of demi-lune form, with urn finial, width 36mm, gross weight 12.5 grams.Small chip the red enamel on one earring and a few of the other panels have hairline cracks, otherwise in good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of Potschappel porcelain vases and cover, late 19th century, each flower and fruit encrusted and painted with classical figure scenes, the reverse with floral bouquets, the shoulder modelled with a pair of busts of women, underglaze blue T over X mark, 41cm high, slight damageBoth vases are a little grubby with typical small losses to the encrusted flowers and leaves. One of the vases has a re-glued small triangular section to the neck with an associated short hairline crack running down the neck, the accompanying cover has a large splinter chip to the edge. The second vase has a short hairline crack to the rim extending down the neck, the associated cover is missing its bud finial, otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 41cm high, slight damage
An early 19th Century obsolete calibre flintlock pistol by H. New of London. Lock plate engraved ' H New ' and ' London ' to top of barrel, alongside proof marks. Brass trigger guard and furniture, with a pineapple finial to trigger plate. Lacking ramrod. Half-cocks, mechanism appears to require light attention. Measures approx; 30cm long.
DMK Marendaz Collection - a large hallmarked silver trophy for Brooklands 23rd 75MPH Long Handicap ' 1st Prize 21st May 1923 '. Hallmarked for Charles & Richard Comyns, London, 1923 to both the base and lid rim. The trophy with a stepped rounded base, leading to a decorated body with twin handles and removable lid to top with finial. Engraved ' Brooklands ' to one side with floral motif and the race details to the other side. Measures approx; 32cm tall, weight 1862g gross. The trophy as won and owned by Marendaz at the time. Condition; generally in good condition for age, the lid is dented and the finial is presented at an angle, but this simply requires repositioning. The silver is clean, but not over polished and the engraved details still crisp and unrubbed. Captain Donald Marcus Kelway was an ex-Royal Flying Corps pilot, who was responsible for creating a series of elegant custom-built vehicles which bore his name in the 1920s and 1930s. Donald Marendaz joined the RFC in 1916 and was in combat over the Western Front after only twenty hours flying. In November 1917, he was the only spotter pilot to penetrate the fog over the battlefield on the first day of the offensive, which for the first time massed tanks were to be used in battle. Marendaz was in fact spotting for the cavalry which had remained inactive for most of the war. The order of battle was that the cavalry would charge across the bridge on the St. Quentin-L’Escaut Canal at Masnieres after a gap had been forced in the German front by the tanks. All allied and German aircraft had been grounded, but there was Marendaz, cruising at 5,000 feet after nearly an hour’s climb at 8 am that cold November morning. Unable to see a thing he took his Armstrong-Whitworth down to 150 feet, risking the onslaught of enemy rifle fire. Breaking through the fog blanket, he immediately saw that the severely damaged bridge would not stand the weight of a cavalry charge so he sent a message in Morse, an action that prevented a disastrous end for the cavalry. After the war he devoted his tireless energy to engineering, and partnered the launch of the original Alvis car, followed by the Marseal which developed a sports model which Captain Marendaz frequently raced at Brooklands. In 1926 came the Marendaz Special which over the next ten years established a high sporting reputation, the Captain beating many records at Montlhery and Brooklands. The highest point of his achievement was the Coventry Climax-engined Special raced by Aileen Moss, mother of Stirling, but in 1936, production ceased at his Maidenhead factory owing to the increasing competition from the mass production car industry. Captain Marendaz then devoted his energy and abilities to his earlier love and become the owner of two airfields, where at Government request, he set up flying school which turned out nearly 500 pilots, many of were to achieve distinction in the Battle of Britain. He also designed and build three aircraft, one of which was a trainer with a retractable undercarriage and could ‘hover’, and a Marendaz Special fighter which he claimed was superior to the Spitfire. Both were rejected by the same Air Ministry department who rejected Whittle’s jet engine. As war clouds gathered, he was granted facilities – just six weeks before the British war declaration to visit the Luftwaffe to observe the training of their pilots. After the war he emigrated to South Africa, where he was born, and manufactured industrial diesel engines, returning to Britain in 1971, where in the seclusion of his Lincolnshire home, he ensured by his Marendaz Special would live on among the names of the giants of that exhilarating age of 1930s motor sport. Marendaz passed away in November 1988.
DMK Marendaz Collection - a hallmarked silver trophy for The Surbiton 150 ' Class Award ' engraved for DMK Marendaz. The Surbiton 150 was a 150 mile race, with awards across several classes. Hallmarked for Charles Boynton & Son, London, 1927. (The maker's mark slightly rubbed and illegible, Boynton & Sons are who we believe to be the maker, but this may not be the case). The trophy with an octagonal rounded base, leading to a waisted body with twin handles. Measures approx; 24cm, gross weight 381g. The trophy as won and owned by Marendaz at the time. Condition; generally in good condition for age, the lid is dented and the finial is presented at an angle, but this simply requires repositioning. The silver is clean, but not over polished and the engraved details still crisp and unrubbed. Captain Donald Marcus Kelway was an ex-Royal Flying Corps pilot, who was responsible for creating a series of elegant custom-built vehicles which bore his name in the 1920s and 1930s. Donald Marendaz joined the RFC in 1916 and was in combat over the Western Front after only twenty hours flying. In November 1917, he was the only spotter pilot to penetrate the fog over the battlefield on the first day of the offensive, which for the first time massed tanks were to be used in battle. Marendaz was in fact spotting for the cavalry which had remained inactive for most of the war. The order of battle was that the cavalry would charge across the bridge on the St. Quentin-L’Escaut Canal at Masnieres after a gap had been forced in the German front by the tanks. All allied and German aircraft had been grounded, but there was Marendaz, cruising at 5,000 feet after nearly an hour’s climb at 8 am that cold November morning. Unable to see a thing he took his Armstrong-Whitworth down to 150 feet, risking the onslaught of enemy rifle fire. Breaking through the fog blanket, he immediately saw that the severely damaged bridge would not stand the weight of a cavalry charge so he sent a message in Morse, an action that prevented a disastrous end for the cavalry. After the war he devoted his tireless energy to engineering, and partnered the launch of the original Alvis car, followed by the Marseal which developed a sports model which Captain Marendaz frequently raced at Brooklands. In 1926 came the Marendaz Special which over the next ten years established a high sporting reputation, the Captain beating many records at Montlhery and Brooklands. The highest point of his achievement was the Coventry Climax-engined Special raced by Aileen Moss, mother of Stirling, but in 1936, production ceased at his Maidenhead factory owing to the increasing competition from the mass production car industry. Captain Marendaz then devoted his energy and abilities to his earlier love and become the owner of two airfields, where at Government request, he set up flying school which turned out nearly 500 pilots, many of were to achieve distinction in the Battle of Britain. He also designed and build three aircraft, one of which was a trainer with a retractable undercarriage and could ‘hover’, and a Marendaz Special fighter which he claimed was superior to the Spitfire. Both were rejected by the same Air Ministry department who rejected Whittle’s jet engine. As war clouds gathered, he was granted facilities – just six weeks before the British war declaration to visit the Luftwaffe to observe the training of their pilots. After the war he emigrated to South Africa, where he was born, and manufactured industrial diesel engines, returning to Britain in 1971, where in the seclusion of his Lincolnshire home, he ensured by his Marendaz Special would live on among the names of the giants of that exhilarating age of 1930s motor sport. Marendaz passed away in November 1988.
DMK Marendaz Collection - a large hallmarked silver trophy for Brooklands 32nd 75MPH Short Handicap ' 1st Prize 13th April 1925 '. Hallmarked for Charles & Richard Comyns, London, 1924 to both the base and lid rim. The trophy with a decorative rounded base, leading to a shaped with twin handles and removable lid to top with finial. Engraved ' Brooklands ' to one side with floral motif and the race details to the other side. Measures approx; 28cm tall, weight 1060g gross. The trophy as won and owned by Marendaz at the time. Condition; generally in good condition for age, the finial is at an angle but requires simply forming back into place. The silver is largely clean, but not over-polished and the engravings still crisp. Some tarnishing to the handles and base. Captain Donald Marcus Kelway was an ex-Royal Flying Corps pilot, who was responsible for creating a series of elegant custom-built vehicles which bore his name in the 1920s and 1930s. Donald Marendaz joined the RFC in 1916 and was in combat over the Western Front after only twenty hours flying. In November 1917, he was the only spotter pilot to penetrate the fog over the battlefield on the first day of the offensive, which for the first time massed tanks were to be used in battle. Marendaz was in fact spotting for the cavalry which had remained inactive for most of the war. The order of battle was that the cavalry would charge across the bridge on the St. Quentin-L’Escaut Canal at Masnieres after a gap had been forced in the German front by the tanks. All allied and German aircraft had been grounded, but there was Marendaz, cruising at 5,000 feet after nearly an hour’s climb at 8 am that cold November morning. Unable to see a thing he took his Armstrong-Whitworth down to 150 feet, risking the onslaught of enemy rifle fire. Breaking through the fog blanket, he immediately saw that the severely damaged bridge would not stand the weight of a cavalry charge so he sent a message in Morse, an action that prevented a disastrous end for the cavalry. After the war he devoted his tireless energy to engineering, and partnered the launch of the original Alvis car, followed by the Marseal which developed a sports model which Captain Marendaz frequently raced at Brooklands. In 1926 came the Marendaz Special which over the next ten years established a high sporting reputation, the Captain beating many records at Montlhery and Brooklands. The highest point of his achievement was the Coventry Climax-engined Special raced by Aileen Moss, mother of Stirling, but in 1936, production ceased at his Maidenhead factory owing to the increasing competition from the mass production car industry. Captain Marendaz then devoted his energy and abilities to his earlier love and become the owner of two airfields, where at Government request, he set up flying school which turned out nearly 500 pilots, many of were to achieve distinction in the Battle of Britain. He also designed and build three aircraft, one of which was a trainer with a retractable undercarriage and could ‘hover’, and a Marendaz Special fighter which he claimed was superior to the Spitfire. Both were rejected by the same Air Ministry department who rejected Whittle’s jet engine. As war clouds gathered, he was granted facilities – just six weeks before the British war declaration to visit the Luftwaffe to observe the training of their pilots. After the war he emigrated to South Africa, where he was born, and manufactured industrial diesel engines, returning to Britain in 1971, where in the seclusion of his Lincolnshire home, he ensured by his Marendaz Special would live on among the names of the giants of that exhilarating age of 1930s motor sport. Marendaz passed away in November 1988.
DMK Marendaz Collection - a large hallmarked silver trophy for Brooklands 9th 90MPH Long Handicap ' 2nd Prize 21st May 1923 '. Hallmarked for Charles & Richard Comyns, London, 1922 to both the base and lid rim. The trophy with a stepped rounded base, leading to a decorated body with twin handles and removable lid to top with finial. Engraved ' Brooklands ' to one side with floral motif and the race details to the other side. Measures approx; 26cm tall, weight 954g gross. The trophy as won and owned by Marendaz at the time. Condition; generally in good condition for its age. Silver generally clean and not over-polished. Some light tarnishing from age, and the base is slightly misshaped so the trophy stands at a slight angle. Captain Donald Marcus Kelway was an ex-Royal Flying Corps pilot, who was responsible for creating a series of elegant custom-built vehicles which bore his name in the 1920s and 1930s. Donald Marendaz joined the RFC in 1916 and was in combat over the Western Front after only twenty hours flying. In November 1917, he was the only spotter pilot to penetrate the fog over the battlefield on the first day of the offensive, which for the first time massed tanks were to be used in battle. Marendaz was in fact spotting for the cavalry which had remained inactive for most of the war. The order of battle was that the cavalry would charge across the bridge on the St. Quentin-L’Escaut Canal at Masnieres after a gap had been forced in the German front by the tanks. All allied and German aircraft had been grounded, but there was Marendaz, cruising at 5,000 feet after nearly an hour’s climb at 8 am that cold November morning. Unable to see a thing he took his Armstrong-Whitworth down to 150 feet, risking the onslaught of enemy rifle fire. Breaking through the fog blanket, he immediately saw that the severely damaged bridge would not stand the weight of a cavalry charge so he sent a message in Morse, an action that prevented a disastrous end for the cavalry. After the war he devoted his tireless energy to engineering, and partnered the launch of the original Alvis car, followed by the Marseal which developed a sports model which Captain Marendaz frequently raced at Brooklands. In 1926 came the Marendaz Special which over the next ten years established a high sporting reputation, the Captain beating many records at Montlhery and Brooklands. The highest point of his achievement was the Coventry Climax-engined Special raced by Aileen Moss, mother of Stirling, but in 1936, production ceased at his Maidenhead factory owing to the increasing competition from the mass production car industry. Captain Marendaz then devoted his energy and abilities to his earlier love and become the owner of two airfields, where at Government request, he set up flying school which turned out nearly 500 pilots, many of were to achieve distinction in the Battle of Britain. He also designed and build three aircraft, one of which was a trainer with a retractable undercarriage and could ‘hover’, and a Marendaz Special fighter which he claimed was superior to the Spitfire. Both were rejected by the same Air Ministry department who rejected Whittle’s jet engine. As war clouds gathered, he was granted facilities – just six weeks before the British war declaration to visit the Luftwaffe to observe the training of their pilots. After the war he emigrated to South Africa, where he was born, and manufactured industrial diesel engines, returning to Britain in 1971, where in the seclusion of his Lincolnshire home, he ensured by his Marendaz Special would live on among the names of the giants of that exhilarating age of 1930s motor sport. Marendaz passed away in November 1988.
SIX BOXES OF CERAMICS, GLASS AND SUNDRY HOMEWARES, to include thirty pieces of white gilt dinnerwares by Duchess and Royal Worcester Strathmore, a pale blue and cream glazed Prinknash preserve pot, Midwinter Stylecraft fashion shape cream jug and sugar bowl in duck egg blue, the cream jug date coded October 1961, two cobalt blue and gilt Empire Porcelain Company tureens with three meat plates, a marigold carnival glass vase height 22.5cm, a pair of boxed Killarney Crystal trinket boxes with gold plated rose and hearts finial, a large modern table lamp in oriental style, a desk lamp with green glass shade, etc (sd) (6 BOXES)
A COLLECTION OF ASSORTED ROYAL CROWN DERBY TEA WARES, ETC, various patterns, including an Imari coffee cup, chipped and cracked, a shaped square Imari trinket box and cover in 2451 pattern, finial broken and missing, fourteen pieces of 'Derby Posies', five pieces are seconds and one cup cracked, an 'Old Avesbury' tea plate (second), two Imari palette plates and a 'Red Aves' plate (20) (Condition report: in generally dirty / dusty condition, seconds and damage noted within description)
A WMF PLATED JEWELLERY BOX, of bombé form with relief Art Nouveau style floral decoration, bud shaped finial, lined interior, and stamped 'WMF EP, OX' marks to base, approximate length 13cm x width 7cm x height 9.5cm (Condition report: generally fair condition, finial bent, dents to lid, some wear to original? lining, polish residue) (1)
A PAIR OF VICTORIAN SILVER SUGAR TONGS, with shell bowls, scrolling terminal and twisted finial, approximate length 140mms, hallmarked Birmingham 1878 and 1879, approximate length 136mm, approximate gross weight 79.90 grams (condition report: overall good to fair, several repair marks present to scrolling terminals and arms.
A LATE 19TH CENTURY WINTERHALDER & HOFMEIER ROSEWOOD CASED TING TANG BRACKET CLOCK, the arched top with gilt metal pineapple finial mounted on a square plinth, with two further gilt metal urns above the front corners, the dial door with gilt mounts, arched dial with fast / slow dial above silvered chapter ring with Roman numerals, eight day movement striking on two gongs (hour and quarter hours), stamped W & H Sch, the case on four gilt metal scrolled feet, height 39.5cm with pendulum and key and with a green velvet covered plinth and receipt of purchase dated May 1991) (Clock, plinth, and envelope) (Condition report: clock winds and runs, striking one hour ahead, chapter ring is slightly tarnished)
AN EARLY 20TH CENTURY COALPORT TWIN HANDLED PEDESTAL VASE AND COVER, the pale yellow, blue and gilt ground ovoid body painted with titled scenes of 'Buildwas Abbey' and 'Wenlock Abbey' signed by P.H. Simpson, on a short pedestal with stepped circular base, printed green factory mark and gilt '7730/N' over '129.L/S', height 45cm (Condition report: the finial has been broken and glued back on and the rest of the cover has been broken and crudely glued back together, the vase is in good condition with some wear to the gilding)
A QUANTITY OF OIL LAMPS, PLANTERS, WOODEN DUCKS, ETC, to include a late Victorian white opaque press moulded oil lamp, with acid etched shade and chimney, approximate height 60cm, two lamps fitted for electricity, a modern Chinese porcelain tureen and cover with duck finial, glass and ceramic planters, etc s.d. (Qty)
TWO YIXING POTTERY TEAPOTS A melon fluted example, with a mythical beast finial to the cover; and a large plain spherical example The larger 15.5cm high Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: Lots 119 - 307 from the collection of former Singaporean diplomat and Member of Parliament, Joseph Conceicao
A GROUP OF FOUR SAWANKHALOK BOXES AND A JAR One with incised and brown glazed scrolling foliate decoration and foliate finial to the cover; one with brown glazed diaperwork decoration; an underglaze blue and brown glazed jar; a shallow box and cover (possibly associated); and one further box with stylised foliate chevron decoration (5) The largest 11cm diameter Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: Lots 119 - 307 from the collection of former Singaporean diplomat and Member of Parliament, Joseph Conceicao
FOUR SAWANKHALOK STONEWARE BOXES AND COVERS Probably circa 15th/16th C., variously decorated, one brown glazed with scrolling foliage, (the glaze deteriorated), the others with underglaze decoration, the largest with persimmon shaped finial to the cover Largest item 11cm high x 13cm diameter Condition: For a condition report or further images, please contact the saleroom via hello@hotlotz.com Provenance: Lots 119 - 307 from the collection of former Singaporean diplomat and Member of Parliament, Joseph Conceicao
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