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Lot 1034
Pokemon TCG. Pokemon E-Series Box Topper Complete Set 1 to 12. A rare opportunity to own a complete E-Series Box Topper Set all 12 cards are included with the Crystal Charizard the stand out piece from this lot. Cards are in near mint condition apart from Feraligatr which is in excellent condition. Condition Report: Cards are in near mint condition apart from Feraligatr which is in excellent condition.
Lot 1007
Pokémon TCG. Pokémon Team Rocket Unlimited Booster box Sealed. This was the fifth expansion set for the card game, and was released in the year 2000. The set includes Dark Raichu numbered 83/82 which made this set the first to include a secret rare card. The set was made up of 83 total cards, including the widely popular Dark Charizard! This box includes 36 packs. Box is in overall good condition, corners are crisp and colours vibrant but does have some minor damage. Has a dent on the top back edge and a crease on the right hand side. Seal has small tear in bottom. Condition Report: Box is in overall good condition, corners are crisp and colours vibrant but does have some minor damage. Has a dent on the top back edge and a crease on the right hand side. Seal has small tear in bottom.
Lot 1218
Yu-Gi-Oh! Huge lot of Yugioh cards, approximately 1500-2500 mostly common and rare cards with a few ultra rare cards. Cards are from various older sets with a mix of languages, majority are english. Also includes a rulebook, checklist and empty Yugioh binder. Condition Report: Conditions vary but majority of cards are in played condition.
Lot 1214
Yu-Gi-Oh! Lot of three Yu-Gi-Oh cards including Blue-Eyes White Dragon Gold Secret Rare from The Dark Side of Dimensions Movie Pack: Gold Edition, Blue-Eyes Alternative White Dragon from The Dark Side of Dimensions Movie Pack and Evil Hero Adjusted Gold from Legendary Duelists: Immortal Destiny. Condition Report: Cards are in Near Mint Condition.
Lot 737
Day of the Triffids 8x10 inch cult 50's horror movie photo signed by actress Janina Faye (Susan) - rare on this 'poster' photo. Good condition. All autographs are genuine hand signed and 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 £10
Lot 651
Hammer Horror movie 'Lust for a Vampire' 8x10 photo signed by Judy Matheson. Rare nude image in landscape orientation. Good condition. All autographs are genuine hand signed and 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 £10
Lot 588
007 James Bond movie From Russia with Love 8x12 inch photo signed by Bond girl Martine Beswick. Rare, signed image!. Good condition. All autographs are genuine hand signed and 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 £10
Lot 652
Hammer Horror movie 'Lust for a Vampire' 8x10 photo signed by Judy Matheson. Rare nude image in portrait orientation. Good condition. All autographs are genuine hand signed and 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 £10
Lot 596
The Exorcist, cult horror movie 14x11 inch photo signed by Eileen Dietz (Pazuzu) and Linda Blair (Regan) rare double signed photo. Good condition. All autographs are genuine hand signed and 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 £10
Lot 587
007 James Bond movie Goldfinger 8x12 inch photo signed by Bond girl Shirley Eaton. Rare, signed image!. Good condition. All autographs are genuine hand signed and 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 £10
Lot 41
TRACEY EMIN (B. 1963)The Last Black Horse circa 1985 signed and titled on the reverseoil and wood collage on board45.4 by 30.5 cm.17 7/8 by 11 15/16 in.This work was executed circa 1985.Footnotes:ProvenanceBilly Childish Collection, London (gift from the artist)Acquired directly from the above by the present owner in 2008The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 39
BILLY CHILDISH (B. 1959)Self Portrait 1982 signed SH and dated 82; inscribed SP 1 of 3 on the reverseoil on board 121.7 by 61.7 cm.47 15/16 by 24 5/16 in.Footnotes:ProvenanceCollection of the artistAcquired directly from the above by the present owner in 2008LiteratureBilly Childish, Childish - Paintings of a Backwater Visionary, London 2005, pp. 34, 173, illustrated in colourThe artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 40
TRACEY EMIN (B. 1963)Untitled 1984 dated 84 and inscribed TRACI XX on the reverseoil on board 33.9 by 23.3 cm.13 3/8 by 9 3/16 in.Footnotes:ProvenanceBilly Childish Collection, London (gift from the artist)Acquired directly from the above by the present owner in 2008The artistic and personal relationship between Tracey Emin and Billy Childish is a compelling narrative within the contemporary art world, marked by both collaboration and divergence. Emerging from the same generation of British artists in the late 20th century, Emin and Childish share a complex and intertwined history that has significantly shaped their respective careers.Romantically involved in the early 1980s, Emin and Childish's artistic trajectories were closely linked during this period, marked by a shared exploration of personal and often confronting themes in their work. Staying together for several years the relationship appears to have been troubled at times, with Childish stating that he treated her 'abysmally as a boyfriend' ('Billy Childish: Childish attitude', www.independent.co.uk, accessed 21 September 2023) and as their careers developed, their paths separated. Emin's work, characterised by its confessional and autobiographical nature, garnered widespread acclaim and made her a household name as one of the sensationalist Young British Artists. In contrast, Childish maintained a more underground presence, focusing on a diverse range of artistic pursuits, from painting and poetry to music.Presented here is a rare opportunity to acquire works infused with the interwoven history of two internationally acclaimed artists. There is a sense of intimacy and revelation yet also intrusion, as the viewer becomes privy to their private narrative and all three lots were formerly in the collection of Billy Childish. Lot 39 Self Portrait appears to be a companion piece to a portrait that Childish painted of Tracey Emin. Both works were executed in 1982 during their relationship and share stylistic qualities. Here Childish has painted his figure with sharp features set against a canary yellow background and contrasted with a blue curtain. The work is imbued with a rather pensive tone; the nudity of the sitter displays a sense of vulnerability, whilst the figure refuses to meet the gaze of the viewer, the sidesways glance reveals an underlying tension and uncertainty.Created soon after, Lot 40 Untitled and Lot 41 The Last Black Horse by Emin are rare early paintings that similarly demonstrate the mutual creativity and connection between the two artists. Like the preceding Self Portrait, these two works are framed in striking black and the surface is rendered in thick strokes of paint as the figures appear almost sculpted by the impasto. Incised into the border of The Last Black Horse is the symbol of a gallows, which is tattooed on the arm of Childish and visible in Self Portrait and acts as a homage to her former partner. The angular features and thick brush strokes are unlike her now characteristic sweeping strokes and celebrated painterly style of figuration that borders on abstraction. However, present in these early pieces are the pillars that Emin continues to reference throughout her career, displaying a rawness and honesty and drawing upon the themes of love and desire.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 102
Ladi Kwali (Nigerian, circa 1925-1984)Tankard stamped 'Abuja' in Arabic/ 'LK' (base)glazed stoneware14.5 x 13 x 10cm (5 11/16 x 5 1/8 x 3 15/16in).Footnotes:ProvenanceA private collection. The present work a unique and rare example of Ladi Kwali's where she has opted not to use sgraffito in her work. Innovative nonetheless, the present work seems to bear a white slip and then a black slip on top of this, resulting in this rich dripping appearance we seen on it's surface. Given the colour technique that Ladi Kwali has opted for, the use of an 'AA' glaze (which is clear glaze) would enable the rhythmic flow of the slips to be experienced without any additional colour added by pigmentation in the glaze.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Lot 130
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Red Ayan signed and dated 'GRILLO/ 72' (lower right); titled 'RED AYAN' (verso)oil on board121 x 59.5cm (47 5/8 x 23 7/16in).(framed)Footnotes:ProvenanceA private collection, UK.According to Yusuf Grillo, his favourable thematic use of the drummer in his works originated from his childhood. While growing up in Lagos, Grillo and a group of his friends would often be exposed to many drum players at special occasions. As there was no television or radio during his adolescence, drummers became the main source of entertainment at family and celebratory functions. It is these events that prompted a sense of nostalgia for Grillo, and that he revisits in his works when depicting a drummer or in this case Ayan, the Yoruba title for a talking drum player or the action of drumming. Chika Okeke-Agulu argues that the prominence of drums within Grillo's work as 'of all the instruments in Yoruba music ensemble, the drum is arguably the most important because of its ability to produce sonic equivalences of the Yoruba speech'(Chika Okeke-Agulu, Yusuf Adebayo: Painting. Lagos. Life, (Italy: Skira Editore, 2020) p, 39). Grillo himself elaborates on his affinity for the drum: 'We call it 'talking drum' but in the hands of a Master drummer, it is a versatile as a pipe organ. The drum stick selectively hits not only points on the circular skin, its circumference but even outside it. The muscles around the armpit, the fingers on the other hand and at rare times the thigh and knee can produce CHORDS, TREMOLO, and STACCATO.' (Yusuf Grillo, in, IGI ARABA: An Exhibition and Retrospective of Works by Yusuf Grillo, (Art House Contemporary, The Space, 2015).The present work displays a drummer or Ayan in the act of creating music. The bold redness of the work is certainly rare in Grillo's oeuvre, and contributes to the vibrant mood of the work. Where Grillo is widely recognised for his blue and fluid tonal palettes, here he emphasises the main subject, isolating them from their surroundings through this contrasting red. However, the work remains rhythmic in terms of the meticulously geometrical composition, iconic of the artist.To be heavily influenced by his heritage and cultural history was not a peculiar tendency of Grillo. Given his prominent involvement with the Zaria Art Society formed in 1958 collaboratively with other dominant contemporary artists of Nigeria such as Uche Okeke and Demas Nwoko, Grillo's work may be read with a framework of the 'Natural Synthesis' ideology. This concept was rooted with the understanding that incorporating pre-colonial and colonial artistic concepts was to be informed of ones history and was to result in Modern West African Art. By acknowledging the colonial past of their country, the Zaria Art Society sought to regain ownership of their heritage and to not consciously limit their creative intuition. Grillo himself stated: 'This politically desirable aim often forms the philosophy of many a contemporary artist, with the sad result that sincere creative urges are replaced by over consciously chauvinistic syntheses.' (Yusuf A. Grillo,'Appreciations of Felix Idubor', African Arts 2:1 (autumn 1968), p. 33.)Indeed, the drum emulates a symbolic narrative for the cultural life of the people Grillo grew up surrounded by and is therefore befitting of a reoccurring subject in the artist's painting. What makes the present work a rare piece in his oeuvre, is the unusual (yet not abnormal) use of red in the palette and therefore distinguishing the work as rare in comparison to his wider body of work.For further information on this lot please visit Bonhams.com
Lot 118
Uzo Egonu (Nigerian, 1931-1996)A New Lease of Life (Third) signed and dated 'UZO Egonu 89' (lower left)/ titled 'A new lease of life (Third) Oil 1989'; further bears the label 'Uzo Egonu/ 019' (to the stretcher bar, verso)oil on canvas 135 x 200cm (53 1/8 x 78 3/4in).(framed)Footnotes:ProvenanceA private collection.Paired with his developed cataracts in both eyes from the years 1979 to 1983, the period of painting that followed was known as his period of 'Painting in Darkness'. The works created in this period may well have had their palette mixed from memory. This would have been a time of anxiety for the artist who described it as a period of 'pulling through'. (Uzo Egonu, 'Painting in Darkness 1979-1983', undated manuscript, p 2. Artist's private papers.) Ironically included in this dark period, the palette of the present work is bright and vivacious, a technique that would transcend into the following years after Egonu received his last eye operation in 1983 restoring his sight. While his eyesight improved, the decline in Egonu's physical health given two heart attacks and a diagnosis of limited time to live motivated the artist to get his estate and administration in order, preparing for the end of his life. Outliving his health predictions, Egonu's work would again evolve, stimulated by what he believed to be 'a new lease of life'. (Egonu, 'The Circumstances leading to the creation of the work', undated paper. Artist's private papers.) It was this newly found defiance and energy that would turn Egonu's attention to a more contemplative observation of himself. This commentary began with self-portraits in the form of large-scale heads in the first of a series of paintings under the shared title A New Lease of Life. 'A person may detest exercise or walking, prefers [sic] butter to low cholesterol margarine, likes drippings... but circumstances, due to the consequences of that particular life style which affects the health, may wipe out all the detestations'.(Egonu, 'The Circumstances leading to the creation of the work', undated paper. Artist's private papers.)Aligning with the above quotation, the present work shows us the theoretical elements of a traditional still life. Depicting his reality, and the objects that surround his life, using them as a self-reflective metaphor, we see tins of food labelled 'Low Fat Yogurt', 'Sunflower margarine', 'Sunflower Oil' , and 'Skimmed milk'. Accompanied by illustrations of vegetables and fruit, this food lies beneath a building labelled 'Natural Health Clinic'. An inscription to the upper left of the work reads 'Lecithin Granules', commonly used to treat high cholesterol and further acts as an emulsifier to extend the life of food. It is an extremely rare element of Egonu's practise whereby he would include labelling and words in his art, promoting this idea that his later works following his health issues where more intentional and self-reflective in their meaning, rather than ambiguous and up for interpretation. This could be classed therefore as a type of self-portrait depicting the elements of his life that were relevant to his everyday life.Our thanks to Prof. Olu Oguibe author of 'Uzo Egonu, An African Artist in the West', pub 1995 for his assistance with the compilation of the above footnote.BibliographyChinua Achebe, 'Onitsha: Gift of the Niger', Morning Yet on Creation Day, (London: Heinemann, 1975)For further information on this lot please visit Bonhams.com
Lot 126
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Yoruba Woman in Blue signed and dated 'BEN ENWONWU/1973' (lower right); numbered '31', '24', '47' (verso of original stretcher)oil on canvas81 x 53cm (31 7/8 x 20 7/8in).(framed)Footnotes:ProvenanceA private collection, Lagos;The collection of Andreas Vracas;By direct descent to the current owner;A private collection.ExhibitedLagos, US Embassy: United States Information Service, (April 14-20th 1973), no, 31. As a monumental work in the artist's oeuvre, Bonhams is thrilled to present Yoruba Woman in Blue by the exemplary African modernist artist, Ben Enwonwu. In subject to technique and composition, the present work can draw many parallels to some of the artist's most beautiful and successful works to sell at auction, namely the Tutu series. These parallels distinguish this iconic portrait as a work of art that should be held with the highest regard within the artist's highly distinguished career.Engaging the female subject and an exploration of femininity was a popular thematic practice for Enwonwu in the early 1970's that is also seen in the Tutu series whose subject has been precisely concluded as depicting Adetutu Ademiluyi. This is contextually significant for Enwonwu. Indeed, Enwonwu's Nigerian heritage remains ever present in works such as the present lot. The Igbo culture championed women in the community as pillars of society. Adorned in a Gele, possibly Adire dyed clothes, jewellery, and with the long neck that is synonymous with other depictions of women, it is indisputable that the subject of the present lot is a woman held in high esteem and regard. Enwonwu also believed in entering into a modern Nigerian aesthetic, incorporating his formal training in Western portraiture with his traditional Igbo philosophical tropes. He stated 'the tradition of African art has followed a line of non-representation [and] will change its course in accordance with the infiltration of western [sic] culture. Whatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible.' (Enwonwu quoted in Ogbechie, 2008: p. 79). Leaving Nigeria for London in 1944 to pursue his artistic education, Enwonwu enrolled at the Slade School of Fine Art, before being admitted to Ruskin College at the University of Oxford upon the outbreak of the Second World War. During his time at university, Enwonwu wrote his intentions for his artistic style and career in August 1943:'I am keeping my art African – even if I stay in England for 60 years, I will still figure in my works, a plain blunt African. I believe very strongly in being myself and to be original and African.' In many ways, this work resonates with the pastel drawing by the artist; Portrait of a Yoruba lady sold by Bonhams in 2016. It could be concluded that, as both the drawing and present oil painting were completed in the same year of 1973, Portrait of a Yoruba lady was perhaps a preparatory drawing for this captivating painting. While slightly differing in the angle and adornments of the subject, both profiles present us with a Yoruba woman. Moreover, both portraits present an emphasis on the compositional technique that the artists employs, by which he illuminates the subjects from the left-hand side. Again, this element of the works strongly resonate with the paintings of the Tutu series.Resonating further with the Tutu series and due to the present work's exhibition records and numbers inscribed on the original pre-restorative stretcher (included with this lot), it is highly likely that this work preluded the Tutu series. In an exhibition record of April 1973, it could be concluded that, given these lot numbers, it is highly likely that this work was included. While two numbers on the stretcher, numbers 24 and 47, have a line drawn through them implying perhaps a mistaken numerical labelling, all three numbers insinuate works of a similar content to the present work. Decisively, number 31 remains uncrossed, thus concluding this title. Given the work's exhibition information and Yoruba Woman in Blue's visual similarities, it could furthermore be concluded, that the present work pre-empted the Tutu paintings, the first of which was painted in December 1973. Moreover, emphasising the striking qualities that Enwonwu incorporated in his works that carried through over the year. In sustaining elements of colour use, composition and light, we gain an understanding that the artist felt these elements held gravitas and importance within his portraits. However, the present work is not as contrasted in palette as the Tutu works, presenting itself more fluid in palette. The artist's use of teal blue, not only in the robes of the figure, but also as his base layer of the background before more yellow shades were applied, assists a glowing hue providing a mysticism to the work. This technique can also been seen in his work Isaiah the Driver(1968) completed some years before the present work. Interestingly, the yellow application on the background is rare within the artist's portraiture of women, where darker backgrounds seemed to be his preference with a Caravaggio essence, therefore contributing to the rarity of the present work.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)For further information on this lot please visit Bonhams.com
Lot 104
Ladi Kwali (Nigerian, circa 1925-1984)Two Beakers i)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 8.5 x 8.5cm (5 1/8 x 3 3/8 x 3 3/8in).ii)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 9 x 9cm (5 1/8 x 3 9/16 x 3 9/16in).(2)Footnotes:Both on a light celadon green Body 44, the two works presented coordinate in Ladi Kwali's incorporation of a white slip towards the base of both beakers. The precision of the sgrafitto on both works emphasis the clarity with which Ladi Kwali incises her works. The definition of the sgraffito is emphasised by the clear contrast of colour between the Body 44, the slip, and glaze. As Kwali did not take to throwing her vessels, the present works are unusual in her oeuvre as they are a rare example of Kwali using a pottery wheel to complete her work. BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Lot 1539
VERY RARE RANGERS F.C., MEMBER'S TICKET, 1898/99 the outer Morocco cover with gilt tooled inscription RANGERS FOOTBALL CLUB member's ticket No. 92 1898-99, the interior printed Rangers Football Club GROUND: IBROX PARK, COPELAND ROAD, GOVAN. MEMBER'S TICKET 1899-99... Available till date of Annual Meeting, 1899, inscribed in pen Mr Thos. Gilchrist 93 Gloucester St., signed Wm. Macandrew (Hon. Treasurer.), over-inscribed NOT TRANSFERABLE UNDER PENALTY OF FORFEITURENote: This incredibly rare season book comes from the momentous 1898/99 season. Rangers finished top of the League with a 100% win record of 18 wins from 18 matches. More than simply invincible, the team played the perfect season. The book therefore stands as a possibly unique survivor from what remains a unique British achievement. Rangers played a total of 39 competitive matches during the 1898–99 season.[1] They finished top of Scottish League Division One with a one hundred percent record of 18 wins from 18 matches.The club ended the season without any other trophies: in the Scottish Cup, despite beating Hearts and St Mirren en route to the final, they lost to Celtic 2–0.[2][3] Earlier in the season they had also lost in the final of the less important Glasgow Cup 1–0 to Queen's Park,[4][5] and at its end they lost in the minor Glasgow Merchants Charity Cup final, another 2–0 loss to Celtic,[6] also finishing as runners-up to the same opponents in the supplementary Glasgow Football League.[7]Regardless of these setbacks, the perfect league campaign of 1898–99 remains a unique achievement in the annals of British football.[8][9][10][11]
Lot 1532
DAVID MEIKLEJOHN OF RANGERS F.C., HIS CLUB BLAZER, CIRCA 1920/30s in blue with red and white trim, the breast pocket with stitched crest inscribed THE RANGERS FOOTBALL CLUB LTD. PLAYER, with three white metal buttons, interior label for R.W. Forsyth Ltd. inscribed D. MEIKLEJOHNProvenance: Purchase from Dreweatts Auctions, July 2012.Note: An esteemed Rangers player and Scotland international, David Meiklejohn would rack up 563 appearances for the Teddy Bears. During this time, he would achieve great success, winning the league thirteen times, as well as five Scottish Cups and eight Glasgow Cups.A rare and fine Inter-War piece, his Rangers club blazer stands a tangible link to the early days of the quintessential British team.
Lot 128
Bentley Motors 'On The Road'. A two volume set with a slip case. A reprint of the 13 rare 1930s magazines published by Bentley Motors describing how owners of Derby Bentleys toured with their cars during that period. Volume 1 contains the magazines, the content of which illustrates the lifestyle of pre-World War II society. Volume 2 includes an extensive introduction which identifies the majority of the cars (something Bentley Motors failed to do at the time of publication) and exhaustive indices of the cars, chassis and registration numbers and the locations in which they are photographed.
Lot 119
The Light Car, 1913 to 1917. A very good collection of very rare magazines by Iliffe & Sons, competitors to the more common Temple Press Lightcar magazine. A well-illustrated weekly journal comprising three small quarto hardbound volumes in modern black cloth with gilt lettering to the spines, holding the issues from Volume III, January 6, 1915 to Volume VII, January 3, 1917; together with a further two hardbound volumes in period dark brown cloth with gilt lettering to the spines, holding the issues from Volume VII, January 3, 1917 to Volume VIII, December 26, 1917. All the issues are bound with their covers, the latter two volumes including title pages and indices bound in at the front of the volumes. There is some page browning through age, otherwise all the issues appear to be in generally very good, clean and sound condition. The lot also includes a collection of loose issues from 1913 and 1914, all with their covers but in variable condition, comprising: Volume I, Nos. 4 to 30; plus Nos. 32 to 36; and Vol. II, Nos. 38 to 41; plus Nos. 43, 52, 56, and 60. (Qty)
Lot 185
1905 VI Coupe Internationale (Gordon Bennett). Three small albums comprising 32 postcards by Bouge and others, 20 cards by N.D. and 18 rare Colour Cards of the Course by 'Le Journal'. Scenes of the route, drivers, promotional cards. Some cards have manuscript recto and cancellation stamps, some duplicates. Condition is good. Circa 110 cards. (3)
Lot 228
Bugatti from Milan to Molsheim by Uwe Hucke, Julius Kruta and Michael Ulrich. A rare, privately published and limited edition book of only 1000 copies, this is a book based upon the 1976 work, 'Dokumentation einer Automobilmarke' by Monaca and Uwe Hucke. An undated 1st edition, comprising 807 pages and almost 1000 illustrations, many sourced from the personal archive of Roland Bugatti. The text is in English and German. The book is in good condition as is its distinctive slipcase.
Lot 118
The Light Car, 1913 to 1918. 19 loose issues, of the very rare magazine by Iliffe & Sons, all with their covers and mostly in decent condition, but with some wear, soiling and rusty staples, comprising Vol. I, No. 11; Vol. IV, Nos. 111 to 114; Vol. V, Nos. 118, 120 to 122, 126, and 128 to 135; and Vol. IX, No. 221. (19)
Lot 223
FIAT- The Three Grand Prix of 1922. A rare promotional folder, issued by FIAT, comprising report extracts for the 1922 French GP and the two 1922 Italian GPs. Original staples holding the 24pp editorial and results between folded beige card cover, English text. Some soiling and edge feathering to the cover, otherwise very good. Also, a circa 1922 FIAT 519 cord-tied brochure printed on light green textured card, six tipped-in colour body-style depictions with tissue covers, Italian text. (2)
Lot 4
C.A. PEÑAROL, JERSEY 5TH SEPTEMBER 1967 vs. Celtic F.C., stitched number 7 verso, long sleevedNote: Believed worn by Julio Abbadie. Swapped with Bertie Auld; The Bertie Auld Collection.Julio César Abbadie made a hefty 468 appearances for Peñarol during two spells with the Uruguayan club.Born in Montevideo to migrant parents, he was eligible for international selection, obtaining 26 caps between 1952 and 1966. This would include Uruguay’s run to the semi-final of the 1954 World Cup. During this competition he would net twice in a 7-0 group stage drubbing of Scotland.The 1967 challenge match vs. Celtic would come during Abbadie’s second spell with Peñarol. It was arranged in anticipation of Celtic’s Intercontinental Cup game vs. Argentina’s Racing Club. A rare chance to test themselves against South American opposition.Despite having just lifted the League Cup three days prior, Jock Stein fielded a full-strength Lisbon Lions side. It may have been a friendly, but he still wanted to triumph over the reigning Intercontinental champions. The 56,000 fans who turned out at Parkhead were rewarded with a fine display. Typical South American flare helped contribute to an electric atmosphere, though wasn’t enough to clinch the tie.Jimmy Johnstone stole the show, at one stage marked by three players who still struggled to intercept his jinking runs. Goals from Willie Wallace secured a 2-1 victory, Celtic now set for their showdown vs. Racing Club.Whilst the Peñarol friendly is remembered for its positive atmosphere, shirts swapped at the end of the game; those ties vs. the Argentinians live on for more sinister reasons.The first leg vs. Racing Club was contested at Hampden on the 18th October 1967, with the return game in Buenos Aires two weeks later. A 1-0 victory and 2-1 defeat pushed the competition to a playoff, this to be on neutral soil. Neither of the previous scorelines belie the violent conduct of Racing Club, something which came to a head in the play-off game, now known as ‘The Battle of Montevideo’.Jock Stein said before the match that his players would ‘give as much as they are forced to take.’ This was certainly true, a series of fouls from both sides leading the Paraguayan referee to stop the game on the 23rd minute. Both captains were then given stern warnings to control their players or face the consequences.The pleas were not heeded, and fourteen minutes later a cynical hack on Johnstone led to a mass brawl. It was at this point riot police took to the pitch to quell the violence. Following this, red cards for Alfio Basile and Bobby Lennox were the first in what became a total of six sending offs (four for Celtic, two for Racing Club). One of these was given to Bertie Auld in the 88th minute, though amid the chaos, he refused to leave the pitch and went on to complete the game.A single goal for Racing Club secured the victory, and with it the trophy.Following the match Stein would conclude, ‘I would not bring a team to South America again for all the money in the world.’
Lot 14
BERTIE AULD OF THE S.F.L. XI, INTERNATIONAL JERSEY 17TH MARCH 1965 vs. The Football League XI, UMBRO label, stitched crest inscribed S.F.L. v F.L. 1964-65, and number 11 verso, short sleeved The Bertie Auld Collection.Despite being an integral part of one of the strongest midfields of its day, Bertie was, like many of his Celtic contemporaries, seriously neglected by the national side. During his career he would only receive three caps, as well as two Scottish Football League select XI appearances.Many have hypothesised as to the reasons for this, though the strongest contender relates back to his first game for Scotland, this being vs. the Netherlands in May of 1959. The friendly fixture was contested in Amsterdam, with a strong Scotland side featuring Bobby Evans, Eric Caldow, and a 19-year-old Denis Law, winning 2-1. This victory became somewhat marred though, when in the 93rd minute a confrontation erupted on the pitch, Bertie himself involved.A red card awaited, in what became the first ever sending-off of a Scottish International player. Whilst Bertie’s prestige and ability spoke for itself, this was perhaps one accolade he didn’t want. It came during a period when each club would put players forward to the international committee for selection. The widely held belief is that Celtic chairman of the time, the divisive Bob Kelly, was so embarrassed by the red card, he made it clear he didn’t want Auld representing the national team again.Whilst a player of Auld’s calibre should have gone on to pick up dozens of caps, he would only play for Scotland twice more, against Portugal and Wales in that same year. The shirts offered cover those games, from the hugely significant one worn vs. the Netherlands, to the rare white away shirt vs. Portugal, and the swapped Wales shirt of Phil Woosnam. Also offered is an interesting S.F.L. jersey from his second appearance for the select XI.This was worn during the game vs. the English Football League in March of 1965, a fiercely fought 2-2 draw with goals from John Hughes, Jack Charlton and Barry Bridges. Two years later, Bertie would go on to win Europe’s premier prize, ultimately cementing his place in the annals of sporting history; the life and soul of the Lisbon Lions. Sadly though, he would never pull on the national jersey again.
Lot 12
BERTIE AULD OF SCOTLAND, INTERNATIONAL JERSEY 27TH MAY 1959 vs. the Netherlands, UMBRO and T. Alexander labels, stitched crest, and number 11 verso, short sleeved The Bertie Auld Collection.Despite being an integral part of one of the strongest midfields of its day, Bertie was, like many of his Celtic contemporaries, seriously neglected by the national side. During his career he would only receive three caps, as well as two Scottish Football League select XI appearances.Many have hypothesised as to the reasons for this, though the strongest contender relates back to his first game for Scotland, this being vs. the Netherlands in May of 1959. The friendly fixture was contested in Amsterdam, with a strong Scotland side featuring Bobby Evans, Eric Caldow, and a 19-year-old Denis Law, winning 2-1. This victory became somewhat marred though, when in the 93rd minute a confrontation erupted on the pitch, Bertie himself involved.A red card awaited, in what became the first ever sending-off of a Scottish International player. Whilst Bertie’s prestige and ability spoke for itself, this was perhaps one accolade he didn’t want. It came during a period when each club would put players forward to the international committee for selection. The widely held belief is that Celtic chairman of the time, the divisive Bob Kelly, was so embarrassed by the red card, he made it clear he didn’t want Auld representing the national team again.Whilst a player of Auld’s calibre should have gone on to pick up dozens of caps, he would only play for Scotland twice more, against Portugal and Wales in that same year. The shirts offered cover those games, from the hugely significant one worn vs. the Netherlands, to the rare white away shirt vs. Portugal, and the swapped Wales shirt of Phil Woosnam. Also offered is an interesting S.F.L. jersey from his second appearance for the select XI.This shirt is from that international debut vs. the Netherlands, during which the team would win, but Bertie would receive the nation's first ever red card.
Lot 5
A.C. MILAN, EUROPEAN CUP QUARTER-FINAL JERSEY 1969 vs. Celtic F.C., Vittore Gianni label, stitched Scudetto, and number 13 verso, long sleevedNote: Believed Giorgio Rognoni's from the 2nd leg tie at Parkhead, 12th March 1969. Swapped with Bertie Auld; The Bertie Auld Collection.Giorgio Rognoni was an Italian midfielder who played for a string of clubs during a career that stretched two decades. He would begin with local team Modena in 1964, before playing in the Serie A with A.C. Milan, Foggia, Cesena, and Pistoiese.It was during his time with the ‘Rossoneri’ he would see most success, representing them between 1967 and 1971. Whilst not a regular starter, he would tally 54 league appearances, featuring in campaigns that saw them lift the Scudetto (1967/68), the UEFA Cup Winners’ Cup (1967/68), the European Cup (1968/69), and the Intercontinental Cup (1969).This shirt comes from the team’s 1969 European Cup run. Worn during the quarter-final victory over Jock Stein’s Celtic.After seeing off Malmö in the first round, Milan got a rare bye into the quarters. This was due to the Soviet invasion of Czechoslovakia and subsequent fall out between Eastern and Western bloc teams.The games vs. Celtic weren’t as straightforward. Indeed, manager Nereo Rocco went as far as to proclaim that, if they saw off the Bhoys, victory in the competition would be a formality. The 1st leg was played in Milan, with heavy snowfall making for treacherous playing conditions. Whilst Celtic had built their reputation on playing attacking football and Italian teams on defence, the roles were reversed. Celtic ground out a 0-0 draw, glad to bring the game back to Parkhead.Before that 2nd leg, Celtic were dealt a loss when Bobby Lennox was ruled out through an ankle injury. This would prove the first in a series of misfortunes, from a denied penalty claim to a missed Willie Wallace sitter, and most importantly, a rare Billy McNeill error which allowed Pierino Prati to score. This goal proved the difference, the support realising it wasn’t to be their year in Europe, Milan progressing to the semis.Rocco’s prophesy would eventually ring true, his team going on to defeat Manchester United 2-1 on aggregate, before taking the game to Rinus Michels’ Ajax to win the club’s second ever European Cup.Rognoni, like Bertie Auld, was a used sub on the night of the Parkhead match. After going on to represent three further teams, his life was cruelly cut short at the age of 39. Dear Luca, Many thanks for getting in touch. The basis of our description took a couple of things into consideration, including notes from the family. We were unable to say with certainty and hence the description using the word 'believed'. This said, it is an A.C. Milan shirt from the 1969 quarter finals vs Celtic and is presented with impeccable provenance being from the collection of Celtic Legend Bertie Auld. We actually sold one of these shirts, from the collection of Auld's teamate Stevie Chalmers, a few years back (link below): https://www.mctears.co.uk/auction/lot/lot-1904---ac-milan---matchworn-jersey-from-the-european-cup-quarter-final-1969/?lot=157747&so=4&st=a.c.%20milan&sto=0&au=&ef=&et=&ic=False&sd=1&pp=96&pn=1&g=1 Whilst we won't modify the description, having only used the term believed, it is entirely possible Nello Santin. If I can help in any other way, please do let me know. All the best, James Bruce
Lot 13
BERTIE AULD OF SCOTLAND, INTERNATIONAL JERSEY 3RD JUNE 1959 vs. Portugal, UMBRO and T. Alexander labels, stitched crest, and number 11 verso, short sleeved The Bertie Auld Collection.Despite being an integral part of one of the strongest midfields of its day, Bertie was, like many of his Celtic contemporaries, seriously neglected by the national side. During his career he would only receive three caps, as well as two Scottish Football League select XI appearances.Many have hypothesised as to the reasons for this, though the strongest contender relates back to his first game for Scotland, this being vs. the Netherlands in May of 1959. The friendly fixture was contested in Amsterdam, with a strong Scotland side featuring Bobby Evans, Eric Caldow, and a 19-year-old Denis Law, winning 2-1. This victory became somewhat marred though, when in the 93rd minute a confrontation erupted on the pitch, Bertie himself involved.A red card awaited, in what became the first ever sending-off of a Scottish International player. Whilst Bertie’s prestige and ability spoke for itself, this was perhaps one accolade he didn’t want. It came during a period when each club would put players forward to the international committee for selection. The widely held belief is that Celtic chairman of the time, the divisive Bob Kelly, was so embarrassed by the red card, he made it clear he didn’t want Auld representing the national team again.Whilst a player of Auld’s calibre should have gone on to pick up dozens of caps, he would only play for Scotland twice more, against Portugal and Wales in that same year. The shirts offered cover those games, from the hugely significant one worn vs. the Netherlands, to the rare white away shirt vs. Portugal, and the swapped Wales shirt of Phil Woosnam. Also offered is an interesting S.F.L. jersey from his second appearance for the select XI.This white away shirt was worn during a 1-0 defeat to Portugal.
Lot 28
BERTIE AULD, HIS BIRMINGHAM CITY F.C. VS. R.C.D. ESPANYOL DE BARCELONA PROGRAMME 15TH NOVEMBER 1961 This rare programme comes from the 2nd round of the 1961/62 Inter-Cities Fairs Cup. Birmingham had reached the final the previous year, though had lost out to Roma.Espanyol triumphed 5-2 in the above first leg, and, whilst Auld scored in the home leg, the 1-0 victory wasn't enough to progress.The Bertie Auld Collection.
Lot 30
RARE OMEGA PAKISTAN AIR FORCE MILITARY WRISTWATCHthe circular signed white dial with Arabic numerals, blue steel hands and centre seconds, the sixteen jewel movement numbered 10003670, the case numbered 2292, the watch back engraved 6B/159 A14521 P.A.F. (Pakistan Air Force) and the broad arrow, on a cream nylon webbing strap
Lot 1004
A PALE CELADON JADE 'DRAGON AND PHOENIX' ORNAMENT, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Of slightly tapering shape, carved on both sides with a phoenix perched on top of a coiling dragon, the contours and details rendered with double-line grooves. The translucent stone is of a pale celadon tone with patches of a cream-white tone and dark veins. Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884. Condition: Fine overall condition, commensurate with age. Few tiny nicks, distinct signs of weathering and erosion, with the surface showing a silky matte surface as a result of long-time burial. The stone with natural fissures. Microscopic remnants of ancient pigment. Weight: 34.3 g Dimensions: Length 9.6 cm The present ornament displays an elegant combination of two zoomorphic elements, depicting a phoenix perched on top of a coiling dragon, the contours rendered in double-line grooves, a style characteristic of the Western Zhou period. Literature comparison:A similar example depicting the same motif but of slightly different shape, is in the National Palace Museum Collection (acquisition no. gouyu 611), illustrated in Art in Quest of Heaven and Truth, Chinese Jades through the Ages, Taipei, 2012, pl. 5-4-6. Another example depicting similar motifs was excavated in Rujiazhuang, its line drawing illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, p. 35, pl. 30:5. A rectangular plaque depicting similar motifs is in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2- Shang & Western Zhou, Shijiazhuang, 1993, pl. 242. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 November 2017, lot 2743 Price: HKD 2,375,000 or approx. EUR 307,000 converted and adjusted for inflation at the time of writing Description: A very rare pale celadon jade 'dragon and phoenix' ornament, Western Zhou dynasty Expert remark: Compare the near identical form and decoration. Note the related size (10.5 cm). 西周青白玉龍鳳紋柄形器 中國，公元前1100-771 年。半透明青白玉質，帶有白色絮狀物和深色紋理。器作近梯形的片狀柄形器，厚薄不勻。器之二面均琢龍鳳紋，輪廓與細節以雙線槽呈現。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867年擔任市長，1883 年和 1884 年連任。 品相：整體狀況良好，與年齡相稱。有少量微小的刻痕、風化和明顯的侵蝕跡象。由於長期埋在地下，表面啞光，非常光滑。具有天然紋理的玉料，古時顏色殘餘。 重量：34.3 克 尺寸：長9.6 厘米本件柄形器將兩種獸形元素巧妙結合，鳳凰盤龍，輪廓呈雙線凹槽，具有西周時期的風格特徵。 文獻比較：比較一件相似的例子，收藏於國立故宮博物院，描繪相同的主題，但形狀略有不同（收購編號：勾玉611），見《敬天極物：院藏玉器菁華展》，台北，2012年，圖版5-4-6。另一件相近的例子，出土於汝家莊，見鄧淑蘋，《羣玉別藏》，國立故宮博物院，台北，1999年，頁 35，圖30:5。一件相似主題的長方形佩，故宮博物院藏，參見《中國玉器全集2-商和西周》，石家莊，1993年，圖版242。 拍賣結果比較：形制：幾乎相同拍賣：香港佳士得，2017年11月29日，lot 2743價格：HKD 2,375,000（相當今日EUR 307,000）描述：西周青白玉龍鳳紋柄形器專家評論：比較幾乎相同的形式和裝飾。 請注意相關尺寸（10.5 厘米）。
Lot 1005
A PALE GREEN JADE 'PIG-DRAGON', ZHULONG, NEOLITHIC PERIOD, HONGSHAN CULTUREChina, c. 4000-3000 BC. Of iconic form with a coiled body and superbly rendered head, subtly detailed with round eyes, a wrinkled snout, and flared nostrils, the neck pierced with an aperture for suspension. The partly translucent, smoothly polished stone of a pale green color with russet patches, cloudy inclusions, and dark veins.Provenance: From an old private collection in Budapest, Hungary, acquired during the first half of the 20th century.Condition: Good condition with expected old wear, traces of use, natural erosion, and minuscule nibbling here and there.Weight: 86 gDimensions: Diameter 6.2 cm Considered to represent the prototype of depictions of mythological dragons in later Chinese art, Zhulong are some of the most interesting creations of the Hongshan culture, and evidence the existence of a complex belief system in supernatural forces. Jade Zhulong have been recovered at various tomb sites in Northern China, often placed on the chest of the tomb occupants, suggesting they were worn as chest ornaments.Literature comparison:For other examples of pig-dragons carved in a similar style with a single aperture, compare with a dark green jade example, 16.6 cm high, unearthed from Yangcheng, Bairin Right Banner, Inner Mongolia Autonomous Region, now in the Bairin Right Banner Museum, illustrated ibid., p. 105, no. 9; a celadon one, 15 cm high, in the Liaoning Provincial Institute of Archaeology and Cultural Relics, illustrated in Hongshan wenhua yuqi jianshang, Beijing, 2014, p. 94, no. 1; and a third example, 13 cm high, from the Irving Collection, sold at Christie's New York, 21 March 2019, lot 1180.Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 10 June 2021, lot 83Price: EUR 327,100 or approx. EUR 363,000 adjusted for inflation at the time of writingDescription: An important celadon and russet jade 'pig-dragon', Zhulong, Neolithic period, Hongshan cultureExpert remark: Note the size of this Zhulong (8.5 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 10 June 2021, lot 79Price: EUR 50,400 or approx. EUR 56,000 adjusted for inflation at the time of writingDescription: A rare and subtly carved celadon jade 'pig-dragon', Zhulong, Neolithic period, Hongshan cultureExpert remark: Compare the size (6 cm). 新石器時代紅山文化青白玉豬龍中國，西元前 4000-3000 年。描繪的是一條盤踞的 "豬龍"，切口代表動物的嘴，而切口上方的雕刻線條則顯示了豬的鼻子，圓鼓鼓的眼睛被一個大的凹槽突出並包圍著，背面有一個穿孔，作為懸掛孔。半透明的玉料，拋光良好，呈淡青色，有少量斑駁的白色絮狀物。 來源：匈牙利布達佩斯私人舊藏，購於上世紀上半葉。 品相：品相良好，有磨損和使用痕跡、自然侵蝕，到處都是微小的嗑損。 重量：86 克 尺寸：直徑 6.2 釐米 豬龍是中國藝術中龍的原型，它是紅山文化中最有趣的創作之一，顯示了對超自然力量的複雜信仰體系的存在。中國北方多處墓葬出土玉豬龍，多置於墓主胸前，推測為胸飾。文獻比較： 類似風格的單孔豬龍玉件，與內蒙古自治區巴林右旗陽城出土的深綠色玉石，高16.6厘米，現藏白林右旗博物館相比， 插圖同上，頁105，編號9； 一件青玉，高15厘米，遼寧省考古文物研究所藏，圖見《紅山文化玉器鑑賞》，北京，2014年，頁94，編號1。第三件玉器高 13 厘米，來自歐文收藏，於 2019 年 3 月 21 日在紐約佳士得拍賣行售出，lot 1180。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2021年6月10日，lot 83 價格：EUR 327,100（相當於今日EUR 363,000） 描述：新石器時代紅山文化青白玉豬龍 專家評論：請注意豬龍的尺寸 (8.5厘米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比， 2021年6月10日, lot 79 價格：EUR 50,400（相當於今日EUR 56,000） 描述：新石器時代紅山文化青白玉豬龍 專家評論：比較尺寸(6厘米)。
Lot 1003
AN IMPORTANT AND RARE JADE 'MASK' PENDANT, HUANG, LIANGZHU CULTUREChina, circa 3300-2200 BC. Finely decorated to all sides and edges with neatly applied incision work depicting cosmic cloud scrolls, the present Huang has a prominently carved godhead mask located at the center of the front side, just beneath a zoomorphic bird head with a pointed beak at the top. Both wings are pierced with funneled apertures for suspension. The opaque stone is of a brown hue with beige clouding and dark brown inclusions.Provenance: From the Sir Percival David collection, according to an old paper label reading 'The Percival Collection, of Chinese Jades' and manually inscribed 'Zoomorphic Figure'. Collection of Harry Geoffrey Beasley, probably acquired from the above between 1923 and 1939, and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Sir Percival David (1892-1964) was a Bombay-born British financier who is best known as a scholar and collector of Chinese ceramics, postal stamps, and jades. He became enamored with Chinese art after his visit to China in 1923 and started the Percival David Foundation to promote the research of Chinese art and culture. His collection grew to an astounding 1,700 pieces, which are now on display at the British Museum. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition, commensurate with age. Extensive wear and weathering, as expected, with rubbing and abrasion to the fine incision work, and some nicks and chips which have smoothened over time. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Calcification throughout.Weight: 73.7 g Dimensions: Length 10.3 cm With an associated metal stand. (2)Huang were a part of the elite adornments during the Neolithic period, especially within Hongshan, Liangzhu, and Longshan cultures. These were worn along with headgear, knee decorations, elaborate beaded necklaces, and other body ornaments, all made primarily from jade. Dr. Elizabeth Childs-Johnson dubs these cultures a part of the 'Jade Age', a period during which an abundance of jade objects accompanied the elite burials for the first time. The imagery carved on these jade adornments was highly standardized, and the most prominent image, which appears on this lot, is that of the godhead (also called a spirit person, shenren, or an anthropomorphized deity). This image is flat, often covered in cosmic cloud scrolls, and has zoomorphic attributes combining bird and semi-human elements.Literature comparison:Compare a closely related but much smaller jade pendant with godhead incision work, 6.3 cm long, dated to the Neolithic period, Liangzhu culture, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.734. Compare also a related jade ornament with a mask godhead, 8.3 cm wide, dated to the Neolithic period, Liangzhu culture, in the Metropolitan Museum of Art, accession number 18.63.良渚文化罕見神面玉璜中國，西元前約3300-2200年。器形下端圓弧，上端有三叉，中叉較短，兩側叉較長。玉璜四面和邊緣均有精美的紋理如雲紋一般，正面中央有一個突出的雕刻神人面具，頂部有尖喙的動物形鳥頭。兩翼都穿有用於懸掛的小孔。不透明的玉石呈棕色，帶有雲霧和深棕色內沁。來源：Percival David 爵士收藏，紙標籤上可見 “The Percival Collection，of Chinese Jades” 以及 “Zoomorphic Figure”字樣。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Sir Percival David (1892-1964) 出生於孟買的英國金融家，收藏中國陶瓷、郵票和玉器。1923年訪問中國後，他迷上了中國藝術，並創辦了Percival David基金會，以促進中國藝術和文化的研究。他的藏品已增至驚人的 1,700 件，現陳列於大英博物館。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。Alfred William Cowperthwaite (1890-1964) 曾是Cranmore 民族志博物館重要支持人，也曾是 Harry Beasley的好友。在Harry Beasley去世不久，他從Irene Beasley 處購買了一些收藏，包括此件拍品。品相：狀況極好，大面積磨損和風化，精細切口的摩擦和磨損，以及一些隨著時間的推移而變得平滑的刻痕和缺口。具有天然內沁和裂縫的玉石，其中一些可能隨著時間的推移發展成細小的裂縫。整體鈣化。重量：73.7 克尺寸：長 10.3 釐米金屬支架。(2)玉璜是新石器時代，特別是在紅山、良渚和龍山文化中，屬於權力階層裝飾品。 它們與頭飾、衣服配飾、精緻的串珠項鍊和其他裝飾品一起佩戴，所有這些都主要由玉製成。 Elizabeth Childs-Johnson博士將這些文化稱為“玉器時代”的一部分，在此期間，大量玉器首次伴隨著權力階層墓葬。 這些玉佩上雕刻的圖像非常標準化，而這批作品中最突出的圖像是神格（也稱為神人，或擬人化的神）。 該圖像是平坦的，通常覆蓋雲紋，並具有結合鳥類和半人類元素的動物形態。文獻比較:比較一件非常相近且尺寸較小的新石器時代良渚文化神面玉佩，長6.3 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S1987.734。比較相近的新石器時代良渚文化神面玉佩，收藏於大都會藝術博物館，館藏編號18.63。
Lot 1053
A GRAY JADE 'DRAGON' PENDANT, LATE MING TO EARLY QING DYNASTYChina, 17th/18th century. Of flattened form and finely carved in openwork to depict a coiling dragon, the body neatly decorated with partly interlocking C-scrolls, curling horn, long tail, beard, hair, flaring nostrils, and open mouth subtly incised. The opaque jade of a fine gray tone with cloudy dark-gray and black inclusions. Excellent polish, the surface with an unctuous feel overall.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.S.123. Two old paper labels, one mentioning a purchase date of 1935, and referring to the Beasley collection. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition with some wear, minor signs of weathering and erosion, nibbling, small nicks. The stone with natural fissures, some of which have developed into small hairline cracks.Weight: 19.7 g Dimensions: Length 5.8 cm Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2018, lot 140 Price: HKD 150,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A rare yellow and russet jade 'dragon' carving, 17th/18th century Expert remark: Compare the closely related manner of carving with similar C-scrolls, openwork, and incision work. Note the slightly more rounded form, yellow and russet color, and the size (8 cm).
Lot 1048
A RARE SOAPSTONE 'TAOTIE' CEREMONIAL BLADE, HAN DYNASTYChina, 2nd century BC to 2nd century AD. The curved blade powerfully carved to both sides with a two-horned taotie mask with sharply detailed features such as almond-shaped eyes below elegantly curved brows centered by a cross-hatched lozenge design, framed by ruyi and scroll designs, all above a pierced round mouth. The blade is sharpened to one side, while the blunt side is pierced with two further circular apertures flanking a neatly incised rope-twist design. The opaque stone is of a mottled buff color with extensive calcification as well as russet and cloudy white inclusions. Nice polish, with an unctuous feel overall.Provenance: Collection Huet, Paris. Hôtel des ventes Giroux, 22-23 February 1952 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. One side with an old collection label. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Condition: Good condition, commensurate with age. Extensive ancient wear from pre-burial worship, signs of weathering and erosion, encrustations, nicks, possibly minuscule old fills, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks. Naturally grown patina overall, with some areas of post-burial wear to calcification.Weight: 355.4 gDimensions: Length 28.5 cm The Taotie is an ancient Chinese mythological creature that was commonly emblazoned on a variety of materials during the 1st millennium BC. The first historically confirmed usage of Taotie is in the classic Zuo Zhuan, a narrative history of China written in 30 chapters between 722 and 468 BC, where it is used to refer to one of the Four Perils (Si Xiong), the four evil creatures of the world: a greedy and gluttonous son of the Jinyun clan, who lived during the time of the mythical Yellow Emperor. Within the Zuo Zhuan, taotie is used by the writer to identify a glutton.Literature comparison: Compare two related soapstone animal masks unearthed in 1978 from Western Han tombs in Maxiping, Xupu, and another unearthed from an Eastern Han tomb in Guojiapu, Changde, all three now in the Hunan Provincial Museum. Compare a related jade love token ornament, depicting a similarly carved grotesque face, 12.4 cm wide, also dated to the Han dynasty, in the Metropolitan Museum of Art, accession number 18.43.14. Compare a related jade hu-form vessel with a similar taotie mask handle, dated to the Eastern Han dynasty, at Sotheby's Hong Kong, 9 October 2020, lot 3.
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