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Lot 135
Pierre-Douard Dagoty, French (1775-1871) Miniatures: "Portrait of an Elegant Young Gentleman with short black hair, white cravat floral waist coat and black coat," signed and dated, together with its companion "Attractive Young Lady with pearl headdress and necklace, and low cut dress," unsigned, O.O.P., in matching gilt metal and ebonised frame. (2)
Lot 174
A 14ct gold Tie Pin of pierced octagonal design; a green female Tie Pin modelled as a bird in flight; an attractive circular cameo Brooch of a classical female with pearl surround; an ornate Ladies Ring of embossed design, central oval citrine stone surrounded by diamonds; a gold plated etched rolled gold Bangle and other similar, damaged. As a lot, w.a.f. (4)
Lot 969
William Wissing (1656-1687) (Studio of) Portrait of Catherine of Braganza c. 1660 O.O.C., 125cms x 100cms (49'' x 39''), in ornate gilt frame. (1) Provenance: Private Irish Collection. Wearing large pearl earrings and with her dark hair tied up with loops of pearls, in this three-quarter-length portrait, Catherine of Braganza is dressed sumptuously in a heavily-embroidered dress, with a diagonal belt holding a red fur lined cape on her shoulders. Her cuffs are of white lace and there is a sheet of music in her right hand. The red velvet cape is spread out beside the Queen, and she is portrayed seated, in a relaxed and elegant pose. Behind her is a heavy curtain with tassels, and in the background can be seen a dramatic evening landscape. Born in 1638, Catherine of Braganza was the daughter of John, Duke of Braganza, later King of Portugal. A Roman Catholic, she came to England in 1662, to became the Queen of Charles II. Although they were to remain childless, while Charles had several children with his mistresses, the couple did not divorce. Catherine was portrayed by many artists of the time, particularly Jacob Huysmans, who was her favourite portraitist. She was also depicted by Peter Lely and William Wissing. While containing resonances of Huysmans, this three-quarter-length portrait is likely to be from the studio of Wissing, and is clearly by an accomplished hand. In terms of its authorship, another possibility is the Dutch artist Caspar Netscher (1639-1684) who practised in the Hague. With its sumptuous fabrics and display of luxury, the portrait may have been commissioned to counter the widespread view in England that Catherine was old-fashioned and pious, in contrast to Charles II’s mistresses, who were portrayed as fashionable and sensual women. Barbara Villiers, for example was famed for her beauty, fashion sense and patronage of the arts. The sheet of music in this portrait is intended to signal Catherine of Braganza’s interest in music. From 1665 onwards, and especially after the departure of her mother-in-law Henrietta Maria to France, Catherine became more confident in patronising musicians and artists. Some years after the death of Charles II, she returned to Portugal where she became an important figure in European politics. Dr. Peter Murray, 2023
Lot 160
A gem-set enamelled gold navratna armband (bazuband) North India, 18th/ 19th Centurycomprising a central element in the form of a rosette, set with gems including diamond, blue sapphire, rubies, coral (corallium rubrum), cat's eye chrysoberyl and pearl, the reverse decorated in polychrome enamel with floral motifs, with four-stringed chain and hook clasp the central element 5.1 cm. wide; 39.3 g.Footnotes:A navratna is composed of nine gems that represent the nine cosmic influences from the Hindu system of astrology. In a typical navaratna setting, each of the gems represent the following: ruby at the centre as the sun, surrounded by diamond as Venus, pearl as the moon, red coral as Mars, hessonite as Ragu (the ascending lunar node), sapphire as Saturn, cat's eye as Ketu (the descending lunar node), yellow sapphire as Jupiter and emerald as Mercury.For further information on this lot please visit Bonhams.com
Lot 161
A gem-set enamelled-gold navratna armband (bazuband) with 19th century European bracelet North India, 18th/ 19th Centurycomprising a central square element set with gems including ruby, sapphire, coral (corallium rubrum), half pearl and cat's eye chrysoberyl on a ground of green enamel with foliate designs, flanked by two openwork foliate elements set with emerald, ruby and diamond, the reverse and sides decorated in polychrome enamel with floral and foliate motifs the central square element 4.1 x 3.9 cm.; 67.5 g. total weightFootnotes:A navratna is composed of nine gems that represent the nine cosmic influences from the Hindu system of astrology. In a typical navaratna setting, each of the gems represent the following: ruby at the centre as the sun, surrounded by diamond as Venus, pearl as the moon, red coral as Mars, hessonite as Ragu (the ascending lunar node), sapphire as Saturn, cat's eye as Ketu (the descending lunar node), yellow sapphire as Jupiter and emerald as Mercury.For further information on this lot please visit Bonhams.com
Lot 71
An Ottoman tortoiseshell and mother-of-pearl inlaid cabinet Turkey, 18th centuryof rectangular form with fall front opening to reveal eight drawers, profusely decorated in mother-of-pearl, tortoiseshell, and bone inlay with panels of geometric and floral designs, brass clasps and handles, the interior walls painted with geometric and scrolling bands, accompanying key with tassel 19 x 29.5 x 23 cm.Footnotes:For another Ottoman fall front chest with similar mother-of-pearl floral motifs dated to the 18th century, see Christie's, Islamic Art and Manuscripts, 26 April 2005, Lot 157.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 92
An Indo-Portuguese mother of pearl dish Gujarat, 17th Centuryof shallow rounded form on a short foot, constructed from pinned geometric sections of mother-of-pearl forming a flowerhead within a central roundel with an outer band of radiating panels, rim with scalloped edge, brass bands to the underside of rim and foot, accompanied by a vertical stand 19.7 cm. diam.Footnotes:Given the western shape of these dishes, art historians of the 19th century initially thought of them as European. Gujarati dishes of this design are known to have been imported to Europe from as early as the second quarter of the 16th century, based on a documented example in the Green Vaults in Dresden. The Portuguese in India are particularly known for commissioning Gujarati mother-of-pearl wares. In some cases, these dishes are known to have accompanied larger mother-of-pearl ewers, as illustrated by two examples presently in the Victoria and Albert Museum in London (inv.no. 4282-1857 and 4283-1857). For a discussion on these garnitures of Gujarati mother-of-pearl articles, see A. Jaffer, Luxury Goods From India: the art of the Indian Cabinet-Maker, London : V&A, 2002, pp.38-39.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 122
Mixed Lot: An antique bovine apple corer, Victorian mother of pearl carving depicting Joseph, Mary and the baby Jesus, circa 1860, a mid 19th Century metal snuff box, a Georgian enamel patch box (a/f), a Victorian striped metal double sovereign case together with a metal watch holder, supporting a gun metal cased fob watch (a/f)
Lot 221
Mixed Lot: A late Victorian silver bladed mother of pearl handle fruit knife engraved to one side of the blade, hallmarked Sheffield 1891, makers mark for John Yeomans Cowlishaw, 9cm long, a Victorian fruit knife with carved and engraved mother of pearl handle, the plain blade hallmarked for Birmingham 1866, makers mark for Hilliard & Thomason, 7cm long, an Edwardian small silver and mother of pearl fruit knife, Sheffield 1906, makers mark for George Warriss, 5.5cm long together with a steel blade example (4)
Lot 94
Mixed Lot: A small white metal dallah coffee pot stamped 925, a mother of pearl handle silver bladed fruit knife, Sheffield 1915, makers mark John Yeomans Cowlishaw, a Dutch ornamental sifter spoon having a galleon finial and oval pierced bowl, import mark for Chester 1908, 14cm long, a silver golfing teaspoon, two small silver condiment spoons together with a small amount of plated items
Lot 34
A RARE CHINESE IMPERIAL SPINACH-GREEN JADE CIRCULAR 'DRAGON' BOX AND COVER 18TH CENTURY The domed cover decorated with a central medallion enclosing a coiled confronting dragon, the mythical creature writhes amidst leaves as it pursues a sacred pearl, the beast finely detailed with bulging eyes and scaly skin, with fine fluted chrysanthemum petals to the sides of the box and cover, carved to the interior and base with large stylised chrysanthemum blooms, the flowerheads worked with rows of many narrow petals radiating from the centre, the thin translucent jade of a dark green tone with some black specks, 12.1cm dia. (2) Provenance: the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Whilst the central decoration of the dragon in pursuit of a jewel is typically Chinese, the form of this box, with its thin wall and fine flower petals, is likely to have been influenced by Mughal jades. Cf. F Gu, The Complete Collection of Jades Unearthed in China, vol.1, p.235 for a comparable box and cover with floral decoration to the cover which was excavated from Zhang Zhidong's residence at Nanpi, Hebei, and is now in the collection of the Hebei Provincial Centre for Cultural Heritage Preservation.十八世紀 御製碧玉雕趕珠龍紋菊瓣盒來源：勞倫斯珍藏玉石，1959年前購於Spink & Son。
Lot 17
A PAIR OF FINE CHINESE IMPERIAL SPINACH-GREEN JADE 'DRAGON' SEALS 18TH/19TH CENTURY Each with a square-section body surmounted by a crouching dragon in pursuit of a flaming pearl, the mythical beasts depicted with long whiskers and finely incised beards and manes, their scaly coiled bodies partially concealed by billowing clouds, each seal with four characters to the underside, one worked in intaglio, yinwen with the characters jian lan bo zhao, the other marked zhi cheng yu ling in relief, yangwen, the mottled green stone with dark specks and pale inclusions, 6.4cm wide. (2) Provenance: formerly the collection of Major-General Charles Gordon (1833-85); and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Major-General Charles Gordon was in China from 1860 to 1864. In 1863, he was placed in command of the Ever Victorious Army, a force of Chinese soldiers directed and trained by European officers which was instrumental in putting down the Taiping Rebellion. The Emperor conferred on him the highest rank in the Chinese army and awarded him with the Imperial yellow jacket in recognition of his services in China. Gordon soon gained the popular nickname 'Chinese Gordon'. The inscription jian lan bo zhao may be translated as 'observe all varieties, be enlightened by their depth'. The phrase first appears in the Hou Hanshu, or the 'History of the Later Han', by Fan Ye (398-445). When the Han government decided to reform the civil service examination system, making it a requirement to study the classic texts, several ministers wrote in criticising the policy. They argued that the ruler's virtue was based on his ability to 'observe all varieties and be enlightened by their depth', and that a minister's loyalty hinged on his readiness to correct ill-founded policies. The phrase later acted as a reminder to emperors of the importance of observance and enlightenment in good governance. The inscription on the other seal, zhi cheng yu ling, translates as 'be a close neighbour with the utmost sincerity.' This originally comes from a traditional temple hymn that was recorded in the Quan Tang Shi, or 'The Complete Collection of Tang Poems', which was commissioned by the Kangxi Emperor in 1705. The full verse reads: 'The Way of Heaven is not personal, be a close neighbour with the utmost sincerity; worship spreads over mountains and rivers, the court music refreshed; the offerings of jades and silks are not rich, meet the truth with wisdom and enlightenment; verify this unique virtue, then communication is enabled with one hundred gods.' Seals played an important role in Chinese Imperial life. The famous story goes that when the First Emperor Qin Shi Huangdi united China, he made a jade seal with the inscription: 'Having received the mandate from heaven, may the Emperor enjoy a long life and eternal prosperity.' Traditionally, the Imperial seals represented not only the order and identity of the ruler, but also the universal principles. During the Qing dynasty, many jade seals were made under Imperial orders. They usually have a standard form and decoration. The present two seals were probably made during the Qianlong reign or slightly later.十八/十九世紀 御製碧玉蛟龍鈕璽印文：兼覽博照（陰文）、至誠與鄰（陽文）來源：Charles Gordon（1833-85）大將軍舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。
Lot 33
A CHINESE PALE CELADON JADE 'DRAGON' SCROLL WEIGHT 18TH CENTURY The long rectangular slab worked with curved ends, carved in relief with two scaly dragons contesting a flaming pearl, one beast emerges dramatically from crashing waves whilst the other descends from the sky above, each sinuous creature depicted with two horns and long whiskers, the pale creamy stone with a fine polish, 23.8cm. Provenance: formerly the collection of Vice-Admiral Sir George John Scott Warrender of Lochend 7th Bt (1860-1917), who fought in the Boxer Rebellion in 1900 and when by repute acquired this jade; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. The imagery of two dragons contesting a pearl is known in Chinese as er long xi zhu. An interpretation of this motif is that one dragon is male whilst the other is female, and the jewel is their egg. The symbolism is thus associated with harmony and reproduction. During the Ming and Qing dynasties, this image was frequently used as decoration on objects belonging to ladies of the court, and so it is possible this scroll weight previously belonged to an Imperial concubine. Cf. B Bronson & C Ho, Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong, p.86, no.88 for a similar piece; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (III), p.213, no.173 for a comparable item; see also The Complete Collection of Treasures of the Palace Museum, Jadeware (II), p.240, no.200 for another related example.十八世紀 青白玉浮雕趕珠龍紋鎮紙來源：George John Scott Warrender of Lochend上將(1860-1917)， 曾經在1900年參加過太平天國戰爭。勞倫斯珍藏玉石，1959年前購於Spink & Son。
Lot 29
A PAIR OF CHINESE WHITE JADEITE 'BAJIXIANG' BOWLS AND COVERS 19TH CENTURY The U-shaped vessels gently flaring at the rims, each decorated in low relief with the Eight Daoist Emblems to the bowl and cover, the precious objects tied with ribbons, with finely incised bands of key fret bordering the edges, each raised on a short circular foot, the thinly-worked jade of a translucent icy-white tone, with a few minor apple-green and russet flecks in the stone, 11.2cm dia. (4) Provenance: formerly the collection of Hugh S Whitaker; and then the Lawrence Collection of jades and hardstone carvings, purchased from Spink & Son prior to 1959. Exhibited: Burlington Fine Arts Club, 1915, case no.2, illustrated pl.30. Published: E Gorer & J F Blacker, Chinese Porcelain and Hardstones, London, 1911, vol.2, pl.244; also Burlington Fine Arts Club, 1915, case no.2, illustrated pl.30. Whitaker was a collector of Oriental art in the early 20th century, and many items from his collection are now in major western museums, including the British Museum and the Victoria & Albert Museum. Whitaker is recorded in the Sparks' ledger books between 1914 and 1938 as a buyer. The Bajixiang, or Eight Daoist Emblems, are the attributes of the Eight Daoist Immortals. They consist of the sword of Lu Dongbin, the fan of Zhong Liquan, the flower basket of Lan Caihe, the lotus of He Xiangu, the flute of Han Xiangzi, the gourd of Li Tieguai, the castanets of Cao Guojiu, and the drum of Zhang Guolao. They represent difficult conditions in life: poverty, wealth, aristocracy, plebeianism, age, youth, masculinity and femininity. The eight Daoist emblems should not be confused with the eight Buddhist emblems. Although the Qing emperors were not enthusiastic Daoists, the practise of Daoism was popular in society. The Yongzheng Emperor to a degree encouraged the belief in immortality and the practice of some Daoist rituals. Cf. Pearl of the Orient: Treasures of the Hong Kong Museum of Art, p.104, no.131 for a pair of similar bowls decorated with dragons and phoenix; see also Catalogue of a Special Exhibition of Hindustan Jade in the National Palace Museum, pp.276-277, pl.75 for another comparable pair; see also J R Finlay, The Chinese Collection: Selected Works from the Norton Museum of Art, pp.244-245, no.108 for another related bowl. 十九世紀 翡翠雕八吉祥紋蓋碗 一對來源：Hugh S Whitaker舊藏，勞倫斯珍藏玉石，1959年前購於Spink & Son。展出：伯靈頓藝術俱樂部，1915年，展櫃編號2，圖30。
Lot 770
C W FLETCHER & SON LTD; a set of six George V hallmarked silver and mother of pearl handled knives, Sheffield 1931, together with a George VI hallmarked silver topped lidded dressing table jar, height 13cm, also a pair of hallmarked silver sugar tongs, three hallmarked silver condiment spoons and a hallmarked silver butter knife.
Lot 5
NORTH WALES OAK WELSH DRESSER CIRCA 1850, with a wide boarded back three shelf rack, on a panel sided base section of three frieze drawers and three blind drawers flanked by inset panel cupboard doors, on corner bracket feet, the drawers being pine lined with turned ebonised knobs with mother-of-pearl button insets and ivory escutcheons, 205cms H, 167cms W, 51cms D Provenance: private collection Conwy(GOV.UK Ivory content- to comply with current regulation - self-declaration form completed for the sale of this item - Submission reference XG7PU585)
Lot 26
33.5cm remaining of the fullered flattened triangular section blade with reinforcing at the forte, white metal and gilt hilt incorporating a semi-relief image of a Dharmapala amidst swirling water, flames or clouds, white metal mounted horn hilt with stud decoration surrounding a white metal garuda bird, white metal and gilt trefoil pommel inset with a yellow stone, contained in its brass and gilt metal mounted faded cloth covered wooden scabbard, the front panels decorated with dragons, a flaming pearl and scrolling decoration, the panels to the reverse with scrolling foliage, attached leather hanging straps and iron suspension loop. Blade possibly watered steel, but rusted and lacking lower part. Scabbard with splits and wear.
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