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Lot 212
CALVERT RICHARD JONES (1804-1877) Figures on a Quay of a Mediterranean Harbour, signed and dated 1854, pencil, watercolour and bodycolour, 8 ½ x 13 in ; sold together with a rare lithograph by the artist depicting a coal boat off the Welsh Coast (with colliery ramps in the background); and an 1842 etching by the artist depicting shipping off a Mediterranean Coat with lighthouse; three (3)The Rev. Calvert Richard Jones was the son of a Swansea landowner and studied at Oriel College, Oxford. As a marine painter he was influenced by the work of George Chambers. He was an early Daguerrotypist, and occasionally worked with Henry Fox Talbot, and Hippolyte Buyard, the French inventor of creating direct positive prints on paper.
Lot 21
Andalusian School; XVII century."Saint Bartholomew".Oil on canvas.It presents humidity stains and small chromatic faults. Needs restoration.Measurements: 115 x 95 cm; 132 x 113 cm (frame).Saint Bartholomew was one of the apostles of Jesus, and is mentioned in the Gospels always in company of Philip. According to John, in whose Gospel he appears under the name of Nathanael, he was one of the disciples to whom Jesus appeared at the Sea of Tiberias after his resurrection. According to the Acts of the Apostles, he was also a witness to Jesus' ascension. The tradition collected by Eusebius of Caesarea narrates that Bartholomew went to preach the Gospel in India, where he left a copy of Matthew's Gospel in Aramaic. The Armenian tradition also attributes to him the preaching of Christianity in the Caucasian country, together with St. Jude Thaddeus, so both are considered patron saints of the Armenian Apostolic Church. Their martyrdom and death are attributed to Astiages, king of Armenia and brother of King Polymius, whom the saint had converted to Christianity. As the priests of the pagan temples, who were running out of followers, protested to Astiages against the evangelizing work of Bartholomew, the ruler sent for him and ordered him to worship their idols, as he had done with his brother. Faced with the saint's refusal, the king ordered him to be flayed alive in his presence until he renounced God or died. The image of Saint Bartholomew has undergone few modifications throughout the history of art, being common the representation of the saint at the moment of martyrdom. Thus, he is usually represented being flayed, either on a colt or tied to a tree. He has also been depicted working miracles: resurrecting the children of King Polymius and freeing his daughter possessed by the devil. On rare occasions he appears being scourged. Sometimes he is represented with a large knife alluding to his martyrdom, according to which he was flayed alive, which is why he is the patron saint of tanners. Also in relation to his martyrdom, he sometimes appears skinned, showing his skin held in his arm as if it were a piece of clothing.Aesthetically this work is close to the models of Sebastián Martínez Domedel Jaén, around 1615 - Madrid, 1667), follower of the school of Murillo is located by Palomino in Jaén, training with Antonio García Reinoso. He would arrive in Madrid after Velázquez died (so it would not have been possible for him to learn with him), city in which he would die in 1667, without means. Experts suppose that he may have studied in Cordoba, in the workshop of Juan Luis Zambrano, or with Antonio del Castillo (which would explain his dedication to landscapes), although it is possible that he was trained in Jaen, as already mentioned. A trip to Madrid in 1661 is documented, to visit the Royal Collections of El Escorial, commissioned by the cathedral chapter of Jaén, with the aim of copying some painting for the Altarpiece of the Holy Face of that building. Some documented works of the master are preserved, which show an eclectic and somewhat uneven artist, who frequently used prints for his inspiration and copied, with some skill, old masters, also imitating some of his contemporaries. It is possible to find paintings by him in several private collections, mainly Spanish, as well as in the Church of San Ginés in Madrid, in the convent of Corpus Christi in Córdoba, in the Museum of Jaén, in the Prado Museum in Madrid, in the Cathedral of Jaén, etc.
Lot 264
A famille verte 'Lady and boy' saucer-dishKangxiFinely enamelled to the interior with an elegant lady holding a book in her right hand and seated on a garden stool beside a table supporting a square vase holding branches of prunus, the lady's tiny lotus foot exposed slightly from underneath her long gown cascading in neat pleats, a boy beside her stands attentively gazing over the terrace with gnarled rocks, all surrounded by a diaper-pattern band around the rim, the base with channelled foot and a leaf within a double circle. 35.1cm (13 3/4in) diam. Footnotes:清康熙 五彩教子圖盤Provenance: Warmington & Co., Inventory & Valuation of the Furniture at Mersham Le Hatch, May 1926 (Knatchbull Papers, Kent Archives, Maidstone, U951 E14 U951 Z54-4) Countess Mountbatten of Burma (1924-2017)來源：Warmington & Co.，《Mersham Le Hatch大宅之家具陳設估值清單》，1926年5月（英國梅德斯通肯特郡檔案處，Knatchbull文件，U951 E14 U951 Z54-4）緬甸的蒙巴頓女伯爵（1924-2017）舊藏Patricia Edwina Victoria Knatchbull, 2nd Countess Mountbatten of Burma, Lady Brabourne, CBE, MSC, CD (1924– 2017) was a British peeress and the third cousin of Queen Elizabeth II. She was the elder daughter of heiress Edwina Ashley, a patrilineal descendant of the Earls of Shaftesbury, first ennobled in 1661, and Admiral of the Fleet the 1st Earl Mountbatten of Burma. Lady Mountbatten succeeded her father when he was assassinated in 1979, as his peerages had been created with special remainder to his daughters and their heirs.Dishes decorated in the famille verte palette with elegantly-dressed women in gardens were popular during the Kangxi period. Dishes of this type appear to represent the idealised concept of a cultured lady instead of a historical person, although the motifs were probably inspired by popular stories, paintings and prints. See a related dish, Kangxi, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.315, no.187.For further information on this lot please visit Bonhams.com
Lot 321
AN ARCHAISTIC PALE GREEN JADE VASE, HUQianlongThe vessel of flattened baluster shape rising from a stepped foot to a waisted neck flanked by a pair of archaistic chilong handles below the lipped rim, the body finely carved on each side with a large taotie mask, the stone of pale green tone with a few dark brown and green inclusions, with a spinach-green jade stand supported by four ruyi feet. With the stand 15.5cm (6in) high. (2).Footnotes:清乾隆 青白玉浮雕仿古紋瓶The taotie masks on the present jade vase, based on ancient bronze vessels, show the enthusiasm at Court for archaism. The Qianlong Emperor proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic moral qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xiqing gujian (Catalogue of Xiqing Antiquities). Jade carvers were thus encouraged to study archaic bronze vessels in the Qing Court Collection or in illustrated woodblock prints, and adapting them to the medium of jade; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.Compare with a related white jade incense tool vase, with archaistic motifs, Qianlong, which was sold at Bonhams London, 5 November 2020, lot 141.For further information on this lot please visit Bonhams.com
Lot 102
A LARGE JAPANESE CLOISONNÉ ENAMEL JARDINIÉREMeiji PeriodBrightly enamelled around the exterior with butterflies against a shimmering copper-brown ground and meandering floral scroll, all beneath a floral and foliate pattern border at the mouth rim. 33cm (13in) diam.Footnotes:日本明治時代 銅胎掐絲琺瑯花蝶紋罐Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今During the Meiji period (1868-1912) a boom in cloisonné production led to the creation of many high-quality works. As Japan opened up its ports to trade, such pieces became particularly popular abroad. Bought by international collectors at high prices, most of the cloisonné created during the Meiji era was therefore exported. In Japanese culture, butterflies carry a number of meanings but are most closely associated with the symbolism of metamorphosis and transformation. The imagery of butterflies is widely used on kimonos, yukata, and other clothing (both traditional and non-traditional), on family crests, in paintings and ukiyo-e woodblock prints and the decorative arts.掐絲琺瑯工藝在日本明治時代（1868-1912）蓬勃發展，並隨著日本開放門戶而大量出口，被國際藏家高價購藏。在日本文化中，蝴蝶常意味著生命形式的轉化，蝴蝶紋樣也被廣泛用於和服浴衣等紋飾、氏族武士的家紋、以及繪畫、木刻版畫與多種裝飾藝術之中。For further information on this lot please visit Bonhams.com
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