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Lot 5219
WW2 British Medal Ribbons x 11 each approx. 33cm in length, cloth formations signs, AFS button, ARP Handbook No2 1938, Airgraph letter Greetings from India Xmas 1944, US Ration book, post war Zippo Lighter engraved "HMS Abdiel Suez Canal Clearance 1974" along with photo taken at Suez showing knocked out Egyptian T55 tank.
Lot 95
TWO 'ROTARY' WRISTWATCHES, the first quartz movement, round dial signed 'Rotary' Roman numerals, date at the three o'clock position, gold plated case, approximate case width 36mm, model number GB00794/32, fitted with a gold plated bracelet and folding clasp, the second quartz movement, round dial signed 'Rotary' baton markers, day date at the three o'clock position, gold plated case, approximate case width 36mm, model number GB20764/08, fitted with a stretch link bracelet, together with a 'Sekonda' pocket watch, 'Ronson' lighter, a pewter flask, also including an assortment of cutlery, (condition report: general moderate wear, watches not currently working at the time of cataloguing)
Lot 446
A QUANTITY OF WEDGWOOD 'ICE ROSE' PATTERN GIFTWARE, A REGIMENTAL SWAGGER STICK AND TEAWARES, comprising a Royal Warwickshire regimental swagger stick, a cutglass and chrome Ronson table lighter, a Mappin & Webb silverplate candle holder, height 12cm, a Royal Worcester commemorative Diamond Jubilee mug, a Royal Worcester 'Flights of Fancy' trinket dish, a tin of Wills's Woodbines dominoes, a Rubens Ware 'Pomegranate' pattern planter (cracked and chipped), a boxed Maxwell Williams teapot, a boxed Coalport 'Paradise' pattern trinket box, a trinket dish, three pieces of Coalport 'Tibet' pattern giftware, nine pieces of Crown Staffordshire 'Kowloon' pattern giftware, eleven pieces of Wedgwood 'Ice Rose' giftware, a Royal Crown Pottery pale blue and white part tea set comprising sugar bowl, milk jug, five tea plates, six cups (one broken handle), six saucers, a pair of Prinzlux 10x50 binoculars, a Portmeirion Pottery 'Zodiac' mug by John Cuffley, Art Deco style silverplate cigarette box, children's cutlery, etc. (Qty) (Condition Report: obvious damage mentioned in description)
Lot 358
A GROUP OF 19TH AND 20TH CENTURY CERAMICS AND GLASSWARE, including an early Victorian sixteen piece hand painted part tea set, a late Victorian blue and white printed oversized cup and saucer, a cut glass fruit bowl, a late 19th Century Chinese Canton famille rose teapot with damaged cover, various drinking glasses, Wedgwood table lighter, etc (Qty) (Condition Report: the tea set is in poor condition, damage includes missing handles to the sucrier, milk jug is cracked, five cups are damaged, teapot finial is glued, most pieces are stained, Canton teapot has a broken lid, iridescent glasses have a rim chip, most other pieces appear to be in fair to good condition overall)
Lot 23
Ca. 500-300 BC. A beautiful example of a tin bronze Greek Chalcidian helmet. The bowl is forged in one piece, featuring high-arched eyebrows below a raised band, horizontal neck protection, and a short teardrop-shaped nose guard extends down from the raised eyes. The articulated crescentic cheek-pieces with contoured edges are attached with metal wires. Fully tin plated with almost 100% of it still remained. Chalcidian helmets are named after similar helmets depicted on pottery vases from the Euboean city of Chalcis. This type of ancient Greek helmet was a lighter and less restrictive form of the Corinthian helmet. The hinged cheek pieces were anatomically formed to fit closely to the face and tended to curve upward towards the eye, where large circular openings provided a wider field of view. FULLY TIN PLATED WITH ALMOST 100% OF IT STILL PRESERVEDSize: L:370mm / W:200mm ; 955gProvenance: Important London collection of Ancient Art; formerly acquired on the European art market. Formerly acquired in Leipzig, Germany from E. Muller in the 1960s.
Lot 320
An Elizabeth II silver Caddy Spoon, by Francis Howard Ltd., hallmarked Sheffield, 1988, with scalloped bowl and shell handle, together with a shell butter dish, Sheffield, 1905, a small silver card case, Birmingham, 1921, with engine turned decoration, 8.5cm high, a George IV silver Fish Knife, London 1822 and a small silver Table Lighter, Birmingham, 1958, weighable silver 5.3ozt (5)
Lot 442
A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。
Lot 458
A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。
Lot 582
AN AMETHYST 'IMMORTALS' SNUFF BOTTLE, 1750-1850China. Well hollowed, of tapering ovoid form, supported on an oval foot with recessed base, surmounted by a waisted neck with straight rim. One side carved with Shoulao holding his staff in his right hand and a peach in his left, standing below a pine tree, the reverse depicting Liu Hai holding cash coins and looking down at the three-legged toad, framed by a plantain.Provenance: From a private collection in Pennsylvania, USA. The base with an old label, 'H 2081 90.00'. Condition: Good condition, a chip to the upper rim, few small nibbles here and there.Stopper: Glass in imitation of jadeiteWeight: 58.7 gDimensions: Height including stopper 71 mm. Diameter neck 12 mm and mouth 6 mm.The transparent stone is of an attractive and intense violet tone with contrasting light and deep violet areas interspersed with dark specks, the lighter areas skillfully utilized by the lapidary to depict Liu Hai and the three-legged toad.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 14 September 2010, lot 161Price: USD 8,125 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: An amethyst snuff bottleExpert remark: Compare the closely related color of the stone, motif, and related form. Note the size (63 mm).1750-1850年紫晶《壽老劉海》鼻煙壺中國。掏膛良好，直頸，呈橢圓形，並橢圓形圈足，一面雕刻松下壽老，一手執杖，一手持桃；另一面可見劉海戯金蟾。 來源：美國賓夕法尼亞私人收藏，底部可見老標籤 'H 2081 90.00'。 品相：狀況良好，上緣有缺口，局部有一些小磕損。 壺蓋：仿翡翠玻璃 重量：58.7 克 尺寸：含蓋高71 毫米，頸部直徑12 毫米，壺口直徑6 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2010年9月14日，lot 161 價格：USD 8,125（相當於今日EUR 10,500） 描述：紫水晶鼻煙壺 專家評論：比較非常相近水晶顏色、主題和相近的外形。請注意尺寸 (63 毫米)。
Lot 48
A RARE SPINACH-GREEN JADE CUP, ZUN, 17TH-18TH CENTURYChina. Of lobed melon form supported on a tall foot, the sides finely carved with lotus blossoms, plantain leaves, and scrolling vines, the foot further carved with floral designs. The semi-translucent stone of a deep green tone with dark specks as well as lighter and darker striations.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years. A label to the base, 'Antique Jade Spinich [sic!] carved archaic vessel 18/19th century'. An inventory number, '217.14.QT', lacquered to the mouth. An old price label, 'HC 102 BIR 2'' $160'. An inventory number, '22' lacquered to the base. Condition: Very good condition with expected old wear, few small nicks, the stone with natural inclusions and fissures, some of which have developed into hairline cracks. The wood stand with minor wear.Weight: 305.4 g (excl. stand), 331.5 g (incl. stand) Dimensions: Height 7.7 cm (excl. stand), 10.1 cm (incl. stand)With a fitted and reticulated wood stand supported on four short feet, dating from the Qing dynasty. (2)This austere form, sometimes also referred to as chi kou zun, appears to derive from the earthenware originals, popular during the Shang and Zhou eras, as 'A Dictionary of Chinese Ceramics' by Wang Qingzheng, page 45, refers. This genre oscillates between the shape offered here, and the more conventional stem cup forms of gao zu bei and ba bei. Interestingly, both are known in gray jade from examples made during the Ming dynasty, but never before has a version carved from spinach green jade appeared on the market, at least not to the knowledge of this author. For an example of the gao zu bei form in gray hue, see No.2823 of the 1935-36 International Exhibition of Chinese Art at The Royal Academy, lent to the Exhibition by Major General Sir Neil Malcolm.Auction result comparison:Type: Remotely relatedAuction: Bonhams Hong Kong, 3 December 2015, lot 39Price: HKD 312,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A rare spinach-green jade 'heavenly bird' jar, Zun, Qianlong/JiaqingExpert remark: Compare the related color of the jade and the similarly detailed floral carving. Note the additional bird heads and the slightly larger size (10.1 cm).十七至十八世紀罕見纏枝蓮紋棱花口碧玉尊中國，分瓣瓜形，高足，開光雕刻纏枝蓮花與芭蕉葉紋，足部刻有花卉紋。深綠色調的半透明玉料，帶有深色斑點以及條紋。 來源：英國倫敦紳士收藏，其收藏至少超過五十年歷史。底部標籤上可見 'Antique Jade Spinich [sic!] carved archaic vessel 18/19th century'，口部寫著一個收藏編號 '217.14.QT'，舊價格標籤 'HC 102 BIR 2'' $160'，底部寫著一個收藏編號 '22'。 品相：狀況極好，有磨損，輕微小刻痕，玉石内有天然内沁和裂隙，其中一些已經發展成細裂紋。木架有輕微磨損。 重量：305.4 克 (不含底座)，331.5 克 (含底座) 尺寸：高7.7 厘米 (不含底座)，10.1 厘米 (含底座) 清代四足木底座。(2) 拍賣結果比較： 形制：稍微相近 拍賣：香港邦瀚斯，2015年12月3日，lot 39 價格：HKD 312,500（相當於今日EUR 44,000） 描述：清乾隆/嘉慶碧玉天雞尊 專家評論：比較相近玉石顏色，以及相似的纏枝蓮花雕刻。請注意此玉尊有三頭，以及尺寸 (10.1 厘米)較大。
Lot 164
A set of four Murano style glass wall lights of stylised palm leaf design on brass sconces 52 cm long CONDITION REPORTS To clarify the brass sconces for the four Murano palm lights are all plain and rectangular. The "shell" shaped sconces in the photograph are part of LOT 163A and are NOT PART OF THIS LOT. One of the mounts needs to be straightened a bit in order to get the glass fitting in as slightly misshapen. The fittings themselves are tarnished, scratched and pitted, however, as you can see from the image, the majority of it is not on full show as obscured by the glass when in position. Unknown if in one working orrder. One of the shades is significantly lighter and feels different to touch than the others but to the naked eye does not look that different. One of the shades - the one that fits into the base which is a little bit bent, has some roughness / chips to the back of a couple of the fronds, again not really visible to the piece but you can feel them. All in need of a good clean. Internal flaws such as air bubbles, etc. The brass fittings are all in place and secured. General wear and tear conducive with age and use and being in storage for a while. See images for further detail.
Lot 36
J Wallis (pubs)'London and Westminster in the Reign of Queen Elizabeth Anno. Dom 1563', engraving on two sheets, hand-coloured, 42 x 108cmHeavily time stained throughout image. Caused by the wooden stretchers from behind. Backed onto canvas and with some lighter spots possibly from previous attempt at restoration.
Lot 126
LIONELLO D'ESTE (1407-50), as Marquis of Ferrara (from 1441), Medal in old cast bronze, by Pisanello, Antonio Pisano (c.1395-1456). Obv: Portrait of Lionello d'Este wearing scale armour right, legend: LEONELLVS . MARCHIO . ESTENSIS . Rev: A mask of a triple faced child between two poleyns suspended from juniper branches, signed: OPVS . PISANI . PICTORIS .pierced otherwise only light wear on the highest points with dark and lighter patination, 67mm The triple-head is found on the shoulder-piece of King Alfonso’s armour in a drawing by Pisanello in the Louvre. Literature: Renaissance Portrait Medals. The Metropolitan Museum of Art Bulletin, Vol. 7, No. 3, March 1912, pp. 50-51.
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