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Click here to subscribeA GEORGE III TRIANGULAR DROP LEAF SIDE/SUPPER TABLE with fold-down half top, single gate and scroll topped turned tapering legs ending in pad feet104cm wide 72cm high In good condition, no breaks to the legs, and one ear is missing from the back right leg. The top has light service scratches. The back leaf has two hairline cracks on either side of the hinge. the table has a nice colour and polish.
Britains - Farming. A selection of boxed and loose Britains appearing in Excellent condition with Poor to Good boxes with storage wear, shrinkage and tearing. Lot consists of: #4708 Farm Builder, #4703 2 Shelters with Animals, #1716 Animal Pens, #9546 Ploughs, #9539 Animal / Bale Transporter, #1731 Farm Gate, #1742 Haybales, #1740 Milk Churns plus a container with Farm Building, people, scarecrow, animals, walling, trees. (This does not constitute a guarantee). [MP]
Eliot, Thomas Stearns (1888-1965), poet, critic and publisher, Criterion, 24 Russell Square, London WC1; letter to Peter Winckworth ‘Dear Winckworth’, 30 Buckingham Gate. London SW1, 21 October 1937 Unable to lunch next week as he will be in Edinburgh the whole week; very glad to lunch later; ‘the only day in every week on which I am never free is Wednesday’; ‘I shall be interested to know if you really have some good Wensleydale at Windham’s; if so, I must speak severely to our steward, who has not provided any Wensleydale at all yet this year’.In 1922 Eliot jumped at an offer from Lady Rothermere, wife of Esmond Harmsworth, second Viscount Rothermere, publisher of the Daily Mail, to edit a high-profile literary journal. The first number of The Criterion appeared in October 1922. Like The Waste Land, which The Criterion first published, it took the whole of European culture in its sights. The Criterion's editorial voice placed Eliot at the centre of first the London and then the continental literary scene. The editorial life on Russell Square was also conducted over friendly dinners that served the function of a college or a club, and Eliot seemed to thrive on such occasions.At about the same time Eliot reached out for religious support, and turned to the Church of England. Few followers were prepared for Eliot's baptism into the Church of England on 29 June 1927 at Finstock in Oxfordshire, and so, within five years of his avant-garde success, Eliot provoked a second storm. The furore grew in November 1927 when Eliot took British citizenship and again in 1928 when he collected a group of politically conservative essays under the title For Lancelot Andrewes and prefaced them with a declaration that he considered himself ‘classicist in literature, royalist in politics, and anglo-catholic in religion’. (ODNB)Eliot had been introduced to Winckworth in April 1932 by (Archibald) Kenneth Ingram (1882-1965), author and vice-chairman of the National Peace Council, who was ‘anxious [for Eliot] to meet a young friend of mine … [who] has an unusually good mind and writes very fair verse. I am sure you would like him’. Ingram, an Anglo-Catholic lay theologian, socialist, and prolific writer, attempted in several works to integrate his sexuality with his religious beliefs. See David Hilliard, ‘UnEnglish and Unmanly: Anglo-Catholicism and Homosexuality’; Victorian Studies 25 (2) (1982) 181-210. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In July 1934 he sent Eliot a ‘short essay’ on the Association, which he hoped he might arrange to review in the St Stephen’s parish magazine. He hoped too that Eliot might take the chair at their meeting in Kensington on 16 October, which he duly did. In December 1934, Eliot described Winckworth to William Kemp Lowther Clarke, a Church of England clergyman, as ‘a very good man indeed, and I have great hopes of him’.The present letter is a reply to Winckworth’s invitation to Eliot to participate in a Junior Church Congress on the theme of the Christian Revolution, to be held at the Dorland Hall in Regent Street 28-20 April 1938. His letter declining the invitation expressed a need to conserve his energy, and that ‘Dorland Hall is rather too public a place to suit my book’. His reluctance to appear was doubtless influenced by an incident at the Dorland Hall in November 1935, when he had been accosted by his estranged wife Vivien in one of her ‘often histrionic attempts to embarrass him into a reconciliation’ (https://tseliot.com ; ODNB).John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29The Windham Club, established (as the Windham House Club) in 1828 as a ‘place of meeting for a Society of Gentlemen all connected with each other by a common bond of literary or personal acquaintance’, migrated to No. 13 St James’s Square in 1836. In 1945 it amalgamated with the Marlborough and Orleans Clubs, to form the Marlborough-Windham Club. (Survey of London 28 and 29, St James Westminster, pp136-139.)
1950 Norton 500cc Model 30 International to Clubman SpecificationRegistration no. GNT 275Frame no. E11 30000Engine no. E11 30000One of the most charismatic model names in motorcycling history, 'International' was first used by Norton for its top-of-the-range sports roadster in 1932. The Inter's Arthur Carroll-designed overhead-camshaft engine had been developed in the works racers for the preceding two years, and although it retained the classic 79x100mm bore/stroke dimensions and shaft-and-bevels cam drive of the existing CS1, was entirely new. Based on the works bikes and intended for racing, the International could nevertheless be ordered with refinements such as lights and a kickstart-equipped gearbox. By the time production halted in 1939 it was being built with a four-speed foot-change 'box and plunger rear suspension (the 'Garden Gate' frame), reappearing after the war in similar guise save for the adoption of the hydraulically-damped Roadholder front fork, which replaced the pre-war girder. This International Norton comes with a Science Museum dating letter stating that it was built on 19th May 1950 with Clubman fittings and despatched to an agent called Ross in Wem, Shropshire (annotated 'Moss'). Restored in 1970, the machine comes with the related bills, which may be found within the accompanying comprehensive file of receipts. The file also contains a Norton Triumph dating letter, an old-style logbook, an old-style V5, a current V5C, and a current MoT. Last run 18 months ago, the machine is described by the private vendor as in very good condition and highly original. Key not requiredFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Richard Misrach is a contemporary American photographer known for his large-scale photographs of the American landscape. Born on February 25, 1949, in Los Angeles, California, Misrach began his career in the 1970s and has since become renowned for his captivating and thought-provoking images. One of Misrach's most notable bodies of work is titled ""Desert Cantos,"" a series that explores the vast desert landscapes of the American West. These photographs depict the interplay between human presence and the natural environment, often highlighting the impact of human activity on these seemingly untouched spaces. Through his meticulous compositions and use of color, Misrach prompts viewers to contemplate issues related to ecology, politics, and the intersection of nature and civilization. Another significant project by Misrach is ""The Golden Gate,"" a series of photographs focusing on the Golden Gate Bridge in San Francisco. These images capture the iconic landmark from various angles and distances, showcasing its beauty and symbolic importance within the urban landscape. Misrach's work has been widely exhibited in galleries and museums around the world. His photographs are held in numerous prestigious collections, including the Museum of Modern Art (MoMA) in New York, the National Gallery of Art in Washington, D.C., and the San Francisco Museum of Modern Art (SFMOMA). Over the course of his career, Richard Misrach has received numerous awards and honors for his contributions to the field of photography. His work continues to inspire and provoke discussions about the relationship between humans and the natural world. Measures 14.01 x 10.52 Printed Circa 1970'sVerso is blank.Mounted to archival quality paper."
Kip Keino, a signed note on Windsor Hotel, Lancaster Gate, London notepaper, dated 15th August 1967, complete with envelope. Signed 'Kip Keino Kenya 15th August 1967, with best wishes to you from Kip'. A legendary Kenyan track and field athlete, winning Olympic Gold in 1968 and 1972. He was in London to race against his great rival, American Jim Ryun at White City on 12th August over a mile, finishing second. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
RANGERS F.C., CAST-IRON TURNSTILE FROM IBROX STADIUM, CIRCA 1920s made by W.T. Ellison & Co. of Manchester, the demi-lune top with plaque inscribed DELUCE'S PATENT SOLE MAKERS W.T. ELLISON & CO. ENGINEERS IRLAMS-OTH-HEIGHT MANCHESTER, with foot operated action, the gate with three further roundels inscribed with maker's marksNote: The world famous Ibrox Stadium (formerly Ibrox Park) was designed by Archibal Leitch in 1899. It initially had a capacity of 40,000, before an expansion in 1910 expanded this to 63,000.The next major redevelopment occurred in 1928, after Rangers won a historic first double. A new Main Stand was opened on January 1st 1929. This stand has the familiar Leitch style criss-cross balcony and a red-brick façade which seats 10,000, as well as a further standing enclosure. Football stadium historian, Simon Inglis, commented in 2005 that the Main Stand is Leitch’s ‘greatest work’ and is ‘still resplendent today in it’s red brick glory under a modern mantle of glass and steel.’Thie turnstile, an interesting part of the football club’s history, was salvaged during the 1989/91 renovations. According to the vendor, it was taken from the main terracing at the Rangers End and would have been one of the very turnstiles used to transfer fans into the standing section of the Main Stand. 110cm wide 106cm wide, 104cm high, 98cm deep
TWO TRU-VUE PICTURE VIEWERSin Bakelite with a selection of film rolls including Golden Gate Exposition 1,2,3 and 4, New York Worlds Fair 1,2,3,4,5,6,7 and 8, New York City 1,3 and 4, Santa Catalina 1,2 and 3, Switzerland of America 2 and 3, Petrified Forest and Painted Desert, Ney York Zoo and Niagara Falls
Full title: A fine pair of Chinese cloisonne 'millefleurs' vases, workshop mark of De Cheng, Beijing, 2nd half 19th C.Description:H.: 31 cm This superb mirror-pair of vases in the 'hundred flowers' style is a tour de force of the De Cheng (å¾·æˆ) cloisonne workshop. It would have been extremely time-consuming to produce, requiring a workshop with a set of exceptionally skilled draftsmen. Established between 1850 and 1860, the De Cheng workshop became renowned throughout Beijing over the course of the century for the superior quality of its cloisonne enamel wares, which were eagerly collected not only by members of the imperial court but also by the area’s foreign residents. Even with the resources available to the most sought-after cloisonne workshop of its time, it is not surprising that very few pieces decorated with this complex design were made, and only a handful survived. Among the represented flower species may be distinguished peonies of several kinds, lotuses, chrysanthemums, magnolia, roses, hibiscus, orchids, iris, lilies, asters, hydrangea, wisteria, pomegranates, begonias, narcissuses, convolvuli, syringas, pyrus japonica (hai-t'ang) etc. Both are marked with the stamp of the workshop, one of the vases still has part of the original workshop label. Ref.: - Cloisonne: Chinese Enamels from the Yuan, Ming and Qing Dynasties, Beatrice Quette (ed.), Bard Graduate Center, New York, 2011, p. 28 for a reproduction of the label (see added image). Both Chinese and French texts inform prospective buyers of possible imitations (although put differently) and pinpoint the address of the workshop. In Chinese the text reads as follows: “Now some shameless people counterfeit the trademark of å¾·æˆ; Nevertheless, our customers have our certificate, specifying exactly where we are located, it is at ‘Jingdu Jianmen wai Yangmeizhu xiejie zhongjian lubei’ [in Beijing outside Tsien-men gate toward the middle of the north side of Yangmeizhu xiejie street).In French: “The one and only true cloisonne workshop of Teuo-Tcheng is located in Beijing outside the Tsien-men gate, around the middle of Yan-mei-tchou-sie-kiai street (north side)â€.As Quette suggests, these bilingual labels indicate a deep concern about quality and forgeries and it is possible these labels were made on the specific occasion of an international exhibition in Paris (1878 or 1889).We would like to thank Mr Nicolas Belmans, expert on 19th century Chinese cloisonne, for providing information in the redaction of the catalogue note. Mr Belmans is currently preparing a first catalogue of the De Cheng workshop.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Full title: A rare blue and white Dutch Delft tile with a large cherub below a gate, 1st half 17th C.Description:Dim.: ca. 13 x 13 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
A MANCHU OFFICIAL'S BRONZE SEAL, QIANLONG MARK AND PERIOD, DATED 1747 BY INSCRIPTION, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEOf rectangular form with a tapering columnar handle. The top and base of the seal are inscribed in Manchu and Chinese, while the two long sides bear exclusively Chinese script, numbering and dating the seal.Inscriptions: To the top and the seal face, in Manchu and Chinese: 'Zhang jia kou tai zhan you lu jun li bu zao' [The official in charge of] Zhangjiakou, commissioned by the Ministry of Rites.To the first long side, in Chinese 'Number 1336 of Qian'.To the second long side, in Chinese 'On the […] day of the sixth month in the twelfth year of the Qianlong period'.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Good condition with expected old wear, some casting irregularities, corrosion, occasional scratches, few minuscule nicks, and small dents. Remnants of red seal paste. The bronze with a fine, naturally grown, dark patina.Weight: 1,082 g Dimensions: Size 8.9 x 8.8 x 6 cm Zhangjiakou, also known as Kalgan and by several other names, is a city in northwestern Hebei province. Since ancient times, it has been a stronghold of military significance and vied for by multiple sides, hence nicknamed the 'Northern Gate of Beijing'. Due to its strategic position on several important transport arteries, it is a critical node for travel between Hebei and Inner Mongolia and connecting northwest China, Mongolia, and Beijing. Dajingmen, an important gate and junction of the Great Wall of China is located here. From 1727 it was a major station for the Kyakhta trade between Russia and China. In early autumn long lines of camels would come in from all quarters for the conveyance of the tea chests from 'Kalgan' (Zhangjiakou) to Kyakhta across the Gobi Desert. Each caravan usually made three journeys in the winter. In the 19th century, some Russian merchants had permanent residences and warehouses just outside the gate.The Ministry of Rites (Libu) was one of the Six Ministries of government in Imperial China. It was first formed during the Tang dynasty in the 7th century and lasted for well over a thousand years, until the 1911 Xinhai Revolution. It was responsible for state ceremonies, rituals, and sacrifices, overseeing the registers for Buddhist and Daoist priesthoods and even the reception of envoys from tributary states. It also managed imperial examinations as well as China's foreign relations prior to the establishment of the Zongli Yamen in 1861.Literature comparison:Compare a closely related bronze Manchu official's seal of Zhongzheng dian Nianjin chu tu Ji (Chanting place of Zhongzheng hall), 9.1 x 5.6 x 5.6 cm, dated 1729, illustrated in Chan Hou Seng, The Life of Emperor Qian Long, Macao Museum of Art, 2002.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 15 October 2021, lot 53 Price: EUR 9,480 or approx. EUR 11,000 adjusted for inflation at the time of writing Description: A bronze Manchu official's seal, Guanfang, dated 1796 by inscription, Jiaqing mark and period, the seal face inscribed in Manchu and Chinese Expert remark: Compare the closely related form and inscriptions. Note the gilding, later date, and the size (11.1 x 9.7 x 6.3 cm). 乾隆款及年代1747年清代滿族官員銅印銅質精良，方形，圓柱鈕。印台四周及台面相間鐫刻滿文，漢文。 款識：乾字一千三百三十六號：乾隆十二年六月日；張家口台站右路軍第三臺參領圖記；禮部造 來源：英國西伯克郡，當地貿易，據説來自知名私人遺產。品相：狀況良好，有磨損、一些鑄造不規則、腐蝕、局部劃痕、一些微小的刻痕和小凹痕。紅色印章殘餘。銅印有細膩、自然的包漿。 重量：1,082 克 尺寸：8.9 x 8.8 x 6 厘米 文獻比較： 比較一件非常相近的1729年銅製「中正殿念經處圖記」，9.1 x 5.6 x 5.6 厘米，見Chan Hou Seng，《懷抱古今‧乾隆御筆》，澳門藝術博物館，2002年。 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2021年10月15日，lot 53 價格：EUR 9,480（相當於今日EUR 11,000） 描述：嘉慶内務府三旗護軍營參領關防 專家評論：比較非常相近的外形和款識。請注意鎏金，年代較晚和尺寸 (11.1 x 9.7 x 6.3 厘米)。
A BROWN-GLAZED STONEWARE JAR WITH A HUMAN FACE, ANGKOR PERIODKhmer, mid-12th century. The globular body supported on a thick foot, the shoulder set with a short spout as well as a handle in the form of a snake. The base of the neck molded in the form of a human face with almond-shaped eyes, thick brows, a thin straight nose, flanked by elongated earlobes. The slightly waisted neck surmounted by a small cover with a knop finial, covered overall in a dark olive-brown glaze.Provenance: From a noted Danish private collection.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, glaze flaking and recesses, encrustations, chips, scratches. Minor old repairs, the spout has been reattached. Fine, naturally grown patina overall. The small cover with the knop finial is almost always lost, but still present here!Weight: 2,620 g Dimensions: Height 35.5 cm Toward the end of the 6th or early 7th century, Khmer potters instituted an important technique for mass production of ceramics when they began to use the wheel. A Khmer inscription dating to 674 compares the source of creation to the potter's wheel. Ceramics of this period were sometimes decorated with slip and paint, but this practice was abandoned after 800 when glazed stoneware first appeared. The first glazed ceramics made in Southeast Asia beyond the orbit of Chinese control were associated with the Khmer rulers Indravarman and Yasovarman, who reigned from the 880s to 940.During the 11th century, zoomorphic shapes, such as the human face on the present lot, begin to appear and the clay becomes finer, with a gray body. Other decorative techniques, such as moldings, incisions and carved patterns appear after 1100 on zoomorphic vessels. Gourd-shaped jars and bottles also began to appear during this time, with brown glazes becoming predominant. Literature comparison: Compare a closely related gourd-shaped bottle with a similar human face, 29.5 cm high, dated to the mid-12th century, published by Bernard Groslier, Introduction to the Ceramic Wares of Angkor, 1981, fig. 47. A similar example was found at the Srah Srang burial site about 4 km southeast of the East Gate of Angkor Thom. These deposits date to the reign of Jayarvarman VI (1080-1107). The find spot may indicate that this form was used for funerary rituals (see ibid., p. 29). Compare a related gourd-shaped bottle decorated with a human face, 12 cm high, dated 11th-13th century, in the National University of Singapore Museum, museum number S2003-0001-024-0.
A SANDSTONE BUST OF A DEMON, ASURA, ANGKOR PERIODThe Asuras are a class of demons within Indic religions. They are described as power-seeking demons related to the more benevolent devas in Hinduism. According to Hindu scriptures, the asuras are in constant battle with the devas, which was a popular motif in Khmer art, especially during the Angkor period. The south gate of Angkor Thom is lined with life-size sculptures of asuras forming a demon army across from an army of devas. Many of these massive sculptures bear a striking resemblance to the present sandstone sculpture.Khmer Empire, 12th-13th century. Well carved with a bare muscular torso, adorned with an intricate jeweled necklace centered by a flowerhead. His face with a fierce expression, round bulging eyes, and full lips. The hair arranged in a high cylindrical chignon behind the elaborate feather crown.Provenance: From a private collection in New England, United States. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, few structural cracks, losses, chips, and scratches.Weight: 5,088 g (incl. stand) Dimensions: 32.1 cm (excl. stand) and Height 36.6 cm (incl. stand) Mounted on a metal stand. (2)Literature comparison: Compare a related sandstone head of an asura, dated late 12th to early 13th century, in the Dallas Museum of Art.
Three: Private W. T. Cumberlidge, Royal Lancaster Regiment, who was killed in action on the Western Front on 2 March 1916 1914-15 Star (17226 Pte. W. T. Cumberlidge. R. Lanc: R.); British War and Victory Medals (17226 Pte. W. T. Cumberlidge. R. Lanc. R.) very fine (3) £60-£80 --- William Thomas Cumberlidge was born in Hastings, Warwickshire, and attested for the King’s Own Royal Lancaster Regiment at Blackburn. He served with the 8th Battalion during the Great War on the Western Front from 28 December 1915, and was killed in action on 2 March 1916. He has no known grave and is commemorated on the Ypres (Menin Gate) Memorial, Belgium.
Pair: Private F. O’Brien, Loyal North Lancashire Regiment, who was killed in action on the Western Front on 10 August 1917 British War and Victory Medals (34034 Pte. F. O’Brien. L.N. Lan. R.); Memorial Plaque (Frederick O’Brien) in card envelope; Memorial Scroll ‘Pte. Frederick O’Brien, Loyal N. Lancashire Regt.’, in OHMS transmission tube holder, addressed to Mrs. A. E. O’Brien, 70 Saxony Road, Kensington, Liverpool’, light wear to VM, otherwise good very fine (4) £120-£160 --- Frederick O’Brien was born in West Fortington, Dorset, in 1881. Formerly employed at the Exchange Hotel in Liverpool, he attested for the Liverpool Regiment in the city, before transferred to the Loyal North Lancashire Regiment and serving on the Western Front with the 9th (Service) Battalion. Here he witnessed extensive action; according to Colonel H. C. Wylly in The Loyal North Lancashire Regiment, 1914-1919, the 9th Battalion fought at the Somme, Ploegsteert, Messines, Bapaume, Lys, the Second Battle of the Aisne and at Kemmel. Much of this is supported by extant War Diary entries. Initially reported in the contemporary press as missing on 10 August 1917, O’Brien was later confirmed as killed in action on that date. He has no known grave and is commemorated on the Ypres (Menin Gate) Memorial, Belgium. Sold with a large quantity of original ephemera, including the recipient’s Soldiers’ Small Book; a fine portrait photograph in military uniform; extensive correspondence regarding his time when missing, and later confirmed killed; original letters of transmittal regarding medals; condolence slip; a small newspaper cutting bearing an image of the recipient; and copied research.
Three: Private A. C. Bowdidge, alias G. Green, Duke of Cornwall’s Light Infantry, who was killed in action on the Western Front at St. Eloi on 14 March 1915 1914-15 Star (6817 Pte. G. Green. D. of Corn: L.I.); British War and Victory Medals (6817 Pte. G. Green D. of Corn. L.I.); Memorial Plaque (George Green) the plaque polished and slightly worn; otherwise nearly extremely fine (4) £120-£160 --- Arthur Craft Bowdidge was born in Wandsworth, London, in 1882 and attested for the Duke of Cornwall’s Light Infantry under the alias George Green at Stratford, Essex. He served with the 2nd Battalion during the Great War on the Western Front from 19 December 1914, and was killed in action during the action at St. Eloi on 14 March 1915. He has no known grave, and is commemorated on the Ypres (Menin Gate) Memorial, Belgium. Sold with copied research.
Three: Sergeant A. Spence, Gordon Highlanders, who was killed in action on the First Day of the Passchendaele Offensive, 31 July 1917 1914-15 Star (S-5617. Sjt. A. Spence, Gord. Highrs.); British War and Victory Medals (S-5617. Sjt. A. Spence, Good. Highrs.) good very fine (3) £120-£160 --- Alexander Spence was born at Inch, Aberdeenshire, on 4 February 1891, the eldest son of the Rev. Alexander Easton Spence, and was educated at Walker’s Academy, Aberdeen, then Stiring High School, and finally the Technical and Agricultural Colleges in Glasgow. Prior to the Great War he was employed as an Assistant Surveyor for Lanarkshire. Spence attested for the Gordon Highlanders on 3 September 1914, and served with the 8/10th Battalion during the Great War on the Western Front from 9 July 1915. He was killed in action 31 July 1917, on the first day of the Passchendaele Offensive; he has no known grave and is commemorated on the Ypres (Menin Gate) Memorial, Belgium. Sold with copied Medal Index Card and Roll of Honour extract.
Two Nathan teak nests of three occasional tables, 52.5 cm wide x 48 cm deep x 50.5 cm high each and a Nathan teak corner tv stand, 99 cm wide x 48.5 cm deep x 51 cm high together with a Nathan Furniture teak rounded rectangular gate-leg drop-leaf dining table, 175.5 cm wide x 99 cm deep x 75 cm high and a set of six Nathan teak bar back chairs together with a Nathan teak chest of four small drawers over two cupboard doors, 102 cm wide x 45 cm deep x 75.5 cm high, a Nathan teak open bookcase with adjustable shelving, 76.5 cm wide x 30 cm deep x 182 cm high, together with a matching dwarf corner cupboard with shelf over a recess and pair of cupboard doors 63 cm wide x 45 cm deep x 74 cm high and a mid 20th Century walnut bow fronted glazed two door display cabinet, 89 cm wide x 35 cm deep x 125 cm high (4)
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