AN EMPIRE 'PLUM PUDDING' MAHOGANY AND ORMOLU MOUNTED SECRETAIRE A ABBATANT BY JACOB FRERES, RUE MESLEE, CIRCA 1800 The variegated black and pink marble top with reeded edge over a tongue and dart band and S shaped frieze, centred by a four petal florette mount, with worn stamp for 'JACOB FRERES, RUE MESLEE' beneath the marble142cm high, 95cm wide, 43cm deep Provenance: By repute Galerie B.J.F, 27 Rue de Verneuil, Paris. 'Jacob Frères, Rue Meslée' was the stamp used by Georges II Jacob and François-Honoré-Georges Jacob (sons of Georges Jacob, the prominent Parisian master menuisier) from 1797 to 1803. The brothers most famous client was Josephine, wife of Napoleon Bonaparte, and she used the firm to decorate various imperial residences including the Tuileries Palace, Paris. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. The central mount/escutcheon to the upper drawer is loose. Marble with the expected chips and 'nibbles' to edges. Timber of cleaned/polished appearance. Please note, the upper line of the stamp is very indistinctly marked - see images. The leather surface to the interior of the fall is a later replacement. There is a small plugged hole to one side of the interior - see image. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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The Collected Works of Charles Dickens, the Imperial Edition, original red cloth with gilt tooled upper board and spine and gilt lettering to spine, with illustrations by various artists, works comprising Sketches by Boz, Our Mutual Friend, Great Expectations, The Posthumous Papers of the Pickwick Club, Oliver Twist, Nicholas Nickleby, The Old Curiosity Shop, Barnaby Rudge, Martin Chuzzlewit, The Christmas Books, Dombey and Son, David Copperfield, Bleak House, Hard Times and Master Humphrey's Clock, Little Dorrit, and A Tale of Two Cities, together with Charles Dickens: A Critical Study by George Gissing, London: The Gresham Publishing Company. (17)
Dalmore 50 Year Old Decanter 10cl. One of 191 Bottles. The casks used combine vintages from 1868, 1922, 1926 and 1939.Cask one: Distilled in June 1868 and transfered into sherry wood in August 1880 and again in October 1891.Cask two: Distilled Feburary 1878 then racked to sherry wood April 1890 and again in April 1908.Cask three : Distilled March 1922.These three casks were “racked” – one in May 1926, one in July 1926 and one in August 1926. In Spetember 1977 all three were then re-racked to a single, unique butt, then bottled in February 1978.Two casks filled in 1939 which were bottled to glass as a 52 year old in October 1991.All the above whiskies were then blended by Dalmore master blender Richard Patterson. "52.8% Vol 10clWhisky
NO RESERVE Old master prints.- Alberti (Cherubino) Winged putto holding orb with the arms of the Medici, engraving, a very good impression printing with plate tone, on laid paper with indistinct circular watermark, platemark 245 x 165 mm (9 5/8 x 6 1/2 in), sheet 260 x 180 mm (10 1/4 x 7 in), unframed, [circa 1570-1615]; together with a good group of 13 other prints, including a trimmed engraving of an antique vase, probably by Enea Vico, two anonymous early engraved interior views of a Papal chamber with decorative strapwork borders, four 17th century engraved designs for dedicatory monuments, 3 engravings of vases by Le Pautre, and two large engravings, one published by Antonio Lafreri showing the so-called Column Rostrata, the other of triumphal arch, engravings, various sizes between 220 x 160 mm (8 1/2 x 6 1/4 in) and 510 x 410 mm (20 x 16 1/8 in), handling creases and old folds, all unframed, mainly 16th and 17th century (14)
Edward Williams (1781-1855) On the Thames - Ferrying livestock and fishermen casting their nets at dusksigned 'E. Williams' (lower right)inscribed 'no. 1 On the Thames / Edw Williams Snr. / 32 Castelnau Villas Barnes' (on an old label to the reverse)oil on canvas74.5 x 130cmProvenance:N R Omell, LondonThe subject and composition show the artist’s profound acknowledgment and debt to the 17th century Dutch master Salomon van Ruysdael.Framed 91.5 x 147.5cmThe painting is executed in oil on a linen canvas support which has been lined. The canvas tension is stiff and the picture is in plane. The paint layers are in a good, stable condition overall. There are areas of retouching across the surface of the painting, overall, these are well matched to the original. The varnish is even and glossy.
Omega Seamaster Professional Co-Axial Master Chronometer Diver 300m 'Beijing 2022 Olympics Collection' automatic stainless steel wristwatch, reference no. 52230422003001, serial no. 83139xxx, circa 2021, blue 'wave' dial, rotating bezel, calibre 8800, Beijing 2022 emblem to the case back, Omega bracelet with folding clasp, 45mm (560329-12-A)-** Omega Beijing 2022 card sleeve, International Warranty card dated 18 Apr 2021 and stamped Omega Boutique 12 Old Bond Street London, pictograms card, master chronometer card, bezel protector-Movement - currently functioning.Dial - good.Glass - good.Hands - good.Case - good.Crown - adjusting correctly.Bracelet - good, wrist size 6.75'' approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Full title: Pseudo-Simons: Still life with fruit, a lobster and a Wanli bowl, oil on canvas, second half 17th C.Description:Work: 75 x 60,5 cm Frame: 92 x 80,5 cm A lobster, grapes, hazelnuts, a cut lemon and shrimp on a silver plate, grapes, peaches, plums and cherries on a tazza and strawberries in a porcelain bowl, on a partly-draped table. Mr. Fred Meijer inspected the painting and suggested the artist Pseudo-Simons (verbal communication with Christie's Amsterdam, 7 July 2008). The painting is also included in the RKD-database (link). Pseudo-Simons is an invented name for the painter of more than a hundred unsigned still lifes with fruits and flowers. He was active in Antwerp ca. 1650-1680. During the 20th C., these works were often traded on the art market under the name Michiel Simons, which gave rise to the name Pseudo-Simons. (link) Provenance: - G.M. Clark, Cobourg (according to an inscription on the previous frame). - Christie's Amsterdam, Sale 2802 (Old Master Pictures), 10 November 2008, lot 82.
Full title: Flemish school: A pipe smoker in an interior, oil on panel, 17th C.Description:Work: 35,5 x 27,5 cm Frame: 47 x 39 cm The reverse with an old (collection?) label.The work is very close to the oeuvre of the Dutch painter Pieter Verelst (1618-1678), who started his career as an apprentice in the guild of Dordrecht, later became master of the guild in The Hague and was also active in Amsterdam and Hulst,where he was probably also active as a brewer. (link)
Gabriel-Jacques de Saint-Aubin (French, 1724-1780)La le'con de harpebrown ink and wash over black chalk7 3/8 x 5 7/8 inches (sight).Personnages de fête villageoiseblack chalk and sanguine5 x 6 3/4 inches (sight).This lot is located in Chicago.( La lecon de harpe)Provenance:Marquis Charles de Valori, ParisHôtel Drouot, Paris, Valori sale, 25-26 November 1907, Lot 222Albert BesnardGalerie Charpentier, Paris, Anonymous sale, 22 February 1937H.W. Calmann, Old Master Drawings, cat. 1953, no. 2Dr. Victor Bloch, London;Sotheby", London, Collection of Dr. Victor Bloch, 16 November 1963, Lot 22Private CollectionPerrin, Paris, October 1989Exhibited: Royal Academy of Arts, London, Old Master's Drawings, Diploma Gallery, 1953 (loaned by Dr. Victor Bloch)Literature:Emile Dacier, Gabriel de Saint-Aubin Catalogue Raisonne, Paris, 1931, Vol. II, no. 695, p. 121(Personnages de fete villageoise)Provenance:Private CollectionPerrin, Paris, October 1989First framed: 16 3/4 x 18 inches; second framed: 15 3/4 x 16 3/4 inches. Glazed, matted and housed in giltwood frames.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Five: Lieutenant F. M. Edwards, Egyptian Camel Transport Corps, a Cross Country Blue at Cambridge, who was selected for the 3 mile team race at the 1908 Olympics, and was employed as a translator for Lord Allenby on his entrance into Jerusalem. He later served in the Egyptian Civil Service, and with the Cambridgeshire Home Guard 1914-15 Star (2. Lieut. F. M. Edwards. A.S.C.); British War and Victory Medals (2. Lieut. F. M. Edwards.); Defence Medal; Egypt, Order of the Nile, 5th Class breast badge, by Lattes, silver, silver-gilt and enamel, generally good very fine (5) £400-£500 --- Egypt, Order of the Nile, 5th Class London Gazette 16 March 1926: ‘Francis Millward Edwards, Esq., Inspector, Egyptian Ministry of Finance, Damanhur, Egypt.’ Francis Millward Edwards was born in Barton Regis, Bristol in March 1886. He studied Theology at Queens’ College, Cambridge, and was a Blue for Cross-Country - representing the university in the 3 mile race against Oxford on four occasions. Edwards was selected for the 3 mile team race at the 1908 Olympics, but was not called upon to run. An Arabic speaker, before the war he worked for the Egyptian Ministry of Education and was an assistant master at Tewfikia School. Edwards was appointed a second lieutenant with the Egypt Camel Transport Corps on 30 December 1915 and served at Kantara as Section Officer of ‘B’ Company. He was admitted to hospital at Cairo on 22 October 1916 and was found to be suffering from neurasthenia - his medical report stating: ‘... agitated; states that he is unable to control himself with natives. He is quite unfit for any work. Recommended for change to England, as he is unlikely to be fit for a long time.’ The doctor’s report was acted upon and Edwards was invalided to England in November 1916 aboard H.M.H.S. Herefordshire and thence Britannic. Recovering, he returned to Egypt in March 1917 and saw service in Palestine and Egypt with the Camel Transport Corps, where he acted as interpreter to Lord Allenby upon his entrance into Jerusalem. Edwards was released from military service on 17 June 1919 and in 1921 was granted the rank of lieutenant. Remaining in Egypt, Edwards was employed as an inspector with the Ministry of Finance and in 1926 was awarded the Order of the Nile. His life at this time in the Egyptian Civil Service is illustrated in Tales of Empire by D. Hopwood. Edwards returned to the UK, and was residing in Cambridge at the time of the Second World War. He served with the Cambridgeshire Home Guard, and his service is recalled in Adventures with Authors by S. C. Roberts: ‘Another part-time activity was service in the Home Guard. Being enrolled in the Trumpington platoon, I took part in the feverish preparation of a road-block at the junction of the Trumpington Road and Brooklands Avenue. The platoon was a healthy mix of town and gown.... As an instructor in anti-gas measures, I reached the rank of corporal. My closest friend in the platoon was F. M. Edwards, an old cross country running Blue of Queens’. He and I had many adventures together and the one Sunday morning I recall with real pleasure was that of a ‘security’ exercise in which the Trumpington platoon’s objective was to obtain a foothold on the railway bridge over the river, which would be strongly guarded by the Chesterton company. The role assigned to me, late on the Saturday night, was to pose as a staff officer. An Army car was put at my disposal and I was lent a major’s great-coat. Frank Edwards acted as my orderly and with the aid of a false moustache and a strip of red flannel round my hat, I bluffed my way through barbed wire and fixed bayonets to the bridge with considerable gusto and much to the amusement of Guy Dale, the C.O. of the Battalion.’ Edwards died in Bath, Somerset in March 1976, and his papers are held at the Middle East Centre, St. Antony’s College, Oxford. Sold with copied research.
Three: Sergeant Master Tailor J. A. Matthews, Lincolnshire Regiment, a native of British Guiana, and a Regimental stalwart who saw over 30 years service with the Colours Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Orange Free State, Transvaal (2281. Serjt. J. A. Matthews. 2/Linc. Rgt.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (2281 Serjt:-Mr:-Tr: J. Matthews. Lincoln: Regt); Army L.S. & G.C., V.R., 3rd issue, small letter reverse (2281. Sgt. Mr. Tailor. J. Matthews. Linc. R.) generally very fine or better (3) £300-£400 --- John Alleyne Matthews was a native West Indian born near Demerara, British Guiana in January 1853. He attested for the Lincolnshire Regiment at Dublin in December 1871, advanced to sergeant master tailor. Matthews served with the regiment during the Second Boer War, and the Regimental Order No. 4, 25 January 1902 gives the following: ‘Her Majesty, Queen Alexandra having sent 22 pipes to the battalion for distribution among the senior Warrant Officers and N.C.O.’s and others selected by the Commanding Officer. The C.O. will distribute the pipes after the Church Parade tomorrow as follows.... Sergeant Master Tailor J. A. Matthews... The Commanding Officer sent the following letter to Her Majesty. Sir, I have the honour to request that the sincere thanks of the Battalion under my command may be conveyed to Her Majesty, Queen Alexandra, and their high appreciation of the honour done to the Battalion by Her Majesty’s most kind gift of 22 pipes. Those pipes I am distributing to N.C.O.’s and men who have been awarded the Distinguished Conduct Medal, or been specially promoted for gallantry in the field, and to a few senior Warrant Officers and N.C.O.’s specially selected by me. T. H. Bingham Day, Major. Commanding 2nd Battalion, Lincoln Regiment.’ Matthews was discharged at Lincoln, 31 July 1902, having completed 30 years and 228 days service. He was aged 49 years old: ‘Yet still I must record another departure, which severs the oldest link between the past and present. Sergt. Master Tailor Matthews left the battalion on the 12th inst., and truly, as the Commanding Officer, Major Day, said to him ere he left, the battalion will not seem like itself without him. For over 30 years he has held the position he now vacates, and his history during that period has been indeed the history of the battalion. He has been so prominent a figure that it will not soon be forgotten. Prior to his departure the officers at headquarters, headed by the Company, assembled to bid him “Good-bye”, and wish him “God speed” and then to the strains of the “Lincolnshire Poacher” to which he had listened and marched so long - long ere many now serving were born - he marched to the waiting Cape cart accompanied by the Company. The strains of “Auld Lang Syne” sent him on his way very much effected, but all wish him a happy and peaceful future in which to enjoy his well earned pension.’ (Lincolnshire Chronicle, 14 March 1902 refers) Matthews was released to the employment of the woollen drapers Messrs. J. Platt & Co., 78 St. Martins Lane, London. In 1903 he embarked on the Cayo Blanco from London to Bermuda, presumably on route to visit the land of his birth. Matthews returned to London and married in 1907. He resided at 24 Mount Road, Hendon, and died aged 82 in September 1934. Sold with a photographic image of recipient in uniform wearing his medals, and copied research.
The outstanding and extremely rare ‘double long service’ group of three awarded to Regimental Sergeant-Major E. Morel, Royal Wiltshire Imperial Yeomanry, late Life Guards Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Transvaal, Wittebergen, South Africa 1901 (100 Q.M. Sgt. E. Morel, 1st Impl: Yeo:); Army L.S. & G.C., V.R., 3rd issue, small letter reverse (714. Tp. Cpl. Maj: E. Morel. 2nd Life Gds.); Imperial Yeomanry L.S. & G.C., E.VII.R. (232 R.S. Maj: E. Morel. R. Wilts: I.Y.) mounted for display, nearly extremely fine (3) £800-£1,200 --- Approximately 38 Imperial Yeomanry L.S. & G.C. Medals awarded to Royal Wiltshire Imperial Yeomanry. Edward Morel was born in 1854 at East Grinstead, West Sussex, the son of Alfred Morel and Ellen Tate. By family repute his father was the illegitimate child of the union between a Madame Morel of France and William, 3rd Baron de Blaquiere, of Ardkill in the County of Londonderry, who later committed suicide at Norwood in consequence of failing health associated with lithropic disease and smallpox. The 1881 England Census records Morel as married to Sarah Ann and living at the barracks of the Life Guards in Regents Park whilst serving as corporal of horse in the 2nd Battalion. A decade later he is noted as R.M. of 'G' Troop at Rood Ashton (The Annals of the Yeomanry of Wiltshire, refers) and the 1911 Census records the couple living at West Ashton, near Trowbridge, Wiltshire, his occupation described as ‘Army pensioner and storage agent’. He is also father to a 20 year old daughter named Nora. Affectionately known as ‘The Sergeant Major’ in his village and known for his bluff and hearty manner and burly structure and build, Morel died in 1933 having struggled with failing health for two years. His obituary, which was published in The Parade (Trowbridge) Newspaper, adds a little more detail regarding his career: His was an interesting and varied career. As a young man he served for two years in the St. George’s Volunteers, London - for he was a Londoner and in all his years in Wilts never quite lost the accent of the Metropolis. After this he joined the Life Guards, and served in this famous regiment for 15 years, qualifying for the Long Service Medal. On leaving the regular army at the expiration of this period he became attached to the permanent staff of the Royal Wiltshire Imperial Yeomanry, with the rank of sergeant-major, and served the county’s cavalry regiment for twenty-two years, qualifying for another long service medal - a very rare distinction - and retiring with the rank of regimental sergeant major in 1908. He was made the recipient at the annual camp, of a handsome cheque and piece of plate from his comrades of the Yeomanry, Colonel (now Brigadier-General) Palmer making the presentation. When the two companies of the Royal Wilts Imperial Yeomanry were raised at Trowbridge in 1900 for service in the South African War, Sergt.-Major Morel did splendid work in recruiting and training the men, and himself went to the front with them, with the rank of quartermaster sergeant. Though when the Great War came in 1914 he had long passed the age for active service, his heart was always with the forces, and many were the ways in which he served the country’s cause at home. It will be recalled that it was Mr. Morel who provided Trowbridge with its first “Roll of Honour” board, which hung outside the Town Hall until the list became too long to be shown thereon, and a larger one became necessary. After his military service had concluded he settled at West Ashton, carrying on the business as a forage merchant, but finding time for many public duties.’ This was in fact not the first time that details of Morel had appeared in the local press. He regularly wrote home to his wife during his service in South Africa, and details from these letters featured in the Wiltshire Times and Trowbridge Advertiser. He also provided details of the service of the 1st Wiltshire Yeomanry during the war, which appeared in the Devizes & Wiltshire Gazette, 14 March 1901: ‘The Battalion reached Bloemfontein on 1st May and expected to join Lord Roberts in his advanced to Pretoria. They were turned to the right and sent to Thaba Nchu when they joined General Rubdle’s (8th) Division. They were practically the only cavalry of the Division, and their business was to round up all those commandos who were coming away over the Free State border for Natal. In this Rundle was successful Prinsloo surrendered with 6,000 Boers, although De Wet got away. Then they went to Harrismith anticipating they would soon go home, but instead of that they were sent away for two months trek to round up cattle. With the headquarters it was not thought the 1st Company would see any fighting, but it turned out that they fell in for a lot of sniping and small actions, and were the defenders of Ladybrand. Only a portion of the Wiltshire Yeomanry entered the Transvaal that was when they went to Standerton for supplies. Summing up the work of the Wiltshire Yeomanry, Quarter Master Sergeant Morel thinks they had the maximum of work and hardships and the minimum of glory. They had come in for a lot of sniping and had a number of deaths in that manner but they had not been in a general action, except when Prinsloo surrendered, and the 1st Company in the Defence of Ladybrand.’ Morel suffered from bouts of Enteric Fever, and was invalided home. He died in February 1927: ‘In Morel we found the finest characteristics of an Englishman: Brave as a lion, generous to a degree, and that unselfish and unfailing virtue of always being able to smile, and above all to encourage others to smile, in the face of serious adversity. His glorious record of service to his King and Country is known to all Wiltshire men. In our hearts we may store the one consolation - that were indeed the richer for his friendship, and the poorer for his passing.’ (Obituary refers). Sold with copied research, including several photographic images of recipient in uniform.
‘We have strong and numerous armies, but it is necessary to have forces equal to those of the Enemies…’ CLARKE HENRI-JACQUES-GUILLAUME: (1765-1818) 1st Duc de Feltre. Franco-Irish General in the French Revolutionary Wars, also a politician who served as Minister of War 1807-14, 1815 & 1815-17. Marshal of France. A fine Autograph Manuscript, unsigned, two pages, folio, n.p., n.d. (July/August 1809), in French. Clarke's manuscript, entitled Analise, provides his observations on Napoleon's military achievements to date, and assesses the threat of the English, in part, 'L'Emp[er]eur maitre de plus de la moitie de l'Autriche commande a l'armee la plus formidable que la France ait eue au -dela du Rhin. Il a vaincu a Thann, &, quand la moitie de cette armee etait a peine formee. Soit paix, soit guerre l'Emp[er]eur a dans ses depots de quoi recruter l'armee d'Allemagne. Le parjure de la cour de Vienne forca S. M. a laisser sa vieille armée en Espagne. Elle suffisait contre les Espagnols. Mais l'Angleterre a vu sa ruine dans le nouveau sisteme de l'Espagne. Elle a fait les plus grands efforts - - Malgre les pertes de Moore une nouvelle armee est venue a Lisbonne et forte de plus 40.000 h[omme]s elle s'est avancee jusqu'au milieu de l'Espagne avec les Insurges - - on les a repousses au Portugal….. Une expedition de meme force s'est presentee sur l'Escaut pour secourir Anvers....Flessingue a eu nombreuses garnison - & L'empressement des soldats & a forme 3 armees redoutables. La gend[armer]ie est accourue et l'exp[editi]on anglaise a échoué. L'Empereur a defendu l'offensive, les Anglais ont perdu un tiers et le reste va se rendre en Portugal…. 36.000 rassembles a Bayonne suffis[ent] pour repousser les forces que les Anglais pourr[aien]t faire avancer et pour reparer les pertes faites dans une guerre aussi acharnee. Le grand eloig[nemen]t des champs de bataille empeche qu'on puisse porter une armee de l'un a l'autre. L'Empereur veut epargner a l'armee du Danube les fatigues de l'Espagne et d'ailleurs…. Nous avons de fortes et nombreuses armees, mais il faut avoir des forces egales a celles des Ennemis.....Les Anglais 3 armees, une a Naples, une en Hollande et la 3e en Portugal. Nos ennemis s'agitent car il s'agit de la grandeur de la France et ce moment va la decider......Conduite insensee de l'Angleterre qui outre les moyens et qui veut lutter corps a corps avec la F[ran]ce. Elle n'en eprouvera que de la honte - - promesse de paix si les Anglais s'occupent encore du Continent.....Lutte inegale redoutee par les ministres anglais qui ont precede ceux-ci. S'ils viennent sur le Continent la paix g[ener]ale n'est pas eloignee, leurs sacrifices determineront le peuple anglais a la faire l'horreur pour les hommes cruels amis de la guerre. L'Espagne et le Portugal seront leur tombeau' (Translation: 'The Emp[er]or, master of more than half of Austria, commands the most formidable army that France has had beyond the Rhine. He conquered at Thann, &, when half of this army was barely formed. Either peace or war the Emp[er]or has in its depots enough to recruit the army of Germany. The perjury of the court of Vienna forced H.M. to leave his old army in Spain. It was enough against the Spaniards. But England saw its ruin in the new system of Spain. She made the greatest efforts - - Despite Moore's losses a new army came to Lisbon and more than 40,000 men strong it advanced to the missile of Spain with the Insurgents - - they were repelled in Portugal….An expedition of the same force presented itself on the Scheldt to rescue Antwerp…..Vlissingen had numerous garrisons - & the eagerness of the soldiers & formed 3 formidable armies. The gend[armer]y came running and the English exp[editi]on failed. The Emperor defended the offensive, the English lost a third and the rest will go to Portugal….36,000 gathered at Bayonne suffi[cient] to repel the forces that the English could advance and to repair the losses made in such a fierce war. The great distance from the battlefields makes it impossible to transport an army from one to the other. The Emperor wants to spare the Army of the Danube the fatigues of Spain and elsewhere…..We have strong and numerous armies, but it is necessary to have forces equal to those of the Enemies….The English have 3 armies, one in Naples, one in Holland and the 3rd in Portugal. Our enemies are agitated because it is a question of the greatness of France and this moment will decide it…..The insane conduct of England which, beyond the means and which wants to fight hand to hand with the F[ren]ch. She will only feel ashamed - - promise of peace if the English still take care of the Continent….Unequal struggle feared by the English ministers who preceded them. If they come to the Continent, general peace is not far off, their sacrifices will determine the English people to hold it in horror for the cruel men who are friends of war. Spain and Portugal will be their tomb'). A manuscript of excellent military content. Some very light, extremely minor age wear, VG
CHARLOTTE OF MECKLENBURG-STRELITZ: (1744-1818) Queen Consort of the United Kingdom 1761-1818. Wife of King George III. A.L.S., Charlotte, one page, 8vo, Windsor, 25th February 1811, to the Earl of Courtown. The Queen acknowledges receipt of the communication from her correspondent delivering news of 'the Death of Poor Lrd. Cardigan' and asks the Earl to convey her condolences to Lady Cardigan upon her loss, concluding 'I beg you to Believe that in His Death I regret a very good and Excellent Man'. With blank integral leaf. Accompanied by the original envelope wrapper addressed in the Queen's hand and bearing a red wax seal (cracked and the wrapper with numerous large tears and some areas of paper loss). Some minor foxing, otherwise VGJames Stopford (1765-1835) 3rd Earl of Courtown. Anglo-Irish peer and politician who served as Treasurer of the Household 1793-1806, 1807-12. James Brudenell (1725-1811) 5th Earl of Cardigan. British courtier and politician, Master of the Robes 1760-91, Keeper of the Privy Purse 1773-1812 and Constable and Governor of Windsor Castle 1791-1811. The Earl died at the age of 85 in Grosvenor Square, Mayfair, on 24th February 1811. The 76-year-old Earl of Cardigan took the 32-year-old Lady Elizabeth Waldegrave to be his second wife in 1791. The Countess served as Lady of the Bedchamber to Charlotte of Mecklenburg-Strelitz from 1793-1807.
SADE MARQUIS DE: (1740-1814) French Writer, Nobleman and Revolutionary Politician. Best-known for his erotic works and sexual fantasies with violence and lack of morality. Author of The 120 Days of Sodom. Sade spent thirty-two years of his life imprisoned and most of his works were written while incarcerated. The word sadism was coined from his name. Rare A.L.S., `Sade´, three pages, 4to, Charenton, 23rd December 1806, to his stage manager M. Ripert, in French. Sade first refers to his correspondent´s son, a military officer in Napoleon´s troops, and states `Je vous assure mon cher et ancien ami que la nouvelle que vous me donnez de votre fils, me fait infiniment de peine, je ne sais quel funeste pressentiment m'avait présagé le malheur qui lui est arrivé mais en l'embrassant (et M. Quesnel s'en aperçut), je sentis un mouvement involontaire d'une tristesse plus forte que moi, mais heureusement qu'il s'en tirera bien, et vous devez avoir déjà des nouvelles de sa convalescence… Au reste consolons nous de cet accident par l'idée certaine qu'il va bien sûrement monter en grade ; il aura sûrement un régiment et d'autres faveurs; car vous savez comme moi qu'il sert un bon maitre et que jamais l'Empereur n´a laissé dans l'oubli des officiers bléssés à son service…´ (“Translation: “I assure you my dear and old friend that the news you give me of your son pains me infinitely, I don't know what fatal presentiment had presaged to me the misfortune that befell him, but in embracing him (and M. Quesnel noticed it), I felt an involuntary sadness movement, stronger than me, but fortunately he will be fine, and you must already have news of his convalescence… Besides, let us console ourselves for this accident by the certain thought that he will surely rise in rank; he will surely have a regiment and other favours; because you know like me that he serves a good master and that the Emperor has never left in oblivion officers injured under his service...”) Sade further changes the topic and mentions his own affairs, stating `Un mot de mes affaires… je vous suis obligé de ce que vous avez decouvert pour me procurer quelques fonds dont je me trouve avoir absolument besoin dans ce moment-ci… et voici comme cela pourrait etre arrangé, l´affaire se fairait ce quon appelle par anticipation; le nouveau fermier en signant l'acte me payerait une année d'avance dont il se rembourserait a la fin de son bail, et ce remboursement fait par le fermier qui prendrait alors, c'est a dire a la fin du bail de celui que vous me proposez payerait cette année; personne par ce moyen ne se trouverait gené. Combinez bien, minutez bien ce que je vous propose et si l'on y consent, et que vous trouviez ce plan b bon pour moi. Envoyez moi de suite un modèle de procuration je vous le renverrai signé…´ (Translation: “A word about my affairs...I am obliged to you for what you have discovered in order to get me some funds which I find myself absolutely in need of at this moment...and here is how it could be arranged, the matter would be what is called “by anticipation”; the new farmer by signing the deed would pay me a year in advance which he would be reimbursed for at the end of his lease, and this reimbursement made by the farmer who would then take the contract, that is to say at the end of the lease of the one whom you propose; no one by this means would be embarrassed. Plan well what I propose to you and if we agree to it, and that you find this plan b good for me. Send me immediately a power of attorney that I will send it back to you signed…”) Before concluding, Sade insists on his need of money, saying `A l'égard du château j'espère que vous ne le louerai qu'à quelqu'un de sûr, et qui n'y laisse rien dégrader cette clause est très importante… je vous remercie de ce que vous me dites a l'occasion du bois de Saumane, mais étendez vous dans votre reponse et dites moi de quelle manière je vais en retirer de l'argent…´ (Translation: “With regard to the castle I hope that you will only rent it to someone reliable, and who does not let anything deteriorate, this clause is very important… I thank you for what you tell me regarding the Saumane wood, but extend your answer and tell me how I will get money from it…”) A lengthy letter of good content. With address leaf. Postmarked. One small hole to first sheet and few small ones to the second, only partially affecting one word, and not affecting the signature. Very small area of paper loss to the edge of the second sheet as a result of the letter opening. G Sade refers to Napoleon I when mentioning the behaviour of the Emperor when relating to injured soldiers of his troops.
Old Master and Later Prints. Jan Sadeler I (1550 - 1600), after Dirck Barendsz (1534 - 1592), AER, [Juno, personifying the element Air], [Frankfurt am Main], 1587, line engraving, 16.5 x 21.5cm, Richard Houston (Irish, ?1724 - 1775), after Sir Joshua Reynolds PRA (1723 - 1792), portrait, Stringer Lawrence Esqr./Major General and Commander in Chief in the East Indies, [London]: Printed for John Bowles and Son, at the Black Horse, in Cornhill, 1761, mezzotint, 36 x 26cm, others, mixed media and various sizes, etc., (approx. 15) All unexamined out of frames. Juno with discernible upper-margin repairs, some stains and creases. The Houston-Reynolds mezzotint good, some surface wear. Others mixed condition.
'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。
A COPPER-INLAID BRONZE FIGURE OF CINTANAMI MAHAKALA, 17TH-18TH CENTURYTibetan-Chinese. Heavily cast, standing atop a separate lotus base with beaded rim, the primary hands before the chest, with four hands in apan mudra, dressed in a dhoti tied at the waist and neatly incised, adorned with beaded jewelry and dharma wheel at the belly, the back with a blossom jewel, a streaming ribbon draped over the shoulders, the face with a wrathful expression, open mouth revealing sharp fangs, curling beard, bulging eyes, the flaming hair behind a skull tiara. The teeth, two toes, and earrings with very fine copper inlays. Provenance: From a German private collection, acquired before 2007. Condition: Extensive wear, few losses, small nicks, light scratches, old metal fills, and some casting irregularities. The base cast separately.Weight: 1,017 g Dimensions: Height 17.2 cmMahakala belongs to the class of dharmapalas or protectors of the Buddhist Faith. According to Tibetan tradition, the dharmapalas are pre-Buddhist local deities. They were subdued by the great master Padmasambhava and included in the pantheon as fierce defenders of Tibetan Buddhism. Tibetan iconographic texts describe seven various forms of Mahakala. This six-armed form is known as Cintamani Mahakala or the 'Mahakala with the Wish Bestowing Gem'.Auction result comparison:Type: RelatedAuction: Christie's Paris, 8 June 2010, lot 321Price: EUR 39,400 or approx. EUR 51,000 converted and adjusted for inflation at the time of writingDescription: A partially gilded bronze statue of Cintamanimahakala, Tibet, 18th centuryExpert remark: Compare the related subject, pose, and style of the dhoti. Note the intact gilding and much larger size (27.5 cm).十七至十八世紀六臂大黑天銅像漢藏。本尊造像直立，一面六臂，頭戴骷髏冠，頂豎忿怒髪，雙目圓睜，粗眉上揚，張嘴露齒，耳戴銅耳飾，面相兇忿。胸前飾瓔珞，手臂掛有臂釧，六臂分施不同手印，肢體粗壯有力。整體處理的細緻到位，通體鎏金，水亮厚實，面部生動攝人。牙齒、兩隻腳趾和耳環都鑲有非常精細的銅。 來源：德國私人收藏，購於2007年前。 品相：磨損嚴重，些微缺損、有小磕損、輕微劃痕、舊金屬填充物和一些鑄造不規則現象。底座分開製作。 重量：1,017 克 尺寸：高17.2 厘米 大黑天梵語名瑪哈嘎拉，藏語稱為貢普，原來是古代印度的戰神，進入佛教後，很受密教的崇奉，是觀音菩薩化現的大護法，在護法中地位很高，同時也是密宗修法所依止的重要本尊。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2010年6月8日，lot 321 價格：EUR 39,400（相當於今日EUR 51,000） 描述：十八世紀西藏部分鎏金大黑天銅像 專家評論：比較相近的主題、姿勢和腰部風格。請注意只有部分鎏金和尺寸較大(27.5 厘米)。
A GILT BRONZE FIGURE OF A MAHASIDDHA, TIBET, 15TH-16TH CENTURYSeated with his legs crossed on a double lotus base with beaded upper rim, both hands in karana mudra, dressed in a tiger skin, embellished with fine jewelry tied above the belly, the face with a semi-wrathful expression, flanked by elongated earlobes suspending floral earrings, surmounted by a skull crown, the hair tied in a high chignon below a jewel. Provenance: From the collection of Joost Slingerland, Yorkshire, United Kingdom, and thence by descent. A label, '2' inside the base. Joost Slingerland was a Dutch collector of Hindu and Buddhist bronzes from India, Southeast Asia, and the Himalayas, based in Driffield, Yorkshire. He assembled his collection between 1995 and 2005 and regularly came to London to acquire pieces. Condition: Very good condition with minor wear, few nicks, light surface scratches, the inlays lost, and casting flaws. The base unsealed.Weight: 264.3 g Dimensions: Height 11.8 cmThere are eighty-four Mahasiddhas of Tantric Buddhism who can be male and female, kings and beggars, young and old, monks and laymen who through experiencing different kinds of life crises, attain the realization of the Buddha's teachings leading to the status of a guru or a tantric master. Auction result comparison:Type: RelatedAuction: Bonhams London, 15 May 2014, lot 266Price: GBP 18,750 or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A gilt-bronze figure of a Mahasiddha, 14th/15th centuryExpert remark: Compare the related motif and embellishments. Note the slightly larger size (14.3 cm) and the dating to the 14th-15th century.Auction result comparison:Type: RelatedAuction: Bonhams New York, 14 March 2017, lot 3252Price: USD 25,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A Gilt Copper Alloy Figure Of Kanha, Central Tibet, 16th CenturyExpert remark: Compare the related motif, pose and embellishments. Note the larger size (20 cm).十五至十六世紀西藏銅鎏金大成就者坐像成就佛造像為菩薩裝束，雙手施大手印，全跏趺坐於蓮座之上，蓮座上飾連珠紋；頭戴骷髏冠，耳戴環璫。長眉細目，雙眼低垂，面龐端正，呈寂靜相。袒露上身，帔帛搭於雙肩，胸前飾項圈瓔珞，下著長裙，繫腰帶。 來源：英國約克郡Joost Slingerland收藏，保存至今。底部内部有一個標籤 '2'。Joost Slingerland是一位荷蘭收藏家，專注收集來自印度、東南亞和喜馬拉雅山的印度教和佛教青銅造像，常年生活在約克郡德里菲爾德。他在 1995 年至 2005 年期間開始收藏，並定期去倫敦尋找藏品。品相：狀況極好，有輕微磨損、少許劃痕，鑲嵌物丟失，有鑄造缺陷。底座未密封。 重量：264.3 克 尺寸：高 11.8 厘米 密宗有八十四大成就者，有男有女，有國王乞丐，有老有小，有僧有俗，通過經歷不同的人生危機，證悟佛法，成為上師或密宗大師。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2014年5月15日，lot 266 價格：GBP 18,750（相當於今日EUR 29,000） 描述：十四/十五世紀銅鎏金大成就者像 專家評論：比較相近的主題和點綴。請注意尺寸稍大(14.3 厘米) ，以及斷代為十四至十五世紀。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2017年3月14日，lot 3252 價格：USD 25,000（相當於今日EUR 28,500） 描述：藏中十六世紀銅鎏金甘赫像 專家評論：比較相近的主題、姿勢和點綴。請注意尺寸較大(20 厘米)。
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。
A SMALL LAC BURGAUTE MALLET VASE, KANGXI PERIOD, JIANG QIANLI MARKChina, 1662-1722. The cylindrical body with the rounded shoulder surmounted by a tall slender neck, the lacquer intricately decorated with minuscule inlays of mother-of-pearl and gold depicting foliate panels enclosing floral and geometric diapered designs, between a lappet band at the shoulder and a floral band above the foot. The neck with floral diaper between dense foliate bands interspersed with flowerheads at the shoulder and below the mouth, the recessed base with a similar design enclosed by a geometric border and centered by the gold-foil-inlaid two-character seal mark 'Qianli' within a mother-of-pearl-inlaid roundel.Provenance: From a Hungarian private collection. Condition: Good condition with minor old wear, small losses, few minuscule nicks and age cracks.Weight: 33.9 gDimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Jiang Qianli, alias Jiang Qiushui, was a master craftsman from Yangzhou in Jiangsu province. For early studies of Jiang's work see Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli', Wenwu, 1959, no. 11, pp. 59-61, and Paul Moss, Emperor, Scholar, Artisan, Monk - The Creative Personality in Chinese Works of Art, London, 1984, page 258. Jiang's name is also mentioned in a number of historical records, including the 1810 edition of the Jiaqing Yangzhou fu zhi (Chronicles of Yangzhou Prefecture in the Jiaqing period) in which Zhang Shiyuan and Yao Youtian record: During the early years of the Kangxi reign there was Jiang Qiushui, whose skill produced mother-of-pearl inlaid lacquerware that was noted for its exquisiteness. These wares were widely sought after for use at banquets. A couplet says, 'Where there are drinking cups and serving trays, there one finds Jiang Qiushui'. Jiang Qianli is traditionally thought to have lived in the late Ming or Kangxi periods, and his mark subsequently appeared on numerous inlaid lacquer pieces. The style of his true work is very intricate, with simple shapes embellished with perfect control and attention to detail, down to the tone and placement of each piece of inlay. The present lot appears to be of a quality associated with the master himself.Auction result comparison: Type: Related Auction: Bonhams London, 6 November 2014, lot 432 Price: GBP 13,750 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A small 'lac burgaute' baluster vase, Kangxi, Qianli two-character mark Expert remark: Compare the closely related decoration with similar floral diaper inlaid with gold foil and mother-of-pearl, as well as the two-character Qianli mark. Note the baluster form and smaller size (6.6 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 3025 Estimate: HKD 700,000 or approx. EUR 84,500 converted at the time of writing Description: A small mother-of-pearl inlaid black-lacquered vase, Qianlong two-character seal mark Expert remark: Compare the closely related decoration with floral diaper inlaid with gold foil and mother-of-pearl. Note the inlaid Qianlong seal mark, which may be a later addition, and the size (10.7 cm).康熙江千里款黑漆螺鈿小瓶中國，1662-1722年。細長頸，溜肩，黑漆地，精緻鑲嵌金箔與螺鈿，精美組合，展現了花卉紋和幾何紋。圈足内幾何邊框中心內嵌金箔“千里”二字篆書款。 來源：匈牙利私人收藏。 品相：狀況良好，有輕微的磨損、細微小劃痕和老化裂紋。 重量：33.9 克 尺寸：高10 厘米 配絲絨絲質收納盒。(2) 江千里，字秋水，明末清初揚州鑲嵌漆器工藝家。關於江千里早期作品，可見Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli'，文物，1959年，編號11，頁59-61；以及 Paul Moss，Emperor，Scholar，Artisan，Monk - The Creative Personality in Chinese Works of Art，倫敦，1984年，頁258。在衆多文獻記錄中都曾提到過江千里的名字，比如1810年版的《嘉慶揚州府志》中曾提到過 》：“康熙初維揚有士查二瞻，工平遠山水畫及米家畫，人得寸紙尺縑為重。又有江秋水者以螺鈿器皿最精工巧細，席間無不用之，時有一聯雲：“杯盤處處江秋水，捲軸家家查二瞻。” 江千里被認為生活在明末清初，他的款記隨後出現在許多鑲嵌漆器上。他真正的作品風格非常複雜，簡單的形狀點綴著完美的工藝和對細節的關注，包括每件鑲嵌物的色調和位置。 目前的拍品完全具有此品質。
'BIRD AND BAMBOO', BY FANG ZHAOLIN (1914-2006)China, c. 1950-1970. Ink and watercolors on paper. Depicting a black bird perched on a branch, to its right with hanging bamboo leaves, finely painted in splashy ink washes alongside gestural brushwork, characteristic for the artist.Inscriptions: Lower right, signed 'Zhaolin', one seal 'Fang shi'.Provenance: French trade, previously in an old British private collection. Condition: Presenting very well with some wear, little creasing, foxing, stains, and watermarks. Adhered to cardboard at two corners, backed by an old wooden board. The latter with some wear. Dimensions: Size incl. backing 62.6 x 52 cm, Image size 58 x 43.9 cm Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes.Auction result comparison:Type: RelatedAuction: Bonhams London, 23 September 2015, lot 145Price: GBP 4,375 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: Fang Zhaoling (sic) (1914-2006), Eight birds perched on bambooExpert remark: Compare the related motif, composition, brushwork, and size (60 x 45.5 cm)方召麐(1914-2006年)《鳥》中國，約作於1950 - 1970年間，紙本水墨設色。一隻黑鳥站在樹枝上，右側竹枝搖曳，筆觸灑脫清新。 款識：召麐；鈴印：方氏。 來源：法國古玩交易，來自一個英國私人老收藏。 品相：品相良好，有一些磨損、小摺痕、起皺、污漬和水印。兩個角黏在硬紙板上，背面是一塊木板，有磨損。 尺寸：總62.6 x 52 厘米，畫面58 x 43.9 厘米 方召麐(1914-2006年)出生於中國江蘇省無錫市，曾跟隨多位國畫大師學習書畫，如嶺南派錢松喦、大師趙少昂以及張大千。四十多歲時，她先後在香港和牛津就讀。五十年代至七十年代，方在歐美遊歷旅居，了解西方現代繪畫潮流。然而，她深愛民族歷史和文化與傳統中國風格。她畫的風景和靜物經常是對家的描繪。她著迷於漢族壁畫的簡潔，並在人物畫和山水畫中形成了自己獨特的風格，從 20 世紀 70 年代開始，她經常結合書法線條和形式來描繪山石，而不是使用傳統的繪畫方法。她的作品保留老師的風格，作品色彩濃烈，用筆豪放。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，23 9月 2015年，lot 145 價格：GBP 4,375 EUR 6,700 （相當於今日） 描述：方召麐(1914-2006年)《八鳥棲於竹上》 專家評論：比較相近的主題、構圖、筆法和尺寸(60 x 45.5 厘米)。
'PEONY AND BEES', BY FANG ZHAOLIN (1914-2006), DATED 1954China. Ink and watercolors on paper. Finely painted with a blossoming white peony borne on a leafy stem beside a rosebud borne on a thorned stem, all below three buzzing bees.Inscriptions: Lower left, signed 'Zhaolin', dated 'in the Summer of the Year of Jiawu' (corresponding to 1954), and inscribed 'the first flower of the spring breeze'.Provenance: English trade. The back with an old label from Ryman & Co, which was founded in 1893 when Henry J Ryman opened his first store as a book printer on Great Portland Street, London, that is still open today. Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 55.3 x 35.2 cmMatted and framed. (2)Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then at Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes. Well into her 80s, Fang Zhaolin continued to rise early and paint for six to eight hours each day. Staying busy, she says, is the secret to long life. “If you are engaged and occupied with your work, you don't bother worrying about small problems. You don't dwell on things or let them bother you.”Expert's note: The present painting is an early work by this artist before she had developed her own distinct style, and clearly shows the influence of Zhao Shao'ang, much like lot no. 200 in this sale. Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 June 2018, lot 41 Price: EUR 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: Fang Zhaolin (1914-2006), Bees and Roses Expert remark: Note the size (47 x 34 cm)方召麐《牡丹圖》，1954年中國，紙本水墨設色。精緻地繪有一朵盛開的白牡丹，它長在多葉的莖上，旁邊是一朵玫瑰花蕾，長在帶刺的莖上，下面是三隻嗡嗡作響的蜜蜂。 款識：管領春風第一花，甲午仲夏之月召麐；鈴印：召麐 來源：英國古玩交易，背面有Ryman & Co標籤。該藝廊成立於1893年，Henry J Ryman 在倫敦大波特蘭街開設了他的第一家印書店，該店至今仍在營業。 品相：狀況極佳，輕微磨損與污漬。 尺寸：畫面55.3 x 35.2 厘米 鏡片。(2) 方召麐(1914-2006)出生於中國江蘇省無錫市，曾跟隨多位國畫大師學習書畫，如嶺南派錢松喦、大師趙少昂以及張大千。四十多歲時，她先後在香港和牛津就讀。五十年代至七十年代，方在歐美遊歷旅居，了解西方現代繪畫潮流。然而，她深愛民族歷史和文化與傳統中國風格。她畫的風景和靜物經常是對家的描繪。她著迷於漢族壁畫的簡潔，並在人物畫和山水畫中形成了自己獨特的風格，從 20 世紀 70 年代開始，她經常結合書法線條和形式來描繪山石，而不是使用傳統的繪畫方法。她的作品保留老師的風格，作品色彩濃烈，用筆豪放。 專家注釋：這件拍品是方召麐早期作品，還未形成自己的風格以及沒有受到趙少昂的影響，很像本此拍賣拍品編號 200。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2018年6月13日 ，lot 41 價格：EUR 5,000（相當於今日EUR 5,600） 描述：方召麐《蜜蜂與花》設色紙本 專家評論：請注意尺寸(47 x 34釐米)。
A GILT BRONZE FIGURE OF CHAKRASAMVARA, LATE MALLA, THREE KINGDOMS PERIODNepal, 1520-1768. Striding in alidhasana with his consort Vajravarahi in yab-yum, the four-headed deity surmounted by a skull crown, his primary hands embracing his consort and holding a vajra and ghanta, the other ten hands holding attributes including damaru, kapala, kartika, and katvanga, dressed in a beaded loincloth, his legs flanked by two billowing scarfs, Vajravarahi wearing an elaborate skirt with skull pendant. Their faces finely incised with gently arched eyebrows centered by an urna, with almond shaped eyes, and a subtle smile.Provenance: British trade. Condition: Very good condition with expected old wear to the gilt, minimal losses, minor casting flaws, and few small malachite encrustations. The stand with few chips to the edges and natural age cracks.Weight: 1,269 g (incl. stand) Dimensions: Height 20.4 cm (incl stand)With a fitted hardwood base, probably Zitan, finely carved as a double lotus throne. (2)The Three Kingdoms period - the time of the later Mallas - began in 1520 and lasted until the mid-eighteenth century. The complete flowering of the unique culture of the Kathmandu Valley occurred during this period, and it was also during this time that the old palace complexes in the three main towns achieved much of their present-day forms. The kings still based their legitimate rule on their role as protectors of dharma, and often they were devout donors to religious shrines. Kings built many of the older temples in the valley, gems of late medieval art and architecture, during this final Malla period. The present figure seems to be rather early in the period, e.g., 16th to mid-17th century.The vision of Twelve-armed Samvara in an ecstatic, dance-like embrace with his consort Vajravarahi is one of the most exquisite subjects in Vajrayana Buddhist art. Meaning 'Wheel of Bliss' in Sanskrit, the union of the two deities is known as Chakrasamvara, as represented in this near-complete example. The deities embody the attainment of the highest yoga tantra tradition and Tibetan Buddhism's supreme ideal: the skilled union of perfect wisdom (Vajravarahi) and compassion (Samvara).Being so complex, only the very best artists were fit to undertake the challenge of casting Chakrasamvara. The task most often fell to Newari master craftsmen from Nepal who produced such sculptures for domestic and Tibetan worship. The stylistic preferences of each audience are somewhat slightly different. While many contemporaneous Tibetan examples emphasize the ferociousness of Chakrasamvara's facial expressions, here instead, a benign intimacy is shared between the deities gazing into each other's eyes. The sentiment betrays a preference in Nepal for showing divine couples in harmony, as representatives of ideal matrimony.Literature comparison:Compare a related two-armed gilt bronze figure of Chakrasamvara, Nepal, 16th century, in the collection of the British Museum, museum number 1921,0219.1.Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2015, lot 35Price: USD 32,500 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: A gilt bronze figure of Durga, Nepal, 16th/17th centuryExpert remark: Compare the related motif, gilt accents, fine casting work, and stand. Note the size (16.5 cm).馬拉王朝末年，三國時期，銅鎏金勝樂金剛像尼泊爾，1520-1768年。勝樂金剛勝四頭，十二臂，兩足，弓步。主尊頭戴五葉冠，上有太陽和新月符。主臂兩手分別持金剛杵和金剛鈴，另外兩手擁抱明妃金剛亥母。其餘各手分別持不同的法器，如三叉戟、匕首、卡巴拉碗等。脖子上掛人首做成的項鍊，雙足奮力踩踏兩個魔鬼，威力無比。金剛亥母雙腿盤在勝樂金剛腰間，，穿著花飾腰帶，佩戴著珠飾。金剛及其明妃面容表情細緻入微，眉毛微彎，微笑。 來源：英國古玩交易。 品相：狀況極好，鎏金有磨損，小缺損，輕微鑄造缺陷，少量孔雀石色結殼。底座邊緣輕微碎屑和自然老化裂縫。 重量：1,269 克 (含底座) 尺寸：高20.4 厘米 (含底座) 硬木底座，可能爲紫檀，精美雕刻雙層蓮座。 (2) 尼泊爾三國時期，即馬拉王朝末年——始於 1520 年，一直持續到十八世紀中葉。加德滿都谷地獨特文化的全面發展就在這一時期，也是在這一時期，三個主要城鎮的舊宮殿建築群形成了今天的大致規模。國王們的合法統治仍然基於他們作為佛法保護者的角色，而且他們經常是宗教聖地的虔誠捐助者。在馬拉王朝末年，國王們在山谷中建造了許多古老的寺廟，這些寺廟是中世紀晚期藝術和建築的瑰寶。目前這件造像可能來自十六世紀至十七世紀中葉。
A RARE AND EARLY THANGKA OF KUNTU ZANGPO, TIBET, 15TH CENTURYPublished: Per Kvaerne, The Bon Religion of Tibet: The Iconography of a Living Tradition, London, 1995, pl. 12.The central deity seated in dhyanasana on a lotus throne supported by lions, flanked by flowering lotus and backed by a blue halo, against a finely painted scroll background, wearing only a loincloth with folds gathering at the base, surrounded by the lamas and deities of the Drenpa Akar Gongdue lineage, the lower register with monks wearing white meditation caps, dancing laypersons, and offerings.Inscriptions: The mantra on the reverse of the painting describes Kuntu Zangpo in this form as a divine manifestation of the eighth-century sage Drenpa Nankha, often referred to by Bonpa simply as lachen, The Great Lama (see Per Kvaerne, The Bon Religion of Tibet: The Iconography of a Living Tradition, London, 1995, page 119).Provenance: The Richard & Magdalena Ernst Collection of Himalayan Art. Sotheby's New York, 22 March 2018, lot 944, bought-in at an estimate of USD 40,000 or approx. EUR 43,000 (converted and adjusted for inflation at the time of writing). Richard Robert Ernst (1933-2021) was a Swiss physical chemist and Nobel Laureate. He was awarded the Nobel Prize in Chemistry in 1991 for his contributions towards the development of Fourier transform nuclear magnetic resonance (NMR) spectroscopy while at Varian Associates and ETH Zurich. He humbly referred to himself as a "tool-maker" rather than a scientist. Besides toiling with his work, Ernst also enjoyed music and art, specifically Tibetan paintings. Using scientific techniques, Ernst would research the pigments on the scrolls to learn about their geographic origin and age. Condition: Good condition with expected old wear and traces of use. Minor creasing with associated small losses. The canvas made of two sections joined vertically at the second column of figures on the left side, with creases and losses at the joint. Some minor consolidation of the blue halo around the central figure but no further restoration.Dimensions: Image size 66 x 56.5 cmThe elaborate frame with an aperture to the reverse to show the inscription. (2)Kuntu Zangpo is a peaceful deity found within the Bon religion. He can have a similar appearance to a naked sanggye without any ornaments, as depicted in the present lot, or he can appear as a peaceful deity with ornaments and heavenly garments. The Tibetan term 'kuntu zangpo' in Bon usage can also be used as an epithet for other peaceful male deities.Drenpa Namkha, who is mentioned in the mantra on the reverse of this thangka, was born in the 8th century near Mount Kailash in Chunlung Ngul Kha in south-western Tibet. As a young student he was blessed with eight principal Bon teachers. Drenpa Namkha became a self-realized supreme master of the three Bon practices, known as Sutra, Tantra, and Dzogchen. He is the primary long-life deity and a popular personage in the Bon tradition. He is said to have had twin sons: Tshe-dbang Rig-'dzin, a Bon teacher, and Pad-ma 'Byung-gnas, the famous Buddhist teacher Padmsambhava.Literature comparison: Compare the background scrollwork on a Sakya mandala, dated to ca. 1429-56, illustrated in Steven M. Kossak and Jane Casey Singer, Sacred Visions: Early Paintings from Central Tibet, New York, 1998, p. 170, pl. 47c.Auction result comparison: Type: Related Auction: Christies New York, 22 March 2011, lot 329 Price: USD 43,750 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A thangka of Amoghasiddhi Buddha, Tibet, 15th CenturyExpert remark: Compare the related style, period, and size (75.5 x 62.2 cm)十五世紀西藏普賢王如來唐卡布面設色，普賢王如來本尊結跏趺坐坐在蓮座上，兩側是盛開的蓮花，背面是藍色的光背，只著纏腰布，周圍環繞著喇嘛和神靈；畫面下部是戴著白色僧帽的僧侶、跳舞的居士和供品。 出版：Per Kvaerne，《The Bon Religion of Tibet: The Iconography of a Living Tradition》，倫敦，1995年，圖12。 款識：唐卡背面描述普賢王如來作爲八世紀旃巴南卡尊者的化身，Bonpa 稱之爲大喇嘛 (見 Per Kvaerne，《The Bon Religion of Tibet: The Iconography of a Living Tradition》，倫敦，1995年，第119頁)。 來源：The Richard & Magdalena Ernst 喜瑪拉雅文化收藏，紐約蘇富比，2018年3月22日，lot 944，買入價 USD 40,000 。Richard Robert Ernst (1933-2021年) 是瑞士物理化學家和諾貝爾獎獲得者。1991 年，他因在 Varian Associates 和 ETH Zurich 對Fourier變換核磁共振 (NMR) 光譜學的發展做出的貢獻而獲得諾貝爾化學獎。他謙虛地稱自己為“工具製造者”而不是科學家。除了辛勤工作，Ernst還喜歡音樂和藝術，尤其是西藏繪畫。Ernst使用科學技術研究捲軸上的顏料，以瞭解它們的地理來源和年代。品相：狀況良好，有磨損和使用痕跡，輕微摺痕伴有相關的小缺損。由兩部分組成的畫佈在左側第二列數字處垂直連接，連接處有摺痕和缺口。中心人物周圍的藍色光背有一些輕微的合併，但沒有進一步地修復。 尺寸：畫面66 x 56.5 厘米 背面有款識。(2)
'PLUM BLOSSOMS', BY QI BAISHI (1864-1957), DATED 1923China. Ink on paper, with a Japanese silk brocade mounting. Exquisitely painted with a flowering plum tree in the winter, the branches and twigs mostly upright with few hanging down, the blossoms and buds neatly detailed, the thicker branches executed with bold, dynamic brushstrokes.Inscriptions: Lower left, signed 'Baishi weng' (old man Baishi), inscribed 'The winter plum blossoms and the rest of the year, a thousand-year friendship with the rest of the year', and dated 'in the Winter of the Year of Guihai' (corresponding to 1923). The last character (託) indicates that this work was painted by Qi Baishi in order to entrust it to the recipient.Provenance: Kono Shuson, Japan, acquired directly from the artist. A private collection, acquired from the above, and thence by descent. The back with an old Japanese paper label from Kono Shuson, stamped and inscribed 'Dai yonhyaku-ju-roku-go, Sai Hakuseki sensei, Kono Shuson sei' (Number 416, Painting of Winter Plum Blossoms by Master Qi Baishi, compounded by Kono Shuson). Two further paper labels, each inscribed '7541'. Kono Shuson (1890-1987) was a Japanese painter and a pivotal figure in promoting the Nanga (Chinese literati) school of paintings in Japan. With Tomioka Tessai (1836-1924) as a consultant, he founded the Nihon Nanga-in (Japan Literati Painting Academy) and visited China frequently, including his first documented visit in 1923, the year the present work was painted. This is when he probably met Qi Baishi for the very first time, shortly after Qi's initial exhibition in Japan (see lot essay below). He then began to import Qi Baishi's works to Japan, together with the paintings of other contemporary Chinese artists, selling them at the Takashimaya Department Store and other notable places. He always mounted such paintings on Japanese kakejiku scrolls. For a work bearing a similar label from Kono Shuson, see for example Bonhams Hong Kong, 2 March 2022, lot 29, by Zhang Daqian (1899-1983), Scholar under Willow Tree. Condition: Good condition with some wear, soiling, and few minor abrasions.Dimensions: Image size 106.5 x 56 cm, Size incl. mounting 144 x 68 cmQi Baishi painted plum blossoms in several styles, including copies of those painted by Jin Nong (1687-1763), which the present lot shares some affinities with, including the absence of colors. Qi Baishi's later plum paintings are primarily inspired by Wu Changshuo (1844-1927), who preferred bright colors and introduced an epigraphic aesthetic to the art of painting. Here however, Qi depicts the plum tree with its upward trunk and branches in calligraphic strokes of somber ink. The present painting can therefore be said to reflect an earlier style in painting plum blossoms for Qi Baishi, whose earliest works depicting this subject are dated by inscription to the year 1921, two years before the present work was executed. Qi's paintings are, first of all, reflections of things and feelings that he had personally experienced in life. In the case of plum blossoms, his fondness of this subject resulted from nostalgia for his hometown in Hunan, where his dwelling, named 'Studio of Hundred Plums', was surrounded by a plum grove.Qi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Qi Baishi moved to Beijing in 1916 and earned his living there by selling paintings. However, his painting style was not welcome in Beijing at that time. Taking the advice of Chen Shizeng, Qi Baishi began his famous "initiating self-art-reform in senile age", which finally led Qi Baishi to tremendous success. In 1922, Chen Shizeng visited Japan. He brought some works by Qi Baishi for exhibition and sale. This was the first time that Qi Baishi's paintings were shown in Japan, and anywhere outside China. It is probable that Kono Shuson (the first owner of the present work) saw Qi's work at this exhibition and was inspired to make his first trip to China less than a year later in 1923, meeting with the master for the first time. As recalled by Qi Baishi: “After Chen Shizeng returned to Beijing, I was told that all my paintings sold at very nice prices! Each of my paintings sold for at least 100 silver coins, and the landscape paintings were even more expensive, 250 silver coins for one that was only 60 inches long! I never imagined such prices in China! And I was also told that the French planned to exhibit my works and those of Shizeng in the Paris Art Expo. The Japanese were going to film my life and work for a movie! All this was just amazing! Afterwards, many foreigners came to Beijing to purchase my paintings, and I have been better off since then. It was Shizeng who helped me in my career and life - I will remember this forever.” (Baishi Laoren Zishu, Shandong Huabao Publishing House, 2000, pp. 131-133)Auction result comparison: Type: Related Auction: Beijing Council International Auctions, 4 December 2013, lot 984 Price: CNY 632,500 or approx. EUR 110,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, The ink plum blossom (1923)Expert remark: Compare the related manner of painting with mostly upright branches and using only ink. Note that the work was painted in the same year (1923) as the present lot. Auction result comparison: Type: Related Auction: Poly International, Beijing, 17 December 2017, lot 1930 Price: CNY 862,500 or approx. EUR 142,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Plum blossom (1924) Expert remark: Compare the related manner of painting, also using only ink, but with more hanging branches than the present lot. Note that the work was painted one year later (1924) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 9 December 2020, lot 48 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (with signature of, 1863-1957), Plum BlossomsExpert remark: Note the much smaller size (26.5 x 19 cm) of this work and the low estimate of only USD 300-600, which was clearly overruled by the market, with bidding eventually ending at USD 18,750.1923年齊白石款《寒梅圖》
'WISTERIA', BY QI BAISHI (1864-1957)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Virtuously painted with a cluster of wisteria leaves hanging from a twisting vine further issuing leafy stems in variegated shades of green, executed with bold and vivid brushstrokes.Inscriptions: Baishi shanweng Huanghun zuo (old man Baishi painted this at dusk). One seal of the artist 'Qida'.Provenance: From the collection of Hazel Elfwendahl, and thence by descent in the family. Hazel Elfwendahl (1923-2018) was the wife of Bo Elfwendahl (1928-2004), Vice Consul at the Royal Swedish Consulate in Hong Kong between 1957 and 1962. While in Hong Kong, she took great interest in and developed a deep understanding of Chinese art, perusing painting and calligraphy studies for the Lingnan School master Chow Leung Chen-Ying (1921-2005). She also befriended several noted Hong Kong art collectors. Note that another work by Qi Baishi from the collection of Hazel Elfwendahl, Pumpkins, was sold at Bonhams London, 3 November 2022, lot 212, for GBP 44,400 or EUR 50,700 (converted at the time of writing).Condition: Excellent condition with minor wear and little soiling.Dimensions: Image size 66.5 x 32.5 cm, Size incl. mounting 132.5 x 41.4 cmQi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Literature comparison:Compare a related painting of Wisteria by Qi Baishi, dated ca. 1930, exhibited in the Noguchi Museum, Isamu Noguchi and Qi Baishi: Beijing 1930, 25 September 2013 to 26 January 2014.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 1 June 2021, lot 878 Price: HKD 565,000 or approx. EUR 68,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the closely related subject, executed with bold and vivid brushstrokes. Note the similar size (67.5 x 33.2 cm). Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2015, lot 303 Price: USD 81,250 or approx. EUR 93,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the smaller size (33 x 44.4 cm).齊白石(1864-1957)《紫藤》中國，紙本水墨設色，掛軸。白石老人畫藤如蛇，幾串紫藤開得奼紫嫣紅，在紫藤的一片熱鬧中，幾筆縱橫交錯的藤，顯得畫面更富有層次。 款識：白石山翁黃昏作；鈴印：齊大 來源：Hazel Elfwendahl收藏，保存在同一家族至今。Hazel Elfwendahl (1923-2018年) 是Bo Elfwendahl (1928-2004)的妻子，她於1957年至1962年任瑞典皇家駐香港總領事館副領事。在港期間，她對中國藝術產生濃厚興趣，拜師與嶺南派大師梁粲纓研習書畫（ 1921-2005）。她還結識了幾位著名的香港藝術收藏家。請注意Hazel Elfwendahl 收藏的齊白石另一幅作品《南瓜》，2022 年 11 月 3 日售於倫敦邦瀚斯，lot 212，售價為 GBP 44,400（或相當於今日EUR 50,700）。品相：狀況極佳，輕微磨損，輕微汙漬。 尺寸：畫面66.5 x 32.5 厘米，總132.5 x 41.4 厘米 文獻比較： 比較一件相近的約1930年作齊白石《紫藤》，展覽於Noguchi Museum，《Isamu Noguch and Qi Baishi: Beijing 1930》，2013年9月25日至2014年1月26日。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年6月1日，lot 878 價格：HKD 565,000（相當於今日EUR 68,000） 描述：齊白石《紫藤》，設色紙本鏡框 專家評論：請注意非常相近的主題，以及以大膽而生動的筆觸。請注意相似的尺寸(67.5 x 33.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月18日，lot 303 價格：USD 81,250（相當於今日EUR 93,000） 描述：齊白石《紫藤》 專家評論：請注意尺寸較小(33 x 44.4 厘米)。
A 'FIRE AND FOUR-PETAL LEAVES' BRONZE RITUAL FOOD VESSEL, GUI, EARLY WESTERN ZHOU DYNASTYChina, 11th century BC. The deep body of slight S-profile raised on a spreading foot with a tall straight foot rim below a band of leiwen divided by four flanges, cast below the everted rim with a band of alternating fire and four-petal leaves centered on two sides with a small animal mask, flanked by a pair of loop handles with an animal mask at the top and a hooked tab projecting from the bottom. The bronze with a superb, naturally grown, rich, brown patina with distinct malachite and cuprite encrustations.Provenance: Gottfried and Helga Hertel, Cologne, Germany. The property of a gentleman in the United States, acquired from the above. Gottfried Hertel (1925-2019) was the Executive Director of the German Nuclear Reactor Insurance Association in Cologne. Together with his wife, Helga (1928-2013), he formed a substantial collection of Asian art, antiquities, and Old Master paintings, over many decades, beginning in 1970. Parts of the Egyptian art and classical antiquities collection were sold at Bonhams in London, 3 July 2019. Condition: Excellent condition, commensurate with age. Old wear and shallow surface scratches, losses, small nicks and dents. One side of the wall and an area of the foot rim sympathetically restored. The interior of the foot rim with minor flaking. Superb, naturally grown patina overall and thus displaying exceptionally well.X-Ray imagery: X-Ray images of the present lot are available on request.Weight: 1,447 g Dimensions: Width 25.5 cm (across)Literature comparison: Compare a related early Western Zhou dynasty gui, illustrated by Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, pl. 3862. The decoration on the present gui, resembling fire and four-petal leaves, belongs to a distinct type which first appeared in the Western Zhou dynasty, see Shang Zhou qingtongqi wenshi (Decorative Patterns on Shang and Zhou dynasties Bronzes), Beijing, 1984, p. 248, pl. 703-708 for a related discussion and study carried out by the Shanghai Museum Bronze Research Group on this design. Compare the similar gui, also dated early Western Zhou, illustrated by J. Rawson in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIB, Arthur M. Sackler Foundation, 1990, p. 385, fig. 43.1. See, also, the similar gui in the collection of the Danish National Museum, illustrated by M. Boyer, Some Chinese Archaic Bronzes in the Danish National Museum, BMFEA, No. 27, Stockholm, 1955, pp. 1-10, pl. 5 (b).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1247 Price: USD 194,500 or approx. EUR 233,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, early Western Zhou dynasty, 11th century BCExpert remark: Compare the closely related form, handles, and decoration with similar animal masks and alternating fire and four-petal leaves (described here as “stars and whorls”), as well as the related size (26.7 cm). Note the five-character inscription.西周初期青銅簋中國，公元前十一世紀。侈口，垂腹，半環耳，圈足外撇，近底處起淺臺。腹兩側為獸首半環耳，下皆垂珥，口沿下飾一紋飾帶，以浮雕小獸面為中心，兩側為交替的火焰紋和四葉草紋。圈足飾一周雲雷紋襯地。青銅器具有極好的、自然生長的、豐富的棕色銅綉，帶有明顯的孔雀石色和赤色結殼。 來源：德國科隆Gottfried 與Helga Hertel收藏；美國紳士收藏，購於上述收藏。Gottfried Hertel (1925-2019年) 曾是德國科隆核反應堆保險協會的執行董事。自1970 年起，他與妻子 Helga（1928-2013年）建立了亞洲藝術、古物和古典大師繪畫收藏。部分埃及藝術和古典古物收藏於2019年7 月3日在倫敦邦瀚斯拍賣行出售。 品相：狀況極佳，有磨損和表面淺劃痕、缺損、小刻痕和凹痕。一側和腳緣的區域得到了修復。足緣內部有輕微剝落。自然生長的整體包漿。 X光射線檢測: 可詢問獲取X射線檢測圖。 重量：1,447克 尺寸：寬 25.5 厘米 (雙耳之間)
JAPANESE PRINTS. 'Hokusai: Master of the Colour Print'. Original card boards, spine paper loosening, pated in colour plates complete, some spotting, The Studio, London, 1930; C. G. HOLME. 'Glimpses of Old Japan from Japanese Colour Prints; Figure,' decorative colour boards, small loss to top of spine, colour plates complete with tissue guards, some spotting, The Studio, London; 'Landscape,' decorative colour boards, loose leaves, colour plates, The Studio, London. (3)
An album of old master and 19th-century printsThirty-seven, including examples by or after Anthonie Waterloo, Herman van Swanevelt, Jan Both, Stefano della Bella, Cornelis Bega, Phillippe Mercier, Nicolaes Berchem, John Arthur Poulter, Battista Franco, Guercino, Karel Dujardin, Thomas Rowlandson, Willem van de Velde the Younge, Nicolas Chaperon, William Hogarth, William Beechey, Georgiana Keate, Rembrandt, and Adriaen BrouwerLargest 31.6 x 27.2cm; 12½ x 10¾in; Smallest 9.9 x 7.3cm; 4 x 2¾in (sheet) (37)Provenance:Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 14 September 2022, lot 1063
Georges Jules Victor Clairin (French 1843-1919)Sarah Bernhardt as the Duke of Reichstadt (Napoleon II) in L'AiglonSigned, inscribed and dated à Sarah Bernhardt/1900/G.Clarin son ami (lower left)Oil on canvas85.5 x 109.9cm; 33¾ x 43¼inProvenance:Sarah Bernhardt (1844-1923);Ashley John Gallery, Florida;Sotheby's, New York, Old Master and 19th Century European Art, 28 January 2006, lot 186Edmond Rostand wrote the play L'Aiglon in 1900. The title, which means The Eaglet, is the nickname of Napoleon Bonaparte's son, the Duke of Reichstadt (Napoleon II). The scene depicted here is the climax of the play, in which the young man confronts the memory of the Battle of Waterloo.Sarah Bernhardt (1844-1923), famous for playing male roles, enjoyed a long run as the title character. It was one of her most famous and financially successful dramatic portrayals. She was painted by Georges Clairin on numerous occasions for over 20 years. Their friendship and working relationship will be explored as part of a forthcoming exhibition on Bernhardt at the Petit Palais, Paris later this year.
* Subleyras (Pierre, 1699-1749). The Visitation, and The Presentation of the Virgin in the Temple, oil on paper laid to panel, 42 x 26 cm (15 x 9 ins), in early ornate moulded gilt frames with striated, foliate, ribbon and acanthus leaf motifs (64 x 48 cm)QTY: (2)NOTE:Provenance: Collection of Madame Krebs, Sotheby's (Catalogue of fine old master drawings and paintings, including the property of the Rt. Hon. Lord Balfour of Inchrye ... Sir Charles Cave ... the late Herman Cameron Norman ... the Hon. Mrs. Robert Bruce ... Madame Krebs and ... Major S.V. Christie-Miller), 22nd February, 1956, lot 174, where purchased by Agnew & Sons for £350 (hammer); Thomas Agnew & Sons, their label verso, with attribution to Fragonard; Collection of Sir Lawrence Gowing (1918-1991), with Agnew's 1956 invoice (included with this lot).Pierre Subleyras (1699-1749), a leading 18th century French painter who settled in Rome in 1728, where he worked for Pope Benedict XIV. He is most highly regarded for his religious pictures, which are more serious in spirit than most French works of the Rococo period.
A WILLIAM III MONTH DURATION LONGCASE CLOCK MOVEMENT AND DIALGEORGE ETHERINGTON, LONDON, CIRCA 1695-1700The six finned pillar bell striking movement with high-position external countwheel and anchor escapement for regulation by a seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, scroll decorated calendar aperture and ringed winding holes to the finely matted centre, within applied silvered Roman numeral chapter ring with sword hilt half hour markers, Arabic five minutes beyond the minute track and signed Geo. Etherington, London to lower margin, with later pierced steel hands, the angles applied with twin cherub and crown pattern spandrels incorporating foliate scroll engraved infill to margins between, (no pendulum or weights).31cm (12.125ins) square, 14.5cm (5.75ins) deep including seatboard. George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the Oath of Allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729.Condition Report: The movement between the plates appears complete and in original condition with the only noticeable replacements being the escapewheel and pallets (historic 'service' replacements). The movement is somewhat dirty/dusty but there is nothing to suggest that trains would not run once a gentle clean/service has been undertaken. Externally the backcock is a replacement and the crutch has been repaired. The under-dial motionwork is complete including the calendar wheel. The dial is heavily discoloured with most of the silvering to the chapter ring worn-off. There are two 'tabs' riveted to the upper edge pf the plate indicating that an arch had been fitted at some point (now removed). The hands are relacements.Movement has an old seatboard (damaged) and two pulleys. There are no weights or a winding key included with the lot. Condition Report Disclaimer
Joseph Tudor (c.1695 - 1759)View of Dublin from the Phoenix Park Watercolour, 16.5 x 28.5cm (6½ x 11¼")Inscribed: View of DublinProvenance: With Hazlitt, Gooden & Fox, London from who acquired Sir Jack Baer (1924 - 2016) and from whose estate acquired by the present owner.A rare example of Joseph Tudor’s art dating from 1753 or a little earlier, this sheet is the preparatory drawing for his known well-known view of Dublin from the Phoenix Park which was engraved in London by James Mason and published by Laurie & Whittle as A Prospect of the City of Dublin, from the Magazine Hill, in his Majesty’s Phoenix Park. This was one of six views of the city after drawings by Tudor, titled, in French, Six points de Veue d’edifices publics et remarquables de la Ville de Dublin. As was standard practice, Tudor’s drawing focuses squarely on the architecture and the engraver has added the elegant figures and livestock who disport themselves in the foreground. Tudor also painted this same view in a large and unusually ambitious oil and this newly identified drawing, the print and the oil show the city from a spot in Chapelizod close to the Phoenix Park. In the middle distance can be seen the village of Island Bridge flanked to the left by the Magazine Fort while to the right the viewer catches a glimpse of the Royal Hospital, Kilmainham, which is shown more fully in the oil painting. Further into the distance appear the spires of St Patrick’s and Christ Church Cathedrals as well as the wooden clock tower of Dr Steeven’s Hospital, erected a few years earlier in 1735. Other Dublin views by Tudor which were engraved include the old Custom House and Essex Bridge and the Upper Yard at Dublin Castle. Nicola Figgis notes that the prints after Tudor’s drawings serve as important records of certain buildings that are no longer in existence’ and this is particularly so as Tudor was ‘adept at drawings architecture’ (AAI, 2, p. 480). Regrettably given this, only four other drawings by Tudor are extant, including one depicting the Parliament House on College Green. (Anne Crookshank and Desmond FitzGerald, Knight of Glin, The Watercolours of Ireland (London, 1994) p. 37).A presumed pupil of William Van der Hagen, Joseph Tudor enjoyed a busy practice as a landscape and decorative painter in the decades from about 1740 to his death in 1759. Like so many other Irish landscape artists of the period, he painted sets for the Dublin theatres, the experience of which gave him great versatility. However the ephemeral nature of much of his decorative work means that his surviving oeuvre is tiny, although it is amplified somewhat by engravings after his work. Tudor is recorded as winning premiums for landscape painting from the Dublin Society in 1740, 1742, 1743 and 1746. Three years later he executed a Perspective View of the Illuminations and Fireworks at St Stephen’s Green on Thanksgiving Day for the General Peace concluded at Aix-la Chapelle which was engraved by Thomas Chambers. He worked at Dublin Castle, the Rotunda Gardens and at Smock Alley where, in January 1739, he painted the scenery for The Harlot’s Progress and nine years later that for Henry Woodward’s Fairy Friendship, or the Triumph of Hibernia. Tudor was admitted to the Guild of St Luke in 1755 and died in his house in Dame Street on the 24 March 1759. Like his putative master Van der Hagen he was an adaptable artist and is recorded as having painted an altarpiece for Waterford Cathedral in 1750.
Jack Butler Yeats RHA (1871-1957)The Ring Master and the Clown (1909)Watercolour, 25 x 35cm (10 x 13¾")SignedProvenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, DublinExhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illusBy the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West.Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’.Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’. The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.
Wilson (Timothy). The Golden Age of Italian Maiolica-Painting, catalogue of a private collection, 1st edition, Turin: Allemandi, 2018, numerous colour illustrations, original cloth in dust jacket, covers very lightly rubbed to head & foot, large 4to, together with:Bromberg (Ruth), Canaletto's Etching, revised and enlarged edition of the catalogue raisonné, San Francisco: Alan Wofsy Fine Arts, 1993, numerous monochrome illustrations, original cloth in dust jacket, small mark to the front cover, large 8vo, plusFried (Michael), The Moment of Caravaggio, 1st edition, Princeton: University Press, 2010, numerous colour illustrations, original cloth in dust jacket, large 4toAfter Caravaggio, 1st edition, New Haven: Yale University Press, 2016, numerous colour illustrations, original cloth in dust jacket, 4to, andNorman (Diana, editor), Siena, Florence and Padua, art, society and religion 1280-1400, 2 volumes, New Haven: Yale University Press, 1995, numerous colour & monochrome illustrations, both in original wrappers, large 8vo, plus other Italian Renaissance & Old Master art reference & related, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folioQTY: (6 shelves)
Follower of FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Male study".Oil on canvas. Relined on old canvas.It shows faults and damage to the pictorial surface.Provenance: private collection conceived since the 70's between London and Madrid.Size: 102 x 66 cm; 106 x 76 cm (frame).The deliberate coarseness with which this male bust has been portrayed and the use of a chromatic range based on black and ochre tones are very reminiscent of Goya's black paintings. One of the most outstanding painters in the history of universal art, Francisco de Goya received his first drawing and painting lessons from José Luzán Martínez, who taught at his home and also at the Academy of Drawing founded in Saragossa in 1754. After three years of study with this master, Goya applied for a pension from the Royal Academy of San Fernando in 1763, at the age of seventeen. It seems that by then he was already a pupil of Francisco Bayeu, who had returned from court. However, Goya did not manage to get into the Academy, nor did he when he tried again in 1766. Around 1770 he undertook a trip to Italy to further his training and improve his skills. There he showed his early taste for the grotesque and satirical. After a long career, Goya was replaced as Pintor de Cámara by Vicente López, and he fell into a period of isolation, bitterness and illness which led him to seclude himself in the Quinta del Sordo, on the outskirts of Madrid, where he produced his supreme work: the Pinturas Negras (Black Paintings). Fed up with the absolutism imposed by Ferdinand VII in Spain, Goya finally left for France in 1824, where he met exiled liberal friends. He spent his last years there and produced his final work, "The Milkmaid of Bordeaux", in which he anticipated Impressionism. Today his work is part of the most important art galleries in the world, from the Prado Museum to the Metropolitan Museum in New York, the Hermitage in Saint Petersburg, the Louvre in Paris and the National Gallery in London.
(Charles Dickens), A collection of 15 titles relating to, or by, Charles Dickens, many of which Dickens family association copies, being the personal copies of Henry Charles Dickens (1878-1966), lawyer, grandson of the author Charles Dickens, and son of Henry Fielding Dickens KC (1849-1933), Barrister, or Monica Dickens MBE (1915-1992), grand-daughter of the author Charles Dickens, and daughter of Henry Charles Dickens (1878-1966), titles include Felix Aylmer: 'Dickens Incognito', Rupert Hart-Davis, 1959, Henry Charles Dickens' copy, signed & inscribed to him by the author to FFEP, with further Typed Letter Signed by Aylmer to H.C. Dickens tipped in at front, content of letter in light of the content of the book re Charles Dickens' secret relationship with the actress Ellen Ternan "Dear Mr. Dickens, I am afraid I cannot expect you to give this book your blessing, more particularly in view of the advance publicity, which is quite out of my control. You will, however, want to know what it is all about and, if you have the patience to get through the book, will, I hope, recognise my intention to lift discussion of this much over-criticised attachment of your grandfather's out of the atmosphere of sniggering scandal mongering that has so intolerably surrounded it, and to which the advertising gentlemen seem set on making me contribute...I hope that my unpractised hand may not prove in its clumsiness to have made matters worse, and that your family may finally be able to forgive my intrusion into your family affairs. Yours very sincerely, Felix Aylmer", dated November 20th 1959, plus another tipped in TLS from Charles Garfield Lott Du Cann (1889-1983), barrister, to H.C. Dickens, December 5th 1959 "My dear Dickens, Thank you for your letter...because it shows...that you do not waver in your belief, which I share. I am glad too, because I can imagine the grief and anger of the illustrious dead, your grandfather and father, over the revival of this scandal, which they repudiated so strongly in their lifetimes....Your Aunt Peregini's "hearsay evidence" did much harm and had a disproportionate effect on biographers and viewers and...general readers. As lawyers you and I know what is, or is not, evidence; but not so the literary world, credulous of whatever titillates the reading-palate. This stuff of Aylmer's is surmise, suspicion, guess-work, bad reasoning...meantime I hope you are well and not over-distressed by this revival...of a 100-years scandal, which at its birth, was stigmatised as a foul lie by Charles Dickens himself. Vy sincerely, CGL Du Cann", plus further ALS from Graham Storey to HC Dickens tipped in, couple of relevant contemporary newspaper cuttings etc, original cloth gilt; E.F. Payne & H.H. Harper: 'The Charity of Charles Dickens', Boston, Bibliophile Society, 1929, ltd edn (425), signed & inscribed by H.H. Harper to Mr & Mrs Gimbalist to FFEP, full calf gilt; Madeline House & Graham Storey (edited): 'The Pilgrim Edition The Letters of Charles Dickens', Oxford, 1965-1969, vols 1 & 2, volume 1 with authors presentation bookplate signed & inscribed by both authors to H.C. Dickens attached to front pastedown, uniform orig. cloth gilt, dust wrappers; Augusto P. Miceli: 'The Pickwick Club of New Orleans', 1964, limited edition (400), signed by author to limitation page, further inscribed by author to Monica Dickens to dedication page "To Monica Dickens as souvenir of her trip to New Orleans The Dickensians of the Pickwick Club...OCtober 24, 1967", orig. cloth gilt, slipcase; Ada Nisbet: 'Dickens & Ellen Ternan', Univ. of California Press, 1952, signed & inscribed by the author to H.C. Dickens to FFEP "For Henry Charles Dickens - in deep appreciation of his courtesy and generosity toward an unknown American scholar - Gratefuly, Ada Nisbet", orig. cloth; Edgar Johnson: Letters from Charles Dickens to Angela Burdett-Coutts 1841-1865', L, Cape, 1953, 1st edition, ownership signature Henry Charles Dickens 1953 to FFEP, orig. cloth; Edna Healey: 'Lady Unknown. The Life of Angela Burdett-Coutts', 1978 reprint, signed & inscribed by author to title page, orig. cloth, d/w; Charles Dickens: Master Humphrey's Clock', L, Chapman & Hall, 1840-41, 1st edition, bound in 2 volumes, uniform old half calf gilt, bookplates of Eric Belton to front pastedowns; plus 5 others similar (15) (E) £50-80
1972 Jaguar E-Type Series III Roadster Transmission: manualMileage:75174The Jaguar E-Type was ten years old and in need of a new lease of life. History repeated itself when Jaguar debuted its robust V12 engine in a sportscar instead of the saloon for which it was designed. Despite its sportscar heritage, Jaguar depended on saloon vehicles for its survival and had developed the twelve-cylinder engine to power them with sufficient torque and refinement. Larger and softer in nature and with weight redistributed 53/47, the Series III had lost the wilds of its youth but gained the long-legged touring profile to which it was arguably better suited. Robert Bell in Motor was quoted as saying at the time that 'all we expected to try was a new engine, but what in fact we drove was a new car. Not a yowling, aggressive Ferrari-like machine with which, perhaps, most people associate a V12 engine, but a very smooth, quiet and refined grand touring sports car'.This very good 1972 Jaguar E-Type Roadster, fitted with a manual gearbox and wire wheels, has been subject to a lot of work over the last 15 years. According to a previous auction catalogue, it was delivered new by Henly’s of London to a Miss Margaret Vera Hind. In 2000, the car was purchased from marque specialists, The E-Type Centre when it is believed to have covered about 58,000 miles. Between 2008-2011 a number of improvements were carried out which included a new propshaft, the differential rebuilt, gearbox rebuild, new clutch assembly, the brake servos and master cylinders replaced, a new starter motor and a new ignition system fitted. In 2014 and with 74,500 miles on the odometer, this E-Type was auctioned and since then it has only covered a further 1,100 miles. Purchased in 2020 by our vendors husband, he continued bringing the car up to a high standard, this included replacing the interior with new cream leather, fitting a new, complete black carpet set, suppling a full tonneau cover and fitting a new hood frame and black hood cover. Finished in the original colour of Azure Blue, this E-Type Roadster is supplied with a factory hardtop, a V5C registration document and a file of invoices compiled since the purchase in 2020. This example is an ideal classic car to be used and enjoyed as it is or continue the cosmetic restoration by rectifying the paintwork.
1978 France | Jerome GallionInternational Rugby Union jersey match-worn by Jerome Gallion versus France in Grand Slam deciderJersey & Provenance: All blue jersey in original and complete condition, bears label for Adidas and Adidas logo printed to centre of chest, braided cockerel and FFR to red shield applied to chest, canvas white No.9 to reverse. Note small hole to left of crest.Provenance: the personal collection of Sir Gareth Edwards CBE & family.Jérôme Gallion: Jérôme Gallion (b.1955) was a brilliant scrumhalf who won 27 caps for France in the 1970s and 80s. Gallion made his international début for France against England in 1978, replacing the retired 1977 Grand Slam captain, Jacques Fouroux. Gallion racked up 40 points for Les Bleus with ten tries and his overall international test win rate was a very healthy 70%. Gallion also scored on his only appearance for the Barbarians, against Australia in 1984.The Match: France played Wales in Cardiff on the 18th March in their final games of the 1978 Championship. It was the first Five Nations Championship in which two teams had three victories behind them and were to face each other in a final winner takes all Grand Slam deciding match.It was one of the most keenly awaited games of the era between the two best Northern Hemisphere teams of the 1970s.The French arrived having beaten England 15-6 and Ireland 10-9 in Paris. In between they won 19-16 against the Scots at Murrayfield. New scrum half, Gallion was a man on form, having scored a try in each of those matches he was the leading try scorer of the Championship. They also came with bags of experience and class, including flankers Jean-Pierre Rives and Jean-Claude Skrela, centre Roland Bertranne and skipper Jean-Pierre Bastiat, making his final Test match appearance. But Wales were finely equipped as well, especially in the backline with Edwards at scrumhalf, Phil Bennett on his outside, Steve Fenwick and JPR Williams.France drew first blood in the match when Jean-Claude Skrela peeled from a driving line-out to score a try. Bernard Viviès then added a drop goal from the 10 metre line putting the French in command at 7-0.Then it was time for Gareth Edwards and Phil Bennett. They led an onslaught that reaped them 13 critical points. Firstly, Bennett picked up a loose ball from a French scrum 10 metres out and managed to force his way over for a try which he also converted. Then his half-back partner Gareth Edwards, dropped a goal to make it 9-7.From the re-start, Wheel showed off his immense strength at a maul – he was known as ‘Ripper’ – to take the ball off a French forward and deliver to Edwards on the 10 metre line, who then kicked superbly up the right touchline and forced the French to feed a line-out 10 metres from their own try line.Having seen his second-row colleague help to set-up a great attacking position, Martin then stole the French line- out. Gravell charged into the heart of the midfield to create a ruck 10 metres out from the posts. The ball was moved back towards the right touchline, Edwards beat one man and passed out to JJ Williams who was heading out of play, but before he stepped over touch near the corner, the wing had the presence of mind to throw the ball over-arm back into play. It was a gift for Phil Bennet who touched down for the try. Now it was 13-7 to Wales with the second half to come.It continued to be a tight and tense tussle. But Steve Fenwick settled matters with the only score of the second half – a well taken Grand Slam winning drop goal. Neither Phil Bennett nor Sir Gareth announced their retirement after the Grand Slam triumph, but both declined the chance to tour Australia in the summer.Edwards ended his Wales career with 53 consecutive caps and a record 20 tries for his country. He also played 10 times for the Lions. Bennett took his Welsh points record up to 166 with his haul of 10 against France.Years later Jerome Gallion remembered, ‘…playing against Gareth Edwards in his last game in 1978. The atmosphere was amazing. The noise and the singing and Cardiff Arms Park gave me goosebumps. We had a chance to win another Grand Slam, but we were beaten. I wanted to swap shirts with Gareth but I wasn’t sure he wanted to because it was his last game. I went to look for him in the changing room. He was too embarrassed to say no. His was the only shirt I kept. I hope he still has mine’.Here is that jersey from one of the most famous matches of the 1970s.Sir Gareth Recalls: At the end (of the match), amid the jubilation of another grand slam, Jean-Pierre Rives said, in his broken English, ‘Today, Gareth, you were the old fox. You were the master. This was your day.’ And he looked at me and said, ‘Maybe next year, in Paris, it will be mine.’ And I said, ‘Yes, Jean-Pierre, it probably will be. As I spoke, I suddenly knew. I just said it to myself, ‘I don’t think there’s going to be a next year.’ And so, it proved’.Auctioneer's Note:Each lot will be accompanied by the auction prospectus, signed by Sir Gareth Edwards CBE.
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