A gilt-copper elephant head ornament (nettipattam) South India, 19th Centuryof tapering form, the cotton ground decorated with applied gilt-copper crescent and circle elements with a central lobed element, the interstices with smaller elements, with a tassel fringe and pendant gilt-copper element 190 x 104 cm. including tasselsFootnotes:ProvenanceThe Mohammed Khalil Collection.PublishedM. K. Ibrahim, Islamic Arms and Armour, Vol. II, United Arab Emirates, 2022, p. 805, cat. no. 659.Nettipattam is an ornament used in Kerala to adorn the forehead of temple elephants during festivals. According to tradition, Brahma was the first divinity to create a forehead embellishment for Indra's white war elephant, Airavata. The large circular elements represent different deities, whilst the lobed central element represents the trinity, Brahma, Vishnu and Shiva. The crescents represent the heavenly bodies whilst the ground of small circular elements represents the stars.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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A Mughal rock crystal-hilted steel dagger (khanjar) India, 18th Centurythe double-edged steel blade of curved form with two fullers, terminating in an armour piercing tip, the rock crystal hilt of pistol-grip form with curved quillons, carved and decorated with floral and foliate motifs 38.5 cm. longFootnotes:ProvenanceThe Mohammed Khalil Collection.PublishedM. K. Ibrahim, Islamic Arms and Armour, Vol. II, United Arab Emirates, 2022, p. 681, cat. no. 496.This form of dagger appears to have become popular at the start of the 18th Century, having first emerged in India circa 1650. The type is depicted in miniatures from the period, such as an example from the mid-18th Century sold in these rooms depicting the Emperor Muhammad Shah receiving four courtiers, in which the figure on the far right bears a gem-set khanjar within his patka (see Bonhams, Islamic and Indian Art, 5 April 2011, lot 243). The present lot is a fine example of this dagger type, the hilt carved and decorated in a floral and foliate design that exemplifies the Mughal preoccupation with nature and natural forms. A comparable rock-crystal example is in The Al-Sabah Collection, Kuwait (Inv. No. LNS 77 HS).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A fine gold-inlaid watered-steel push dagger (katar) India, 17th/ 18th Centurythe double-edged watered-steel blade with armour piercing tip, chiselled with central spine flanked by triangular recesses and two small fullers, the hilt of typical form with faceted baluster grips and flaring sidebars, decorated in gold inlay with pavilions in a landscape, the wood scabbard clad in red velvet with foliate openwork steel mount 35.7 cm. longFootnotes:ProvenanceThe Mohammed Khalil Collection.PublishedM. K. Ibrahim, Islamic Arms and Armour, Vol. II, United Arab Emirates, 2022, p. 694, cat. no. 514.The decoration on the hilt of the present lot is exceptionally fine. The flowing water and pavilions are comparable to those found on a 17th Century tulwar (see Robert Hales, Islamic and Oriental Arms and Armour: a Lifetime's Passion, London, 2013, p. 164, no. 402). The water on the tulwar flows in horizontal bands and around the base of the pommel, whereas on our katar, the water flows so as to follow the vertical design of the sidebars, demonstrating the great detail paid to the relationship between the form and decoration of the individual weapon. Another example of similar decoration appears on a 17th Century chape in the same publication which features cypress trees and flowering shrubs with lotus flower-filled ponds (ibid p. 59, no. 123). Robert Hales refers to the slightly darker steel of both these examples as being blackened, or dark burnished, similar to the hilt of the present lot. A further Mughal or Deccani enamelled 17th Century dagger which features bands of flowing water and pavilions is in The Furusiyya Art Foundation Collection (see Bashir Mohamed, The Arts of the Muslim Knight, the Furusiyya Art Foundation Collection, 2007, p. 229, no. 20).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ATTRIBUTED TO KANO TAN'YU (1602-74) EDO PERIOD, 17TH CENTURY A set of three Japanese kakejiku (hanging scroll paintings), all three in ink and colour on silk; two depicting monkeys, one with a gibbon pointing towards the sky and the other with three primates hanging from a branch; the third painting depicting Monju Bosatsu, the Bodhisattva of Wisdom seated on a large shishi and holding a long sceptre; all three signed and with a red seal mark, each 105cm x 42.5cm. (3) Provenance: by repute, previously in the collections of Marquis Mori and K. Watanabe.The paintings of monkeys depict a common story in Zen Buddhism: five hundred monkeys held onto each other's tails to catch the reflection of the moon in a well. They failed and as the branch from which they were hanging suddenly broke, they understood their absurd mistake. This story symbolises the unenlightened people who cannot distinguish between reality and illusion.
Vasant ragini: Krishna, or a prince in the guise of Krishna, dancing in a forest grove with female musicians Malwa, circa 1650gouache on paper, partial red borders, yellow panels at top and bottom, nagari inscription verso 220 x 154 mm.Footnotes:ProvenanceWith Doris Wiener, New York, 1980s.Formerly in a private UK collection.For the subject, associated with spring and the celebration of holi (hence the red background), see K. Ebeling, Ragamala Painting, Basel 1973, p. 234. For another depiction of the subject, painted in Bundi, circa 1660-70, see Sotheby's New York, Important Indian Miniatures from the Paul F. Walter Collection, 14th November 2002, lot 20.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Four paintings depicting ragamala scenes and aristocratic pursuits Deccan, perhaps Hyderbad, circa 1750gouache and gold on paper, red borders decorated with gold floral motifs, each with cover paper 270 x 210 mm. and slightly smaller(4)Footnotes:ProvenancePrivate collection, Kent, UK, for at least 50 years.The subjects are:Hindol raga, a nobleman seated on a swing, surrounded by female musicians.Malavi ragini, a nobleman embracing a maiden, with two girls in discussion nearby (see K. Ebeling, Ragamala Painting, Basel 1973, p. 51).A prince and a lady out hunting on horseback with female attendants, perhaps Baz Bahadur and Rupmati.A prince watching elephant combat in a palace courtyard.For further information on this lot please visit Bonhams.com
Saramananda, son of Raga Hindol Chamba, circa 1700gouache and gold on paper, red border, verso three lines of inscription in nagari and takri script, and the stamp of the royal library of Mandi 215 x 154 mm.Footnotes:ProvenanceFormerly in the Mandi Royal collection.Private German collection, prior to 1969.Sotheby's, The Indian Sale, 23rd May 2006, lot 89.For the subject, depicting two warriors in combat, or perhaps practising sword fighting, see K. Ebeling, Ragamala Painting, Basel 1973, p. 296, no. 384. The apparent lack of any wounds on either man suggests that they may be practising, and contrasts with the more bloody Rajasthani depiction of Nat ragini (see Ebeling, p. 232, no. 154).Nine Bilaspur ragamala paintings from a dispersed Mandi album, including our painting, appeared in the Sotheby's 2006 sale, lots 86-94.This painting is part of a ragamala series formerly attributed to Bilaspur. However, Catherine Glynn in a new study of other illustrations from this same series has re-attributed them to the court of Chamba (C. Glynn, R. Skelton and A. L. Dallapicolla, Ragamala: Paintings from India from the Claudio Moscatelli Collection, London 2011, p. 34, cat. 14 and 15). Nine further paintings from the series, attributed then to Bilaspur, were sold at Sotheby's New York, 29 March 2006, lots 164-173.Other examples from the series have been sold at Sotheby's New York, 22nd March 2007, lot 154-5; Sotheby's London, 24th May 2007, lots 2-5; 16th June 2009, lot 24 and 1st May 2019, lot 106; and Christie's London, 12th June 2018, lot 138; 12th June 2014, lot 142. See also Francesca Galloway, Treasures from India, London, 2006, no. 49, pp. 130-131.For further information on this lot please visit Bonhams.com
A group of sixteen letters from the Maharajahs of Patiala, Kapurthala, Jind and Faridkot, to various addressees, including Stanley Baldwin, former Prime Minister of Great Britain, on various matters, including the Round Table Conference and the Chamber of Princes Punjab and North India, dated between 1931 and 1941all typewritten on official letterheaded paper with embossed or printed coats of arms and insignia, with the signatures of the rulers and other secretarial marks and stamps, one printed official form 345 x 210 mm. and smaller(18)Footnotes:The group consists of the following:Patiala, from Maharajah Bhupinder Singh (reg. 1900-38):1. Six letters of introduction, informing the addressee that Nawab Liaqat Hyat Khan, the Prime Minister of Patiala State, and Sirdar D. K. Sen, the Foreign Minister, will be attending the Round Table Conference being held in London, addressed to: Stanley Baldwin, the Prime Minister; Mr Esmond Cecil Harmsworth; Colonel Sir Clive Wigram, Private Secretary to HM the King Emperor, Windsor Castle; P. J. Patrick, Political Secretary, India Office; Sir Samuel Hoare; Sir Leslie Scott, all dated Rajgarh Villa Palace, Chail, Patiala State, 28th September 1931.2. A letter to Sir Robert Holland, Lincoln's Inn, London, also dated 28th September 1931, on relations between the Indian States and the British Empire, and warning of 'the dangers involved in federation without proper safeguards'.3. A letter from the Maharajah to Princess Chavakeir in Paris, dated 11th June 1932, expressing his regret at not being able to come to Europe in the near future because of 'the situation here', but that one of the Ministers will be coming to Europe and will be bringing her a present (with addressed envelope).4. A letter from the Maharajah to Prince Achille Murat, Paris, dated 12th June 1932, informing him of the same information as the letter above, and that a Minister will be bringing Princesse Murat a present (with addressed envelope).Prince Louis Napoleon Achille Charles Murat (1872-1943) was a descendant of Caroline Bonaparte, sister of Napoleon, and though he was initially commissioned in the French army, spent most of his time in the Tsarist Russian army, ending his career as a Major-General.5. A letter addressed to Lieutenant General His Highness the Maharajah of Patiala, the Chancellor of the Chamber of Princes, confirming that Colonel Sardar Gurdial Singh Harika, the Chief of the General Staff of Patiala, is being appointed to the committee which is reorganising the Indian State Forces, dated Motibagh Palace, Patiala, 11th March 1937.Bhupinder Singh served as the Chancellor of the Chamber of Princes from 1926 to 1931. The Chamber of Princes (Narendra Mandal) was an institution established in 1920 by a royal proclamation of King-Emperor George V to provide a forum in which the rulers of the princely states of India could voice their needs and aspirations to the colonial government of British India. It survived until the end of British rule in 1947. The three Round Table Conferences of 1930–1932 were a series of peace conferences organized by the British Government and Indian political personalities to discuss constitutional reforms in India.Kapurthala, to or from Maharajah Jagatjit Singh (reg. 1877-1949):6. An appeal to the Maharajah of Kapurthala, dated 5th March 1928, asking him to donate to a fund for producing a vernacular version of the Hindu scriptures, by the Rani of Kapurthala, signed by her and by others.7. A copy of a printed ballot at a vote of the Chamber of Princes, signed by Jagatjit Singh, Maharajah of Kapurthala, and dated 8th August 1932, voting for equal individual representation, in the matter of the ratification of the constitution of the Chamber and entry of each State in to Federation.8. A signed letter from Maharajah Jagatjit Singh, addressed to Jam Sahib, Maharajah of Nawanagar, Chancellor of the Chamber of Princes, New Delhi, and dated The Palace, Kapurthala, 6th January 1939, notifying (or reminding) him that he had resigned 'sometime back' from the Chamber, and would therefore not be attending, and has nothing to contribute (receipt stamp of the Chamber, dated 9th January 1939).9. A signed letter, headed Form of administration suitable for States emerging from Minority Administration, from Maharajah Jagatjit Singh, dated 18th September 1942, addressed to the Maharajah of Patiala (in his capacity as President of the Punjab States Council) at Chail, approving of the appointment of Sardar D. K. Sen, and noting that he had no view regarding the form of administration suitable.Jind, from Maharajah Sir Ranbir Singh (reg. 1887-1948):10. A signed letter, dated 28th January 1941, from the Maharajah of Jind, at Sangrur, to the Chancellor of the Chamber of Princes, New Delhi, in reponse to the Chancellor's circular letter, and informing him of the industrial, mineral and agricultural resources of the State of Jind, and regretting that 'no expert of qualifications mentioned in your letter is in the permanent service of the State at present'.Faridkot, from Maharajah Harinder Singh (reg. 1919-48):11. A signed letter, dated 1st October 1941, from the Maharajah of Faridkot, to the Chancellor of the Chamber of Princes, New Delhi, in response to an earlier letter, and assuring him that 'those of us who have been invited to serve on the National Defence Council shall do our best to attend its meetings personally'.For further information on this lot please visit Bonhams.com
A white metal, sapphire and diamond three-stone ring, featuring a centre oval sapphire with an Old European cut diamond to either side, all in claw settings, sapphire dimensions approx 6.35 x 5.1 x 2.75mm, weight estimated as 0.80 carats (facets heavily abraded), diamond dimensions between approx 4.4 x 2.35mm and 4.6 x 2.35mm, total weight estimated as 0.61 carats, assessed mounted collectively colour I to J and clarity I2 to I3, size K, gross weight 2.5g, stamped and tested as 18ct gold
A 9ct white gold, opal and diamond oval cluster ring, comprising a central opal cabochon within a border of 26 single cut diamonds, all in claw settings, opal dimensions approx 17.4 x 11.5 x 5.4mm, weight estimated as 5.6 carats, diamond diameters each approx 1.5mm, total weight estimated as 0.26 carats, size J/K, 8g, with recent London Assay Office assay
A 9ct white gold diamond tennis style bracelet, having box clasp and figure-of-eight safety catch, 36 single cut diamonds all in claw settings, diameters each approx 1.8mm, total weight estimated as 0.72 carats, assessed mounted collectively colour K to L and clarity I2 to I3, length 185mm, width 4.7mm, gross weight 6.8g, hallmarked 9ct, Birmingham, sponsor LR
An 18ct yellow and white gold, ruby and diamond oval cluster ring, featuring a centre ruby within a border of 12 round brilliant cut diamonds, all in claw settings, ruby dimensions approx 5.95 x 5.1 x 2.55mm, weight estimated as 0.68 carats, diamond diameters each approx 1.9mm, total weight estimated as 0.24 carats, assessed mounted collectively colour J to K and clarity SI1 to SI2, size N, gross weight 3.1g, hallmarked 18ct, London 1983, sponsor H LtdWorn facets and hairline crack on ruby, although stone is complete.
A yellow and white metal, diamond solitaire ring, featuring a round brilliant cut diamond in an eight-claw setting, with three grain set single cut diamonds in each shoulder, principal diamond dimensions approx 4.92 x 4.95 x 2.82mm, weight estimated as 0.42 carats, assessed mounted colour I to J and clarity I1 to I2, single cut diamond diameters each approx 1.2mm, total weight estimated as 0.03 carats, size K, gross weight 2.8g, stamped and tested as 18ct gold
A 9ct yellow and white gold diamond rectangular signet ring with 15 round brilliant cut diamonds in grain settings. Diamond diameters between 1.35 and 2.0mm approx. Total weight estimated as 0.18cts. Assessed mounted collectively colour J to K, clarity SI2 to I1, finger size J approx. Beads inside shank, gross weight 7.4g, hallmarked 9ct London 1988, Sponsor Cropp & Farr.
A pair of 9ct yellow gold rectangular cufflinks engraved with intersecting lines with brand swivel fittings. Plate dimensions 19 by 15mm, gross weight 10.2g, hallmarked 9ct London 1966, Sponsor S & K, together with a 9ct yellow gold bar brooch with enamel shield depicting coat of arms, length 40mm, gross weight 2.5g, hallmarks for London (2)
A yellow and white metal diamond oval signet ring comprising 13 round brilliant cut diamonds in grain settings with bark finish detail to the head and shank. Diamond diameters between 1.75 and 2.35mm approx. Total weight estimated as 0.37 carats. Assessed mounted collectively colour J to K, clarity SI2 to I1, finger size K, gross weight 7.0g, not marked, tested as 9ct.
Three yellow metal and woven hair mourning rings, comprising two twisted bands with engraved floral detail alternating with braided hair detail, ring widths 4.6 and 4.7mm, size K½, gross weight 5.9g, both stamped and tested as 18ct, the third ring with a rectangular plaque engraved Henry, with foliate detail and inlaid braided hair, within a 4.35mm band, size K½, gross weight 1.4g, not marked but tested as 9ct goldHair worn away in places on all three rings.
An 18ct yellow and white gold, diamond two-stone crossover style ring, having two round brilliant cut diamonds in claw settings, diamond diameters each approx 3.95mm, total weight estimated as 0.44 carats, assessed mounted collectively colour J to K and clarity SI2 to I1, size J½, gross weight 2.9g, hallmarked 18ct, London 1985Porous section to shank is a sizing join.Has had a new half shank at some point.Band is solid.Setting condition is OK.
An 18ct yellow and white gold diamond four-stone ring, featuring four round brilliant cut diamonds in claw settings, diamond dimensions between approx 3.95 x 2.35mm and 4 x 2.5mm, total weight estimated as 0.92 carats, assessed mounted collectively colour I to J and clarity SI2 to I1, size K½, gross weight 2.7g, hallmarked 18ct, London 2006, sponsor EF One stone slightly loose.All stones have slightly chipped girdles from being set against one another.
An 18ct yellow gold late Victorian diamond dress ring, having an Old European cut diamond in a star setting, diamond dimensions approx 3.45 x 3.6 x 2.35mm, weight estimated as 0.19 carats, assessed mounted colour I to J and clarity SI1 to SI2, size K½, gross weight 4.8g, hallmarked 18ct, Birmingham 1898Diamond is fractured.
An 18ct white gold diamond solitaire ring, comprising a round brilliant cut diamond in six-claw setting, diamond diameter approx 4.82 to 4.8mm, weight estimated as 0.41 carats, assessed mounted colour I to J and clarity SI2 to I1, size K, gross weight 2.7g, hallmarked 18ct, Birmingham 2006, sponsor CPMSizing join to the back.
A yellow and white metal diamond half eternity ring, comprising five graduated Old European cut diamonds in claw settings, diamond dimensions between approx 2.5 x 1.79mm and 4 x 2.75mm, total weight estimated as 0.70 carats, assessed mounted collectively colour J to K and clarity SI1 to SI2, size L½, gross weight 1.8g, stamped and tested as 18ct goldOne end stone fractured.
A modern 18ct gold sapphire and diamond flowerhead cluster ring, arranged as a centre oval cut sapphire, measuring approx 7.4x5x4.3mm within an alternating surround of round cut sapphires and diamonds, sponsor S&K, 4.7g, size JMinor surface abrasions to centre sapphire.Would benefit from a clean.Otherwise no apparent faults.
A late Victorian yellow and white metal, diamond crescent brooch, featuring 17 graduated Old European cut diamonds in cut-down settings, with lever clasp and safety chain, diamond dimensions between approx 1.5 x 1.05mm and 3 x 2.1mm, total weight estimated as 1.08 carats, assessed mounted collectively colour J to K and clarity SI1 to SI2, brooch diameter 25mm, gross weight 4.3g, not marked but tested as 9ct gold and silverSeveral diamonds chipped.Metal tarnished.
An 18ct white gold diamond full hoop eternity ring, featuring 39 round brilliant cut diamonds in channel settings, diamond diameters each approx 1.4mm, total weight estimated as 0.35 carats, ring width 3.5mm, size K½, gross weight 3.2g, hallmarked 18ct, Edinburgh, sponsor SJRhodium plating is worn.
An 18ct yellow gold and amethyst dress ring, size K, gross weight approximately 2.4g, a 9ct yellow gold and ruby cluster ring, size J½, gross weight approximately 3.6g and a yellow gold and seed pearl eternity ring, unmarked assessed as approximately 9ct, size L½, gross weight approximately 1.9g (3)Amethyst has some wear to facet edges and evidence of black enamel. Ruby ring in good condition, wear and tear commensurate with age. Pearl ring in good condition, evidence of resizing
A yellow gold and diamond five-stone ring, set with five graduated old cut stones in a rub over settings, unmarked assessed as approximately 18ct, ring size K, total gross weight approximately 2.2gChip to girdle on the smallest diamond, would benefit from retipping between stones, evidence of resizing
KLF and Related 12" Singles, eighteen 12" Singles including various remixes and with titles comprising What Time Is Love, 3 AM Eternal, Kylie Said to Jason, Doctorin The Tardis, Last Train to Trancentral, ***k The Millenium, Burn the Bastards, Whitney Joins the JAMS and Down Town - various conditions but largely Excellent
A diamond and ruby necklace, c.1915, with a central ruby and diamond cluster suspending a diamond knife edge drop, terminating in a larger diamond in claw setting. The back row composed of a series of knife edge bars, interspaced with graduating old mine cut diamonds, into an integrated trace link back-chain and box clasp. In a fitted case by The Diamond Merchants & Jewellers Co., 138 New Bond Street, London. 420mm long,Principal diamond weighing approximately 0.85ct. 10.38gCondition ReportThe combined diamond weight is approximately 5.50 - 6.00ctThe principal diamond is approx. H/I VS. There is a chip to one of the crown facets.The small halo diamonds are included, but good colour. The diamonds in the back chain have variable colours, ranging from G/H to K/L.The ruby is approximately 5.50mm round. It is clean, but there is a surface reaching feather through the table.
A diamond drop-shaped cluster ring, an old pear cut diamond rub set to a plain collet, bordered by an open-work surround further set with graduated old cut diamonds, into a grooved tapering hoop. Band tested as approximately 18ct gold, 2.77g Principal diamond assessed as: Colour J/K Clarity: SI Ring size MBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportOld pear cut diamond measurements 6.5 x 4.4 x 3.81. Roughly estimated as 0.65 - 0.70, but the cut is uneven and limits a correct estimation. Areas of darkening around the setting. Surface scratches and marks to mount. Inventory numbers engraved on the reverse.
A Victorian five stone pearl ring, set with five graduated split pearls, interspaced with rose cut diamond points, to grooved shoulders and a plain hoop. Tested as approximately 18ct gold. 3.43g Ring size K½Buying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportSome wear to the nacre of the end pearls. Surface scratches and marks to mount, consistent with its age.
Hugh K. Harwood Acrylic and gouache on paper Rural landscape with church in distance, signed and dated '83 lower left, framed and glazed, image size 35.5cm x 51.5cm, together with A. Jones (19th century), watercolour of a Welsh coastal scene, signed lower right, framed and glazed, image size 18.5cm x 25cm, and a village scene watercolour, indistinctly signed lower right, dated '87, framed and glazed, image size 35cm x 47cm (3)
A GOOD CHINESE BLUE AND WHITE ‘BINGJI AND THE BUFFALO’ GU-SHAPED VASE TRANSITIONAL PERIOD C.1640 Decorated with two continuous narrative scenes from the account of the travels of Bingji, the upper register depicting the chengziang rising from his sedan in the midst of his entourage to confront the farmer on account of his suffering buffalo, the lower register with Bingji studying under a willow tree in the company of a scholar, all above a border of plantain leaves to the splayed foot, 44.7cm.Provenance: Carrycoats Hall, Northumberland. The scenes on the present lot relate to the story recorded by the historian Ban Gu (32-92 AD) in the Hanshu (History of the Han) relating to the inspection tours of Bingji (d.55 BC), the chengziang or Grand Chancellor during the reign of the Emperor Xuan (74-49 BC). While on reconnaissance outside the capital, Bingji is recounted to have witnessed two events that signalled to him an imbalance in the harmony of qi in the empire. The first was a group of people fighting violently with the dead strewn on the ground, a scene by which he was initially unconcerned, and the second was an encounter with a farmer leading a stricken buffalo, its parched tongue hanging out. Alarmed at this sight, Bingji leapt from his sedan to confront the farmer on the animal’s condition, seeing in it an omen of an imbalance in the cosmos. This moment is the event depicted on the lot offered here and was a popular scene for the decoration of wares during the Transitional period. See, for instance, the rolwagen and the double-gourd vase both from the Sir Michael Butler Collection, illustrated in T Canepa and K Butler, Leaping the Dragon Gate, respectively pp.208 and 210-211, no.III.2.41a,b, and p.236, no.III.2.65, the latter sold at Christie’s Hong Kong, 30th November 2023, lot 3042. Another similar rolwagen was sold at Sotheby’s London, 16th May 2018, lot 119.明末清初 青花丙吉問牛紋花觚來源：英國諾森波蘭郡Carrycoats Hall莊園收藏。
![[WHITE METAL]. A 1/43 SCALE K. & R. REPLICAS 1926 ALVIS 12/50 'DUCK-BACK' polished bare metal with a red chassis, general](https://cdn.globalauctionplatform.com/4cbe0110-e71a-4b8f-a238-b16200d31a92/e50bc672-ce5b-44f6-9b3f-b16b00db8178/468x382.jpg)
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