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Lot 651
A RARE BRONZE LION BELL TERMINAL, EASTERN JAVANESE PERIOD, 12TH CENTURYA finely cast bronze figure of a lion, almost certainly the upper portion of an important ritual temple bell, and part of a rather small corpus of surviving Javanese bronzes depicting the powerful feline. The gazing eyes outlined below folds of skins, ears of spade-form, mane with three stylized rows of curls, the figure standing erect above a primitive lotus-form base, with claws unsheathed and ready to strike.Provenance: The Marcel Marnat Collection, Paris, France. A collector in Chicago, USA, acquired from the above. Marcel Marnat (b. 1933) is a French musicologist, journalist, and radio producer. He has written books about Maurice Ravel, Joseph Haydn, Igor Stravinsky, Antonio Vivaldi, and Giacomo Puccini, and published articles on Modest Mussorgsky, Michelangelo, D. H. Lawrence, Paul Klee, and Ludwig van Beethoven. His book on Giacomo Puccini was honored by the Academie des Beaux-Arts and received the prix Pelleas as well as a prize for a musical biography of the SACEM at the Deauville book festival. He was an assiduous visitor to Hôtel Drouot for a long time and has built an eclectic collection including Southeast Asian and Indian works of art.Condition: Very good condition, commensurate with age. Extensive wear, minor losses and nicks, shallow surface scratches, expected casting flaws, signs of weathering and erosion, and encrustations. Superb, naturally grown patina.Weight: 1,127 gDimensions: Height 16.5 cm (excl. stand) and 21.7 cm (incl. stand)Mounted on a modern stand. (2)Javanese bronze images of lions are rare, but thankfully several large stone guardians remain scattered across ancient temple sites, such as the pair at the eastern staircase in Borobudur. These ancient stone guardians give us important clues for stylistic dating comparisons. The rarity of bronze lions probably stems from the fact that images of lions in Java were likely imported from Sri Lanka when Gunadharma, the great 9th-century architect, designed Borobudur for King Samaratungga of the Sailendra Dynasty. The depiction of these lions follows a clear evolution from the early examples at the palace of King Ashurnasirpal II in Assyria to the pair carved two millennia later at Yapahuwa Castle in Sri Lanka.Expert's note: The bronze has an attractive, deep patina that is characteristic of early Javanese metal works exposed to the tropical climate of Indonesia for many centuries.Literature comparison: Compare a closely related demon-form top of a bell, 12.5 cm high, also dated to the Eastern Javanese period, ca. second half of the 12th to early 13th century, in the Metropolitan Museum of Art, accession numbers 1987.142.17. Compare a closely related demon-form top of a bell, 11.8 cm high, also dated to the Eastern Javanese period, 14th century, in the Metropolitan Museum of Art, accession number 1982.460.2. For an in-depth discussion and comparison of the iconography of guardian lions across Asia through the ages, see Masatoshi Iguchi, Java Essay: The History and Culture of a Southern Country, Leicester, 2015.Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 2 December 2002, lot 173Price: EUR 7,768 or approx. EUR 12,000 adjusted for inflation at the time of writingDescription: A Javanese bronze temple bell, 13th/14th centuryExpert remark: This comparable confirms that the size of the present lot is within the appropriate range for a bell-handle element. Compare also the similarities in both the patina and the archaic pointed lotus petal-form base surrounding the figures.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 25 October 2007, lot 198Price: GBP 11,875 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A bronze lion terminal, probably India, 14th centuryExpert remark: A similar type of rampant lion-form bronze handle. By comparison, the Javanese example can be viewed as a stand-alone object, and not primarily as a fragment, and is much more desirable in that regard. Seeing similar objects from other regions also further solidifies the iconographic power that the lion held across ancient cultures as discussed by Masatoshi Iguchi.
Lot 547
'PEKINGESE DOG', MID-QING DYNASTYChina, 18th - early 19th century. Ink and watercolors on paper. Depicting a Pekingese dog with black and white fur standing foursquare with an upturned tail on a grassy ground, the face with an alert expression, round ochre eyes, and bushy ears.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019. Condition: Good condition with some wear, little creasing, minor soiling, small touchups, few repairs, and minor tears. The frame with minor wear.Dimensions: Image size 50.7 x 48.5 cm, Size incl. mounting 64.8 x 62.8 cmFramed behind glass. (2)The Pekingese breed originated in China and could only be owned by members of the Chinese Imperial Palace. A consort of the Daoguang Emperor, Lady Chang of the prominent Manchu Heseri clan, was a lover of dogs and particularly enamored with Pekingese. According to Geoffrey R. Sayer (Tao Ya or Pottery Refinements, London, 1959, page 123, no. 722) “Cheng Miao [the Daoguang Emperor] was fond of pigeons, his exalted concubine was fond of little dogs.”During the Second Opium War, in 1860, the Old Summer Palace in Beijing was occupied by a contingent of British and French troops. The Xianfeng Emperor had fled with all of his court to Chengde. However, the elderly Consort Chang remained. When the British and French troops entered, she committed suicide. She was later found surrounded by her five Pekingese. They were removed by the Allies before the Summer Palace was burnt to the ground.John Hart Dunne, Captain of the 99th Regiment of Foot, who participated in the Second Opium War and ransacked the Summer Palace, gifted one of these Pekingese to Queen Victoria in April 1861, writing to her in a letter: “This little dog was found by me in the Palace of Yuan-Ming-Yuan near Peking on the 6th of October 1860. It is supposed to have belonged to either the Empress, or one of the ladies of the Imperial Family. It is a most affectionate and intelligent little creature - it has always been accustomed to being treated as a pet and it was with the hope that it might be looked upon as such by Her Majesty and the Royal Family that I have brought it from China.” (David Matthews, Jo Lee Magazine, November 2002, page 18). Rather insensitively, the Queen and first owner of a Pekingese in the West named her new pet 'Looty'.清代中期《哈巴狗》中國, 十八至十九世紀，紙本水墨設色。一隻北京哈巴狗，毛色黑白相間，尾巴上翹，立於草地上，面帶警惕之色，圓溜溜的眼睛，毛茸茸的耳朵。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、少量摺痕、輕微汙漬、小修補和輕微撕裂。框架有輕微磨損。 尺寸：畫面50.7 x 48.5 釐米, 總 64.8 x 62.8 釐米 玻璃裝框。 (2)
Lot 541
'CATS AT PLAY', MING DYNASTY, 1368-1644China, c. 15th-16th century. Ink and watercolors on very fine silk. Exquisitely painted with two cats in a landscape with leafy wild chrysanthemums and grasses, one mischievously grinning as it mounts the other from behind and places one of its paws on the other cat's head, who shows a rather disgruntled expression. Their mostly white fur is superbly rendered, their bushy tails in black and reddish-brown, respectively.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with some wear, soiling, few tiny losses. The old mounting with small chips to edges, wear and traces of use. Dimensions: Image size 32.6 x 25 cm, Size incl. mounting 43.7 x 49.5 cmThe ancient Chinese referred to cats as 'li-nu', which means a wild cat that has been tamed and domesticated. Since antiquity, cats have been employed by people in their familiar roles as pets and mouse catchers, but they sometimes have also served as models for artists, leaping into the world of art for all to see.Throughout much of its history, China has been an agricultural-based country, planting and raising grains and animals. Although the cat does not traditionally figure as one of these animals, The Book of Rites, written at the time of Confucius nearly 3,000 years ago, mentions a sacrificial offering to the cat made by the emperor at the end of every year in gratitude to the cats that protect the fields of grain by catching the hordes of rats and mice. Although the ancient Chinese did not venerate the cat as a deity like the ancient Egyptians, the rat-catching cat protecting grains was the annual recipient of a special ceremony of gratitude and thus enjoyed a status that indeed was higher than other household fowl or domesticated animals.It is commonly said that 'dogs bring wealth' and 'cats bring position'. The character for 'cat' in Chinese is also a homonym for “octogenarian”, so it is an auspicious metaphor blessing for long life and therefore an appropriate subject in painting. Several painters of cats have been mentioned in art historical texts, from the Tang to the Qing dynasties and beyond.Among all the Chinese emperors, Emperor Huizong of Song (1082-1135; reigned 1100-1125) is the most famous cat lover. There are multiple cat paintings that are thought to be original works by Huizong, including one which is considered to be an exceptionally detailed piece, handed down by the Mito branch of the Tokugawa clan.Expert's note: This work exemplifies a popular style of Ming painting developed from techniques established in the Song dynasty by imperial court artist Li Di (active 12th century). The plump contours of the cats' bodies are evoked with diffuse color washes, and their soft-textured fur is then meticulously rendered in painstaking brushwork.Literature comparison: Compare two related Ming-dynasty paintings of cats in the National Palace Museum, Taipei, one with similar wild chrysanthemums painted by the Xuande Emperor, image number K2A000421N000000000PAA, and the other by Shang Xi (fl. ca. 1430-1440), image number K2A002125N000000000PAA.Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 160 Price: GBP 25,000 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: Anonymous, Ming (1368-1644), Cats and Butterflies Expert remark: Compare the closely related subject, style, and technique. Note the larger size (60.4 x 96.5 cm).明代《貓戲圖》中國，約十五至十六世紀，絹本水墨設色。精美繪有兩隻貓在花草叢中戲耍，一隻惡作劇地咧嘴笑著從後面騎上另一隻貓，一隻爪子放在另一隻貓的頭上，另一隻貓的表情頗為不悅。工筆細細描畫，濃密的尾巴分別是黑色和紅棕色。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、汙漬，微小缺損。木框邊緣有磕損、磨損和使用痕跡。 尺寸：畫面32.6 x 25 釐米，總43.7 x 49.5 釐米
Lot 627
A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)
Lot 327
AN ARCHAISTIC SPINACH-GREEN JADE 'TAOTIE' BANGLE, LATE MING DYNASTYChina, 16th - early 17th century. Well carved in low relief around the exterior sides with a continuous design of five taotie masks framed by horizontal and vertical key-fret borders. The opaque stone of a dark green tone with gray veins and icy inclusions.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The interior sides with an old label, '327'. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art.Condition: Excellent condition with some old wear, natural inclusions, and microscopic nicks here and there. Good, unctuous feel overall.Weight: 120.6 g Dimensions: Diameter 8.3 cmAuction result comparison: Type: Related Auction: Christie's New York, 21 March 2013, lot 813 Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A greenish-yellow and brown jade bangle, Ming dynasty Expert remark: Compare the closely related form, manner of carving with similar key-frets, and size (8.3 cm).明末碧玉饕餮紋手鐲中國，十六至十七世紀初。外壁淺浮雕五個饕餮紋，深綠色不透明石料，帶有灰色紋理和內沁。 來源：Robert Rousset私人收藏, 購於1935年前，保存至Jean-Pierre Rousset。內有舊標籤'327'。Robert Rousset曾是商船的無線電通信官。 他是法國巴黎的中國藝術市場最傑出的先驅之一。他的父親是一名保險代理人，會帶他去 Hôtel Drouot拍賣行，孩提時代他就開始購買藝術品。他對亞洲藝術的真正熱情始於 1920 年代，當時清朝沒落，他與瑞典著名亞洲藝術史學家和鑑賞家 Osvald Siren 一起被派往北京。隨後，他成為二十世紀初由 Blazy 兄弟在巴黎創立的 Compagnie de la Chine et des Indes 旗下中國古董的主要合作者之一。1929 年股市崩盤後，他有機會收購了這家公司。在他負責瓷器的妹妹 Suzanne的帶領下，他們發展了這項業務，並成為法國最重要的經銷商之一，向最大的博物館，包括吉美博物館和大都會藝術博物館，出售古董。品相：狀況極佳，有一些磨損、天然內含物和微小刻痕。整體感覺細膩。 重量：120.6 克 尺寸：直徑8.3 釐米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月21日，lot 813 價格：USD 8,750（相當於今日EUR 10,000） 描述：明青玉銅錢紋鐲 專家評論：比較非常相近的外形，相似的雷紋雕刻和尺寸(8.3毫米)。
Lot 34
A RARE, LARGE AND POWERFUL JADE FIGURE OF A BIXIE, MID-WESTERN HAN DYNASTY - EARLY SIX DYNASTIES PERIODExpert's note: The magnificent polish and remarkably unctuous feel overall are a distinctive testimony of many centuries of passionate handling, indicating that this piece may either be a rare heirloom example, or at the least was only buried for a rather short period, and thence handed down from generation to generation of respectful keepers.China, c. 100 BC to 400 AD. Powerfully carved in a prowling pose with the legs and the right haunch tucked under the body and the left extended backward, rigorously pushing the winged body forward. The face with bulging eyes below thick brows and a pair of curved horns, the pierced mouth baring teeth above the distinct goat beard. The body neatly incised with wings, fur markings, and scroll motifs. The softly polished translucent stone is of a pale green and creamy russet-brown tone with distinct chestnut inclusions and russet veining.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The underside with an old label, 'C. 1085'. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with minor wear, few tiny nicks and light scratches. A small section of the tail has been reattached. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Export License: A French certificat d'exportation pour un bien culturel, document Nr. 233778, dated 31 May 2022, has been granted by the French government. A copy of the document accompanies this lot.Weight: 183.4 g Dimensions: Length 10 cmJade bixie carvings in the round are extremely rare and precious. There are two jade bixie excavated in the Weiling tomb in Xianyang, Shaanxi province: one is striding upright, with two horns curling backwards along the head (fig. 1), the other is crouching with its head down, with two horns growing closely alongside and bifurcating at the tip (fig. 2). There is an Eastern Han jade bixie (fig. 3) in the Taipei Palace Museum with a long snout resembling either a dragon or a horse, unlike the more common tiger-like bixie with shorter snouts, and closely resembles the griffin of Western Asia.Amongst the very few excavated and heirloom examples of jade bixie, the two examples from the Weiling tomb are dated the earliest, indicating that the production of these bixie carvings in the round began as early as the mid-Western Han dynasty. Although none of the bixie carvings from the Two Han dynasties appear identical to one another, they share these characteristics: Double or single-horned, with lion or tiger head and body, goat beard and bird wings. They are also extremely fierce, powerful in musculature, gallant in stature, carved in the round and decorated with incised decoration, shallow relief, high relief and pierced decoration in precise and neat wheel cuts.Although jade bixie have heads like a lion or a tiger, it is the tiger that most embodies its essence. In the Three Kingdoms period, Zhuge Liang in his military strategy coined the now well-known term 'like a tiger added with wings' to describe a general that excels at deploying his troops. The origin of this phrase can be found in his anthology Zhuge Zhongwuhou wenji, juan 4, edited by Zhang Shu (1781-1847): “Military command is the mandate to lead the three armies, and the authority of the chief commander. A general who has the command of the army and knows the essence of troop deployment to gain the upper hand, is like a fierce tiger that has been given wings and able to travel the four seas, to apply force when he sees fit.”Zhuge Liang's description of an able general as 'a tiger added with wings' is the Han dynasty jade bixie personified.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 September 2021, lot 46 Price: USD 107,100 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A beige and russet jade bixie, Han - Six DynastiesExpert remark: Compare the closely related subject, pose, manner of carving, and russet veining. Note the beige color and much smaller size (7 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 40 Price: HKD 2,142,000 or approx. EUR 285,000 converted and adjusted for inflation at the time of writing Description: A Rare Celadon Jade Figure of a Bixie, Eastern Han DynastyExpert remark: Compare the closely related subject, the related pose and manner of carving. Note the different color of the jade and much smaller size (4.8 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 27 September 2021, lot 524 Price: USD 746,000 or approx. EUR 741,000 converted and adjusted for inflation at the time of writing Description: A beige and brown jade figure of a bixie, Ming dynasty or laterExpert remark: Compare the closely related subject, the similar pose and manner of carving. Note the different color of the jade and larger size (12 cm). Also note the original estimate of USD 8,000-12,000 and the market's rather unambiguous response to the conservative dating of this lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 2748 Price: HKD 26,850.000 or approx. EUR 3,170.000 converted and adjusted for inflation at the time of writing Description: An Exceedingly Rare and Exceptional Jade Carving of a Mythical Beast, Bixie, Late Western Han Dynasty, c. 1st Century BCExpert remark: Compare the related carving and subject. Note the different color and smaller size (7.2 cm).
Lot 54
Kate Beckinsale signed 10x8 colour photo. Kathrin Romany Beckinsale (born 26 July 1973) is an English actress and model. After some minor television roles, her film debut was Much Ado About Nothing (1993) while a student at the University of Oxford. She appeared in British costume dramas such as Prince of Jutland (1994), Cold Comfort Farm (1995), Emma (1996), Shooting Fish (1997) (a contemporary romantic crime comedy) and The Golden Bowl (2000), in addition to various stage and radio productions. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 322
German Third Reich WW2 Luftwaffe Air Gunner / Radio operator breast badge. A good die-cast zinc late war example. Grey metal diving eagle clutching lightning bolts in its talons mounted on oval oak wreath with swastika at the base. Hinged vertical needle pin and securing hook. GC Instituted 22nd June 1942.
Lot 1191
"James Bond" - related group to include VHS "The James Bond 007 Video Collection" - includes all films from "Dr No" - "The World is Not Enough" - contents appear to be generally Excellent to Mint in a Fair presentation box; 2 x Backflash - a pair - both are red "007" - contents appear to be Mint in Good Plus boxes; "On Her Majesty's Secret Service" VHS Widescreen Special Edition; "Goldeneye" Widescreen Special Edition - conditions are generally Near Mint to Mint in Good Plus presentation boxes; "Bond" Card & Dice Games Gift Set which includes Pen - Mint in a Near Mint presentation box; Woolworths Exclusive "Tomorrow Never Dies 007" Agent 007 Video Box Set which includes VHS Video, Mini Camera, Mini Radio - contents appear to be generally Excellent in a Good (slightly grubby) presentation box; HMV Exclusive "Tomorrow Never Dies" Video Box Set - Excellent including presentation box and IMC Plastic Attache Case to include Keypad, Walkie Talkies, plus other gadgets - condition is generally Excellent (missing outer box). (9)
Lot 325
Corgi - a group of Ford Transit Vans and Minibuses to include "Derbyshire Rally Radio"; "DHL"; "TNT"; "Eddie Stobart Ltd"; plus others - conditions appear to be generally Near Mint to Mint in generally Good to Near Mint window boxes (some have stickers on ends) and lot also includes some Code 3 issues - interesting lot - see photo. (16)
Lot 154
Vanguards (1/43 Scale) a group of Ford related models to include VA04106 Ford Cortina (Mark 2); VA06000 Ford Zephyr (Mark 3); VA04100 Ford Cortina (Mark 2) GT; VA07308 Cortina (Mark 1) - "London Transport Radio Control" plus others - conditions appear to be generally Near Mint to Mint in Excellent to Mint window and carded boxes - see photo. (9)
Lot 140
Vanguards (1/43 Scale) a group of Ford Vans including VA00413 Anglia "RAC Radio Rescue"; VA00414 "Stratford Blue"; VA06200 Popular Van "Fordson"; VA33002 300E Thames Van "Maidstone & District" - conditions are generally Near Mint to Mint including boxes (apart from one which has small tear on corner). (8)
Lot 130
Nelson Piquet race worn F1 Snell helmet, Serial No.A0278623, the white, red and black coloured helmet bearing PARMALAT, SANTAL, GPD decals, with clear visor, radio connector at right side (not tested), in associated cloth bag Condition with wear to helmet, surface scratches, visor cracked on both sides running from screw join
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