A mid 18th century sealed wine bottle, thick olive green, with kick-in base, the seal with a crown above a pig? height 28.5cm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale.Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Light surface scratches, small bubble inclusions, light iridescence.
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Plymouth Dock, A rare George III sealed wine bottle, olive green, with kick-in base and slightly writhen neck, the seal dated 1772 and inscribed 'I Arnold Plym Dock', height 27.5cm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale.Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Light surface scratches, chip to inner rim of neck, bubble inclusions.Slight internal residue.
A Royal Worcester cased porcelain coffee set for six, retailed by Mappin and Webb, date code for 1926, the powder blue ground with gilt and enamel floral and trellis decoration.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale.Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Light crazing to most saucers and to the interiors of cups. No other condition issues.
A Secessionist blue glass jar and cover, probably Austrian, circa 1920, with silver lustre decoration, height 20cm, together with other coloured glass including three night light holders, wines, etc (box).Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale.Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.
Phil Greenwood, Pool Light, coloured etching, signed, edition of 250, 42 x 48cm; Anne Rooke, cafe chairs, colour print, numbered 20/25 and signed, dated 1957; three 20th century impressionistic watercolour landscapes, possibly Holy Land views; a mother and child monochrome brush drawing; and a floral pastel
Harry Bunce (British b.1967-), Tam Lin - Dawn, signed with initials (lower left), numbered 12/13, and with blindstamped paper label to the reverse, hand embellished mixed media giclee print, 64 x 48cmCondition report: Very light layer of surface dust and a hair inclusion beneath the varnish, otherwise in nice, clean condition.
Michael Stennett (British 1946-2020) Cloud study, oil on an arched board, 52 x 34cm; another in a giltwood frame, 11 x 11cm Provenance: The studio of Michael StennettCondition report: Larger arched picture has some light scratchingSmaller one, frame is knocked, with some minor splitsSee photos
Ernest Gustav Girardot (1840-1904)Portrait of a young boy on horsebackoil on canvas 90 x 67cmProvenance: Landwade Hall, Exning, SuffolkCondition report: Generally, the paint layer is stable and there are no visible signs of serious flaking or damage to the canvas. There is however a thick layer of surface dirt across the entire painted surface and areas of stains and patches of mould. There are some obvious signs of chips and scratches which have resulted in paint loss - especially in the upper lower right quadrant. Under UV light there appears to be areas of minor retouching.
Seven Vienna cups and saucers, the different coloured ground bodies beneath gilt rims; a Meissen bowl and stand encrusted with trailing flowers (lacking cover)Condition report: Chip in the rim, leading to a crack down the body of the dark blue Vienna cup; chip to the rim of the light green, wear to the gilt and discolouration throughout commensurate with age and use.Wear commensurate with age and use to the saucers and a small chip to the underside of one.chip to the underside of blue and white plate with a floral pattern in the centreDamage to the trailing flowers on both the bowl and stand. Chips to the legs and the rim of the stand.
Pablo Picasso (Spanish 1881-1973), an exhibition poster for Picasso Keramik, Louisana, 2018, offset lithograph, unframed, showing Still Life with Fish, Fork and Slice of Lemon, 1955, 42 x 30cmCondition report: The top left with a minor handling crease visible under raking light. Otherwise in good, clean condition.
Anear pair of Royal Doulton blue ground globular vases with painted cartouches, cut glass decanter, archaic oil lamp, a pair of ceramics cows, a copeland parian ware vase, etcCondition report: Chipping and wear to the archaic lamp, commensurate with age and use.Discolouration and wear to the two blue globular vases commensurate with age and use.Wear and discolouration commensurate with age and use to the decoration on the glass light cavalry box and minor chipping to the lid.One of the three blue candle holders has noticeable repair to the stem and chipping to the base.Cows both missing a front legs and one has damage to the hornsRepair to the white porcelain woven open basketMinor chipping and wear to the gilt of the white vaseWear and discolouration commensurate with age and use to the other vaseChipping and wear commensurate with age and use to the two cut glass decanters
Chinese Cloisonne. A 19th-century Chinese cloisonne enamel box and cover, of circular form, decorated with floral scrolls on a light blue ground, the centre of the cover with a Chinese symbol, the interior of the bowl with blue enamel and similarly enamelled on the base, minor damage to the interior of cover and rim misshapen, 7cm high x 12cm diameter, together with a 19th century Chinese bronze and enamel censer, with two loop handles, foliate decoration on a light blue ground raised on three supports, damaged, 9cm high x 12.5cm diameterQty: (2)
Bodices. A collection of early bodices, late 18th/early 19th century, 4 bodices, all with later reworkings, comprising: a painted fitted and boned lined bodice of cream silk with short sleeves and pointed v-shaped waist, hand-painted with Chinese design of bamboo stems in brown, blue, and green, entwined with flowering tendrils of purple and pink blossom on black stems, rear with eyelets for lacing (not present), and a self bow at waist, some light marks; a boned bodice of green and gold brocade with short sleeves and low-cut neckline, patterned with large flower and leaf stems, front opening with eyelets for lacing (not present), waist terminating in a v-shape at front and back, minor wear in places; another of hand-painted yellow silk, rubbed and torn; and a cream boned bodice of gauze over silk with long sleeves and pointed v-shaped waist, various sizes, together with a make-do stomacher pieced from 18th century silk brocadeQty: (5)
Carter (Howard). A pair of curtains made of Pansies fabric, designed for Heals, 1962, pair of screen-printed cotton curtains, with large pattern of pansies printed in shades of yellow with touches of blue, green, and brown, on a white ground, each with an off-centre vertical join, rufflette tape to top edge, remaining edges machine-hemmed, each drop 199cm (78.5ins), width 164cm (64.5ins), together with:Day (Lucienne), A large pair of curtains made of Riga fabric, designed for Heals, 1961, pair of screen-printed linen curtains, with stripes of varying colours (some with marbled effect) on an acid yellow ground, each with a central vertical join, lined with light beige cotton twill, double row of cord gathering to top edge, with brass hooks attached with stitching, remaining edges machine-stitched, hems weighted, side edges faded, drop 194cm (76.5ins), width 237.5cm (93.5ins)Reich (Tibor), Three curtains made of Jessica fabric (design 307), 3 curtains of screen-printed cotton, depicting rows of flowers, in red, green, blue, white, and black, on a royal blue ground, lined with ivory cotton, rufflette tape to top edge, sides seams stitched by machine, lower hem hand-stitched to 2 curtains (1 with loss of stitching), the other left unstitched, some side edges faded and with occasional minor wear, drop 151cm (55.5ins), width 115.5cm (45.5ins), and an unused length of Tintagel fabric designed by Francis Price, screenprinted cotton, depicting knights jousting, selvedges to sides, other edges raw, 211 x 125cm (83 x 49.25ins)Qty: (8)
Chalice Veil. An embroidered and metalwork chalice veil, late 17th/early 18th century, with central initials 'IHS' and Latin cross worked in gold metal thread within a circular border of flowers worked in coloured silks and gold metal thread, large cornerpieces similarly worked each featuring a large flower with emanating tendrils and leaves, the silks predominantly in shades of pink, blue, green, and yellow, using mainly couching, long and short stitch, and bullion stitch, some small holes and tears, threads loose or missing in places, on a pieced gold moiré silk ground, with hand-stitched diagonal seam, some light soiling, backed with pieced pink glazed linen (faded and with some marks and small holes), 48 x 50cm (19 x 19.75ins), together with 4 other items comprising a 19th century hand-stitched pale gold silk brocade waistcoat, fabric beginning to perish in places and some soiling to one corner of lining, a 19th century Chinese cream silk sash, hand-embroidered with butterflies and flowers, silk a little marked and frayed in places, but embroidery bright and mostly intact, an Ancient Order of Foresters ceremonial sash, and a set of 6 ecclesiastical woven bookmarks joined at one end Qty: (5)
Chinese. A large embroidered panel, early 20th century, finely hand-worked in polychrome silk threads, large central panel with numerous oriental figures and scenes, including pagodas, junks, gardens, and 2 winged putti, with wide border of figures, including drummers, dancers, and figures holding fans, between narrow scrolling floral borders, the whole incorporating scattered butterflies, birds, blossom trees, clouds, bats, and other auspicious symbols, stitched using mainly long and short stitch, satin stitch, stem stitch, and chain stitch, some light discolouration to pale green silk ground, pale pink silk lining (with mottled fading, marked and perished in places), edged all round with 9cm polychrome fringe incorporating pom pom swags (tangled and defective in places), dimensions excluding fringe 302 x 246cm (119 x 97ins)Qty: (1)Footnote: An impressive and highly decorative piece, surviving in good condition.
Dress. A cream satin wedding gown with bustled trained skirt, circa 1880s, handmade dress, with boned fitted bodice, front opening with 16 self buttons, high stand-up neck, and long narrow sleeves with wide gathered and frilled cuffs, the neck and sleeves heavily ruched, front of bustle skirt with horizontal gathers and frills, train trimmed with rows of gathered ruffles, hem with lace edging, fully lined, some light stains and minor marks to the lower part of the skirt rear, bust 76cm (30ins), waist 58cm (23ins), length (excluding train) 128.5cm (50.5ins)Qty: (1)Footnote: A beautifully-made wedding gown, elaborately-detailed and in very good condition.
Dresses. Two dresses worn by the wife and daughter of Sir Barnes Neville Wallis at The Dam Busters premiere, 1955, the first worn by Barnes' wife Mary Frances Wallis (1904-1986), comprising a full-length evening gown of pale grey satin by Debenham & Freebody, London (woven label present), with lined fitted bodice featuring pleated sweetheart neckline, wide shoulder straps, flared skirt loosely pleated at rear, and stiff underskirt of vilene, front of bodice and skirt heavily beaded with flower sprays composed of lilac seed beads, silver bugle beads, and purple sequins, 2 additional sprays on back of skirt, zip closure at rear, occasional light marks, bust 82cm (32ins), waist 70cm (27.5ins), length from top of straps to hem 141cm (55.5ins), the second worn by Mary Eyre Stopes-Roe née Wallis (1927-2019), comprising a hand-made strapless evening gown of bottle green taffeta, with lined fitted and boned bodice featuring ruched pale green organza over gold fabric, v-shaped waist, loosely pleated skirt, and gold piping between skirt panels, zip closure at rear, bust 69cm (27ins), waist 63cm (25ins), length 127cm (50ins), together with a scrap of paper annotated in pencil 'Dresses worn by MFW & MEW at Dambuster premiere', the 'W' of 'MEW' crossed through and replaced with 'S-R' together with the date '1955' in another handQty: (2)Footnote: Provenance: From the families of Marie Carmichael Stopes (1880-1958) and Sir Barnes Neville Wallis (1887-1979) by direct family descent.Two 1950s evening gowns, worn by the wife and daughter of renowned scientist and engineer Sir Barnes Neville Wallis to the premiere of the famous film, The Dam Busters, which immortalised Wallis's invention of the bouncing bomb used by the Royal Air Force in Operation Chastise to attack the dams of the Ruhr Valley during the Second World War.
Embroidered panels. A pair of redwork panels, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground (toned), with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and elephants carrying on their back a three-turreted castle, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, toned, each piece with a number of hand-stitched vertical joins (some original with imagery continuous, others later with embroidery truncated), backed with coarse linen and edged all round with linen tape, losses to embroidery and consequently pencil outlines visible in places (e.g. where dogs appendages removed as in previous lot), some light marks and small stitched repairs, one panel with 2 areas of embroidery carefully cut round and re-mounted on new backing (8.5 x 9cm and slightly smaller), each panel approximately 35 x 197cm (14 x 77.5ins)Qty: (2)Footnote: Provenance: Private Collection.Exhibited: These pieces have been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions.Two companion pieces to the previous lot.
![Ephemera. Invoice book belonging to Bryan & Thomas J. Reynolds, Farringdon [Berkshire], 1822/3, 200+ manuscript bills on](https://cdn.globalauctionplatform.com/e9fcdc2c-4897-477a-8028-ae4400be0620/1877386e-6276-4add-8c1f-ae4600ef5a5d/468x382.jpg)
Ephemera. Invoice book belonging to Bryan & Thomas J. Reynolds, Farringdon [Berkshire], 1822/3, 200+ manuscript bills on headed paper engraved with copperplate script, a few with armorial or other vignette, all with vertical line in brown ink through centre (indicating payment of bill), generally toned or foxed, some soiling, fraying, and creasing, mounted (several to a page) on rectos and versos of album leaves (a number of bills detached), a few blank leaves at rear, original blue paper-covered card covers, worn, and most of blue paper missing, front cover with large inscription in contemporary black ink '1822', 58.5 x 23.5cm (23 x 9.25ins) Qty: (1)Footnote: A fascinating piece of social ephemera revealing the wide variety of goods supplied to the firm of Bryan & Thomas J. Reynolds in Faringdon (then in Berkshire, now in Oxfordshire), from cloth of all kinds (linen, wool, silk, cotton) to ribbons, laces, needles, buttons, trimmings, slops, hats, parasols and umbrellas. Reynolds sourced their stock from both London and the English textile manufacturing towns and districts, such as Yorkshire, Wiltshire, Manchester, Redditch, Norwich, and Bristol. The majority of the bills detail purchases and costs, although some also include additional notes of goods sent on approval.We have been unable to find any other documentation concerning the Reynolds' enterprise in the busy market town of Faringdon, although the proprietors are mentioned in a lease and release document dated 1804 concerning The Five Alls (a public house at Filkins, Oxfordshire, still in existence), as two of the five parties listed: "Bryan Reynolds the younger of Great Faringdon, Berks., mercer" and "Thomas Reynolds of Highworth, Wilts., mercer". Another document, a release and assignment concerning deeds of land and property in the area of Clanfield, Oxfordshire, lists "Thomas Reynolds of Highworth, Wilts, linen draper and others" amongst the protagonists.Some of the supplying firms are: 'Gillman, Lucas, & Copling, 72, Newgate Street, Lacemen, Ribbon & Silk Manufacturers, Importers of French Cambrics'; 'Francis & Samuel Eveleigh, 58, Union Street, Southwark, Manufacturers of Light Water Proof Beaver Hats, On an entirely new principle, warranted to resist the effects of all kinds of damp, and the Nap to wear free to the last'; 'J.W. Robberds & Sons, St Saviour's, Norwich, Manufacturers of Bombazines, Plaids, Camblets &c. &c.; 'Adams & Son, Manufacturers of Umbrellas & Parasols, No. 207, High Holborn, nearly opposite Bloomsbury Square, Hat Covers, Bathing Caps, Black painted Cloth, Oil'd Silk & Linen'; and 'James Thomas, and Samuel Fossick, Flannel, Baize and Blanket Warehousemen, Mumford Court, Milk Street, A Large Assortment of Calamancoes and Bombazets'.The wealth of detail contained in these invoices gives an intriguing insight into the operation of a busy draper’s shop during the Regency period.
Fabric. Four pieces of 18th century silk, comprising: a length of bizarre silk, circa 1710, with large motifs in blue, cream, green, and yellow, on a figured apricot ground, selvedges to long sides, faded, some marks and spotting, mostly at edges, 100 x 53cm (39.5 x 21ins); a length of silk brocade, woven with large flowering tendrils in pinks, blues, yellow, brown, grey, and white, on a cream ground, selvedge to one long side, some light foxing and staining, 94 x 48.5cm (37 x 19.25ins); a rear coat panel, with wide floral border to lower edge in pink, green, red, yellow, and gold metal threads, on a figured cream ground, some light foxing and toning, not affecting border, overall size 88 x 51cm (34.5 x 20ins), border 24cm (9.5ins) deep; and a length of pale blue silk with pink, yellow, white, and green posies, linked with foliate tendrils, selvedges to long sides, lightly faded and marked, perished at one end, 98 x 50.7cm (38.5 x 20ins) Qty: (4)
Fabric. A length of silk with brocaded pattern, early 1730s, woven with a pattern of large pomegranates, flowers, and seedheads, in pink, blue, brown, and silver metal threads, incomplete width, with selvedge to one long side and irregularly shaped to the other, a little light foxing at one end and occasional minor edge-soiling, some edges with brown paper residues, 129.5 x 54.5cm (51 x 21.5ins) at largest extremities, together with:A length of silk with brocaded pattern, early 1730s, woven with a pattern of large pink and red chrysanthemum flowers, and stylised blue flowers and berries, with green leaves, and stamens, sinuous stems, and leaves of gold metal threads, on a cream silk ground, some overall light dust-soiling and staining, several splits (longest 10cm), selvedges to long sides, 99 x 53.5cm (39 x 21ins)Qty: (2)Footnote: Two rare and striking pieces of early brocaded silk.
Fabric. Two pieced panels of matching bright green silk damask, late 18th/early 19th century, with large flower and ogee pattern, loom width 53cm, both with mottled fading, largest piece slightly gathered to top edge and with machine-stitched fabric edging, one area perishing (with consequent 17cm closed tear), a few small marks, 211 x 188cm (83 x 74ins), smaller piece with some light spotting in places, 264 x 104cm (104 x 41ins), together with a heavily padded door curtain of 18th century green silk damask, with large repeating pattern of stylised flower stems and acorns within a curved frame alternating with a similar large floral motif, metal rings hand-sewn to reverse of top edge, worn and with mottled fading, 206 x 112cm (81 x 44ins)Qty: (3)
Persian. A large block-printed cloth, 19th century, fine cotton cloth, block-printed in reds and blues on a cream ground, with central lobed quatrefoil and all-over ogee lattice pattern incorporating floral and foliate motifs, within a multi-banded border, including chevrons, decorative Arabic script, and flowers, occasional light soiling, some fraying and minor loss to edges, several small holes or short splits, 294.5 x 136cm (9.5 x 4.5ft)Qty: (1)
Pincushions. A layette pinwork trapunto pincushion, 1799, hand-stitched rectangular light beige quilted pincushion, front with pinwork initials and date 'BHK 1799' within a shield-shaped frame topped by a coronet, with pansy flower on stem in each corner, back with pinwork initials 'CWH' with sunbursts within a heart topped by a coronet, edged with lace over pink ribbon, several pins missing, and a few tiny holes, 13 x 15 x 5cm (5 x 6 x 2ins), together with: A layette embroidered pinwork pincushion, Victorian, large cream silk rectangular pincushion, front finely-worked in coloured silks and tiny faux pearls with central floral spray of roses, morning glory, lily of the valley, and jasmine flowers, with pinwork lettering above and below 'Welcome Sweet Babe', corners similarly embroidered with flowers, some light soiling, edged with cream fringing, 28 x 21.5 x 8cm (11 x 8.5 x 3ins)Qty: (2)
EIGHT CAITHNESS GLASS PAPERWEIGHTS: 'Air' numbered 668/1000, 'Fire' numbered 668/1000, 'Earth' numbered 669/1000, 'Water' numbered 669/1000, 'Blue Splash', 'Fireball', another engraved with a bird numbered 247/500, another Royal commemorative facetted paperweight numbered 864 Condition Report : generally good condition, perhaps some with light scratches Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A PAIR OF CONTINENTAL THREE LIGHT CHANDELIERS with four tiers of hanging glass drops, 60cm high Condition Report : good condition, complete. Sold with two wooden chandelier crates Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
A LATE VICTORIAN LIGHT OAK TWIN PEDESTAL DESK 107cm wide 61cm deep 76cm high Condition Report : leather top replaced. some chips to veneer at base, loss to moulding interior left ped. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ASSORTED COLLECTABLES comprising a 9ct gold Royal Artillery sweetheart brooch, stamped '9 Ct' verso; a sterling silver Somerset Light Infantry sweetheart brooch; a Royal Artillery cap badge; an enamel union flag pin badge; and a silver and enamel Manchester Unity Independent Order of Odd Fellows medal, in Spencer & Co. case of issue, (5).
A STONE STELE OF PADMAPANI, 17TH CENTURYNepal. Seated in dhyanasana atop a lotus throne with the right hand lowered in bhumisparsa mudra and the left holding a lotus stem coming to full bloom at the shoulder, wearing a beaded necklace and scarves, the hair pulled up into a high chignon behind the foliate crown, backed by a halo.Provenance: A private collection in Milan, Italy, acquired in the Italian antiques trade between 1996 and 1999. Leonardo Vigorelli, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, small nicks, light scratches, remnants of ancient varnish and pigment.Weight: 2,074 g (excl. stand) Dimensions: Height 18.5 cm (excl. stand) and 24 cm (incl. stand)十七世紀蓮花手菩薩石碑尼泊爾。菩薩坐於蓮花寶座上，右手結觸地印，左手持一朵盛開的蓮花靠在肩上，佩戴瓔珞項鍊，頭髮在葉冠后面梳成一個高髮髻， 身後有光背。 來源：米蘭私人收藏，1996-1999年間購於義大利古玩市場。Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度佛教藝術。在學習人類學並數十年在印度、喜馬拉雅地區、東南亞和非洲旅行，進行實地研究之後，他在意大利米蘭創立了 Dalton Somare 藝術畫廊，如今由他的兩個兒子經營。 品相：狀況極佳，與年齡相稱。 廣泛磨損、風化和侵蝕跡象，輕微缺損、小劃痕，清漆和顏料的殘留。 重量：2,074 克 (不含底座) 尺寸：高18.5 厘米 (不含底座) ，總 24 厘米
A LARGE GILT-BRONZE FIGURE OF PADMASAMBHAVA, LATE QING TO REPUBLICTibet, ca. 1850-1950. Heavily cast, seated in dhyanasana atop a double lotus base with beaded upper edge, holding in his right hand a vajra and in his left a skullcup. He is wearing voluminous robes finely incised with cloud designs, the hems with foliate scroll and floral diaper, and richly adorned with jewelry, inlaid with coral and turquoises. The hair in fine strands falling elegantly over the shoulders, surmounted by a peaked Tantric cap with upturned sides topped with a feather and centered by a crescent moon surmounted by a sun.Provenance: UK trade.Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment, some inlays are lost while others might be later replacements, the trident (which was attached using the tang below his proper left shoulder) is lost. The base retains its original sealplate and, considering the heavy weight of the statue, it can be assumed that the contents of the statue are still present.Weight: 4,944 gDimensions: Height 33.8 cmHis expressive face is marked by remarkably intense eyes, furrowed brows, a fine mustache, and full lips, flanked by long pendulous earlobes. The base sealed and incised with a double vajra.Padmasambhava (literally 'lotus-born' in Sanskrit), also known as Guru Rinpoche among Tibetans, is believed to be one of the principal masters to bring Buddhism to Tibet and to teach the tantras in the 8th century. He is depicted in numerous forms with different names representing outer, inner and secret aspects of his spiritual being, with the change of names following the chronology of his life story. In the 5th century BC, Buddha Shakyamuni arrived as the founder of Buddhism. His teachings were subsumed by the Sutrayana and the Tantryana. In the 8th century, Padmasambhava personified the guru principle, the ritualistic path of Buddhism and the heart of Vajrayana Buddhism. They are exemplified in its flourishing after it was introduced into Tibet and the Himalayas between the 7th and 11th centuries. Because of Padmasambhava's teachings and contribution, he is known as the 'Second Buddha'.Literature comparison: Compare a closely related gilt bronze figure of Padmasambhava, dated to the 17th century, in the collection of the Museum Rietberg in Zurich, inventory number BA 120. Compare a related gilt bronze figure of Padmasambhava, dated 16th-17th century, in the collection of the British Museum, museum number 1992,1214.49.Auction result comparison: Compare a related gilt bronze figure of Padmasambhava, 25.5 cm high, dated 16th-17th century, at Christie's Paris in Art d'Asie on 8 June 2010, lot 355, sold for EUR 46,600. Compare a related gilt bronze figure of Padmasambhava, 26 cm high, dated circa 15th century, at Bonhams London in Fine Chinese Art on 12 November 2015, lot 74, sold for GBP 50,000. 清末至民初大型銅鎏金蓮花生像西藏，約1850-1950年。蓮花生大士結禪定座坐於雙層蓮座上，右手執金剛杵，左手執頭骨杯。他身著交領式僧衣，層層套迭，衣紋自然流暢，繁複華美，帽簷以日月為中心，耳環上鑲嵌綠松石。來源：英國古玩市場。品相：總體狀況良好，與年齡相稱。少量輕微的劃痕、凹痕、缺損和鎏金磨損。一些鑄件不規則，有腐蝕跡象、黑點、舊清漆和顏料的殘留物，一些鑲嵌物丟失，一些可能是後來更換的，三叉戟（左肩下方的柄腳連接）丟失了。底座保留了原來的封印板。考慮到雕像的重量，雕像內部的內容可能仍然存在。重量：4,944 克尺寸：高 33.8 厘米拍賣結果比較：比較一件銅鎏金蓮花生大士像，高25.5釐米，為十六至十七世紀，見巴黎佳士得Art d'Asie 2010年6月8日 lot 355, 售價EUR 46,600。比較一件相似的銅鎏金蓮花生大士像，高26釐米，約十五世紀，見倫敦邦翰思Fine Chinese Art 2015年11月12日 lot 74, 售價GBP 50,000。
A BRONZE FIGURE OF GANESHA, 17TH-18TH CENTURYSouth India. Standing in tribhanga on a waisted lotus base over a stepped plinth with incised lotus petals, holding the axe, noose, broken tusk, and ladu in his hands, a naga tied around his rotund belly, richly adorned with beaded jewelry, the elaborate headdress surmounted by a jewel.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s.Condition: Very good condition with minor old wear and casting flaws, minuscule nicks, light scratches. The shirashchakra to the back of the head is lost. Fine, naturally grown, warm and smooth patina with areas of malachite and cuprite encrustation particularly to the interior. Weight: 3,715 gDimensions: Height 32 cmAuction result comparison: Compare a closely related bronze figure of Ganesha, 43.8 cm high, dated to the 17th century, at Christie's New York in Living With Art on 27 July 2016, lot 284, sold for USD 13,750.
A BRONZE 'LUDUAN' DOOR KNOCKER, MING DYNASTYChina, 1368-1644. Boldly cast with a central luduan head with a fierce expression marked by large bulging eyes, a broad nose, bared teeth, and a single horn, framed by a full set of curly mane, the mouth suspending a movable ring handle, all on a foliate base with six lozenge-shaped apertures for securing to a door.Provenance: Estate of Dr. Otto Schwend, acquired between 1923 and 1925 in Dongguan, Guangdong Province, China and thence by descent in the same family. Dr. Otto Schwend (1892-1951), a German physician who lived in East Asia for fifteen years, first in Dongguan between 1923 and 1926, and subsequently in Bangkok, Thailand between 1926 and 1938. After serving as a military surgeon in World War I, he worked at a missionary hospital in Dongguan from 1923 and moved to Thailand three years later to open a private practice in Bangkok. As a successful doctor fluent in Chinese, he became an important figure in Bangkok, even treating members of the royal family. During his time in East Asia, Schwend built a substantial collection of Chinese and Thai art, which he brought back to Germany and has remained in the possession of his family for over 80 years. Condition: Very good condition with old wear, traces of use, minor casting irregularities, minuscule nicks and dents, and light scratches. Fine, naturally grown, matte patina with malachite green encrustation here and there.Weight: 3,061 gDimensions: Diameter 24.6 cmLuduan are mythical and auspicious creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to traverse vast distances and master all languages, as well as foretell the future, giving life to the good and killing evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.Auction result comparison: Compare a related bronze door knocker, 44 cm high, dated circa 17th century, at Christie's Paris in Art d'Asie on 10 December 2020, lot 167, sold for EUR 27,500. 明代甪端銅輔首中國，1368-1644年。圓形片狀。主紋為甪端紋，甪端睜目蹙眉，如意形鼻子，獨角，口含銅環，面目兇惡猙獰，鬃毛飛揚。六邊菱形孔葉狀底座，用於固定到門上。來源：Dr. Otto Schwend收藏，1923 至1925年間購於中國廣東東莞，保存在同一家族至今。Dr. Otto Schwend (1892-1951) 是一位德國醫生，在東亞生活了 15 年。1923 年至 1926 年間，他先是在東莞，隨後 1926 年至 1938 年在泰國曼谷生活。在第一次世界大戰中擔任軍醫後，1923 年起他在東莞的一家教會醫院工作 。三年後移居泰國，在曼谷開設了一家私人診所。 作為一名能說一口流利中文的成功醫生，他成為曼谷的重要人物，甚至為皇室成員提供治療。在東亞期間，Schwend收藏了大量的中國和泰國藝術品，並將其帶回德國，並一直由他的家人收藏超過 80 年。 品相：狀況極好，磨損、使用痕跡、輕微的鑄造瑕疵、微小的刻痕和凹痕以及輕微的劃痕。 自然細膩的包漿，多處可見綠色結殼。 重量：3,061 克 尺寸：直徑 24.6 厘米 拍賣結果比較：比較一件相近的約十七世紀銅輔首，高44 厘米，見巴黎佳士得 Art d'Asie 2020年12月10日 lot 167, 售價EUR 27,500。
AN ACHAEMENID SILVER PHIALE, 6TH - 4TH CENTURY BCThe hammered shallow silver bowl decorated with a central boss encircled by eighteen radiating petals of alternating sizes below nine circles.Provenance: Collection of Oliver Reginald Hoare (1945-2018), by repute acquired at Bonhams London, 27 November 1997. A prominent English art figure, described as arguably the most influential dealer in the Islamic world, Hoare joined Christie's London in 1967 where he was initially overseeing Russian art. After spotting some carpets left lying in a corridor and recognizing them as Persian, Hoare used them as the basis of a successful auction, which led to the launch of the Islamic Art Department, the first of its kind in a major auction house. He left Christie's in 1975 and opened Ahuan, a gallery in Pimlico, in partnership with David Sulzberger. In 1994, he negotiated the return of a Persian 16th-century manuscript to Iran, the Houghton Shahnameh (the most important illustrated manuscript ever created in Persia), in exchange for Willem de Kooning's Woman III which had been in Iran since the Islamic revolution. In the 1990s, he famously liaised with Diana, Princess of Wales.Condition: Very good condition with only minor wear, small nicks, light scratches, minor dents. Fine, naturally grown, matte patina.Weight: 116 g Dimensions: Diameter 14.5 cmAuction result comparison: Compare a related Achaemenid silver phiale, 16.2 cm diameter, dated circa 6th century BC, at Christie's New York in Antiquities on 11 December 2003, lot 120, sold for USD 11,950.
A SAPPHIRE-BLUE GLASS 'INTEGRAL DISH' SNUFF BOTTLE, 18TH CENTURYChina. The transparent bottle of rectangular form, with mask handles in the shape of mythical beasts on both narrow sides, the wider sides with integrated snuff dishes. Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Good condition with wear, surface scratches and minor nibbling to lip and mask handles. Stopper: Blue glass cabochon, carved spoon Weight: 94 g Dimensions: Height including stopper 80 mm. Diameter neck 22 mm and mouth 11 mm.Circular panels framed by a raised border were a feature of early snuff bottle production, as we know from a Yongzheng-marked turquoise bottle in the Susan Ault Collection (Snuff Bottles of the Ch'ing Dynasty, p. 59, no. 38). The form is intriguing, particularly in light of the controversy over the evolution of the snuff dish. Both sides are distinctly concave and deliberately dished, and there seems no decorative reason for such a feature. Their creation would have required additional manipulation by the craftsman, with no discernible aesthetic advantage. In this case, at least, we may safely assume the intention of the maker to have been the provision of a bottle with integral, functional snuff dishes.Auction result comparison: Compare with a related glass snuff bottle at Bonhams Hong Kong in Fine Chinese Art on 28 November 2011, lot 68, sold for HKD 212,500.十八世紀寶石藍料開光鼻烟壺中國。透明長方形瓶身，肩部瑞獸輔首，壺身一面扁平稍内凹，為鼻烟碟。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：狀況良好，有磨損、表面劃痕，以及唇部邊沿和輔首處的輕微磕損。 壺蓋: 藍色玻璃, 雕刻小勺 重量：94 克 尺寸：含壺蓋總高80 毫米， 頸部直徑22 毫米，壺嘴直徑11 毫米 拍賣結果比較：比較一件相近的料器鼻烟壺，見香港邦翰思Fine Chinese Art 2011年11月28日lot 68, 售價HKD 212,500。
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