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Click here to subscribeA 19th century Japanese netsuke from Meiji period. Signed on the back. In carved elephant ivory portraying a standing Japanese warrior holding a sword with his left hand and with a bent down prisioner on his right, 64,8x45,4x25,6 mm. 43,08 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A 19th century Japanese netsuke from Meiji period. Signed Mokazu. In carved elephant ivory portraying a group composed by eight shells, clams, and seashells. Inside a gigant clam there is a reed and four people, 15,2x32,3x33,1 mm. 11,97 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A mid 19th century Japanese netsuke okimono from Meiji period. Signed on the base. In carved ivory portraying a group of figures composed by a farmer trying to hunt a group of doves or quails that a child next to him is feeding, 33,8x29,3x31,4 mm. 8,68 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A late 19th century Japanese netsuke-okimono from Meiji period. Signed Gyokuaki. In carved elephant ivory portraying a group of six Onis and three men holding a gigant clam, where they are grabbing different objects from, 47x40,6x33,2 mm. 23,36 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A Japanese netsuke-okimono circa 1860-1880 from Meiji period. Signed Gyokuho. In carved elephant ivory portraying a group of characters composed by Daikoku, Okame and Sennin Jogen Fujin. 31,9x24,7x37,6 mm. 14,67 gr.With an expert's report issued by the Spanish Federation of Antique dealers attached.
A mid 19th century Japanese netsuke from Edo period. Signed Ono Ryosho on the base. In carved ivory portraying a group of four kids playing with Hotei, who holds after his back the treasure sack, 37,6x37,5x43,7 mm. 36,99 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A 19th century Japanese netsuke from Edo period. Signed. In carved elephant ivory portraying a group of seven masks depicting different characters, 20,70x35,40x36,20 mm.18,78 gr. Published on Mateu Guillem, "NETSUKE. Las grandes miniaturas de la escultura japonesa. Barcelona: 1998". Page 50. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A late 19th century netsuke-okimono from Meiji period. Not signed. In carved elephant ivory portraying a group of five kids pouringwine in a cup for Hotei, who is sat on the floor, 52,4x36,3x40,6 mm. 29,46 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A mid 19th century Japanese netsuke from Edo period. Signed Tomokazu. In carved elephant ivory with horn eyes portraying a group of characters composed by two fishermen, an octopus and two carps, 34,5x23,5x30,6 mm. 11,85 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A 19th century Japanese netsuke kagamibuta from Meiji period. Not signed. In carved elephant ivory and a bronze plaque partially gilded portraying two quails pecking flowers and seeds around them, 15,20x42,20x42,20 mm. 33,03 gr. Published on Mateu Guillem, "NETSUKE. Las grandes miniaturas de la escultura japonesa. Barcelona: 1998". Page 168. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A Japanese netsuke okimono circa 1860-1880 from Meiji period. Signed Masayuki on the base. In carved elephant ivory portraying a group composed by a monkey, a dog and an 'Oni' pulling a cart with a woman and two 'Onis' and a warrior with a bird head pushing, 35,3x54,6x32,7 mm. 40,88 gr. With an expert's report issued by the Spanish Federation of Antique dealers attached.
An early 19th century Japanese netsuke from Edo period. Not signed. In carved elephant ivory portraying a crawling child wearing a tortoiseshell vest tied to his back, 24,6x25,1x55,1 mm. 24 gr. Published on Mateu Guillem, "NETSUKE. Las grandes miniaturas de la escultura japonesa", Barcelona: 1998. Page 70. With an expert's report issued by the Spanish Federation of Antique dealers attached.
A Pair Of French 25-Bore Flintlock Silver-Mounted D.B. PistolsBy Laroche A Paris, Silver Dechage Mark, Probably For Paris, Mid-18th CenturyWith barrels each with a gold line around the muzzles and gilt rays around the silver fore-sight, engraved in gold within punched and gilt borders along each rib and with gilt scallop shells and a martial trophy, the breeches each with a differing chased gold sporting trophy and with bands of gold foliage between gold lines, the side-flats gilt, tangs each with a gold starburst in the sighting groove and a small gold martial trophy on the tail, signed border engraved flat bevelled locks decorated respectively on the stepped tail with a recumbent stag and a boar beset by two hounds, border engraved bevelled cocks each decorated with foliage, highly figured moulded half-stocks each carved with foliage in low relief around the barrel tang and rear ramrod-pipe, the former with shell terminal, the back of the butts inlaid with symmetrical silver wire scrollwork, cast and chased mounts comprising spurred pommels each with an elaborate trophy of arms on both sides and grotesque mask pommel-cap, the spurs within silver wire wrigglework borders, trigger-guards each with moustachioed grotesque mask surmounted by a foliate finial, and with a raised rectangular panel on the bow, turned rear ramrod-pipes each with border engraved terminal incorporating the barrel-retaining screw (lugs loose), and original ivory-tipped ramrods each with iron worm (2)29.2 cm. barrels Footnotes:See J.F. Hayward, The Art Of The Gunmaker Volume II 1660-1830, 1963, pp. 182-184. Hayward states 'The most outstanding Parisian gunmakers of the mid-eighteenth century were the two Laroches, father and son. Jean Baptiste Laroche was Arquebusier du Roi during the reign of Louis IV and succeeded in 1743 to the logement in the Louvre, which had been occupied by the younger le Hollandois. He was aided in later life by his son, who in 1763, succeeded his logement in the Louvre'The ramrods can be removed for shipping purposesThis 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 French 16-Bore Flintlock Silver-Mounted Sporting Gun For The Export Market By Alexandre Carlat A St. Etienne, Provincial Silver Marks For 1819-1838With long barrel with fore-sight centred on a gilt starburst, the breech deeply chiselled with a martial trophy against a gilt ground and engraved 'Canon. Tordu' beyond, the underside of the breech stamped 'Merley Fraysse Tordu', bright border engraved tang grooved for sighting, signed flat lock engraved with a wolf in a landscape on the tail, foliate engraved cock, top jaw and steel each engraved with branches of laurel, semi-rainproof pan and roller, figured half-stock with chequered grip and fore-end, the latter carved with foliage behind the rear ramrod-pipe and barrel tang, the side-flat and rear of the butt inlaid with silver wire scrollwork and engraved silver foliage, border engraved mounts comprising winged foliate engraved side-nail plate, butt-plate with a townscape in an oval on the foliate heel tang, scroll trigger-guard with a heron in an oval between foliage on the finial and a hound in a landscape on the bow, turned rear ramrod-pipe en suite, vacant gold escutcheon, baluster ramrod-pipes each on a mount engraved as a double-headed eagle, and original horn-tipped ramrod, St. Etienne proof 122 cm. barrel Footnotes:An Alex Carlat is recorded in St. Etienne between 1817 and 1825. Merley-Fraysse (Fils) is also recorded in St. Etienne between 1820 and 1825The ramrod can be removed for shipping purposesThis 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 Cased Liège Pin-Fire Meyers Patent Six-Shot Pocket Revolver Of Small BoreLate 19th CenturyWith blued fluted barrels decorated along each flat with silver line strapwork between silver pellets, retained by an oval-headed screw pierced for a tommy-bar and each rifled over half their length to the muzzle, blued action and butt with silver line borders, the former stamped 'Meyers Brevette' (Neue Støckel 7905) on the back of the left recoil shield, the latter with threaded cartridge extracting rod and rounded ivory grips, bright hinged loading-gate, hammer and folding trigger, and in fine unfired condition: in contemporary lined and fitted mahogany case with pewter oil bottle, the exterior of the lid with circular vacant brass escutcheon, Liège proof 4.8 cm. barrels Footnotes:A Ferdinand Meyer is recorded in Zurich between 1876 and 1877This 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
λ A 19th century Chinese carved ivory fan, the guards deeply carved with figures, pavilions and flowers, the leaf of embroidered cream silk, the recto featuring partridges, butterflies and flowers, the verso butterflies and flowers, fitted with a shaped loop and bi-coloured silk tassel, 33cm long
Two 19th century fans; a mother of pearl fan with dyed blue mother of pearl guards, mounted à l’Anglaise on ivory gorge sticks, the gauze leaf is embroidered with central spangled band between alternating green and gold sequin borders flanked by looped swags of fish scale sequinned droplets in an undulating panel running the breadth of the leaf, 16cm long; an ivory fan, the guards carved and painted pink and green with flowers and a pole, central cartouche painted with young woman and signed, painted pink flowers are interspersed within embroidered gold and silver spangles, 22cm long (2)
λ Two Chinese Export ivory fans, an 18th century ivory fan with Chinese Export monture, Qing Dynasty, both guards deeply carved in three distinct panels, each finished with a white mother of pearl thumb guard, the upper panel with tiny flowers and birds, the middle panel with similar, the third with larger blooms, mid way on the upper section, a small roundel with a single carved crane, the gorge sticks are lightly carved, showing an indoor gathering of oriental people, several seated at a table, the double paper leaf, in pale lilac, is adorned with small silver sequins, verso is plain, but unusually the gorge sticks are carved, this time with intertwining scrolling, 28cm long; a Chinese Export fan, Qing Dynasty, the upper guards deeply carved with four distinct sections, all minutely carved, with stylised trees, flowers, two figures, in two of the panels, greeting each other, the section from shoulder to head worked with mountains, trees, figures and flowers, in contrast the gorge sticks are carved and pierced in four horizontal bands, with complex geometric designs of different sizes, the double paper leaf is painted with oriental figures, to the left with young adults either playing team sport or taking exercise, centrally younger children are supervised by a mother, and to the right two wealthy men stand on a hump-backed bridge in a water garden, with their attendants, verso painted with a bird on a bough, colourful flowers, and insects, 26.5cm long
λ Three 18th century Chinoiserie fans, Qing Dynasty, the montures of ivory, the first with slender monture, carved and pierced in European style, has classical piercing to the gorge, featuring a central cartouche with entwined initials, the double leaf is painted to the recto with three main scenes and four small vignettes, the latter showing flowers, a sailing boat on the sea, a butterfly, and a duck swimming amongst reeds, the central painting depicts three oriental figures in a garden, a lady to the left feeding a fawn, the middle figure holding a stick from which dangles a circular game, perhaps, and the third person is holding an open fan, to the right, a couple in the garden with a colourful parrot on a perch, the lady holding a fixed fan possibly formed from peacock feathers, the gentleman in very stylised attire with hat, long drooping moustache, and yellow and blue robe, the last painting features a large painted vase filled with colourful flowers, the reserves, painted in dark brown, are decorated with grey and gold foliage and delicate swags, the verso is painted with a simple spray of pink and blue flowers, 25.5cm long; the second fan, mid-18th century, the ivory monture carved and pierced, the upper guards with a robed oriental man , the lower section and gorge sticks shaped at the shoulder and in three further bands, two of pierced ovals containing either a bloom or a geometric motif, the lower band slightly deeper but again quite geometric, double paper leaf is designed with three large shaped sections and one smaller, all showing oriental figures engaged in different outdoor activities, these sections are all bordered in gold, this also highlighting other designs of flowers and berries painted to the reserves, verso is well painted in very subtle shades with various floral species, 28.5cm long; and a very subtle example of an ivory fan, the slender guards lacquered in taupe with delicate stems and flowers, the gorge sticks are shaped to the lower section, above this, a simple Chinoiserie scene, painted in apricot, showing a couple in the outdoors with stylised trees and rocks, the pale double paper leaf depicts three household objects, incense burners, a side table supporting a vase, and a larger table with similar, verso painted with a delicate spray of orange berries, 28cm long (3)
λ Two 18th century ivory fans, an early 18th century ivory fan with ivory monture, the head coming to a definite point, the guards overlaid with white mother of pearl, the velum leaf, mounted à L’Anglaise, shows Cupid before his altar, flames glowing, two ladies of different social standing vying for his attention, and a gentleman soldier to the far right, with red cloak and plume, helmet, breastplate and spear, clearly the object of their eagerness, plain verso, 27.5cm long; an 18th century ivory fan, with fairly bulbous head, the monture slender, the guards plain and the gorge sticks carved and pierced in bands, the double paper leaf is painted with Venus in her chariot drawn by white doves, attempting to prevent Adonis from going hunting with his dogs, her ladies gathering flowers and playing with several winged cherubs, Cupid with his bow and arrow appearing in a tree to the background, to the back left, an ancient city beside the sea, verso is painted with a colourful bird in a tree, large blossoms, leaves and a butterfly, 25.5cm long (2)
λ Two 18th century ivory fans, an early 18th century ivory fan, the monture carved with male and female figures to the upper guard, the lower sections changing design to complement the floral gorge, each gorge stick is carved into gilded columns, around which meander green stems bearing flowers at three intervals, thus forming horizontal pink bands, the plant stems are designed to extend proud of the columns, quite a feat of carving, fitted with mother of pearl thumb guards and finished with a red stone to the rivet, the vellum leaf, mounted à l’Anglaise, features a countryside gathering of men and women, seemingly of upper and lower social status, perhaps celebrating the harvest, with refreshments laid on a solid wood table, in the background, various ruins and at least one large country residence, with tower, verso is painted with a band of flowers in pastel blue, pink and lilac, extending the length of the top edge, 24.5cm long; an 18th century gentleman’s fan, the plain dark green silk leaf edged with gold, the simple ivory monture is carved and pierced to the gorge in a classical design, 24.5cm long (2)
λ Gaius Julius Caesar: an unusual 18th century ivory fan, the slender monture carved to the upper guards with a soldier with metal headdress, and another with a different head covering, the Gorge sticks are classically carved and pierced, the central cartouche showing a gathering of three figures, the vellum leaf, mounted à l’Anglaise, shows three men in Roman togas, Caesar seated at the head, wearing a crown of laurels, another man has left his seat to press home the point he is making, whilst a third leans back contemplating the exchange, possibly a meeting of the First Triumvirate, formed in 60 BC between Caesar, Crassus and Pompey, the leaf is ornately but very delicately painted with a gold border, containing crushed mother of pearl, tiny colourful flowers, the side borders with the addition of tiny birds and insects, verso, in cream, is painted very classically with a fine leafy border, swagging with tied bows, and several floral sprays, 24.5cm long
λ Two 18th century fans, Bacchus and Ariadne: A fine and early 18th century ivory fan with intricate carving and decoration to the monture, the guards, which widen slightly as they meet the shoulder, are carved with shells, when the fan is open the head is seen to be elaborately shaped, and flat at the end, the gorge is delicately painted with four shaped vignettes, two having black borders tinged with gold, the remainder in gold with turquoise features, pink roses are painted within two of the vignettes, at the shoulder and mid-gorge, the lower gorge carving, sides shaped and serrated, create complex designs when the fan is closed and seen from the sides, embossed white metal loop, the vellum leaf, mounted à l’Anglaise, shows the arrival of Bacchus, and Ariadne, the chariot drawn by leopards, verso is painted with a maiden seated in a clearing, scythe in her hand, 26cm long; an 18th century fan, the monture of bone, with interesting side carving, the double paper leaf printed and hand coloured, showing a king greeting travellers arriving by water, a small boat having been launched from a larger vessel with ornate curved prow, the visitor, a soldier in red cloak and plumed helmet, bows on one knee, whilst servants unload provisions in the background, the king’s entourage area also in military dress, verso is plain, save for a simple countryside scene, 27.5cm long (2)
λ East Meets West: a large 18th century ivory fan, the monture a half circle, the upper guards carved with a tender scene of young children embracing, with a pair of birds in foliage beneath, the gorge is delicately carved, pierced and gilded, a female figure and her dog over two sticks, alternating with a pair of sticks designed with foliage, the sides of these sticks scalloped, the vellum leaf, mounted à l’Anglaise, is divided into five sections, two of triangular form, the turquoise background containing a shaped vignette, each featuring a robed Chinoiserie figure, the remaining scenes are painted with three rural scenes, with a maiden carrying basket of flowers on her head, a shepherd leaning on his staff, and a central family group relaxing next to a stone garden edifice, country estate buildings in the background, verso is painted with vibrant Spring flowers and a simple landscape, 26cm long
λ Two 19th century Japanese fans, the first with ivory guards, lacquered in gold and painted in bright red and dark green, with a design of a small bird in flight and branches with blossoms, the gorge sticks are bamboo, painted black, the double paper leaf is a dramatic presentation of a tree and bold red poppies against a navy-blue ground, a dull gold lower border offset by an upper silver border with metallic detail to the upper tree branches, verso in matt rose pink, is painted in dull gold with several moths and butterflies approaching reeds, 25.5cm long; a large topographical Japanese fan, the double paper leaf mounted on bamboo, the guards with traditional thread lacing, depicting a large palace or other important building alongside a river, amidst parkland, other equally prestigious buildings to the sides, a statue and a city skyline, mainly with Westernised architecture, verso plain, 34cm long (2)
λ A selection of miniature fans, of mixed materials, together with a small white mother of pearl dance card fan or Carnet de Bal, wedge-shaped, the upper guard inscribed in black with the word “Bal”, each of the six interior ivory “pages” retains names written in pencil, fitted with a slender gold chain for the pencil, daisy at the rivet, 21cm long; six small fans: a plain dark wood example with plain leaf; a pale wood example with paper leaf painted with flowers in light sea-green; a bone example with upper guard carved with flowers, the thin paper leaf painted with white flowers; another such bone fan; a larger, early 20th century Chinese fan, the silk leaf painted with waterside flowers and reeds, the cream flowers to the left embroidered in silk thread, as is the orange butterfly, plain bone monture, 15cm long; a bone fan of similar size, the pale blue silk gauze leaf painted with very similar reeds and flowers, the white flowers and moth also embroidered in silk threads, 15cm long (7)
λ Three fans, a 19th century Chinese carved ivory brisé fan, the guardsticks carved with figures, pavilions and flowers, sixteen sticks carved to both sides in relief with figures, pavilions and trees, 19cm long; a similar chinese carved ivory brise fan, the guardsticks carved with figures and pavillions, nineteen sticks carved in relief with figures, pavilions and trees with a central roundel, verso plain, 19cm long; a fan with mother of pearl sticks and guards, the leaf hand painted with Cupid and a young woman, signed R Serand, verso plain, 21cm long (3)
λ A selection of mainly Regency period ivory fans for spares or repair: the first, being contained in a red period fan tube, the label for “P. JUCHAU, Fan Maker, No. 73, Fore Street, Finsbury Square (London), Fans wholesale, retail and for Exportation, NB. Fans neatly repaired”, the fan, with paper leaf, mounted à l’Anglaise on slender sticks with tiny gorge, carved and pierced, shows a muse seated in a cloud playing a harp, with two winged cherubs listening intently, the background is one of a distant mountain range with stone buildings, one with a circular tower, the verso with simple rural dwellings, 17cm long; a slender ivory fan painted with Venus in her chariot drawn by white doves, 20cm long; a Regency fan, probably bone, the slender monture plain, with barrel head, the printed leaf, hand coloured, depicts a tender scene of a young mother playing with her baby son and young daughter, printers reference on the leaf to the left, B.l.D. 125, 20cm long; an early 19th century carved and pierced ivory brisé with slender sticks, the two guards and twenty-three inner sticks all carved in regular fashion in horizontal bands of different designs, 16.5cm long; A dramatic fan for evening use, the very slender sticks carved and pierced and painted in black, barrel head, the black net leaf is overlaid with black silk to the lower section, the leaf is embroidered with gold foil motifs in various shaped and sizes, the largest to the top, netty section. In various parts the foil is further embroidered with round gold sequins. Guard length approx. 7.5 inches or 19cm; an extremely ornate ivory fan, carved, pierced, inset with various silver metal shapes, and clouté in silver, elaborate gorge carved and pierced in several horizontal bands, gilded and silvered, complementing the pink silk leaf, which is designed with bushes and flowers surrounding a slender lady in regency dress, her face an appliqué of exquisitely painted paper, the top border, bushes, leaves and flowers are formed from applied pressed gold foil with the addition of gold sequins, verso plain, 20cm long; an ivory fan, classically carved and pierced, the cream silk leaf embroidered to the reserves with silver sequins in swags, the central focus being a hand coloured engraving of a Regency lady, wearing a high-waisted white gown, a band in her upswept hair fitted with a curly white ostrich plume, holding a music score with the heading "God Save The King.”, gold foil edging to top and bottom of the leaf and laid behind the piercing on the guards, 24.5cm long (8)
λ Two 18th century fans, The Triumph of Bacchus: an early 18th century ivory fan with slender, serpentine sticks, the upper guards heavily and ornately carved with a semi-naked male figure holding a trumpet and pennant aloft, standing on an orb with a cross and wings beneath, a rose and another cross, and a possibly thistle, the lower guards are painted brown, ending in tortoiseshell thumb guards, and shaped to complement the plain ivory gorge, the double vellum leaf is painted with a procession, crossing in front of a gated archway, a second archway in ruins to the left, Bacchus and his chariot drawn by two leopards at the centre, a large goose or duck amongst the revellers, Venus is seen in her chariot, drawn by doves, in the sky above, the upper edge of the leaf is painted with a dark red heart to the centre, edged in gold, and further fine red flowers and green leaves, all also picked out in gold, verso is painted with Cupid balancing on a globe, bow in hand, the globe seemingly on a leash, tiny print reads “mer de sur” on the top section and “mer de zur” on the lower section, 26cm long; a late 18th century carved ivory brisé fan, with twenty-six inner sticks and two guards, and a colourful painted central panel showing classical ladies, one appearing to be pleading with the other, with a cherub peering out from behind, possibly after “Cupid’s wound” by Angelica Kauffman, where Euphrosyne complains to Venus about the wound caused by Cupid’s dart, 26cm long (2)
λ An early 19th century ivory fan with spyglass, the monture carved, pierced and very lightly gilded, the small gorge ends with a bulbous head, into which a spyglass has been inserted, the leaf, with two horizontal painted panels, is backed with a pale lemon net, this being backed with cream silk, the top third of the leaf is designed with a band of cream silk containing five topographical scenes, to include a viaduct over a major river, a cluster of buildings, one with tall spire, another bridge and tower, a stone building with towers and archway, and a group of rural buildings, in between the scenes and forming their borders, tiny gold sequins and silver spangles are embroidered, the larger scene beneath depicts a pastoral setting, a young couple sitting together as dusk approaches, a chaperone at a discreet distance, mounted à l’Anglaise, with a simple painting of pink roses and blue ribbons and bows to the upper verso, 19cm long
λ A selection of 19th and early 20th century fans for restoration and spares, including an ivory fan with serpentine sticks, shaped with a band of decorative ovals to mid-gorge, carved and painted within, and bordered with gold, with flowers, baskets, and token of love, in tune with the upper guards, the narrow leaf, mounted à l’Anglaise, of silk laid over cream gauze, is painted with four scenes of the outdoors, with people at their work and leisure: harvesting the hay, a horse and cart bringing in produce, a couple enjoying the spring days and young boys skating on the winter ice, the reserves are embellished with gold spangles and painted with symbols of each season, verso is plain, 23cm long; a silk fan, the double leaf painted to the recto with a maiden by a riverbank, listening to a young piper, side vignettes painted with flowers, the reserves elaborately gilded, verso is painted with musical instruments, and flowers, the monture, carved, pierced, silvered and gilded, has the addition of tiny turquoise sequins to the gorge, 21.5cm long; an ivory fan circa 1870’s to 80’s, the monture plain save for painted initials in dark blue, to the upper guard, the cream silk satin leaf is overlaid with floral Brussels bobbin appliqué lace, with a narrow lace border to the top edge and sides, plain verso, 24cm long; a 19th century lace fan, the monture plain ivory, the black machine lace leaf with floral upper border and spotted centre laid over lightweight cream silk, plain verso, decoratively shaped gold metal loop, 28cm long including lace edge; a pair of mid 19th century face screens or fixed fans, each painted on sturdy fabric with floral sprays, an unmatched pair in terms of painting, featuring red poppies, pale roses, and lilac and pink flowers of varied species, edged with tasselled braid, plain versos, mounted on elaborately carved and shaped ivory handles; a small early 19th century ivory fan with tiny gorge, barrel head, and lightly pierced monture, the cream silk gauze leaf is embroidered with silver sequins, the design of three densely formed large flowers, with leaves to the sides and swags beneath, plain verso, 16cm long; an early 19th century fan with plain and simple pink silk leaf, the monture carved and pierced in chinoiserie style, the guards with an oriental figure to the upper section, the gorge and lower guards with flowers and leaves surrounding two central hexagons containing floral carving, an oriental figure to each side, 21cm long; a Regency sequin fan, the ivory monture with tiny gorge, barrel head, the decoration classical, silvered and gilded, the cream gauze leaf is overlaid with cream silk to the very top edge and half of the main body of the fan, embroidered in roundels alternating with leaves, the top section of gauze features gold sequins of average size reducing to minute examples to provide detail, the lower silk section features vertical rows of alternating sizes and small floral sprays to the reserves, bears an old French shop label to the verso, 19cm long (9)
λ Two 18th century fans, an 18th century fan with bobbin lace adorns a rose-pink silk leaf, the fan monture Chinese Export, Qing Dynasty, the guards, worked in panels, delicately carved with buildings, foliage and flowers, complement the finely carved and pierced gorge, with insects and fruits amongst the meandering scrolling, with three distinctive ovals to the centre, each featuring buildings, mountains and stylised trees, the pink silk leaf is applied with 18th century bobbin lace edging, carefully placed to marry up the design of each band to create a wavy upper border, the design is then a trompe l’oeil of “ribbon” with fine fillings, the lace extends down each side, verso plain in black silk, 28.5cm long; a mid-18th century ivory fan, the double vellum leaf painted with several groups and courting couples strolling in the countryside, the group to the left, three young couples of rural appearances, contrasting with the more refined family group to the centre, with their King Charles spaniel, dressed in velvets and lace, to the right, a courting couple, the lady wearing an opulent deep pink cloak tied with blue ribbon, and holding a folding fan, verso is painted with entwined initials in gold and red “G” beneath a crown with nine pearls or balls, for a Viscount or Comte, the carved and pierced ivory monture, with a large figure, flower and bird to the upper guards, has an intricately carved gorge, both linear and floral, 28cm long (2)
λ Three mid-18th century ivory fans, the first with double paper leaf, the upper guards carved deeply with an oriental robed figure, carrying fruit, flowering blossoms around him, the gorge is pierced with a number of ovals and roundels, and two larger areas which span four sticks, all with delicate patterns and small-scale work, the leaf is painted en grisaille to the verso, with a spray of flowers attracting a large butterfly, edged with silver foil, verso has a single bud and leaves painted in the same fashion, 27.5cm long; a fan with découpé, Chinoiserie leaf, featuring a gentleman about to take tea, his servant, having brought the teapot in a tray, looking for his master, who he soon locates up a tree, the reserves are painted with branches of delicate flowering blossom, verso is plain, save for the decoupage, 28cm long; a mid-18th century ivory fan with carved upper guard and simple piercing to the gorge sticks, the double paper leaf depicts a gathering in the outdoors in Chinoiserie fashion, many robed oriental figures engaged in different activities, beside a river, a junk passing to the extreme right, several ladies are gathered next to a table perhaps preparing for a meal, whilst another, seated, regards a bird perched amongst blossom in a nearby tree, younger family members play to the far left, several butterflies and moths are attracted to the delicate blooms that spring from various branches, verso is plain, save for a simple floral spray, 28.5cm long (3)
λ A mid 19th century fan with gilt metal guards, circa 1830, the upper sections each with two recessed panels painted delicately in pastels with spring flowers, covered with glass, four different designs, the tip, middle and lower part of this section containing embossed gilt metal flowerheads with pink mother of pearl overlay on ten of the sticks, the others of ivory, all sticks being gilded and silvered, with flowers, the leaf, of cream silk laid over gold lamé, cut away in places to reveal the bright lamé, is profusely embroidered with gold sequins and spangles, three tall leaf shapes alternate with ovals containing stars, an undulating panel running the breadth of the leaf, mounted à l’Anglaise on ivory gorge sticks and ribs, verso is plain, 21.5cm long
λ Two 18th century fans, a mid-18th century ivory fan with the monture carved and pierced, the upper guards with a country gentleman leaning on his staff, foliage and flowers below, the panels are underlaid with bright cerise foil, the gorge, carved with a central shaped cartouche, depicts an 18th century lady playing with a small boy, each side of this scene further carved with a large diamond containing a flower and leaves, the cream silk leaf, painted with vertical panels of wild flowers, and berries, in purple and red, is further embroidered with bands of tiny sequins, alternating between gold and silver, the upper border, painted with blue flowers and soft fruits, is contained within swags embroidered with gold thread, verso is plain, 28.5cm long; an 18th century ivory fan, the monture carved and pierced to the upper guard and gorge, the gorge sticks carved in regular designs, in pairs alternating with single sticks, the cream silk gauze leaf appliqued with yellow diamonds of pendant form to the upper border, their sides being embroidered with small silver sequins, the leaf is finished with silver foil to the edges, 24cm long (2)
λ Two 18th century fans, an early 18th century ivory fan with slender monture, the upper guards carved, each with the same male figure, and a bird below, the gorge sticks are simply and regularly pierced, with bands of shaping down by the head, the double paper leaf, in Chinoiserie style, shows a family and an elder, the latter to the left, perhaps a teacher, as the younger, child carrying a book is seemingly not eager to leave his family and approach the gentleman, an older child hides behind the mother, and the father sits calmly to the right, observing, verso is plain, save for a pale pink peony, note the flattened head, 28cm long; a later 18th century ivory fan, the monture painted in green and violet, with flowers to the upper guards complemented by swags of smaller flowers and leaves on the gorge, two bands pierced into flowerheads and painted a strong green, the double paper leaf complements these colours with striped vertical lines and in the colours within painted scenes, central cartouche is painted with a young oriental child in a clearing, seemingly delighted with encountering a fawn and her young, to the left, a vignette painted with a panier, to the right, another with a spray of violet flowers, verso is plain, save for a delicate spray of blossom, 28cm long (2)
λ Two early 19th century fans, a 19th century fan with double paper leaf, circa 1830s, the simple ivory monture inset with tortoiseshell to the upper guards, and as thumb guards, the recto painted with a scene of romantic subterfuge, a gentleman is busying himself with looking into the distance using a brass telescope, the lady beside him is surreptitiously passing an envelope to another gentleman, hidden in the bushes to her left, verso is painted with the colours of the rainbow, a technique seen less and less frequently and relating to a short period in the production of fans, 26.5cm long; a small carved and pierced ivory brisé fan with twenty-six inner sticks and two guards, the tips shaped and serrated, the central cartouche carved with a family group of three, the vignettes to each side carved with a gentleman to the left and a lady to the right, large diamantés to the rivet, verso is not carved, 16.5cm long (2)
A mid 18th Century hand painted fan with gilded, pierced, carved and shaped mother of pearl-backed ivory guards and matching ivory sticks forming a figural scene with paste rivet to the base. The double paper leaf painted with a full central scene showing figures and putti in an Arcadian landscape, all surrounded by an elaborate gilt and floral border, 10.5 inches long
A fine mid 18th Century hand painted chicken skin fan with gilded, pierced, carved and shaped ivory guards and matching ivory sticks. The sticks with three separate hand painted cartouches, each of a classical maiden with paste rivet to the base. The double leaf painted with a full central scene showing a wedding procession in a country landscape, headed by musicians, the bride on horseback with entourage ,all surrounded by an elaborate gilt and floral border. The verso with a central scene of a courting couple, the gentleman presenting a dove to his lady.With old label giving provenance 'Lord Hamilton Charles Mills by family descent to present owner'.11.5 inches long
λ A pair of Chinese Qing dynasty 'Pien Mien' ivory, kingfisher feather and silk embroidered circular hand screens / fans, circa 1840, of a type used by the ladies of the Imperial Court during the summer time, each is brightly and boldly applied to one side with raised birds of paradise on branches, butterflies and flowers made using principally turquoise Kingfisher feathers all applied to a gold foil ground, verso with delicately embroidered floral designs, all set within an embroidered circular frame with carved ivory handles, the terminals shaped and carved as stylised bats, 17cm wide (2), note: a group of comparable fans are in the Imperial Palace, Beijing, illustrated in Classics of Forbidden City 'Life in the Forbidden City of Qing Dynasty' ISBN 978-7-80047-655-6 by the Forbidden City publishing house, edited by Wang Shuqing and Lu Yanzhen, Beijing 2007, pl.212, see also N.J.Irons, Fans of Imperial China, Hong Kong, 1982, p.227, for a kingfisher-decorated fan of similar type, where he describes them as Pien-mien fans, a similar silk screen fan with applied designs of feather inlay, dated circa 1850 is illustrated by C.L.Crossman, The Decorative Arts of the China Trade, Suffolk, 1997, pl.202 (ex collection of the Peabody Museum of Salem)
Two fans, a mid- 19th century Chinese Mandarin fan, Qing Dynasty, the monture of wood, lacquered in black and decorated in gold, the guards feature auspicious symbols including a bat, the gorge depicts a large outdoor scene with figures, their robes of applied silk and their faces of painted ivory, and buildings, the double paper leaf features various gatherings, mostly outdoors, with some views to the distance, 28cm long; a second Chinese fan monture, lacking the leaf, with a gorge designed in horizontal bands, the sticks shaped, each with detailed images, from large flowers, to robed figures, with very little background left bare, the guards with figures, flowers and butterflies, 28cm long (2)
Alboin Birks for Minton, a pate-sur-pate plate, circa 1897, decorated with a cherub carrying yoked water pails to a terracotta cartouche, reserved to an ivory field highlighted with gilded flowers within a foliate swag border, the Greek Key reticulated rim with relief moulded starburst medallions, monogrammed, impressed and painted marks, 24cm diameter
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