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Lot 236
A Louis XV Provincial Blue and Cream-Painted CommodeMid-18th CenturyHeight 32 3/4 x width 57 x depth 23 3/4 inches.This lot is located in Chicago.Light wear to finish throughout. Losses to knees and edges, most visible on left side of case. Cracking to painted finish with some areas lifting. Abrasion running length of panel on left side of case. 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.
Lot 160
A Chinese Export Black and Gilt Lacquer Pagoda-Form Stacking ContainerCirca 1790comprised of seven separate boxes, with original fitted gilt tooled leather case of European origin with original silk lining, with minor restoration.Height 26 inches. This lot is located in Chicago.Provenance:Jeremy Ltd., London, 4 February 1991 (with invoice)The pagoda in largely untouched condition. The decoration vivid and intact with scattered minor rubbing and losses. Minor losses to the inner wells where boxes meet. The second octagonal box and cover with restorations to four sides of the rim. The lid with some areas of restoration and the finial re-stuck. Tooled leather case well preserved with minor losses to the applied tooled leather such as to the lower molded section and some old losses to the base. Old losses and stabilization to the edges of the leather at the edges of each side opening. The interior with the original green silk and gilt thread decoration which has minor lifiting to thread and small losses to two sections to the base and an upper section. One hole and some faint staining and a slightly larger stain to the back. One loose piece of leather present. One panel to the rear mid-section stabilized. Some lifting to the leather.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.
Lot 91
A Pair of Continental Faux Marble, Yellow and Chocolate Brown-Ground Porcelain VasesLikely French, Circa 1815-1830each of shield shape, with faux marble trumpet form mouth and waisted socle foot, upright scroll handles suspending fixed rings issuing from the rounded shoulder with a fruiting vine on lemon-yellow ground, beaded bands separating the central panel from the shoulder and socle, the front reserved within a burnished gilt band on the dark reddish brown ground with either a mounted jockey or a Turk on a leaping stallion and the reverse en grisaille with a musical trophy enriched in gilt, each on modern square ersatz quartz base.Height of vases 18 5/8 inches.This lot is located in Chicago.Provenance:Ariane Dandois, Paris, 18 November 1994 (as Russian; with Certificate of Guarantee)Height overall (including base) 19 3/8 inches. Each on modern square quartz base.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.
Lot 233
Charles Hetherington (Canadian/American, 1855-1938)Irish Landscape (triptych)oil on boardsigned Hetherington (center panel, lower left)Left and right panels: 13 1/2 x 17 3/4 inches (sight); center panel: 23 1/2 x 17 3/4 inches (sight).This lot is located in Chicago.Frame: 24 1/4 x 56 inches.Frame with some losses and splitting to top. Paint layer appears to be stable without signs of lifting.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.
Lot 96
A Pair of Vincennes Gilt-Metal Mounted Porcelain Orange Tubs (Caisses a Fleurs Carrees, 2eme Grandeur) Fitted with Porcelain Flowers on Papier-Mâche StemsThe Porcelain Pots 1755one bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark O, the other with a mark of four dots forming a lozenge for Fontaine, the finials later metal replacements, the porcelain flowers also of later date; each square tub on bracket feet with each panel painted in colors with a loose bouquet within a camieu bleu trailing vine, fitted with papier-mâche-wrapped metal stems, paper leaves and porcelain flowerheads issuing from the papier-mâche €˜earth'.Height of cache pots overall 5 5/8 inches; height overall (including plants) 15 1/2 inches.This lot is located in Chicago.Provenance:Carlton Hobbs, London, 8 July 1996 (with invoice)Note:The present flowerpots are in the shape of the large square tubs designed specifically to hold orange trees. They were produced at both Vincennes and at Sevres in a variety of sizes of which the present pair are an example of the second largest. A pair of orange tubs, similar in size and decoration to the present two, both with blue interlaced Ls and the painter" mark of a comma for Charles-Louis Mereaud, one also with date letter G for 1760, is in the collection of The Metropolitan Museum of Art, Gift of Barbara Lowe Fallas, 1964 (64.159.2a, b, .3a, b).The flower painting on the present caisses carrees is by Jacques Fontaine (active 1752-1807), recorded at Vincennes and Sevres as a painter specializing in flowers, figures, patterns and the highly specialized techniques of cameo decoration popular in the late 1770s and 1780s. He is also recorded as a gilder. His younger sister Mlle. Marie-Louise Fontaine also used a similar mark, but as she is recorded as a painter specializing in flowers and patterns from 1777-1794, the mark on the present orange tubs cannot be hers.There is a very slight difference in size that is so minimal that it is fair to assume them to be a pair. The one with the more robust flower painting (painter O) has firing issues €“ the side with the yellow tulip bows out a bit, one of its leaves is snapped off. As mentioned, all finials are metal replacements €“ wear to gilding. A crack is visible to the inner angle of the smaller pot. They could benefit from cleaning but in overall presentable condition.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.
Lot 121
A Japanese Lacquer Panel-Inset Low Table18th/19th Century, Base LaterHeight 15 x width 46 x depth 22 inches. This lot is located in Chicago.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.
Lot 232
A Polychrome Decorated Four-Panel Screen20th Centuryof Indian style.Height 65 1/4 x width of each panel 20 inches.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.
Lot 111
A Pair of Painted Three-Panel Screens 20th Centurydesigned by George Oakes, Head of Design at Colefax and Fowler, Ltd. Height 84 x width of each panel 24 inches.Provenance:Colefax and Fowler, London, 8 July 1983 (with invoice)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.
Lot 14
A Chinese Export Blue and White Wallpaper Four-Panel ScreenLate 18th CenturyHeight 104 3/4 x width of each panel 24 3/4 inches.This lot is located in Chicago.Provenance:Charlotte Horstmann & Gerald Godfrey Ltd., Hong Kong, no. S1/A703, 1 September 1984 (with invoice)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.
Lot 11
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957) A WEST COAST HARBOUR A WEST COAST HARBOUR - REVISED TO GOURDON HARBOUR (see notes)oil on board, signed, titled label versoframedimage size 39cm x 46cm, overall size 51.5cm x 58.5cmProvenance: Private Scottish collection.Label verso: Ewan Mundy Fine Art, Glasgow. Although titled on gallery label verso, it's very evident that the scene is Gourdon Harbour (Aberdeenshire) and it's likely that "West Coast Harbour" was a "gallery title". Milne painted at Gourdon, Aberdeenshire in the summer of 1935 on holiday with the Gauldie family. Two of his Gourdon paintings (one oil – no. 36; and one watercolour – no. 35) were part of the John Maclauchlan Milne Loan Exhibition at The Roseangle Gallery in Dundee June/July 2022.Note: Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer). On 17th April 2022, lot 213 "Cafe Paris" (a 25.5 x 34cm oil on board) sold in The Scottish Pictures Auction for £30,000 (hammer).
Lot 31
SIR GEORGE HARVEY PRSA FRSE (SCOTTISH 1806 - 1876) THE MOUNTAIN MIRRORoil on panel, signed and dated 1863, titled label versoframedimage size 81cm x 122cm, overall size 97cm x 136cmProvenance: Handwritten artist's label versoExhibition label verso: Scottish National Exhibition, Edinburgh, 1908 cat no 1 (having been kept by Harvey's family following his death).Exhibited Royal Scottish Academy, Edinburgh 1918 cat no 171 lent by Sir George A (Andreas) Berry 31, Drumsheugh Gardens, Edinburgh.Note: There is a handwritten note from Harvey himself outlining how to care for the painting. As a student of painting, George Harvey so distinguished himself that at the age of twenty he was invited to become an associate of the Royal Scottish Academy. His genre paintings showing scenes of daily Scottish life proved popular, and usually conveyed a moralising or religious sentiment. Later in life, He became a full member of the Royal Scottish Academy in 1829, and was elected President in 1864. He was knighted in 1867. UK public collections hold 139 examples of Sir George Harvey's work including at Glasgow Museums & Galleries, The Hunterian, Leicester Museum & Gallery, The National Galleries of Scotland, Museums & Galleries Edinburgh, Dunfermline City Chambers, the Kelvingrove Art Gallery & Museum, The Whitaker and the Royal Scottish Academy.
Lot 97
Ca. 18th -19th century AD Persia. A paper calligraphy panel, densely written with thick strokes of black nasta'liq reserved against a polychrome ground. This item comes professionally mounted in the wooden frame as pictured, with a hanger to the rear.Size: L:500mm / W:320mm ; 1.05kgProvenance: Private London collection of F.A; formerly acquired on the UK and International art market; 1970s-2020.
Lot 550
A LARGE CHINESE YELLOW GROUND FAMILLE ROSE PORCELAIN MOON FLASK VASE, painted with a panel on one side depicting a bird and flowers, the reverse with a panel of vases of flowers, further decorated with floral motifs the vase with molded chilong handles, base with six-character mark, 44cm high.
Lot 110
λ MARC NEWSON (AUSTRALIAN B. 1965)"EVENT HORIZON" TABLEPolished and partially lacquered aluminiumImpressed MARC NEWSON/POD EDITION/POD and numbered 6/10 to the underside; further impressed MARC NEWSON POD EDITION EVENT HORIZON and dated 1992 to tabletop81 x 180 x 97cm (31¾ x 70¾ x 38¼ in.)This example is number 6 from an edition of 10 plus 3 artist's proofs and 1 yellow version, produced by POD Edition, UK. Provenance:Galerie Kreo, ParisSale, Phillips, London, 25 April 2013, lot 229Acquired from the above by the present ownerLiterature:'Tavolo Event Horizon', Domus, Milan, no. 741, September 1992, pp. 67-69Marie La Fonta, 'Alu Surf', Actuel, nos. 31-32, July-August 1993, p. 168Alice Rawsthorn, An Australian in Paris, London, no. 104, February 1994, p. 31Jean Bond Rafferty, Making Waves, Harper's Bazaar, April 1994, p. 140Simon Mills, Watch this Space, The Sunday Times: The Magazine (London), 27 November, 1994, pp. 60, 61, 64marc newson : Bucky, dalla chimica al design, exh. cat., Triennale di Milano, 1995, fig. 10Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, p. 172Alice Rawsthorn, Marc Newson, London, 1999, pp. 64-69, 213 for a sketch, fabrication images and computer generated rendersthe magazine of the powerhouse museum: Powerline, Sydney, Spring 2001, pp. 6-7Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 150-51, 157, 170-71 for fabrication images and computer generated rendersLouise Neri, ed., Marc Newson, exh. cat., Gagosian Gallery, New York, 2007, p. 64Alison Castle, Marc Newson Works, London, 2012, pp. 58-63In astrophysical terms an Event Horizon is the boundary of a black hole where the properties of space and time are altered. It is the point of no return, where nothing can resist the immense gravitational pull of the black hole. In giving this work such a universal title Newson not only announces this piece as an important fulcrum or pivotal moment in his constantly developing creative process but also reminds us of the importance of exploration and innovation in his work. As a six-year-old boy Newson remembers watching NASA's Apollo moon landings and feeling "a sense of utopia; a sense of optimism pervaded" and he recalled that "it led me to want to create things, to explore things, to be ambitious." By embracing science and technology as both an inspiration and a fundamental basis for his work Newson inspired a new generation of designers to explore industrial advances in materials, to use more traditional ones in innovative applications and incorporate new digital technology in design and production in the creative process itself. Event Horizon is a clear evolution of the Black Hole Table first designed whilst working in Japan in 1988. The beautiful fluidity of this piece was achieved through the use of polyurethane and carbon fibre. In Newson's best-known piece Lockheed Lounge, from the same year, he looked to recreate this plasticity in what he described as a "fluid metallic form, like a giant blob of mercury". However, he was to admit "I never wanted it to be covered in panels. That was the only way I could think of to achieve something close to the effect I visualized." In Event Horizon he realised the effect in metal that he had only previously been able to imagine. The circumstances of how this was achieved were serendipitous but also fitting to Newson's central design tenets. In 1991 Newson was looking to buy his ultimate car; an Aston Martin DB4, manufactured between 1958 and 1963. He went to view one in a car body shop just outside London that specialised in restoring Aston Martins. There he discovered the highly skilled craftsmen creating beautifully fluid car panels. He commented that "What they do is more akin to silversmithing. They work metal as if it were a piece of fabric or plasticene. What you see is this incredibly sensual and refined object." He showed them one of his studies and described what improvements he was looking to achieve. By introducing a small, undetectable degree of positive curvature in the tabletop panel, they were able to give it the strength it needed to withstand the curvature introduced at the edges. A groove was also placed along the top, lending subtle character to the surface and adding enough reinforcement to prevent the top from flexing. Newson wanted the table to be as light as possible while still having inherent strength. The ends of the table are rolled inward for reinforcement, adding a decidedly aerodynamic element reminiscent of the grille of a sports car or the air intake of a jet engine. Painting the inner surface to give it a perfectly lacquered finish was another challenge, requiring the talent of highly specialized auto painting experts. He initially used three colours to celebrate European motorsport; British racing green, Bugatti blue and as in the present work, Ferrari red. He later added orange, yellow and lime green as variations. Event Horizon plays on the dichotomies of mass and space, solid and liquid. Just as an astrophysical Event Horizon alters space and time, the point of no return between reality and theory, Newson has created his own point of departure. A continuous skin like form whose interior volume feels larger than the exterior surface. Its strength appears to come, not from the delicate structure, but from the void below the surface and the hollow funnel legs, which in turn draw you in like black holes. Its fluid sculptural qualities contrast the simple utilitarian nature of the object. From concept, production and realisation this work encapsulates all of Marc Newson's ideologies making it one of his finest masterpieces.Please note: ARR aplies to this lotCondition Report: Please contact the department for all condition report enquiries on pictures@dreweatts.com Condition Report Disclaimer
Lot 500
A collection of mourning jewellery, a garnet and pearl yellow metal brooch with a hair panel, approx 2.5cm x 2cm, a further yellow metal brooch set with a citrine, 4cm x 3.1cm, and a yellow metal 6turquoise ring with hair panel (glass missing) weight all together 11.5gms Condition Report:Available upon request
![[A PRIVATE SCOTTISH COLLECTION] GROUP OF FIFTEEN EMBROIDERED PANELS 19TH-20TH CENTURY 十九至二十世紀 各色刺綉織品（共十五件） comprising: a rank](https://cdn.globalauctionplatform.com/d2eb2310-83e0-46fc-9b08-afb1010398b3/611a7415-435c-4e29-a414-afc101098401/468x382.jpg)
Lot 217
[A PRIVATE SCOTTISH COLLECTION] GROUP OF FIFTEEN EMBROIDERED PANELS 19TH-20TH CENTURY 十九至二十世紀 各色刺綉織品（共十五件） comprising: a rank badge, inset into the top of a wooden table; four black-ground 'figural' and 'floral' roundels; four ivory ground 'birds and flowers' roundels; two floral panels embroidered in blue; a pair of ivory ground 'crane and peacock' square panels; an ivory ground sleeve band and a small panel decorated with figures, all framedDimensions:rank badge: 26cm x 29.5cmProvenance:Provenance: Private Scottish collection, Edinburgh
Lot 19
TWO HARDWOOD WITH MARBLE INLAID JARDINIÈRE STANDS LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 硬木嵌大理石海棠式 及 方形四足香几（共兩件） one with quatrefoil rouge marble-inset top above a pierced 'grape' frieze, raised on tapered openwork legs, united by shaped panel stretcher; the other of square form, the top with beaded edges and pink veined marble insert above openwork 'Shou' frieze, raised on carved 'prunus' cabriole legs, united by stretchersDimensions:38.6cm wide x 81cm high x 28cm deep; 62cm high x 36cm squareProvenance:Provenance: Private Scottish collection, Edinburgh
Lot 37
LARGE GILT-BRONZE BOTTLE VASE QIANLONG MARK BUT LATER 乾隆款 銅鎏金鏨花貼塑瓜瓞綿綿紋大瓶 the lobed body imitating a melon, each panel intricately repoussé and chased with butterflies fluttering amongst ripe melons, flowers and scrolling tendrils, the feet and straight cylindrical neck set with more melons and foliate scrolls in high relief, the base with an apocryphal four-character Qianlong markDimensions:41.5cm high
Lot 98
COLLECTION OF FIVE MONOCHROME WARES QING DYNASTY, 19TH CENTURY 清 紅釉螭龍紋瓶、德化白瓷螭龜紋葫蘆瓶、德化白瓷立柱型香插一對 及 漳窯白釉三足洗（共五件） comprising: a red-glazed bottle vase, moulded with slender chi-dragon coiling on the long cylindrical neck, with a fitted wooden stand, 16.7cm high; a Dehua double-gourd vase, moulded in relief with a tortoise on the lower bulb and a sinuous chi dragon above the upper bulb on the waisted neck, the base with an obscure mark in a panel, 13.4cm high; two Dehua incense holders, each finely moulded on a tall stand, the square-column body extended toward a wide shoulder, terminating to a square top adorned with a four-petal flower in relief, 11.8cm high each; and a white-glazed tripod brush washer, of compressed globular form, supported on three cabriole feet, covered overall with a white glaze with ivory tinge and a fine network of craquelure, 12.5cm diameter
![[A PRIVATE SCOTTISH COLLECTION] LARGE MINT-GROUND SILK EMBROIDERED BEDSPREAD LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY](https://cdn.globalauctionplatform.com/d2eb2310-83e0-46fc-9b08-afb1010398b3/7a96d7a0-919c-4469-b8cf-afb5009f7692/468x382.jpg)
Lot 219
[A PRIVATE SCOTTISH COLLECTION] LARGE MINT-GROUND SILK EMBROIDERED BEDSPREAD LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 薄荷綠地刺綉庭院人物紋床罩 embroidered in the central oval medallion with two figures in leisure in a garden enclosed by a garland, four corners similarly decorated, borders further with figures in garden and sampan, the panel flanked by rows of colourful knotted fringesDimensions:228cm x 210cmProvenance:Provenance: Private Scottish collection, Edinburgh
![[A PRIVATE SCOTTISH COLLECTION] LARGE BLUE-GROUND SILK EMBROIDERED PANEL 19TH-20TH CENTURY 十九至二十世紀 藍地刺綉穿花鳳凰紋錦 embroidered wi](https://cdn.globalauctionplatform.com/d2eb2310-83e0-46fc-9b08-afb1010398b3/1be53567-46c0-44e5-bb17-afc000d4a131/468x382.jpg)
Lot 220
[A PRIVATE SCOTTISH COLLECTION] LARGE BLUE-GROUND SILK EMBROIDERED PANEL 19TH-20TH CENTURY 十九至二十世紀 藍地刺綉穿花鳳凰紋錦 embroidered with phoenixes in flight within peony blooms in the central medallion, symmetrically enclosed by butterflies and flowers and floral basket, all against a navy groundDimensions:228cm x 144cmProvenance:Provenance: Private Scottish collection, Edinburgh
Lot 254
QAJAR LACQUER PAPIER MACHE PANEL WITH PORTRAIT OF FATH ALI SHAH (1797-1834) PERSIA, 19TH CENTURY of rectangular form, featuring Fath Ali Shah seated on his bejewelled throne, wearing his crown and bedecked in his luxurious royal regalia, attended by princes and courtiers, within a floral narrow border, mounted in a box frameDimensions:43cm x 30cmProvenance:Provenance: Collection of the late Sir Richard Shepherd, MP.
Lot 13
HARDWOOD CHEST OF DRAWERS 20TH CENTURY 二十世紀 硬木斗櫃 with two left and one right drawers above two panel doors, opening up to further ten drawers, raised on bracket feetDimensions:84cm wide x 83.5cm high x 49.5cm deepProvenance:Provenance: By descent- Private Scottish collection, Harrietfield, Kelso; previously from the family estate bought 1847, Newton Don, Kelso
Lot 186
GROUP OF FOUR EGGSHELL FAMILLE ROSE BOWLS QIANLONG MARK BUT 20TH CENTURY 二十世紀 乾隆款 各色粉彩蛋殼薄胎大碗（共四件） comprising: two painted with dragons against yellow ground, the base with a four-character Qianlong mark in square panel; one similarly decorated but interior against gilt ground, the base with a six-character Qianlong mark in iron-red against gilt panel; and the other painted en grisaille with ladies, the base with a four-character Qianlong mark in square panelDimensions:largest: 24.2cm diameterProvenance:Provenance: Private Scottish collection, Edinburgh
Lot 728
An 18ct gold twisted bar and curblink neckchain, fitted with an oval panel, on a sprung hook shaped clasp, weight 23.4g, length 61.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 526
A gold, sapphire and colourless gem set oval panel shaped ring of pierced design, the centre with an oval cluster, unmarked, weight 4.9g, ring size approx S, with a case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 100
Three Bachmann Branch-Line DCC Ready gauge OO diesel locomotives, comprising No. 32-979 Class 66 66412 Malcolm Rail, No. 32-481 Class 40 D369, BR green, small yellow panel, and No. 32-426D Class 24 D5038, BR two-tone green with sound, all boxed with instructions (boxes lightly scuffed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 183
Three Bachmann Branch-Line gauge OO two car sets, comprising No. 32-902A Class 108, BR blue and grey, No. 32-906, BR green with yellow warming panel, and No. 32-515 Derby lightweight, BR green with yellow warning panel.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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