A George III Silver Two-Light Candelabrum, by Luke Proctor and Co., Sheffield, Circa 1790 the part-fluted circular base with reeded rim, the baluster stem fluted, the branches reeded and terminating in fluted sockets, with detachable reeded nozzles and reeded wax-pans, with a central ball finial, engraved on the base, nozzles and finial with a crest, the base filled43.5cm high, weight of branches 25oz 2dwt, 782grFully marked on base and on detachable branches. Further part marked on each nozzle. The marks on the base worn and only just legible. The other marks generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is particularly noticeable as a softening to the engraving on the base. There are some bruising, including to the branches which are somewhat out of shape. The bases are filled/loaded. There is a repair to the lower stem, where it joins the base.
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A Charles I Provincial Silver Apostle-Spoon, Maker's Mark IW, Perhaps West Country, Circa 1620 the oval bowl with tapering handle, terminating in a cast apostle finial, the apostle depicted with his attribute, perhaps the cup of sorrow for St John, the back of the bowl engraved with initials 'O' over 'IM'18.3cm long, 1oz 13dwt, 51grMarked in bowl and on back of handle with maker's mark IW. The back of the handle further struck with another indistinct mark. There is some wear to the marks overall. There is some overall surface scratching and wear, consistent with age and use. There are some bruises to the bowl and the edge of the bowl is somewhat thin in places. The casting of the finial is somewhat crude and there is some wear to the high points of the finial.
A George III Silver Coffee-Biggin, by Rebecca Emes and Edward Barnard, London, 1812 tapering cylindrical and on spreading foot, the rim and foot gadrooned, the hinged cover with baluster finial, with later ebonised handle22cm high, 23oz 9dwt, 730grFully marked underneath and further part marked inside cover. There is some overall surface scratching and wear, consistent with age and use. The finial has been repaired. There are no obvious thin areas but may have been erased.
A Four-Piece Victorian Silver Tea-Service, by John Aldwinckle and Thomas Slater, London, 1888 tapering oval and with fluted lower body below foliage and flower swags, each side with a vacant cartouche, comprising a teapot, with ebonised insulators; a hot-water jug, with ivory-insulated handle and finial; a cream-jug and a sugar-bowl the hot-water jug 24.5cm high, total gross weight 100oz 2dwt, 3,113gr (4)With non-transferable standard ivory exemption declaration number K1VGEAQT.Each piece fully marked near handle. The teapot and hot-water jug each further part marked on handle, finial and inside cover. The marks with some minor wear but in general still legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. The vacant cartouches have perhaps been erased. The hot-water jug rocks when placed on a level surface. There is some discolouration and cracking to the ivory on the hot-water jug but no indication that the insulators have been altered or added in any way.
A George II Silver Coffee-Pot, by Ann Craig and John Neville, London, 1742 tapering cylindrical and on spreading base, the hinged cover with baluster finial and gadrooned border, with later wood handle and later engraved with a coat-of-arms26cm high, gross weight 31oz 13dwt, 984grFully marked near rim. The marks with some wear but still legible. The cover apparently unmarked. Engraved underneath with scratch weight '31=16'. There is some overall surface scratching and wear, consistent with age and use. Perhaps erased under the coat-of-arms which are later engraved.
An Edward VII Silver Tea-Caddy, by Thomas Bradbury and Sons, London, 1902 in the George III style, shaped oval and with incurved corners and gadrooned borders, with two lion-mask drop-ring handles, the hinged cover with wood finial16cm wide over handles, 13oz 9dwt, 418grFully marked on body below hinge and further part marked inside cover. The marks on the body only just legible. The marks inside clear. There is some overall surface scratching and wear, consistent with age and use. There is some bruising to the drop-ring handle on one side.
A George III Silver Coffee-Pot, by Daniel Smith and Robert Sharp, London, 1763 pear-shaped and on spreading foot, the foot, hinged cover and body with spiral-fluting and chased with flowers, swags or rocaille, the hinged cover with fruiting finial, with wood handle, later engraved underneath with an inscription29.5cm high, gross weight 32oz 18dwt, 1,024grProvenance: The estate of the late Lady Buchan Hepburn.The inscription reads 'To Maggie Richard from Grandpapa Xmas 1887'.Fully marked under foot and further part marked on cover bezel. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. There have been a number of lead or silver solder repairs to the sides and the foot. The handle is probably replaced.
A Four-Piece Victorian Silver Tea and Coffee-Service, by Richard Martin and Ebenezer Hall, London, 1874 each piece inverted pear-shaped and on four openwork feet, the sides chased with foliage and flowers and with a cartouche on each side, one side engraved with initials, comprising a teapot; a coffee-pot, each with ivory-insulated handles and cast bird finial; a cream-jug and a sugar-bowlthe coffee-pot 24.5cm high, total gross weight 72oz 18dwt, 2,268gr (4)With non-transferable standard ivory exemption declaration number 1G1WRVFG.Each piece fully marked underneath or under spout. The teapot and coffee-pot each further part marked on handle and inside cover with conforming marks. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points and the engraving. There are some bruises. There are some cracks and discolouration to the ivory insulators, though no indication that they have been added or altered in any way.
A George III Silver Tea-Caddy, by Samuel Taylor, London, 1761 inverted pear-shaped and on spreading foot, the sides chased with foliage and flowers among spiral-fluting, one side with a vacant cartouche, the detachable cover with tea-leaf and flower-cast finial12.5cm high, 6oz 7dwt, 198grFully marked under base and further part marked inside cover. The marks are clear. There is some overall surface scratching and wear, consistent with age and use. There is some bruising to the edge of the cover. The cartouche has been erased and is somewhat bright.
A Three-Piece Victorian Silver Tea-Service, by Edward, Edward, John and William Barnard, London, 1839 each piece tapering and engraved with foliage scrolls, centring on one side an engraved crest and on the other engraved initials, comprising a teapot, with ivory-insulated handle and melon-cast finial; a cream-jug and a sugar-bowl26.5cm wide over handle, total gross weight 41oz 2dwt, 1,278gr (3)With non-transferable standard ivory exemption declaration number HA2Q7YDF.Each piece fully marked underneath. The teapot further part marked on handle, finial and inside cover with conforming marks. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving. The handle is somewhat loose on the teapot. The ivory insulators with some cracking and discolouration but no indication they have been altered or added in any way.
A George III Irish Silver Teapot, by Christopher Haines, Dublin, 1811 oblong and with lobed lower body, on four ball feet, the border chased with a band of shells on a textured ground, the hinged cover with cast dolphin finial and engraved on one side with initials and on the other with a crest, with wood-insulated handle 29cm wide over handle, gross weight 23oz 16dwt, 740gr Fully marked underneath and further part marked inside cover with duty mark only. There is some wear to the marks but each is still legible. There is some overall surface scratching and wear, consistent with age and use. There is some bruising, particularly to the ball feet, one of which has a small hole where it connects to the body. The wood insulators are later.
A Charles I Provincial Parcel-Gilt Silver Apostle-Spoon, by James Birkby, Hull, Circa 1650 the oval bowl with tapering handle, terminating in a cast apostle finial, the apostle depicted with his attribute, perhaps the cup of sorrow for St John, with Saint Esprit nimbus, the back of the bowl engraved with initials 'AM'18.5cm long, 2oz, 63grMarked in bowl with Hull three ducal coronets town mark, the back of the handle struck twice with maker's mark IB, star below. There is some wear to the marks, particularly the second maker's mark which is only just visible. There is some overall surface scratching and wear, consistent with age and use. There is some bruising to the bowl and a small gouge to one side of the handle.
A George III Silver Teapot, by Samuel Wheatley and John Evans, London, 1810 oblong and on four ball feet, one side engraved with initials, with later wood handle, the hinged cover with conforming silver finial28cm wide over handle, gross weight 19oz 2dwt, 594grFully marked underneath and further part marked inside cover. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. There is some bruising to the ball feet with some pushed up into the base. The bruising to the feet causes the teapot to rock when placed on a level surface. The handle is later.
A Four-Piece Victorian Silver Tea and Coffee-Service, by Richard Martin and Ebenezer Hall, 1875, Retailed by Manoah Rhodes and Sons, Bradford each piece tapering oval and with beaded borders, engraved with a vacant shield on each side, comprising a teapot; a coffee-pot, each with ivory-insulated handle; a cream-jug and a sugar-bowlthe coffee-pot 22cm high, total gross weight 68oz 14dwt, 2,137gr (4)With non-transferable standard ivory exemption declaration number T2QA15HF.Each piece fully marked near handle. The teapot and coffee-pot each further part marked on handle, finial and inside cover with conforming marks. There is some wear to the marks but each is in general still legible. There is some overall surface scratching and wear, consistent with age and use. There is some unevenness to the surface inside the shields, suggesting they have been erased. There are some minor bruises. The ivory with some discolouration and cracking, but no suggestion of it being added or altered in any way.
A Louis XVI Silver Coffee-Pot, by Jean-Charles Roquillet-Desnoyers, Paris, Probably 1786 pear-shaped and on three scroll legs, each capped with a vacant cartouche, the hinged cover with scroll thumbpiece and baluster finial, with turned wood handle18.5cm high, gross weight 16oz 16dwt, 523grMarked under base with the French mark for large silver articles and date letter P. Further marked inside the cover with French mark for small articles, date letter P and maker's mark. The cover bezel further marked with the tête de perroquet décharge. Variously marked overall with later French marks. The mark underneath worn and only just visible. The marks inside the cover with wear but generally legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving. One foot bruised which causes the coffee-pot to lean when placed on a level surface. The carved wood handle perhaps later and with some chips and glued cracks.
A Victorian Silver Tea-Urn, by Thomas Bradbury and Sons, London, 1897 in the George III style, tapering and on square base, with two reeded scroll handles, with leaf-capped spout, tap lacking, the detachable cover with vase-shaped finial36cm high, 29oz 2dwt, 905grFully marked on back and on cover bezel. There is some wear to the marks on the back. The tap base further part marked. There is some overall surface scratching and wear, consistent with age and use. There are some bruises overall. These are particularly noticeable to the base and to the cover, with the finial being pushed in on one side. Rocks when placed on a level surface. The tap is lacking
Three Norwegian Silver Spoons, Two by Marius Hammer, Bergen, Late 19th Century, One Attributed to Marius Hammer in the 17th century style, the handle beaded tapering, cast with the Virgin and Child in a niche and with fleur-de-lys cast terminal, the bowl engraved with an inscription; Together With a further spoon, the bowl engraved with the Virgin and child, the finial cast as St Christopher with the Christ child15cm long and smaller, total weight 8oz 2dwt, 251gr (4) Provenance: Probably Sir Bache Cunard, 3rd Bt. (1851-1925) and by descent to Sir Guy Cunard, 7th Bt. (d.1989) on whose death the baronetcy becomes extinct, and by descent.Two marked on back of bowl. The other two apparently unmarked. There is some overall surface scratching and wear, consistent with age and use. There is some bruising to the bowl of the first unmarked spoon. There is a possible repair to the handle of another spoon where it attaches to the bowl.
A George III Silver Teapot, by Duncan Urquhart and Naphtali Hart, London, 1792 oval and engraved on each side with a drapery swag cartouche with later initials, with wood handle, the hinged slightly domed cover with pineapple finial, detached 28cm wide, gross weight 14oz 7dwt, 446grProvenance: The estate of the late Lady Buchan Hepburn.Fully marked underneath. Further part marked inside cover. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The cartouche on each has been erased and flooded. The engraving is later. The fixing pin on the finial is broken and the finial is detached. The handle is later. There is a repair below the spout.
A Cased Set of Victorian Silver Salt-Cellars and Condiment-Spoons, by Richard Martin and Ebenezer Hall, The Salt-Cellars London, 1873, The Condiment-Spoons Sheffield, 1871 and 1873 each bombé circular and on three shell-capped feet, the sides chased with foliage and flowers and engraved with a crest, the spoons with an Apostle finial and twisted handle, in fitted gilt-tooled burgundy leather covered casethe case 24.5m wide, weight of silver 9oz 18dwt, 305gr (8)Each piece fully marked. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. There are some scuffs and marks to the case.
A Good Mahogany Stick Barometer, signed Dollond, London, circa 1800, swan neck pediment with an urn finial, concealed mercury tube case with a single vernier silvered dial signed, ivory adjustment knob, hygrometer dial, brass cased hinged door mercury tube thermometer box, turned cistern cover 113cm highWith Non-Transferable Standard Ivory Exemption Declaration Number T3MDXE9Z Case with small cracks and small scratches in parts, brass surfaces are discoloured, top pediment with small chips to the front corners, later finial, outer ebony crossbanding is slightly lifting in parts, silvered dials are very slightly discoloured in parts, mercury visible is main tube and thermometer tube.
A George III Mahogany Free-Standing Corner Cupboard, attributed to Gillows, late 18th century, the scrolled swan neck pediment surmounted by a gilt-metal Greek Key and eagle finial, the astragal-glazed doors enclosing a green-painted interior, the base with two moulded cupboard doors, all between canted stiles with moulded panels, on bracket feet110cm by 62cm by 244cm
A Rosewood Brass Inlaid Striking Table Clock, signed Wilson & Son, Southampton Street, Strand, circa 1830, gadrooned pediment with a single pineapple finial, side carrying handles and fish scale sound frets, front with scroll brass inlay, brass ball feet, 6-inch silvered dial with Roman numerals and signed, twin fusee movement with an anchor escapement and striking on a bell, movement secured in by brackets42cm highBase with minor dents in parts, small staining marks to the left hand side of the base, dial with minor scratches in parts, movement plates are slightly dirty, movement in going order.
A Chinese blue and white ”scrolling lotus“ jar and cover, Qing Dynasty first half of the 19th century, the globular body painted with peonies amongst foliate scrolls flanked with two handles. The cover decorated in a similar pattern with a lion-dog finial; overall height 21cm, diameter 17cmProvenance: an East Anglian based collector清19世紀上半葉 青花卷草紋蓋罐 the jar is in excellent condition except a small flake on the rim and missing the metal handles, the cover has four touch repairs around the rim and a small start crack only visible to the inside but otherwise in good condition整體品相基本完好，罐身口沿一個小飛皮及缺金屬環，罐蓋沿有四處填充小修，另有一個雞爪（僅內側可見）
India.A late nineteenth or early twentieth-century Indian silver teapot, of globular form, with elephant spout and handle, the bellied sides profusely chased in relief with dancing divinities (Gandharva), tigers, figures, and elephants, among scrolls and a stippled ground, with polished bands above and below, the hinged cover similarly decorated, ensuite with an applied cast elephant finial, apparently unmarked, height 14cm, weight 518g/16.65ozt approx
A George II silver bullet shape teapot, the body decorated with a band of flat chasing, depicting foliate scrolls on a dentil ground, with a cast octagonal spout, atop a stepped circular form foot, the body with an armorial, the hinged cover with a baluster knop finial, with a wood handle, the underside with scratch weight '11=14', the cover part-marked with the lion passant, Thomas Parr II, London 1734, height 10.5cm, weight 361g/11.60ozt gross approx
Scotland.A set of twelve George I Scottish silver Hanoverian pattern three prong table forks, each initialled, 'Ct' or similar, with date letter 'R' in an oval cartouche, sponsor's mark for Robert Luke, Glasgow c.1724, length 19cm, combined weight 779g/25.04ozt approx (12)Provenance: B. Silverman. Purchased at the B.A.D.A. Fair, March 2005See: The Finial, 14/06 (July/August 2004), p.37., and Pickford, I. and Kent, T. (1989). Jackson’s Silver & Gold Marks of England, Scotland & Ireland, p.569, for confirmation of the maker's mark and date letter 'S' in an oval cartouche, Jackson notes the dates 1725-35
An Elizabeth II Britannia Standard silver (0.958) commemorative bowl and cover, produced for the Queen's silver wedding anniversary, the detachable cover inset with three applied hardstone cabochons, the finial in the form of a crown, sponsor's mark DSJ, London 1977, height 8.2cm, weight 225g/7.23ozt gross approx
A. E. Jones.A George V Arts and Crafts silver caster, of cylindrical form, the spot-hammered body decorated with rope-twist border atop a slightly flared base, the detachable cover being perforated and decorated with plaques of stylised flowerheads and spherical finial, the base incised 660, Albert Edward Jones, Birmingham 1925, height 16.2cm, weight 162g/5.20ozt approx
An early eighteenth-century Queen Anne English provincial silver tobacco box, of oval form, with moulded border enclosing contemporary Armorial for Henleys of Somerset, the base later engraved architectural cartouche and inscribed, "Thomas Ash / of NORTHSTOKE / Stone Cutter / 1757", the base of the interior struck once with maker's mark 'RW', possibly for Richard Warren of Bristol, c.1710, length 9.3cm, weight 154g/4.95ozt approxProvenance: E. P. Mallory & Son Ltd., Bath, April 1994Note: This lot was illustrated as fig.15 in 'An Exhibition of Silver Spoons and Small Work (Small Wares). From 1575 to celebrate the 75th anniversary of the B.A.D.A', 13-27 November 1993, at E. P. Mallory & Son Ltd, 1-4 Bridge Street, Bath. The promotional booklet provided ensuite. In addition, correspondence from 'The Finial', February 1994 edition, where Tim Kent (amongst others) writes about the possible attribution of the maker as Richard Warren of Bristol.
A George VI silver cafe au lait set, comprising coffee pot and hot milk jug, each of tapered cylindrical form, the rim decorated with an intertwined band, and dual rope-twist border, each piece with wood handle and finial, and numbered 5858, Liberty & Co., Birmingham c.1937, height 18cm, combined weight 719g/23.11ozt gross approx (2)
Australia.A nineteenth-century Australian emu egg inkwell, mounted in silver-coloured metal, of ovoid and circular form, with waisted stem, atop a stepped and spreading circular form foot, the hinged cover surmounted by an applied figural group, comprising palm fronds with a central standing cast emu finial, the cover opens to reveal an internal compartment for ink, apparently unmarked, in the style of Henry Steiner, or J. M. Wendt of Adelaide, circa 1880, height 23.5cm approx
An unascribed silver-coloured metal caster, of baluster form, the pierced detachable cover with knop finial, atop a stepped spreading circular form foot, the body with initials 'JMS' or similar, the underside of the base struck with various marks, multiple over-striking others, a variant of the Maltese cross mark is visible, the flange on the cover also struck with an unidentified mark, possibly Malta, possibly eighteenth-century, height 10.5cm, weight 104g/3.34ozt all-in approx
Australia.A nineteenth-century Australian emu egg inkwell, mounted in silver-coloured metal, of ovoid and circular form, with central applied reticulated band, supporting opposing stamped foliate clusters, atop a stepped and spreading circular form foot, the hinged cover surmounted by an applied figural group, comprising foliage with a central cast kangaroo finial, the cover opens to reveal an internal compartment for ink, the rim struck with two marks, 'SILVER' and 'STERLING' respectively, in the style of Henry Steiner, or J. M. Wendt of Adelaide, circa 1880, height 18.5cm approx
Paire de candélabres à trois branches de lumière en bronze patiné et doré d'époque EmpireA pair of Empire patinated bronze and ormolu three-branch four-light figural candelabra, circa 1810Each with winged Victories holding flaming torches, the head-dress issuing the scrolling palmette cast branches terminating in eagle's heads, tooled drip-pans and palmette cast nozzles, with a further light as finial, and on a rectangular base adorned with athenienne motifs and oval pierced mounts centred by mask, 23cm wide, 65.5cm high (9in wide, 25 1/2in high) (2)For further information on this lot please visit the Bonhams website
Paire de saucières néoclassiques à deux anses en argent, Londres, 1777A pair of neoclassical silver two-handled sauce boats, London, 1777Charles Wright Each of oval form with gadrooned and beaded motif, the stepped lid with turned finial, shaped handles and on a waisted socle with further beaded surround, hallmarks: 'B' and 'CW', 15.5cm high, 20.5cm length (6in high, 8in length), weight 1240gms. (2)For further information on this lot please visit the Bonhams website
Grand vase couvert en porcelaine bleu blancÉpoque Kangxi (1662-1722)A large blue and white baluster jar and coverKangxi period (1662-1722)Finely painted around the body with petal-shaped panels, each decorated with a panel enclosing alternating scenes of landscapes and birds and flowers amongst rocks, the domed cover similarly decorated and surmounted by a knop-shaped finial, 75cm high (29 1/2in high) (2).For further information on this lot please visit the Bonhams website
Lustre à huit lumières en bronze doré de la première moitié du XIXe siècle A French ormolu eight light chandelier, first half 19th centuryOf circular form with tooled corona issuing the swan-shaped scrolling branches terminating in upswept foliate nozzles and drip pans, the central foliate finial with suspending chains and on a foliate spherical boss, 62cm wide, 36cm high (24in wide, 14in high) For further information on this lot please visit the Bonhams website
Théière couverte en porcelaine de la famille verteÉpoque Kangxi (1662-1722)A famille verte teapot and coverKangxi period (1662-1722)Of fluted form, set with a straight spout and a loop handle, painted and gilt with butterflies amidst flower sprays, the domed cover similarly decorated and surmounted by a knob finial, 18.5cm wide across handle and spout (7 1/4 in wide) (2).For further information on this lot please visit the Bonhams website
Exceptionnel Régulateur de Berthoud à sonnerie, seconde centrale, équation du temps et calendrier annuel, en marqueterie de bois de bout, amarante, bois de violette, satiné et filets d'ébène de la fin du XVIIIe siècleAn exceptional late 18th century 'bois de bout', amaranth, kingwood, satinwood and ebony-banded centre-seconds striking regulator with equation of time, annual calendar, Coteau-dial and rare Berthoud bimetallic pendulumThe case surmounted by a large ormolu urn with berry finial and foliate swags set on a raised caddy, the square hood with finely cast circular ormolu bezel framed by 'bois de bout' inlaid quadrants, and larger panels to each side, the long glazed trunk with matching panels within satinwood and ebony wavy borders, on a matching panel base with ormolu bands, raised on a removable low plinth.The 21 cm circular white enamel dial with outer annual calendar track giving months, dates and signs of the zodiac, each month separated by a finely finished gilt arrowhead, encircling the bold Roman and Arabic numerals, each minute marked by a gilt-framed enamel dot, with inner quarter-hour track. Set with fine pierced and engraved gilt brass hands for the hours and minutes, a pierced blued steel hand gives the equation of time, a plain tapering hand shows the date, and a counter-balanced tapering hand marks the passing seconds. Signed across the centre 'Berthoud à Paris' and further signed below VI for the enamel dial-maker 'Coteau'.The movement set in the case on a very substantial cast brass bracket screwed to the heavy backboard, the thick plates united by robust pillars pinned through the backplate. The strike train is driven by a spring barrel and marks each hour by a horizontal hammer mounted on a vertical post striking the bell via a large five-spoke countwheel mounted on the backplate. The going train is driven by a brass weight mounted on a pulley, the wheels with high-count pinions and terminating in a deadbeat escapement, the pallet arbor set in a separate cock on the backplate with long brass two-piece crutch with impulse pin and fine-screw beat adjustment. Signed across the backplate 'Berthoud AParia'. The pendulum is mounted on a knife-edge suspension on the backboard bracket and consists of a central brass bar framed by two larger steel bars terminating in a very heavy, eccentrically-set brass bob with screw adjustment and temperature indicating hand reading against a silvered scale from 0-25 and engraved 'Chaud - Tempere - Glace'. 2.1m high. For further information on this lot please visit the Bonhams website
An Japanese Imari Coffee Pot and Cover, Edo period, late 17th century, of typical form and moulded with Daikoku, Ebisu and Hotei sake drinking with various attendants, decorated in iron-red, green, aubergine and black enamels on underglaze blue, the cover with a dragon, the finial modelled as a sacred pearl, 43cm high including cover Condition Report: cover with cracked repair and small chip to rim of coffee pot some firing cracks to lower body see additional images for visual reference to condition Condition Report Disclaimer
A Chinese soapstone washer, 19th century, of naturalistic design, incised with shi gu mark to the side, 6cm long x 5cm wide; a Chinese rectangular soapstone seal, Qing Dynasty, the finial carved as a Buddhist lion and cub, carved seal face, 4cm x 4cm x 2.5cm; and a small Chinese soapstone seal, Qing, 2.5cm high (3)Please note this lot is to be offered without reserve.清 壽山石"石古"款小水呈及石印等共三件 Condition Report: small knocks to extremities commensurate with agescratches to the surfaceCondition Report Disclaimer
A Chinese soapstone seal, 19th century, the finial carved as a recumbent Buddhist lion, 6.2cm high; and another Chinese soapstone seal, 19th century, the finial carved as a Buddhist lion and cubs, 8cm high (2)Provenance: The Property of a Lady晚清 壽山石獅鈕方印兩方拍品來源：英國女士珍藏 Condition Report: the bigger seal with the lion's mouth chipped and several chips to the edgesCondition Report Disclaimer
A large Japanese Arita blue and white porcelain bowl and cover, Edo Period, circa 1670, with steep sides rising from a raised foot rim, the cover of domed form surmounted by a finial modelled as a seated shishi, decorated in various shades of underglaze blue with a continuous scene depicting a mountainous landscape with pavilions and pine trees, at the base a band of lappets, the cover similarly decorated, approximately 28cm high x 28.5cm wide Provenance:Arthur Stedman Cotton (1873-1952) and by family descent.Arthur Cotton was commissioned second lieutenant in the Royal Artillery on 11th September 1893. He was promoted to lieutenant on 14th September 1896, captain on 28th July 1900, and major on 24th September 1910. He served in the Boxer Rebellion in 1900.Bowls of similar shape and decoration are illustrated in, Christiaan J. A. Jörg, Fine & Curious: Japanese Export Porcelain in Dutch Collections, Amsterdam, 2003, p. 170-171, no. 203, 204 and Barry Davies London 1997, Ko-Imari porcelain from the Oliver Impey collection, figure 25. Condition Report: in overall good condition other than the cover which has a firing crack which then extends into a hair crack approximately 6cm long mainly visible to the interior but showing to part of upper surface but otherwise good other than firing blemishes and faults Condition Report Disclaimer
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