A TSUISHU AND SHIBUICHI KAGAMIBUTA NETSUKE WITH BENTEN, QUAILS AND MILLET UnsignedJapan, 19th century, Edo period (1615-1868)The shibuichi plate crafted in sukashi-bori (openwork) with two quails amid leafy stocks of millet, the impressive tsuishu (red lacquer) bowl carved in relief with Benten riding a sinuously coiled dragon and playing the koto amid craggy rockwork and reishi-shaped clouds on a finely incised ground of waves, the rim with a key-fret (rinzu) border.DIAMETER 4.6 cmCondition: Good condition with minor wear, chips and associated losses to the bowl as expected, some wear to metal.Provenance: Swedish private collection.Auction comparison: Compare a related tsuishu and metalwork kagamibuta, depicting Hanshan and Shide, the plate with a hawk and butterfly amid foliage, of slightly smaller size, at Christie’s, Crafted Landscapes: The Ankarcrona Collection of Japanese Lacquer and Asian Works of Art, 10 September to 1 October 2020, New York, lot 28 (sold for 2,125 USD).
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Ten various boxed and carded James Bond 007 diecast vehicles, Action Figures and novelty toys, to include a Playing Mantis Johnny Lightning and others, examples include Johnny Lightning on Her Majesty's Secret Service diecast vehicle and bonus collector card, together with various other examples
A LARGE FAIENCE PLATE SHOWING A BOY PLAYING THE FLUTE Soviet Union, Konakovo, Kalinin Faience Factory, circa 1930 Marked under base with scratched number '3404'. Diam. 33.7 cm. GROSSER TELLER MIT MUSIZIERENDEM JÜNGLING Sowjetunion, Konakowo, Kalinin Fayence Fabrik, um 1930 Fayence, polychromer Dekor. D. 33,7 cm. Auf der Bodenunterseite eingeritzte Nummer '3404'.
A late 18th century Japanese netsuke from Edo period. Not signed. In carved elephant tusk portraying a child wearing a Shishi mask and costume and playing the drum, 38,7x40,1x24,4 mm. 37,43 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A Japanese netsuke from Edo period circa 1820-1870. Signed Seimin on the base. In carved walrus tusk portraying a group of nine musician frogs playing some instruments, 24,1x39x48 mm. 38,01 gr. Similar pieces on Davey Neil K: "Netsuke: A Comprehensive Study Based in the M.T. Hindson Collection", Sotheby Parke Bernet Pubns, 1974. Nº 812. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w
A late 19th century Japanese netsuke. Signed Katsura? on a red kanji on the base. In carved elephant tusk portraying a group of three youngs playing with a pair of pumpkins, 24,5x49,7x33,8 mm. 15,85 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A mid 19th century Japanese netsuke from Edo period. In carved elephant tusk and horn porraying a karako playing the flute sat on the back of an ox in the middle of a pool, 29,1x51,1x31,1 mm. 14,23 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A mid 19th century Japanese netsuke from Edo period. Signed Hogyoko on the base. On carved elephan ttusk portrayinf a child sat on the floor and playing Bekkanko, 35,5x28,1x25,5 mm. 19,65 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A 19th century Japanese netsuke from Edo period. Signed Masamitsu on the base. In carved elephant tusk portraying a group of six puppies playing on a Shishi mask, 23,6x41,4x32,8 mm. 25,01 gr. Published on Mateu Guillem, "NETSUKE. Las grandes miniaturas de la escultura japonesa", Barcelona: 1998. Page 108. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A late 19th century Japanese netsuke from Meiji period. Not signed. In carved ivory portraying a craftsman dancing, playing a pumpkin with a stick, carrying a brush over his shoulders and holding his hat with the face, 35,6x45,1x26,9 mm. 27,12 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A Japanese netsuke from Meiji period circa 1870-1890. Signed Kogetsu on the base. In carved elephant tusk portraying a sat kid playing with a small Yuki Daruma on a tray, 27,7x35,5x26,6 mm. 14,37 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A mid 19th century Japanese netsuke from Edo period. Attributed to Masamitsu. In carved elephant tusk portraying a group od twelve rats playing over a shell, a clam and two winkles, 20,1x46,4x38,6 mm. 20,56 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
BRER FOX AN` BRER RABBIT. A precursor to Monopoly. "A New and Fascinating Game for old and young alike". Printed and Published by the Newbie Games Co. (Annan, Dumfriesshire, Scotland). Orig. square box with pictorial label (depicting Mr Fox as Lloyd George) containing fldg. heavy paper playing board, instruction leaflet, 2 dice, 4 playing pieces & the relevant currency, property & play cards. Based on the 1904 US "Landlords Game" (patented by Lizzie Magie, a follower of the political economist Henry George) this game was first introduced to the UK when produced in 1913 by the local Liberal party committee (thus the use of Lord George as the reforming fox!), under its new name but manifestly being the same game. Various successors to the Landlords Game led to the first publication of Monopoly. Brer Fox an` Brer Rabbit apparently was sold for a nominal one shilling and was obtainable from Miss Clarke, Newbie, Annan. Contents not guaranteed complete.
Tartan ware cribbage board containing a smaller Tartanware circular box lid with facsimile Penny Red stamp, and a selection of playing cards, the box 12.5cm x 8cm x 5cm high Condition: Catch missing to main box, general scuffing to corners, joints and hinges loose, playing cards unchecked. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Advertising Interest - Teachers Highland Cream Whisky printed pine display box decorated with boys playing cricket, 42cm wide, together with a printed card box of Spencer & Co Masonic Insignia & Regalia (2) Condition: Both with general wear commensurate with age and use - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Large twin handled vase with gilt highlights and handles and painted female figure playing a flute to front measuring 30cms, one decorative lattice plate with ribbon and gilt edging and sword markings to base measuring 23.5cms diameter, plus a small 14.5cms vase with gilt edging. Some wear to gilding.
Two signed Liverpool photographs; one signed photograph of Steven Gerrard holding the trophy for the 2005 Eufa European Champions League Cup Final in Istanbul, measuring 59 x 44cms, together with a signed photograph of Fernando Torres playing for Liverpool against Manchester United in 2009, measuring 47 x 37cms. Both are framed with certificate of authenticity.
A framed photograph signed by members of the England team who played and won the 1966 World Cup. Signatures include Nobby Stiles, Roger Hunt, Gordon Banks, Jackie Charlton, George Cohen, Ray Wilson, Martin Peters, Geoff Hurst, Alan Ball, with certificate of authenticity to back, measures 50 x 70cms. Together with a signed photograph of Jimmy Greaves playing for England VS Rest of the World at Wembley in 1963 with certificate of authenticity, measures 46 x 60cms.
Two frames of World Cup Rugby pin badges; the first being a count down to the 2003 opening ceremony with several other 2003 World Cup Rugby badges, 42 in total. The other frame being limited edition Rugby World Cup 2003 World In Union, Participating Union Commemorative Pin Set no. 0003/2500, 20 pins. Together with 2 empty bottles from 1990 Tournoi Des 5 Nations Vin de Pays de la cite de Carcassonne, decorated with figures playing rugby and match dates.
FIVE FRAMED STAFFORDSHIRE PRATTWARE POT LIDS including 'Youth and Age', 'Pheasant Shooting', 'Pegwell Bay - The Shrimpers', 'A Fix- Playing Draughts' etc. Condition Report : playing draughts broken into three pieces and re-glued, others with rubbing/crazing, and some damage to frames Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
POP MEMORABILIA - THE BEATLES Twelve assorted books; together with seven solo-project long-playing records by John Lennon (6) and George Harrison (1), including 'John Lennon / Plastic Ono Band (Apple, PCS 7124), the centre with applied label 'FACTORY SAMPLE / NOT FOR SALE); 'Imagine' (Apple, PAS 10004), the centre with applied label 'FACTORY SAMPLE / NOT FOR SALE'; and 'Milk and Honey' (Polydor POLH5).
Derby 19th Century Small Hand Painted Figurine - Young Girl Playing the Lute, Derby Painted Mark to Base. c.1876 - 1890. Height 5.5 Inches - 13.75 cms + A Royal Vienna Small Hand Painted Porcelain Figure In 18th Century Costume, Holding a Large Basket of Flowers, Beehive Mark To Underside. Height 7 Inches - 17.5 cms. A/F Condition.
Japanese - Fine Quality Tokyo School Meiji Period 1864 - 1912 - Okimono Carved Ivory Figure Group, Depicting a Group of Small Boys Playing Around a Large Temple Area, The Lidded Urn with Figural Elephant Handles, The Whole Finely Carved and Engraved to the Body on An Oblong Shaped Base. Signed to Underside of the Base with a Red Seal Mark. 7 Inches - 17.5 cms High, 6 Inches - 15 cms Wide & 4 Inches - 10 cms Depth. Lovely Condition and Quality - Please Confirm with Photo.
SEBASTIEN ERARD (1752–1831)A Symphonic harpBirchRaised decoration of mythological figuresEngraved yellow metal plaques "Sebastian Erard / Patent no. 4449 / 18 Great Marlborough Street, London" and on the opposite face "Harp and Piano forte Maker in Ordinary to her Majesty and the ROYAL FAMILY"Eight pedalsEngland, 19th century(losses, faults and evidence of woodworm)Alt.: 171 cm Additional Information: Sébastien Erard (1752-1831)Sébastien Erard (1752-1831), was a famous French manufacturer of musical instruments, dedicated to the production of pianos and harps. He was born in Strasbourg on April 5, 1752, being the fourth son of the second marriage of the upholsterer of Swiss origin Louis- Antoine Erard (1685-1758). When his father died, Sébastien was only six years old, so the somewhat romanticized reports that the carpenter's skills were acquired in his father's workshop cannot be proven. However, it is known that he grew up in a community of qualified artisans, with uncles, cousins, his godfather, and his older brother, all employed as carpenters, upholsters and gilders, mostly dedicated to the production of church furniture.It is not known what led him to become a manufacturer of musical instruments, nor is it known where he was taught. His arrival in Paris takes place in the year of 1768, when he was sixteen years old, but again it is impossible to ascertain the account of his arrival. However, it is known that the Duchess of Villeroy (1731-1816) was one of his first patrons, providing him with facilities for a workshop at the Hotel de Villeroy on the rue de Bourbon in Paris.His willingness to explore the fundamentals of making musical instruments helps him to show his genius for finding ways to get around mechanical problems, a skill that catches the attention of Abbot Roussier and, little by little, his success as a manufacturer of musical instruments he attracts rivals, who often accuse him of working without a license. At that time, he obtains royal protection from King Louis XVI and the license to produce on his own.The success he achieved in 1779, when he began to explore the new market for five-octave fortepianos, forced him to ask for the help of his older brother Jean-Baptiste Erard (1749-1826). Together they moved to number 109 of the rue de Bourbon and then, in 1781, to number 13 rue du Mail, a place that they acquired in January 1791, and which remain as the company's headquarters until it closes in the 20th century. Through the success they achieved in the 80s of the 18th century, they produce fortepianos for Queen Marie Antoinette and, according to the London Post Office Directory of 1786, open a store on London's Great Marlborough Street. From January 1788, they start to operate under the name Erard frères. That same year, the sales record shows us an annual production of 254 fortepianos, a number that almost doubled in the following year, registering the production of 410 fortepianos.Until this point, the production of harps by him is unknown, and when in the early 1790s Sébastian was forced to leave France to settle in London – from where he returned for the first time only in 1796 – there is no record of having left any harp behind.However, in a letter exchanged with his brother, the problem of the harp is addressed, in which he observes that ‘the mechanism is very complicated’.When he moved to London, he handed the management of the Paris branch to his brother and, in the year of 1792, opened a workshop at No. 18 of Great Marlborough Street. it is here that he focuses on the manufacture of harps, until then all imported from France. In November of 1794, he registered the first British patent for a harp (Improvements in Pianofortes and Harps, patent nº 2016), a single action instrument tuned in E-flat major hat can be played in eight major and five minor tones, through the ingenious mechanism bifurcation that allows the strings to be shortened in semitone. In London, the harp is a notable success and the Erard’s Stock Books, shows us that the aristocracy became interested in these instruments. From November 1800 the sales increased and Her Highness the Princess of Wales, Carolina of Brunswick (1768-1821), was paying £ 75 120 for harp no. 357.In the year of 1807, at the London branch, a harp cost £ 83 700 and, a set of strings, £ 1 180.In that same year a new commercial agreement is made between the two brothers and in the following year Sébastian returns to London where he remains for five years focused on the development of the harp.As previously stated, its single-action harp, despite exhibiting a revolutionary mechanism, was limited to playing only thirteen tones (E flat, B flat, F, C, G, D, A and E major, with three of its minor relatives).Only in May of 1810 (with London patent No. 3332) did he manage to perfect and patent a double action mechanism. It was such a popular innovation that in September of that year 1,374 harps were sold to clients as Dussek, Krumpholtz and many French refugees. Out of curiosity one of these harps can be seen at the Museum für Kunst und Gewerbe in HambHowever, in the year of 1813 the commercial and industrial restrictions imposed by the Napoleonic wars compromised the Paris company, and on February 26, it was declared bankrupt. At the same time, between 1811 and until 1820, the London branch sells 3,500 of these harps, with a Greek-style decoration where the column's capital features elements such as winged caryatids (a decorative element that will last in the following decades and which we can see in the example that now we bring for auction), winged lions, griffins, Greek masks, and acanthus leaves. The profits obtained from these sales paid off all external debts incurred by the Paris company and, on April 12th of 1824, the bankruptcy was cancelled.Meanwhile Sébastian returns to Paris, where in the year 1820 he acquires part of the Château de la Muette, which he orders to be restored and enlarged to house his cellar with 2,047 bottles of wine and also his rich art gallery, with about 260 paintings of exceptional quality. Many of these works of art are in museum collections, such as the portrait of King Philip IV by Velázquez's atelier (today in the Hermitage museum in St. Petersburg), the "Adoration of the Magi" by Albert Dürer (today at the Uffizzi Gallery, Florence), the portrait of his mother made by Rembrandt in 1634 (today in the National Gallery of London), as well as paintings by Correggio, Murillo, Teniers and Titian.It was here that on August 5th of 1831, at the age of 79, he died and his nephew inherited all his assets. Provenance of this harpAccording to Erard's Stock Books, kept in the library of the Royal College of Music in London, we realize that this harp was conceived in the London workshop in April 1831 and sold on the 28th of the same month to a Dublin musical instrument dealer, Mr Edw. MCCullogh.Through a later note, we find out that this harp was sold at auction by Sullivan & Callaghan in the year of 1906. Bibliografia/Literature:Alain Roudier – Les origines de la famille Erard, in Sébastien Erard, 1752-1831, ou la rencontre avec le pianoforte. Exhibition Catalogue, Luxeuil-les-Bains, 1993;Anik Devriès – Sébastien Erard, un amateur d’art du début du XIXe siècle, in Sébastien Erard, 1752-1831, ou la rencontre avec le pianoforte. Exhibition Catalogue, Luxeuil-les-Bains, 1993; VERITAS Art auctioneers would like to thank the Center Sébastian Erard, in particular to Professor Robert Adelson of the Conservatoire de Nice for his help with the information of this piece.
An unusual pair of candlestandsPortuguese silver, 19th century Profuse Romantic era decoration of putti playing in vineyards On a 3 footed raised stand with classical masks, zoomorphic feet and empty shields Oporto assay mark (P-44) José Rodrigues Teixeira and maker's mark (P-299.0) engraved 1869Literature: F. Moitinho de Almeida/Rita Carlos " Inventário de Marcas de Pratas Portuguesas e Brasileiras" séc. XV a 1887 pp. 227, 278Height: 27 cm1174 g
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