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Lot 1159
Deactivated German MG34 7.92mm light machine gun with drum magazine, folding bi-pod, top plate stamped 'dfb 42', and adjustable sights, serial number 4134, in fitted wooden box marked 'MG 34' with oil bottles, leather sling, cleaning kit and accessories, with deactivation certificate dated 12/08/21.
Lot 1160
Deactivated Danish Madsen 7.92mm light machine gun stamped to the left side 'Madsen RP EM No. 3166' with curved magazine, folding front bi-pod, rear mono-pod, curved magazine, sling mounts, carry handle and adjustable sights, serial number 3166, in fitted wooden box marked 'Madsen 1902', with deactivation certificate dated 12/08/21.
Lot 1162
Deactivated Yugoslavian MG42/53 7.92mm light machine gun with frame stamped '7.9 M 53 1-27587' and with foreign script, pistol grip, bi-pod, stock stamped 'S-111-23390 30976', top plate stamped 'HPJ 1-27587' and with Yugoslavian emblem' and pistol grip, serial number 127587, in fitted wooden box marked MG 42, with deactivation certificate dated 12/08/21.
Lot 1163
Deactivated British Bren Mk.I .303 light machine gun stamped 'A.S.R.' to the left side of the frame and 'Inglis 1942' to the right, with pistol grip curved magazine, bi-pod, wooden barrel handle and adjustable sights, serial number 0T5943, in military style wooden chest marked 'Chest, Bren .303 - In MG MkI*' with cleaning kit, canvas sling and accessories, with deactivation certificate dated 12/08/21.
Lot 1165
Deactivated Australian Vickers Mk.I .303 light machine gun with fully adjustable tripod, water cooling system, canvas water jacket, flash suppressor and adjustable sights, serial number 8435, in two fitted wooden boxes one marked 'B 23 Ordnance Office No.5 ABOD Liverpool NSW From Small Arms Factory Lithgow Chest Vickers or Lewis .303in. MG Mk.III.B' with oil bottles cleaning kit and accessories, with deactivation certificate dated 12/08/21.
Lot 461
Royal Copenhagen blue and white porcelain dinnerware, with painted floral decoration, including meat plate, length 44.5cm, and 3 egg cupsComprises of: 1 x 45cm oval meat dish and 31cm oval meat dish - both have unglazed bases, probably 2nds; 1 x 21cm square dish; 5 x 26cm plates - all have slight scores through back stamp, possibly 2nds, one similar design; 6 x 25cm soup bowls - one chipped, appear to be first in quality; 6 x 17cm plates - one chipped, rough score through back stamp; 6 x 22.5cm plates - all with scratches through back stamp; 1 x 17cm 2 handles plate/dish - again, scratched through back stamp; 1 x 33cm plate; 1 x 29cm shallow dish - scratched through back stamp; 3 x egg cups - one chipped. All generally good condition unless stated, some surface scratches and light wear through use.
Lot 1195
A 19th century Dutch silver tobacco box, allover relief embossed village and hunting scenes, length 16cm, height 4cm, 5.8ozGood original condition, no obvious damage or repair, light abrasions all over and obvious wear to high points, hinge working and lid closes flush with body, stamped on inner lip
Lot 35
Spanish School of XVII century "Portrait of Admiral Christopher Columbus". Oil on canvas, glued to cardboard. Frame of the XVIII century. Measurements: 58 x 48 cm; 69 x 59 cm (frame). Portrait of gentleman of long bust, of great sobriety, with a neutral background plunged in the half-light on which the face stands out, directly illuminated by a warm light, that molds the soft features of the young face. The portrait is accompanied by a Latin caption at the top: "COLOMBVS LICVR NOVI ORBIS REPTOR". In the 16th century the birth of the modern portrait took place; the genre became autonomous in Spain during the reign of the Catholic Monarchs, through Italian and Flemish influence, but it was under the governments of Charles V and Philip II when the modern court portrait was established. A portrait based on formal austerity and the symbolic weight of objects, attire and expressions, which should reflect the nobility, status and importance of the sitter, was then developed. In the formative years of court portraiture, Titian and Antonio Moro were of special importance. The latter, Flemish by origin, contributed the meticulous execution and attention to detail, as well as the effective lighting, which enhances the physical presence of the character. Titian contributed not only a modern style of Venetian origin, but also a new iconography of power. Already with Philip II, this work of construction of the genre and, with it, of the official image of the ruler, will remain in the hands of Alonso Sanchez Coello and Juan Pantoja de la Cruz, his disciple.
Lot 14
Spanish school; following XVII century models; XX century."The Stigmata of St. Francis".Oil on pine board.It has a frame made of carved and gilded wood, following ancient models.Measurements: 29 x 48 cm; 45 x 64 cm (frame).In this work of devotional character is represented the episode in which San Francisco, being retired in the mountain, had a vision in which Christ appeared to him, of whose wounds rays arose that caused to the saint stigmata in the hands and feet. The scene is situated in the foreground, with the saint standing, dressed in the Franciscan sackcloth, receiving the rays. It is remarkable the presence of the figure located in the lower left corner. Saint Francis (Assisi, Italy, 1182 - 1226) was the son of a wealthy Italian merchant. Baptized as John, he was soon known as "Francesco" (the little Frenchman), because his mother came from that country. His youth was joyful and carefree until the age of twenty-five, when he changed completely and began to dedicate himself to the service of God, practicing the Gospel ideal: purity, detachment and joy in peace. Francesco renounces the great inheritance received from his parents and decides to live poorly, giving an example of authentic Christianity. He soon had several young disciples, called by the saint "order of the Friars Minor". In 1210, Pope Innocent III granted them the foundation of the new order and encouraged them in their evangelical tasks. During a retreat on the mountain, Christ appeared to him, and legend has it that from his wounds came rays that caused Francis various stigmata. His iconography is abundant, only surpassed by that of St. Anthony of Padua. He always wears the Franciscan sackcloth, with a three-knotted cord tied around his waist. The three knots represent the three vows of poverty, chastity and obedience. He also usually shows the stigmata on his hands and feet, and sometimes these are highlighted by rays of light coming out of the wounds, although this is not the case here. At first the saint was depicted in art with a beard, until the painter Giotto, who devoted much of his work to this saint, painted him without it. At the time of the Counter-Reformation he was painted again with a beard, less smiling and more suffering.
Lot 123
Russian school of the XIX century. "Descent from the Cross". Oil on panel. Frame of the twentieth century. Size: 53 x 42 cm; 83 x 58 cm (frame). In this panel we see the scene of the descent from the cross of the dead body of Christ. Although it belongs to the Russian school of the XIX century, it is an Italian Baroque composition, close to the models established by Vladimir Borovikovski in the Russian Empire at the end of the XVIII century and the beginning of the XIX century, determined by its great scenographic and narrative sense. Formally, the work shows a marked hieratism, and manifests a special predilection for orthodox aesthetics in the golden decoration of the nimbuses. The treatment of light, which especially affects the figure of Christ, illuminating the main scene, responds to the knowledge of western baroque painters. The contained gesture of the characters, however, denotes a formation close to the academicist guidelines that prevailed in some painters of the Russian Empire at the end of the 18th century and the beginning of the 19th century. Each of the figures has been chiseled as a living sculpture, so that they occupy a resounding place in space, acquiring a variety of postures, foreshortenings and displaying studied choreographies. Iconographically, the figures of Joseph of Arimathea and Nicodemus stand out, vigorous personages who unclaim and support Christ; the three Marys, who remain in the background, withdrawn in mournful expressions and gestures; the effigy of the dead Christ descending from the cross, with a perfectly defined anatomy, free of a deep pathos, and St. John the Evangelist who, with his back to the spectator, offers his help to pick up the body of the Savior. The work is contained in a 19th century frame of great decorativism, worked in carved and gilded wood.
Lot 63
Sevillian school; second half of the seventeenth century."Ecce Homo".Oil on canvas. Relined.Measurements: 53 x 40 cm; 72 x 59 cm (frame).In this devotional canvas, painted for an altar or private chapel, the theme of Ecce Homo is represented, very common in this type of paintings. Of simple and clear composition, with the face of Christ in the foreground, the absence of narrative details deepens the expressive power and pathos, designed to move the soul of the faithful who pray before the image, within a tremendist sense very typical of the baroque in Catholic countries. The theme of Ecce Homo belongs to the cycle of the Passion, and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, symbolic color of the Passion) and placing a reed in his hand, kneeling and exclaiming "Hail, King of the Jews!". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ before the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in front of that of the leaders who were judging him there. Formally this work is dominated by the light treatment, very contrasted and dramatic, based on a spotlight that falls directly on the figure of Christ.The dramatism that stands out in the scene reflected in the blood of the body that falls on the body of Christ, contrasts with the austere attitude and of recollection that denotes the posture of the body. It is this body composition that brings the artist closer to the work of Murillo. Considered by some as the painter who best defines the Spanish Baroque, Bartolomé Esteban Murillo exerted a remarkable influence among his Sevillian contemporaries and, after his death, his wake can be found in other schools even to this day, especially in religious art. In the 18th century his language and iconographic formulas were widely followed and repeated, and during Romanticism numerous copies of his works were made. However, it will be in the Baroque of the eighteenth century when the importance of his influence is most appreciated, spread by his numerous disciples and followers. In fact, in that century he was the best known and most appreciated Spanish painter outside Spain, the only one of whom Sandrart includes a biography in his "Academia picturae eruditae", a work of the late seventeenth century. In the last decades of the 17th century, the emotional, sweet and delicate sentimentality of Murillo prevailed in Seville over the more dramatic one of Valdés Leal, and hence the predominance of his influence in the following century. However, as time progresses, we will find ourselves before an increasingly superficial influence, which focuses on the imitation of models and compositions, but leaving aside his plastic language, in favor of formulas more typical of the new century.
Lot 65
Andalusian school of the second half of the seventeenth century."The adoration of the shepherds".Oil on canvas. Relined.Presents repainting, restorations and jumps.With frame of the twentieth century.Measurements: 169 x 126 cm; 193 x 151 cm (frame).This canvas represents a classic theme in the History of Art, that of the shepherds adoring the newborn baby Jesus in the portal of Bethlehem. It is a scene that, as in this case, lends itself to be interpreted as a large composition with numerous characters, worked in a costumbrista key, so it was very much to the taste of the Baroque painters, who sought above all a natural and close art, which moved the mood of the faithful and made them feel close to what was represented on the canvas, to the sacred story. In this way, the divine elements are reduced to a minimum, only to a breaking of Glory in the upper part, with two child angels attending the event. As is typical of the first baroque, this celestial space appears clearly differentiated from the earthly, a clear separation that, however, will disappear in the second baroque. As for the rest of the characters, all are arranged in the lower part of the composition, and stand out for the gestural emphasis and the individualized clothing of each one. All of them are presented around the Child Jesus, arranged in the center of the composition as the absolute protagonist, directly illuminated by a divine light. In short, we see in this canvas a theme very repeated throughout the History of Art, and that during the Andalusian baroque knew a remarkable boom. The humanity that permeates the scene made the faithful identify with it, an intention that would characterize Spanish religious art from the Counter-Reformation onwards.
Lot 96
CECIL BEATON (1904-1980)Portrait of a Young Boy (Nicholas Pascoe Grenfell)Oil on canvas, 88.5 x 67cmSignedProvenance: Commissioned by the family; hence by descent. The Grenfells were family friends and neighbours of the artist.This portrait was executed in the 'Red House', which was Beaton's home in Wiltshire. It was then brought to Ireland by the Grenfells where it was hung in Clobemon Hall, Ferns, Co. Wexford.Sir Cecil Beaton was a distinguished photographer but he is best referred to as a Renaissance man as his many talents also saw him comfortably dip into interior design, costume and set design and painting. Growing up, Beaton’s nanny had a Kodak 3A camera and, sensing his interest, she took it on herself to teach him the basics of photography and film development. From here, his artistic eye was nurtured and his first image was published in Vogue while he was still in college. His debut exhibition was held with the aid of Osbert Sitwell at the Cooling Gallery, London. The show raised some eyebrows and Beaton temporarily relocated to New York where he felt his work would be better received. The end result was a contract with Condé Nast to take photographs exclusively for them. As his reputation grew, so did the renown of his clients and Beaton was employed to take the official wedding photos of the Duke and Duchess of Windsor. He was subsequently honoured with photographing Queen Elizabeth II on her coronation day. He similarly excelled in his work with film and theatre and won two academy awards for his costume designs in Gigi (1958) and My Fair Lady (1964). Cecil Beaton is hailed as someone who acknowledged his sitter’s imperfections but then did his very best to hide them. Beaton would choose flattering angles and carefully placed light in order to hide or misrepresent his subject’s flaws. This approach led to captivating images of beautiful people, whether in photograph or paint. Helena Carlyle, October 2021
Lot 220
A RARE BLUE SILK LAMPAS 'FIVE DHYANI BUDDHAS' PANEL10th-13th centuryThe panel finely woven in gold thread with four rows, each executed in repeat pattern with designs of the Five Dhyani Buddhas, from left to right, Akshobhya, Ratnasambhava, Vairocana, Amitabha and Amoghasiddhi, each figure seated cross-legged on a lotus padma base, the hands held in appropriate mudras, except for Ratnasambhava, where the hands repeat the gesture of Akshobhya, all on a blue background decorated with curling leaves before a floral border to the sides, mounted.43cm (17in) wide x 28.5cm (11 2/8in) high.Footnotes:十至十三世紀 五方佛紋藍地織金錦Provenance: Jacqueline Simcox Ltd., LondonAn English private collection來源：倫敦古董商Jacqueline Simcox Ltd.英國私人收藏Finely woven in a technique known as 'lampas', the present panel presents a finely-embellished surface of gilded paper patterns wrapped around a silk core, against a midnight-blue ground. Aksobhya, Amitabha, Amoghasiddhi, Ratnasaṃbhava, and Vairocana are the five Dhyani Buddhas worshipped in Mahayana Buddhism. They are viewed in tantric meditation and are found in Buddhist iconography. Each of these Buddhas represents a different aspect of the enlightened consciousness to help in spiritual transformation. They signify the core mandala in ourselves including our environment and the cosmos. In addition, they represent the five types of human personality and exemplify the perfect form of the personality types. Akshobhya is a heavenly Buddha who rules over the Eastern paradise, Abhirati. The individuals who satisfy Akshobhya's promise are renewed in Abhirati and will not fall again into the lower state of consciousness. Akshobhya holds a vajra in his left hand which symbolises shunyata or an absolute reality that both animate and inanimate things are unmanifested. Amitabha Buddha is the focus of Pure Land Buddhism, which is one of the largest schools of Mahayana Buddhism in Asia. Amitabha signifies mercy and wisdom and is often portrayed with his hands in meditation pose, his fingers barely touching and gently folded over the lap with palms facing upwards. Amoghasiddhi Buddha represents the achievement of all activity. His name signifies 'Infallible Success'. He reigns in the North and he is usually portrayed in Buddhist iconography as transmitting a green light, which is the view of finishing knowledge and advancing peace. His hand motion is the mudra of courage, with his right hand placed in front of his chest and palm in an outward direction as though to state 'stop'. Ratnasambhava Buddha symbolises wealth. His name means 'Source of Jewel' or the 'Gem Born One' and he holds his hands in the desire-satisfying mudra, with his right hand facing down and the palm outward and his left in the meditation mudra symbolising generosity. Finally, Vairocana Buddha is believed to be the exemplification of all the Dhyani Buddhas, including everything and everywhere, ubiquitous and omniscient. His hand gesture in the Dharmachakra mudra signifies the turning of the wheel and places the hands in such a way that the thumbs and forefingers touch at the tips to form a wheel.Compare with a similar but larger blue-ground silk 'lampas' 'Five Dhyani Buddhas' panel, 10th-13th century, in the Guimet Museum, Paris, illustrated by Jacqueline Simcox Ltd., Chinese Textiles and Works of Art, London, 2005, p.13. See also a similar 'lampas' panel depicting six rows of 'Five Dhyani Buddhas', 10th-13th century, illustrated by Spink & Sons Ltd., The Art of Textiles, London, 1989, no.18.For further information on this lot please visit Bonhams.com
Lot 270
An exceptionally rare chestnut-ground 'dragon' chubha, KangxiKangxiThe elegant garment constructed in Tibet from Chinese Kangxi period Imperial chestnut silk brocades, finely worked in gold and multi-coloured threads, the design on the front and back dominated by a large and powerful side-facing four-clawed mang dragon clutching the flaming pearl amidst a dense ground of ruyi clouds and Shou medallions, all above the terrestrial diagram rising from rolling waves and ruyi lishui, with four further partial dragons on the sleeves, superimposed against a ground of interconnected clouds and small dragons, woven in gold and multi-coloured threads, all above a partial terrestrial diagram at the hem, the collar and inner flap decorated with panels depicting a continuous patterns of dragon roundels alternating with wispy clouds, the raised collar and border edged with dark and light fur pelts, blue brocade and gold thread creating an elegant design, the interior lined with patterned cotton. 184cm (72 1/2in) wide x 136cm (53 1/2in) long.Footnotes:清康熙 御製褐地織彩雲金龍紋袍料製藏袍Provenance: Linda Wrigglesworth, LondonA distinguished Belgian private collection來源：倫敦Linda Wrigglesworth比利時顯赫私人收藏Finely tailored from sumptuous Imperial chestnut-ground brocaded silks, the present garment is a brilliant and elegant adaptation of 17th century Chinese Imperial Court costume to formal Tibetan ceremonial attire.The front and back of the garments would have made up the main body of an extremely rare Imperial woman's formal state robe, chaopao dating to the Kangxi period. This is visible by the L-shaped seam between the collar and the underarm, noted on the present lot. The same L-shaped seam between the collar and the underarm is one of the main features of chaopao garments, long dragon robes made of a single section from shoulder to hem, with separate sleeves which were inserted into the main body at the shoulders; the resultant seams were then covered with metallic brocade ribbon, which was used as neck, side and hem trim. A separate piling collar was an additional garment that rested on the shoulders. Epaluettes were once applied and then removed to obtain a simpler Tibetan-style closure. This tailoring combined the styles of the two layered garments worn by the Imperial female members of the Ming dynasty, namely a a long sleeved, full-length coat, chaopao, which would have been worn under a full-length sleeveless coat, gualan. Surviving material evidence suggests that probably by the time of the Qing conquests, the two garments had merged into a single coat though the full length court vests still appeared; see J.Vollmer, Ruling from the Dragon Throne. Costumes of the Qing Dynasty (1644-1911), Berkeley, CA, 2002, p.69. Chaopao robes dating to the Kangxi period and preserved in public collections are exceptionally rare, however, a velvet textile for a dragon robe, 17th century, from the Metropolitan Museum of Art, New York, depicts a very similar large four-clawed dragon clutching the flaming pearl, to the dragons brilliantly woven on the present robe, acc.no.1987.147, illustrated in The Metropolitan Museum of Art. Friends of Asian Art Gifts, 1985–2007. New York, 2008, p.36. See also a yellow-ground robe, Shunzi, embroidered with a single large side dragon clutching the flaming pearl, illustrated in The Complete Collection of Treasures from the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, p.181, no.202. A Qing dynasty winter chaopao lined with brown fur and incorporating the styles of a long garment and a sleeveless coat, as the present example, from the 'Regulations of Imperial Paraphernalia of the Qing Dynasty' Huangchao Liqi Tushi, edited in 1759, is illustrated by J.Vollmer and J.Simcox, Emblems of the Empire. selections from the Mactaggart Art Collection, Edmonton, CA, 2009, p.13.According to the 'Illustrated Regulations for the Ritual Paraphernalia of the Imperial Court' Huangchao Liqi Tushi 皇朝禮器圖式, edited in 1759, brown jinhuang, was considered one of the five shades of yellow that could only be worn by the closest family members to the Emperor, and Third and Fourth Degree Princes and their wives could wear brown robes decorated with four-clawed dragons, mang; see L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.174.During the Qing dynasty, it became an established practice for the Court to send gifts of silks and garments to Tibet because of the strong attachment of the Manchu rulers to Tibetan Buddhism and the political relations. At this time, the Court produced richly-decorated silk costumes specifically for use in Buddhist rituals and bestowed large quantities of Imperial 'dragon' robes that became the customary formal dress for aristocratic Tibetans. The Tibetans traditionally wore robes featuring very long sleeves characterised by wider cuts and a simpler style of front overlap and fastening. The front part of the garment slanted from the neck to a fastening under the right arm.The Tibetans created the chubha style robe by substituting the front underlap of the garment with another material, or by cutting off some of the deep wave border to extend the arms or widen the sleeves. The overall result conveyed a rather harmonious and eccentric effect obtained by combining different materials; see J.Simcox and J.Vollmer, Emblems of Empire: Selection from the Mactaggart Art Collection, Edmonton CA, 2009, pp.200-217.Compare with a related 'dragon' robe, Kangxi, which was sold at Christie's London, 9 November 2010, lot 276.For further information on this lot please visit Bonhams.com
Lot 340
A famille rose figure of a female immortal18th century Finely modelled standing, dressed in layered robes with long sleeves painted with medallion motifs against a light yellow and pink ground, draped with a shawl finely decorated with scrolling foliage on her shoulder, her left arm slightly raised and holding a peach, the face with gentle expression and hair neatly tied into a high chignon bun. 28.5cm (11 1/4in) high.Footnotes:十八世紀 粉彩仕女立像Compare with a related but larger famille rose standing figure of a 'Chinese lady', circa 1740-1750, illustrated by D.Howard and J.Ayers, China for the West: Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection, vol. II, London and New York, 1978, p.613, no.642.For further information on this lot please visit Bonhams.com
Lot 360
A RUBY-PINK-ENAMELED CONICAL BOWLYongzheng blue-enamel seal mark, Republic Period Finely potted with deep sides rising from a short foot flaring widely towards the rim, the exterior covered with a light ruby-pink glaze, the interior and base left white, inscribed to the base with a four-character reign mark in underglaze blue.10cm (3 15/16in) diam.Footnotes:民國 胭脂紅釉斗笠盌藍料「雍正年製」楷書款Provenance: an English private collection來源：英國私人收藏For further information on this lot please visit Bonhams.com
Lot 5
A Collection Of Records To Include 12" LP's , 7" Singles And 78's. Mainly Soul, Pop/ Reggae/ Rock. Artists Include. Bob Marley, Sam Cooke, Canned Heat, Elvis, The Shadows, Blind Faith, The Kingston Trio, Robert Palmer, The Four Seasons, Ray Conniff, The Fantastic Peddlers, Harry Belafonte, Ottis Redding, Malcolm Mclaren, Beatrice Reading, Glady's Knight And The Pips, Klark Kent, Greyhound, Harold Melvin & The Blue Notes, Hot Chocolate, Sophia George, Steel Pulse, Tavares, Stevie Wonder, David Bowie, Keith Emerson, T. Rex, Sister Sledge, Kc & The Sunshine Band, Louis Armstrong, Approximately 49 12 " LP's Approximately 50 7 " Singles Approximately 15 78's In One BoxAll Records Are In Good Overall Condition With Light Surface Scratches And slight Wear To The Sleeves Perfect For A Person Looking To Start Their Collection Or For Shop Stock
Lot 14
A collection of records, 12", LP's and 45's including The Beatles, Pink Floyd, Elton John, The Sex Pistols, Alice Cooper, The Clash, John Lennon, Rolling Stones, Led Zeppelin, Jeff Wayne's, Magnum, Helen Shapiro.Approximately 28 LP's Approximately 13 7" Singles All Records Are In Good Overall Condition, With light Surface Scratches To Records And Slight Loss To Some Of The Sleeves
Lot 30
A Box Of 7 " Hard Rock/ Rock Singles. Artists Include Queen, Bon Jovi, The Cult, Fleetwood Mac, Guns N Roses ,Hawkwind, Deep Purple, Thin Lizzy, Status Quo, Marillion, Def Leppard, Slade, The Sweet, Suzi Quattro, Judas Priest, Motorhead, Jeff Beck, Brian May, Nazareth, Electric Light Orchestra, Boston, AC/DC, Gary Moore, Alice Cooper, Steppenwolf,Approximately 50 Records In One Record Carry Case Records Range From Fair To Good In Condition And The Same With Sleeves.
Lot 76
A PRS CE 22 Electric Guitar In Emerald Green With Set Neck, Mahogany Body With Maple Top , Maple Neck With Rosewood Fret Board And Two Humbucker Pick Ups . Comes With Protective Hard Body Carry CaseSerial Number: 941278Production Year 1999The Guitar Is In Good Overall Condition, With A Few Minor Light Scratches To The Back
Lot 6
A Collection Of 12 " LP's Mainly Pop/ Soul/ Rock. Artist's Include The Beatles, The Four Seasons, Frankie Goes To Hollywood, Michael Jackson, Eddie Cochran, The Drifters, The Rolling Stones, The Temptations, Elvis Presley, Madonna, Wilson Pickett, Little Richard, Buddy Holly, The Police, Depeche Mode, Dead Or Alive , Ike & Tina Turner, Jerry Lee Lewis, The Shadows, ZZ Top, Fats Domino, Glen Miller, Chuck Berry, The Everly Brothers, Pat Boone, The Commodores, Dire Straits, + More All Records Range From Fair To Good Condition And All Show Signs Of Light Surface Scratches And Damage To The Sleeves. Approximately 100 Records In One Box
Lot 80
A Yamaha SA2200 Hollow Body Electric Guitar In Sunburst With Black Pick Guard, Comes With Hiscox Hardbody Carry Case. Serial Number QMN015I Made In Japan Production Year 2006 Guitar Is In Good Overall Condition With Slight Wear To The Frets And Minor Light Scratches To The Body And Pick Guard
Lot 42
Four Toy Story Cinema Posters With Different Characters On Each Advertising The Toy Story Film\Un Framed And All Have Signs Of Damage, Damage To Include Tears. Creases And Rips Measurements For Woody Poster 178 Cm Height, 120cm Width Mr Potato Head 179 Cm Height, 120 Width Woody And Buzz Light Year Poster ( The Chase) 178 Cm Height 120Cm Width Buzz Light Year Poster 180 Cm Height , 120Cm Width Please Inspect Pictures For Damage
Lot 95
A FAMILLE ROSE FIGURE OF GUANYIN18th centuryThe Goddess of Mercy finely modelled seated with her right leg raised, her left arm holding a scroll resting upon her right hand, the face with serene expression beneath a high chignon bun draped with a shawl, clad in loose flowing robes finely decorated with lotus sprays and foliate scroll work, open at the chest revealing beaded jewellery, with hardwood stand. 24cm (9 1/2in) high. (2).Footnotes:十八世紀 粉彩觀音坐像Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett and Sons Ltd, The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.15, no.137.來源：Charles Oswald Liddell上尉（1854-1941）倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁15，編號137Captain Charles Oswald Liddell (1854-1941) was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society, and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.A related but larger famille rose figure of Guanyin on a separate lotus stand, Qianlong, was sold at Christie's Hong Kong, 29 April 2002, lot 705. see also a closely related famille rose figure of Guanyin on a lotus base, Qianlong, in Clandon Park, Surrey (acc.no.NT1440426.1).利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至 1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。參考一件較此例稍大的清乾隆粉彩觀音像，坐於粉彩蓮座之上，售於香港佳士得，2002年4月29日，拍品編號705。英國國家名勝古蹟信託會員之薩里郡克蘭頓公園公館亦收藏一例清乾隆粉彩觀音像，藏品編號NT1440426.1，可為比對。This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 23
A RARE FAMILLE VERTE 'PEONY BLOSSOM' MONTH CUPKangxi six-character mark and of the periodThe delicately-potted vessel rising to a gently flaring rim, painted to represent the fourth month with variously coloured flowering tree peony amongst blue pierced rockwork, the reverse with a poetic inscription: Xiao yan yuan fen jin zhang lu. Mu xiang shen re yu tang feng, 'At dawn its beauty receives dew from a golden palm. In the evening the fragrance penetrates deep into the Jade Hall'. 4.9cm (1 7/8in) high.Footnotes:清康熙 五彩「牡丹」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society, and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Very delicately potted, 'Month cups' were painted in the fine wucai palette of underglaze blue and overglaze enamels, which was devised during the Ming dynasty, but rarely used during the Qing dynasty, when the underglaze colour was generally omitted. 'Month cups' were made at the Imperial kilns during the Kangxi reign. A different cup was made for each month of the lunar calendar. Underglaze-blue designs were usually painted on the unglazed body. These cups were so thinly potted that the cobalt blue decoration on their exterior can be seen through the eggshell porcelain from the interior of the vessel. Slight differences in size, colours, calligraphic styles and even marks between the individual cups suggest that they may not even have originally been conceived as sets of twelve, rather, they could have been issued consecutively, as the year evolved, to be finally assembled as a set at the end. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when... For further information on this lot please visit Bonhams.com
Lot 21
A VERY RARE FAMILLE VERTE 'LOTUS' MONTH CUPKangxi six-character mark and of the periodThe finely potted vessel rising to a gently flaring rim, decorated to represent the sixth month with a pair of Mandarin ducks swimming in a lotus pond, with a kingfisher in flight above, the reverse with a poetic inscription: Gen shi ni zhong yu. Xin cheng lu xia zhu, 'The roots are like jade gleaming in the mud. The hearts contain pearls when dew has descended'. 4.9cm (1 8/9in) high.Footnotes:清康熙 五彩「荷花」花神盃青花「大清康熙年製」楷書款Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.11, no.100 or 101.Captain Charles Oswald Liddell (1854-1941) was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society), and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁11，編號100或101利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。Delicately potted porcelain cups, such as the present example, were known as 'Month cups' and were made at the Imperial kilns during the Kangxi reign. These vessels were painted in underglaze-blue and overglaze famille verte enamels in wucai style depicting individual flowers that designated each of the twelve months of the year. The design format of these cups, incorporating a pictorial composition on one side and a poetic inscription ending in a seal mark on the other, was inspired by the long tradition in classical painting and was an innovation of the Kangxi period. The poems inscribed on the 'Month cups' are all couplets from Tang dynasty poems. The Kangxi Emperor greatly admired Tang poems as demonstrated in ordering the compilation of all recorded Tang poems in 1705, on the 44th year of his reign. This project came into fruition under the leadership of the official Cao Yin, when the 'Complete Collection of Tang Poems' Quan Tangshu was published in 1706, including over 40,000 poems and a foreword written by the Kangxi Emperor himself; see R.Scott, For the Imperial Court. Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp.82-83. It is thus likely that these delicate 'Month cups', decorated with poems favoured by the Emperor, were made during the later period of the Kangxi reign, when the compendium of Tang poetry was published.The twelve flowers painted on the 'Month cups' were selected following the traditions of the Flower Festival, which fell on the 15th day of the second month in the Chinese calendar, signifying the arrival of springtime and celebrated the birthday of all flowers. The Flower Festival was highly popular du... For further information on this lot please visit Bonhams.com
Lot 43
A PAIR OF FAMILLE ROSE 'DRAGON' BOWLS AND COVERSYongzheng six-character marks and of the period, with probably later covers and enamelsThe flaring conical bowls and domed covers brightly decorated in polychrome enamels with animated serpentine five-clawed dragons emerging from crashing waves, each in pursuit of a flaming pearl amongst clustered cloud scrolls, each with an underglaze-blue Yongzheng six-character mark. Each 20.5cm (8in) diam. (4).Footnotes:清雍正 粉彩雲龍紋蓋盌一對 盌蓋及釉彩或較晚青花「大清雍正年製」楷書款Provenance: Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett & Sons Ltd., The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.22, no.196.來源：Charles Oswald Liddell上尉（1854-1941）舊藏倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁22，編號196Captain Charles Oswald Liddell was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society), and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.The shape of the present pair of bowls is particular to the Yongzheng period, and they are almost always exclusively decorated with dragons. A pair of doucai bowls and covers of this pattern, Yongzheng mark and period, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, no.230; see also an illustrated diagram of the shape in Ming Qing ciqi jianding, Beijing, 1993, p.242, pl.414, no.13. See a similar pair of bowls and covers decorated with dragons in doucai, Yongzheng six-character marks and of the period, illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.52. See also another related bowl and cover with doucai decoration of dragons and clouds, Yongzheng six-character mark and of the period, illustrated in The Tsui Museum of Art: Chinese Ceramics IV, Qing Dynasty, Hong Kong, 1995, no.129.Compare with a pair of doucai conical dragon bowls and covers, Yongzheng six-character marks and of the period, which were sold at Christie's London, 5 November 2019, lot 173.利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至 1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。盌身及蓋均呈斗笠形，高圈足，口沿呈六瓣花形，蓋鈕形同盌足做成圈足狀，此式蓋盌僅見於雍正一朝。北京故宮博物院藏清雍正鬥彩雲龍紋蓋盌一對... For further information on this lot please visit Bonhams.com
Lot 40
AN EXCEPTIONALLY RARE AND IMPORTANT IMPERIAL BEIJING ENAMEL MELON-SHAPED TEAPOT AND COVERQianlong blue enamel four-character mark and of the periodThe elegant lobed panels each exquisitely enamelled with various scenes of mountainous or lakeside landscapes and flowers with butterflies and insects, all on a dappled light-blue ground, separated by pink bands of floral scrolls and between ruyi-shaped borders at the foot and shoulder, set with a gilt-bronze handle issuing at each end from a dragon head, the curved gilt-bronze spout also issuing from a dragon head, the domed and lobed cover decorated with further floral motifs and fishermen and sages within mountainous landscapes, separated by scrolling acanthus leaves, reserved on a rich yellow ground, surmounted by a gilt-bronze finial, the mark on the base surrounded by a painted mythical beast, with a zitan stand. 15cm (5 7/8in) long. (3).
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