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Lot 8
Flemish School. Circa 1530."Descent from the Cross."Oil on panel. 75 x 66 cm.The panel shows the moment of grief at the death of Christ, whose body has already been taken down from the cross. Joseph of Arimathea holds up the body in his arms while Nicodemus holds the nails of the cross in his hand. Mary holds her dead son on her lap, and behind her, Saint John wipes away his tears for the death of his teacher with a cloth. At the feet of Jesus, we find Mary Magdalene anointing his body, holding the jar of essence in her hands. The group is completed by one of the Holy Women positioned behind Mary Magdalene.The city of Jerusalem appears, delicately painted, in the background.
Lot 13
Property of a ladyFrenchLouis XVILate 18th CenturyConrad MauterAn ormolu and brass-mounted mahogany console desserteStamped twice on rear with "C. Mauter".Wrap-around floral gilt-frieze panel. One central drawer with key and functioning lock. Two wing compartments concealed in frieze-panel. Stands on four fluted legs terminating in gilt feet. Plain lower shelf with gilt border.  Provenance:Christie's London, 'The European Connoisseur' (4 June, 2014).Dimensions36 in (H) x 37.25 in (W) x 15 in (D)
Lot 25
ARMAN (1928-2005)Untitled 1989 signed and dated 89 on the turnover edgeaccumulation of pressed paint tubes and acrylic on canvas on wood panel91.5 by 73 cm.36 by 28 3/4 in.Footnotes:This work is recorded in the Arman Studio Archives, New York, under no. APA# 8014.89.055.Provenance Private Collection, EuropeGift from the above to the present ownerThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 144
NO RESERVE Rackham (Arthur).- Wagner (Richard) The Ring of the Niblung, 2 vol. in 1, 48 colour plates by Arthur Rackham, book-label to front endpaper, scattered light foxing, original cloth, lightly rubbed, scattered marking to lower cover, dust-jacket, lightly rubbed, small chips or short tears to edges with longer tear to foot of upper panel, neat paper repairs to verso, some surface soiling, mainly to lower cover, 1939; and 4 others illustrated, including a Limited Editions Club printing of The Castle of Otranto signed by the editor W.S. Lewis, 4to & folio (5)⁂ The first mentioned combining The Rhinegold and the Valkyrie and Siegfried and the Twilight of the Gods.
Lot 259
Bond (Michael) A Bear Called Paddington, title with very short closed tear to foot, the odd patch of minor soiling, occasional cracking at gutter, some very slight foxing to endpapers, covers rubbed, scattered spotting and marking, spine and portion of upper cover a little faded, 1958; Paddington Abroad, covers sunned along top edge, spine ends bumped, dust-jacket, sunning to spine and edges of upper panel, lightly rubbed at extremities with a couple tiny chips, panels toned with some surface soiling, 1961, first editions, illustrations by Peggy Fortnum, original cloth, 8vo. ⁂ The first and fourth in the series of Paddington books, featuring Michael Bond's much beloved marmalade-adoring eponymous bear.
Lot 93
NO RESERVE Portugese diplomat.- Pereira (Francisco, diplomat, d. 1578) Letter to Raymond de Rover, Baron de Fourquevaux, Ambassador to Spain, in Portugese, 2pp. with conjugate blank and address panel, folio, Lisbon, 5th February 1571, on a variety of subjects, including the health of his wife and family, his pleasure at receiving the news from Fourquevaux of the king's marriage and as the ambassador's secretary is coming to Lisbon asks for news from France; promises to convey news of Antonio d'Almeida if he has any ; and comments flatteringly on Fourquevaux's great discretion and zeal in his official duties, a few small tears along folds, slightly browned.
Lot 248
James Lovell, Fred Haise or Jack Swigert An extremely rare 3-photo vertical sequence showing the interior of the cockpit of the lifeboat LM Aquarius from top to bottom including the control panel and one of the seated astronauts, not published after the mission Apollo 13, 11-17 April 1970 Vintage gelatin silver prints on fibre-based paper, 25.4 x 20.3 (10 x 8 in) [NASA AS13-59-8485], [NASA AS13-59-8489, NASA AS13-59-8491, margins trimmed or partially trimmed to images], BLACK NUMBERED NASA AS13-59-8485, NASA AS13-59-8489, NASA AS13-59-8491 (NASA Manned Spacecraft Center), (3)Condition Report: Condition Report Disclaimer
Lot 570
˜ FOUR DECORATED ENGLISH POCKET KNIVES, LATE 19TH/EARLY 20TH CENTURY the first with locking blade inscribed ‘A Sharp Companion’ in blued letters in a reserved panel on further blue, and German silver body inset with tortoiseshell, in its case inscribed ‘G. Kenning & Son, London’ on the lid; the second with two locking blades and silvered body decorated with figures; the third with two small blades and tortoiseshell scales and the fourth a pick, with two gilt folding blades and mother-of-pearl body in its case, the first: 11.3 cm (closed) (4) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 170. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 573
A MOTORING KNIFE, BROOKES & CROOKES, SHEFFIELD, EARLY 20TH CENTURY plated with nickel silver throughout, with four folding accessories comprising main blade stamped with the maker’s details and bell device, scissors, corkscrew and pick, robust body with hexagonal spanner head at one end and triple-head spanner at the other, concealed pick, stamped with bell mark and ‘patent’ on one face and with match box with striking panel and hinged cover on the other, In its blue-lined fitted case, 13.7 cm (closed) Literature David Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 142. Brookes & Crookes was established in 1858 by two Nonconformists, John Brookes (1825-1865) and Thomas Crookes (1826-1912). In their founding year the partners entertained their employees with a day of cricket and toasting, where Brookes underlined their intention to produce first-class goods and Crookes promised fair remuneration for labour. Though common sentiments at the time, Brookes and Crookes were already known for paying bonuses for new designs. Sadly, the partnership was short-lived as Brookes died from apoplexy at West Riding Pauper Lunatic Asylum, near Wakefield, on 14 February 1865 aged only 39 years. Crookes took over the business helped by his works manager William Westby who moved with his family to the factory at Atlantic Works in 1861. The ‘Bell’ trade mark became a badge of excellence and they were famed for the variety of their sportsman’s and multi-blade knives. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 574
˜ AN EXCEPTIONAL HUNTING DAGGER OF PRESENTATION QUALITY, BROOKES & CROOKES, SHEFFIELD, WITH SILVER-MOUNTED SCABBARD, H. W. & L. DEE, LONDON 1877 with heavy polished blade formed with a slender fuller on each face and with knurled back-edge, etched on one face with a frosted panel filled with a hunting scene involving three elephants with howdahs, scrolling foliage, and the maker’s details with bell symbol within an oval, rectangular ricasso, shaped thick silver-plated iron cross-guard with knurled border en suite with the blade, silver-plated tang (silver with small losses), brass fillets, and a pair of ivory grip-scales retained by five rivets, each carved with finely detailed Prince of Wales’ feathers issuant from a crown at the pommel, in its original wooden scabbard encased in tooled leather decorated with large panels of trellis (small losses and minor damage), with engraved silver locket and chape, each engraved with a symmetrical design of scrolling flowers and foliage, and the locket complete with a ring for suspension, 33.0 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 98. The present knife was probably made as an exhibition piece with a view to winning Royal commissions, subsequent to the Prince of Wales’s tour of India in 1875-6. Brookes & Crookes was established in 1858 by two Nonconformists, John Brookes (1825-1865) and Thomas Crookes (1826-1912). In their founding year the partners entertained their employees with a day of cricket and toasting, where Brookes underlined their intention to produce first-class goods and Crookes promised fair remuneration for labour. Though common sentiments at the time, Brookes and Crookes were already known for paying bonuses for new designs. Sadly, the partnership was short-lived as Brookes died from apoplexy at West Riding Pauper Lunatic Asylum, near Wakefield, on 14 February 1865 aged only 39 years. Crookes took over the business helped by his works manager William Westby who moved with his family to the factory at Atlantic Works in 1861. The ‘Bell’ trade mark became a badge of excellence and they were famed for the variety of their sportsman’s and multi-blade knives. A UK Ivory Act 2018 certificate for this lot will be made available to the purchaser Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 642
A MASSIVE EXHIBITION HUNTING KNIFE, GEORGE WOSTENHOLM & SON, WASHINGTON WORKS, I.XL, LATE 19TH CENTURY with long blade formed with a spear point and with three panels of deeply filed grooves on the back-edge (small areas of light wear and staining), stamped with the maker’s details including ‘None are genuine but those marked I. XL.’, and eagle, ‘Geo. Wostenholm & Sons Celebrated’ in a linear panel, and in large elaborate letters ‘For Stags and Buffalos’ on one face, rectangular ricasso, elliptical German silver cross-piece, and natural staghorn grips retained by five rivets, 35.2 cm blade It is likely that the founder of George Wostenholm & Son Ltd was George Wolstenholme (1775-1833), a fork maker at Thomas Lane. Apprenticed to John Micklethwaite, a cutler, in 1790 and granted his Freedom in 1799, George later moved to Broad Lane where he made spring knives. He was first listed in a Sheffield directory in 1816 as a pen and pocket knife manufacturer at Rockingham Street, where he had registered a silver mark in 1809. His workshops expanded to become Rockingham Works and he apparently shortened his name to ‘Wostenholm’ to facilitate its stamping on blades. His son, George Wostenholm (1802-1876) was apprenticed to his father and they are described in 1825 as ‘George Wolstenholme & Son, manufacturers of table knives, and forks, pen, pocket, and sportsman’s knives, and general dealers in cutlery, 78 Rockingham Street’. George Wostenholm became a Freeman in 1826, a practical cutler and a dynamic salesman he found scope for his prodigious energy in America where, in 1830, the father and son launched a partnership with William Stenton, an experienced cutlery merchant. However, this did not last and the partnership was dissolved the following year when they were also granted their trademark ‘I*XL. ‘, bought by George Senior in 1826 and originally granted to William Aldam Smith in 1787. In 1833 George Senior died and the business continued under his son who opened a New York office in 1844, and by the middle of the century had agents in Philadelphia and Boston. America was the ideal market with its expanding frontier and enormous demand for folding knives, razors, and weapons. The firm’s trade became almost exclusively American and Wostenholm made little attempt to nurture other markets. In 1848 the Washington Works was acquired and American orders continued to roll in. The workforce increased significantly to 850 in 1861, having been around a hundred or so in the 1830s. The high quality of the firm’s Bowie and spring knives was achieved by ‘drilling’, in which every knife was critically examined. It had the desired effect and soon ‘I*XL’ vied with Rodgers’ star and Maltese cross as a badge of quality. Like Rodgers, Wostenholm made its share of exhibition pieces. At the Great Exhibition in 1851 Wostenholm displayed a set of ornate sheath knives, including one commissioned from the well-known artist Alfred Stevens. The company also displayed a collection of exhibition multi-blades. The display won a Prize Medal for Wostenholm. The firm also carried off prize medals at exhibitions in Paris (1855) and London (1862). George Wostenholm had remarkable stamina. In early 1869, in his late sixties, he set off for a tour of Europe and in October the same year he made another trip to New York. In 1872, he again visited New York. He was active until the end, though he sold out to his business associates in 1875, when Wostenholm’s became a limited liability company. George Wostenholm died in 1876, aged 74 and left a remarkable fortune of nearly £250,000. The new company chairman and directors had little or no experience of the cutlery trade. Initially, Wostenholm’s continued to make good profit but the McKinley Tariff of 1890 raised the duties on their American exports to unprecedented heights and caused a crisis. Wostenholm’s refused to abandon the American trade and maintained an unprofitable New York office open until the early 1930s while they had little success breaking into the Australian and other markets. In the early 20th century they opposed machine technology and consequently were in decline a decade before the First World War. Not long after, Washington Works was becoming a relic. In 1971, Wostenholm was bought by Joseph Rodgers & Sons and the new company (Rodgers-Wostenholm) moved into premises at Guernsey Road, Heeley. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 650
A FINE AND RARE LARGE FOLDING KNIFE FOR EXHIBITION, LOCKWOOD BROTHERS, SHEFFIELD, MID-19TH CENTURY with two burnished broad folding blades, each double-edged over the upper portion, formed with a scalloped back-edge, stamped ‘Lockwood Brothers’ divided by an engraved running rhea above ‘Pampa’ on one face, stamped ‘Lockwood Brothers Sheffield’ at the base and with the letters ‘CX’ divided by a pair of vertically arranged crosses (small areas of staining), finely milled gilt liners and spring backs, highly figured exotic hardwood chamfered scales retained by seven rivets with German silver caps, one inlaid with the maker’s name ‘Lockwood Brothers’ divided by a running rhea above the letters ‘Pampa’ , with finely milled and engraved German silver terminals decorated with scrolls and foliage, those at the pivot end with a vacant panel, perhaps for the date, on each face, and remaining in fine condition throughout, 40.5 cm (closed) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 77. Stated to have been made for the 1851 Great Exhibition and shown at thirty one subsequent cutlery exhibitions until 1905. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 671
A DECORATED PAIR OF SCISSORS FOR EXHIBITION, LOCKWOOD BROTHERS, SECOND HALF OF THE 19TH CENTURY AND SIX SMALLER DECRATED SCISSORS the first with highly polished blades signed by the maker and marked ‘CS’ on one ricasso, gold-bladed grips decorated with a pierced and engraved panel featuring the trademark letters ‘CX’, reah and ‘Pampa’ and remaining in fine condition (one small area of surface rust); the remaining scissors for sewing, of delicate construction, one decorated with a pair of birds, one with tracery, and four with designs of scrolls, the first: 28.5 cm overall (7) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 86. The apparent founder of Lockwood Brother Ltd was John Lockwood of Ecclesfield, who was apprenticed to file maker John Burgin and became a Freeman in 1767, when he was assigned the mark ‘CX’. His two sons were John Lockwood Jun. (1769-1856) and William Lockwood (1775-1829). The latter moved to Sheffield in the 1790s and, in 1803, married Ann Sorby, linking his family to the local tool making dynasty. They had four sons, William (1806-1873), John (1813-1876), Joseph (1815-1902), and Charles (1822-1872). In 1817, Lockwood & Sorby are recorded as factors in Arundel Street and merchants and file manufacturers in 1822. William died in 1829 and his four sons who became the ‘Lockwood brothers’ ultimately continued the business, first recorded 1837. In 1861 Lockwoods employed 500 staff and in 1865 they expanded their premises at Arundel Street. The enterprise became more closely involved in cutlery and trade catalogues show a wide range of knives and pocket cutlery with an emphasis on complicated sportsman’s patterns, hunting and skinning knives. By 1862 German counterfeiting had forced the company to adopt another mark: a Pampas rhea with the words ‘REAL KNIFE’ and ‘PAMPA’. The firm’s main trade mark was ‘C:X’. Lockwood’s also acquired a Maltese cross ‘L’ mark. Three of the Lockwood brothers died in the early 1870s: Charles (1872), William (1873), and John (1876). Joseph continued the business and around 1891 they became a limited company. By the First World War, Lockwood’s was in decline and losing money, in 1919 it became part of Sheffield Cutlery Manufacturers Ltd and were acquired by Elliott in 1927. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 699
A DAGGER, MANSON, SHEFFIELD, LATE 19TH CENTURY with double-edged blade of flattened-diamond section, signed rectangular ricasso, German silver hilt formed in two pieces comprising guard and pommel joined on each face by a shaped panel, and hardwood scales inlaid with a running pattern of foliage in mother-of-pearl on one face, in its scabbard, 15.7 cm blade LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 291. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 761
A FIGHTING KNIFE, S. W. SILVER & CO., CORNHILL, LONDON, CIRCA 1880 with robust Caucasian style broad blade of flattened-diamond section formed with a long slender off-set fuller on each face, rectangular ricasso signed on each face, German silver elliptical guard grooved on one face to accommodate a retaining clip, and finely chequered horn scales retained by six rivets, in its German silver-mounted leather-covered wooden scabbard, the chape engraved with three lines and with bud-shaped finial, locket engraved en suite, with a button for suspension and signed in a panel at the front (spring retaining clip missing), 22.7 cm blade Stephen Winkworth Silver & Co was founded in 1823 and are recorded at 66 and 67 Cornhill in 1848. They supplied clothing to the military and travellers as well as furniture and later sporting goods. By 1900 they had branches in Liverpool, Bradford, Birmingham, Sheffield, Cardiff, Bristol, Manchester, Newcastle, Portsmouth, Glasgow, Belfast and Dublin and works at Silvertown and at Persan-Beaumont, France. Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.
Lot 1029
Waltham - Incabloc stainless steel bracelet watch, ref 2016, brushed dial, block baton markers, centre seconds, 34mm diameter, stem wind Swiss 17 jewel movement, five panel stainless steel bracelet; another Waltham trench watch, white dial, Arabic numerals, subsidiary seconds, Keith base metal case, stem wind movement, serial no 17495451, tan leather strap (2)
Lot 12
A HONGMU ALTAR COFFER, 1900sChina, late Qing Dynasty (1644-1912). The rectangular-panel top supported on recessed square corner posts, the single drawer above the pair of doors fitted flush around a removable center stile, with reticulated spandrels below the projecting top on either side of the drawer, the coffer fitted with brass mountings.Condition: Commensurate with age, natural age cracks, minor splits and gaps as expected, few small losses, the spandrels reattached, old wear and traces of use, few shallow surface scratches. Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Dimensions: Size 84.5 x 78.6 x 59.8 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 13
A HARDWOOD DISPLAY STAND, QINGChina, Qing Dynasty (1644-1912). The top panel supported on a reticulated apron carved with ruyi motifs, the four elaborate cabriole legs connected by two stretchers. The wood of an attractive grain and color.Condition: Good condition with some wear, light surface scratches, with some cracks and associated old repairs. Provenance: Notable collection, New York.Weight: 4650 g Dimensions: Height 31 cm, diameter 40 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 15
A CHINESE LACQUERED ALTAR TABLE, QINGChina, Qing Dynasty (1644-1912). The long narrow table decorated in red, green, and gold lacquer over a black ground, the rectangular top with upright scroll ends decorated with a central mountainous river landscape panel, flanked by floriform panels of lotus scroll, within floral cartouche borders on a brocade pattern ground, supported by pairs of straight rectangular legs, joined by plain stretchers and a lobed panel, with floral decoration.Condition: With wear, chips, and lacquer flakes to the edges (mostly to the top panel), restorations to the four legs and touch-ups overall. Provenance: Croatian private collection.Dimensions: 90 x 167 x 41 cmAuction result comparison: Compare a related lacquer table, at Christie's London, in Chinese Ceramics, Works of Art and Textiles on 12 May 2015, lot 322, sold for GBP 9,375.
Lot 20
A LARGE GILT-LACQUERED WOOD PANEL, c. 1900sChina, late Qing Dynasty (1644-1912) or slightly later. Carved in openwork as an open scroll with a poem, surrounded by birds and gnarled branches issuing peony blooms, finely lacquered in gilt, black, and red. The backside with a metal mounting for suspension to a wall. Condition: Good condition overall, showing old wear, rubbing to lacquer, age cracks, minor chips, and tiny losses. Provenance: Austrian private collection. Dimensions: Size 71 x 63 cm
Lot 23
A CINNABAR LACQUER 'SCHOLAR' BOX AND COVER, REPUBLIC PERIODChina, Republic period (1912-1949). Of rectangular form, the top of the cover with a rectangular panel carved in relief on three different types of diapered ground, depicting scholars playing weiqi, surrounded by trees and craggy rockwork, all enclosed by a key-fret border. The sides of the box and cover finely carved with further key-fret designs as well as large floral blossoms and scrolling foliage. The interior and base lacquered black.Condition: Good condition with surface wear, small cracks, some nicks, chips to the inner rim of the box, slight surface scratches, and the inside cover with remains of glue. Provenance: Hungarian private collection.Weight: 877.9 g Dimensions: Length 25.5 cm, Width 16.2 cm, Height 8.9 cm
Lot 288
A LARGE EMBROIDERED WALL PANEL, QINGChina, late Qing Dynasty (1644-1912). Of rectangular form, embroidered in satin stitch with silk threads and gold brocade on a red silk background, depicting a continuous scene with members of the court, attendants, and warriors, framed by two floral bands, the top with vases issuing flowers and characters, overall inset with few metal and glass elements. Polychrome fringes with tassels decorate the lower edge. Condition: Overall good condition with signs of age and wear, staining, soiling, some losses, and few loose threads. Provenance: Austrian private collection. Dimensions: Size 474 x 67 cm
Lot 595
AN INLAID "CARP WATCHING THE MOON" LACQUER PANELVietnam, c. 1930s-1950s. The rectangular black lacquered panel inlaid with silver foil backed Bakelite to depict a carp with curved tail watching the reflection of the moon on the water, surrounded by reeds and grasses painted in bright red and green enamels, all below the night black sky and a full moon. With an inscription to the upper left. Condition: Good condition with minor wear and few losses to the overlays. Provenance: Croatian Private collection. Dimensions: Size 70.5 x 27 cmLy Ngu Vong Nguyet or "Carp watching the moon" is a famous painting from the Hang Trong tradition. The painting shows a carp gazing at the reflection of the moon on the water's surface. The carp is a symbol of strength and perseverance, as it is associated with the legend of a carp transforming into a dragon. This painting suggests that just as a carp can overcome obstacles and become a dragon, a student who works hard and passes their exams can achieve their goals and reach new heights."
Lot 606
A SUMBA IKAT PANEL WITH SHELL DESIGNSSumba, Indonesia, first half of the 20th century. Crafted from ikat dyed cotton, featuring three vertical strips, the middle one woven with animals, the lateral ones with humanoid figures alternating animals studded with small shells and beads. Condition: Very good condition with minor wear and very few loose threads. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Acquired in an American auction house. Dimensions: 224 x 59 cm
Lot 614
A RARE AND LARGE CARVED HARDWOOD 'MALE AND FEMALE' DOOR, ODA MATANTimor, Belu Regency, late 19th century. Expressively carved in relief with a male and female figure standing side by side, the man holding a dagger and the woman a bottle, their faces with deep eye sockets centered by a triangular nose and small mouth, the woman further with two small breasts. The panel is additionally incised with abstract geometric patterns.Provenance: From the collection of Alexander Goetz, a noted German art expert and collector who specializes in Indonesian works of art. As a young man, he built and sailed wooden boats around the world, and eventually arrived in Bali in 1971. Within a year, he became involved in the local art scene and in 1975, he was sponsored by the Indonesian Institute of Science to do research on contemporary art in Bali. In 1990, Goetz and his family moved to London where he opened a gallery specializing in Southeast Asian art, with Indonesia as the main focus. Since 2015, Alexander Goetz has run Gallery 101, a dedicated art space in Kabupaten Badung, Bali.Condition: Good condition with extensive old wear, weathering as expected, age cracks, some with associated old repairs. Small nicks, scratches, and losses. Beautiful, naturally grown patina overall.Weight: 16.4 kg Dimensions: Size 128.5 x 78 cm This door was originally installed in a great thatched communal house belonging to an aristocratic, matrilineal Tetun clan. Such residences were usually embellished with painted walls as well as elaborately carved panels and doors. The floorplan reflected Tetun notions of the cosmos which held that humans lived on earth between the upper world and the underworld. The rear of the house was viewed as the women's domain and symbolized the sacred underworld. Following birth, a father carried his infant through the "female door" to the upper world, which was predominantly male.Most of such doors were decorated solely with tightly patterned geometric designs, while others singularly depict or combine raised carvings of breasts, animals, or ceremonial jewelry. In the case of figurative doors, they usually consist of a single effigy with a long angular frame or a half-bodied torso. Only very few doors actually depict male and female figures, like the two seen on the present door.Literature comparison: Compare a closely related door, dated c. 1915, in the collection of the Dallas Museum of Art, object number 2013.3. Compare a closely related door, dated c. 1900, combining male and female aspects in a single figure, in the collection of the Powerhouse Museum of the Museum of Applied Arts & Sciences in Sydney, object number 2002/6/1.
Lot 706
A TANJORE PAINTING OF RANGANATHA AND NARASIMHASouth India, Tanjore, late 19th century to c. 1920. Painted with gouache on a silk mounted wood board, applied with gesso, gold color and inset with colored glass. The upper section depicting Ranganatha Vishnu beneath the doomed structure of a temple, he reclines on his right side on the coils of the seven hooded Naga, his right hand beneath his head and his left arm hangs loosely at his side, he wears a dhoti, and an angavastra (shawl) draped over his shoulders. Below is a depiction of the seven headed Narasimha (Man-lion) engaged in ripping open the belly of his blue-skinned opponent with two of his numerous hands, the others holding various attributes. All framed by smaller figures of deities, attendants, and worshippers. Condition: Good condition with some wear and crackling to gilt, minor flakes to the paint and losses to the silk along the borders. Provenance: Croatian Private collection.Dimensions: Size 66 x 50.5 cmAuction result comparison: Compare a related Tanjore panel at Bonhams London, Islamic and Indian Art Online Sale on 20-28 October 2022, lot 177, sold for GBP 2,550.
Lot 735
TWO TRIBAL AFGHAN MULTI-COLORED GLASS AND METAL NECKLACES, c. 1950sAfghanistan, mid-20th century. Each with strands of small metal beads interrupted by a central quadrangular panel and flanked by a pair of triangular panels set with glass beads, suspended from the lowest strand are several oval pendants inset with multi-colored glass cabochons, the metal elements are finely decorated with filigree work and beaded borders, on textile strings.Condition: Good condition with expected traces of use and wear. Three glass cabochons with a small chip and one with a crack. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 198 g and 213 g Dimensions: Length 40 cm and 35 cm (full length)
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