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Click here to subscribeNETSUKE OF A SITTING KIRIN. Japan. 19th c. Ivory, carved and engraved, partly stained in black. H.6.8cm. Condition A/B. Provenance: German private collection. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Crafts Japan
NETSUKE OF TIGER ON A BAMBOO. Japan. 19th c. Ivory, finely carved and engraved, partly stained dark. At the side denoted: Tomotada. H.3.3cm. Condition A/B. Provenance: German private collection. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Crafts Japan
NETSUKE OF A GOURD WITH HORSE. Japan. 19. Jh. Ivory, carved and engraved, stained dark. Gourd of Chôkarô from which his horse slips. Loose ring around the waist of the fruit. W.4.1cm. Label: Sennin Tsugens gourd. Bretschn. Condition A/B. Provenance: -German private collection. -Presumably acquired from Ludwig Bretschneider (1909-1987), Munich. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Crafts Japan
NETSUKE: DOG WITH EGGPLANT ON BASE. Japan. 18th c. Ivory, carved with engraved details stained dark. H.4,2cm. Underneath old collection no: 9.8. Condition A/B. Provenance: Formerly collection Marius Taudin Chabot (1884-1966) and Maria Veder (1889-1979). Collectors label no. 87. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 18th century Netsuke Sculpture Japan
NETSUKE OF A BOAR SLEEPING ON LEAFS. Japan. 18th c. Ivory with amber yellow patina. L.5cm. Condition A/B. Provenance: German private collection, acquired at Hans-Martin Schmitz, Cologne. Please note that this object is made of materials, for whose export into countries outside the EU contract area a permission due to Cites regulations is necessary. We point out that such a permission is usually not given.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 18th century Netsuke Crafts Japan
NETSUKE: ÔMORI HIKOSHICHI WITH HANNYA ON HIS BACK. Japan. Early 19th c. Ivory carved. H.4.3cm. Condition A/B. Provenance: Formerly collection Karl M. Schwarz. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
NETSUKE: DRUMMING BOY WITH LION MASK. Japan. 19th c. Ivory carved. Underneath denoted: Tomoyuki. H.3cm. Condition A. Provenance: Formerly collection Johan Somerwil. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
TWO NETSUKE: BLIND MAN AND MASK CARVERS. Japan. 19th c. Ivory, carved and partly stained dark. a) A blind man balancing on one Geta to remove a large stone under the other. H.5.8cm. Denoted: Kogyoko. Condition A/B. b) Two men carving a huge Tengu mask. L.5cm. Denoted: Hounsai. Condition B. Slightly bumped at the bottom of the mask. Provenance: Acquired at Gallery Inkstone. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
NETSUKE AND TWO OJIME. Japan. 19th c. a) Dancing man. Ivory. Flat form carving. H.5cm. Bez.: Tomochika. b) Ojime in shape of a metal bar with takaramono resp. in the form of Fukurokuju (denoted: Tenmin). H. each 1.7cm. Bronze, copper, silver and gold plated. Acquired from Dmitry Levit Asian Art, 2014. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
NETSUKE: TANUKI AS PRIEST WITH BIRD SCARER. Japan. 19th c. Ivory, carved with fine engraving. Denoted: Tomomasa. H.3.8cm. Condition A/B. Provenance: Formerly collection Johan Somerwil. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
NETSUKE: LION WITH PEONIES ON ROCK. Japan. 19th c. Ivory, carved and partly stained dark, underneath with yellow patina. H.4.5cm. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
NETSUKE: MOKUGYÔ WITH DRAGON HEADS AS HANDLE. Japan. 19th c. Ivory with dark stained engraving, amber yellow patina. H.4.4cm. Old collection no. in white: 54. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan Estimated Shippingcost for this lot: Germany: 15,97 Euro plus 3,03 Euro VAT EU: 26,89 Euro plus 5,11 Euro VAT Worldwide: 50,42 Euro plus 9,58 Euro VAT additional shipping insurance
NETSUKE: PUPPY ON AWABI. Japan. Early 19th c. Ivory, carved with engraved details stained dark. L.4.3cm. Condition A/B. Provenance: Formerly collection V. Voorst Vader. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
TWO OKIMONO. Japan. 19th c. Ivory carved and engraved. a) Chopstick carver. Composed of parts. H.5.6cm, w.8.5cm. Inlaid red lacquer cartridge with sign. Purchased at ZEN galery, Dr. Karl Hennig on 2.5.1996. Invoice available. b) Man trying to catch a rat on a rolled up bamboo mat. H.4.5cm, w.6cm. Inlaid red lacquer cartouche with unread sign. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Okimono Crafts Japan
MANJU WITH TEA UTENSILS. Japan. 19th c. Ivory, engraved with in sunken relief. Denoted: Sensho. Ø 4.4cm. Condition A/B. Provenance: Formerly collection Buzaglo, collected in Japan between 1950-1960. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
TWO KAGAMIBUTA: DAIKOKU WITH HAMMER AND NEW YEARS DREAM (FUJI, EGGPLANT AND FALCON). Japan. 19th c. Ivory and bronze, relief, gilt and silvered, partly inlaid. Ø 4.2cm/2.5cm. Condition A/B.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Crafts Japan
KAGAMIBUTA WITH SITTING COURTIER. Japan. 19th c. Bowl from ivory (fine crack), plate from shibuichi in Relief with gold. Denoted: Komio. Ø 4.4cm. Condition B. Provenance: Formerly collection Johan Somerwil. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
KAGAMIBUTA WITH CRAWFISH. Japan. 19th c. Bowl from ivory with old metal repair underneath, plate in high relief. Ø 5.1cm. Condition B/C. Provenance: Formerly collection Johan Somerwil. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Netsuke, Okimono, Sagemono, Inro 19th century Netsuke Sculpture Japan
Twentieth Century household ceramics to include Ye Old English coffee cans and saucers in mixed colours, Woods Ivory ware fish plates in square form, Continental china and pottery and Wedgwood together with a Royal Doulton Romance Collection Michelle 1980's part dinner and part coffee service
VICTORIAN & LATER 9CT GOLD & OTHER JEWELLERY to include a 9ct gold bar brooch set with single aquamarine colour stone, 9ct gold ring with emerald cut green stone, size mid R - S, gilt metal bar brooch with turquoise and amethyst effect settings, other bar brooches along with ivory and amber type necklaces
12th-13th century AD. A steatite icon with nimbate Saint John Chrysostom facing, dressed in ecclesiastical bishop's robes, omophorion around his neck, in a sticharion tunic and the outer phelonion, a patriarchal cross in his right hand and the Gospel on his left arm. See Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 209-214, for type.13.9 grams, 40mm (1 1/2"). From the collection of a Surrey gentleman; acquired 1970-1980. In the 10th century, icons cut from steatite still showed clear parallels to carved ivory icons. In the 11th and 12th centuries they moved away from the models and developed into an independent art genre. In 13th century, we can note that the icons became more three-dimensional. Steatite icons were used for private piety and were often carried along by their owners, which led to the wear and tear of the surfaces. Fine condition.
2nd-1st century BC. A bulbous ceramic vessel with elaborate frieze of six winged goddesses riding winged horses on a field of mythical stars and rosettes to the shoulder, each goddess depicted half naked, dressed in rich jewellery; a frieze of stars above and a circumferential band of rosettes below; the lower half densely covered in standing male and female figures, again half naked in various poses, some holding flowers, birds and bowls of fruit, on a field of mythical stars and rosettes, with a frieze of stars below; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.812 grams total, 24.5cm including stand (9 3/4"). Property of a West London gentleman; from a private collection since 1989. Very fine condition.
2nd-1st century BC. A piriform ceramic vessel with flared rim with branches of leaves; to the body an elaborate frieze of standing gods and goddesses in various poses, each god or goddess depicted half naked, dressed in rich jewellery; a circumferential band of rosettes below; the lower half densely covered in an elaborate frieze of elephants within a forest, with multi-layered rosette halves in between the trees; a hatched band below; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.802 grams total, 24cm including stand (9 1/2"). Property of a West London gentleman; from a private collection since 1989. Very fine condition.
2nd-1st century BC. A bulbous ceramic vessel with flared rim with rosettes; to the body an elaborate frieze of standing gods and goddesses in various poses on a field of mythical stars and rosettes, each god or goddess depicted half naked, dressed in rich jewellery; a circumferential band of rosettes above and below; the shoulder densely covered in an elaborate frieze of flowers and foliage, with a band of rosettes above; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.762 grams total, 24.5cm including stand (9 3/4"). Property of a West London gentleman; from a private collection since 1989. Fine condition, rim chipped, some minor holes.
2nd-1st century BC. A piriform ceramic vessel with flared rim surmounted by stars; to the body an elaborate frieze of dancing goddesses in various poses on a dense field of flowers, each goddess depicted half naked, dressed in rich jewellery; a circumferential band of ducks below in a field of mythical stars and rosettes; the neck densely covered in an elaborate frieze of foliage on a field of stars; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.363 grams total, 21cm including stand (8 1/4"). Property of a West London gentleman; from a private collection since 1989. Fine condition, rim chipped.
2nd-1st century BC. A bulbous ceramic spouted vessel with elaborate frieze of six fish-tailed elephants between rosettes to the shoulder; a frieze of double rosettes above surmounted by a frieze of stars, with another circumferential band of stars below; the middle of the body densely covered in conjoined pairs of winged gods and goddesses with hoofs, depicted half naked holding fruit on a field of mythical stars, flowers, and rosettes; with a frieze of stars below, and a wide band of five flowers with foliage underneath; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.1 kg total, 23cm including stand (9"). Property of a West London gentleman; from a private collection since 1989. Fine condition, repaired, holed and spout absent.
2nd-1st century BC. A squat ceramic vessel with flared rim with birds and rosettes; to the body an elaborate frieze of sitting gods in various poses on a field of mythical stars and rosettes, each god depicted naked, dressed in rich jewellery; a circumferential band of stars above and below; the shoulder densely covered in an elaborate frieze of flowers, with a frieze of stars above; spout to one side; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.792 grams total, 21.5cm including stand (8 1/2"). Property of a West London gentleman; from a private collection since 1989. Fine condition, hole to base, small holes to body and rim worn.
2nd-1st century BC. A bulbous ceramic vessel with elaborate frieze of standing goddesses in various poses on a field of mythical stars and rosettes to the shoulder, each goddess depicted half naked, dressed in rich jewellery; a hatched border above and a circumferential band of stars below; the lower half densely covered in an elaborate frieze of larger standing goddesses in various poses on a field of mythical stars and rosettes, each goddess depicted half naked, dressed in rich jewellery, with a frieze of stars below; supplied with a custom-made display stand. See The Metropolitan Museum of Art, accession number 2002.266, for similar, and accession number 2004.553.2, for ivory plaque with similar iconography.824 grams total, 22cm including stand (8 1/2"). Property of a West London gentleman; from a private collection since 1989. Very fine condition, some minor holes.
Mid 3rd century AD. An iron short dagger or pugio of 'Kunzing Type', with double-edged blade, the blade characteristically leaf-shaped with pronounced waist and a double longitudinal channel defining a rib, which is typical of this category; the sides are parallel, the iron grip originally would have been covered with bone or ivory, having inverted T-shaped grip plates with crescentic pommel; handle with bi-lobed pommel with a small knob, made with composite and framing techniques. See Bishop, M. C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Kennedy, D., The twin towns of Zeugma on the Euphrates, Portsmouth, 1998; Ba?gelen, N. & Ergeç, R., Belkis/Zeugma, Halfeti, Rumkale, a last look at history, Istanbul, 2000; Bishop, M. C. & Coulston, J.C.N., Roman military equipment from the Punic Wars to the fall of Rome, London, 2006; Feugère, M., ‘Roman militaria from Zeugma’, in Ergeç, R. (ed.), International Symposium on Zeugma: from Past to Future, Gaziantep, 2006, 91-96; Ibañez, F.C., ‘Post Vestigium Exercitus. Militaria romana en la región septentrional de la Península Ibérica durante la época Altoimperial’, in Morillo, A. (ed.), Actas del II Congreso de Arqueología Miltar Romana en Hispania. Universidad de León-Ayuntamiento de León, León, 2006, pp.257-308; Casprini, F., Saliola, M., Pugio gladius brevis est, storia e tecnologia del pugnale da guerra romano, Roma, 2012.292 grams, 33cm (13"). Property of an East Anglian collector; formerly acquired on the European art market in the 1990s. This dagger belongs to the last period of evolution of the Roman pugio, the so-called Kunzing type (from the German locality in which a hoard of these pugiones was found"). Compared to previous types of the 1st-2nd century AD, the blade of this weapon shows a considerable size, up to 45 cm and longer, showing a plain appearance and no decoration, even on the scabbard. Fine condition.
15th century AD. A carved bone or ivory stem for a cup or chalice presenting a frieze of nude figures amidst a mesh of vine-leaves in high-relief, fronds and flowers on a hatched field; lower group comprising a female(?) climbing on a bending vine stem over a wicker basket, seated female holding the base of a stalk in one hand and observing a perching bird on the other; upper group comprising two lovers resting in a dense mass of foliage with female gripping a vine stem, two lovers supporting each other and the female grasping the male's shoulder, male standing with arms spread, holding a bunch of grapes; mounted on a custom-made stand. 136 grams total, 15.2cm including stand (6"). Ex central London gallery; previously from a private collection, North Germany; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10551-170763. [A video of this lot is available to view on TimeLine Auctions website.] Fine condition; cracked.
ACETATES (LARGELY 60s 7" RECORDINGS). Impressive bundle of 6 acetate recordings including 5 x 7" and 1 x 8". Artists/titles are Carter-Lewis - How Can I Turn Away (Emidisc double sided, in Fair/Good condition), Ivory Joe Hunter - Since I Met You Baby (Emidisc single sided - G condition), Crisipan St. Peters - Changes (single sided, no labels - G+), Grazina - It's All Right (Emidisc single sided - please note Poor/Fair), Rod McKuen - Love's Been Good To Me (US 8" recording - Fair condition, showing some warping) and Bick Ford - I'm On My Way (single sided Emidisc, please note Poor condition).
A Ghom ivory ground silk rug,Central Persia,157cm x 107cmFootnotes:Please note that this lot is subject to the US embargo on the import of carpets of Iranian origin as of 06.08.2018This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Ghom ivory ground silk rugCentral Persia,164cm x 108cmFootnotes:Please note that this lot is subject to the US embargo on the import of carpets of Iranian origin as of 06.08.2018This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An Isfahan ivory ground carpetCentral Persia342cm x 222cmFootnotes:Please note that this lot is subject to the US embargo on the import of carpets of Iranian origin as of 06.08.2018This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A George III mahogany, tulipwood crossbanded and chequer inlaid bonheur du jourCirca 1790, the pair of oval panelled doors enclosing one adjustable shelf, above one twin lozenge panelled mahogany-lined drawer with a sliding baize-lined top inset with a central hinged adjustable surface, flanked by stationery compartments, on panelled square tapering legs, with ivory escutcheons, 73cm wide x 47cm deep x 121cm high, (28 1/2in wide x 18 1/2in deep x 47 1/2in high)This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
David Le Marchand (Anglo-French, 1674-1726): An early 18th century relief carved ivory oval portrait medallion of a gentleman, possibly depicting Sir Robert Walpole (British, 1676-1745)the sitter in profile looking to dexter with long curling wig, the area under the shoulder with perhaps some very fine traces of hatching suggesting an erased signature, the rear with remnants of a faint ink monogram D L M and a further faint and indistinct ink inscription apparently reading Sir Rob *** above a further indistinct ink written letter W, together with some other multiple faint traces of indistinct ink written wording and letters, mounted within a ebonised moulded oval wood frame with brass suspension loop, the back with later oval glazed aperture, the plaque, 10.5cm high approximately, the whole, 19cm high including suspension fitting Footnotes:David Le Marchand was the foremost ivory carver of his generation. Flourishing in the late 17th and early 18th century, he was also almost certainly one of the most influential portraitists operating in Great Britain during that period.Born in the Northern French port of Dieppe in 1674 which was famed for its long tradition of ivory carving, Le Marchand fled to Britain due to the Revocation of the Edict of Nantes in 1685 which persecuted the Huguenot community. Initially settling in Edinburgh in 1696, where the city granted 'Liberty and Licence to David Lemerchand designer and cutter in Ivory to exercise the sd. Arte' (Avery, op. cit., p. 13) by 1700 Le Marchand had moved to London. He then quickly established himself as one of the most fashionable portraitists in the city with sitters that included many of the leading figures of the day including Sir Christopher Wren, Samuel Pepys and Sir Isaac Newton. Le Marchand's oeuvre in portraiture can be viewed against the backdrop of Restoration London, which by this time was a bustling centre of commercial activity with a burgeoning trading empire. The expensive and highly prized exotic medium of ivory was therefore the perfect vehicle for Le Marchand's dramatic Baroque style and these creations appealed particularly to those figures who in their business, state or artistic capacity were instrumental in creating the wealth and prosperity of the City of London. This is illustrated by Le Marchand's most loyal patrons who were the Raper's, a family of wealthy silk merchants who were amongst the earliest Directors of the Bank of England.Although unsigned, the style and quality of the execution of the carving of the present lot is undoubtedly characteristic of Le Marchand's distinctive ivory portraiture. However the absence of the sculptors deeply-cut and sometimes rather crude initials to the area under the upper arm with instead a possible criss-cross erasure may suggest that that either the sitter or the sculptor may have rejected this particular commission. Comparisons with contemporary images of Sir Robert Walpole in the early 18th century with the current lot suggest that he is a very much a likely candidate given the similarities of the sharpness of the distinctive nose and the apparent jowl-like neck below a small chin. However, although this particular portrait is apparently unrecorded, it is possible that the ink monogram and inscriptions to the rear, which were exposed when the plaque was cleaned and the old paper backing was removed, may well be of a slightly later date and subsequently added given that Sir Robert Walpole didn't receive his title until 1725 and this portrait apparently dates from a slightly earlier date - perhaps circa 1710 or thereabouts. Robert Walpole, 1st Earl of Orford, KG, PC, known between 1725 and 1742 as Sir Robert Walpole, was a British statesman and Whig politician who is generally regarded as the first 'modern' prime minister of Great Britain.Walpole was a Whig from the gentry class who was first elected to Parliament in 1701 and held many senior positions. He played a significant role in sustaining the Whig party, safeguarding the Hanoverian succession and defending the principles of the Glorious Revolution of 1688 whilst establishing an effective working relationship between the Crown and Parliament. Beginning his career as a country squire, he appealed to country gentlemen for his political base and his policies consequently sought moderation, working for peace, lower taxes and growing exports with a modicum of tolerance for Protestant Dissenters. By avoiding controversy and any major disputes his 'middle ways' generally attracted moderates from both the Whig and Tory camps. However an appointment to Chancellor of the Exchequer prior to becoming Prime Minister did raise some questions in parliament regarding perceived nepotism on his part after the South Sea Bubble scandal in 1720.Literature:C. Avery, David Le Marchand 1674-1726. An Ingenious Man for Carving in Ivory, London, 1996This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
An Adams double-action air pump, English, early 19th century,signed Adams London, the brass and mahogany pump with double vacuum cylinders and racked rods, ivory maker's plaque, and two large and four small spherical brass finials, 16in (41cm) high, 5Footnotes:Provenance:Totness Grammar School where Charles Babbage was a student, the pump was purchased at a car boot sale at the school in 2017. Sold with this lot is a letter of provenance and a print showing the air pump in the school laboratory.Literature: Millburn, John R., 'Adams of Fleet Street – Instrument Makers to King George III' (Ashgate Publishing Limited, 2000)This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
A pair of late 19th century German Renaissance revival style gilded galvanoplastie metal, ivory, mother of pearl and tortoiseshell inlaid decorative wall platesby Jean Kayser Sohn, Crefeldthe rims decorated with borders of scrolling foliage, one centred by an inlaid portrait of a gentleman, the other of a lady, both wearing feathered caps and with slashed, puffed sleeves, each signed J. F. Kayser Sohn, Crefeld to the edge of the rims, 29cm diameter (2)Footnotes:In 1862, the Dusseldorf based Kayser family, active in the tin industry, opened a new foundry in the Bockum district of Krefeld, which produced designs originating from the Cologne studio of Englebert Kayser. They also participated in several world exhibitions in Paris, Turin, Dusseldorf and St. Louis.For further information on this lot please visit Bonhams.com
NOT SUITABLE FOR EXPORTThe flattened body carved with a bird perched on a blossoming prunus branch, the reverse with a Lingzhi growing from a rock, the ivory-white stone with good play of colour, white opal stopper, ivory spoon5,8cm high including stopperPROVENANCE Acquired Edinburgh 1972, thence by descent
NOT SUITABLE FOR EXPORTThe flattened baluster body raised on a prominent foot, the front engraved with two songbirds perched on a blossoming branch, inscribed: wealth, honour and longevity, signed Baifang, ivory stopper, the collar stained green, ivory spoon6cm high including stopperPROVENANCE Acquired Zurich, thence by descent
NOT SUITABLE FOR EXPORTOf archaistic form, the carapace and folded wings incised, the underside with legs tucked under the thorax and the abdomen carved with notched ridges, the mouth open below bulging eyes, green hardstone stopper, ivory spoon6,3cm high including stopperPROVENANCE Acquired Mauritius 1968, thence by descent
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