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Lot 8
Franz Radziwill, Stilleben mit drei braunen KrügenÖl auf Holz. 47,5 x 69,3 cm. Gerahmt. In der Darstellung auf der Konservendose braun signiert 'RADZIWILL FRANZ'. Rückseitig mit der Werknummer '114'. - In guter Erhaltung. Mit feinem Craquelé, vereinzelte kleine Retuschen.Schulze 317ProvenienzPrivatsammlung NorddeutschlandAusstellungenU.a. Berlin 1981 (Staatliche Kunsthalle, Neue Gesellschaft für Bildende Kunst e.V.), Franz Radziwill, Kat. Nr. 55 (auf dem Rahmen mit dem Etikett); Bremerhaven 1988 (Kunsthalle), Franz Radziwill - Bilderwelten der Küste, o. Kat. Nr.; Jever/Varel-Dangast 1989/1990 (Schloß Jever/Franz-Radziwill-Haus), Franz Radziwill. Stilleben - Gestörte Stille, Kat. Nr. 6 mit Farbabb. S. 13; Winterthur/Oldenburg 1994/1995 (Kunstmuseum/Landesmuseum), Adolf Dietrich und die Neue Sachlichkeit in Deutschland, o. Kat. Nr. mit Farbabb. S. 175 (auf dem Rahmen mit dem Etikett); Emden 1995 (Kunsthalle), Franz Radziwill 1895 - 1983. Das größte Wunder ist die Wirklichkeit, Kat. Nr. 52 mit Farbabb.; Dangast/Höxter/Aschaffenburg/Friedrichshafen 2000-2002 (Franz-Radziwill-Haus/Schloss Corvey/Jesuitenkirche/Zeppelinmuseum), Mythos Technik, ohne Kat. Nr., mit Abb. S. 200 (auf dem Rahmen mit dem Transportetikett); Paderborn/Bonn/Bayreuth 2006/2007 (Städtische Galerie/Rheinisches Landesmuseum/Kunstmuseum), Franz Radziwill - drohend vertraute Welten, Kat. Nr. 15, Abb. 2, S. 66; Dangast 2021/2022 (Franz-Radziwill-Haus), Magie der StilleLiteraturKristina Geipel, Formulierung und Ikonographie des Stillebens in der Malerei der Neuen Sachlichkeit, Diss.phil. Universität Bonn 1992, S. 79, Abb. 74Drei irdene Krüge: Sie stammen aus der Werkstatt seines Vaters, des Töpfermeisters Eduard Radziwill, alter polnischer Adel, verarmt, rebellisch. Und nun leben sie fort in der Kunst des Sohnes: Gemalte Gefäße aus Ton und Feuer, in deren Glasur sich das Licht spiegelt. Boten aus anderer Zeit. Dazu Geräte des Alltags von heute. Teller, Gabel und eine blecherne Konservendose, auf die der Maler seinen Namen schrieb: Radziwill Franz. Er ist angekommen in der Gegenwart des Jahres 1929. Dieses Stillleben konzentriert sich auf die unscheinbaren, unbeachteten Dinge des Alltags. Und dann bricht etwas auf: Sichtbar wird, wie sich „in den Fugen und Zwischenräumen des Wirklichen die fatalen Verstrickungen mit dem Unwirklichen und Überwirklichen einstellen“, so der Kunsthistoriker Roland März. Hier: Ein zerbrochenes Ei verweist – wo eben noch die ruhige Ordnung der unbelebten Dinge herrschte – auf die bittere Wahrheit, dass das Leben ein gefahrvoller Ort ist, von Anfang an hineingenommen in das Miteinander von Gelingen, Vergeblichkeit, Vergänglichkeit und Verlust. Hier wird er konkret, der „Vanitas“–Gedanke der niederländischen Malerei. Radziwill kannte ihn von seinen Besuchen im Rijksmuseum Amsterdam. Vor allem aber: Großartige Malerei! Dem Künstler gelingt es, die Beschaffenheit des Werkstoffes Ton, die Feinheit eines Stückchens Brot und die in Jahrzehnten gewachsene Struktur des Holzes der Tischplatte einzufangen.Gerd Presler
Lot 702
Arno Fischer, Marlene Dietrich, MoskauSpäterer Gelatinesilberabzug. 40 x 27,7 cm (48,3 x 35 cm). Rückseitig mit Bleistift signiert, datiert und betitelt.ProvenienzPrivatsammlung, RheinlandLiteraturTheo O. Immisch (Hg.), Photographien von Arno Fischer, Ausst.kat. Staatliche Galerie Moritzburg, Halle/Saale. Leipzig 1997, S. 71 mit Abb.
Lot 119
A MASTERFUL SILVER AND CLOISONNE ENAMEL KORO (INCENSE BURNER AND COVER), ATTRIBUTED TO HIRATSUKA MOHEIAttributed to Hiratsuka Mohei (born 1836), unsignedJapan, late 19th century, Meiji period (1868-1912)The cup-form body set on a spreading foliate foot and rising to a tapered shoulder, flanked by two scroll-form handles, the interior fitted with a removable silver liner, surmounted by a domed cover with a floral finial. The body decorated with two shaped panels pierced and carved in high relief and worked in bright enamels and silver wire with a rooster and hen amid leafy chrysanthemums and peony to one side and two butterflies fluttering amid chrysanthemums and asters to the other, the cover similarly decorated with a single beetle amid chrysanthemum, prunus blossoms, and other flowers. The foot, handles, and shoulder worked in translucent enamels and silver wire with butterfly, floral, cloud, and geometric designs.HEIGHT 14.7 cmWEIGHT 516 gCondition: Very good condition with minor wear and manufacturing irregularities, few tiny dents, few light surface scratches.The enamel work on this piece is by Hiratsuka Mohei (b. 1836), who contributed similar decoration to several silver pieces in the Khalili and other collections (see Literature comparison).Literature comparison: For two similar examples of a metal koro and cover by Hiratsuka Mohei, see O. Impey, M. Fairley (eds.), Meiji No Takara: Treasures Of Imperial Japan: Metalwork Vol I, London 1995, nos. 61 and 62, in the Nasser D. Khalili Collection, and for two more examples of a similar koro and cover, see the Sano Museum (ed.), Kindai Shippo no Hana, Meiji no Shippo, p. 98, nos. 144 and 145.Auction comparison: Compare a related silver and cloisonne enamel incense burner by Hiratsuka Mohei, 12.1 cm high, at Bonhams, 12 September 2018, New York, lot 1214 (sold for 23,750 USD).
Lot 173
OTOKAWA YASUCHIKA: A FINE WALRUS TUSK OKIMONO OF KAN'U AND CHOHIBy Otokawa Yasuchika (art name Meiryusai), signed Otokawa kore o horu Japan, Tokyo, mid to late 19th centuryFinely carved and stained from a remarkably large section of walrus tusk, depicting the God of War Kan'u and Chohi standing next to each other discussing the battle plan that will eventually lead to the restoration of the Han Dynasty. The frowning Kan'u stroking his beard with one hand, the other tightly clasped around his Dragon Crescent Blade, Chohi similarly holding on to his polearm as he points animatedly towards Kan'u. Both men dressed in voluminous robes decorated with scrolling motifs. Signed within two raised oval reserves oju (on commission/by request) and OTOKAWA kore o horo [This is carved by Otokawa]. The artist Otokawa Yasuchika was a talented carver from the Tomochika studio in Edo (Tokyo).HEIGHT 11.4 cmCondition: Very good condition with minor wear. Literature comparison:Compare a closely related ivory netsuke depicting Kan'U and Chohi, by Tomochika, illustrated in Zacke, Japanische Netsuke - Ausstellung 1990, Vienna, no. 108.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 18
MURATA SOKAKU: A BLACK AND GOLD LACQUER NATSUME (TEA CADDY) WITH MAPLE LEAVESBy Murata Sokaku (born 1953), signed and sealed by the aritstJapan, late 20th centuryOf typical form with a flush-fitting cover, the exterior bearing a glossy roiro ground finely decorated in gold and red hiramaki-e with falling maple leaves, the base with a dense nashiji ground. The interior of brushed silver lacquer with gold fundame edges.HEIGHT 7.2 cmCondition: Excellent condition with minor wear along the rims.With a wood tomobako inscribed, 'Momiji makie, o-natsume, Murata Sokaku, with the seal Sokaku' 紅葉蒔絵、大棗、村田宗覚、印：宗覚 [A large lacquer tea caddy, with the design of red autumn maple leaves, by Murata Sokaku, with the seal Sokaku.]. The accompanying document with the seal Sokaku 宗覚.
Lot 202
UTAGAWA TOYOHARU: THE BATTLE OF JIUXIAN-SHAN IN CHINABy Utagawa Toyoharu (1735-1814), signed Utagawa Toyoharu kore o hakaruJapan, c. 1780Color woodblock print on paper. Horizontal oban. Signed Utagawa Toyoharu kore o hakaru; publisher Iwatoya Genpachi. Titled Kyusensan kassen no zu (The Battle Of Jiuxian-Shan In China) from the series Newly Published Perspective Pictures (Shinpan uki-e).This elaborate 'ukie' ('perspective print') on a Chinese war theme may at first seem far from 'Ukiyoe' taste. However, the scene is a realization of one of the 'Bunraku' puppet plays of Chikamatsu Monzaemon (1653-1724), most of which remained very popular through the Edo period.SIZE of the sheet 24 x 36 cmCondition: Good condition and well-preserved colors with slightly trimmed margins. Some creasing, rubbing, staining, and browning of paper, commensurate with age.Provenance: From the collection of Adolphe Stoclet (1871-1949) and thence by descent in the Stoclet family, previously in the collection of Hayashi Tadamasa (1854-1906). One red seal of the Hayashi Collection at the right margin. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Utagawa Toyoharu (1735-1814) was the founder of the art school of Utagawa in Japan. He was born in the province of Tajima (Northern Hyogo prefecture). However, he studied in the cultural city of Kyoto relating to the art school of Kano. His early mentor was Tsuruzawa Tangei. In the 1760s, Toyoharu moved to Edo (modern-day Tokyo). Thus, new ideas entered his artistic world when he studied under Toriyama Sekien (1712-1788). Toyoharu designed many perspective prints during the later 1760s and 1770s, laying the foundations for the development of landscape prints. From the 1780s onwards he concentrated on paintings of the fashions and customs of beautiful women. He was the founder of the Utagawa School.Museum comparison:An identical print, with right hand margin trimmed so lacking title, signature, and publisher details, is in the collection of the Museum of Fine Arts, Boston, accession number 11.14708. A related diptych made using slightly different blocks (compare, e.g., the shapes of the clouds and the position of the beacon tower), is in the collection of the British Museum, museum number 1963,0731,0.6.
Lot 243
'SHIOGAMA MINATO MATSURI' SIX-PANEL BYOBU SCREENSealed Katsushige 勝重Japan, second half of 19th centuryInk, gouache, watercolor, and gold paint on gold paper. Mounted on six panels within a silk brocade frame attached to a wooden frame. Finely painted with a depiction of the festival Shiogama Minato Matsuri. Two boats float lazily on a meandering river, one designed in the form of a ho-o bird and the other fronted by a dragon, both carrying elegantly dressed figures playing musical instruments like the shakuhachi and koto, all below golden clouds and luscious pine trees.Inscriptions: One seal to the bottom-left, Katsushige.Condition: Some wear, nicks, staining, few losses and flaking to paint, overall presenting well. The mounting with wear and traces of use, repairs to the joints.Dimensions: Size 110 x 40.5 cm (total)Shiogama Minato Matsuri began right after the ending of the Second World War in hopes of reviving the industry and well-being of the people of Shiogama. It is now regarded as one of the three major boat festivals of Japan. Held on Marine Day (a national holiday), the festival features mikoshi floats parade through town, and then at sea, sacred shrine boats decorated as dragon and phoenix parade over the sea along with approximately 100 accompanying boats.
Lot 25
TOYUSAI: A LACQUER BOX AND COVER DEPICTING A PEACOCKBy Toyusai, signed ToyusaiJapan, late 19th century, Meiji period (1868-1912)Of rectangular form, bearing a nashiji ground finely decorated in predominantly gold takamaki-e with details in hiramaki-e, e-nashiji, kirigane, and mother-of-pearl inlay, the top of the cover with two peacocks on a rocky outcrop above a waterfall, below thick clouds and gnarled pine, the sides with bird-and-flower motifs including sparrows and bamboo, a ho-o and maple, prunus, and a cuckoo and crescent moon. The base and interior of sparse nashiji, the interior further with gold fundame edges. Signed to the interior TOYUSAI.SIZE 12.4 x 19.8 x 12.3 cmCondition: Good condition with some wear, minor flaking and shallow chips to edges, the cover with an age crack to one corner.
Lot 283
AN O-WAKIZASHI IN SHIRASAYAJapan, second half of 18th century, Edo period (1615-1868)The sugata is shinogi-zukuri with iori mune, chu-kissaki, and torii-sori. The hamon is suguha notare with nie and nioi, the boshi is ko-maru. The hada is itame. The ubu nakago with one mekugi-ana and kuri-jiri. NAGASA 57.7 cm, TOTAL LENGTH 72.9 cm (the blade) and 86.1 cm (the shirasaya)Condition: Very good condition with minor wear and few tiny blisters.
Lot 291
TADAYOSHI: A HIZEN TACHI IN SHIRASAYABy Tadayoshi (4th generation), signed Hizen no Kuni TadayoshiJapan, Genroku (1688-1704) to Kyoho era (1716-1736), Edo period (1615-1868)The sugata is shinogi-zukuri with iori mune, o-kissaki, and torii-sori. The hamon is suguha midare in nie-deki the boshi is o-maru. The hada is masame. The silver one-piece habaki with diagonal file marks and chiseled 'dew drops'. The ubu nakago with one mekugi-ana, kuri jiri, kiri yasurime, and mei reading Hizen no Kuni TADAYOSHI.With a registration card issued by the Chiba Educational Committee, issue number 055005, noting the signature, nagasa, sori curvature, number of mekugi-ana.NAGASA 66.3 cm, SORI CURVATURE 1.7 cm, TOTAL LENGTH 86.5 cm (the blade) and 94 cm (the shirasaya)Condition: Excellent condition, minor wear, traces of use.
Lot 369
A FINE ITTOBORI WOOD NETSUKE OF SHOKI, CARVED FOR THE TANGO-NO-SEKKU FESTIVALJapan, Meiji period (1868-1912)The finely stained and polished wood well carved to depict the demon queller Shoki, his face in a characteristic grimace, one hand holding his drawn sword to the back, the other lifting the hem off the floor, in preparation to ford a stream.Inscription: Inscribed to the back, 'Tango ni kore o tsukuru, go' 于端午作之、五 [This is made for the Tango-no-sekku (Boy's Festival), Five].HEIGHT 4.8 cmCondition: Very good condition with minor wear.In Japan, Shoki became associated with the Boy's Festival which is held on the fifth day of the fifth month. On that day, Shoki's image is placed in a position of honor in the household so that the sons of the family are protected from evil and grow up to be strong, like him.
Lot 386
DEME UMAN: AN UNUSUALLY LARGE WOOD NOH MASK NETSUKE OF O-BESHIMIBy Deme Uman, signed Deme Uman 出目右滿Japan, Edo (Tokyo), 19th century, Edo period (1615-1868)Boldly carved as a large O-Beshimi mask with prominent nose under furrowed brows with teeth baring. The back with a thick central bar housing the himotoshi and signature DEME UMAN. The wood bearing a fine, dark patina. HEIGHT 8.1 cmCondition: Very good condition with minor expected wear and traces of use. Deme Uman was the grandson of Deme Juman, who is credited as the originator of mask netsuke. He is regarded as the most celebrated of mask netsuke makers and worked almost invariably in wood.
Lot 39
A FINELY PAINTED POLYCHROME WOOD FIGURE OF KICHIJOTEN, MUROMACHIJapan, 16th century, Muromachi period (1338-1573) Finely carved and painted in polychrome pigments, seated in royal ease (lalitasana) on a wood pedestal surrounded by gnarled roots above a two-tiered base with gilt chased-metal fittings and a central plaque with a gilt-wood rinpo (dharma wheel) flanked by blossoms. The goddess clothed in elaborate red and black robes with gilt hems decorated with foliate designs and floral medallions, adorned with two gilt ho-o (phoenixes) birds and floral medallions on each sleeve. Her face bearing a serene expression with heavy-lidded eyes, and sinuous brows, her hair tied in a high topknot with a tiara. HEIGHT 46.7 cm (figure), 76.7 cm (incl. stand)Condition: Good condition with expected wear and age cracks, some flaking, losses, and repairs. Generally presenting very well. Provenance: From a Dutch private collection.Associated with harvest, fertility, and fortune, Kichijoten is one of the female deities derived from religious syncretism of Laksmi, the wife of Vishnu, worshipped as the goddess of fortune in the Indian Hindu pantheon. She is sometimes depicted together with Bishamonten, to whom she is wife or sister. She is often depicted in Chinese robes from the Tang dynasty.Museum comparison:Compare an earlier wood polychrome figure of Kichijoten, dated to the 14th century, in the Nara National Museum, accession number 1209-0. Compare a much earlier standing wood figure of with polychrome pigments in the Jyoruri Temple in Kyoto, dated to the Kamakura period.Auction comparisonCompare a later polychrome wood figure of Kichijoten, dated to the 18th century, at Christie's, Japanese & Korean Art, 24 March 2010, New York, lot 595 (sold for USD 10,000).
Lot 57
AN O-YOROI ('GREAT ARMOR') WITH DRAGON MAEDATEJapan, late 19th century, Edo period (1615-1868)The components laced predominantly in red and fitted with gilt-copper hardware. The armor comprising a sixty-two plate sujibachi kabuto with a parcel-gilt four-tiered chrysanthemum-form tehen kanamono, the mabizashi and fukigaeshi with printed leather, the fukigaeshi further fitted with gilt leaf mon, centered by the gilt wood maedate finely carved as a ferocious striding dragon with kuwagata, all above the five-lame shikoro; a black-lacquered menpo with facial hair and gold teeth, laced with a three-lame yodarekake; a hon kozane do fitted with eight sections of four-lame kusazuri; a pair of six-lame sode; a pair of haidate; and pairs of kote and suneate with iron kusari and plates.Condition: Good condition with minor surface wear, the lacquer with expected minor cracks and flaking, the dragon maedate with minor old repairs. Auction comparison:Compare a related o-yoroi with a similar maedate, also dated to the Edo period, 19th century, at Christie's, 18 September 2008, New York, lot 345 (sold for 18,750 USD).
Lot 58
A NANBAN-DO GUSOKU ('WESTERN STYLE ARMOR') DEPICTING FUDO MYO-OJapan, 18th century, Edo period (1615-1868)The components laced predominantly in blue and fitted with gilt-metal hardware. The armor comprising a thirty-two-plate sujibachi kabuto with a four-tiered chrysanthemum-form tehen kanamono, the mabizashi decorated in silver and gold nunomezogan with two confronted sinuous dragons centered by a tama, the fukigaeshi with gold-lacquered meyui mon, centered by a parcel-gilt maedate in the form of a fierce horned demon with protruding ears and kuwagata, all above the five-lame shikoro; an iron menpo with three-lame yodarekake; an iron do superbly decorated in silver and gold nunomezogan with Fudo Myo-o flanked by his attendants Kongara and Seitaka, fitted with seven sections of five-lame kusazuri; a pair of iron sode comprising a large plate with silvered and gilt raised decoration of the crescent moon, partly obscured by thick scrolling clouds above a single smaller lame; and pairs of kote, haidate, and suneate with iron kusari and plates.Condition: Very good condition with minor surface wear, light scratches, small dents. Museum comparison:Compare a closely related nanban-do gusoku, also depicting Fudo Myo-o, included in the exhibition 4000 Jahre Ostasiatische Kunst, Minoritenkirche Krems-Stein, 12 May-15 October 1978, and illustrated in the exhibition catalogue by Herbert Fux, cat. no. 520, color plate XIV.Auction comparison:Compare a related suit of armor, also with a do decorated in flat inlay to depict Fudo Myo-o, dated to the 18th century, at Christie's, 11 December 2018, lot 4 (sold for 75,000 GBP).
Lot 62
A FINE AND RARE BLACK LACQUER KATANA-KAKE (SWORD STAND)Japan, 19th century Comprising a lower storage section with three drawers and a removable door, each mounted with a movable gilt-copper pull, supporting a rack for three swords. Entirely covered in black roiro lacquer and finely decorated in iro-e takamaki-e, subtle textures, and fine inlay of glass, ceramic, shell, horn, and hardstone with treasures including a Tang-style foliate-rimmed bronze mirror with ho-o (phoenix) decoration tied with a red-lacquered tasseled rope as well as rings, jewels, and shells. SIZE 43 x 44 x 22 cmCondition: Very good condition, minor wear, few minuscule nicks, occasional light scratches, few tiny flakes.
Lot 63
A FINE TSUISHU (CARVED RED LACQUER) TACHI KAKE (STAND FOR A TACHI SWORD)Japan, 19th century, Edo period (1615-1868)Finely formed and carved in vibrant red tsuishu with a gently curving standing rising from the base to a nyoi-scepter head finial, with a rinzu (key fret) band encompassing the central kiku (chrysanthemum) carved to the top. The stand's stem carved with various flowers and fruits, lotus, pomegranate, and peony, with a flange support, the base carved in the shape of a Tang-style bronze mirror, carved with ho-o (phoenix) birds and twisting vines. The stand is supported on four stylized cabriole legs.HEIGHT 69.1 cmCondition: Excellent condition with minor wear and minimal traces of use.Auction comparison:Compare a closely related tsuishu tachi kake with dragon design, also dated 19th century, at Bonhams, Fine Japanese Works of Art, 22 March 2011, New York, lot 3225 (sold for USD 3,904).
Lot 9
A SUPERB GOLD LACQUER FAN-SHAPED BOX AND COVER WITH INTERIOR TRAY AND STANDJapan, 19th century, Edo period (1615-1868)The fan-shaped lacquer box bearing a beautifully lustrous gold kinji ground and decorated in gold takamaki-e with kirigane highlights on the cover with an idyllic landscape scene featuring a view of a temple behind craggy rocks, below clouds and towering pine trees, the blades of the fan inlaid in silver. The interior tray is similarly decorated with a family of quails beneath a flowering cherry tree, the rim of nashiji and embellished with formal hiramaki-e designs. The sides of the box feature Imperial crests of Ho-o (phoenix) and kiri (paulownia), as well as diapered manji and hanabishi designs. The gold-lacquered stand decorated with kiku (chrysanthemum) roundels in colored hiramaki-e and sublime togidashi-e. The interior and underside of the box, as well as the underside of the stand and tray, of dense nashiji.SIZE 10 x 14.2 x 24.5 cmCondition: Very good condition with only very minor wear, some slight rubbing, some microscopic nicks and losses particularly along the edges. The combination of the imperial symbols of Ho-o, paulownia, and chrysanthemum, along with the quality of this sublime lacquer box, likely indicates an imperial commission. Furthermore, it is very rare to find these types of boxes with their original stands and with the interior tray. Auction comparison:Compare a closely related fan-shaped lacquer box at Zacke, Fine Japanese Art, 28 October 2020, Vienna, lot 131 (sold for EUR 13,904).
Lot 6253
Steinway & Sons - Model O overstrung Grand Piano serial No 576699, manufactured in Hamburg 2006, with 88 keys (7 octaves) in a mahogany finished case with Steinway square-bottom legs and brass rollers castors, with combination agraffe front and rear duplex scale, treble strings with twelve whole and one-half sizes, bass strings copper wound with a steel core, nickel head tuning pins, Steinway hammers, keys, felts, and dampers, with una-corda, sostenuto and sustain pedals.L 5'10-3/4" W 57-3/4"The Steinway model O grand piano was originally marketed as the living room or miniature grand and is the largest of the small grand pianos manufactured by Steinway. Production of the model O ceased in 1924 and was not brought back into manufacture until 2006 with all the improved technical innovations that have followed.Dimensions: Length/Width: 180cm Depth/Diameter: 147cmCondition Report: This piano has had one owner from new and is being sold on behalf of an estate with no reserve.The action, keys, hammers, dampers and pedals are in excellent condition, showing signs of very little use. It is tuned and plays without faults. See YouTube videoThe finish is excellent with the odd light surface scratch and a few very minor lacquer chips.The case uprights (left and right) when viewing from the front show cracks in the lacquer (as per images) suggesting some movement in the case on the straight edges.
Lot 2727
TWO VINTAGE RINGS A 9ct gold amethyst and pearl ring, size O, together with a turquoise bombe shaped ring, finger size G, weight together 5.8gms Condition Report:Both light general wear, the turquoise ring is stamped lightly just ct. Probably an inscription has been filed away the '9' with it?
Lot 2766
AN 18CT GOLD DIAMOND FLOWER RING set with estimated approx 1.30cts of brilliant cut diamonds, finger size M, weight 4.3gms Condition Report:Mount and claws all good. I cannot give you the 4C's as I am not qualified to d o so, but I can tell you what I can see. by eye diamonds appear bright clean and sparkly, with a loope, there are a few tiny grey carbon dots and a few tiny clusters of clear crystal inclusions. Generally needs a good ultrasonic clean
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175434 item(s)/page