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Lot 1612
Large 19th Century French green marble and gilt metal mounted mantel clock / lamp, mounted with a gilded spelter figure of a semi nude female playing a lute with circular painted dial having Arabic numerals and two train movement striking on a bell, 36ins high (lacking shade)This clock is made in Paris and is stamped ' Medaille d'argent 1855 '
Lot 1388
Kiseruzutsu aus Elfenbein JAPAN, sign. Ko. und Siegel? am Boden, spätes 19.Jh. L. 21,5 cm In versenktem Relief fünf ausgelassen tanzende und musizierende Person in höfischer Kleidung. Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung AN IVORY KISERUZUTSU, Japan, signed Ko. and seal? at the base, late 19th century, carved with five persons in court garments and eboshi dancing and making music including one lady playing a biwa - Property from an important South German private collection
Lot 29
Stil von Jiao Bingzhen (tätig ca. 1689-1726) CHINA, Qing-Dynastie 108 x 49,5 cm Spielende Kinder im Garten, Hängerolle, Tusche und Farben auf Papier. Signatur des Künstlers: "Gemalt von Jiao Bingzhen". Ein Doppelsiegel des Künstlers: "Bing", "Zhen". Provenienz: Aus der Sammlung von Friedrich und Ruth Boss, zwischen 1911 und 1938 in China gesammelt - Berieben, etwas rest., kleine Fehlstellen und Altersschäden, Montierung besch. und rest. Style of Jiao Bingzhen (active ca. 1689-1726), Children playing in the Garden, China, Qing dynasty, hanging scroll, 108 x 49,5 cm, ink and colors on paper. Signature by the artist: "Painted by Jiao Bingzhen". One double seal of the artist: "Bing", "Zhen" - Property from the collection of Friedrich and Ruth Boss, assembled in China between 1911 and 1938 - Jiao Bingzhen was from Jining in Shandong province. He was a court painter during the Kangxi period (1662-1722) specializing in figures and architectural painting. His genre paintings were especially new. The children and landscape elements in this scroll are painted very fine in the style of the eighteenth century - Wear, minor damages and losses, mounting partly damaged and repaired
Lot 611
Stangenvase mit 'wucai'-Dekor von Damen und spielenden Kindern neben Früchten und Blüten CHINA, Transitional-Periode H. 40,5 cm Provenienz: Aus einer alten Berliner Privatsammlung, großteils bei China Bohlken auf Sylt in den 1980er Jahren erworben - Wenige sehr kleine Glasurabsplitterungen A GU-SHAPED WUCAI PORCELAIN VASE WITH PLAYING CHILDREN, LADIES IN A GARDEN LANDSCAPE AND FRUITS, China, Transitional period - Provenance: Old Berlin private collection, bought mainly in the 1980's from China Bohlken, Westerland/Sylt Island - Few very small glaze frits
Lot 1389
Feines Netsuke einer zum Leben erwachten Daruma-Puppe aus Elfenbein JAPAN, signiert Rakumin, 19.Jh. H. 6,1 cm Mit nyoi-Zepter und mit einer kleinen Daruma-Puppe wie mit einem kemari-Ball spielend. Provenienz: Ehemals aus einer deutschen Privatsammlung, vor 2007 erworben AN IVORY NETSUKE OF DARUMA DOLL, Japan, signed Rakumin, late 19th ct., coming to life and breaking through his doll enclosure, holding a nyoi, and playing with a small Daruma doll as if it were a kemari - Former property from a German private collection, acquired prior to 2007
Lot 1328
'Tora' Koto (Zither) aus Paulownia-Holz JAPAN, frühe Edo-Periode L. 192 cm Korpus aus Paulownia-Holz. Decke, gewölbt, an den Stirnseiten Intarsien aus Bein?, Schildpatt, teilweise hintermalt, jeweils ein Holzsteg mit 13 Kerben für die Saiten und Löcher zum Durchzehen der Saiten mit Metallhülsen. Provenienz: Aus einer süddeutschen Privatsammlung, in den 1980er Jahren erworben A KOTO CALLED 'TORA', Japan, early Edo period, a vaulted board zither consisting of paulownia wood, ivory and strings made of yarn. The flanks "beach"(iso) decorated in gold lacquer with flowering cherry trees, flying herons, turtles in water and landscapes with various plants. One End "dragon's tongue "(ryuuzetsu) with a painted dragon under tortoiseshell in a geometrically inlaid frame, the other "dragon's tail" (ryuhi) in corresponding mannor, with depictions of man and woman.The zither (koto) includes 13 bridges (ji) with ivory and a wooden case with metal fasteners. - Property from a South German private collection, acquired in the 1980s - Playing the koto was part of the traditional education of young women; the instrument was part of the trousseau. The name "Tora" origins in the wooden pattern under the strings, which resembles the fur of a tiger (tora)
Lot 705
Zwei anonyme Malereien CHINA, 19.Jh. je 31,5 x 55 cm Zwei anonyme Darstellungen von Pferden als Tribut der Barbaren in Tang-Stil und Jia Zhichao: Darstellung der spielenden Knaben. Tusche und Farbe auf Seide, gerahmt. 1, sign. wuxia quweng ti (beschrieben von Quweng aus Wuxia) mit Siegel han jiashi yi; 2, mit vier Siegel zuili, xiang shuzi, shenpin und shenyou xinshang; 3, mit drei Siegel xiang molin fu miji zhi yin, xiang yuanbian yin und shenyou xinshang. Provenienz: Ehemals aus einer alten europäischen Privatsammlung, vor 1990 gesammelt, dann Privatbesitz Frankfurt - Jia Zhichao alias quweng aus Suzhou, Lebensalter unklar, war in der 1. Hälfte des 19. Jh. tätig, bekannt für seine Figuren-Darstellungen TWO ANONYMOUS PAINTINGS OF HORSES AND A PAINTING OF BOYS, China, 19th ct., horses with barbarian in the style of the Tang dynasty and Jia Zhichao: Playing boys, ink and colour on silk, mount. 1, sign. wuxia quweng ti with one seal han jiashi yi; 2, with four seals zuili, xiang shuzi, shenpin and shenyou xinshang; 3, with three seals xiang molin fu miji zhi yin, xiang yuanbian yin and shenyou xinshang - Provenance: Former old European private collection, assembled prior 1990 - Private property Frankfurt
Lot 1109
Porzellanschale mit 'Famille rose'-Dekor spielender Knaben CHINA, 18. Jh. D. 26,7 cm Provenienz: Ehemals aus aus einer alten deutschen Privatsammlung, vor 2007 erworben - Minim. berieben, am Rand rest. A 'FAMILLE ROSE' PORCELAIN PLAYING BOYS BOWL, China, 18th ct. - Former property from an old German private collection, acquired prior to 2007 - Minor wear, Rest. chip to the rim
Lot 1427
Vier Netsuke aus Elfenbein: Zwei Karako, Hotei auf einem Fugu reitend u. zwei Männer JAPAN, 19.Jh./Meiji-Periode H. 2,3-3,5 cm Provenienz: Aus einer Württembergischen Privatsammlung, gesammelt zwischen 1950 und 1980 - Minim. berieben, ein himotoshi mit Nagel blockiert, ein Netsuke best. A GROUP OF FOUR IVORY NETSUKE, Japan, 19th ct./Meiji period, carved as two boys playing with a tortoise, Hotei riding atop a fugu, seated man with a drum and a man holding a spinning top (?) - Property from a Württemberg private collection, assembled between 1950 and 1980 - Minor wear, one himotoshi blocked with a nail, one netsuke slightly chipped
Lot 1384
Zweiteiliges Inro mit feinem Dekor von spielenden Kindern auf 'roiro', Ojime aus Achat JAPAN, 19.Jh. 10,2x6 cm Provenienz: Aus einer süddeutschen Privatsammlung, zwischen 1988 und 1991 gesammelt - Ojime aus Achat - Kleine Abriebe A FINE DECORATED ROIRO-GROUND TWO-PART LACQUER INRO WITH PLAYING CHILDREN, Japan, Meiji period, agate ojime - Property from a South German private collection, assembled between 1988 and 1991 - Minor wear
Lot 383
AN UNUSUAL JAPANESE NEGORO LACQUER SINGLE-CASE INRO EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY The ovoid body decorated to both sides with monkeys and their young, one primate playing with a fruiting branch, the lid carved to both sides with shishi lion dogs, the knop shaped as two smaller primates kneeling over a fruit, the inside lacquered in red and with gilt around the rim, 10.5cm. (2)
Lot 296
FOUR JAPANESE WOODBLOCK PRINTS BY TSUKIOKA YOSHITOSHI (1839-1892) MEIJI PERIOD, CIRCA 1888 The four oban tate-e from the series Fuzoku sanjuni so (Thirty-two Aspects of Customs and Manners of Women), comprising: a beauty eating tempura, entitled: 'Delicious: Habits of a prostitute of the Kaei era'; another examining plants believed to bring good luck for the lunar New Year, entitled 'Undecided: Habits of a proprietress of the Kaei era'; the third standing by her husband's robe, entitled: 'Expectant/Irritable: Habits of the wife of a fire chief in the Kaei era'; the last playing the shamisen, entitled 'Enjoying: Habits of a teacher of the Kaei era', each print approx. 24cm x 36cm. (4)
Lot 221
A MASSIVE JAPANESE IMARI CHARGER MEIJI PERIOD, 19TH CENTURY Decorated in underglaze blue, iron-red and gilt with two large shaped panels, one containing two deer in an autumnal landscape under maple leaves, the other with boys playing mahjong, the sides with peacocks amongst flowering branches and peonies, the reverse with flowerheads, butterflies and karakusa scrolls, the base marked fuki choshun (wealth and everlasting spring), together with a hardwood stand, 56.8cm. (2) Provenance: from a deceased estate, Hampshire.
Lot 393
λ TWO SMALL JAPANESE IVORY CARVINGS, OKIMONO MEIJI PERIOD, 19TH CENTURY One carved as the Seven Gods of Good Fortune on their treasure boat, takarabune, the prow formed as a large dragon with long whiskers trailing to the sides, raised on a base carved as scrolling waves; the other depicting a young boy playing the flute while resting against his ox, a bundle of firewood to the side, signed Masakazu, 6.4cm max. (2) Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.
Lot 237
A LARGE JAPANESE SATSUMA VASE BY KINKOZAN MEIJI PERIOD, 19TH OR 20TH CENTURY The tall hexagonal vase richly decorated with a continuous scene of many boys and the Seven Gods of Good Fortune, Shichifukujin, the children appearing from Hotei's treasure sack, playing with a multitude of Daruma dolls emerging from Daikoku's mallet, the shoulder with panels of brocade patterns, the neck and foot with bands of key fret, the decoration rendered in thick raised enamels on the gilt ground, the base signed Dai Nihon Kinkozan, 44.5cm. Provenance: from a deceased estate, Hampshire.
Lot 130
A group of Continental 18th Century style porcelain figural groups to include: Lady in sedan with attendants, Naples mark; A pair of lovers seated, German factory mark and two groups of Children, one with axes, the other playing a lute, blue underglaze marks and one numbered (5)CONDITION:crack to underside of group of children with lute, repairedchip and loss to seat of group of children with axe, paint/worn around the rim of base above gilding
Lot 190
A Chinese famille verte bottle vase, Qing dynasty, 19th century, the rounded body painted with a group of female musicians playing to an official and attendants, the other side painted with two pheasants on branches of magnolia above chrysanthemum 44cm high (damage to the neck and rim) Condition report: old crude restoration, cracked neck restuck, old white painted redecoration, main body of vase good, enamel nice, some minor wear to iron red detail, foot rim ok, no sign of cracks or hairlines but significant damage as noted to neck
Lot 2475
A Regency period mahogany longcase clock, the door with lancet shaped outline flanked by reeded sides with conche shell inlay detail, the hood of arched outline with swan neck pediment enclosing a painted broken arch dial showing rural landscape - the four seasons, the rolling lunar phase with further landscape detail with eight day striking movement with three winding holes playing on two bells - with repeat T. Yates of Preston
Lot 358
A SEVRES PORCELAIN ORMOLU MOUNTED VASE AND COVER with beast mask handles, the vase painted with a musician playing a lute, indistinctly signed Le Scane(?), 24cm high together with a pair of Sevres Porcelain cabinet plates signed Detaitre, 24cm diameter and a similar shallow footed tazza (4) Condition: the vase with broken, restored and riveted cover, and with oxidisation to the mounts; the two plates and tazza with possibly spurious marks, wear to the gilding; chip to the rim of the tazza
Lot 60
A TURNED BOXWOOD AND EBONY CHESS SET the kings 10.3cm high together with a set of draughts pieces, all contained within a folding leather draughts and chess board case in the form of two books; and various playing cards, games board and four jigsaw puzzles Condition: the chess set with one ebonised knight in need of regluing top to base, the folding chess board with wear overall and some slight losses and marks, three of the four jigsaws in plastic bags and of unknown subject or completeness, the card games used
Lot 25
A SWISS MUSICAL BOX playing eight airs in a case with decorative inlay, 42.5cm wide x 18.5cm deep x 12cm high Condition: in poor condition, not working, the case with detached joints, the lid detached from the base, the label within damaged and detached from the lid, generally in poor condition and for restoration
Lot 2249
Silver and silver mounted wares, comprising; a rectangular playing cards' box, probably Birmingham 1922 and a set of four small circular bowls, Birmingham 1924, weight of bowls 131 gms, (5). Condition Report Several dents to the lid and to the sides, hallmark rather rubbed, inscription to front, engraved M to lid. Interior of box slides out (not meant to), interior a bit milldewey, Interior framework to border coming away at corners.Bowls in good condition, slightly graduated in size.Score book missing pencil, compartment to hold pencil looks added, overall poor condition.
Lot 484
A 1940’s INTERNATIONAL WALES RUGBY UNION JERSEY MATCH-WORN BY BILLY CLEAVER (1921 – 2003) in traditional red with white collar, Prince of Wales feathers embroidered directly on to the jersey, with blue ribbon and ‘ICH DIEN’, bears label for D L Davies’ outlet ‘The Bon’, Swansea (faintly inscribed J W Kyle – please see provenance below), printed black ‘F’ to canvas panel stitched to back, together with a black and white still photograph of Cleaver’s kicking action Auctioneer’s Note: William Benjamin Cleaver was born in Treorchy in 1921. He was known as Billy Cleaver and later by his nickname, ‘Billy Kick’. There is perhaps an unfair perception that the typical Welsh amateur era rugby-player was a man lacking in culture, that their strength and determination came from hard labouring jobs in the collieries and heavy industry. Such a theory was often disproven, especially in the years following the second world war. The famous Welsh backline quartet during that period consisted of Bleddyn Williams, a product of Rydal School, Doctor. Jack Matthews – a physician, Haydn Tanner who attended Harvard Business School and then Billy Cleaver. Cleaver was a graduate of Mining at Cardiff University, he was a wine connoisseur, a tenor and an art enthusiast who later became the Secretary of the Contemporary Art Society of Wales. Cleaver’s nickname ‘Billy Kick’ was a betrayal of his personality and his rugby play, which was as cultured as the man himself. He had a far greater depth to his game than simply kicking. Cleaver was a robust, reliable and charismatic individual. With his distinguishable mop of blonde hair, he is an unmistakable figure in the team photos from the period - even in black and white. Cliff Morgan in ‘Heart and Soul: The Character of Welsh Rugby’, described one such photograph from the 1950 British Lions tour : ‘Rex Willis, Jack Matthews, Bleddyn Williams, Billy Cleaver and Cliff Davies look like a complete team in themselves; they stand (all much the same size and height whatever their position) with the confidence of gentlemen, some with their hands in their pockets, Bleddyn holding the ball, not unlike a group of army officers who have just won a regimental tour in Penang’. Cleaver was not only cultured and a gentleman of distinction, but he was one of the great utility backs of the early post-war era. He was best known for his defensive play but he had great technical ability in attack, being able to seamlessly take a pass on the move without interrupting the rhythm of play, while then moving the ball on to his outside with elegance, invariably he would then spirit behind his centres to make himself available again in the move. If the ball was dropped or came loose, he regularly scooped the ball effortlessly from his toes before it was turned over to the opposition. As with many naturally gifted sportsmen, Cleaver was not inclined to train too hard. His playing colleagues were staggered that he could muster such emphatic performances in a match while having such a casual approach to the game. He won 14 caps for Wales between 1947 and 1950, winning nine matches and drawing two. His many achievements included the distinction of playing in three different positions against the 1947-48 Wallabies on their tour of Europe and finishing on the winning side each time. He was also an intelligent and very effective pivot in Wales’ Grand Slam of 1950, their first after a thirty-nine-year barren spell. In the same year, he toured Australia and New Zealand with the British Lions, when he played in all three of the New Zealand tests at fullback. One of the old after-dinner stories from the 1950 British Lions tour was that the tourists stopped at Ceylon on their sea-passage home, where they played a one-off match against the national team. Billy Cleaver, much to the amusement of the rest of the party, ended up running the line for the match where he was constantly heckled by the locals to give the score. Cleaver could excel anywhere in the backline, but fly-half is where he enjoyed playing the most. He spent six years at Cardiff RFC primarily as a fly-half, between 1945 and 1951, making 150 appearances. During the Second World War years he firstly played with Billy Darch as his half-back partner for Cardiff, who was replaced when Haydn Tanner joined the club, and they teamed up in one of the most famous halfback partnerships in rugby history. The 1947/48 season was particularly special at Cardiff, one in which he partnered with Tanner at scrumhalf and with the sublime partnership of Bleddyn Williams and Jack Matthews on his outside. That season was regarded as Cardiff’s best, they scored a remarkable 182 tries in 41 games and lost only twice. In ‘Rugger, My Life’ Bleddyn Williams writes a glowing tribute: ‘Cleaver was a natural footballer; but because people wanted a fly-half moulded on classical lines he was in and out of the Welsh team, playing at centre and full-back as well. But fly-half was his position, and I felt so all the time I was playing there for Wales against England in 1947. If “Billy Kick” had been out half that day I think Wales might have won.’ On his return from the Lions tour of 1950, Cleaver declined an invitation to be captain of Cardiff, instead retiring from the game entirely at the age of 29, to pursue further his career in mining. By the young age of 28 years of age, he had already become manager of North Celynen Colliery in Monmouthshire, eventually becoming a Deputy Director of the South Wales Coalfield. His premature retirement was a great loss to Welsh Rugby. But it was typical of the man who regarded rugby casually, as just another of his many interests and talents. He did however come back to figure at scrumhalf for the Lions against his beloved Cardiff to commemorate their 75th anniversary in 1951, partnering with Jack Kyle for one of the most spectacular games in post war rugby. Provenance: consigned in Ireland, from the collection of the late Jack Kyle OBE (1926 - 2014), one of Ireland's most famous players. The two players swapped jerseys on one of the occasions that they faced each other in 1947 or 1949 before the Wales team used a numbering system. The two players became good friends on tour with the British Lions where ‘he and Jack Kyle were as loth to appear at training periods as modern players are to pass the ball out in their own “25”….both their names will never be forgotten in the history of Rugby football.’ (Rugger, my life; Bleddyn Williams; Anchor press, 1956) Condition Report: one of the two buttons missing, faded printed ‘F’ on panel, small area of fading on back down spine, one small stitching repair on back which is believed to have been done during playing days, a few small blemishes but not serious, structurally no problems, in excellent condition overall, it has not been displayed so generally not faded and without pinholes or long-term folds
Lot 480
GERMAN VIOLIN, bearing label for Carlo Storioni 1888, probably from Reiger and Fiorini workshop in Munich, length of back 36.5cms (14 1/2in) in figured maple, two piece back of broad curl, ebony tuning pegs, 61cms overall length, in a modern hard carry case. Provenance: private musician north Wales Condition Report: one string missing, varnish worn form edges to back, small patch of varnish loss top right table and upper right bout commensurate with playing action, generally very good playing condition
Lot 472
FINE WILLIAM IV BIRDS EYE MAPLE & PARCEL GILT GRECIAN HARP, by Jacob & James Erat, c. 1835-40, the double-action 43-string harp with banded maple soundboard, fluted pillar topped with anthemion and winged caryatids holding laurel wreaths, the pedal box with maidens playing lyres, seven pedals, brass mechanism plate engraved 'J & J Erat, Patent Harp, Manufacturers, 23 Berners Strt. London No. 2132, 171cms high Provenance: private collection north Wales. Auctioneers Note: Jacob Erat worked in the Erard factory as foreman in the late 18th Century and set up on his own at 100 Wardour St, later moving to Berners St in 1817. Following Jacob's death in 1821, his sons took over the business and continued making harps until 1858 Condition Report: restored in 2018 by Tecwyn Jones (report available on request). Some minor gesso borders partially lost, one string broken, otherwise excellent all round condition
Lot 222
A late 19th century Swiss rosewood cased music box, the 13" cylinder playing ten airs, with change/repeat and stop/start function, the case with marquetry conch-shell inlay, crank handle numbered 804, w.57cmCondition report: Case excellent and complete, but has probably been re-polished at some point.Comb good - all teeth present.Fully working.Some very minor evidence of age wear, otherwise very good.
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