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Click here to subscribeWW2 BOB Three WW2 Polish fighter aces signed RAF cover. Signed by Colonel Stanislaw Skalski DSO, DFC and Colonel Tadeusz Nowierski DFC as well as Colonel Witold Lokuciewski DFC. Rare. 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.
Rare Schneider Trophy Air Race cover multisigned 1920/30 competitors AVM Webster AFC, Air Cdre D'Arcy Greig DFC AFC, AVM Long, Grp Capt Snaith AFC. Only 110 were issued. 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.
Rare Harrier Flown Transatlantic Air Race cover, flown from top of Empire State building to London in 5hrs 31min. Signed by the pilot Sqn Ldr Williams. 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.
Three rare white metal Ceard masters (used to make the moulds) for 'Linden' 'Loch Fyne' ' Clematis with a mouse' together with fourteen Ceard pewter pendants and brooches, to include 'Arran' 'Bunny Run' 'Edinburgh' and 'Crathes' plus base metal chains Condition Report:Masters are probably un hallmarked silver, lovely and crisp.
A Vienna (du Paquier) porcelain miniature bowl, c.1735, painted in Schwarzlot with flowering shrubs and enriched in gilding, the footrim and upper rim interior each with a zig-zag border, the interior with a flower spray, 4.5cm diameterProvenance: The Robert G. Vater Collection of European Ceramics.Photographs: © Christie's ImagesFootnotes: Note: This miniature bowl is a rare survivor from a dessert centrepiece. Miniature bowls or baskets were placed around a tiered table centrepiece, and they would have held a candied fruit, small sweets, biscuits or sugared flowers. Plate 223 of Conrad Haggars Neues Salzburgisches Koch-Buch, which was published in 1719, shows small bowls around a central tiered surtout. For a miniature octagonal dish and a miniature basket which once formed part of a dessert centrepiece, see Meredith Chilton (Ed.), Fired by Passion, Vienna Baroque Porcelain of Claudius Innocentius du Paquier, Dettingen, 2009, Vol. 3, p. 1305, nos. 352 and 353, and Vol. 2, p. 888 for the 1719 cookbook engraving. Condition Report: Overall in very good order with just some very, very minor wear to enamel border around the upper rim.
This retired Swarovski crystal elephant was originally a member of the African Wildlife group and was later moved to the Rare Encounters theme. It is made from clear crystal, with black eyes and there is a small, frosted crystal tail. This item has its original box which measures 2.75"H x 3.5" dia. and Swarovski etched backstamp. Issued: 1989-2006Dimensions: 2"L x 1.25"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
This retired Swarovski crystal mother kangaroo with joey was in the Rare Encounters group. The kangaroo is made from clear crystal, both the kangaroo and joey have black eyes. This item has its original box with measurements 6.5"H x 3.25" dia. and Swarovski etched backstamp. Artist: Gabriele StameyIssued: 1994-2006Dimensions: 2.5"L x 1.25"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Crystal baby panda was part of the Endangered Species group, later moving to Rare Encounters when Swarovski changed their theme group names. Swarovski etched backstamp. This item has its original box. Box measures: 3.25"W x 2.5"H. Artist: Adi StockerIssued: 1994-2006Dimensions: 1"W x 0.75"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Rare handmade porcelain figure made in a limited edition, modeled as King standing wearing ivory colored formal attire; gilded accents. Comes with a porcelain display plaque. Julene Mechler signature incised on base. Plaque measures: 1.75"L x 0.25"W x 1.25"H. Figurine measures: 3.5"L x 3.5"W x 11.25"H. Edition Number: 95 Edition Size: 100Condition: Age related wear.
An 1837 copy of 'Die Wunder Des Himmels' by Joseph Johann Von Littrow liberated from Adolf Hitler's library. The inside front cover has the rare gold coloured Ex Libris book plate for Adolf Hitler with NSDAP eagle to the centre. Included with this lot is an original typed letter on Diana Edition International press service paper dated 5th May, 1946. The letter states that the owner had received two books liberated from Hitler's former apartment and that they should dispose of the books after use. The book is presented in a wooden case. Shipping category C.
A Rare Kammatograph Cine Camera & Projector, English, c.1898, the metal plaque at the front marked 'The Kammatograph, PATENT, MANUFACTURED BY L. KAMM, 27 POWELL ST. LONDON E.C.', constructed of mahogany and plate metal with leather covering, the front panel lifts up to reveal the shutter mechanism, with a lathe metal ring to support the circular spiral glass plate, width 36cm
A Canton enamelled-copper huqqa base for the Indian Market China, 18th Centuryof lobed globular form on a splayed foot, the flattened shoulder in the form of a flowerhead, the flaring neck with moulded ring, decorated in polychrome painted enamel with floral vines to the lobed panels, above and below foliate friezes, the neck with a floral vine and vegetal interlace 19 cm. highFootnotes:This rare huqqa base made in China for the Indian market imitates the form of bidri and brass huqqas from late 17th Century Deccan such as an example from a private collection published in Mark Zebrowski, Gold, Silver & Bronze from Mughal India, London 1997, p. 234, no. 390. For another Canton enamelled huqqa base dated to the same period see Simon Ray, Indian & Islamic Works of Art, London, 2002, pp. 76-77, no. 47. A rosewater sprinkler for the Indian Market with comparable decoration and also dated to the 18th Century is in the Hermitage Museum (see Chinese Export Art in the Hermitage Museum, St Petersburg 2003, p. 77, cat. 90). For a lobed spittoon, also possibly for the Indian market and dated to the late 18th Century, with extremely similar vegetal interlace to that on the neck of our huqqa, see Michael Gillingham, Chinese painted enamel, Oxford 1978, p. 42, no. 43.For further information on this lot please visit Bonhams.com
A rare set of three Ottoman silver-damascened steel Jarids Turkey, 18th/ 19th Centuryeach with shaped spear-head decorated with silver-damascening, and turned and moulded sockets, on wooden hafts each with silver grip engraved with designs of wrigglework, in original black leather-covered wooden scabbard with deep silver locket and chape each engraved with designs of wrigglework, the former with silver suspension ring 34 cm. longFootnotes:ProvenanceBonhams, Fine Antique Guns, 24 November 1999, lot 53. Private UK collection.For further information on this lot please visit Bonhams.com
A rare Ottoman openwork bronze incense burner Turkey, 16th/ 17th Centuryof bulbous form on a splayed shaft with hinged lid and bud finial, the drip tray with everted rim standing on six feet each decorated in openwork with sprays of tulips and hyacinths, the upper body with an interlace of palmettes and split-palmettes 31.5 cm. highFootnotes:ProvenanceMark and Peter Dineley Collections, UK.For further information on this lot please visit Bonhams.com
Bernhard Moritz, Bilder aus Palästina, Nord-Arabien und dem Sinai, comprising 106 plates after photographs of the Middle East, including the holy sites at Mecca Berlin, Dietrich Riemer, 1916106 plates after photographs mounted on to 50 card mounts with printed captions and dates in German, mostly two per mount, the images of varying sizes, numbered 1-100 (1-100 and 16a, 59b, 60a, 72a and 95a, one map, numbered 63a), 10 bound leaves (16 pages) of accompanying text in German, loose as issued in publisher's cloth-backed decorative portfolio boards, gilt-lettered Nord-Arabien und Sinai on upper cover, covers with printed decoration in the style of a Mamluk binding, oblong folio, title mount inscribed in ink R. Tschudi[?] portfolio 310 x 410 mm.Footnotes:A rare photographic record of the major sites and geographic features in Saudi Arabia, Jordan, Syria, Egypt and Palestine. The original photographs were taken for the most part by Moritz between 1905 and 1915, but some by Turkish friends in areas where he was prohibited from going. The subjects consist of:Jerusalem.Landscape views near Jericho and in Jordan.Deraa and other locations in Syria.Bedouin camps in east Jordan.Petra and the landscape nearby.Desert views in the Hejaz.Personnel building the Hejaz Railway between Damascus and Mecca and Medina.One printed map of Medina, accompanying views of the town, including the Mosque of the Prophet and the progress of the Mahmal in 1914.Views of Mecca, including the Ka'ba, and a pilgrim camp near Mount Arafat.Street scenes in Jeddah.Aqaba.Desert views in Sinai, oases, wadis and Christian monastic buildings.Moritz (1859-1939) was an Arabist and archaeologist who from 1896 to 1911 was in charge of the Khedival Library and Archive in Cairo, publishing a seminal work on Arabic paleography in 1905. He made several research trips to the Sinai and Hejaz.For further information on this lot please visit Bonhams.com
An Umayyad monochrome moulded pottery ewer Syria or Mesopotamia, 8th/ 9th Centuryof square form on four short feet with ridged neck surmounted by a flaring cup, simple handle to one side, moulded and decorated to the body with a cruciform to two sides, surrounded by overlapping circle motifs, all under a green glaze 23.1 cm. highFootnotes:ProvenanceThe Collection of Bahram Mirza 'Sardar-i-Massoud' (1885-1916), Paris, thence by descent.Lots 28 - 35:A private collection of Islamic ceramics formerly ownedby Qajar Prince, Bahram Mirza 'Sardar-I-Massoud'.This collection boasts a treasure trove of rare and exquisiteexamples of early Persian and Umayyad ceramics, whichhave been in private hands for over a century. The ceramicsin this collection are a testament to the skill and artistry ofthe craftsmen who created them. From the intricate floraland calligraphic patterns of the early Persian ceramics to theelegant monochromatic simplicity of the Umayyad example,each work in this collection is a masterpiece of form anddesign.Bahram Mirza was the son of, Massoud Mirza Zelle Sultan,the powerful Qajar Governor of Isfahan and son of Nasser AlDin Shah Qajar, one of Persia's longest ruling monarchs. He was an avid collector of Islamic art, and his passion for these works is evident in the quality and diversity of the pieces in thiscollection. As a member of the Qajar dynasty, Prince Bahramwas deeply connected to the cultural and artistic traditions ofIran, and his collection reflects his deep appreciation for therich artistic heritage of the Islamic world.The provenance of these ceramics is impeccable, having beenpassed down through several generations of Prince Bahram'sfamily. After the death of Nasser Al-Din Shah, Bahram Mirza'sfather Zelle Sultan had a fraught relationship with subsequentkings Mozzafar Al Din Shah and Muhammad Ali Shah, whosaw him as a potential contender for the throne, in 1907, ZelleSultan was eventually dismissed from his post and went intoexile in France in 1910. His son, Bahram Mirza, accompaniedhim into exile, where he continued his education and pursuedhis interests in art and culture. However, Bahram Mirza's lifewas cut tragically short when he died at the young age of 30in a German torpedo attack on the British SS Sussex uponan attempted return to Iran.He was survived by his thirteenbrothers who would continue to play a prominent role in thepolitical and cultural life of Iran throughout the early 20thCenturyThe green glaze featured within the present lot is distinctive of a group of early Islamic ceramics, which is characterised by a monochrome glaze (often green) and stamped and moulded decoration. They can be dated to the Umayyad or early Abbasid periods on the basis of a number of inscribed pieces (Arthur Lane, Early Islamic Pottery, London, 1947, pl. 3-5). There is also evidence that ceramics of this type were made in Eastern Iran, based on a bottle with inscription stating that it was made in Gurgan, now in the LA Mayer Memorial Foundation (inv. No. C40.69). For an example of an Umayyad monochrome moulded pottery ewer sold in these rooms, see Bonhams, Islamic and Indian Art, 29 March 2022, lot 20. The lot features a comparable flaring cup and simple handle in addition to a similar decorative scheme incorporating the use of both cruciform and overlapping circle motifs.For further information on this lot please visit Bonhams.com
An Ottoman ruby-set and enamelled gold belt buckle Turkey, 17th Centurycomprising a central rose surrounded by openwork tendrils flanked by two cusped-ended rectangular elements with tulips on a ground of openwork vegetal interlace, one with hinge, the other detaching with hook, decorated in polychrome enamel and set with rubies and other gemstones, the reverse of the central panel partially engraved with a lattice of vegetal interlace, tested as 13 karat gold 21.4 x 6 cm; 110 g.Footnotes:ProvenancePrivate Greek Collection, acquired in the early 20th Century. This buckle is a rare example of early Ottoman enamel work. The gold work, and more particularly the tulips, can be compared with those on a yoke in the Hermitage Museum, St. Petersburg (see Alexey Konstantinovich Levykin, The Tsars and the East, Washington D.C., 2009, no.61, pp.119-121). The yoke was probably composed using precious items from the Tsar's treasury bought as diplomatic gifts from the Ottoman court and is dated to the 17th century. The engraved decoration to the reverse of our buckle can also be compared with that on the reverse of a 17th Century Ottoman gem-set plaque also in the Hermitage Museum (ibid, no. 64, pp. 126-127).A very similar belt buckle was sold at Christie's, Art of the Islamic and Indian Worlds, 25 October 2018, lot 190.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sultan Muhammad, known as La'li, Diwan, copied by Muhammad (Mehmed) Muhyi, and bearing the seal of Sultan Bayezid II (reg. 1481-1512) Ottoman Turkey, dated AH 880/AD 1475-76Persian manuscript on paper, 45 leaves, 11 lines to the page written in nasta'liq script in black ink in two columns, headings in thuluth script in gold, intercolumnar rules and inner margins ruled in gold, last leaf with the seal impression of Sultan Bayezid II, later owners' inscriptions to flyleaves, gilt-tooled binding with central medallions and cornerpieces, borders of stylised floral motifs, with flap, doublures of red leather gilt 225 x 153 mm.Footnotes:ProvenancePerhaps formerly in the Imperial Library of Sultan Bayezid II (reg. 1481-1512).The late Djafar Ghazi, Munich (d. 2007).Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 9th October 2009, lot 353.PublishedEkrem Hakki Ayverdi, Fatih Devri Hattatlari, 1953, no. 32.The seal impression is that of Sultan Bayezid II, though the manuscript's presence in the Ottoman Imperial Library cannot be confirmed.This is a rare and early copy of the Diwan of La'li, the penname of one of the Mirs of Badakhshan, Sultan Muhammad, who was killed by the Timurid Abu Said in 1467 (see Annemarie Schimmel, A Two-Coloured Brocade: The Image of Persian Poetry, Chapel Hill 1992, p. 158). There are no other recorded copies of the text. This copy was written only eight years after the death of the author. The colophon is dated in Ottoman siyaq numerals. The scribe Muhammad Muhyi does not appear to be otherwise recorded.The manuscript is recorded in the book, Fatih Devri Hattatlari (Calligraphers of the Reign of Fatih, i.e. Mehmed II), as being in the collection of the author, Ekrem Hakki Ayverdi, in 1953 (when the book was published). He misread the siyaq date as 800 rather than 880.Saleroom notices:Please note that in both the printed and online catalogue this lot is missing a dagger symbol, meaning that it is subject to VAT at the prevailing rate on Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare Ottoman painted wood quiver with 21 arrows Turkey, 18th Centuryof tapering rectangular form with suspension bracket to one side, the interior with pierced baffle for 21 arrows, the exterior with painted gold borders to each side, the arrows with bone tips, feather flights with inscriptions between 65 cm. longFootnotes:A similar wood quiver from the Dr Charles E. Grayson collection is in the Museum of Anthropology, University of Missouri (no. 1994-0644A). See Mary E. French and Michael J. O'Brien, Traditional Archery from Six Continents: The Charles E. Grayson Collection, Missouri 2007 p. 90.Inscriptions: including '5 / Nursi' and '7(?) / Khayr al-Din (Hayreddin) Agha'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE PAIR OF FRENCH SILVERED AND GILDED BRONZE 'POMPEIIAN' TRIPOD TORCHERES/STANDS BY BARBEDIENNE AND LEVILLAIN CIRCA 1890 Signed to each F Barbedienne and with coupes with panels depicting water carriers by Ferdinand Levillain The dished tops with inset relief panels, signed to cast. above distinctive "bamboo" stems and Herculaneum style bases, gilded tops and bases and suspended chains 133cm high, tops 35cm diameter At the 1855 Paris Universal Exhibition Ferdinand Barbedienne exhibited a very similar model of his "Ancient Candelabra Lamp-Holder" designed by Henri Cahieux. The Empress Eugénie purchased a pair of such lamps for St Cloud- and subsequently purchased two more pairs in 1858 for her boudoirs at Compiègne and Fontainebleau Palaces.In 1875 Barbedienne's catalogues illustrated these stands under the new title of "Bamboo candelabra" and offered them in three heights: 190cm, 170cm and 135cm. For similar please see:Christie's New York, 8 October 2020, lot 88 - of similar form but with Neo Grec vase surmounts and plainer bases $16,250 Condition Report: PLEASE NOTE SALEROOM AMENDMENTA RARE PAIR OF FRENCH SILVERED AND GILDED BRONZE 'POMPEIIAN' TRIPOD TORCHERES/STANDS BY BARBEDIENNE AND LEVILLAIN CIRCA 1890 Signed to each F Barbedienne and with coupes with panels depicting water carriers by Ferdinand Levillain These are in generally good condition. Some wear as per age and use with rubbing of gilding to base- both inset with panels of water carriers signed F Levillan- additionally both are signed to coupe F BARBEDIENNE Please see additional images for visual references to condition which form part of this condition report. Please note viewing is at Guinevere (574-580 King's Road, London SW6 2DY). The auction takes place at Dreweatts Donnington Priory on Tuesday 23 May (10.30am BST). There will be no viewing or bidding at Guinevere on the day of the auction. Lots will be available for collection from Guinevere from Wednesday 24 - Friday 26 May (by appointment, 10am - 5pm). After Friday 26 May (5pm), all lots will be removed from Guinevere to commercial storage at Sackville-West Moving & Storing (Andover) and available for collection from Wednesday 31 May. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
λ PAOLO BUFFA FOR GIUSEPPE ANZANI: A RARE ITALIAN MARQUETRY INLAID VELLUM SIDEBOARD SIGNED ANZANI AND DATED 1941 The marquetry depicting scenes from Homer's Iliad and the Odyssey 90cm high, 189cm wide, 42cm deep The Italian architect-designer Paolo Buffa (1903-1970) is best known for an array of furniture designs that marry Neoclassical and Art Deco motifs and scenes with modernist principles. After studying architecture at Milan's Politecnico he established a design studio in 1928 with Antonio Cassi Ramelli, whom he had met whilst working in the atelier of Gio Ponti and Emilio Lancia. Designing for the Milanese upper classes in the 1930s onwards, Buffa's entrusted his designs to some of the finest ébénistes ensuring that they were expertly produced in finest materials, resulting in a quality that rivalled French cabinetmakers such as Emile-Jacques Ruhlmann. Giuseppe Anzani had established his workshop in the small village of Mariano near Milan. A highly skilled cabinet maker specialising in inlay and marquetry- he collaborated with famous designers, architects and artists such as Buffa, Cassi Ramelli, Gariboldi, Borsani, Gio Ponti and many others. Although his work at the Golden Gate International Exposition (GGIE) of 1939 brought his work to international notice- the second World War resulted in the loss of a large number of his recorded works and signed examples of his work are rare at auction.A comparable example with similar subject inlay to this work was sold at Wannenes Art Auction Genoa, Italy, 14th July 2020 lot 127 €8,500. Catalogued as "Importante credenza da soggiorno " Odissea - l'isola di Ea". Fusione di bronzo, legno di sicomoro, pergamena, intarsi in essenze nobili. Firmato Anzani sul fronte." (An Important living room sideboard "Odyssey - the island of Ea". Cast bronze, , sycamore wood, parchment, inlays in noble woods. Signed Anzani on the front). It also noted that the cabinet had authentication from the Paolo Buffa Archive and was illustrated: Irene de Guttry, Maria Paola Maino, Il mobile italiano degli anni '40 e '50, Editori Laterza, 1992, Roma-Bari, p. 133; G. Gramigna, Repertorio del Design italiano 1950-2000, p. 81.Condition Report: Sideboard with the expected marks, knocks, scratches and abrasions consistent with age and use. Key present and operates lock. Various areas of sympathetic conservation to the surface of the sideboard. Most are only visible upon close inspection (please see additional images). Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A RARE FLEMISH WOOL AND SILK HISTORICAL TAPESTRY DEPICTING A SCENE FROM THE LIFE OF HANNIBAL LATE 16TH CENTURY Probably after mid-16th century designs by Francois Geubels (Flemish Fl.1546-1579) for Brussels workshops, with the central field illustrating Hannibal deploying cattle with flaming horns at the Battle of Ager Falernus in 217AD. With Latin inscription to the upper border "HANIBAL IGNE TAURORUM CORNIBUS IMPOSITO NOCTU MONTEM INVADIT " (HANNIBAL INVADES THE MOUNTAIN BY NIGHT, HAVING FIRED THE BULL'S HORNS). The border with mythological figures to the corners Apollo, Artemis the Huntress, a dancing female figure and a military general approximately 340 high, 398cm long The Carthaginian general Hannibal is regarded even today as one of the greatest tacticians and most daring military commanders from antiquity. In the 16th and 17th century series of tapestries were woven commemorating scenes from his life and famous deeds such as the invasion of Italy by crossing the Alps with African war elephants. This tapestry commemorates the Battle of Ager Falernus shortly after his routing of Flaminius and his troops at the battle of Lake Trasimene. Sallying into central and southern Italy he soon found himself in the lowlands of Campania- an area stripped of its natural resources of food and fuel and swiftly surrounded by the troops of the new Roman dictator Quintus Fabius Maximus Verrucosus. Drawing inspiration from Spanish religious festivals- Hannibal ordered that 2000 oxen have torches tied to their horns and driven towards the pass where Fabius had stationed his army. In the ensuing chaos and stampede some of the Roman army believed that they were seeing the Carthaginian army marching to escape along the heights. As they moved off in pursuit of this decoy, the Carthaginian army moved in complete silence through the dark lowlands and up to an unguarded pass. A feat of misdirection and stealth still taught by military tacticians today.The Chrysler Museum of Art holds in its collection a similar tapestry titled "The History of Hannibal: The Spoils of Cannae" (the Gift of the Irene Leache Memorial Foundation, March 2014). With a Brussels town mark and dating from approximately 1650, the Chrysler tapestry shares the overall layout with the central slightly crowded field with central figures representative of the main title- as described in Latin to a cartouche to the centre of the upper border, and the wide borders with their use of richly decorated floral and fruit garlands dividing figures There are also similar panels both in the Royal Trust Collection and in the Cathedral Museum, Zamora, Castilla y Leon, Spain. The Royal Trust Collection's tapestries are titled "Hannibal pointing out the entrancing joys of Italy to his warriors" and "Hannibal bringing the spoils of Cannae to Carthage". Again, these are catalogued as being from a longer series of Brusselstapestries illustrating scenes from the story of Hannibal, each within wide borders of abundant fruit, foliage and flowers, a Latin inscription in scroll at top. The Zamora tapestries are very similar in style and composition to this lot and are catalogued as being circa 1570- "anonymous weaver".Please also see: Sotheby's, London, 26th May 1989, lot 27 for a Brussels tapestry, late 16th century, depicting a similar scene, with an inscribed panel referring to HannibalChristie's, London , 14th May 2017, lot 137 for a "Flemish Historical Tapestry By Maarten II Reymbouts, Brussels, Late 17th Century" which shares similar main border design Condition Report: Overall the tapestry has colour muting with loss predominately to paler pinks of flesh, yellows and paler blues and greens. The surface is slightly rumpled in some areas as is common for examples of this scale. Some pulling to threads and sections- with some loose areas- these may benefit from remedial work. Outer border later- and later backing. With the fixed later backing it is impossible to determine the full extent to which there may have been repairs but from the front there are indications of scattered spot repairs, tightening and remedial work throughout the surface. Most noteworthy are the two patch inserts to upper edge of main panel- just under children's feet. Additionally there has been spot repairs to strengthen sagging and pulled sections such as upper right border of panel with inscription.Please see additional images for visual references to condition which form part of this condition report.Please note viewing is at Guinevere (574-580 King's Road, London SW6 2DY). The auction takes place at Dreweatts Donnington Priory on Tuesday 23 May (10.30am BST). There will be no viewing or bidding at Guinevere on the day of the auction. Lots will be available for collection from Guinevere from Wednesday 24 - Friday 26 May (by appointment, 10am - 5pm). After Friday 26 May (5pm), all lots will be removed from Guinevere to commercial storage at Sackville-West Moving & Storing (Andover) and available for collection from Wednesday 31 May. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A RARE JAPANESE BLUE AND WHITE DRUM-SHAPED TEAPOT EDO PERIOD, 17TH CENTURYThe unusual flattened circular body raised on a short rectangular foot, the sides with a curved spout and a rounded handle, a hexagonal neck above; painted in underglaze blue with a prancing shishi to each side, framed by bands of karakusa scrolls and leafy tendrils, 15.5cm.
A TALL AND RARE JAPANESE KAKIEMON-STYLE EWEREDO PERIOD, C.1660-80The bulbous body with a slender neck and a curved handle to the side, decorated in underglaze blue, red, black and green enamels; the body painted with pavilions in a mountainous river landscape, surrounded by luxuriant gardens and with large palm trees behind them; the neck embellished with further blooms and formal floral designs, the handle with karakusa scrolls, 26.7cm.Cf.C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.161, no.181, for a closely related ewer in the Groninger Museum, Groningen. The author notes that the combination of a Chinese Transitional-style landscape in underglaze blue and the enamelled decoration is very unusual, and it places this piece between the early Japanese enamels and the developing Imari and Kakiemon styles. He also notes that no other comparable piece seems to be recorded.
ANONYMOUSMEIJI ERA, 19TH CENTURYA rare Japanese makimono (handscroll picture) in naive style, the title slip reading Shukke shobo no zu, chu (Pictures of Fire and Firefighting, part 2), the outlines possibly printed and hand-coloured with a continuous scene of fire brigades from different neighbourhoods across the Tokyo, starting with Fukagawa and ending with Sugamo, many carrying banners displaying their crests and with their names and addresses inscribed above, the many figures marching between fires, some firemen fighting the blazes and townspeople running in fear, 26.5cm x 580cm.Provenance: an Irish private collection, Dublin.A copy of a letter from Alfred Haft, Project Curator of the Japanese Section at the British Museum, discussing the scroll is available. It mentions comparable 19th century scroll paintings in the collections of the Edo-Tokyo Museum, and at the British Museum.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A RARE AND IMPRESSIVELY LONG JAPANESE WOOD JIZAI OKIMONO (ARTICULATED MODEL) OF A SNAKE BY MASAKAZUMEIJI ERA, 19TH/20TH CENTURYThe fully articulated body of the reptile realistically rendered, with a movable lower jaw, fangs and tongue; the eyes cleverly inlaid in yellow mother of pearl and the surface of the wooden scales a warm golden brown patina, signed Masakazu in an oblong mother of pearl reserve underneath the jaw, 175cm.Provenance: formerly in an important European collection, acquired in the 1970s.See Christie's London, Art of Japan, 8th December 2016, lot 19, for another wood model of a snake signed Masakazu.See p.53 of this catalogue for another view.
A RARE JAPANESE LOTUS-SHAPED NYOI ZUSHI SHRINE SCEPTREEDO OR EARLIER, 18TH CENTURY OR EARLIERThe tall wood body modelled as a lotus stem with three branches, the shorter one ending with a seed head, another with a curling leaf, and the tallest topped with a large flower bud; the underside of the burgeon subtly decorated with scrolling clouds in white gesso; a petal opening to reveal further cloud motives inside embellished in polychrome, and an oval aperture revealing a base for a small figure, carved as a rocky outcrop; with an orange silk cord tied up around the stem; 94cm overall.The lotus is an important symbol in Buddhism, representing spiritual purity. The shape of this zushi shrine is rare in Japan, but lotus mandalas made of copper alloy with hinged petals are more common in Indian iconography. See the Rubin Museum, New York, access. no. C2003.10.2 for a 12th century lotus mandala of Hevajra from north-east India with hinged petals.
A RARE JAPANESE BLUE AND WHITE DRUG JAR FOR THE WESTERN MARKETEDO PERIOD, C.1650The tall cylindrical body with a waisted spread foot and an everted rim, painted in underglaze blue with a narrow blank cartouche framed by formal scrolling designs with stylised leaves and swags, the shading rendered with cross-hatching of a darker shade; the banderol embellished with an unusual depiction of a moustached male harpy wearing a neck ruff or millstone collar, perched on an orb; heavily potted with some of the recessed base left unglazed, 28cm.C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, pp.213-217 for other examples of drug jars for the Western market. Also, see O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, pp.42-43, for another blue and white jar (pictured opposite with lot 96). This apothecary jar is an unrecorded and possibly unique example. The shape is based on the European albarello (probably from the Arabic term al barani, meaning storage), a container used for spices, herbs and other medicinal products. The European model derived from Persian and Syrian jars from the 12th-13th century. This Japanese example dates from c.1650 and was probably made as a special order. The depiction of a male harpy wearing a neck ruff is very unusual, and may have been the armorial used by a particular monastery or apothecary.Comparing this piece to the jar at the Ashmolean Museum (see picture opposite) shows how these pieces were produced in a similar manner, heavily potted and with the surface covered in a thick white splashed glaze. The cobalt-blue decoration on both jars features shading rendered with cross-hatchings in a darker shade of blue. Dr Oliver Impey noted that no prototypes for this type of decorative labels have been found in Dutch earthenware. However, as the fashion for neck ruffs only stretched into the 17th century in the Dutch Republic, it is likely that the harpy decoration was based on a Dutch model rather than a Portuguese one. The winged creature is also reminiscent of angel-like figures with neck ruffs that can be found on 17th and 18th century Dutch jars or apothekerspots. The first recorded order for Arita porcelain by the VOC (1653) included ‘various (small) porcelain bottles, (small) pots, salve and preserve pots for the surgeon’s shop in Batavia, made according to the samples sent’. Other such orders were passed for ‘large and small medicine pots’ to be shipped to Taiwan, and for other unrecorded destinations. Shards of Japanese albarelli were also found in the shipwreck of the Oosterland, a VOC ship wrecked at the Salt River Mouth, South Africa. This jar was possibly made as part of one of these orders. We would like to thank Clare Pollard and Guido Rabbeljee for their kind assistance and suggestions in researching this lot.
Dame Laura Knight DBE, RA, RWS (1877-1970) - Pas de Deux, lithograph, signed by the artist in pencil, 52 x 69.5cm Bolling & Withington 'M' Rare. In Bolling & Withington's catalogue raisonne of Laura Knight's prints "To our knowledge this lithograph is almost an 'unknown piece' and has not been mentioned or described except in the auction where it was sold a few years ago. It is, however in the collection of the Hugh Lane Municipal Gallery of Modern Art in Dublin and another in the National Gallery of Canada. The image, when seen at [life]size is impressive...". Laura Knight's four lithographs of which Pas de Deux is the largest date from around 1924/25. The few recorded examples were printed on 'newsprint quality' paper. The exception would appear to be the unique proof impression of Pas de Deux printed on heavy wove that was with Campbell Fine Art. Repaired tears upper centre left and right, slightly creased and browned
Modern Firsts. [World War One] Machen (Arthur), War and the Christian Faith, first edition, London: Skeffington & Son, Ltd., 1918, rare in original dustjacket, chipped and somewhat soiled, over original papered boards, 8vo, [&] Mathematics & Speculation. Bachelier (Louis), Le Jeu, la Chance et le Hasard, first edition, Paris: Ernest Flammarion, 1914, unopened, original orange paper wrappers, disbound and chipped, 8vo, (2)
A rare Worcester blue and white Chelsea ewer cream boat, c1770, painted with the Trellis Scroll Border Floral pattern, 62mm h, underglaze blue open crescent, a Worcester blue and white barrel shaped teapot and cover, c1770, transfer printed in underglaze blue with the Rose-Centred Spray group and a Caughley blue and white tea bowl, 1782-c.1790, transfer printed in underglaze blue with the Pagoda pattern and gilt, underglaze blue S (4) Cream boat - tiny rim chip. Teapot cracked. Cover of teapot chipped. Tea bowl in good condition
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