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Lot 158
Herbert Cescinsky and Ernest R Gribble, Early English Furniture and Woodwork, in two vols, London 1922, cloth; John Preston Neale and John le Keux, Views of the Most Interesting Collegiate and Parochial Churches in Great Britain, in two vols, London 1824, calf; J D Hardings, drawing book, being an album of lithographs, original tooled cloth, other works of architectural interest. Qty: 10
Lot 181
A silver seven-piece condiments set, Robert Chandler, Birmingham 1906, comprising four salts, one mustard and two pepperettes, pierced bodies, blue glass liners, all on three raised bun feet, cased, total weighable 5.7oz.Condition report:The marks are rubbed on a couple of items. One of the pepperettes has an odd join on its pierced body. The finials on both pepperettes are very slightly bent. Please see additional uploaded images.
Lot 217
A Lalique 'Coquilles' plafonnier, 44.5cm diameter overall22.5cm diameter inner9cm highCondition ReportSigned R. Lalique France no. 3201, with some scuffs to the bottom of the bowl, likely from when it would have been resting on a surface. The chain and suspension with some rust and marks. The acid etched rim with some scratches and marks.
Lot 498
▴ Zaha Hadid (1950-2016),a white 'Aqua' table, 2006, polyurethane resin and silicone, made by Established and Sons, signed in the mould, 303.8cm wide133.3cm deep75.6cm highLiterature: Zaha Hadid, exh. cat., Solomon R. Guggenheim Foundation, New York, June 3-October 25, 2006, p.167. Sophie Lovell, Limited Edition, Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p.179. Zaha Hadid, Zaha Hadid, l'intégrale, Paris, 2009, p.227. Zaha Hadid and Aaron Betsky, The Complete Zaha Hadid, London, 2009, p.243.Condition ReportTogether with a purpose built crate for transport.Top has been refinished by Established and Sons - it had some surface scratches - now very good indeed.Crate size: 320cm x 147cm x 109.5cm high
Lot 215
VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com
Lot 51
RARE PAIRE DE FAUTEUILS EN HUANGHUALI, NANGUANMAOYIXVIIe/XVIIIe siècle A RARE PAIR OF HUANGHUALI 'SOUTHERN OFFICIAL HAT' ARMCHAIRS, NANGUANMAOYI17th/18th centuryEach armchair generously proportioned with a well-figured rectangular S-shaped backsplat centred with a reticulated panel enclosing two entwined flowers, flanked by curved corner posts which extend through the rectangular seat frame enclosing a hard mat seat, the outcurved arms supported by tapering side posts and recessed front posts joined by a plain apron, the feet joined by the footrest. 104cm (41in) high x 56cm (22in) wide x 43.5cm (17 1/8in) deep. (2).Footnotes:Provenance: Jean-Pierre Rousset, Paris (1936-2021), acquired in the 1980's Displaying restrained lines and generous yet balanced statuesque proportions and enhanced by the rich lustre of the huanghuali honey-tone wood, the present pair of armchairs embodies the search for simplicity through the beauty and elegance of form, quintessential embodiments of the Ming and early Qing dynasty timeless aesthetic. The master carver allowed only one adornment - the openwork cartouche at the back of each of the backsplats displaying an intertwined blossom converging to form the shape of a lingzhi fungus, symbolic of long life. The 'Southern official's hat' armchair is one of the most prestigious forms of Chinese furniture. Whereas many armchairs of this form feature thick members and rigid lines, the present pair, displaying slender and elegant curves, has a most refined aesthetic, and represents among the most graceful examples of this design. The entirely uncarved surfaces, accentuated by the elegant beading focuses the beholder on the beauty in form and material. This particular design of nanguanmaoyi chairs differs from the 'official's hat' armchair guanmaoyi in that the crestrails continue into the back posts, as opposed to extending horizontally beyond them. In addition, creating the continuous line of the crestrail joining into the rear upright posts is achieved by a rounded, right-angle joint called a 'pipe-joint,' which is also used to join the curved arms to the front posts. Discussing the origin of this form, Robert Jacobsen and Nicholas Grindley refer to bent bamboo construction, popular in the Song and Ming dynasties, as a possible inspiration for the continuous top and arm rails which is a principal feature of 'Southern official's hat' armchairs. An illustration from the 'Legend of the Jade Hairpin' Yuzan Ji, dated circa 1570, depicts a pair of speckled-bamboo tall-back chairs with continuous crestrails; and see also a pair of related huanghuali 'Southern official's hat' armchairs, early 17th century, of similar proportions as the present lot, illustrated by R.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53.An extremely fine and rare huanghuali low back continuous yokeback armchair, nanguanmaoyi, 17th century, was sold at Bonhams London, 13 May 2021, lot 24. See also a related pair of huanghuali official's hat armchairs, guanmaoyi, 17th/18th century, from the collection of Robert Hatfield Ellsworth, which was sold at Christie's New York, 18 March 2015, lot 106.Ces fauteuils aux lignes sobres et aux majestueuses proportions (généreuses mais équilibrées) mises en valeur par la patine chaude du bois de huanghuali couleur miel, reflètent la quête de simplicité à travers la beauté et l'élégance de la forme, incarnation par excellence de l'esthétique intemporelle de la dynastie Ming. L'ébéniste ne s'est permis qu'un seul ornement – le médaillon ajouré sur chaque dossier montrant des fleurs entrelacées qui créent ensemble la forme d'un champignon lingzhi, symbole de longue vie. Le fauteuil à dossier « en bonnet de lettré du sud » est une des formes les plus prestigieuses du mobilier chinois. Alors que nombre de fauteuils de ce type montrent des montants épais et des lignes rigides, cette paire présente des courbes élancées et élégantes à l'esthétique raffinée, et est un des plus beaux exemples de ce modèle. La surface quasiment sans décor, accentuée par les moulures élégantes, concentre l'attention du spectateur sur la beauté du matériau et de la forme.Ce modèle particulier de fauteuil, nanguanmaoyi, diffère des fauteuils « en bonnet de lettré » guanmaoyi en ce que la traverse supérieure se prolonge dans les montants du dossier, au lieu de se prolonger horizontalement au-delà d'eux. La création de cette ligne continue faite de la traverse supérieure rejoignant les montants arrière du fauteuil est permise par l'utilisation d'un joint coudé en tuyau, qui est aussi utilisé à cet effet pour joindre l'extrémité des accotoirs et leur montant avant.Au sujet de l'origine de cette forme, Robert Jacobsen et Nicholas Grindley mentionnent la construction en bambou recourbé, appréciée sous les dynasties Song et Ming, comme une possible inspiration pour la ligne ininterrompue du dossier et des accotoirs, qui est un des traits principaux des fauteuils « en bonnet de lettré du sud ». Une illustration de la Légende de l'épingle à cheveux en jade (Yuzan ji), daté d'environ 1570, représente une paire de chaises à haut dossier en bambou tacheté avec ces traverses et montants continus ; voir aussi une paire de fauteuils proches en huanghuali « en bonnet de lettré du sud », du début du XVIIe siècle, aux proportions similaires à ceux présentés ici, illustrée dans R. Jacobsen et N. Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53.Un très beau et rare fauteuil en huanghuali à dossier bas continu, nanguanmaoyi, XVIIe siècle, a été vendu chez Bonhams à Londres le 13 mai 2021, lot 24. Voir également une paire comparable de fauteuils en huanghuali « en bonnet de lettré » guanmaoyi, XVIIe/XVIIIe siècle, de la collection de Robert Hatfield Ellsworth, vendu chez Christie's New York, le 18 mars 2015, lot 106.十七/十八世紀 黃花梨南官帽椅一對來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏，於二十世紀八十年代入藏此對南官帽椅以紋理細緻亮澤如蜜之黃花梨材質表現簡潔造型，將明代及清代早期的簡練、純粹美學體現無遺。全椅光素，唯椅背上透雕纏枝花交織成象徵長壽的靈芝紋樣，可見雕工之匠心。作為中國古典家具中最負盛名的形式之一， 南官帽椅通常以其厚重構件及硬朗線條為人所知。但... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 62
PEINTURE REPRÉSENTANT UNE DAME DE COUR ET SA SERVANTEProbablement dynastie Ming (1368-1644) ou antérieurA PAINTING OF A COURT LADY AND LADY-ATTENDANTProbably Ming Dynasty (1368-1644) or earlierInk and pigment on silk, with apocryphal seal of Song emperor Huizong, reading Neifu tushu zhi yin on the top left, seal of Jin dynasty emperor Zhangzong, reading Mingchang Yulan, collector's seal lower right reading Nanchang wanshi zhencang, framed and glazed. 135cm (53in) long x 56cm (22in) wide. Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present lot depicts an elegant Court lady holding in her hand a sheng or free-reed wind instrument, seated outside beside a gnarled rock issuing peony. Behind her stands an attendant draped in green robes, the relatively large size of the lady indicates her importance compared to the smaller attendant.The Court lady wears an elaborate headdress with seven phoenix, perhaps indicating that this is Bixia Yuanjun, the primordial sovereign of the dawn clouds, or Lady of Mount Tai. In Daoism, she is considered not only the Goddess of Mount Tai, but also of childbirth and destiny. She became an important deity particularly in the north of China during the Ming and Qing dynasties. The detail of the clothes is particularly magnificent. The Lady is clad in gorgeously decorated robes detailed with a Daoist Immortal carrying a staff from which hangs a double-gourd containing an elixir, and facing a crane and tortoise, symbols of longevity. This again would seem to indicate that the figure is a deity or connected to Daoism. In the centre of the painting is a spurious seal reading 'Mingchang Yulan', seal of the Jin emperor Zhangzong (r.1188–1208). Emperor Zhangzong attempted to supersede the former Song emperor Huizong as an art connoisseur and inherited a large collection of art which he inscribed or attached his seal to. See the painting, for example, of 'Lady Guoguo's Spring Outing', attributed to Zhang Xuan, where emperor Zhangzong added the three characters 'Tian shuimo', which actually belonged to Huizong; see Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Another collector's seal on the bottom right reads 'Nanchang wanshi zhencang' which likely belonged to Wan Chengzi 萬承紫(1775-1837). In the upper left is another apocryphal seal reading 'Neifu tushu zhi yin' (內府圖書之印 'Seal for Painting and Calligraphy of the Palace Storehouses'), the seal of Emperor Huizong.Although the painting echoes the work of Tang dynasty painter, Zhou Fang, and his 'Court Ladies Wearing Flowered Headdresses', illustrated in Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, with their large chignons and elaborate headdresses, the style of the painting would suggest a a later date. See for example, related figures of ladies in a Daoist wall painting 'Homage to the Highest Power', originally from the Longmen Monastery in Shanxi Province, c.1300, in the Royal Ontario Museum (acc.no.933.6.3).Cette œuvre dépeint une élégante dame de Cour tenant un sheng (instrument à vent à anches libres), assise à côté d'un rocher tortueux traversé par un arbuste couvert de pivoines. Derrière elle se tient une suivante dans une robe verte, et la plus grande taille de la dame manifeste son importance.La dame de Cour porte une coiffe élaborée à sept phénix, indiquant peut-être qu'il s'agit de Bixia Yuanjun, la souveraine primordiale des nuages de l'aube, appelée aussi Dame du Mont Tai. Dans le taoïsme, elle est non seulement la déesse du Mont Tai, mais aussi celle de l'accouchement et du destin. Elle devint une divinité importante, surtout dans le Nord de la Chine, durant les dynasties Ming et Qing.Le détail des vêtements, en particulier, est magnifique. La dame est habillée de robes superbement décorées, dont une rouge présentant un motif d'immortel taoïste tenant un bâton où est accroché une double-gourde contenant un élixir, et faisant face à une grue et une tortue, des symboles de longévité. Ceci semble encore montrer que ce personnage est une divinité ou est lié au taoïsme.Au centre de la peinture se trouve le sceau apocryphe « Mingchang Yulan », prétendument le sceau de l'empereur Zhangzhong (r. 1188-1208) des Jin. L'empereur Zhangzhong tenta de remplacer l'empereur Huizong des Song comme connaisseur des arts et hérita d'une vaste collection d'art sur laquelle il calligraphia ou apposa son sceau. Voir par exemple la peinture de L'excursion printanière de Dame Guoguo, attribué à Zhang Xuan, sur laquelle l'empereur Zhangzhong a ajouté les trois caractères « Tian shuimo », qui appartenaient en fait à Huizong, cf. Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Il y a autre sceau de collectionneur en bas à droite, « Nanchang wanshi zhencang », probablement celui de Wang Chengzi 萬承紫(1775-1837). En haut à gauche se trouve un autre sceau apocryphe indiquant « Neifu tushu zhi yin » (內府圖書之印), le sceau de l'empereur Huizong.Bien que la peinture évoque le travail du peintre Zhou Fang de la dynastie Tang et ses Dames de la Cour portant des coiffes fleuries illustrées dans Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, avec leurs grands chignons et coiffes élaborées, le style de cette peinture suggèrerait une date plus tardive. Voir par exemple des personnages comparables de dames sur une peinture murale taoïste, Homage to the Highest Power, provenant probablement du monastère de Longmen dans la province du Shaanxi, vers 1300, et conservé au Royal Ontario Museum (acc.no. 933.6.3或明或更早 仕女圖 設色絹本 立軸來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏本拍品描繪一位優雅宮裝仕女，手持竹笙，安坐於牡丹花旁的嶙峋石上。其身後為綠袍侍女。從二人的身量大小區別可見其身分區別。該宮裝仕女頭戴七鳳冠，或表明其為碧霞元君或泰山娘娘之身分。在道教中，她不只被認為是泰山山神，還是主生育的神祇，並在明清時代的華北地區廣受崇拜。本拍品對人物衣飾著墨甚多。主角華麗的衣袍上甚至可見了肩挑懸壺的道教仙人形象，亦有仙鶴壽龜等紋樣，均為長壽之象徵... For further information on this lot please visit Bonhams.com
Lot 80
STATUETTE DE VISHAKARMAN EN ALLIAGE DE CUIVREThaïlande, Lopburi, XIIIe siècleA COPPER ALLOY FIGURE OF VISHAKARMANThailand, Lopburi, 13th centuryDefined by the handle of adze held in his right hand, the celestial architect faces frontal kneeling in his distinct pose. His long torso is adorned with a short, pleated sampot which folds down into his lap and a large mass of overhanging pleated fabric at the back. Three lines incised across his abdomen are revealed, indicating folds of the flesh similar to those found around his neck. His beaded armbands wide pectoral are adorned with pearls and leaf motifs, bud-shaped earrings hang to his shoulders, and vertical rows of braids are upswept in a towering coiffure framed by a narrow foliate diadem, stand. 18.4cm (7 1/4in) high. (2).Footnotes:Provenance:Mr. Pila, Plenipotentiary Minister of France to the Kingdom of SiamRobert Rousset, Paris (1901-1981), acquired from the above in 1926Jean-Pierre Rousset, Paris (1936-2021)It was during the great building projects commenced by King Jayavarman VII (r.1181-1291) that Vishvakarman iconography became popular within the Khmer empire. The embodiment of a sculptor, architect and priest, the deity is Hindu in origin and was first referred to in the Vedas and Puranas. Regardless, during the twelfth and thirteenth centuries, his image of revered by both Buddhists and Hindu worshippers in the region. Not only were bronzes cast prolifically cast in Cambodia, but also many remain extant from Khmer territory in Thailand in the thirteenth century when Brahmanic casting was rare, see J. Boisselier and J. Beurdeley, The Heritage of Thai Sculpture, 1975, pp.124-125.The present lot is a part of this later group from Lopburi and he shows strong influence Bayon elements in his modelling and facial form. Compare with a smaller and less refined example in the Suan Pakkad Palace Collection, see M.C.S.Diskul et al., The Suan Pakkad Palace Collection, 1982, no.26, p.47 and Bonhams New York, 19 March 2012, lot 1142.泰國 華富里 十三世紀 銅毘首羯磨坐像來源：巴黎Robert Rousset（1901-1981）舊藏，於1926年得自法國駐暹羅全權公使Pila先生巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
Lot 120
A 9CT GOLD CUBIC ZIRCONIA SET RING AND A FULL ETERNITY RING, the 9ct yellow gold ring set with a central circular cut colourless cubic zirconia, cubic zirconia set shoulders leading onto a polished thin band, hallmarked 9ct Birmingham, ring size P, approximate gross weight 1.3 grams, together with a yellow and white metal full eternity band set with colourless paste, unmarked, ring size R 1/2, approximate gross weight 2.8 grams
Lot 128
TWO 9CT GOLD GARNET RINGS, to included a garnet three stone ring set with three oval cut garnets, interspaced by colourless paste accents, hallmarked Birmingham 1976, approximate ring size R 1/2, together with a garnet cluster ring, set with a principal oval cut garnet, surrounded by ten circular cut garnets, hallmarked London 1972, approximate ring size Q, approximate gross weight 7.5 grams (condition report: overall condition good)
Lot 130
THREE 9CT GOLD DIAMOND AND GEM SET RINGS, to include a single cut diamond tiered cluster ring, estimated/stated total diamond weight stamped 0.25, hallmarked Sheffield, approximate ring size N, a sapphire and diamond cluster ring, set with circular cut sapphire and single cut diamond accents, hallamrked London 1980, approximate ring size R, together with a sapphire and cubic zirconia wish bone ring, hallmarked Sheffield 1988, stamped CZ, approximate gross weight 6.4 grams (condition report: overall condition good, diamonds appear bright and lively, sapphires have dark blue body colour)
Lot 148
A BOX OF COSTUME JEWELLERY, CUTLERY AND OTHER ITEMS, to include a pair of carved mother of pearl drop earrings, white metal fish hook fittings stamped 925, a pair of white metal paste set drop earrings unmarked, various costume brooches, imitation pearls, costume rings, two quartz fashion wristwatches, a white metal cameo line bracelet, military related badges, earrings, six EP 'Ashberry' old English pattern table forks, with engraved initial 'R' to each terminal
Lot 425
A FRAMED AND GLAZED MARCUS TRESCOTHICK MATCHWORN ENGLAND CRICKET SHIRT, worn during the 2002-2003 Ashes series in Australia, shirt has been signed by M Trescothick, A Stewart, N Hussain, A Giles, A Flintoff, M Butcher, P Collingwood, J Foster, M Vaughan, M Hoggard, R Dawson and A Tudor, the shirt which has Trecothick's initials sewn to the left arm and also has unique cap no.603, was donated by Marcus Trescothick for a charity auction and comes with a copy of the original auction catalogue, frame size approx. 90cm wide and 88 cm high with plaque to front
Lot 474
A SMALL QUANTITY OF PAINTINGS AND PRINTS, to include a limited edition William Russell Flint print 'The Looking Glass', 765/850 published 1991, approximate size 46cm x 54cm including margins, Douglas Haddow watercolour depicting ducks in flight at sunset, S.G. Jennings pastel depicting a figure beside a river, John R. Myers watercolour depicting wild plants, pen and ink drawings of botanical studies initialled MMR, together with two prints and two photographic prints
Lot 83
A SYNTHETIC SPINEL SINGLE STONE RING, the circular cut synthetic spinel, within a geometric surround and tapered band, stamped 750, ring size R, approximate gross weight 5.9 grams, with case (condition report: overall very good, minimal wear, synthetic spinel is a medium vivid green hue, blue undertones)
Lot 16
Orden und Ehrenzeichen - Auszeichnungen der NSDAP : Gau Abzeichen für Mitgliedschaft in der NSDAP seit 1923 (Allgemeines Gau Abzeichen).Modell mit Jahreszahl 1923. Silber, das Hakenkreuz emailliert, an Nadel. Auf der Rückseite Herstellerzeichen: "R. WÄCHTLER & LANGE MITTWEIDA" sowie Silberstempel "800". Sehr schönes, getragenes Originalexemplar.
Lot 17
Orden und Ehrenzeichen - Auszeichnungen der NSDAP : Gau Abzeichen für Mitgliedschaft in der NSDAP seit 1925 (Allgemeines Gau Abzeichen).Modell mit Jahreszahl 1925. Silber, das Hakenkreuz schwarz lackiert, an Nadel. Auf der Rückseite Herstellerzeichen: "R. WÄCHTLER & LANGE MITTWEIDA" sowie Silberstempel "800". Schönes, getragenes Originalexemplar.
Lot 181
Deutsches Reich 1933 - 1945 - Führende Persönlichkeiten des 3.Reiches : Adolf Hitler: Mein Kampf - Große Prachtausgabe (Exemplar aus dem Besitz des NSKK Korpsführers Adolf Hühnlein). Exemplar der so genannten "Gauleiterausgabe". Zentralverlag der NSDAP Franz Eher Nachf. GmbH, München. Beide Bände in einer Ausgabe gebunden. 360 S., bzw. 351 S. Im alten, handgefertigten Pergamenteinband mit wuchtigem Lederrücken und Schließbändern aus Pergament. Die Deckel mit Pergamentpapier beklebt (möglicherweise zum Abdecken von Symbolen - nicht überprüft). Beigefügt ein Schreiben des NSDAP Reichsleiters und Chef der Deutschen Arbeitsfront Dr. Robert Ley an den N.S.K.K. Korpsführer Adolf Hühnlein vom 7. September 1938 mit folgenden Wortlaut: "Lieber Parteigenosse Hühnlein ! Anläßlich Deines Geburtstages und gleichzeitiger Ernennung durch den Führer zum Reichsleiter der NSDAP, übersendet Dir die Reichsorganisationsleitung die handgebundene Ausgabe von "Mein Kampf" mit den besten Wünschen. Heil Hitler ! Dr. R. Ley" Auf der Rückseite des Schreibens aufgeklebter Zeitungsartikel bezüglich der Ernennung Adolf Hühnleins zum NSDAP - Reichsleiter. Die in Sammlerkreisen als "Gauleiterausgabe" bezeichnete große Prachtausgabe des Buches "Mein Kampf" wurde gemäß eines Schreibens des NSDAP - Reichsleiters Max Amann an Frau Professor Gerdy Troost vom 6. August 1940 in einer vom Verlag aus unverkäuflichen Gesamtauflage von 100 Exemplaren hergestellt. Es existieren zumindest zwei verschiedene Originaleinbände mit unterschiedlich gestalteten Hoheitsadlern und der Bezeichnung "Mein Kampf" in Goldprägung. Der Einband dieses Exemplars ist völlig unterschiedlich gestaltet. Es handelt sich zweifelsfrei um einen qualitätvollen alten Einband vor 1945. Ob es sich dabei um eine weitere zeitgenössische Variante für Adolf Hühnlein handelt oder ob die Bindung aus welchen Gründen auch immer verändert wurde läßt sich nicht sagen. Die Bezeichnung "Gauleiter - Ausgabe" ist etwas irreführend, da die große Prachtausgabe an unterschiedlichste Persönlichkeiten verschenkt wurde. So erhielt sie neben Hermann Göring sicherlich auch eine Anzahl weiterer hoher politischer Leiter der NSDAP (wie bei unserem Exemplar Adolf Hühnlein) aber auch ausländische Würdenträger wie z.B. der Gouverneur von Rom, Prinz Colonna und Generaloberst Franz Halder aber auch Prof. Gerdy Troost. Extrem seltenes Exemplar von interessanter Provenienz. The Third German Reich 1933 - 1945 - Leading Personalities of the 3rd Reich : Adolf Hitler: Mein Kampf - Monumental so called Gauleiter Edition. "Mein Kampf - Gauleiterausgabe". Zentralverlag der NSDAP Franz Eher Nachf. GmbH, Munich. Both volumes bound in one edition. 360 pp, and 351 pp, respectively. In old handmade vellum binding with bulky leather spine and vellum closing bands. Covers pasted with parchment paper (possibly to cover symbols - not verified). Enclosed is a letter from NSDAP Reichsleiter and Chief of the German Labor Front Dr. Robert Ley to N.S.K.K. Korpsführer Adolf Hühnlein dated September 7, 1938 with the following wording: "Dear Party Comrade Hühnlein ! On the occasion of your birthday and simultaneous appointment by the Fuehrer as Reich Leader of the NSDAP, the Reich Organization Leadership sends you the hand-bound edition of "Mein Kampf" with best wishes. Heil Hitler ! Dr. R. Ley" Newspaper article pasted on the back of the letter regarding Adolf Hühnlein's appointment as NSDAP - Reichsleiter. The large splendid edition of the book "Mein Kampf", called "Gauleiterausgabe" in collectors' circles, was produced in a total edition of 100 copies, unsaleable from the publisher, according to a letter from the NSDAP - Reichsleiter Max Amann to Professor Gerdy Troost dated August 6, 1940. At least two different original bindings exist with differently designed sovereign eagles and the inscription "Mein Kampf" in gold embossing. The cover of this copy is completely different in design. It is undoubtedly a quality old pre-1945 binding, but whether it is another contemporary variant made especially for Adolf Hühnlein or whether the binding was changed for whatever reason cannot be said. The designation "Gauleiter - Edition" is somewhat misleading, since the large splendid edition was given to a wide variety of personalities. Thus, besides Hermann Göring, it was certainly given to a number of other high political leaders of the NSDAP (such as Adolf Hühnlein in our copy) but also to foreign dignitaries such as the Governor of Rome, Prince Colonna and Colonel General Franz Halder but also Prof. Gerdy Troost. Extremely rare copy of interesting provenance.
Lot 176
Deutsches Reich 1933 - 1945 - Kunst : Willy Exner, Porträt Adolf Hitler (Öldruck) Öldruck nach dem bekannten Führerporträt Willy Exners. Auf Karton. Im modernen, vergoldeten Holzrahmen. Sehr dekoratives Porträt, als Öldruck oftmalsin Rathäusern und Dienststellen der NSDAP aufgehängt. Trotz der ehemals großen Verbreitung haben sich nur vergleichsweise wenige Exemplare erhalten. Maße m. R. : 84 x 70 cm.The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Willy Exner, Adolf Hitler Portrait. Oil print after the famous portrait of the Führer by Willy Exner. On cardboard. In a modern gilded wooden frame. Very decorative portrait, as oil print often hung in town halls and offices of the NSDAP. Despite the former wide distribution, only comparatively few copies have survived. Dimensions with frame: 84 x 70 cm.
Lot 55709
BrillantringWeißgold 18kt. und Platin, schmale Schiene mit durchbrochen gearbeitetem Aufbau, besetzt mit vier Brillanten G-H/si-vsi von jeweils 0.10 ct., in der Ringschiene Feingehaltsmarken "18Ct", "PLAT" und Werkstattmarke "R•N", Ø innen 1.66 cm, Ringgröße 52 (D), L1/2 (GB), 6.1 (USA), 12 (FR), Gewicht 2.2 gr., sehr guter, unberührter Zustand mit geringen Gebrauchsspuren 0165
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