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Lot 256
Mixed Lot: Two lockets, a heart and a circular shaped example stamped 9ct back and front, one suspended from a 9ct marked chain, a small 9ct marked seed pearl set horseshoe brooch, a 9ct gold small framed heart pendant and matching earrings, paste set, together with a pair of 9ct stamped rosebud earrings
Lot 134
A mixed lot of silver flatware, various dates and makers, comprising: a Victorian Bright-cut Celtic Point pattern basting spoon, by Walker and Hall, Sheffield 1896, initialled, plus two sifting spoons, a set of six fruit knives and forks, with mother-of-pearl handles, Sheffield 1896, seven Irish spoons, a set of six teaspoons, seven further teaspoons, three condiment spoons, a knife, a baby pusher, a butter knife, and a pair of electroplated sugar tongs, approx. weighable 18.5oz. (qty)
Lot 150
A collection of silver and electroplated flatware, comprising: a set of six George III Scottish celtic point tablespoons, by William & Patrick Cunningham, Edinburgh 1795, initialled, a set of six Victorian single-struck Kings Hourglass pattern teaspoons, London 1851, a George III Hanoverian pattern basting spoon, London 1803, initialled, plus an electroplated cased set of six butter knives, by Asprey, with mother-of-pearl handles, approx. weight 20oz. (14)
Lot 28
A mixed lot of silver and electroplated items, comprising silver items: a pierced square bonbon dish, by Charles Green & Co, Birmingham 1922, a two-handled sugar bowl, shaped circular form, old Sheffield plated items: a pair of wine coasters, pierced decoration, a pair of candlesticks, in the George II manners, plus electroplated items: a salver, shaped circular form, foliate decoration, on three scroll feet, knopped baluster stems, and a quantity of flatware, including a canteen of fruit knives and forks for twelve, with mother-of-pearl handles, in a fitted wooden case, approx. weighable 5.3oz. (two boxes) (qty)
Lot 32
A mixed lot, comprising silver items: a set of eleven Victorian fruit knives and forks, by Elkington and Co., Birmingham 1881, twisted mother-of-pearl handles, plus two berry spoons, a pair of sugar tongs, six teaspoons, and five other spoons, plus electroplated items: an oval two-handled tray, an ice bucket, a cream jug, two hip flasks, two entree dishes and covers, a crumb scoop, two toast racks and other items including flatware, approx. weight 10oz. (qty)
Lot 375
λA George III silver mounted provincial horn snuff mull, by William Stalker & John Mitchison, Newcastle, circa 1780, conventional form, pierced and foliate mount, hinged cover engraved 'Geo. Carlton Newcastle 1782', length 8.8cm, plus a Victorian tortoiseshell purse, unmarked, rounded oblong form, inlaid with gilt metal and mother-of-pearl decoration, silk lining, length 7.6cm. (2)
Lot 581
A small collection of five antique silver caddy spoons, various dates and makers, comprising: a George III one by Richard Crossley, London 1784, fluted bowl, bifurcated bright-cut handle, plus one by Josiah Snatt, London 1807, Thread handle, a Bright-cut one, London 1805, a Fiddle pattern one, London 1838, and one of shovel form, with a mother-of-pearl handle, Birmingham 1810, approx. total weight 1.8oz. (5) Provenance: A Private Collection.
Lot 584
A small collection of five antique silver caddy spoons, various dates and makers, comprising: a King's pattern one, by Joseph Willmore, Birmingham 1823, one with a shovel bowl and mother-of-pearl handle, by the same maker, Birmingham 1824, one by Joseph Taylor, Birmingham 1826, and two others London 1835 and Birmingham 1827, approx. weight 1.8oz. (5) Provenance: A Private Collection.
Lot 61
A mixed lot of silver items, comprising: an Edwardian silver baby's rattle, by Goldsmiths & Silversmiths Co Ltd, London 1903, baluster form, with three bells (three missing), with a mother-of-pearl ring handle, a Victorian glass toilet jar, oval form, pull-off silver cover, an American pen wipe, by Howard & Co., circular form, embossed and pierced scroll decoration, removable bristles, plus an Apostle teaspoon, twisted stem, approx. weight 1.9os. (4)
Lot 126
Vintage collectables, a cased three piece silver manicure set, buffer, file and small lidded pot, Birmingham 1918; pewter cricket bat hip flask, 20cm; a standard pewter hip flask with half leather cover; metal seal initialed V.M. 65mm; cased child's brush and comb set with mirror inside top, faux mother-of-peal scene of windmill, silver mounted, Birmingham 1927; leather and straw cylindrical container, 8cm; mother-of-pearl bookmark, 75mm; a metal telescopic travelling stirrup cup or beaker in circular leather box.Qty: 8
Lot 22
Moorcroft Pottery - a Spring Pearl pattern vase, designed by Philip Gibson, ovoid form, signed and dated 2004, numbered 124, 19cm.Condition report:There are no cracks or chips, just very light crazing in places. It appears to be first quality. Please see additional uploaded image of the base.
Lot 105
PAIRE DE PLATEAUX CARRÉS EN LAQUE NOIR INCRUSTÉ DE NACREÉpoque Kangxi (1662-1722)A PAIR OF MOTHER-OF-PEARL INLAID SQUARE BLACK-LACQUERED TRAYSKangxi (1662-1722)Each with canted corners, the first decorated with a garden scene depicting two scholars gazing at the scenery, the second with a mountainous landscape depicting a pavilion nestled within jagged rocks and pine trees. 10.7cm (4 3/8in) wide. (2).Footnotes:Provenance: Jean Louis Picard, Paris, 18 February 1994Jean-Pierre Rousset, Paris (1936-2021) Compare with a related group of ten mother-of-pearl inlaid black lacquer dishes, Kangxi, which were sold at Sotheby's Paris, 9 November 2021, lot 54.清康熙 黑漆嵌螺鈿風景人物紋方盤一對來源：巴黎Jean Louis Picard，1994年2月18日巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 258
LARGE SELLETTE EN LAQUE TIANQI ET QIANJIN À DÉCOR D'UN DRAGON ET DE SON PETITXVIIIe siècleA LARGE TIANQI AND QIANGJIN 'DRAGON AND YOUNG' LACQUER STAND18th centuryOf near square section, the top colourfully decorated with a central medallion of an adult dragon and young pursuing the flaming pearl above crashing waves and a gourd emanating lingzhi fungus shaped clouds with a bat in flight, framed by peony, lingzhi and lotus foliate and key-fret scrolls, all framed by archaistic chi-dragon scrolls, the rim with a key-fret above the waist with moulded relief decoration of foliate sprays above the beaded edge, supported on four cabriole legs connected with splayed aprons and decorated with foliate sections and relief-moulded leaf around each central edge terminating in a curled frond, decorated with continuous interlocking ruyi-heads and flowers with further floral sprays along the legs, all raised on a slightly splayed base-frame with short supports. 68.1cm (26 3/4in) wide x 66.2cm (26 1/16in) deep x 50.6cm (19 15/16in) high.Footnotes:Provenance:C.T. Loo, Paris (Label)Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Notable for its elegant and sweeping form, the present stand is meticulously decorated with intricate floral designs and a central roundel containing a larger and smaller dragon. The motif of an adult and young dragon seems to have been favoured particularly by the Qianlong emperor and has been interpreted as conveying the message of the father teaching his son the ways of life, and within the Imperial family, that of the emperor giving lessons to the prince.Stands of similar form to the present example were used in both religious and secular contexts to hold incense burners or flower vases. These objects were designed with great attention to detail and form, pleasing the eye from any angle. For a detailed discussion about the form of incense stands, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 2001, pp.295-302.See a related but taller gilt polychrome lacquer 'elephant' incense stand, 18th century, which was sold at Bonhams London, 16 May 2019, lot 75.十八世紀 填漆嵌金「蒼龍教子」香几來源：巴黎古董商盧芹齋（標籤）巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 280
STATUETTE DE VAJRAPANI EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY FIGURE OF VAJRAPANICambodia, Angkor Wat style, 12th centurySeated on a waisted lotus platform holding the vajra to the chest and a ghanta at the hip. 13cm (5 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)Vajrasattva or Buddha of Supreme Intelligence is considered the spiritual son of Akshobya whose diminutive figurine is placed in the front of his raised hair bun. The worship of this deity was quite popular during this period with the vajra and ghanta serving as the basic implements used in tantric rituals that were popular under Jayavarman VII and practiced at Banteay Chhmar.The base is shaped like a double lotus in an inverted cone separated by a pearl ring, all resting on a quadrangular platform which is also found on a closely related example in the Cleveland Museum of Art (1947.494) and see S.E.Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, 1969, pl.31 and M.Giteau, Khmer Sculpture and the Angkor Civilization, London, 1965, pl.90.柬埔寨 吳哥窟風格 十二世紀 銅金剛手菩薩坐像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 336
PLATEAU RECTANGULAIRE EN LAQUE CINABRE SCULPTÉ À DÉCOR DE DRAGONSXIXe siècleA CARVED CINNABAR LACQUER RECTANGULAR 'DRAGON' TRAY19th centurySkilfully carved with a pair of confronted five-clawed dragons in mutual pursuit of the flaming pearl of wisdom amidst cloud scrolls, the everted sides carved with four dragons amidst dense foliate ground alternating with foliate lotus blossoms at each corner, all reserved on leiwen ground, the underside with dense foliate lotus sprays, raised on short foot, the base and foot ring black lacquered. 37.7cm (14 7/8in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) The present lot is a late Qing revival of earlier Ming styles. See for example a cinnabar lacquer rectangular tray with dragons, 16th century, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.111.十九世紀 剔紅雲龍戲珠紋盤來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 352
MASQUE BRAGAire stylistique du lagon Murik, province de l'est du Sépik, Papouasie Nouvelle-GuinéeBois, nacre, et défenses de porcs sauvages. 62cm (24 3/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021)Littérature: S.Chauvet, Les Arts Indigènes en Nouvelle-Guinée, Paris, 1930, fig.386bis, pl.98Bien que les dents porcines qui l'ornaient lorsqu'il fut photographié par F. Poncetton pour sa reproduction dans l'ouvrage de Stephen Chauvet « Les Arts Indigènes en Nouvelle-Guinée » paru en 1930 aient depuis été accidentées, ce masque historique est identifiable planche 98 de cette publication.Les masques de ce type dénommé Brag, au nez incurvé caractéristique, représenteraient un esprit guerrier spécifique ou un homme-esprit qui lors des initiations avaient la fonction symbolique d'avaler les jeunes initiés avant de les régurgiter en hommes adultes. Selon certaines sources, ces masques auraient également été consultés avant les expéditions guerrières et auraient eu un rôle dans la chasse aux têtes.Comme sur tous les masques considérés comme importants, celui-ci arbore de complexes motifs stylisés, volutes et lignes concentriques, appelés mabranarogo associés à l'araignée. Ils seraient davantage associés à la perfection et à la complexité de sa toile, plutôt qu'à l'arachnide elle-même. C'est cette même perfection que le sculpteur du masque chercherait à atteindre dans son œuvre.Cf:C.Kaufmann, « Ombres de Nouvelle-Guinée », Musée Barbier-Mueller, 2006Beier & Aris, « Sigia : Artistic Design in Murik Lakes », Gigibori, vol.2, n° 2, octobre 1975P.Peltier, « Sepik Arts de Papouasie Nouvelle-Guinée », Musée du quai Branly, 2015MASQUE BRAGAire stylistique du lagon Murik, province de l'est du Sépik, Papouasie Nouvelle-GuinéeWood, mother-of-pearl, and wild pig tusks.Although the pig teeth that adorned it when it was photographed by F.Poncetton for reproduction in Stephen Chauvet's 1930 book Les Arts Indigènes en Nouvelle-Guinée have since been damaged, this historic mask is identifiable on pl.98 of that publication.The masks of this type, called Brag, with their characteristic curved nose, are said to represent a specific warrior spirit or spirit-man who, during initiations, had the symbolic function of swallowing the young initiates before regurgitating them as adult men. According to some sources, these masks were also consulted before warlike expeditions and had a role in headhunting. As on all masks considered important, this one has complex stylised patterns, scrolls and concentric lines, called mabranarogo associated with the spider. They would be associated more with the perfection and complexity of its web, rather than with the arachnid itself. It is this same perfection that the sculptor of the mask would seek to achieve in his work. See Cf. C.Kaufmann, Ombres de Nouvelle-Guinée, Geneva, 2006; Beier & Aris, 'Sigia : Artistic Design in Murik Lakes', Gigibori, vol.2, n.2, October 1975 ; P.Peltier, Sepik Arts de Papouasie Nouvelle-Guinée, Paris, 2015.For further information on this lot please visit Bonhams.com
Lot 50
STATUE DE DIVINITÉ FÉMININE EN GRÈS ROUGEInde du Nord, Rajasthan, vers XIe siècleA RED SANDSTONE FIGURE OF A FEMALE DEITYNorth India, Rajasthan, circa 11th centuryAdorned with a detailed necklace with heavy pendants in the centre a long single cord ending in a pearl pendant that falls between her prominent breasts. A second five-row necklace of pearls with shaped medallions passes over her breasts and across her stomach. Her lower diaphanous garment is defined by the presence of small wave-like motifs on her upper thighs, mostly obscured by the elaborate belt and beaded swags and bells that fall in arches over her thighs. Her straight legs are interrupted by a fragment of a flower garland that passes across her shins and her feet stand on a lotus-shaped pedestal. 95cm (37 3/8in) high.Footnotes:Provenance:Willy H. Wolf, New YorkRobert Rousset, Paris (1901-1981), acquired from the above on 25 January 1962Jean-Pierre Rousset, Paris (1936-2021)Referenced:Wm H. Wolff, Far Eastern Gallery, New York, in Oriental Art, Winter 1961, p.10 Far from the classic contrapposto position of female deities of the Indian medieval period, this hieratic representation engages the adorant with a surprising frontality. Compare with a related more conventional figure of a Surasundari published by P.Pal, Indo-Asian Art from The John Gilmore Ford Collection, Baltimore, 1971, pl.10, and later sold at Bonhams New York, 17 March 2014, lot 78.Loin de la position classique de contrapposto des divinités féminines de la période médiévale indienne, cette représentation hiératique présente l'adorateur à une frontalité surprenante.Comparer avec une statue plus conventionnelle d'une Surasundari par P.Pal, Indo-Asian Art from The John Gilmore Ford Collection, Baltimore, 1971, pl.10 et vendue à Bonhams New York, 17 mars 2014, lot 78.印度北 拉賈斯坦邦 約十一世紀 紅砂岩女神立像來源：巴黎Robert Rousset（1901-1981）舊藏， 於1962年1月25日得自紐約Willy H. Wolff巴黎Jean-Pierre Rousset（1936-2021）舊藏引用：Wm H. Wolff，遠東藝廊，紐約，《Oriental Art》，1961年冬，頁10與印度中世紀時期女神像的經典對立式平衡姿態大相逕庭，此尊符合宗教準則的神像以驚人的正面姿態吸引着朝拜者。 見一例更見常規的蘇拉孫達里像，圖載於P.Pal，《Indo-Asian Art from the John Gilmore Ford Collection》，巴爾的摩，1971年，圖版10，並售於紐約邦瀚斯， 2014年3月17日，編號78。For further information on this lot please visit Bonhams.com
Lot 68
EXCEPTIONNELLE TABLE IMPÉRIALE À GUQIN EN BOIS LAQUÉ POLYCHROME AUX 'TRENTE-DEUX DRAGONS'Fin de la dynastie Ming (Première moitié du XVIIe siècle)AN IMPORTANT AND EXCEPTIONALLY RARE IMPERIAL POLYCHROME LACQUER 'THIRTY-TWO-DRAGONS' GUQIN TABLE Late Ming Dynasty (first half 17th century)The top inset in the centre with a highly polished grey pottery rectangular brick moulded with a pair of five-clawed dragons pursuing the flaming pearl of wisdom amidst cloud scrolls and above crashing waves centred around a mountain framed by a continuous lotus scroll, all framed by the black-ground lacquered top decorated on each side with a panel of mirror-image five-clawed dragon pursuing the flaming pearl reserved on a diaper ground, all framed by a border enclosing on each long side with a cartouche a full-faced five-clawed dragon around the pearl, flanked by a pair of striding five-clawed dragons pursuing pearls, the shorter sides similarly decorated with full-faced dragons, all alternating with the Eight Precious Objects, the top with slanted corners raised above the beaded waist decorated with foliate floral and cloud scrolls, the shaped apron with a central foliate terminal, each side with openwork sections carved and gilt-lacquered with the Auspicious Objects flanked on the long sides by five-clawed dragons pursuing flaming pearls above waves and amidst clouds and the short sides with cloud scrolls and waves, the shaped legs similarly decorated on each external side with two five-clawed dragons. 101.2cm (39 7/8in) wide x 73.5cm (28 15/16in) high x 34.3cm (13 1/2in) deep; the inset brick, 64cm wide x 20.3cm deep x 6.2cm high (2).
Lot 76
TÊTE DE DIVINITÉ EN GRÈSCambodge, style du Bayon, fin du XIIe/début du XIIIe siècleSANDSTONE HEAD OF A DEITYCambodia, Bayon style, late 12th/early 13th centuryThe hair is rendered in vertical braided bands with a pearl band that surrounds the forehead and tightly frames the ears. The hairstyle and the shallow fragment of the ushnisha do not allow for a clear designation of the deity as the features are shared by both Buddha and bodhisattva figures, stand. 23cm (9in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.85, no.48 A noted by Sherman Lee in the ground breaking exhibition on Cambodian sculpture at the Asian House Gallery in New York in 1969 'This fragment of a male head- probably that of a Buddha- although very incomplete, gives another version of the Bayon sculptural type. The stylised, bead-shaped locks arranged in vertical rows, the thick projecting eyebrows, the closed eyes with well-formed lids, and the sensuous mouth with its corners raised in a smile.'This magnificent fragment of the time of Jayavarman VII captures, despite the section lost, an emotion that no other work of Khmer art from earlier period had managed to deliver. The youthful face already wears all signs of maturity. The high forehead and very thick eyebrow give a feature of naturalistic interpretation that connect, like many sculpture of the period with the portrait of Jayavarma VII (see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, p.301, no.89). The serene expression is amplified by the eye, closed in a deep meditation, conveying total introspection and perfect tranquility. Also see H.I.Jessup and T.Zephir, Sculptures of Angkor and Ancient Cambodia, Washington 1997, pp.305-315, nos.92-98.Executed in a very fine sandstone whose quality was reserved for exceptional pieces, this head is the testimony of the magnificence of the Bayon period and the work of an inspired artist.柬埔寨 巴戎寺風格 十二世紀末/十三世紀初 砂岩像首來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁85，編號48For further information on this lot please visit Bonhams.com
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