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Click here to subscribeArthur Helbig attr., Tischlampe des Art Deco um 1925Der Bildhauer Artur Helbig war Schüler von Bruno Paul an der Unterrichtsanstalt des Kunstgewerbemuseums Berlin, Bespiele in Deutsche Kunst und Dekoration der 1920er Jahre, hier: Lampenfuß aus goldfarbener Bronze in Form eines Fabeltieres, Lampenfassung, Verkabelung und Seidenschirm modern ersetzt, Elektrifizierung nicht geprüft, H 52 cm
A Modern Three Row Fresh Water Pearl Bead Necklace, clasp stamped "14k"; together with further pearl necklaces, carved coral charm, oval cameo style costume brooch, Rennie Mackintosh Collection hallmarked silver brooch in original box, drop earrings, Hida Takayama Folk Art cloth purse, etc :- One Tray
Five works on modern art. Nicolas Calas and Elena Calas. 'The Peggy Guggenheim. Collection of Modern Art,' folio, unclipped dj, colour illustrations throughout, Rizzoli, New York, 2001; David Hockney. 'Secret Knowledge. Rediscovering the Lost Techniques of the Old Masters,' original cloth, unclipped dj, colour illustrations throughout, Thames & Hudson, 2001; With a Taschen promotional publication; David Fraser Jenkins and Frances Spalding. 'John in the 1930s. Abstraction on the Beach,' unclipped dj, profuse with colour illustrations throughout, vg, Merrell, London, 2003; Stefan van Ray et al. 'Modern British Art at Pallant House Gallery,' unclipped dj, colour illustrations throughout, Scala, 2004. (5)
(Caroline Fox and Davies Gilbert) Royal Cornwall Polytechnic Society. A granderised collection of the first reports thought to be Caroline Fox's own. First annual report 1833 to the fifth annual report 1837, in one volume, with extra bound in letters, original sketches, plans, architectural drawings, etc, full pebbled red calf, rubbed to extremities and joints, 4to, gilt edge, vg, Jane Trathan, Falmouth, 1833-1837.First bound letter (MS) with the title "First Prospectus of the Falmouth Polytechnic Society, in the Spring of 1832" detailing the society's aims and objectives, with a list of lead members; this appears to be in the hand of Davies Gilbert himself, using examples from the Science Museum, the close top of the capital 'I' for instance, and the angularity of the lower case letters firmly suggest it is, without it being signed; Followed by (as a frontis) an original ink and wash portrait of Davies Gilbert and indeed flat signed by Gilbert.'Report of the Cornwall Polytechnic Society 1833,' List of Members, Laws of the Society, proceedings of the General Meeting, bound in watercolour sketch of a Cornish mine, an ink and wash sketch of 'Loss of the Prince of Wales, 1804', ink sketch 'Park of Whitby Abbey', prizes awarded, watercolour still life of flowers initialled RJ 1833, list of subscribers, watercolour plan of a greenhouse, Chart of Gothic Architecture, ink and wash sketch titled 'A Method of Ventilating Mines'.'The Second Annual Report of the Cornwall Polytechnic Society 1834,' watercolour portrait of a bearded man with a large ruby on his hat, 'A Mineralogical Sketch of the Island of Banca' (Bangka Island, Indonesia), a ground plan of Ashfield estate, engraving of a Dipping Needle Deflector, ink sketch of a Hydrostatic Lock, ink and watercolour chart on Cornwall, engravings of the 'Cheese Wring' in Bodmin, engraving of The Royal Academy Medal 1837.'The Third Annual Report of the Royal Cornwall Polytechnic Society 1835,' ink sketch of the Polytechnic medal, ink sketch of Laocoon and Sons, watercolour Jack Knife, , engraving of a ruined abbey, engraved portrait, watercolour coastal scene, ink sketch of capital punishment in a schoolroom, 'Lines of equal magnetic inclination' map of the Uk and Ireland, 'Two Treaties on the Natural History of the Pilchard' by Jonathan Couch, meteorological diagrams (x2) with a fold out engraved '...Register Kept at Ashfield near Falmouth...1835', a fold out engraved chart titled 'A Chronological Chart of the Wars of the British Empire, From the Revolution in 1688-9 to 1855', four architectural plans for The Royal Polytechnic Hall, Falmouth.'The Fourth Annual Report of the Royal Polytechnic Society 1836,' newspaper clipping of a general meeting, watercolour of seaweed specimens, still life of flowers x2, engraving of Queen Victoria.'The Fifth Annual Report of the Royal Cornwall Polytechnic Society,' hand drawn magnetic chart of the UK and Ireland by Robert W. Fox, hand drawn magnetic chart of the Atlantic, ink sketch of crows, ink sketch of knights, an original hand drawn map signed by Edwin Fox and titled 'Recent discoveries in the Artic Regions by Parry, Franklin, Ross and Buck', graphite sketches of models of Trewethey Stone and Dungerthis Monument, a linear map between Falmouth and Truro with detailed key, watercolor botanical sketch.The work concludes with a letter written in the same hand as the first, detailing the rise of three other 'Polytechnics' since the inception of the Falmouth Society; and a printed announcement for the 'Sunderland Polytechnic Society', 1838.This is a work of huge historical significance concerning the development of science and art, which propagated from the inception of the Falmouth Polytechnic Society and was indeed granted Royal patronage from King William IV in 1835. A singular and important work. John Stengelhofen (1939-2020). Coming from London, he trained as an architect in the meticulous modernist aesthetics of the mid-century Architectural Association. He found Cornwall, moved there and never left. Active in the early years of the Trevithick Society, he was primarily responsible for the introduction of the Society’s Journal in 1973. He left mainstream architecture in the County Architects's department to pursue academic research at the newly-established, Institute of Cornish Studies, establishing himself as a generous, but authoritative lecturer on Cornish industrial archaeology along the way. He used his architectural skills to design Wheal Martyn China Clay Museum, then becoming its first Director in 1975. He moved to the National Maritime Museum in charge of their outstation at Cotehele, with the Tamar sailing barge Shamrock. During his period as President of the Royal Institution of Cornwall, 1984-1986, he had a major hand in the acquisition of the adjacent premises enabling the Royal Cornwall Museum to expand. He co-founded Twelveheads Press in 1978 to publish well-researched books on Cornish and other industrial history. Always generous with both skills and information, he was active in the Cornish Buildings Group for fifty years where he made a substantial contribution to the quality and protection of the built environment of his beloved Cornwall. Latterly he returned to his love of modern design, in the form of research into twentieth century Cornish architecture and architects, and produced as a last collaborative project, a visionary, affordable development in Hayle with impeccable eco credentials, where he made his home.
Jean Picquot after John Gordon Rideout, a Picquot Ware aluminium alloy K3 kettle, designed 1938, domed form with sycamore handle and finial, 23cm diameter Note: American industrial designer John G Rideout was employed by Wagner Manufacturing company in Ohio, USA, to design a range of new homewares using its patented aluminium alloy Magnalite. The kettle he designed in 1936, examples of which are in the Museum of Modern Art, New York and the Brooklyn Museum, became popular and the design was adopted and adapted, with the development of a removable lid, by the Scottish company Burrage and Boyd in 1938, eventually releasing it to the public after the Second World War, in 1946.
GROUP OF THREE TABLE LAMPS, OF ART DECO DESIGN decorated with double discs issuing from the central column, with black oval shades44cm highQty: 3Recomend re wire and conversion to modern plugs, they appear to be modern reproduction from roughly 90s early 2000s. Overall decent condition some minor scratches, dust and residue present, shades in overall decent condition with some light dust.
Carter, Charles Frederick (British, 1805-1894); b. Birmingham ENGLAND, Inigo Jones, 1849 [struck 1852], a copper medal by C.F. Carter for the Art Union of London, bust left, rev. front elevation of Banqueting House, Whitehall, edge impressed art-union of london 1849, 54mm, 91.23g (Beaulah 5; Eidlitz 101; BHM 2348; Taylor 34a; BDM I, 356; E 1437). About extremely fine £70-£90 --- Inigo Jones (1573-1652), a significant architect of the early modern period.
Gáti, Gábor (Hungarian, 1937-present); b. Budapest HUNGARY, Milyen nyelv merne [What Language Would Dare?], 1982, a cast bronze medal by G. Gáti, stream passing through a wood and over rocks, unicorn seated on upper rock, two wild boar standing to right by lowest rock, back impressed szerzoi példány 10/5, 121mm, 290.27g (Mullaly, The Medal 5, p.54). Extremely fine and very rare £80-£100 --- Provenance: Simmons MBS 69, 16 December 2014 (127) Edition of 10. The late Terence Mullaly, a journalist with a particular knowledge and appreciation of modern art medals from the eastern bloc, said of this piece ‘[it] achieves a degree of poetical intensity which has few parallels at any time in the long history of the medal’.
Tanavoli, Parviz (Iranian/Canadian, 1937-present); b. Tehran, emigrated to Italy 1956, then to the United States of America 1961, returned to Iran 1964, since 1979 in Canada and Iran ENGLAND/IRAN, Hands and Grille I, 2006, a cast gilt-bronze openwork plaque by P. Tanavoli [Sarber Jewellers, Vancouver] for the British Art Medal Society, hands clinging to a grille, rev. tips of fingers on grille bars, 91 x 63mm, 146.10g (The Medal 50, p.95, and illustrated on the covers; Leavitt Bourne, The Medal 50, p.66, 2; cf. Baxter Coll., Ewbank’s, 23 June 2022, 3158A; cf. Lodge & Thomas 1 Sept. 2023, 17). Brilliant, as made, very rare; an extremely significant modern sculptural piece £200-£400 --- The concept behind the obverse is inspired by Shi’ite Muslims who visit shrines, put their hands on the grilles, say their vows, and pray and talk to their imam. The reverse indicates the view across the tomb, seeing on the opposite side of the grille all the fingers of those praying. For further detail on this and other works by the artist, see Marcy Leavitt Bourne, The Medal 50, pp.64-74.
Booth, Philip (British, 1949-present); b. Huddersfield ENGLAND, The Lizard’s Tale, 2011, a two-part cast bronze medal by P. Booth [Zahra Modern Art Foundries] for the British Art Medal Society, lizards emerging from holes, rev. Haiku, 85mm, 334.87g (The Medal 59, p.74, and 60, pp.73-4). Extremely fine and as made; in half of original black box of issue £90-£120 --- Provenance: bt BAMS, June 2013 Edition of 27. The subject matter relates to a visit by the artist to southern Italy in 2010.
Steyn, Geer Hendrik (Dutch, 1945-present); b. Amsterdam NETHERLANDS/ENGLAND, Gay van der Meer, 1991, a cast bronze medal by G.H. Steyn for the British Art Medal Society, bust right, rev. Veritas standing facing, holding wreath and palm branch, legend on central foreground, 86mm, 430.04g (Attwood 74; The Medal 19, p.114). Extremely fine, green patina, as made, scarce £80-£100 --- Provenance: bt Simmons, September 2016 Edition of 50. Gay van der Meer (1924-2014), brother of the physicist and Nobel Prize winner Simon van der Meer, is fondly remembered as the multilingual curator of the coin cabinet at the Rijksmuseum in The Hague, a position she held from 1959 to 1988. A strong promoter of the modern art medal and the activities of FIDEM and the VPK, the reverse of this medal alludes to van der Meer’s lifelong fascination with the work of Martin and John Holtzhey, medallists based on Amsterdam’s Herengracht, and is partly taken from the original 1752 prize medal awarded by the Hollandse Maatschappij voor Wetenschappen (Dutch Society of Sciences).
Miscellaneous. A large collection of mostly modern miscellaneous reference, art reference, & literature, including The Golden Threshold, by Sarojini Naidu, 2nd impression, London: William Heinemann, 1906, contemporary ornately gilt decorated full vellum bound by Riviere & Son, 8vo, Sacred Places, Watercolour Diaries from the American Southwest, by Tony Foster, 1st edition, Palo Alto: Foster Art and Wilderness, 2016, original boards in custom cloth book box, large 4to, some leather bindings, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQTY: (6 shelves)
Dortu (M. G). Toulouse-Lautrec et son oeuvre, volumes 1-4, & 6, New York: Collectors Editions, 1971, numerous monochrome illustrations, ex-library copies with associated stamps, top edges gilt, original uniform blue cloth, spines slightly faded, large 4to, limited edition 485/1450, together with:Rewald (John), The Paintings of Paul Cézanne, a catalogue raisonné, 2 volumes, New York: Harry. N. Abrams, Inc., 1996, numerous colour & monochrome illustrations, original black cloth in slipcase, large 4to, plusSiegfried (Susan L.), The Art of Louis-Léopold Bolly, modern life in Napoleonic France, 1st edition, New Haven: Yale University Press, 1995, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other French art reference & related, mostly original cloth in dust jackets, some paperback editions, 8vo/4toQTY: (51)
Ray (John). Three Physico-Theological Discourses Concerning The Primitive Chaos, and Creation on the World..., 2nd edition, London: Printed for Sam[uel] Smith, at the Princes Arms in St. Paul's Church-Yard, 1693, erasure and previous owner inscription to title page dated 1852, book stamp of Robert Montgomery and previous ownership inscription to front pastedown, ownership inscription to verso of G8 fore margin, later endpapers, closed tear to lower outer corner of E2, lacking plates, contemporary blind panelled calf with some surface mottling, some loss to spine, head, foot and joints repaired, lower outer corner to upper board repaired, title label replaced, 8vo, together with;Worlidge (John). Systema Horti-cultura: or, the Art of Gardening..., 2nd edition, London: Printed for Tho[mas]. Dring at the Harrow over against the Inner-Temple Gate in Fleetstreet, 1683, previous ownership inscription dated 1705 to preface, ink staining to verso of title page, trimming to upper margin affecting headline, book ticket to Harrison D. Horblit and book ticket for Mr. G. L. Wintle to front pastedown, bookplate of John. T. Beer to front free endpaper, endpapers renewed, 20th-century quarter calf gilt, 8vo andTurner (Robert). Botanologia. The Brittish Physician: or, The Nature and Vertues of English Plants. Exactly describing such Plants as grow Naturally in our Land, with their several Names, Greek, Latine, or English, Natures, Places where they grow, Times when they flourish, and are most proper to be gathered..., London: Printed for Obadiah Blagrave, at the Black Bear and Star in St. Pauls Church-Yard, over against the Little North-Door, 1687, facsimile frontispiece, title page laid on later paper, alphabetical table and table of diseases to rear, some toning and damp staining, a few repaired closed tears, modern endpapers, modern half-calf by Richard Lane, Fakenham, gilt spine with morocco title labels, 8vo QTY: (3)NOTE:Provenance: Robert Montgomery (book stamp), for Ray (John).Harrison D. Horblit (book ticket), Mr. G. L. Wintle (book ticket) and John. T. Beer (bookplate) for Worlidge (John).Wing R409 for the first work, Wing W 3605; Henrey p. 276 for the second and Wing T3329 for the third.
Lawson (William). A New Orchard and Garden. Or The best way for planting, grafting, and to make the ground good, for a rich Orchard: Particularly in the North parts of England: generally for the whole kingdome, as in nature, reason, scituation, and all probability, may and doth appeare. With the Country Housewifes Garden for hearbes of common use, their vertues, seasons, profites, ornaments, variety of knots, models for trees, and plots for the best ordering of grounds and walkes. As also the Husbandry of Bees, with their seuerall vses and annoyances, all grounded on the Principles of Art, and precepts of experience, being the Labours of forty eight yeares of William Lawson, 1st edition, London: By Bar: Alsop for Roger Jackson, 1618, pp. [8], 59, [1]; [2], 25, [1], woodcut illustration to title (lined with archival tissue to verso), woodcut illustrations to text, black letter text, title to second part with imprint dated 1617, second part with separate pagination, lower outer blank corner of final leaf torn and leaf lined to verso with archival tissue, repaired closed tear to D1, leaves D2-D3 misbound with M1-M3, some damp-staining mostly to margins, toning and light dust-soiling, modern brown buckram, 4toQTY: (1)NOTE:Provenance: Frederick Alkmund Roach OBE (1909-2004).Henrey 226; STC 15329.
Bazzotti (Ugo). Palazzo Te Giulio Romano’s Masterwork in Mantua, 1st edition, London: Thames & Hudson, 2013, with 255 colour illustrations, original cloth in dust jacket, large 4to, together with;Baker (Nienke), The Real Van Gogh The Artist And His Letters, 1st edition, London: Royal Academy Of Arts, 2010, numerous colour illustrations, original cloth in dust jacket, large 4to, plusBailey (Suzanne), A Brush With Grandeur Philip Alexius de Laszlo (1869-1937), 1st edition, London: Paul Holberton publishing, 2004, numerous colour illustrations, original cloth in dust jacket, large 4to and other modern art & architecture reference, mostly original cloth in dust jackets some original wrappers, Large 4to/ 8vo, G/VGQTY: (5 shelves)
GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934) 'A Study', oil on canvas, 40 x 34 inExhibited :The Royal Academy, London 1933.Dorset County Museum, Dorchester & Southampton Art Gallery, 18th Sept 1981-10 January 1982. no.55.Literature; Modern Masterpieces. Publ. Newnes, c 1935 p 4, first issue (Cover Illustration)'This striking and brilliantly executed painting of 'the female form divine' is one of the last of this Academician's works, and in it is summed up the knowledge of a lifetime' Modern Masterpieces, (ibid). That appreciation of his work is also echoed in an obituary printed shortly after the artist's death state which stated that 'his painting of the nude was remarkable for its refinement of feeling'This work can be compared with a slightly earlier work from the late 1920s, titled 'A Sunlit Nude', (Russell Cotes Museum and Art Gallery, Bournemouth). It also bears comparison with another important female figure study titled 'Nude' (1927) Harris Art Gallery, Preston.cf also a nude study of Marishka, Christie's King Street, 27th March 2003.Though Spencer Watson's oeuvre contained a wide range of portrait, landscape and classical subject matter, nude studies by the artist are relatively rare. His nude studies varying in character, to some extent dependent on the attributes and character of the sitter.In this study Spencer Watson observes a classical clarity of outline with a precisely observed rendering of a seated model, contrasted with a dark blue background.
A collectors' lot comprising a Harley-Davidson Motor Cycles 2009 presentation set of five petrol tanks through the ages, case 24.5 x 39cm, a leather handbag in the form of a saddle, height 26cm, a modern whimsical table lamp in the form of a group of mushrooms with fairy, height 35cm, a small teddy bear, 16cm, a boxed Universal Studios 'ET', with tags, an Art Nouveau brass soap tray, 20cm, a Christmas 1980 'Rejoice' wall plaque by Jerrandie, limited edition no. 1540/4000, and a Swiss music box in the form of 'The Traveller's Rest' thatched tavern, plays 'Tavern In The Town' (8).Condition Report: -This lot is sold for decorative purposes only, and you must ensure that testing is completed by a qualified electrician before use.
Circa 2nd-3rd century A.D.. Irregular mosaic fragment of beige, cream and grey tesserae with radiating trumpet-shaped swirls; mounted in a modern rectangular matrix. Cf. Cosh, R., Neal, D., Roman Mosaics of Britain, volume IV, Western Britain London, 2010, fig.56, for similar pattern. 33 kg, 76 cm high (30 in.). Found Gloucestershire, UK.From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.A mosaic found in Cirenchester (insula IX, Chester Street) shows panels defined by a dark blue-grey single fillet with an additional double fillet parallel to it on a longer axis, having an overall scheme of running pelta-pattern. Each pelta is outlined in dark-blue grey and infilled with red, white and dark blue grey at the centre. [No Reserve]
4th-8th century A.D.. With conical body, the inner face bearing the remains of concentric rings of inked magical Aramaic text, repaired. Cf. The Israel Museum, Jerusalem, accession number: 80.001.0001. 330 grams, 16 cm (6 1/4 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.Aramaic incantation bowls are particular to the Sassanian period and have been found in regions of modern Iraq. These simple ceramic bowls, also known as magic bowls, each contain an Aramaic inscription, written in ink, which spirals from the centre. The bowls seem to have played an important part in domestic life. For example, during excavation in Nippur in 1889, one or more incantation bowls were found in each house together with domestic artefacts, most often in doorways or under floorboards in the corner of rooms. The bowls are predominantly apotropaic, and the inscriptions tend to protect their owners from misfortunes such as those faced in child-birth, illness and evil spirits. [No Reserve]
2nd-3rd century A.D.. Displaying a figural scene in relief with an arch decorated with egg-and-dart motifs and resting on smooth pillars with foliate capitals; the upper field dominated by Sol wearing a radiate crown with seven rays and driving a facing quadriga, holding a globe in his left hand; the central field showing the Dioscuri on horseback, raising their right arm in salutation of their divine sister Helen of Troy at the centre, the twin on the left, whose horse is trampling a naked prisoner, followed by an armoured warrior holding an oval shield and spear, wearing a crested helmet in pseudo-Attic style, the twin on the left, whose horse is trampling over a big fish, followed by a character dressed in long garment and raising his hand in salute; the lower field showing worshippers preparing an offering meal; a coiled serpent to each top corner. Cf. Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum (CMRED), II. The analysis and interpretation of the monuments, Leiden-Brill, 1976, for discussion and iconography; Aimone, M., Byzantine and Sasanian Silver, Enamels and Works of Art, London, 2020. 132 grams, 80 mm (3 1/8 in.). Acquired in Germany in 2001.European private collection.Accompanied by an academic report by Dr Raffaele D’Amato.The complex iconography of the plaque relates to the pre-Christian religions of the Lower Danube region. It was concentrated on the figure of Sol Invictus, the sun god, who was often represented driving a quadriga. This cult came from the Near East but spread into the Roman Empire with imperial patronage; symbolism like this was part of the cult of Mithras that was found throughout the empire from Britain (a temple to Mithras can still be seen in the modern City of London) to its eastern coasts in the ancient colonies of Thracia and Dacia, Moesia, Pannonia and Dalmatia. The rest of the plaque shows worshippers (probably the donors of the votive plaque) who are preparing the offering meal, while the riders on horseback, the divine twins Castor and Pollux, evoke the cult of the Danubian rider. Their sister Helen of Troy stands at an altar of Sol like a priestess, representing fertility. As suggested by Aimone, the presence of the two horsemen seems suggest a military context, a connection underlined by the presence of the fully armoured soldier at the left. This iconography was very popular in the Roman Empire and lasted until the 4th century A.D., being also the subject of other artworks, like the fabulous tray in the recently published Wyvern collection (Aimone, 2020, pp.95ff.). (For this specific lot, 5% import VAT is applicable on the hammer price.)
Late Cretaceous Period, circa 96-95 million years B.P.. A rare complete example of Paratriakis curtirostris within micritic matrix, displaying the spine, fins and tail with visible fin supports; the head with a number of teeth in situ; mounted in a custom-made wooden frame with a textured insert. 40.1 kg total, shark: 81 cm (68 x 127.5 cm) (32 in. (26 3/4 x 50 1/4 in.)). Found Haqel, Lebanon.Ex Fine Fossils, UK.From the private collection of Mr J.G., a company executive.Studied by the University of Manchester, UK.Accompanied by an original signed handwritten note from Sir David Attenborough, 7 November 2022, which reads 'Dear J[ ] G[ ], You are indeed lucky to have such a spectacular fossil. Best wishes, David Attenborough'.Accompanied by a certificate of authenticity from Fine Fossils with certificate no.COLL011.Accompanied by a detailed geological report by Paul Goodrich.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12091-214455.Paratriakis curtirostris was a resident in the shallows of the Tethys Ocean, which separated Africa, Europe, Indo-Australia and Asia. The genus is now extinct, but has a relative in the modern-day dogfish Triakis. [A video of this lot is available to view on Timeline Auctions Website]
Northern France, circa 1530 A.D.. Irregular glass panel in a modern lead frame; painted image of a ploughman in hood and ankle-length robe, striding barefoot supporting the handles of a plough; purse to his belt with three pendants to the edges; sleeves of the undershirt protruding. 132 grams, 16 cm (6 1/4 in.). Acquired on the UK art market, 2018.Ex central London gallery. [No Reserve]
Late Period, 664-525 B.C. Restrung using polychrome mummy beads of annular and tubular types. Cf. similar specimens in faience at the Worchester Art Museum, inventory no.1925.539. 26.7 grams, 74 cm long (29 1/8 in.). Acquired before 1979.From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014.For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from the territory in modern Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummies. [No Reserve]
Late Cretaceous Period, circa 100-66 million years B.P.. A large section of Charonosaurus sp. hadrosaur egg nest on matrix, including three eggs each retaining some of the original shell surface. 17.3 kg, 43 cm (17 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.Dinosaur eggs are known from about 200 sites around the world, the majority in Asia and mostly in terrestrial (non-marine) rocks of the Cretaceous Period. It may be that thick calcite eggshells evolved during the Cretaceous (145 to 65 million years ago). Most dinosaur eggs have one of two forms of eggshell that are distinct from the shells of related modern animal groups, such as turtles or birds; however, some eggs closely resemble the type of shells seen in present day ostrich eggs. [No Reserve]
4th-8th century A.D.. With conical body, the inner face bearing the remains of concentric rings of inked magical Aramaic text, cracked. Cf. The Israel Museum, Jerusalem, accession number: 80.001.0001. 393 grams, 16 cm (6 1/4 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.Aramaic incantation bowls are particular to the Sassanian period and have been found in regions of modern Iraq. These simple ceramic bowls, also known as 'magic bowls': each contains an Aramaic inscription, written in ink, which spirals from the centre. The bowls seem to have played an important part in domestic life. For example, during excavation in Nippur in 1889, one or more incantation bowls were found in each house together with domestic artefacts, most often in doorways or under floorboards in the corner of rooms. The bowls are predominantly apotropaic, and the inscriptions tend to protect their owners from misfortunes such as those faced in childbirth, from illness and from evil spirits. [No Reserve]
Late Period, 664-525 B.C. Composed of polychrome beads in shades of brown annular shapes; modern clasp. Cf. similar specimens in faience at the Worcester Art Gallery, inventory no.1925.539. 31 grams, 72 cm long (28 3/8 in.). Acquired before 1979.From the private collection of Mr F. A., South Kensington, London, UK; thence by descent 2014.For thousands of years, artisans in Egypt created vibrant ceramics to echo the beauty of rare jewels. These ornaments were created with almost every material, colour and texture imaginable and they come from across Egypt and beyond: vibrant blue lapis lazuli from Afghanistan, glossy black obsidian from Turkey, and aqua-green turquoise from the Sinai. They were worn in life and, after death, they served as precious ornamentation for mummies. [No Reserve]
2nd-3rd century A.D.. Displaying a figural scene in relief with an arch decorated with egg-and-dart motifs and resting on smooth pillars with foliate capitals; the upper field dominated by Sol wearing a radiate crown with seven rays and driving a facing quadriga, holding a globe and whip in his left hand; the central field showing the Dioscuri on horseback, raising their right arm in salutation of their divine sister Helen of Troy at the centre, the twin on the left, whose horse is trampling a naked prisoner, followed by an armoured warrior holding an oval shield and spear, wearing a crested helmet in pseudo-Attic style, the twin on the left, whose horse is trampling over a big fish, followed by a woman dressed in a long garment and raising her hand in salute; the lower field showing worshippers preparing an offering meal; a coiled serpent to each top corner; mounted on a custom-made display stand. Cf. Tudor, D., Corpus Monumentorum Religionis Equitum Danuviorum (CMRED), II. The analysis and interpretation of the monuments, Leiden-Brill, 1976, for discussion and iconography; Aimone, M., Byzantine and Sasanian Silver, Enamels and Works of Art, London, 2020. 321 grams total, 10.6 cm including stand (4 in.). Acquired before 2000.From a Los Angeles collector.with Artemis Gallery, Colorado, USA, 22 September 2016, no.58.Private American collection, New York, USA.Accompanied by an academic report by Dr Raffaele D’Amato.The complex iconography of the plaque relates to the pre-Christian religions of the Lower Danube region. It was concentrated on the figure of Sol Invictus, the sun god, who was often represented driving a quadriga. This cult came from the Near East but spread into the Roman Empire with imperial patronage; symbolism like this was part of the cult of Mithras that was found throughout the empire from Britain (a temple to Mithras can still be seen in the modern City of London) to its eastern coasts in the ancient colonies of Thracia and Dacia, Moesia, Pannonia and Dalmatia. The rest of the plaque shows worshippers (probably the donors of the votive plaque) who are preparing the offering meal, while the riders on horseback, the divine twins Castor and Pollux, evoke the cult of the Danubian rider. Their sister Helen of Troy stands at an altar of Sol like a priestess, representing fertility. As suggested by Aimone, the presence of the two horsemen seems suggest a military context, a connection underlined by the presence of the fully armoured soldier at the left. This iconography was very popular in the Roman Empire and lasted until the 4th century A.D., being also the subject of other artworks, like the fabulous tray in the recently published Wyvern collection (Aimone, 2020, pp.95ff.). [No Reserve]
An Aesthetic movement copper ewer, third quarter 19th century, in the manner of Christopher Dresser, of spherical form with flared rim and loop handle, finely engraved in the Chinese taste with bird and dragon. Height 18.5cm Note: in 1862 Dresser produced a similar composition with a dragon in his "Art of Decorative Design", see Halen, Widar, "Christopher Dresser, A Pioneer of Modern Design". pub. Phaidon, p. 120
Roger Hilton CBE (1911-1975) Untitled (1971) Signed and dated (19)71, pencil, 20cm by 25cm Provenance: Belgrave St Ives Modern & Contemporary Art, Cornwall Slight time staining to the paper. The odd minor scattered tiny foxing spot, in particular centre of right hand side edge, centre of top edge and feint ones within the figures. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
1931 Rolls-Royce 20 / 25 Sedanca de Ville by Windovers Transmission: manualMileage:57000First registered on 7th May 1931 and finished in pastel blue and black with black leather interior, GNS75 was initially ordered by J.J. Jones of 88 St. James's Street, London however the first owner was actually Hylton Ralph Murray-Philipson (Jnr) of Stobo Castle, Peebles. Stobo Castle had been purchased by Hylton Murray-Philipson Snr in 1905 and in 1924 he conveyed the estate to his son who was a pioneer aviator. Hylton's career consisted of being the C.O. of the City of Edinburgh Auxiliary Air Force Squadron, Conservative MP for Twickenham; Chairman of N.E. Marine Engineering Company and a member of the King's Bodyguard for Scotland and the Royal Company of Archers. Hylton Murray-Philipson suffered from ill health and died in 1934 aged 32 leaving GNS75 to his wife Monica and two young children. In 1939 Monica Murray-Philipson sold Stobo Castle to Wenefryde Agatha Scott, 10th Countess of Dysart and after 10 years of being a widow Monica married Colonel P.H. Lloyd of Stone House in Blaston. The Colonel and Murray-Philipson had business connections as they were both company directors of Manvers Main Collieries Ltd €“ Murray-Philipson in 1923/33 and Lloyd in 1940/47. In 1943 GNS75 is shown as being with her second family, that of John Stanley Coombe Beard of Grayshott Hall, Surrey. John Beard was an architect well known for designing over 100 cinemas in many styles, Baroque, Art Deco, Italian Renaissance, Greek Revival and even Egyptian. Interestingly in 1937 Mrs Beard made call to the police about an attempted burglary which resulted in the first arrest directly attributable to the new 999 service. A rare, possibly unique and very attractively designed car incorporating many appealing features such as stylish wings, separate steps in place of running boards, slim bumpers, external visor and louvred bonnet and scuttle with beautifully proportioned coachwork. With a polished aluminium bonnet top and waistline and P80 'bullseye' headlamps with pillar spot lamp all adds to the overall gorgeous design with the incorporation of various Art Deco touches. This 20/25 allows you to instruct your chauffeur from the privacy of the rear passenger compartment with the interior dividing screen while keeping an eye on progress with your own speedometer which is naturally mounted atop the built-in drink's cabinet. Such unusual original features are what make this Rolls-Royce special, even the delightful Sedanca de Ville coachwork is rare with its split separate steps and Art Deco flourishes. The front compartment provides accommodation for the driver and a passenger with a removable roof section for open-air motoring and wind-up windows. The driver's window also featuring a quick release lower section to allow hand signals to be easily executed. A right hand gear change allows for plenty of legroom and the large steering wheel is surmounted by a collection of hand controls. A large bulb horn lies easily to hand and the windscreen can be opened for ventilation. It is shaded by a glass visor and a spot lamp is within the driver's reach. Gauges are also a feature of the rear passenger compartment, although separated by a dividing screen, the rear passengers can keep an eye on their own speedometer as well as being supplied with a clock, barometer and a circular thermometer. The clock, and possibly the barometer, appear to be later additions. The drinks cabinet has provision for holding several decanters and a few glasses in a Lazy Susan, although the glassware itself is no longer present. The leather upholstery looks to be in lovely condition throughout, exhibiting just the right amount of patina without looking tatty. The carpets, door cards and headlining are similarly well presented as are stylish Art Deco door handles and window winders, which place this Rolls-Royce squarely in the 1930s. To the exterior, the Palladian radiator surround is topped with the Spirit of Ecstasy and the long bonnet is flanked by twin side-mount spare wheels. A pair of large Lucas tripod headlamps illuminate the road ahead and are assisted by a centrally mounted spot lamp, as well as the swivelling spot lamp near the driver. Twin horns complete the scene at the front of the car, along with a polished chrome-plated bumper. The Windovers Sedanca de Ville coachwork suits the car well and is beautifully proportioned. It features the unusual running boards, separate for front and rear passengers, as well as a useful luggage boot to the rear. Polished aluminium discs cover the wire wheels and the car runs on a full set of Paymaster tyres. Lifting the long bonnet reveals the powerful, straight-six, 3.7 litre engine. The engine features coil ignition and is fed by an Autovac fuel pump and, unusually for a car of this period, there is a glass bottle of screen wash mounted on the bulkhead, which is likely to be a later addition coupled to a small modern electric pump which has been added for ease of use. Supplied with a history file which includes historic photographs of restoration, instruction book and the original buff logbook coupled to the V5C registration document and copies of handwritten service records. The vendor informs us that the engine starts up easily every time and runs well. It is said to be a joy to drive and mechanically sound with its overhead valves, four-speed gearbox and powerful engine, this Rolls-Royce is certainly very capable and splendidly opulent. An imposing motorcar, which wears fabulously unusual coachwork and retains many original details.
1973 Jensen Viperceptor Transmission: automaticMileage:2496The Jensen Viperceptor was built in 2013 by Valley Gas Speed Shop in Hampshire with the intention of re-defining what the Jensen Interceptor may have become if it were still in production. Every detail and upgrade was developed, lifted from its past and re-engineered to meet the demands of modern motoring. Described as powerful without being aggressive, luxurious without feeling spoilt and most importantly uniquely handbuilt from the ground-up to give the driver a constant reminder of the definition of luxury from a past era alongside 21st century engineering and looks.The vision of Brook Anderson, who began the project in 2013 with a 1974 Jensen the intention was to build a run of 25 Viperceptors for clients. Alongside the team at Valley Gas Speed Shop in Hampshire he set to work on creating the Viperceptor, two years of work realising this creation with 510hp and 535lb ft of torque from a Dodge Viper 8.3 lire V10. The body was completely stripped of all components before being chemically stripped and new redesigned panels fitted. Other work included the shell seam sealed and waxoyled and a redesigned front valance, rear valance, side skirts, side vents and doors were all fitted direct from the CAD design as were the redesigned inner wings. Due to the new powertrain the bulkhead and transmission tunnel was re-fabricated and a new bespoke design fuel tank added, rounded off with a 3€³ stainless steel exhaust with balance pipe and Borla exhaust boxes. Finishing touches came in the form of modern electrically operated door mirrors, Chrysler 300C angel eye headlights, all black chrome window glass surrounds, de-locked diode-operated doors and impressive new 20€ Wheels.Underneath all the exterior lies the heart of the Viperceptor, the Dodge Viper 8.3 litre engine matched to a four-speed gearbox from a Dodge Ram and independent suspension. At just under 1270kgs and 535 lb·ft of torque, the power we are told is outstanding with the handling well defined and direct. The adapted body is firm and poised compared to the original, which provides confidence of 21st century engineering keeping everything in balance. To achieve this, naturally such a car needs a fair amount of modification to put this power down, slow the V10 monster down and enable modern handling, the brakes are uprated to hi-spec 14½inch vented and slotted discs with six-pot calipers at the front and hi-spec 13½inch vented and slotted discs with four-pot calipers to the rear. The transmission is a four-speed 42RLE automatic gearbox with overdrive, bespoke propshaft, the suspension has been treated to uprated Spax fully adjustable dampers with modified springs, a 2.89:1 Salisbury Powerlock limited slip differential mounted in a new bespoke carrier system with a refurbished independent wishbone system, retained with geometry alterations for increased caster and negative camber anti roll bar. The concept was to deliver something extraordinary, a breathtaking piece of motoring art that also delivers a very unique driving experience.The interior was not to be outdone, with front and rear seats and all other trim items recovered in the highest quality leather hide to new subtle design that was both modern but providing a traditional look, an all-new carpet set with leather edging can be found under your feet whilst looking at the original dashboard recovered in leather but with a redesigned front and rear centre console and new white electronic speedometer and gauges. All of this rounded off with a leather three spoke Mota Lita steering wheel and modern Satnav/MP3 with Bluetooth connectivity.This is not a car that has gone unnoticed, since its creation YouTubers, bloggers and journalists alike have covered the story. The intention from Valley Gas to produce 25-50 of these originally a wealth of information can be found online including footage of the car at the NEC cars show and market reports from Piston Heads. The history file is extensive with bills and details from the builder Valley Gas coupled to recent invoices from them equating to £27,000 for a recommissioning and full service due to the car having been part of a US collection for a number of years. Our vendor states that nothing turns heads quite like this car, he has on more than one occasion been stopped at traffic lights and service stations, chased by YouTubers and videoed at car events. The car is as fast as it is popular and the sound will make the hairs stand up on the back of your neck. On his most recent visit to Valley Gas he asked the price of recreating such a car and the answer would be in excess of £140,000 plus a donor car in good condition€¦.but followed by the statement that they will not do another which leaves this as the only Viperceptor ever made. Consignor Mathew PriddyA car with its own website more details can be found at https://viperceptor.co.uk/
A RARE BLUE AND WHITE ‘FOUR IMMORTALS’ JAR, JIAJING MARK AND PERIOD, CHINA, 1522-1566 嘉靖款及年代青花四仙罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of quadrilobed form with swelling shoulders and a petite upright neck, painted in deep cobalt blue with four Daoist immortals: Li Tieguai with his iron crutch and gourd vessel, Liu Hai with his three-legged toad, and the Hehe twins Hanshan and Shide, one of whom is holding up a scroll with a smile on his face, all amid pine trees and rockwork, below a scrolling cloud border at the shoulder and ruyi clouds on the neck. The base with an underglaze-blue six-character mark da Ming Jiajing nianzhi and of the period.Provenance: Solveig & Anita Gray, London, United Kingdom, 1998. The Elaine Whewell collection of Asian ceramics, North Berwick, Scotland, assembled since the 1990s, acquired from the above. Three old labels along the base and interior of the mouth, ‘Solveig & Anita Gray, 58 Davies Street London, W1Y 2L P’ ‘Solveig & Anita Gray, Jiajing 1522-66,’ and ‘Solveig & Anita Gray, 4800.’ Copies of the original invoice, receipt, and declaration of antiquity from Solveig & Anita Gray, all dated 9 December 1998, confirming the dating above and describing the present lot as an “Extremely Rare Jiajing Jar”, accompany this lot.Condition: Very good condition, commensurate with age, with expected old wear and firing irregularities. Two very short hairlines to the rim. A small star-shaped glaze line to the interior, which is not visible on the outside. The rim and foot may have been minimally smoothened.Weight: 416.1 gDimensions: Height 11.9 cm Li Tieguai aka ‘Iron Crutch Li’ appears as a lame beggar supported by an iron crutch. He carries a gourd which holds medicine that cures the sick and ailing. Traditionally, he has been seen as the protector of physicians. Although he may appear ugly and is generally considered irascible and ill-tempered, according to Chinese mythology, he was benevolent to the poor, sick, and needy. Li had magical powers and spent much time outside his body, traveling in the celestial regions. Once, when he was absent for some time, his disciple buried his body. On returning to Earth, the immortal’s soul entered the body of a beggar – the first good person he saw.Liu Hai is usually depicted as a young man with bangs, and his eponym means ‘bangs’ or ‘fringe’ in Modern Standard Chinese. Traditional Chinese and Japanese art frequently represents Liu with a string of square-holed cash coins and a mythical three-legged toad (chanchu), which is said to exist only on the moon, which it swallows during the eclipse. In the present day, this toad is known as the Jin Chan, literally meaning ‘Money Toad’, and Liu Hai is considered an embodiment of Caishen, the God of Wealth.Literature comparison:Compare a related jar decorated with the Four Immortals, dated Jiajing period, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain and Underglazed Red (i), Shanghai, 2000, pl. 99. Compare a closely related jar depicting the Four Immortals honoring the god of longevity, in the Riesco collection, illustrated in Chinese Blue and White Porcelain, London, 1954, cat. no. 163. Auction result comparison: Type: Near-identical Auction: Sotheby’s New York, 16 September 2009, lot 189 Price: USD 80,500 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A rare small blue and white quadrilobed ‘four immortals’ jar, Ming dynasty, Jiajing mark and period Expert remark: Compare the closely related form, subject, and decoration.
‘WATER AND RIVER LANDSCAPE’, BY WANG WEIBAO (B. 1942), DATED 1981 王維寳（1942- ）《江邊》Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Finely painted in shades of brown and gray, depicting a river landscape with houses along a shore and a fishing boat on the waterway, with the reflection of mountains in the upper register.Inscriptions: Center left, signed Weibao’ and dated ‘In the Year of Xinyou’ (corresponding to 1981). One seal of the artist, ‘Weibao’. The scroll with an old merchant label, inscribed ‘Wang Weibao (b. 1942), from Jiangjiang’, and another inscribed ‘Hanging scroll with a landscape by Wang Weibao’. Provenance: Christie’s South Kensington, 23 November 1995, lot 423. The Oliver Impey Collection of Modern Paintings, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby’s, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby’s colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum’s holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures, and he also befriended several generous benefactors who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s. Condition: Very good condition with minor wear and little foxing. Dimensions: Image size 68 x 66.6 cm Wang Weibao (born in 1942) is a Chinese painter from Jinjiang, Fujian Province. He graduated from the high school attached to the Guangzhou Academy of Fine Arts in 1963. His first work, ‘Catch the Sparrow’, was published in the newspaper Fujian Daily in 1958, followed by many other examples of his work.王維寳（1942- ）《江邊》中國，紙本水墨設色，掛軸。江邊房屋和江上漁船，山巒的倒影，風格清新秀麗，富有筆墨韻味和生活情趣。 款識：辛酉，維寳；鈴印：維寳 來源：南肯辛頓佳士得，1995年11月23日，lot 423；Oliver Impey 現代繪畫收藏購於上述拍賣。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況極好，輕微磨損，輕微褐變。 尺寸：畫面68 x 66.6 釐米 王維寶, 生於1942年，晉江縣人。1963年畢業於廣州美術學院，現中國美術家協會會員，廣東美協理事，廣東畫院一級美術師。 王維寶是活躍在中國畫壇的一位享有高知名度的畫家。他的一幅作品《抓麻雀》1958年被刊登於《福建日報》
AFTER TANG YIN (1470-1523): ‘COURT LADIES AND BOYS’Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, Qing dynasty (1644-1912). Ink, watercolor, and gouache on silk. Mounted on a silk brocade coated paper sheet. Finely painted, with several children playing in a palace pavilion surrounded by potted plants, a painted screen, and a garden, attended by a teacher and caretaker. The caretaker carries a small child which is holding a ruyi scepter in one hand and a double gourd in the other. Depicted are three boys playing with a bow and arrows. The teacher sitting at the writing desk with an elderly boy next to her, pointing with the back of her stylus at a manuscript laid out before them. Inscriptions: Along the upper right-hand edge dated, ‘On a fall day in the year of Wuyin,’ and signed ‘Tang Yin.’Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Wear, creasing, soiling, tears, some staining, small touch ups, and losses. The silk brocade with wear, creasing, small tears, and stains.Dimensions: Image size 77 x 45.2 cm, Size incl. mounting 106 x 58 cmTang Yin (1470-1523) is one of the most famous painters in the history of Chinese art. He was a pupil of the great Shen Zhou and a friend of Wen Zhengming. Tang Yin is regarded as one of the painting elites, ‘the Four Masters of Ming,’ which includes Shen Zhou, Wen Zhengming, and Qiu Ying. Tang was also a talented poet and scholar. Together with his contemporaries Wen Zhengming, Zhu Yunming, and Xu Zhenqing, they are known as the ‘Four Literary Masters of the Wuzhong Region,’ modern day Suzhou.
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