DIO CASSIUS -- XIPHILINUS, J. Rerum Romanarum à Pompeio Magno ad Alexãdrum Mamææ, Epitome. (Greek text). - Rerum Romanarum (…) Epitome. (Lat. text by G. Blanco). Par., Ex Off. R. Stephani, 1551. 357, (3); (6), 280, (10) pp. W. woodcut printer's mark. on first ti., woodcut coat of arms on 2nd ti., & sev. initials and headpieces. 4°. Cont. cf. binding with gilt coat of arms of Nicolas Fayet on both sides. (Rebacked in mod. cf., old owner's entry on ti., upper margin stained at beginning 2nd work). NOTE: Editio princeps of the epitome of Dio's Roman History, done in the 11th century by Joannes Xiphilinus, which is our only source for Dio's lost books 61-80, dealing with the events from 47 to 235 A.D. Bound with is the latin translation of the same text by Guillaume Leblanc, with the coat of arms of Cardinal Georges d'Armagnac on title-page to whom the translation was dedicated. - Rare complete copy with both the Greek and the Latin edition. - Renouard 80:8 & 80:9; Mortimer 170-71; Adams D-513 & D-515; Hoffmann III, 618. - Binding with coat of arms of Nicolas Fayet (?-1623), president of the accounts chamber (c. 1570) and married to Diane Sublet d'Heudicourt.
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GRONOVIUS, J.F. In Papinii Statii Silvarum libros V. Diatribe ad Th. Graswinckelium. The Hague, Th. Maire. 1637. (22), (2 blank), 418, (32) pp. Cont. vellum w. overl. sides. (Upper part stained, a bit browned). -- Added: PETRONIUS. Satyricon. Cum uberioribus, commentariis (…). Ed. nova. Leiden, J. Maire, 1623. (24), 374 (recte 360) pp. 12°. Cont. cf. (Spine ends & extremities dam., text is complete but page numbers 122-125, 173-174 and 343-350 have been skipped in the pagination, slightly browned, but else in good interior condition). -- (2). NOTE: Ad 1: Rare first edition, only 2 copies in NCC. - Schweiger II, 971. Ad 2: Reissue of the 1604 edition, in turn a reissue of the 1596 edition. Schweiger II, 722; Breugelmans, 199. - Ownership entry by Lantin/Empt. 20 s. parisiis 1664, probably the man of letters Jean Baptiste Lantin of Dijon (1620-95). His name was subsequently crossed out by the next owner Varenne, perhaps the unfortunate Dijon lawyer Jacques Varenne (1710-80) (see Hoefer 45:949).
HESIODUS. Quae extant, cum Graecis scholiis, Procli, Moschopuli, Tzetzae, in Erga kai Hèmeras, Jo. Diaconi & incerti in reliqua. Accessit liber singularis, (...). Item notae, emend., observat., & index copiosissimus (...). Opera et studio D. Heinsii. (Leyden), Ex off. Plantiniana Raphelengii, 1603. 2 (in 1) vol. (44), 329, (1), (2 blank); 159, (1) pp. W. 1 full-p. woodcut in the text depicting ancient instruments of agriculture (p. 311). 4°. Mod. antique style hcf. w. red mor. label. (A few marg. stains, rather browned/foxed in places). NOTE: Rare. Dibdin II, 33: Brunet III, 140: "Édition estimée".
JUVENALIS & PERSIUS. Satyrae cum commentariis atque annotationibus, omnium quorum in hunc diem aliquid editum extat. Basel, (H. Froben & N. Episcopius), 1551. (8), 645, (22) pp. W. woodcut printer's mark on ti. & on v° last leaf, and sev. woodcut initials. Fol. Cont. vellum w. raised bands. (Spine a bit dam./worn, vellum soiled, bind. a bit warped, sm. stamp on ti., stained in places (espec. beginning & end), last lvs. a bit wrinkled and lower margin a bit brittle/dam.). NOTE: Adams J-780; Schweiger II, 509; Ebert 11228; Dibdin II, 152: "This edition of 1551 is rare."
LIVIUS. De Roomsche historie of gesten. Leyden, J. Paedts Jacobszoon & J. Bouwenszoon, 1585. 4 parts in 1 vol. (12), 301 lvs. W. 4 divisional ti-pp. w. unif. large woodcut oval printer's mark showing David and Goliath within historiated borders, num. initials. Sm-fol. Old cf. w. raised bands & richly dec. gilt back. (Sm. dam. to bind., spine rubbed/chafed, new endpapers, final blank lacks, a few marg. stains, but else a clean copy). NOTE: One of the first Dutch translations of Titus Livius' Ab urbe condita, only preceded by a translation that was printed in Antwerp in 1541. Very rare. - Geerebaert CXV 1a; Typographa Batava 3207-8; Machiels I-405.
PLUTARCHUS. Ankunfft, Leben und Wesen, Glück und unglück, gut und böse, weise und unweise Räthe, Reden, Anschläge, Thaten, Merckliche warhaffte Historien und Geschichten, (…) fürtrefflicher Manns und Frawen personen (…). Ins Teutsch gebracht durch Hieronymum Boner. [2nd part:] Das Leben des allerdurchleüchtigsten Künig Alexanders des grossen (…). Colmar, (B. Grüninger), 1547 (at end 2nd part: 1541). 2 parts in 1 vol. (5), 484, (1); 161, 1 blank, lvs. W. woodcut on ti.-p., 1 woodcut coat of arms and 40 half-p. woodcuts by J. Kallenberg (monogrammed IK) in text (incl. repeats). Fol. Cont. panelled vellum over wooden brds., front side dated 1571, both sides richly blind tooled w. decorative borders, clasps and catches fail. (Some (faint) staining in first half of book, outer lower corner of ti.-p. a bit dam., owner's entries on ti.-p., but altog. in very good condition). NOTE: Third edition of Plutarch's 'Vitæ' in the German language (first 1534). Very fine copy and surprisingly rare. - VD 16, P 3769; Hoffmann III, p. 208; Benzing, Colmar, Grüninger n° 10.
STOBAEUS, J. Dicta poetarum quae exstant. Emendata et latino carmine reddita ab H. Grotio. Access. Plutarchi & Basilii Magni de usu Graecorum Poetarum libelli. Par., N. Buon, 1623. (40), 200, 564 pp. 4°. Cont. cf. w. raised bands, dec. gilt back & red label. (Spine a bit dam./rep., stamp on ti., sl. browned/foxed, w. ms. index at the end). NOTE: Text in Greek and Latin, transl. by Hugo Grotius. Rare first edition. - Ter Meulen/Diermanse 458; Hoffmann III, 452: "Die lat. Ubsz. wird hoch geschätzt."; Schweiger I, 302: "Sehr selten"; Graesse VI/1, 500: "Très rare". - With bookplates of Edward William Wynne Pendarves (1775-1853) & Louis Kukenheim (1905-72).
TACITUS. De hoochberoemde historien. Vervatende XVI Annalen, ofte Jaerboecken der Roomsche gheschiedenissen, van de doot des keysers Augustiaen tot op het ryck van Galba (…). (&) Het tweede stuck vervatende vijf boecken ghenaemt Historien ofte vertellinghen der Romeynscher gheschiedenissen. (Vert. d.) J. Vennekool. Delft/Leiden, A. Gerritsen/A. v.d. Marsse, 1616. 2 in 1 vol. (8), 203, (1 blank); (4), 230(sic!)-429, (17) lvs. W. 1 engr. ti. & 12 half-p. engr. circular portrs. 4°. Old mottled cf. w. raised bands, dec. gilt back & red edges. (Bind. sl. dam. in places, upper joint split, bind. a bit shaky, some scribbling on engr. ti., 1 marg. rep., margins cut short (in a few places affecting the running title), some faint stains, sl. browned). NOTE: Rare first Dutch translation of the Annales, Historiae and 2 smaller works.- Schweiger II, 1028; Geerebaert, CXXXVII, 3.
A RARE CHINESE DING ‘DRAGON’ BRUSH WASHER NORTHERN SONG DYNASTY With tall straight sides and a flat base, the interior is elegantly incised to the centre with a roundel of a single dragon amongst freely drawn scrolls encircled by two bands of square scrolls and with a third band to the exterior. The white body covered overall with an ivory-tinged glaze, the rim bound with metal, 18.3cm. Ding ceramics were the earliest true porcelains made in China, and the world. Ding wares were often fired sitting upside down with their weight resting on their rims. This strategy served to spread the weight of the object and to guard against any malformation of their thinly potted bodies during the firing. Because of contact between the rim and the ground of the saggar, the rims were often left unglazed and later covered with metal. This is a typical feature of Ding ware. The steep sides on the present washer appear to reference a metal prototype. Rose Kerr writing on the collection of Song ceramics in the Victoria and Albert Museum, states that the “fact that Ding ware was an official ware made one feature of its decoration especially pronounced. This was its tendency to mimic other, more precious materials such as gold and silver, huge quantities of which were stored in palace treasures”. Cf. Rose Kerr, Song Ceramics, p.102. Cf. The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), p.88, no.79 for a related Song Dynasty Ding ware washer, see also Sotheby's Hong Kong, 4th April 2017, lot 3216 for a similar Ding dish. 北宋 定窯白釉刻花龍紋洗
A RARE PAIR OF CHINESE CANTON PAINTED ENAMEL ‘DOLPHIN’ CANDLE HOLDERSYONGZHENG/QIANLONGModelled after 17th century French glass prototypes by Bernard Perrot. In the form of dolphins or makara with their bodies curving upwards towards the tail-fins and brightly painted in the famille rose palette with blue scales, greenish-yellow heads and pink and white mouths, baring sharp teeth. Their large heads with bulging eyes are set above projecting pectoral fins, all worked in repoussé; the heads and tails support gourd-shaped vessels painted with flowerheads and foliate scrolls, and are applied with protruding leaves, all supporting wax-pans in the form of open lotus blossoms, and raised on circular, domed bases, 24 cm. (2)Cf. J A Lloyd Hyde, Chinese Painted Enamels, the Chinese Institute in America, New York, no.55, p.39, for a closely related pair of candle holders with their bodies in the form of lions, rather than dolphins, which were sold by Christie’s London, 17th September 2008, lot 203.These rare figures appear to be unrecorded, although the lotus blossom wax-pans are known from the lion candle holders referenced above and from an enamel candelabrum in Roseborg Castle in Copenhagen, which was commissioned in Canton by the supercargo Lintrup of the Danish Asiatic Company in 1740, and illustrated by M Beurdeley, Chinese Furniture, p.154, fig.207. The shape of these models is directly copied from 17th century French glass tableware, and more specifically from glass dolphins made by Bernard Perrot (1619-1709), who worked in the Royal glass workshops of Orléans in the reign of Louis XIV. Perrot’s candlesticks can be found in the Musée du Louvre, Paris, accession number OA12170.清雍正/乾隆 銅胎畫琺瑯摩羯形燭臺 一對
A RARE CHINESE BLUE AND WHITE CYLINDRICAL MING-STYLE ‘POMEGRANATES’ VASE SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35 The tall body supported on a low foot and delicately painted in underglaze cobalt blue with eight stylised pomegranates growing from leafy stems issuing from stylised scrolls which form vases. The decoration arranged in two tiers, the four fruit of the upper register divided by ribbon-tied lozenges, the shoulder with pendent scrolls with ruyi motifs and with florets to the neck and a band of scrolls above the foot, all painted to simulate ‘heaping and piling’, 25cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This appears to be the vase recorded in the Hall at Broome Park, in the Christie, Manson & Woods inventory of December 1916 on page 42, no.466; the inventory describes the decoration as ‘formal asters’ rather than pomegranates. Cf. The Exhibition of Ming and Ch’ing Porcelain from the Collection of the T Y Chao Family Foundation, cat. no.84, for a closely related vase. See also Christie’s, London, 6th November 2012, lot 278 and also Sotheby’s Hong Kong, 10th April 2006, lot 1677, for two closely related vases but painted with flowers. This rare vase is an 18th-century reinterpretation of an early Ming design that was commonly employed on vases of all forms. The Yongzheng Emperor was fascinated with history and the design incorporates the deliberately painted ‘heaping and piling’ characteristic of Yongle and Xuande underglaze-blue porcelains. 清雍正 青花多子多福瓶 《大清雍正年製》青花楷書款 來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁42， 編號466。
A RARE CHINESE YELLOW-GROUND AND IRON-RED DECORATED 'DRAGON' BOWL SIX CHARACTER QIANLONG MARK AND PROBABLY OF THE PERIODThe deep rounded sides with slightly flaring rim, brightly painted to the exterior with five striding five-clawed dragons entwined amidst flames and swirling clouds above crashing waves around the base, all reserved on a vibrant yellow-ground, 11.8cm. 清乾隆（可能） 黃地礬紅雲龍紋碗 《大清乾隆年製》青花篆書款
A RARE CHINESE CIRCULAR PECTORAL DISC FROM A SUIT OF CEREMONIAL ARMOUR, HUXINJING QING DYNASTY The convex mirrored centre encircled by a wide gilded band, embossed with scrolling foliage and stylised flowerheads, set with six appliqués with turquoise beads, 298g, 20cm. Provenance: from the collection of Norman Blount, 1875-1930. Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President. Cf. Sotheby’s London, 7th November 2007, lot 487 and Bonhams London, 12th May 2022, lot 91, for Chinese suits of ceremonial armour which include closely related huxinjing. Ceremonial armour suits were worn during the Qing dynasty by high-ranking officers on occasions when the Emperor reviewed his armies. Valery M Garrett in Chinese Clothing, An Illustrated Guide, p.122, notes that ceremonial suits of armour 'were made in the Imperial workshops in Hangzhou, and when not worn were stored at the Western Gate of the Forbidden City'. 清 白銅嵌孔雀石護心鏡 來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。
A RARE PAIR OF CHINESE HUANGHUALI ‘SOUTHERN OFFICIAL HAT' ARMCHAIRS, NANGUANMAOYI17TH/18TH CENTURYElegantly constructed with gently curving top rails and well figured S-shaped rectangular splats with pierced panels of entwined blossom forming the shape of a lingzhi fungus, symbolic of long life, the outcurved arms supported by tapering side posts recessed from the front of the seats, the solid rectangular seats with wicker coverings, the rounded legs, joined by stretchers and with moulded fillets, 104cm high x 56cm wide x 43.5cm deep. (2)Provenance: from a private collection, London; formerly the collection of Jean-Pierre Rousset, Paris 1936-2021, acquired in the 1980s.Chinese chairs fall into three principal categories: armchairs, guanmaoyi, horseshoe-back armchairs, quanyi, and rose-chairs meiguiyi. Within these categories, there are sub-sections, such as the continuous armchairs, known as ‘Southern Official’s Hat’ armchairs, nanguanmaoyi, and continuous horseshoe-back armchairs. The 'Southern official's hat' armchair is one of the most prestigious forms of Chinese furniture. Discussing the origin of this form, Robert Jacobsen and Nicholas Grindley suggest that it derives from the bent bamboo construction popular in the Song and Ming Dynasties.Cf. R Jacobsen and N Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, pp.52-53, for a related pair of huanghuali ‘Southern official's hat' armchairs of similar proportions as the present lot. See also a related pair of 17th or early 18th century huanghuali ‘official's hat’ armchairs, guanmaoyi, from the collection of Robert Hatfield Ellsworth, which were sold at Christie's New York, 18th March 2015, lot 106.十七/十八世紀 黃花梨南官帽椅 一對來源：倫敦私人收藏，巴黎Jean-Pierre Rousset舊藏（1936-2021），購於1980年代。
A RARE CHINESE PALE CELADON JADE CIRCULAR BOX AND COVER FOUR CHARACTER QIANLONG YUZHI MARK AND OF THE PERIOD 1736-95The cover carved in relief with a circular panel depicting a single stylised lotus flower issuing from a scrolling leafy branch within a border of square scrolls, the side and base undecorated, 14.5cm. (2)Provenance: from an English private collection, purchased in the 1940s and 1950s. 清乾隆 御製青白玉雕折枝花卉紋蓋盒 《乾隆御製》刻款 來源：英國私人收藏，購於1940至1950年代。
A RARE CHINESE QUATRE-LOBED ‘BUTTERFLIES AND FLOWERS’ VASE SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 With a bulbous body and waisted neck painted with colourful flower sprays interspersed with butterflies, the neck set with pink enamelled handles, the rim with a band of ruyi-heads and with a band of tall pink, yellow and turquoise lappets above the foot, the base glazed turquoise, 30cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 84, no.50 where it is located in the Billiard room and described as ‘A Vase of detached quatrefoil section, enamelled with detached sprays of flowers and butterflies. 11 3/4in. high. Kien Lung’. 清乾隆 粉彩蝶戀花紋海棠式瓶 《大清乾隆年製》礬紅篆書款 來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁84， 編號50。
A RARE CHINESE RU-TYPE HU-SHAPED VASESIX CHARACTER YONGZHENG SEAL MARK AND OF THE PERIOD 1723-35Modelled after a Song dynasty prototype, with a faceted octagonal-section body raised on a tall flared foot pierced with two rectangular apertures to the sides, with a double band encircling the upper body, covered overall with a pale blue celadon glaze, 27cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 46, no.543, under the title heading of ‘Whole Colour Porcelain’.For a similar vase in the collection of the National Palace Museum, Taipei, with a Guan-type glaze, cf. A Special Exhibition of Ch’ing Dynasty Monochrome Porcelains in the National Palace Museum, p.135, no.81. See also Bonhams London, 15th May 2014, lot 27, for a closely related Yongzheng hu with a Ge-type glaze.清雍正 仿汝窯貫耳瓶《大清雍正年製》青花篆書款來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁46， 編號543。
AN IMPORTANT GILDED COPPER GEM-INSET FIGURE OF MAHASRI TARAC.12TH CENTURY BIHAR, EASTERN INDIAThe finely cast and gilded-copper figure wears a diaphanous floral-patterned lower garment, sumptuous jewellery including a necklace, broad bangles, armbands, a belt clasp and anklets all inset with semiprecious stones, a jewelled diadem, a topknot and large hoop earrings. Her hair is worn in a large bun at the right shoulder, with her hands in the teaching gesture (dharmacakra-mudra), the left holding the end of a scarf draped over her forearm and falling to the lotus seat by her left knee. She has two gem-set lotus stems at her side and is seated in the posture of royal ease (rājalīlāsana) on a lotus emerging from scrolling vine and gem-set lotus buds, all supported on a tiered platform with large pearl border. The pedestal is held by serpent kings (nāgarāja) at either side, and an attendant cradling Tara’s pendent right foot with her outstretched hands, with an elephant, lion, and a human figure among scrolling vine at the rear, and a tenon projecting from her back to affix a backplate, (now lost), into two slots cast in the back of the pedestal. The statue is cast in five parts, the figure of Tara together with the upper tier of the lotus pedestal, the lower tier of the lotus pedestal together with the plinth, the attendant figure supporting Tara’s foot, and the two nāgarāja, 1.3kg, 16.5 cm.Provenance: from the collection of Norman Blount (1875-1930). Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.十二世紀 鎏金度母坐像來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。Mahāśrī TārāThe immensely popular goddess of compassion (karuṇā) and transcendental wisdom (prajñā), Tārā is known to intercede in the lives of her faithful and protect them from all manner of harm.Since her first appearance in India around the 7th century, she has assumed many iconographic forms. In this c.12th century sculpture from eastern India, she appears as the exalted (Mahāśrī) Tārā. Both teacher (her right hand assumes the teaching gesture, dharmacakra mudrā) and divine mother, she turns her compassionate gaze downwards to meet that of her devotees. She extends forward her gently cradled right foot, as if preparing to rise from her regal seat (rājalīlāsana) and enter the world. The goddess is closely aligned with nature. Her lotus seat, supported by two serpent kings (nāgarāja), arises within a natural setting. Two verdant lotuses enclose her, their flowers turning inward towards Tārā as if to acknowledge her luminosity. Indeed, the c. 7th century Sanskrit text Mañjuśrīmūlakalpa includes poetic tributes of her in just such terms, “trees, studded with flowers on every branch, abounding with open flowers…their bending boughs…turned towards the goddess Tārā.”Beneath the throne, tendrils arise from the stem of her lotus seat and fill the space with gem-encrusted foliate roundels, enclosing animals (lion and elephant), and human alike. Her seat rises above a stepped platform, finished by a row of large pearl beads. The sculpture was once completed by a (now missing) backplate, secured on a tenon at the back and further secured into two slots below it. Richly gilded and crowned and bejewelled, her lavish adornments include a substantial necklace, upper armlets, bracelets, belt, and anklets, all skilfully inset with multi-coluored gems. Large hoop earrings and a silk skirt with incised hem and floral ornaments also reflect her elevated status and enhance her beauty.This elegant sculpture is remarkable for its refinement, its balanced composition and Tārā’s beautiful countenance, which may be compared with that of the celebrated and contemporaneous Avalokiteśvara from Kurkihār. Gilded sculptures from eastern India are rare. Other outstanding examples include the c.12th century Avalokiteśvara from Kurkihār (25.5 cm.); a c.12th century Tārā in the collection of the Potala, Lhasa (41.5 cm.); and a c.9th century seated bodhisattva in a private collection (20 cm.). The circular tendrils enclosing figures along the base is a motif seen in other eastern Indian medieval sculptures including two 10th-11th century bronze sculptures from Faridpur, Gaya district. The large pearls along the base are also found in a copper alloy sculpture of a c.12th century seated Maitreya in the Ford Collection. Similar seated posture and inset gems can be found in a c.11th-12th century copper alloy sculpture of Padmapāṇi in the Bertie Aschmann Foundation of Tibetan Art at the Rietberg Museum. Tārā’s hair, drawn into a bun just behind her right shoulder, can be seen in other eastern Indian medieval sculptures, including a Tārā in the Potala Collection in Lhasa.The eastern Indian medieval school of art flourished between the eighth and the end of the twelfth centuries. A significant number of eastern Indian medieval sculptures bear inscriptions that include regnal dates of the local Pāla and Sena kings, making it possible to construct a fairly accurate chronology for this regional school. Encompassing the modern Indian states of Bihar, West Bengal and the country of Bangladesh, eastern India was the Buddhist homeland, the region where Śākyamuni Buddha (c.480 – c.400 BCE) became enlightened, expounded his spiritual teachings, and died. Countless devotees from within India and across Asia travelled here to seek authentic Buddhist teachings for over a millennium, until the final Muslim invasions of north India around the turn of the 13th century. Pilgrims studied at the great monastic universities (mahāvihāra) of Nālandā, Odantapurī, and Vikramaśīla, and offered homage at the region’s many temples and shrines. Indeed, works of art were a crucial element in the Buddhist pilgrim’s education in eastern India. A consecrated image was thought to embody the timeless presence of powerful gods. Particular statues were sometimes the destination of pilgrimage. Famous icons were said to speak, walk, give their jewellery to the poor, and above all, to answer the prayers of their devotees. Tibetan pilgrim Dharmasvamin described the main image in the Mahābodhi temple at Bodhgayā as insatiable to behold, such that when “even people with little faith [saw the image, they] felt it impossible not to shed tears.”Jane CaseyAugust 2023Dr Jane Casey is an art historian specializing in Himalayan art. She curated exhibitions at the Metropolitan Museum of Art in New York and at Casa Asia in Barcelona. Her publications include books and articles on Himalayan painting and sculpture. She is a Research Fellow in Tibetan Art at the Palace Museum, Beijing.
A RARE CHINESE IMPERIAL ‘HEHE ERXIAN’ TROMPE L’OEIL INCENSE DISHSIX CHARACTER JIAQING MARK AND OF THE PERIOD 1796-1820Painted in yangcai enamels, the twin Gods of Harmony and Unity stand holding a slightly open box, they wear blue and iron-red robes and have Liu Hai’s three-legged toad climbing up their backs. The dish is enamelled turquoise and is applied with eight auspicious Daoist emblems including silver and gold ingots, gold, yellow and red coins, a horn and a branch of red coral, all within a square scroll pink border, 12cm.Provenance: the collection of Miss Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).The Hehe Erxian were believed to preside over happy marriages and are derived from two famous poet-monks of the Tang dynasty, Hanshan and Shide. The Imperial Workshop Records, (Huoji dang), note that in the forty-fifth year of Qianlong (1781), eighty incense dishes with the same trompe l’oeil designs were sent to the Imperial court from Jiujiang guan as tributes, half with a yellow ground and half with turquoise ground. Two examples are held by The National Palace Museum Collection in Taipei also set with ingots, coins and coral but one with a spotty horse to the centre on a yellow ground, the other with an elephant on a turquoise ground. Cf. Chih-en Chen, Fooling the eye: trompe l’oeil porcelain in High Qing China, figs.11 and 12, where the above dishes are illustrated. The present dish has an iron red Jiaqing mark so cannot be one of the forty turquoise ground dishes of 1781, but may be either part of a later order, or a replacement to the Qianlong dishes.See also Daguerre, 25th September 2020, lot 59, for a damaged example of the Qianlong prototype. The standing figures set in the centre of this dish also relate to figural snuff bottles with similar modelling and treatment of the robes. Cf. Hugh Moss, Victor Graham and Ka Bo Tsang, a Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, vol.6, nos.1226, 1227 and 1228. See also Sotheby’s Hong Kong, 29th November 2019, lot 555.清嘉慶 御製粉彩合和二仙香插《大清嘉慶年制》礬紅篆書款來源：伊麗莎白·格羅夫納·格斯特女士（1879-1960）收藏。
A RARE AND EXCEPTIONALLY WELL-CARVED CHINESE RHINOCEROS HORN LIBATION CUP 17TH CENTURY The sides are crisply carved in high relief illustrating a river landscape scene with pine and wutong trees growing amongst over-hanging rocks and boulders; to one side, three scholars sit on a flattened rock shelf around a small table playing weiqi while a boy attends to a brazier. The water is represented as finely defined almond-shaped waves, the handle as two gnarled and knotted pine tree trunks and the flat base is carved as water and rocks. The trees and rocks extend to the wide mouth, the interior depicts a small chilong in high relief confronting a larger dragon emerging amidst clouds above the handles. The material is of a rich dark caramel tone darkening to walnut and with a high polish. The cup is raised on an elaborate hardwood stand, pierced and carved as high rocks, lingzhi and cascading water, 478g, 13.8cm high, 19cm long. (2) Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight. Provenance: from an English private collection, Lincolnshire, purchased by the current owner from Sworders, 8th November 2016, lot 218. Cf. J Chapman, The Art of Rhinoceros Horn Carving in China, p.210, no.289, for a closely related libation cup. See also T Fok, Connoisseurship of Rhinoceros Horn Carvings in China, no.16, for a similar cup in the collection of Harvard University, Art Museums. The subject on the side of this cup cannot be definitively identified. A closely related example in The Metropolitan Museum of Art, New York, a gift by J Pierpont Morgan, no.08.212.10, with a similar scene of three figures amongst pine trees in a rocky river landscape, is described by Jan Chapman, The Art of Rhinoceros Horn Carving in China, p.210, no.289, as decorated with a scene from the famous Song dynasty poem, ‘Later Ode to the Red Cliff’. There is no boat or raft visible in the scene, and the same cup is also described by the Metropolitan Museum, as depicting the ‘Three Laughers of Tiger Ravine’, which is an allegory referring to the unity of the three religious doctrines: Buddhism, Confucianism, and Daoism. However, perhaps they are just three scholars enjoying each other’s company and a game of weiqi in a beautiful mountainous river landscape. 十七世紀 犀角雕松下高士圖螭龍紋杯及底座 來源：英國林肯郡私人收藏，2016年11月8日購於Sworders拍賣行，編號218。
AN IMPORTANT MANDALA DEPICTING GREEN TARA AND AMOGHASIDDHI AND THE 10TH AND 15TH ABBOTS OF NGOR MONASTRY CENTRAL TIBET 17TH CENTURY, NGOR MONASTERY TRADITIONThis rare mandala having Tibetan inscriptions written in gold ink below the top and bottom bands of deities and Lamas, identifying many of the figures.Painted with two Ngor monastery Abbot portraits of Konchok Lhundrub (dkon mchog lhun grub - 1497-1557), the 10th Abbot, lower left with script translated as 'Homage to the Precious (Lama) Konchog Lhungrub'; and Kunga Sonam Llungrub (kun dga’ bsod nams lhun grub - 1603-1618), the 15th Abbot, lower right, with script translated as ‘Hail to the religious teacher Kunga Lhungrub ’. Further painted and inscribed top left with Reverend Tara, and the Indian Buddhist teachers Ravigupta and Atisha (in sanskrit Candragarbha); with the three Great Red Deities of the Sakya tradition, Kamaraja, Kurukulla and Ganapati (Ganesha) adjacent to the 10th Abbot lower left. These three Deities personify three forms of action: physical, mental and verbal. The mantra 'Om Ah Hum' written many times towards the centre to the reverse, 50cm x 37cm, 83cm x 54cm overall.Provenance: from the collection of Norman Blount (1875-1930). Norman Blount was a jute broker, as well as the joint secretary (with the artist Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.The design of this thangka is closely related to a 16th Century thangka ‘17 Deity Tara Mandala’ based on the tradition of Ravigupta. From a private collection and published online - see Himalayan At Resources (https://www.himalayanart.org/items/12415:)Konchok Lhundrub was born at Sakya monastery. His mother was the niece of Ngorchen Kunga Zangpo, the first abbot of Ngor monastery. From the age of thirteen he took novice vows, receiving esoteric teachings of the Eighth and Ninth abbots of Ngor from the age of 20. He was enthroned as the 10th abbot at the age of 38 and served from 1534-1557, recorded as excelling in teaching, debate and writing, demonstrating the classic Buddhist qualities of being learned, virtuous and noble. He had disciples in many distant regions, including Kham, Amdo, U, and Ngari. He did not stay full time at Ngor but travelled to Nalendria and other monasteries to teach. Konchok Lhundrub is remembered as one of the most accomplished and prestigious Ngor abbots, comparable in reputation to Ngor's founder Kunga Zangpo. Kunga Sonam Lhungrub was the eldest of three sons born into a prestigious Sakya family. At the age of nine he went with his father to Ngor monastery where he took monastic views with the twelth abbot of Ngor, Konchok Pelden who gave him his new monastic name Kunga Sonam Lhungrub. in 1594, the abbot of the Sakya monastery of Nalendra selected him to take over the duties of abbot at this monastery. On the passing of the fourteenth abbot of Ngor in 1603 he was installed as his successor and became one of the most important Sakya teachers of his time. During his tenure lasting until 1618 Kunga Sonam Lhungrub commissioned several famous works of art. He passed away in 1642 at the age of seventy two.The Sakya monastery was established in Central Tibet in 1073, with the Ngor Monastery a sub school of the Sakya order established in 1429. Ravigupta is connected with the ancient Buddhist philosophical school of Abhidhamma, a Buddhist teaching that systematically describes the world order, primarily as phenomena of consciousness and nature. Ravigupta is the 12th teacher in the lineage of the school of Abhidharma, which starts with the Buddha Shakyamuni himself. Candragarbha born into the royal family of the Kingdom of Zahor (now Bangladesh) in 982, had a vision of the goddess Tara in childhood and under her influence travelled to another country in search of ta teacher, later in his life he became known as Atishs and 1042 travelled to Tibet where he revived Buddhism. 十七世紀 西藏綠度母及不空成就佛雙修壇城唐卡 來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。
A RARE CHINESE LATER-ENAMELLED WHITE GLAZED SAUCER DISHSIX CHARACTER HONGZHI MARK AND THE PORCELAIN OF THE PERIOD 1488-1505The glaze of bluish tint, the body enamelled in the famille verte palette with a fruiting grape vine growing from green rocks beside iron-red lingzhi to the underside and spreading over the interior in which nine squirrels play and small butterflies fly among tendrils and fruits, 21cm.Provenance: from the collection of Dr Nariman Bamji (1909-78), and according to the family, purchased from Sotheby’s London in the late 1960s.The script of the mark on a reconstructed dish held within the Imperial Kiln Museums at Jingdezhen is very similar and probably, although not definitively, written by the same hand as the present dish. It also exhibits a slightly recessed central base, a feature known on late 15th and early 16th century pieces but not seen on Qing wares.明弘治 白釉後加彩松鼠葡萄碟《大明弘治年製》青花楷書款來源：Brigadier George Noel Powell DL, (1926-2019)收藏，據其家人回憶此件拍品於1960年代從倫敦蘇富比購得。
A RARE CHINESE IMPERIAL CLOISONNE ENAMEL SILVER-GILT BOWLQIANLONG/JIAQINGIncised in low relief with the characters wan shou wu jiang (long life without ending), each character in a roundel with traces of turquoise blue enamels, divided by cloud scrolls, all between two green-enamelled borders of archaistic patterns around the rim and lappets above the spreading foot, 316g, 9.8cm.Cf. Bonhams London, 17th May 2012, lot 136, for an almost identical pair of cloisonné enamel and bronze bowls bearing paper labels inscribed ‘Taken from Summer Palace Pekin 1860’.清乾隆/嘉慶 御製鏨銀燒藍萬壽無疆碗
A RARE TIBETAN PALA-STYLE FIGURE OF MANJUSHRI C.17TH CENTURY OR EARLIERThe bodhisattva with his right hand lowered and open-palmed in a boon-granting gesture (varadamudra), the right hand with his thumb and forefinger touching in a gesture of teaching or discussion (vitarka mudra), wearing a sash and a beaded sacred cord (rajnopavita) across the torso, with branches of the ashoka tree at his left shoulder, and seated at ease (lalitasana) on a double lotus pedestal, 4.3kg, 21.4cm.Provenance: purchased Christie’s London, 26th July 1990, lot 155.The style of the statue recalls the classical eastern Indian Pala period (8th-12th century) traditions that were revived in Tibet as homage to Indian sculpture from the homeland of Buddhism. Compare the seated posture, hand gestures and jewellery style, especially the low three-panel crown and jewelled armbands, of an 11th or 12th century eastern Indian Manjushri in a private collection, see Jeff Watt, www. himalayanart.org/items/9438, and compare the typically Pala style of the off-centred upper and lower petals of the lotus base with a Pala Tara in the Ford Collection; cf. Ulrich von Schroeder, Indo-Tibetan Bronzes, p.283, fig.69E. The bases of Pala statues are often left empty like this example. This figure and the base are probably solid cast. 十七世紀或更早 西藏仿帕拉風格文殊菩薩坐像 來源：倫敦蘇富比1990年7月26日·編號155。
A RARE CHINESE GREEN GLAZED FIGURE OF GUANYIN REPUBLIC PERIODThe Goddess stands with a serene expression, holding a flask, wearing flowing robes billowing in the breeze, the base with an impressed four character mark reading Zeng Longsheng zao, 29cm. Cf. Bonhams San Francisco, 10th December 2015, lot 8184 for a another figure marked Zeng Longsheng. 民國 曾龍昇款綠釉滴水觀音立像 《曾龍昇造》
A RARE CHINESE PALE YELLOW AND RUSSET JADE S-SHAPED 'DRAGON AND PHOENIX' PENDANTPlease note the dating for this lot should read this lot should read Warring States Period or laterThe pendant is finely carved in the shape of a sinuous dragon with crested head and projecting upturned snout, its coiled body is detailed on both sides with a wide band of spiral bosses and terminating in a phoenix head. The dragon has three stylised scrolls projecting from the S-shaped body, with two further scrolls emerging from the head of the phoenix. The highly polished stone ranging from yellowish-celadon to an intense russet with darker brown-black flecks, 7cm x 11cm.Provenance: from the collection of David Taylor (1876-1958) and thence by descent. David Taylor was a successful businessman of Scottish descent who was born in Northern Ireland. He resided in Belfast and owned various commercial buildings, shops and a farm. He also had a substantial portfolio of stocks and shares. These jade items were acquired by Taylor during his travels to East Asia in the early 20th century.For a fine related white jade dragon and phoenix pendant from the Hei-Chi Collection, see Sotheby’s Hong Kong, 9th October 2020, lot 13. See also Jades of Warring States Period, The Aurora Museum, Shanghai, p.178, pl.122 for a dragon plaque fragment with stylistic similarities and a comparable polish in the museum’s collection.See also the footnotes for the previous lot.戰國 玉雕曲體龍鳳佩來源：大維德·泰勒（1876-1958）收藏，之後由其後人繼承。泰勒先生是一位成功的蘇格蘭商人。他出生於北愛爾蘭，在貝爾法斯特長大，其名下有很多商務樓、店面、農場及可觀的股票投資組合。這組拍品為泰勒先生早於二十世紀初期到東亞旅行時購入。
A RARE CHINESE WUCAI ‘SIXTEEN SONS’ BOWL KANGXI 1662-1722With gently rounded sides resting on a straight foot and sweeping to a delicately everted rim, the exterior brightly painted with a continuous scene of many boys playing in a garden with ornamental rocks and plantain leaves, and attended by their mothers; two of the boys fly kites while others play wearing a lion-dog costume. The interior rim with a band of pine, the centre with three further boys playing on a terrace, the base with a six character Chenghua mark within a double circle, 21.5cm. Provenance: the Lawrence Collection, purchased from Spink & Son prior to 1959. This subject is derived from the Shang dynasty story of Jiang Ziya, the senior military counsellor who famously appointed sixteen good generals. 清康熙 五彩四妃十六子撇口碗 《大明成化年製》青花楷書仿款 來源：勞倫斯收藏，1959年前購於Spink & Son古董店。
A RARE CHINESE RHINOCEROS HORN ARCHAISTIC LIBATION CUP SIGNED XUAN HE 17TH/18TH CENTURYWith a flared hexagonal body carved in shallow relief on each side with two large stylised taotie masks beneath a band of square scrolls, the handle carved as an chilong with an exaggerated scrolling mane and bifurcated tail, the straight foot with a second band of square scrolls, the base with a two character mark, 201g, 13.8cm wide. Please note that an export licence will only be granted for rhinoceros horn pieces, should the hammer price meet or exceed the value of 100 USD per gram of the item’s weight. Provenance: from a private collection, Yorkshire. 十七/十八世紀 犀角雕螭龍杯 《宣和》款 來源：約克郡私人收藏。
A RARE CHINESE BLUE AND WHITE 'MAGIC FOUNTAIN' EWERJIAJING 1522-66With a pear-shaped body raised on a spreading base, a tall hexagonal spout and a looping bracket handle, brightly painted in underglaze blue with a qilin supporting the basin of a fountain issuing water from phoenix and dragon-head spouts, the neck with plantain leaves, the foot with breaking waves, the base painted with a crouching hare within double rings, 32cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This ewer is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 39, where it is located in the Hall and described as ‘An ewer, painted with fountains in the Persian taste; early type. 13in. high’.‘Magic fountain’ ewers are known in many international collections; there are several in the collection of the Topkapi Saray Museum, Istanbul, another in the collection of the Ardebil Shrine, and others in the Victoria and Albert Museum, the British Museum, the Grandidier Collection in the Musée Guimet, the Hamburg Museum and the Philadelphia Museum of Art. See also Christie’s London, 15th November 2000, lot 229, for another with 19th century silver Ottoman mounts.明嘉靖 青花噴泉麒麟紋執壺來源：霍雷肖•赫伯特•基奇納元帥（1850-1916），之後由其後人繼承。據佳士得Manson & Woods出版的， Broome Park庫存手冊中記載，1916年12月，頁39。
Rare boucle en metal doré, signée et datée 'Jacob Neuproner 1634'A rare parcel-gilt buckle, signed and dated 'Jacob Neuproner 1634'Decorated with a scene of an ornate baroque flower vase filled with individual blooms flanked by a squirrel and a monkey in relief over an engraved figure of Justice, topped with a baroque scrollwork cartouche enclosing the name of the maker IACOB NEVPRONER MDCXXXIV [Jacob Neuproner, 1634], each side finely engraved with anthropomorphic figures and scrollwork, the narrow ledge with a gilt metal sculpted reclining figure opposite the inscribed text MEMENTO. MORI. the buckle formed as the torso of a figure finishing in a coiled single prong, the front length of the buckle with elaborate architectural gilt metal elements in the gothic style, finishing in an angel's head above a sculpted acanthus-leaf ornament, 17.5cm high,Footnotes:Provenance: Baron Anselm von Rothschild (1803-1874), ViennaLiterature: Franz Schestag, Katalog der Kunstsammlung des Freiherrn Anselm von Rothschild in Wien (1866), no. 291For further information on this lot please visit Bonhams.com
Commode d'époque Louis XV de Joseph Schmitz en marqueterie de bois de rose, amarante, ébène, bois fruitier et bois teinté, incrustations de nacre, ornementation de bronze ciselé et doré, milieu du XVIIIe siècleA Louis XV ormolu-mounted mother-of-pearl inlaid tulipwood, amaranth, ebony, green-stained wood and fruitwood marquetry bombé marquetry commode by Joseph Schmitz, mid-18th centuryThe shaped moulded brèche d'Alep marble top above two drawers inlaid sans traverse with floral and foliate sprays, exotic birds, butterflies and other insects within C-scroll encadrements, with pierced chutes and rocaille handles and escutcheons and conforming apron mount surmounted by an foliate bearded inlaid and engraved mask with mother-of-pearl eyes, the sides conformingly inlaid with floral sprays, stamped 'J.SCHMITZ' (partly obliterated) and 'JME', 146cm wide x 63.5cm deep x 87.5cm high, (57in wide x 25in deep x 34in high)Footnotes:Provenance:Sale, Versailles, 15 November 1987.With Röbbig, Munich.The Rosa Alba Collection.Literature: Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, 1998, p. 796; Exhibition Calatogue Hetjens-Museums, Deutsches Keramikmuseum, Düsseldorf, Januar-April 1997: Frühes Meissner Porzellan, Kostbarkeiten aus deutschen Privatsammlungen, 1997, p.195.Joseph Schmitz, maître ébéniste in 1761.This elegant commode is profusely inlaid with a pattern of floral sprays, birds and butterflies, which was the specialty of Joseph Schmitz. The delicate mother-of-pearl inlays to the birds and to the masks above the apron give this rare commode a powerful and special effect demonstrating his talent as a talented marqueteur. Joseph Schmitz was born in Paris and worked in the Rue de Caronne, yet little else is known about his career. The present commode was almost certainly executed just after Schmitz obtained his maîtrise, when his work shows similarities to that of his contemporary Pierre III Migeon, who, also became a master in 1761. A pair of Louis XV marquetry commodes by Schmitz are conserved at the Huntington Library and Art Gallery, in San Marino, while other commodes are in prestigious collections, such as the red lacquer Louis XV commode, formerly in the Espirito Santo Collection, later sold Galerie Charpentier, Paris, 14 June 1955. Other related commodes were sold at auction: Christie's Paris, 29 April 2015, lot 667.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Retable en bois sculpté peint polychrome représentant la Passion du Christ, les scènes de la Vie du Christ, Flandres ou Allemagne du sud, début du XVIe siècleA parcel-gilt and polychrome altarpiece depicting the The Passion of Christ, Flemish or South German, early 16th centuryThe Crucifixion carved in high relief from several blocks of wood; the central section depicting the Crucifixion and the Entombment, the left panel showing Christ in the Garden of Olives and the Carrying of the Cross, the right panel showing the Descent into Limbo and the Resurrection, the upper register with an openwork frieze of tracery and the lower register with a frieze decorated with fleurons. The outer panels are probably painted with a scene of Noli me tangere (Do not touch me), the words spoken by the risen Jesus who appears to Mary Magdalene on Easter Sunday, restorations, polychrome decoration refreshed, 62cm wide, 14cm deep, 129cm high (24in wide, 5 1/2in deep, 50 1/2in high), altarpiece opened 128cm wide, (50in wide).Footnotes:Provenance:Sale, Enghien-Les-Bains, Maîtres Goxe et Belaisch, 18 December 2016, lot 200See A. Huysmans ed., La sculpture des Pays-bas méridionaux et de la Principauté de Liège XVe et XVIe siècles, 1999, for comparable pieces.Many altarpieces were dismantled and sometimes destroyed during the iconoclastic revolutions, the dissolution of monasteries and wars, and the present altarpiece is a rare example of a domestic altarpiece, complete with all the shutters that were used to conceal it at certain times of the liturgical year.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1872/1 M. Melbourne. Shield; 2 over 1. In 1871 it was decided to open a second mint in Australia, this time in Melbourne, to service the increasing demand for gold coins. From now coins would bear the same design as the British sovereigns, identified by a mint mark in the lower section of the reverse of the coin. Dies of the new designs and bearing the date 1871 were prepared in London and left Southampton via boat on 30 September 1871. However, after transferring the package to the steamer Rangoon on 1 November, the boat hit a rock on the Southwest coast of Ceylon. Despite this terrible fate all passengers and a small number of packages were saved. The 1872/1 overdate is testament to the survival of at least one of the 1871 dies as local engraver Julius Hogarth was commissioned by the Melbourne mint to create the overdate die. An extremely rare variety with a captivating story and truly historical significance.Young head left, WW on truncation; date below, with 2 struck over 1; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.In secure plastic holder, graded NGC AU 58, certification number 6768994-007. NGC Census in this grade: 3.NGC Census in higher grade: 3Total NGC Census: 15Reference: S-3854; Marsh-59A; McD-120cDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
An attractive Art Nouveau silver two part pierced and decorated Ladies Belt Buckle, with floral and figural design, hallmarked, an unusual enamel and Sterling Badge "Argentina," of Art Nouveau design; a rare circular enamel Medal for the obverse inscribed 'Provincias del Rio de la Plata -' with a central sunburst, the reverse inscribed 'En Union Y Libertad 1813,' unusual and Scarce. (3)
![Coin: [Irish - Hiberno Norse] A phase IV silver Penny, scratched Die - Imitation Ed. the Confessor Dublin, some wear, excessi](https://cdn.globalauctionplatform.com/2d05d103-1915-4e91-8325-b0a700ab3d3a/f1beac88-e707-4970-9ece-b0a800950461/468x382.jpg)
Token: A rare 18th Century Commemorative Pewter circular Token, the obverse with side profile of "Guillimus Rex - Defender of the Faith," the reverse with central palm tree and crown, surmounted with harp on trunk and various militaria with city and mountains in distance, inscribed around side, approx. 5cms (2") diameter, as a token, w.a.f. (1)
Rare Irish 20 Pence Trial Piece Irish Coin: A rare 1985 Twenty Pence Trial Piece Coin, the obverse with profile of a horse and '20p', the reverse with central harp and 'Eire' dated '1985' with riveted and smooth edge, some streaks, mellowed tone, good example. * These Coins were issued in advance of production to various companies and organisations to facilitate calibration of vending machines and other coin operated devices such as telephones, meters etc. According to sources in the Central Bank, less than 50 pieces of the 500 or so issued were not returned. To date about ten examples in private hands have been recorded, making it one of the rarest Irish modern coins, even scarcer than the 1943 florin. Provenance: Private Collection, Co. Tipperary.
![A rare George III period [British Army hand pattern] "Brown Bess" flintlock Musket, stamped Dublin Castle, by Pati](https://cdn.globalauctionplatform.com/2d05d103-1915-4e91-8325-b0a700ab3d3a/765a5789-1605-4185-a91f-b0a800955d32/468x382.jpg)
A large William IV period rosewood Tea Caddy, of casket form with hinged top, 31cms (12"), together with a Victorian coromandelwood Box of rectangular form with hinged top with two lift out trays, probably for jewellery, 34cms (13 1/2"); and a rare Regency brass inlaid rosewood concertina action lockable Letter/Stationery Box with brass handle, 28.5cms (11 1/4"). (3)
Leather Bound Volumes, Swift's Works etc: Belsham (Wm.) History of Great Britain, 12vols. 8vo Lond. 1805. Cont. tree calf, mor. labels; and a collection of varied volumes, Swifts Works, by Sheridan & others, mostly sets with volumes incomplete, but some rare editions, & some other works, all leather bound, approx. 110 vols. in all. As a lot, w.a.f. (1) Provenance: Donal O'Donovan, Irish Times Journalist.
A very rare and important small Bracket Timepiece Movement, by Daniel Quare of London, its break arch brass dial signed on its chapter ring 'D. Quare, London,' with a single winder, mock pendulum and date apertures, and a rise/fall dial in its arch. Its backplate with elaborate floral and foliate engraving and a basket of fruit, and signed "Dan. Quare, London;" its movement now with anchor escapement and with pull quarter repeat removed, c. 1720; in a fine neat later custom-made brass mounted mahogany case with a brass carrying handle and fish-scale side frets and a hole in the base for its pull quarter repeat, approx. 36cms h (14"). (1) * Daniel Quare was a very important maker, a member of the London Clockmakers Company in 1671. He died in 1724.
A very important and rare suite of 4 Arts & Crafts silver Candlesticks, by James Dixon & Sons, Sheffield 1992, the design probably by Jan Eisenloeffel, each square flared base with riveted strap work and upward tapering stem, 22cms (8 3/4"), and a pair of taller matching ditto, 31cms (12 1/4"). (4)
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