Rare WW1 Period "Wedgwood Printing Works" Memorial Wall Panel 15 x 10 inch, darkened copper wall mounted panel inscribed "Wedgwood Printing Works Burslem" with the names and dates of five WW1 casualties who had previously worked for the company. Consisting "Major Thomas Copeland Savage, Company Sgt. Major William Davies, Private Gordon Lockley, Private Fred Ellis, Gunner George Henry Bate". The building was demolished in the 1990's and this item was salvaged from the skip. Major Thomas Copeland Savage FRCS New Zealand Medical Corps No 2 NZ Stat Hospital. Died 13/8/1915 aged 41, Cairo. Company Sgt Major William Davies 1/5 Batt North Staffordshire Reg, died 1/7/1917, Arras memorial. Private Frederick Ellis 2/5 Batt North Staffordshire Reg, died 28/9/1917, Belgium Gunner George Henry Bate 199th Siege Battery RGA, died 8/10/1918, buried Burslem cemetery Private Gordon Lockley, 3rd Batt North Staffordshire Reg, died 1917.
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Rare 1822 Special Pattern Royal Welsh Fusiliers Sword 35 1/2 inch, single edged, slightly curved, pipe back blade. Etched royal crown over GRIV. The forte with maker's details "Prosser, Sword Cutler To The King, London". Gilt brass, Gothic guard with white metal, Prince of Wales plumes within a cartouche panel. Gilt brass pommel and back strap. Shagreen covered grip with twist wire binding. Blade with darkened patina.
Rare Deactivated Russian 1891/30 Sniper Rifle 7.62 mm, 28 1/2 inch, blued barrel with hooded front sight and rear ladder sight. Blued breech with maker's stamp dated "1944". Specially converted, turn down bolt handle. The left side of the breech with blued steel mount and short telescopic sight. Complete with leather, protective lens caps. Blued trigger guard and integral magazine. Polished full stock woodwork and top hand guard. Steel butt plate, barrel bands and clearing rod. Complete with 1891/30 cruciform bayonet and leather and canvas rifle sling. Complete with current certificate.
Rare Trials Pattern 1888 Sword Bayonet 12 inch, double edged blade. Steel stepped muzzle ring, crossguard and pommel with countersunk oil hole. Black composite, checkered grips secured with two steel rivets. Contained in its leather scabbard with steel mounts. Complete with white blancoed, buff leather frog.
Rare Imperial German Seitengewehr M1898/02 Pioneers Sawback Bayonet 17 inch, single edged blade with wide fuller. Rear sawback edge. Forte with crowned "Erfurt". Back edge dated "02". Steel, turn up quillon and part muzzle ring. Regimentally stamped "R.P.IV.2.125". Steel pommel. Wooden, grooved slab grips. Contained in its leather scabbard with steel mounts (some pitting). Complete with leather frog.
Rare Jacobs Double Barrel Carbine Sword Bayonet Circa 1860 30 1/4 inch, double edged blade. Double, narrow fullers to the blade and forte. Forte with Ordnance stamp. Steel, double muzzle ring, bowl guard with foliage piercing. Steel pommel with locking spring. Checkered leather slab grips. Contained in its period, Indian made, leather covered, wooden scabbard with steel throat, chape and three bands. Minor surface rusting.
OMEGA, SPEEDMASTER APOLLO 11, REF. BA145.022A RARE LIMITED EDITION GOLD COLOURED CHRONOGRAPH BRACELET WATCH, NO. 040, CIRCA 1969Movement: Cal. 862, manual wind chronograph, 17 jewelsCase: Gold coloured case, inner cap, screw down case back, stamped 18K 0.750 with a poinçonDial: ChampagneBracelet: Omega gold coloured bracelet with fold over claspSize: 40mm, bracelet 19cmSigned: Case, dial, movement, glass, crown, claspAccessories: Omega service case, extract from the archives, original bezel The reference BA145.022 was released in 1969 to commemorate the Apollo XI moon landing. This was the first Speedmaster made available in gold. While not a limited edition, only 1014 watches were produced and each was numbered. Numbers 1 and 2 were offered to President Nixon and Vice President Spiro Agnew respectively. Numbers 3 to 28 were given to astronauts and numbers 29 to 32 were given to VIPs. Numbers 33 onwards were made available to the public, making this example number 40 one of the earliest available to be purchased. Condition Report: Movement is currently functioning. The chronograph counts one minute, but the hour counter has not been tested due to time constraints. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Blemish to the dial at 2 o'clockHands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case shows light scratches and marks. Case back engraving worn. Bezel is a replacement, likely a service replacement.Crown has light scratches when viewed under a 4x loupe. Bracelet has scratches and some signs of stretching to links. Clasp is currently functioning and appears to be in good condition. Bracelet measures approximately 19cm including case.This lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Y PATEK PHILIPPE, REF. 3970EP-019A FINE AND RARE PLATINUM PERPETUAL CALENDAR CHRONOGRAPH WRIST WATCH WITH 24 HOUR AND LEAP YEAR INDICATION, MOONPHASE AND DIAMOND SET DIAL, NO. 4225264, CIRCA 2004 Movement: Cal. 27-70 Q, manual wind chronograph, 24 jewelsCase: Platinum case, screw down display case back, stamped with platinum common control markDial: BlackStrap: Patek Philippe black crocodile strap with platinum deployant claspSize: 36mmSigned: Case, dial, movement, crown, strap, claspAccessories: Patek Philippe box, certificate of origin, instruction book, solid platinum case back, adjustment tool, outer card packaging The reference 3970 was first released in 1986 as a replacement for the successful 2499. Production of the 3970 ran for eighteen years until 2004. In this time there were three different series of the 3970.The first series had a solid snap on case back with feuille hands and gold baton indexes. The second series came with a solid screw down case back. This came with the designation 3970E. The E is for étanche, which is the French for waterproof.The third and final series had a screw down display case back, as well as an additional solid case back.The example being offered falls into the third series. The certificate of origin is dated Feb 12, 2004, making it one of the last examples sold. Condition Report: The chronograph counts one minute, but has not been tested further due to time constraints. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Rotating bezel rotates. Crown has light scratches when viewed under a 4x loupe. Strap appears to be in good condition with minor marks and creasing. Buckle appears to be in good condition with minor marks and scratches when viewed under a 4x loupe.This lot comes with a box and papers dated .Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. We recommend this watch is tested by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Gordon and Macphail rare old single malt Scotch whisky, Highland malt Scotch whisky from 'Lochside Distillery' distilled 1981, 40% vol. 70cl. Bottled in 2000, in presentation wooden case. (B.P. 21% + VAT) Appearing sealed, the whisky is above the neck level. Label appearing in very good condition.
Rare Chinese carved coconut shell globular teapot with carved foliate decoration and geometric seals, 12cm high approximately. Together with a Chinese red clay flared, square section 'Yixing' teapot with loop handle, one side decorated overall with incised calligraphy marks. Square four character seal mark to base. 12cm high approximately. (2)(B.P. 21% + VAT) Coconut teapot has chip to spout and overall surface wear with possible cracks to lower body and missing its stand. Terracotta teapot appears good overall.
Nine assorted blue and white transfer-printed child's teapots and covers early-mid 19th century including a rare Leeds pottery pearlware teapot, circa 1805, decorated with a good quality print of a farmhouse amongst hills, a flying pheasant and a palm trees with twisted trunks and oak leaves, impressed 'LEEDS POTTERY', 8cm high (a.f); a Davenport pearlware teapot, circa 1810, decorated with a scene of two figures in a garden with pagoda and trees, indistinct impressed mark, 7.5cm high; a Copeland Spode Italian teapot, 7.5cm high; a Wedgwood pearlware teapot, circa 1808, decorated with a Chinese man in vase and flowers, decorator's mark in underglaze blue, 7.5cm high (restored): a Minton pearlware teapot, circa 1815-20, decorated in the 'Domed Building' pattern, 7cm high and four further teapots in floral, chinoiserie and Adam Buck-style prints (18 pcs, including covers) (damages, repairs)The Enid and Bruce Moulder Collection.
HENRI MATISSE (1869-1954)Nu (femme) debout, also titled Nu près du paravent signed 'Henri Matisse' (upper right)oil on canvas laid down on panel33.5 x 19.5cm (13 3/16 x 7 11/16in).Painted between late 1905 and early 1906Footnotes:The authenticity of this work has been confirmed by Georges Matisse.Please note this work has been requested for inclusion in the landmark exhibition Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris at the Art Gallery of NSW, Sydney, Australia, 20 November 2021 – 13 March 2022. ProvenanceMichael & Sarah Stein Collection, Paris and San Francisco (acquired directly from the artist through Galerie Druet by 28 April 1906, until at least 1942).James Vigeveno Gallery, Los Angeles (probably acquired from the above in the 1940s).Robert Ardrey & Helen Johnson Ardrey Collection, Oklahoma (acquired from the above in May 1950, until circa 1973-1974).Galerie Yoshii, Tokyo (acquired circa 1973-1974).Shoji Uehara Collection, Japan (acquired from the above on 27 December 1974).Galerie Yoshii, Tokyo (acquired from the above in 1977).Anon. sale, Sotheby's, London, 7 December 1977, lot 28.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.ExhibitedParis, Galerie Druet, Henri Matisse, 19 March - 7 April 1906, no. 8.Los Angeles, University of California, Years of Ferment, The Birth of Twentieth Century Art 1886-1914, 24 January – 7 March 1965, no. 34 (later travelled to San Francisco and Cleveland; dated 1904-1905).Paris, Grand Palais, Henri Matisse, Exposition du Centenaire, 21 April - 21 September 1970, no. 80.New York, Museum of Modern Art, Four Americans in Paris, The Collection of Gertrude Stein and her Family, December 1970, no. 15 (later travelled to San Francisco).Tokyo, Galeries Seibu, Exposition les fauves, 15 August - 24 September 1974 (later travelled to Kanazawa).Dalhousie, Nova Scotia, Dalhousie Art Gallery, Aspects of 19th and 20th Century European Art, Part I: Henri Matisse (1869-1954), 23 October 1980 – 4 January 1981.LiteratureA.H. Barr Jr., Matisse, His Art and His Public, New York, 1951, p. 82 (illustrated p. 20).L.M. Golson, 'The Michael Steins of San Francisco: Art Patrons and Collectors', in Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, no. 15, p. 43 (illustrated pp. 41, 45 & 117).M. Luzi & M. Carra, L'opera di Matisse, dalla rivolta 'fauve' all'intimismo 1904-1928, Milan, 1971, no. 83 (illustrated p. 88).G-P. & M. Dauberville, Matisse, Vol. I, Paris, 1995, no. 64 (illustrated p. 399).H. Spurling, The Unknown Matisse, A Life of Henri Matisse, Vol. I: 1869-1908, London, 1998, pp. 348 & 352 (illustrated pp. 347 & 383).J.C. Bishop, C. Debray & R.A. Rabinow (eds.), The Steins Collect, Matisse, Picasso and the Parisian Avant-Garde, exh. cat., San Francisco, 2011, no. 112, pp. 133 & 148n15 (illustrated pp. 381, 382, 385, 387 & 411).S. Steinberg, 'Sarah Stein: The Woman Who Brought Matisse to San Francisco', in American Imago, Vol. 68, no. 3, Fall 2011, pp. 521 & 526 (titled 'Nude Woman with Red Hair' and 'Woman with Red Hair').Nu (femme) debout, also titled Nu près du paravent dates from the pinnacle of Henri Matisse's Fauvist period when his unbridled use of colour and handling of pigment was at its most radical and liberated. With an intensity and boldness of palette almost unparalleled in this first Fauve phase of Matisse's oeuvre, Nu (femme) debout stands as a quintessential example of Fauvism, while the manner of execution and figurative subject reveal the artist's tantalising first steps towards his celebrated decorative style. Acquired shortly after completion by arguably the most significant patrons and collectors of his early career, Michael and Sarah Stein, the present work is distinguished by exceptional provenance and remains a rare example of a figurative Fauvist work by Matisse not already housed in a museum collection. Nu (femme) debout also carries the important epitaph of being one of the first three works by Matisse to have ever been seen in America, and there is no doubt that the presentation of this work, along with the astounding promotional efforts of Sarah Stein, helped to secure Matisse's name in the United States, and beyond, as synonymous with the development of modern art in the twentieth century. Nu (femme) debout was painted in the immediate aftermath of the infamous Salon d'Automne of October 1905, the exhibition which appalled the French public and birthed the Fauvist movement. The site of the scandal was the ultimate showcase for modern and contemporary art with room VII, a central room at the Grand Palais, as the arena of the spectacle. Gracing the walls were the radically vibrant paintings that Matisse and André Derain had created in Collioure earlier that summer, along with paintings of a similarly clamorous palette by artists such as Henri Manguin, Albert Marquet, Maurice de Vlaminck and Georges Rouault. Contemporary art critic Louis Vauxcelles referred to the room as the 'cage of wild beasts' ('cage aux fauves'), and thus this cohort acquired its sobriquet. Visitors to the exhibition were aghast at the 'savage' presentation within Salle VII. The paintings employed a hitherto unseen style of execution and defied every prevailing artistic convention. Colour was freed from its mimetic function and applied unfettered, as if directly from the tube, with liberal, even sketchy brushwork. The effect was, as Vauxcelles recorded, 'an orgy of pure tones'. Amongst the various landscapes of Collioure, the painting which caused the greatest uproar was Matisse's portrait of his wife, Amélie - the now iconic Femme au chapeau, which today resides in the collection of the San Francisco Museum of Modern Art. The inclusion of this work within the exhibition not only secured Matisse's position as the leader of the Parisian avant-garde but crucially marked the beginning of a profound relationship between him and the most significant friends and patrons of his early career, the Steins.Leo, Gertrude, Michael and Sarah Stein all attended the vernissage along with, now fabled collectors, Claribel and sister Etta Cone who were friends of Gertrude's and Leo's from Baltimore. The Americans were unique in their quiet admiration for Femme au chapeau. Therese Jelenko, who accompanied the Steins on their visit to the Salon, recalled seeing 'Frenchmen doubled up with laughter before it, and Sarah saying 'it's superb' while Mike couldn't tear himself away' (Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, p. 42). Were it not for the pioneering discernment of the family, Matisse would have considered the Salon d'Automne to have been an unmitigated failure. However, in the event, Sarah and her brother-in-law Leo decided to purchase the ground-breaking work for the family. The painting initially resided with Leo and Gertrude before latterly forming part of Michael and Sarah's collection. Up until this moment Matisse had, by and large, been overlooked or dismissed by the French, but the acquisition of Femme au chapeau was to alter the course of Matisse's fortunes, whereby his subsequent friendship with the Steins, most importantly Sarah Stein, not only transformed his financial circumstances, but secured his recognition and legacy internationally. As Matisse's grandson, Claude Duthuit, noted, 'Without the Americans...he would have starved' (Duthuit quoted in J. Bishop, 'Sarah and Michael Stein in America' in The... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
PAUL GAUGUIN (1848-1903)Paysage de Bretagne stamped with the artist's initials 'PGO' (lower left)watercolour monotype on paper heightened with gouache and watercolour30.4 x 21.7cm (11 15/16 x 8 9/16in).Executed circa 1894Footnotes:This work will be included in the forthcoming Paul Gauguin Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Provenance(Possibly) Galerie Schmit, Paris.Marcel Heyndricx Collection (acquired in the 1930s-1940s).Private collection, France (by descent from the above).Previously unrecorded, this rare watercolour monotype is thought to date from Gauguin's intense spell of experimentation with the technique in 1894 and marks a significant moment of artistic development. Depicting the picturesque village of Pont-Aven in rural Brittany, the composition immediately recalls the artist's earlier works from his first visit to the area in the 1880s. Recently separated from his wife and having lost his lucrative financial career following the stock market crash, Gauguin chose to make the first of many visits to Brittany in the summer of 1886, drawn away from Paris not only by economic necessity but by the fascinating subject matter that the Breton people, their costumes and landscape offered. This physical distance from Paris offered Gauguin space to reject traditional academic artistic doctrine and the prevailing Impressionist style. Here his work evolved towards Cloisonnism in the manner of Émile Bernard, characterised by flat planes of vivid colour contained by bold outlines and a rejection of traditional perspective. Traces of these bold outlines remain in Paysage de Bretagne whereby the blue cernes of the monotype transfer separate areas of distinct colour. Green fields sit above one another while the winding path leads upwards rather than through the composition, emphasising the paper's two-dimensionality. Driven by a quest to find a more unspoilt Eden, Gauguin's well-documented travels to Panama, Martinique and then Tahiti followed, voyages which resulted in many of his best-known works. However, the artist returned to Paris in August 1893 disillusioned and penniless. Adopting an increasingly eccentric public persona, he walked around Paris in Polynesian dress and had an affair with a young woman known as 'Annah the Javanese', though she was in fact half-Indian and half-Malay. Swiftly tiring of the city and seeking a return to the region which had been so fruitful in his earlier career, together they travelled to Brittany. It was an ill-fated trip that was to be Gauguin's final visit to the area. On 25 May in the port of Concarneau, near Pont-Aven, a group of local sailors threw stones at Annah and harassed her; the resulting brawl left Gauguin badly beaten and with a fractured leg. For months his only solace was in the pain-dulling morphine and alcohol he imbibed; he was unable to walk and unable to work. Having eventually grown tired of the crippled and irascible artist, Annah returned to Paris, whereupon she ransacked Gauguin's studio home of his valuables, leaving only his artworks. Gauguin remained in both Pont-Aven and the more remote Le Poldu, alone and debilitated. Unable to shake the influence of the South Seas however he created his first watercolour monotypes, many of which looked back to Tahitian subjects. The present work is one of the few that roots the artist back in his homeland. Gauguin's decision to turn to printmaking was significant and indicative, according to Starr Figura, of a time of reflection for the artist, 'when he had recently completed a major body of paintings or sculptures or was otherwise at a crossroads. Printmaking often provided a crucial creative impetus when he had difficulty painting. [...] A major group of watercolor monotypes, a small body of watercolor and gouache monotypes from around 1896-1902, and a large body of oil transfer drawings from approximately 1899 to 1903 tended to serve as more informal, individual meditations on Gauguin's earlier themes' (S. Figura, Gauguin: Metamorphoses, exh. cat, New York, 2014, pp. 15-16).The 1894 watercolour monotypes reimagined scenes from the South Seas alongside more domestic still lifes and Pont-Aven landscapes such as the present work. The series is known to consist of approximately 34 works but, as the discovery of Paysage de Bretagne demonstrates, more are surely to be found: 'Gauguin's concern with the monotype has been neglected, largely because the evidence has been scattered or lost' (R.S. Field, Paul Gauguin: Monotypes, exh. cat., Philadelphia, 1973, p. 12). Further to this, the very categorisation of a work as a watercolour or monotype can be problematic, not least due to Gauguin's continued experimentation with media. In Noa Noa, a travelogue consisting of the artist's notes on his Tahitian experience and illustrated with ten woodcuts, there is, according to Richard Field, at least one watercolour which was originally mistaken for a monotype because of its grainy, diffuse appearance – however, it was found to be formed of two sheets of paper, Gauguin laying the thinner sheet over a finished watercolour to subtly obscure the composition.The precise technique employed by the artist for his 1894 series is not known, but various methods have been suggested. Gauguin held an exhibition in his studio in December that year which included several watercolour monotypes, which the critic Julien Leclercq described as 'a process of printing with water, [to which] he imparts to the watercolour the gravity, sumptuosity and depth which are for him, no matter what subject he chooses, the necessary condition of art' (Julien Leclercq quoted in ibid, p. 16).Richard Field feels the most likely technique was a simple transfer of wet watercolour from one sheet of paper to another, but more recent research by Peter Kort Zeggers suggests that at least some of the monotypes were created by 'placing a piece of glass over one of his existing drawings or watercolors; painting on top of the glass in watercolor or gouache, using the image below as a guide; and finally, pulling an impression on dampened paper' (S. Figura, op. cit. p. 26). These tracing lines were usually blue, as in the present work, and to these Gauguin would add additional colour and details not present in the original drawing to the surface of the glass. Pressing a sheet of paper on top of the glass would result in an image transfer which was often heightened with varying degrees of ink, watercolour and gouache. Gauguin was known to use a mix of further substances such as wax, resin, oil and gum, all of which created accidental surface finishes. Indeed, Paysage de Bretagne has a historic application of gum Arabic or similar material to the sky, which heightens the mottled effect from the transfer process and casts an opaque veil over the shimmering surface. The watercolour monotype allows a fusion of printmaking and drawing, the artist's hand very much felt in the heightened deft flecks of red paint to the haystack and the rainbow cascade of brush marks in the thatched roof. The random textures left by the original sheet however mark a move away from Gauguin's disciplined cloisonné style of the late 1880s: '[The watercolour monotypes] exploit the conflict between the astructural, textured color and the more disciplined design of the flat cernes. [...They are the] most delightful evocations in Gauguin's oeuvre' (R.S. Field, op. cit., p. 40).The fluidity of these watercolour monotypes has been read as a reaction to the artist's previous woodcuts which emphasised the decorative, with sharper lines. Gaugui... 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
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu allongé signed and dated 'Foujita, 1932' and further signed in Japanese (lower left)mineral paint and ink on silk laid on paper70 x 100cm (27 9/16 x 39 3/8in).Painted in 1932Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenancePrivate collection, Argentina (acquired directly from the artist).Galerie Nichido, Japan (acquired from the above, through Galería Jorge Mara and Galería Bontempo in November 1989).Private collection, Japan (acquired from the above in 2011).LiteratureS. Buisson, T.L. Foujita, Inédits, Paris, 2007, no. C.32.183.H (illustrated p. 23).'[Foujita] represents one of those rare cases... of an artist of non-European race and essence, who has succeeded in becoming important from within the European conception of art... His sharp lines, the vast, blank surfaces, the true synthesis in its representation of theme, the relative coolness, or placidity of expression. All of those elements of his art, finally, leave me in a state of amazement.'-Mario de Andrade, the Brazilian modernist poet and critic, reviewing Foujita's gallery exhibition in Rio de Janeiro, the first stop along his South American tour. Díario Nacional, 20 January 1932.In 1931, Léonard Tsuguharu Foujita embarked on a world tour that would profoundly shift the narratives of his life and art. The close of the Roaring Twenties saw not just the devastating break of his third marriage to Lucie Badoul ('Youki'), but also the first stages of the Great Depression. Dodging the French government's pursuit of exorbitant taxes he had hitherto evaded, Foujita reached an impasse. He fled Paris with his new lover, a beautiful and charismatic young model named Madeleine Lequeux. A member of the thriving bohemian scene of Montparnasse, Madeleine was a hostess at Le Sphinx by day and a performer at the Casino de Paris by night. She is instantly recognisable throughout Foujita's early 1930s oeuvre from her handsome features: golden red hair, piercing blue eyes, a regal nose and a strong, elegant chin. These traits identify her as the resplendent subject of the present work, Nu allongé. The 'Flight of Fou Fou', as the pair's dramatic departure became known, brought them first to Brazil, then to Argentina, Bolivia, Peru, Colombia, Panama, Cuba, Mexico and the United States. Their tour was embellished with all the hallmarks of celebrity – press conferences, dinners with dignitaries, wildly successful solo exhibitions, and large spreads in national newspapers harking the arrival of the 'Foujita phenomenon'. Dancing under the dazzling lights of the Copacabana Grand Ball, the couple turned heads. Foujita cut an arresting figure with his pudding bowl haircut, Chaplin moustache, horn-rimmed spectacles and fashionable suit. Madeleine donned a glamorous, low-cut gown matched only by her vivacious spirit. Foujita worked fervently throughout the journey, as the fame he had garnered in Paris spread swiftly across the globe. His work took on a more dramatic air, as he introduced into his compositions exaggerated poses inspired by the cinema. He frequently captured the idle and intimate moments punctuating their taxing travels, with Madeleine stretching out into languorous poses. The present work is the most mesmerising of that series.A symphony of serene lines and delicate silk, Madeleine lounges, her body directly confronting the viewer while her face turns away, cold and mysterious. The soft ripples of the backdrop and diaphanous sheets flow into the waves of her auburn hair and the dips and curves of her supple form. Madeleine's very substance merges with her surroundings, their subtle gradients of pink, sepia and white in pure harmony with her alabaster skin, opal-coloured eyes and rose quartz lips. A figment of fantasy, her ideally proportioned figure emerges like a human tapestry, the perfect semi-circles of her breasts traced with a compass-like exactitude. A virtuoso trained in the Japanese arts of calligraphy and Nihonga painting, Foujita elucidates her curves with a deft, undulating outline, encased within a halo-like aura of white mineral paint – a technique solely of Foujita's creation. A visual haiku, the present work takes its power and essence from its measurement and simplicity. The entire effect is of a shrine to Madeleine – a gesture of utmost devotion to beauty incarnate. Foujita's eclectic materials and methods are key in his achievement of this unparalleled aesthetic. To invoke his sinuous half-tones and shading, he would stroke the picture plane with a cotton ball loaded with charcoal power, a method related to his estompe drawing technique. Foujita's pale mineral paint seeps directly into the silk, purposefully revealing the fineness of the material and each of its perfectly calibrated threads. The resulting sfumato ('haziness') – an aesthetic extracted from the Italian Renaissance painters Foujita revered – stands in contrast to the impasto layering of vibrant oil paints favoured by his French contemporaries. In paradoxical departure from European influences, he applies sumi-e ink in razor-thin lines with a menso, the thinnest brush in the Japanese painter's repertoire. All of this is finished with Foujita's grand fond blanc: his magical, secret glaze. Likely an emulsion of crushed chalk, white lead, talc, magnesium silicate and flaxseed oil, the glaze conjures up Foujita's nyuhakushoku or 'milky white' effect, its mesmerising quality causing Foujita's 1920s and early 1930s works to be his most sought-after. The present work's spectacle of pearly iridescence and soft grey shading achieves a dual effect: Madeleine exhibits at once the gravitas of a Michelangelo sculpture and the flat, smooth texture of Japanese lacquerware designs.Foujita's confluence of Western chiaroscuro and precise Japanese painting techniques echoes the innovations of Modern Japanese Nihonga painters, such as Yokoyama Taikan, whose monumental silk scroll Metempsychosis graces the permanent collection of Tokyo's National Museum of Modern Art. Nihonga employs traditional Japanese methods – namely the application of ink and mineral paint onto paper or silk – together with elements of Yōga (European-style painting), particularly shading and perspective. Nihonga artists derive pigments from minerals and other organic materials, such as shells, corals and semi-precious stones. Foujita's use of mineral paint in the present work adopts Nihonga to achieve his authentic vision of the grand nu, a distinctly European genre. These intercultural experiments are hallmarks of the increasingly cosmopolitan outlook of Meiji-era Japan, a period of profound cultural change. At the time of Foujita's birth, Japan's identity was swiftly evolving from that of an isolated, feudal society into a modern, industrialised power open to foreign aesthetic, political, scientific and technological ideas. The present work evidently had enormous personal significance to Foujita. His 1931 self-portrait in the National Museum of Fine Art, Argentina, displays a near replica of the present Madeleine's visage and décolletage. This painstaking repetition – down to the gentle curl of hair over her ear, and the taut muscles of her elegant neck – offers a rare glimpse into Foujita's method. The continual copying of one's own designs echoes the tendencies of the Japanese printmakers – such as Katsushika Hokusai – that Foujita was directly inspired by. The practice of... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A RARE CHINESE WUCAI 'SANDUO' BOWL 17TH CENTURY The deep sides flaring towards the slightly everted rim, the exterior painted with leafy fruiting branches of bitter melon, peach and pomegranate forming the auspicious sanduo, three Abundances, the interior with a persimmon branch bearing two fruits, 17cm. Provenance: from the collection of Mr Charles Sydney Cheston, painter, d.1960, and thence by descent. Recorded in Charles Cheston's 1946 catalogue as purchased for £10.十七世紀 五彩三多撇口碗來源：Charles Sydney Cheston（逝於1960）先生收藏，之後由其家族繼承。在其1946年的圖錄中記載，他以£10的價格購得。
A RARE CHINESE GREEN AND AUBERGINE GLAZED 'DRAGON' DISH TIANQI 1621-1627 Freely decorated with two incised four-clawed dragons, encircling many pearls, detailed on a green-ground, the reverse and rim glazed yellow, the base unglazed, with a paper label for the South Africa National Gallery Chinese Exhibition 1953, no.145, 13.5cm. Provenance: from the collection of G R A Murray and thence by descent. Exhibited: National Gallery of South Africa, Cape Town, Chinese Exhibition, 1953, no.145. Cf. J Harrison-Hall, Ming Ceramics in the British Museum, p.395, no.12:106 for a closely related, but larger, dragon dish of this type.明天啟 素三彩趕珠龍紋碟來源：G R A Murray收藏，之後由其家族繼承。展覽：南非開普敦國家畫廊，中國展，1953年，編號145（附標籤）。
A RARE CHINESE UNDERGLAZE BLUE AND COPPER RED PEACH-SHAPED DISH EARLY KANGXI Painted with a landscape scene, with two figures beside a hut and another in a sampan, beneath pine, prunus and bamboo, forming the Three Friends of Winter, and with a poem relating to the scene in four columns of calligraphy and a shou seal, the base unglazed, 25.8cm. Provenance: from a British private collection, purchased from Adrian Joseph, 1990/1991.清康熙早期 青花釉裡紅桃型碟來源：英國私人收藏，1990/1991年購於Adrian Joseph。
A RARE CHINESE IMPERIAL BLUE AND WHITE 'DRAGON' JAR SIX CHARACTER WANLI MARK AND OF THE PERIOD 1573-1620 The sides decorated with two ferocious five-clawed dragons chasing flaming pearls amidst clouds and a mountainous landscape, all beneath a register of scrolling lingzhi and above crashing waves resting upon an overlapping band of plantain leaves, with a six character mark arranged in two columns enclosed by double circles to the base, together with a reticulated wood stand and cover, with a paper label for Bluett & Sons, London, to the underside of the stand, 12.5cm. (3) Provenance: supplied to Bluett's by E Gordon Lowder, and later purchased by Mr Charles Sydney Cheston, painter, d.1960, and thence by descent. Recorded in Charles Cheston's 1946 catalogue as purchased from Bluett & Sons in 1924. Bluett's letter to Lowder of 27th January 1926 encloses a statement of account which includes payment of £12:10 for this vase; cf. R Davids & D Jellinek, Provenance, p.302 for further information about E Gordon Lowder. Cf. Enlightening Elegance: Imperial Porcelain of the Mid to Late Ming, The Huaihaitang Collection, p.368, no.118 for a very similarly decorated Wanli blue and white 'dragon' jar.明萬曆 青花趕珠龍紋罐《大明萬曆年製》青花楷書款來源：E Gordon Lowder售於Bluett’s，Charles Sydney Cheston（逝於1960）先生收藏，之後由其家族繼承。在其1946年的圖錄中記載，1924購於Bluett & Son，一封1926年1月27日的Bluett’s寫給Lowder的信中附言以£12:10購買了這件龍罐。
A RARE CHINESE REVERSE-DECORATED BLUE-GROUND DISH SIX CHARACTER WANLI MARK AND OF THE PERIOD 1573-1620 With shallow rounded sides flaring towards the rim, the interior decorated in white slip with two fish in a lotus pond within a circular border, the reverse with four further fish separated by lotus in a frieze, above a narrow band encircling the foot, with a paper label for the South Africa National Gallery Chinese Exhibition 1953, no.147, 15cm. Provenance: from the collection of G R A Murray and thence by descent. Exhibited: National Gallery of South Africa, Cape Town, Chinese Exhibition, 1953, no.147. Cf. Geng Baochang, Gugong bowuyuan canggu taoci ziliao xuan cui, no.194 for another Wanli dish of this design.明萬曆 藍地白花連年有餘紋碟《大明萬曆年製》青花楷書款來源：G R A Murray收藏，之後由家族其繼承。展覽：南非開普敦國家畫廊，中國展，1953年，編號147（附標籤）。
A RARE CHINESE IMPERIAL CINNABAR LACQUER 'DRAGON' CABINET QIANLONG 1736-95 The rectangular body with a pair of square doors above a pair of larger rectangular doors, each carved in relief with a scaly five-clawed dragon writhing amidst breaking waves, the lower panel carved with winged carp also above breaking waves. The top and sides with geometric diaper patterns, the borders with scrolls, the hinges, mounts and feet gilded and decorated with flowers, the interior with two small drawers and a removable platform all in black lacquer, 54.5cm x 34cm x 16cm. Provenance: from a British private collection, purchased from Adrian Joseph, c.1984. Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, p.878, nos.2020 for an almost identical cabinet, believed to have been presented to George III by the Qianlong Emperor following Lord Macartney's Embassy of 1792-4. The iconography of the carp and the dragon has a long history in China, and it is a reference to success in the Imperial examinations. In Chinese mythology, the few carp which succeeded in swimming upstream can turn into dragons, and thus become a symbol of literati aspirations and of reaching the highest level.清乾隆 御製剔紅鯉魚跳龍門紋小博古柜來源：英國私人收藏，1984年購於Adrian Joseph。
A RARE CHINESE ZITAN STOOL QIANLONG 1736-95 The recessed top above an apron carved with scrollwork and a central ruyi-head, raised on incurved corner legs terminating with scroll feet, 41.5cm x 30.5cm x 50.5cm. Cf. Classics of the Forbidden City, Imperial Furniture of Ming and Qing Dynasties, p.106, no.105; and also The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (I) (53), p.60, no.45; see also Sotheby's, Hong Kong, 9th October 2020, lot 103 for a comparable example.清乾隆 紫檀雕如意紋馬蹄凳
WANRONG (1906-1946) BONSAI Four rare Chinese Imperial album leaves, ink and colour on paper, one signed Guobuluo Wanrong, with two artist's seals, mounted on gold silk decorated with dragon roundels, together with another painting of pomegranate and rose, signed Mei Lanfang, with one artist's seal, 27cm x 33xm. (5)婉容（1906-1946）及梅蘭芳 盆栽及花果設色紙本 五開冊款識：郭步羅婉容繪。鈐印：郭步羅、婉容、題識：仿南沙老人本，戊子秋月畹華梅蘭芳畫。鈐印：梅蘭芳印。
A RARE CHINESE CARVED AMBER QILIN PLAQUE 16TH/17TH CENTURY Finely carved in relief with two fighting qilins forming an oval plaque, each with a fierce expression, their horns, manes and backbones delicately detailed with hair, the amber with varying honey-coloured tones, 7.5cm. Provenance: from a British private collection, purchased from Spink & Son Ltd., 16th September 1992. A copy of the invoice is available. Cf. D A Grimaldi, Amber: Window to the Past, p.196, for another mythical beast amber plaque from the Drummond Collection in the American Museum of Natural History.十六/十七世紀 琥珀雕雙麒麟佩來源：英國私人收藏，1992年9月16日購於Spink & Son Ltd.（附發票複印件）。
A RARE CHINESE MODEL OF A SCHOLAR EARLY 18TH CENTURY The scholar sits at his desk with his eyes half-closed in contemplation, leaning on his right elbow, with a brush pot and other scholarly paraphernalia before him, decorated with a blue and pale celadon glaze, with areas left in the biscuit, 15cm. Provenance: from a British private collection, purchased from Jorge Welsh, 3rd November 2012. A copy of the invoice is available. Illustrated: S Marsh, Brushpots: A Collector's View, frontispiece for a detail of this figure.十八世紀早期 藍釉高士擺件來源：英國私人收藏，2012年11月3日購於Jorge Welsh（附發票複印件）。著錄：莫一閒，筆筒淵鑒：收藏家的隨心所悟，首頁。
A RARE CHINESE IMPERIAL BLUE AND WHITE 'BAJIXIANG' CIRCULAR STAND SIX CHARACTER WANLI MARK AND OF THE PERIOD 1573-1620 Possibly for a drum, constructed with six cloud-shaped feet above a ring foot, painted with bands of scrolling foliage, birds on leafy stems, tied Buddhist emblems, and a flower and wave design, 29cm. Provenance: from a British private collection, purchased from Sotheby's, London, 17th December 1996, lot 62. Cf. Oriental Ceramics, The Museum of Fine Arts, Boston, pl.237 for a similar example from the Charles B Hoyt collection.明萬曆 御製青花佛教八吉祥底座《大明萬曆年製》青花楷書款來源：英國私人收藏，倫敦蘇富比1996年12月17日·編號62。
A RARE CHINESE BLANC DE CHINE GROUP EARLY 18TH CENTURY Modelled with a lady playing a qin, seated at a table beside a gentleman, with an incense burner, a vase and a basket of fruit, each wear long flowing robes, the oval base modelled with a wave design, with a paper label for Spink & Son to the base, together with a wood stand, 18.5cm. (2) Provenance: from a British private collection, purchased from Spink & Son Ltd., 30th June 1988. A copy of the invoice is available. Cf. R Kerr and J Ayers, Blanc de Chine: Porcelain from Dehua, no.32, where the authors identify the gentleman's headdress as a type worn by opera singers during the 18th century; see also Christie's, New York, 30th March 2005, lot 376 for a similar model.十八世紀早期 德化白瓷琴瑟和鳴擺件來源：英國私人收藏，1988年6月30日購於Spink & Son （附發票複印件）。
A rare Victorian silver double sided castle-top card case, the front chased and embossed with a scene of Lichfield Cathedral viewed from the South West, the reverse depicting Windsor Castle viewed from the South, with St George’s Gate and Kind Edward III Tower to centre of image, within borders of embossed C-scrolls and foliage, by Yapp & Woodward, Birmingham circa 1850, maker’s mark only, dimensions 8.6 x 6.0cm. £1,000-£1,200
Rowland Ward: A Nubian Ibex86cm high by 43cm deepLots 216-227) come from the collection of Lieutenant-Colonel Walter Hall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of big game. After his death the specimens featured became the property of the celebrated gun company Holland and Holland and were kept at their country shooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo (Syncerus caffer) head is of such spectacular proportions that it was chosen to be shown at the important exhibition of big game trophies held in Berlin during 1937 under the auspices of the Nazi party. Apparently, Hitler himself attended. The Rhino head is also of considerable significance. The vast majority of antique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is of a White Rhino (Ceratotherium simum) a species that was only preserved on comparatively rare occasions.Taxidermy
A rare and impressive Tylosaurus skeletonKansaslate Cretaceous, approximately 100-66 million years ago 620cm longThe mosasaurs were a group of gigantic marine reptiles that ruled the seasin the Cretaceous period while the dinosaurs reigned supreme on the land.Although both groups were were so successful they all became extinct at aroundthe same time. One of the largest species of mosasaur lived in the ancient seathat once covered the land we now know as Kansas. It was a huge and ferociouscreature and is scientifically named a Tylosaur. It was immortalized in paintby the celebrated Czech artist Zdenek Burian in one of the masterpieces hecreated depicting prehistoric life.This particular example is one of only very few specimens that have ever left the USA.Click here to see curator Errol Fuller discuss this lot FossilsNatural History
Rowland Ward: A Grants Gazelle headearly 20th century79cm highLots 216-227 come from the collection of Lieutenant-Colonel Walter Hall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of big game. After his death the specimens featured became the property of the celebrated gun company Holland and Holland and were kept at their country shooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo (Syncerus caffer) head is of such spectacular proportions that it was chosen to be shown at the important exhibition of big game trophies held in Berlin during 1937 under the auspices of the Nazi party. Apparently, Hitler himself attended. The Rhino head is also of considerable significance. The vast majority of antique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is of a White Rhino (Ceratotherium simum) a species that was only preserved on comparatively rare occasions.Taxidermy
Rowland Ward: A pair of Thompsons Gazelle headsearly 20th century46cm highLots 216-227 come from the collection of Lieutenant-Colonel Walter Hall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of big game. After his death the specimens featured became the property of the celebrated gun company Holland and Holland and were kept at their country shooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo (Syncerus caffer) head is of such spectacular proportions that it was chosen to be shown at the important exhibition of big game trophies held in Berlin during 1937 under the auspices of the Nazi party. Apparently, Hitler himself attended. The Rhino head is also of considerable significance. The vast majority of antique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is of a White Rhino (Ceratotherium simum) a species that was only preserved on comparatively rare occasions.Taxidermy
Rowland Ward: A Barbury Sheep headearly 20th century 78cm high by 70cm wideLots 216-227 come from the collection of Lieutenant-Colonel Walter Hall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of big game. After his death the specimens featured became the property of the celebrated gun company Holland and Holland and were kept at their country shooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo (Syncerus caffer) head is of such spectacular proportions that it was chosen to be shown at the important exhibition of big game trophies held in Berlin during 1937 under the auspices of the Nazi party. Apparently, Hitler himself attended. The Rhino head is also of considerable significance. The vast majority of antique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is of a White Rhino (Ceratotherium simum) a species that was only preserved on comparatively rare occasions.Taxidermy
Rowland Ward: A Rothschild Gazelleearly 20th century44cm high and a Dama Gazelle head, 50cm highLots 216-227 come from the collection of Lieutenant-Colonel Walter Hall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of big game. After his death the specimens featured became the property of the celebrated gun company Holland and Holland and were kept at their country shooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo (Syncerus caffer) head is of such spectacular proportions that it was chosen to be shown at the important exhibition of big game trophies held in Berlin during 1937 under the auspices of the Nazi party. Apparently, Hitler himself attended. The Rhino head is also of considerable significance. The vast majority of antique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is of a White Rhino (Ceratotherium simum) a species that was only preserved on comparatively rare occasions.Taxidermy
Rowland Ward: A rare Golden Wild Boarearly 20th century46cm high by 43cm deepLots 216-227 come from the collection of Lieutenant-Colonel Walter Hall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of big game. After his death the specimens featured became the property of the celebrated gun company Holland and Holland and were kept at their country shooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo (Syncerus caffer) head is of such spectacular proportions that it was chosen to be shown at the important exhibition of big game trophies held in Berlin during 1937 under the auspices of the Nazi party. Apparently, Hitler himself attended. The Rhino head is also of considerable significance. The vast majority of antique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is of a White Rhino (Ceratotherium simum) a species that was only preserved on comparatively rare occasions.Taxidermy
Rowland Ward: A massive Cape Buffalo headexhibited at the 1937 Berlin Exhibition 109cm by 71cmThe following 12 lots (lots 216-227) come from the collection of Lieutenant-Colonel WalterHall (1891-1980) – soldier, Member of Parliament and a fanatical hunter of biggame. After his death the specimens featured became the property of thecelebrated gun company Holland and Holland and were kept at their countryshooting centre near Ruislip.Two of the pieces are of particular interest. The enormous Cape Buffalo(Syncerus caffer) head is of such spectacular proportions that it was chosen tobe shown at the important exhibition of big game trophies held in Berlin during1937 under the auspices of the Nazi party. Apparently, Hitler himself attended.The Rhino head is also of considerable significance. The vast majority ofantique rhino heads are Black Rhinos (Diceros bicornis) but this specimen is ofa White Rhino (Ceratotherium simum) a species that was only preserved oncomparatively rare occasions.Click here to see curator Errol Fuller discuss this lot Taxidermy
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSTOYOHARA KUNICHIKA 豊原 国周 (Japan, 1835-1900)Seven kabuki actorsA very rare suite of seven or polyptych of yakusha-e oban tata-e / woodblock prints 1860sProvenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Condition report:- high quality printing (burnishing);- originally mounted in an accordion book.
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSJAPANESE SCHOOL (Japan, 1969)Very rare senjafuda woodblock print showing a tattooed figureOban tata-e / woodblock printDated 1969Notes:1. Senjafuda translates to “thousand shrine tags”. Their original purpose was as votive slips that visitors affixed to shrine and temple gates and buildings.2. For a large collection of Senjafuda, please refers to the The Shōbundō collection preserved at the University of Oregon, The United States of America.Provenance: PROPERTIES FROM A FRENCH COLLECTOR
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSISHIDA WAKA (Japan, born in 1922)Bijin / Young beautyVery large woodblock print1970s to 1980sHand signedFrom the “Woodblock print beauty” seriesPublisher: YuyudoNote: Ishida Waka is of the rare Japanese woman artist print. She was specialized in bijin-ga (woodblock print of beauties), the genre of the depiction of beautiful women. The women in her woodblock prints look very fashionable, trendy, beautiful and cute- with luscious eyelashes and sensual lipstick mouths. Provenance: PROPERTIES FROM A FRENCH COLLECTOR
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSIWAMI FURUSAWA (Japan, 1912- 2000)Nude womanOba yoko-e / woodblock print1973Note: A rare nude print originally published in five (5) prints limited edition of 200 copies portfolio.Provenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Condition report: High quality printing with metallic pigments and embossing.
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSIWAMI FURUSAWA (Japan, 1912- 2000)Reclining nude womanOba yoko-e / woodblock print1973Note: A rare nude print originally published in five (5) prints limited edition of 200 copies portfolioPROPERTIES FROM A FRENCH COLLECTOR
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSTAKESHI KITANO 北野武 (Japan, Born in 1947) A RARE OBAN TATE-E / WOODBLOCK PRINT WITH MICA POWDER BACKGROUND This woodblock print dates back to the Heisei period and pays tribute to Tōshūsai Sharaku (active from 1794 to 1795), with the kabuki portrait of actor Ōtani Oniji III, and Utagawa Kuniyoshi (1798–1861), with the 1844 triptych “Mitsukuni Defying the Skeleton Spectre Invoked by Princess Takiyasha”. It has been designed and issued for the Kitano TV show at only 50 copies. The original creation appears in the “Hani-bi” film in 1997. Very rare woodblock designed for the Kitano TV show at only 50 copies. Takeshi Kitano pays tribute to Tōshūsai Sharaku (active from 1794 to 1795) with the kabuki portrait of actor Ōtani Oniji III and Utagawa Kuniyoshi (1798–1861) with the 1844 triptych “Mitsukuni Defying the Skeleton Spectre Invoked by Princess Takiyasha”. Notes: 1. For the two prints from which that one is inspired, please see an exemplar of the one by Sharaku preserved at the Metropolitan Museum of New York (The MET), The United States of America, under accession number JP2822, and an exemplar of the one by Kuniyoshi preserved at the British Museum under accession number 1915,0823,0.915-916. 2. An identical print has been exhibited at The Cartier Foundation, Paris, France, as part of the exhibition “Beat Takeshi Kitano, Gosse de peintre”, which took place from 2010/03/11 to 2010/09/12.Provenance: PROPERTIES FROM A FRENCH COLLECTOR
A CLOISONNE ENAMEL ‘LOTUS’ ARCHAISTIC JAR, HUChina, Ming Dynasty, 16th or 17th century he pear-shaped vase is finely enamelled around the globular body, shoulder and neck with registers of large lotus blooms borne on leafy meandering scrolls, all supported on a tall, splayed foot similarly decorated. The shoulders are applied with a pair of enamelled Taotie mask handles suspending flattened, loose rings that bear enamelled decorations as well. H: 36,2 cmWeight: Note: For a related cloisonné jar at public auction, please refers to Zacke Vienna, 2021/03/05, lot 1, sold for €13,904 incl. BP. Also see Sotheby’s Hong Kong, 2015/04/07, lot 3727, sold for HKD250.000 incl. BP.景泰蓝 “莲花”仿古罐中国，明代，16-17世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- a rare vase in that condition together with original handles;- foot and rim lightly distorted;- a few losses of enamels;- a few small restorations (around the rim and the foot notably).
A RARE BRASS AND SILVER INLAID MONK’S CAP WATER PIPEVietnam, Nguyen Dynasty, 19th centuryShaped after a Tibetan monk’s cap ewer (duomuhu), this water pipe is made of copper embellished with silver and brass inlays as well as applied chiselled plaques. The inlaid design depicts a paradise bird perched on a flowered branch as well as a flying sparrow. It also consists of a long-lasting calligraphy. The applied silver plaques are chiselled, one with a coiled dragon, the other with a bird amidst flowers. Offered at auction together with a bamboo pipe.H: 20 cmNotes:1. Vietnamese water pipes of similar shape made of mother-of-pearl inlaid wood are common on the market. Less common and more valuable are the bleu de Hue porcelain ones which regularly achieve good prices at public auction.2. Our water pipe is the only example made of metal we have handle over more than a decade on the market. It stands out fir the quality of its inlays introducing a nice polychrome effect. It also stands out by the of the chiselling of its silver plaques.3. For a blue de hue porcelain water pipe of related form at auction, see the one offered at Drouot Paris, France, 2019/06/14, lot 250, sold for €9.274 BP incl. Also see another related pipe offered at Drouot Paris, France, 2019/12/09, lot 206, sold for €8.060 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
*A FINE AND RARE WHITE JADE 'DA JI' DOUBLE-GOURD PLAQUEChina, Qing Dynasty, Attributed to Qianlong periodThe flattened section of very even white stone attractively carved around the edges with thin borders of small double gourds on a continuous leafy branch, the top with a pierced loop for suspension, the obverse carved in crisp shallow relief with the auspicious characters “da ji” (大吉), the reverse also “tian xi” (天喜), 'Heavenly bliss',carved in crisp shallow relief with the auspicious characters mounted within a wooden table screen also set with a carnelian plaque.Dimensions:- the plaque: H: 8 cm – w: 5 cm – thick.: 5 mm- the table screen: 22,4 cmWeight (the jade): 50 gramsNotes:1. The inscription “dà jí” means “good fortune” while the inscription “tiān xǐ” means “Heavenly Bliss”.2. The Chinese name for gourd (葫芦 hulu) also contains a homophone for words for protection or guard (护 hu) and also for blessing (祜 hu). The gourd is popular as a charm symbol to ward off evil spirits and disease because its first character (hulu 葫芦) has the same pronunciation as the word to "protect" or "guard" (hu 护) and also the word for "blessing" (hu 祜). In some dialects, the Chinese word for gourd (hulu 葫 芦) sounds the same as fulu (福 禄) which means "happiness and rank (as in attaining a high government office)". Trailing gourd vines are described in Chinese as man (蔓). This character can also be pronounced as wan and has the exact same pronunciation and meaning as 万 which means "10,000". Because the gourd contains many seeds, the Chinese associate the gourd with "10,000 children". In ancient China, parents hoped for many sons and grandsons so the gourd became an important symbol for a family with many children.3. A related jade plaque from the Qing Court Collection is illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 2008, no.71. Another related but smaller jade plaque was sold at Christie's New York on 22-23 March 2012, lot 1927. Also see a related plaque at Bonham’s London, United Kingdom, 2012/05/17, lot 41 sold for €57.656 BP incl.上乘珍稀白玉“大吉”双葫芦牌中国，清乾隆年间*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Minor natural veins and inclusions in the stone.
AN EXTREMELY RARE JAPANESE MOUTH ORGAN SHOJapan, Edo periodThe circular air chamber is lacquered in gold hiramaki-e and nashiji style, shibuishi mouthpiece, bamboo tubes with shibuishi fittings.H: 43 cmNotes:1. The shō (笙) is a Japanese free reed musical instrument that was introduced from China during the Nara period (AD 710 to 794). It is descended from the Chinese sheng, of the Tang Dynasty era, although the shō tends to be smaller in size than its contemporary sheng relatives. It consists of 17 slender bamboo pipes, each of which is fitted in its base with a metal free reed. The instrument's sound is said to imitate the call of a phoenix, and it is for this reason that the two silent pipes of the shō are kept—as an aesthetic element, making two symmetrical "wings".2. Compare with two closely related shō, one preserved at the Metropolitan Museum of New York (The MET), The United States of America, under accession number 68.62.2, the other one preserved at the Museum of Fine Arts of Boston (MFA), The United States of America, under accession number 2002.136.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- fresh lacquer with vivid colours;- missing two tubes.
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSUTAGAWA KUNISADA I 歌川 国貞, TOYOKUNI III (Japan, 1786-1864)“Ôatari, Daigan jôju arigataki tsubo” /Praying for Hits in the Waterfall of Answered Prayers: Actors Ichimura Uzaemon XIII, Sawamura Tanosuke III, Sawamura Tosshô II (right), Kawarazaki Gonjûrô I, Bandô Hikosaburô V (central), Nakamura Shikan IV, and Bandô Mitsugorô VI (left)Triptych of oban tata-e / woodblock prints1863Publisher : Enshûya HikobeiDimensions (approximately, each leaf): 35,2 x 25,5 cmNote:1. See a related triptych preserved at the Museum of Fine Arts (MFA) of Boston, The United States of America, under accession number 11.44355a-c.2. A very rare triptych showing kabuki actors with their tattoos under the cascade of mount Oyama, a famous pilgrimage during Edo period. A rare and sought-after subject.Provenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Condition report:- the right oban with cut margins;- bright colours;- a few minor folds to corners;- a few minor wears. Dimensions of each leaf approximately: 35,2 x 25,5 cmONE SINGLE TRIPTYCH SOLD UNDER LOT 311
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSAfter KITAO SHIGEMASA 北尾重政(Japan, 1739-1820)Courtesan showing her arm with a vow tattoo kishiboriOban tata-e / woodblock printRare Meiji - Taisho reprint, 1920sNote: See a related print illustrated in PONS Philippe, “The Tattooed Body in Japan: Engravings on the Skin”, 2018.Provenance: PROPERTIES FROM A FRENCH COLLECTOR
Very Rare WW1 Medal and Death plaque group to two brothers (Harold & Percy Knowers) and there cousin (Albert Knowers) all Killed in the Somme Offensive. The two brothers where in the Middlesex Regiment there cousin was in the Kings Royal Rifle Corps. The two brothers Harold & Percy come with the full set of 1914-15 Star, War Medal and Victory, Albert comes with Victory medal only his 14-15 star and War medal are missing. But each of there Death Plaque in Original Cases. It also comes with pictures of the two brothers, postcards and letters. Also it comes with there sisters (Doris Knowers) British Red Cross Society medal for service in 1941 in Original Case and two commemorative medals.
Rare group of WW1 postcards all relating to one person, 8344 Pte H Broomby of the 22nd Field Ambulance 7th Division who went over with the British Expeditionary Force in September 1914.The other cards are of family members but mosthave written references to family and other serving members of family or friends and his Pocket Hymn& Text Book.
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