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Click here to subscribeSeated half length, wearing a black plumed hat and a white dress with pink sash and pink-ribboned sleeves, oil on panel, mounted oval 27.5 x 22.5cm. * The sitter married Marcus Beresford (1764-1797) in 1791 and she bore him three children. Provenance: Arthur de a Poer Rowbothem [sic]. *CR Some minor surface blemishes; needs a clean to remove discoloured varnish.
Seated half length, wearing a pink dress with a blue and gold sash at the waist, her hair tied with an embroidered scarf, oil on canvas, in original gilt frame73 x 60.5cm.* NB THIS LOT NOW CONTAINS ONLY THE SINGLE PORTRAIT OF MISS PURLING. THE OTHER PORTRAIT HAS BEEN WITHDRAWN ON SPECIALIST ADVICE, PENDING FURTHER RESEARCH.Exhibited: London, Grafton Galleries, 1900This portrait of Miss Purling is recorded in Romney's sitter books and may be dated to the late 1770s or early 1780s.Relatively little is known about the sitter. The Purling family's ancestral roots lay in St Helena. The sitter never married nor had issue, and it is thought that the portrait passed to her brother's daughter in c.1840. However, the Purlings' home in London was close to Romney's home in Cavendish Square and so the commission may have arisen through social introduction.Provenance: By descent from the sitter to her brother Charles's (1748-1791) daughter, Emilia Anne (1782-1859). Emilia Anne married Hastings Nathaniel Middleton (1781-1821) in 1804; thence by direct descent in the Middleton family.We acknowledge the expertise of Alex Kidson who has examined this picture for our consignor.ConditionOld lining; light scattered retouching over some craquelure and/or other minor surface blemishes.
Antique jappaned chest containing a collection of late 19th / early 20th century military dress belonging to Major Macalister Hall of Argyll & Sutherland Highlanders repute to include dress tunics of the Royal Artillery and another of the Highland Light Infantry bearing rank of Sergeant Major, leather sporran and tartan sash.
THE FIELD MARSHAL SIR PATRICK GRANT (1804 – 1895) DESK SEAL A LATE VICTORIAN NOVELTY LABRADORITE, GARNET AND GOLD DESK SEAL, CIRCA 1860 The carved labradorite owl with cabochon garnet eyes in gold collet mounts, the owl resting on a labradorite socle base which forms the matrix, engraved with coat of arms within laurel garland suspending Grand Cross of the Order of the Bath Dimensions:Length:12.2cm, matrix: 3.8cm Note: Note: Field Marshal Sir Patrick Grant, GCB GCMG (1804-1895), was born in Inverness-shire in Scotland, into a military family, with his father assigned to the 97th Regiment of Foot. Sir Patrick Grant's own military career began in India and via various promotions within the East India Company, by 1854 Grant was Major-General. By 1861, he had returned to England with the honour of the Knight Grand Cross of the Order of the Bath, which is seen depicted on this seal and dates it to the early 1860s. Grant took the post of Governor of Malta in 1867, which was followed by his promotion to Field Marshal in 1883 and the further honour of Knight Grand Cross of the Order of St. Michael and St. George in 1868. A highly decorated member of the British Army, The National Portrait Gallery have in their collection an oil on canvas illustrating Grant in full Field-Marshal's uniform of post-1880, wearing the sash, star and cross of the Bath, and the star of the order of St George and St Michael (NPG 1454). A Governor of the Royal Hospital Chelsea until his death, Grant's link and service to the British Army could be seen throughout his life.
English School, 18th Century/Portrait Miniature of a Gentleman/with long hair and wearing a pink sash and brown coat/watercolour on ivory, 7cm x 5.5cm/in a silver-coloured frame with blue lozenge-shaped gems/Ivory registration reference: 68ZMWL57 CONDITION REPORT: Generally good condition overall; colours clear and vivid with minimal loss and fading. There is a slight area of potential fading to the left, but no obvious paint flaking. There is a potential area of warping towards the top of the miniature.
F Hewlett (early 20th Century)/Portrait of a Gentleman/half-length, wearing a coat and red sash/signed lower right and bearing stag insignia/oil on canvas, 22.5cm x 17.5cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A collection of Staffordshire ceramic portraits of British and Foreign Royalty, 19th century, comprising: a figure of Queen Victoria of England standing crowned with veil, with hands folded, wearing garter sash, inscribed Queen of England in gilt to the base, approx. 43cm high, paired with a figure of the Prince of Wales, standing in military uniform with garter sash and left arm resting on a draped pedestal, indistinctly inscribed Prince of Wales to base, approx. 44cm high; a figure group of Queen Victoria of England and King Victor Emmanuel II of Sardinia, the Queen crowned and standing to the left, the King standing in military uniform to the right, a dog peeping through his legs, raised letters QUEEN & KING OF SARDINIA to base, approx. 35cm high; a figure of Princess May (later Queen Mary), standing in full length dress with reticule suspended from her right wrist, raised letters PRINCESS MAY to base, approx. 40cm high; a figure group of Prince of Wales and Princess Alexandra of Denmark, both standing, he carrying gloves and top hat, she with her hair in a snood and carrying her hat over her right arm, raised letters PRINCE & PRINCESS to base, approx. 41cm high; together with another smaller example, approx. 30cm high; a figure of Prince of Wales, on a horse facing right, in civilian dress with right hand resting on the horse's rump clutching his hat, his left holding the reins, raised letters PRINCE OF WALES to base, approx. 25cm high; paired with a figure of Princess Alexandra of Denmark, seated side-saddle on a horse facing left, in full riding dress and wearing flat hat with plume, raised letters PRINCESS to base, approx. 24cm high (8)
St. Alexander-Orden, Großkreuz, 3. Modell, 1. Typ, 1908 - 1918 Großkreuz-Set, bestehend aus: Kleinod, Silber, vergoldet und emailliert, am Tragering und in der Agraffe mehrfach punziert, altösterreichische Silberpunzen und "FR" für C. F. Rothe, Wien. An konfektionierter neuerer Schärpe. Bruststern, Silber, das Medaillon teilweise vergoldet und emailliert, an Nadel, diese mit Herstellerpunzen "C.F. ROTHE" und "WIEN" sowie Doppel-"A"-Punze, der Stern gepunzt mit "FR" und Silberpunzen. Order of St. Alexander, Grand-Cross, 3rd pattern, 1st type, 1908 – 1918 Order of St. Alexander, Grand-Cross, 3rd pattern, 1st type, 1908 – 1918Grand-Cross set, consisting of: badge, silver, gilt and enamelled, the suspension ring and the clasp with several marks, old Austrian silver marks and "FR" for C. F. Rothe, Vienna. On a customised recent sash. Breast Star, silver, the medallion partly gilt and enamelled, on a pin punched with manufacturer’s marks "C.F. ROTHE" and "WIEN" as well as double "A" mark, the star with "FR" and silver marks.Condition: II +
Schärpe für Offiziere der Husaren Silberfarbene Schärpe mit rot-grünen Durchzügen. Leichte Tragespuren, sonst guter Zustand. Keywords: Bulgarien, Bulgaria, Sofia, bulgarisch, bulgarian, A sash for officers of the hussars A sash for officers of the hussarsSilberfarbene Schärpe mit rot-grünen Durchzügen. Leichte Tragespuren, sonst guter Zustand. Condition: IIKeywords: Bulgarien, Bulgaria, Sofia, bulgarisch, bulgarian,
Militärverdienstorden 1. Klasse, 1. Modell (1900 - 1933), um 1916 - 1918 Set der 1. Klasse, bestehend aus Kreuz der 1. Klasse mit Kriegsdekoration, überhöht durch die eckige Zarenkrone mit abfliegenden Pendilien, Buntmetall vergoldet und emailliert, ohne Punzen, an originaler, zeitlich passender, konfektionierter Schärpe mit Rosette, die aufgelegte Kriegsdekoration ebenfalls ohne Emailleschäden. Maße mit der Krone 111 x 75 mm. Bruststern aus Silber und aus vergoldetem Buntmetall, die Kriegsdekoration und das Medaillon emailliert, an Nadel, die Rückseite ohne Hersteller, ohne Punzen. Emaille an der Kriegsdekoration teils restauriert. Maße 96 x 96 mm. Gewicht 131 g. Getragenes Set in gutem Zustand, eindeutig aus dem Ersten Weltkrieg.Keywords: Bulgarien, Bulgaria, Sofia, bulgarisch, bulgarian, , An Order of Military Merit 1st Class, 1st model (1900 - 1933), 1916 - 1918 An Order of Military Merit 1st Class, 1st model (1900 - 1933), 1916 - 1918The 1st Class set, composed of a Cross 1st Class with war decoration, surmounted by the angular tsarist crown with dangling pendilia in gilt, non-ferrous metal and enamel. No stamps, on the original, contemporary, customised sash with a rosette. Again, no defects in the enamel of the appliquéd war decoration. Dimensions including the crown 111 x 75 mm.Breast star in silver and gilt, non-ferrous metal, the war decoration and the medallion enamelled, on a pin. No manufacturer or hallmarks on the back. The enamel on the war decoration partially restored. Dimensions 96 x 96 mm. Weight 131 g. Worn set in good condition, unmistakably dating from World War I.Condition: IIKeywords: Bulgarien, Bulgaria, Sofia, bulgarisch, bulgarian, ,
Victorian British 94th Regiment of Foot Officers Full Dress Tunic, fine example for a Captian in the 94th regiment of foot (later Connaught Rangers), in scarlet cloth with dark green collar and cuffs. Brocade lace to the collar and finely decorated cuffs. Gilt metal officers crown over number tunic buttons to the front an rear with the shoulders having 1st pattern Connaught Rangers buttons. Fine quality half quilted lining to the interior. Accompanied by crimson and gold wire sash and officers undress waist belt with silver gilt clasp. One tunic button detached but otherwise a very good example. The 94th regiment of foot became the 2nd battalion The Connaught Rangers in July 1881. The 94th regiment of foot were involved in a number of the Victorian campaigns but were probably most famous for their actions during the Anglo-Zulu war, where they were present at the Battle of Ulundi in 1879.
EIIR Scots Guards Pipers Full Dress Uniform, being a dark blue highland cut away doublet tunic with anodised regimental buttons and white piping. Black cloth lining to the interior with original issue size label. Parade pattern cross belt and crimson waist sash. Pipers bonnet with diced head band having plated pipers headdress badge attached. Blue over red headdress hackle plume attached to the side of the headdress. Accompanied by a pair of Scots Guards tartan trousers and enlisted ranks style Scots Guards tartan kilt. Also accompanied by a set of pipes. Some wear to the tunic collar but otherwise a good an impressive uniform set.
A RARE AND IMPORTANT ALBUM LEAF FROM THE HUANGCHAO LIQI TUSHI WITH AN IMPERIALLY INSCRIBED SILK PAINTING OF THE EMPRESS DOWAGER AND EMPRESS CONSORT'S DRAGON VEST (CHAOGUA), QIANLONG PERIODExpert's note: The present pair of leaves may belong to the same manuscript as those in the British Library, the National Museums of Scotland, the National Museum of Ireland, the Victoria & Albert Museum, and those sold at Woolley & Wallis, 12 November 2019. Altogether, these may once have been part of the version kept in the Wenyuan Pavilion library in the Yuanming yuan Summer Palace, Beijing, as indicated by the main seal on two pages from the manuscript in the Victoria & Albert Museum.China, 1750-1759. Ink and watercolors on silk, laid down on paper. One side illustrating an Imperial dragon vest (chaogua) of the Empress Dowager and Empress consort, and the other side with eleven lines of inscription regarding the regulations for such vests. Exquisitely painted, the dragon vest is designed with six golden five-clawed dragons pursuing flaming pearls on a midnight-blue ground surrounded by polychrome lingzhi-form clouds above crashing waves. The black-ground hem and borders are shown in gold thread with scroll designs, and the interior is lined with red silk.Inscriptions: Right hand leaf, 'The painting of the official vest of the Empress Dowager and Empress consort.' Left hand leaf, 'The empress dowager and the empress consort's official vest shall be made in accordance with the regulations of our era: the empress dowager and the empress consort's vest should be an azurite blue and have gold hems and seams. The front and back shall have two standing dragons above four further levels with four dragons. Below are to be ten thousand bats and ten thousand shou and behind the color a yellow sash with jewelry. The imperial concubine and crown princess shall follow similar regulations.'Provenance: French trade.Condition: Very good condition with minor wear, little soiling, minor creasing, few tiny losses.Dimensions: 41.8 x 39 cm The present album leaf is part of the Huangchao Liqi Tushi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), an illustrated manuscript commissioned by the Qianlong Emperor. The main body of the work began to be compiled in 1750 and was completed in 1759. After editing and further expansion of the manuscript during the ensuing years, it was duplicated by the Palace Publications Office in the Wuying Palace in 1766 and was eventually added to the Siku Quanshu (Complete Library of the Four Treasuries) in 1773. Only seven copies of the manuscript were produced, stored in libraries across the empire, including the Wenyuan Pavilion library in the Summer Palace (Yuanming yuan), Beijing.The Huangchai Liqi Tushi was part of the Qianlong Emperor's effort from the beginning of his reign to regulate the ritual codes and procedures, and it serves as a record of his passion for a rigid ritualized life. The book consists of six parts - ceremonial vessels, scientific equipment, dress, musical instruments, insignia, and weaponry, containing more than 1,300 leaves of illustrations and explanatory texts. As one of the major imperial commissions, the book is of monumental scale and collaborative in nature. As many as twenty-seven court painters and calligraphers were working on the commission under five editors-in-chief, Yilu (1695-1767), Jiang Pu (1708-1761), Wang Youdun (1692-1758), Guanbao (d. 1776), and He Guozong (d. 1766).The Qing dynasty Chaogua was adapted from the dragon-patterned sleeveless coats worn unofficially at the Ming dynasty court. The mid-eighteenth century court dress edicts assigned three styles of this garment to the upper ranking court women. All were made of dark navy blue silk and featured a center front opening held with five toggle and loop fastenings, angled shoulder seams and deeply cut armholes. The first and second styles were tailored as multi-sectioned constructions with horizontal bands of dragons, clouds, and waves. The third style was full length without sections. A fourth style, which could be worn by all ranks of women including the wives of nobles not related to the imperial clan and the wives of other high officials featured mang, or four-clawed dragons. The chaogua painted on the present lot is of the first style, a full-length vest made of three sections - an upper part, a section from waist to knee, and a section from knee to hem with five horizontal bands embroidered with five-clawed dragons and auspicious symbols.Literature comparison:Compare an illustrated manuscript with 38 folios preserved, two leaves showing the front and back of a similar dragon vest, the leaves of closely related size (42 x 40 cm), dated to the Qianlong period, once in the Summer Palace and now in the British Library, number OR 9430. Compare a closely related page from the Huangchao Liqi Tushi illustrating the front and back of a dragon vest worn by imperial concubines of the first rank, 42.3 x 41.3 cm, dated to the Qianlong period, in the Victoria & Albert Museum, accession number 856-1896.Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 December 2017, lot 108 Price: EUR 47,500 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: Six rare and important album leaves, Huangchao liqi Tushi, Qianlong period Expert remark: Compare the closely related manner of painting, calligraphy, and size (42 x 41 cm), as well as the related dragon vest illustrated on the final page. Note this lot comprises six album leaves.Auction result comparison: Type: Related Auction: Woolley & Walis, 12 November 2019, lot 6 Price: GBP 225,000 or approx. EUR 345,000 converted and adjusted for inflation at the time of writing Description: Album leaves from the imperial household regulations (Huang Chao Li Qi Tu Shi) Expert remark: Compare the closely related manner of painting and calligraphy. Note this lot comprises twelve paintings. Note the closely related size (41 x 42.5 cm).乾隆時期彩繪《皇太后皇后朝褂圖》，《皇朝禮器圖式》彩繪散頁中國，1750-1759 年，絹本設色。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).
A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A JAIN WHITE MARBLE FIGURE OF A TIRTHANKARA, WESTERN INDIA, 17TH-18TH CENTURYSeated in padmasana on a cushioned throne, the figure wearing a diaphanous lower garment, the sash projecting in relief in front of the legs, his hands folded in dhyana mudra, his chest with a srivatsa mark. His face with downcast eyes and serene expression, flanked by elongated earlobes, the hair arranged in tight curls and surmounted by a cranial protrusion. The stone with a good polish, resulting in a smooth, unctuous feel overall.Provenance: From a private estate in the United Kingdom.Condition: Small chips and minor losses, the stone with natural inclusions, irregularities and fissures. Some cracks and breaks with old repairs and associated fills. Magnificent naturally grown patina overall, with a fine pale ivory tone.Weight: 13.8 kgDimensions: Height 38.5 cm The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 AD, extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras ('clothed with the sky'), who were nude, and the Svetambaras ('clothed with white'), who wore white cloths. According to inscriptions, the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.Literature comparison: Compare a closely related marble tirthankara from Gujrat, Western India, dated c. 1612, in the Los Angeles County Museum of Art, accession number AC1998.256.2.Auction result comparison: Type: Closely related Auction: Christie's London, 18 October 2002, lot 122 Price: GBP 4,465 or approx. EUR 11,000 converted and adjusted for inflation at the time of writing Description: An Indian marble deity Jain, probably 12th/13th century Expert remark: Compare the closely related material, manner of carving, pose, and expression. Note the size (56 cm) and the somewhat spurious dating of “probably 12th/13th century".
A PARCEL-GILT BRONZE FIGURE OF BUDDHA, KANDYAN PERIOD, SRI LANKA, 18TH CENTURYThe broad shouldered figure standing in sampada on a stepped circular plinth with his right hand incised with auspicious emblems and raised in vitarka mudra, wearing an elaborately pleated sanghati with deeply incised undulating folds and a sash draped over his left shoulder. His rounded face expressively cast with crisply delineated features, the eyes lidded and downcast, the aquiline nose and pursed lips flanked by long pendulous pierced lobes, surmounted by a five-fold siraspata. Provenance: From an Austrian private collection.Condition: Very good condition with expected old wear and casting irregularities, small nicks and scratches, minor losses, and some abrasions to the gilt. The figure with smooth patina overall and remnants of ancient pigment.Weight: 1,750 gDimensions: Height 31.8 cm After a period of decline lasting a few centuries, Buddhism was revived throughout the Kandyan kingdom in the second half of the eighteenth century under the King Kirti Sri Rajasinha (r. 1747-1782), who encouraged Buddhist monks from Burma and Thailand to emigrate to Sri Lanka, and heavily patronized the Buddhist institutions within his kingdoms. This sculpture is solid cast, as is characteristic in Sri Lanka beginning with the late Anuradhapura period, and as dictated by the Sariputra, is canon of proportions to be followed for making Buddha images. The consistency of style is further guaranteed by the employment of matrices of body parts for the wax models in preparing the casts. However, while Kandyan sculpture is consistent in its broad shouldered outline, there is considerable variation in the rendering of the robe, with various degrees of undulation in the wave patterns of the folds, as well as the hemline of the sanghati draped across the left shoulder. Instead of an ushnisha, the more familiar cranial flaming protuberance is characteristic of Sri Lankan images of the Buddha.The folds of the robe are draped asymmetrically across his body, emulating the Anuradhapura style and indicating the soft, delicate cotton garment worn in a tropical climate. The gentle drapes of cloth suggest the sheer texture of the fabric beneath the right chest. In the 18th century Kandy, the continuous pleats of the earlier visual culture evolved into a symphony of rippling intensity that enlivens the otherwise static Buddha figure. His right hand raised in the gesture of teaching bears an etched lotus, which is an element unique to the Kandyan period.Literature comparison:Compare to a closely related gilt example, in J. Baker, Guardian of the Flame, 2003, p. 146, ill. on left. Also compare related image of Buddha in U. Von Schroeder, Buddhist Sculptures of Sri Lanka, 1990, pl. 165-67.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 March 2018, lot 32Estimate: HKD 200,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of Buddha, Sri Lanka, Kandyan period, 18th centuryExpert remark: Compare the closely related form. Note the larger size (48.5 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 March 2019, lot 42Estimate: HKD 200,000 or approx. EUR 50,000 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of standing Buddha, Sri Lanka, Kandyan period, 18th centuryExpert remark: Compare the closely related form. Note the similar size (30.5 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 30 November 2022, lot 1046Price: HKD 153,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of standing Buddha, Sri Lanka, Kandyan period, 18th centuryExpert remark: Compare the closely related form. Note the similar size (29.2 cm).
A COPPER-ALLOY FIGURE OF MANJUSHRI, WESTERN TIBET, 11TH-12TH CENTURYStanding on a circular pedestal in a slight tribhanga and brandishing the wisdom sword with his raised hand, the other resting on his waist, the bodhisattva wearing a short dhoti tied with a sash to the waist. His serene face with heavy-lidded eyes below gently arched brows, flanked by elongated earlobes with spiral earrings, further framed by his hair cascading elegantly in curled strands over the shoulders and piled up into a topknot. To the back, two tangs, one at the base and the other raised in the center.Provenance: From a noted private collection in Southern Germany.Condition: Good condition, commensurate with age, displaying remarkably well. Extensive wear, some weathering, and expected casting irregularities. Small nicks, dents and losses, light surface scratches and minor bending.Weight: 312 gDimensions: Height 14.7 cm Manjushri is understood as the personification of awakened knowledge. He displays the palm-leaf manuscript (pustaka), in his left hand here, which is his principal identifier. In his right hand, he wields a sword, symbolizing the cutting away of all impediments to enlightenment.This expressive bronze would likely have formed the centerpiece of a triad in which Vajrapani and Avalokiteshvara flank Manjushri, representing the 'Three Lords' derived from the Kriya Tantra.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 19 March 2019, lot 892Price: USD 31,325 or approx. EUR 34,000 converted and adjusted for inflation at the time of writingDescription: A copper alloy figure of Manjushri, Western Tibet, Kashmir style, 11th/12th centuryExpert remark: Note the similar size (15.2 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 171Price: HKD 81,250 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A brass alloy figure of Manjushri, Western Tibet, 11th/12th centuryExpert remark: Note the slightly larger size (17 cm). 西藏十一至十二世紀銅合金文殊立像菩薩身著半肩式袈裟，三屈式站在圓形基座上，一手舉起智慧劍，另一手放在腰上。 他面容平靜，雙眼微閉，兩側是細長的耳垂，耳垂上戴著螺旋耳環，頭髮捲曲盤成頂髻。背面有兩個支腳，一個位於底部，另一個位於背後。 來源：南德知名私人收藏。 品相：品相良好，大面積磨損、一些風化以及小缺口、凹痕和缺損、輕微表面劃痕和輕微彎曲。 重量：312 克 尺寸：高14.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2019年3月19日，lot 892 價格：USD 31,325（相當於今日EUR 34,000） 描述：藏西克什米爾風格十一/十二世紀文殊菩薩銅像 專家評論：請注意相似的尺寸(15.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港邦翰斯，2018年10月2日，lot 171 價格：HKD 81,250（相當於今日EUR 10,500） 描述：藏西十一/十二世紀文殊菩薩銅像 專家評論：請注意尺寸較大 (17 厘米)。
A BRONZE FIGURE OF A DANCING HEVAJRA, BAYON STYLE, ANGKOR PERIODKhmer Empire, late 12th to early 13th century. The eight-headed deity well cast dancing atop a prostrate figure with one leg raised and arms radiating around him holding diminutive figures of deities and animals, wearing a short sampot secured with a pendent fishtail sash, the details intricately rendered. The bronze with a superb, rich, naturally grown patina with extensive malachite encrustation.Provenance: From the collection of Rene Ronveaux (d. 1991), Belgium, acquired circa in the 1970s and thence by descent to Robert Ronveaux (b. 1955). A copy of a provenance statement, written and signed by Robert Ronveaux, dated 8 December 2022, confirming the provenance stated above, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, small cracks, losses and dents, some possibly with minor old fills, signs of weathering and erosion, soil deposits, encrustations, all as expected from a Khmer bronze of nearly 1,000 years of age.Weight: 2,700 gDimensions: Height 36.4 cm (incl. base) and 33 cm (excl. base) Mounted on a wood stand. (2)Hevajra is the personification of enlightenment, the dance pose symbolizing the process of enlightenment as liberation from worldly constraints.Literature comparison: Compare a closely related Khmer bronze of Hevajra, 22.7 cm high, in the National Museum in Phnom Penh, inventory number Ga.4170. Another closely related example was exhibited in the Ethnological Museum, Berlin. Compare a closely related Khmer bronze of Hevajra, 41 cm high, dated c. 1180-1230, illustrated in Wolfgang Felten and Martin Lerner, Thai Sculpture from the 6th to the 14th centuries, Stuttgart, 1988, p. 235, no. 37.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2004, lot 57 Price: USD 31,070 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of a dancing Hevajra, Khmer, Angkor period, Bayon style, late 12th/early 13th century Expert remark: Compare the closely related modeling with similar pose and the same number of heads and arms, and malachite patina. Note the smaller size (24 cm).Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 9 March 2023, lot 220 Price: EUR 33,800Description: A bronze figure of a dancing Hevajra, Angkor Period, Bayon styleExpert remark: Compare the closely related modeling with similar pose and the same number of heads and arms, and malachite patina. Note the size (37.5 cm).
A LARGE BRONZE STATUE OF VALLI, SOUTH INDIA, TAMIL NADU, 18th -19th CENTURYThe Hindu goddess cast standing in an implied tribhanga pose, subtly flexed at the hip, dressed in an ankle-length dhoti incised with foliate designs secured by a jeweled belt and long flowing sash, richly adorned with a necklace, earrings, armlets, and bangles. The face with elongated eyes and gently arched brows, a demure smile, and an overall modest demeanor. The hair parted down in the middle with tresses elegantly curling down the shoulder, the rest gathered in a coiled bun.Provenance: From an old private estate in Vienna, Austria. The stand with an old inscription, 'Q. B. 73'. Condition: Excellent condition with old wear, expected casting irregularities, few tiny nicks and minor loss of material, signs of weathering and erosion.Weight: 3,468 g Dimensions: Height 35.5 cm (excl. stand) and 43.5 cm (incl. stand) Mounted on an associated and fitted wood stand. (2)Expert's note: Valli is a Hindu goddess, and the second consort of the deity Murugan. An incarnation of the goddess Sundaravalli, daughter of Vishnu, Valli is born on earth as the daughter of a chieftain, leading the life of a huntress. Murugan, the god of war, eventually woos and weds her, according to Tamil folklore. Both of their legends originate from the mountain region also known as Kurunji in Tamilakam. Her sister, Amritavalli (Devasena), also succeeds in marrying Murugan as the adopted daughter of Indra, making them sister-wives.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2022, lot 462 Price: USD 22,680 or approx. EUR 22,500 adjusted for inflation at the time of writingDescription: A bronze figure of Valli, South India, Tamil Nadu, Nayaka period, late 18th-early19th centuryExpert remark: Note the size (57.8 cm).
Tribal Art - an early 20th century Native American beadwork Reservation ration ticket bag, Great Plains, worked in horizontal bands, 18.5cm long, a conforming beadwork sash, possibly Navajo, 20th century, 49cm long, further curiosities, including a pack of 78 tarot cards, 20th century, printed in the incunabula woodcut manner, a bone ring, a case of five jadeite buttons, 19th century white-metal sunglasses, etc
RAOB SASH & MEDALLIONS, COMMEMORATIVES, REPRODUCTION POCKET WATCHES AND OTHER COLLECTABLES, the Buffalo Order medallions relating to Talacre Lodge, 8294, one in hallmarked silver, the other in gilt metal, both with enamelled decorations, other items include a swivel badge for the Wolverhampton Lifeboat Saturday Fund, carved bakelite brooch in the form of a dog, Past Times gilt metal 2000 millennium medallion, gilt metal chainmail purse and other interesting itemsProvenance: deceased estate Conwy
Ireland, Easter Rising 1916. The medals of Rose Mullally, comprising 1916 Medal An Bonn 1916 for military service during the Easter Rising, boxed, as issued in 1941, Active Service Medal for the War of Independence 1917-21, boxed, as issued in 1942, 50th Anniversary Survivor's Medals 1966 and 1971, The Irish Women's Council (Cumann na mBan) 1916 Easter Rising brooch marked SILVER, Amalgamated Society of Railway Servants Medal by George Tutill, London and contemporary metal fringed poplin sash A.S.R.S. Labour Day 1896, pierced silver pendant rev. engraved Rosaline M M Farrelly 16th May 1936, commemorative armband, base metal Celtic cross 'miracle' brooch, two official letters from the Department of Defence, Dublin, 1936 and 1965, letter of condolence from Liam Lawlor (1944-2005) on the death of Rose Farrelly in 1985 and a photograph of Rose Farrelly wearing her medals. Rose Farrelly nee Mullally (1893-1984) of Dublin was one of the 77 women arrested in the aftermath of the Easter Rising. A member of the Inghinidhe Branch Company of the Dublin Brigade, Cumann na nBan, which she joined in 1915 and remained an active member until 1970. During the Rising she was based at the Jameson Distillery on Marrowbone Lane, Dublin and after surrender was detained in Richmond Barracks and subsequently Kilmainham Gaol. Her brigade was commanded by Captain S Murphy and Rose McNamara. She received a pension for her military service for the period 1 April 1916 - March 1917 (source: Irish Defence Forces Military Archive). Rose Farrelly is commemorated on the quilt made on the centenary of the Rising by the Yarn School Textiles Studio, Dublin
A WILLIAM & MARY OAK GLAZED 'PEPYS' BOOKCASE OR CABINET LATE 17TH CENTURY The interior with adjustable shelves 213cm high, 107.5cm wide, 40cm deep Literature: O.F. Morshead, 'The Colleges of Oxford and Cambridge: Magdalene College, Cambridge. II - The Pepys Library', Country Life, 3 March 1928, pp. 300-308. A. Oswald, 'Ludstone Hall, Shropshire - III: The home of Mr. and Mrs. M.H. Rollason', Country Life, 25 January 1952, pp. 222-225. K-M Walton, 'An Inventory of 1710 from Dyrham Park', Furniture History, 1986, pp. 25-80. K. Loveman, 'Books and Sociability: the case of Samuel Pepys's Library', The Review of English Studies, April 2010, pp. 214-233. This bookcase or cabinet is part of a select group of late 17th century tall glaze-fronted case-furniture, the most important of which is twelve, carved and stained oak bookcases (book-presses) with glass panes, supplied in August 1666 by the London joiner, Thomas Sympson (Simpson, fl. 1662-92), to the celebrated diarist and naval administrator, Samuel Pepys (1633-1703), for his house at York Buildings, Buckingham Street, London (BIFMO). On 23 July 1666, Pepys first records the engagement of Sympson the 'joyner' in his diary: 'Up and to my chamber doing several things there of moment, and then comes Sympson the joyner; and he and I with great pains contriving presses to put my books up in, they now growing numerous and lying one upon another upon my chairs' (Morshead, p. 302). The design, with its architectural features, is geometrically based and the glazing was inspired by the sash window which was introduced in England and Holland around this time. Pepys later bequeathed the bookcases and his important collection of 3,000 books to the library of Magdalene college, Cambridge. The library building was begun in about 1640 but not completed until the end of the century. Funds were raised through subscription with Pepys contributing £60, and other subscribers included the Masters of six of the Cambridge colleges including the mathematician, physicist and astronomer, Sir Isaac Newton FRS (1643-1727). The Pepys bookcases are still in situ; eight line the walls of the library, and four stand back-to-back in the centre of the room. Another pair of related carved oak bookcases was made for the library at Dyrham Park, Gloucestershire, commissioned by William Blathwayt (1649-1717), and described in the 1710 house inventory as: '2 Glass Presses wth Books' (BIFMO). Blathwayt was a friend and colleague of Pepys, as was his uncle, Thomas Povey, whose closet Pepys had admired in the 1660s. Blathwayt probably paid visits to York Buildings and subsequently had glazed bookcases similar to Pepys' made, possibly also by Sympson (Loveman, p. 222). Another possible maker of the Dyrham Park bookcases might be the London joiner, Thomas Hunter of the Angel, Piccadilly, who supplied much of the fine interior woodwork at Dyrham. One of the Dyrham bookcases survives in the Great Hall at Dyrham and its pair is in the Victoria and Albert Museum (NT 452939; Walton, p. 42; W.12:1 to 11-1927). A further carved oak bookcase, formerly at Cuckfield Park, Sussex, was illustrated in Country Life in 1931 (21 November 1931). Charles Sergison purchased Cuckfield Park in 1691. He knew Pepys and his younger brother John through his service to the crown as a dockyard clerk in 1671, and four years later, as clerk to the Clerk of the Acts, whose office was then held jointly by Thomas Hayles and John Pepys (ibid.). Other examples include one formerly at Kingston Lisle, Berkshire (later at Ludstone Hall, Shropshire), photographed by Country Life in 1952 (Oswald, p. 225, fig. 10); and another by repute at Penshurst Place, Kent (ibid., p. 224). While the bookcase offered here is plainer than the preceding examples, it too has been applied with a timber stain presumably to make the oak resemble what was then more expensive walnut or mahogany. Please note: the contents of the cabinet are not included in the sale of this lot Condition Report: Overall with marks, knocks, scratches, abrasions consistent with age and useThere are some quirks in the construction, this may be a sign of adaption or may be a quirk by the cabinet maker - the lateral bars to the doors have visible ends poking through the uprights, these have been cut to create the over-lap to the doors.The glazing has later putty and filler to secure, one glass panel with old crack and split throughThe shelves are certainly laterThe feet probably of the period but with repaired lower sections (the original bases probably lost due to rot),Another quirk is that there are scored lines to the left side roughly where the shelves align, the right side with old vacant nail holes - the purpose of these is unknown.The cornice is almost certainly later overall, there are later blocks to secure it to the top of the cabinet, there are various tacks and nails holding this in all place - the colour is quite dark in this area and appears to have been coloured to match the remaining cabinet (which as the footnote states is probably deliberate)Please see additional images for visual reference to condition Condition Report Disclaimer
Three fine lawn cotton and lace toddlers dresses with intricate and detailed lacework, a satin smock dress, various undergarments, lace collar and sash etc, together with a circa 1900 child's cream silk tiered fancy dress part costume supported by a black and white photograph of the outfit being worn and hand written to one corner 'Dickory Dock'
Orden & Ehrenzeichen Deutschland - Preußen : Preußen: Kronenorden: Satz 1. Klasse mit Schwertern.Das Kreuz und die Schwerter Gold. Auf dem unteren Kreuzarm die Ritzmarke ?W? der Hofjuweliere J. Wagner & Sohn, Berlin. Die Schwerter hohl geprägt und im Medaillonzylinder verschraubt.An schöner genähter zweimal schwarz und dreimal weiß gestreifter Originalschärpe (Kriegsband wenn zu einer bereits verliehenen Schwerterdekoration die nächsthöhere Klasse ebenfalls mit Schwertern verliehen wurde). Der Bruststern Silber, Das Medaillon und die Schwerter Gold und Emaille, an Nadel.Auf der Rückseite Schraubmedaillon. Unterhalb des Nadelhakens die Ritzmarke ?W? der Hofjuweliere Wagner & Sohn, Berlin.Beide Stücke zusammen im schönen Originaletui aus schwarzem Leder. Der Deckel mit Gold geprägter Chiffre ?W?. Scharnier etwas lose. Wunderschöner, in allen Teilen originaler Satz in bester Berliner Juweliersqualität. Die 1. Klasse mit Schwertern des Kronenordens ist von exorbitanter Seltenheit und nur in ganz wenigen Exemplaren bekannt. Es wurden insgesamt nur 31 Exemplare in Gold (sowie 13 Schwerter zur 1. Klasse) und 47 Exemplare in Silber-vergoldet (sowie 5 Schwerter zur 1. Klasse) verliehen. Von den goldenen Exemplaren dürften fast alle Stücke nach dem Tod der Beliehenen zurückgegeben worden sein. Die Verleihungen am zweinmal schwarz und dreimal weiß gestreiften Band sind wie bei allen preußischen Kriegsorden die allerseltensten Verleihungen. Einer der seltensten preußischen Schwerter-Orden und seit Jahrzehnten der erste auf einer Auktion angebotene Originalsatz.German Orders and Medals - Kingdom of Prussia : Prussia: Order of the Crown 1st Class set with swords.1st Class sash badge in gold and enamels. The swords in holow gold die struck construction. On the lower arm of the cross the mark "W" of the court jewelers J. Wagner & Sohn, Berlin. On beautiful sewn twice black and three times white striped original sash (war ribbon if to an already awarded sword decoration the next higher class was also awarded with swords). The breast star silver, The center medallion and swords gold and enamel, reverse fitted with pin for wearing. On the back screwed center medallion. Below the pin catch the incised mark "W" of the court jewelers Wagner & Sohn, Berlin. Both piece in beautiful original black leather case of issue. The lid with gold embossed cipher "W". Hinge a bit loose. Beautiful set of finest jeweler's quality. The 1st class with swords of the Order of the Crown is of exorbitant rarity and known only in very few examples. Only 31 awards in gold (plus 13 swords to previously awarded civil 1st class ) and 47 awards in silver-gilt (and 5 swords tompreviously awarded civil 1st class) were awarded. Of the gold specimens, almost all were returned after the death of the recipient. The bestowals on the two times black and three times white striped ribbon are, as with all Prussian war orders, the very rarest bestowals. One of the rarest Prussian military orders and the first original set offered at auction for many years.
Orden & Ehrenzeichen Deutschland - Bayern : Bayern, St. Hubertus - Orden: Bedeutendes Ordenskreuz aus der Mitte des 18. Jahrhunderts, getragen als Knopflochdekoration. Bedeutendes frühes Exemplar in feiner Qualität. Bronze - feuervergoldet und Emaille. Formal entspricht dieses Ordenskreuz des Hausritterordens vom Heiligen Hubertus der Form des Kettenkleinodes. Wie auf einigen Porträts von Ordensrittern des St.-Hubertus-Ordens aus der Zeit des 18. Jahrhunderts zu erkennen ist, war es damals üblich, statt der offiziellen Anlässen vorbehaltenen Ordenskollane oder dem ebenso für formelle Gelegenheiten bestimmten Schärpenkleinod, im täglichen Gebrauch verkleinerte Ordenszeichen im Knopfloch zu tragen. Diese Gepflogenheit war auch bei anderen bedeutenden Ritterorden, wie z. B. dem Orden vom Goldenen Vlies, üblich. Es haben sich nur ganz wenige Exemplare dieser Ordenszeichen in Sammlungen erhalten. Auf Schloss Hohenschwangau werden Vergleichsexemplare aus der Sammlung des Wittelsbacher Ausgleichsfonds aufbewahrt, die dem hier angebotenen Ordenskreuz sehr ähnlich sind Außerordentlich seltene Ordensdekoration in am Alter gemessen hervorragender Erhaltung. Dieses Exemplar ist bei Karsten Klingbeil / Andreas Thies, Orden 1700 ? 2000, Band I, Nr. 179, abgebildet und beschrieben.German Orders and Medals - Kingdom of Bavaria : Bavaria, Order of Saint Hubert: Important early Breast Badge, dating from the mid 18th Century.Important early badge to be worn at the button - hole of a Knight of the Order. Of finest quality. Bronze - fire-gilt and enamel.Formally, this cross of the Order of St. Hubert corresponds to the form worn on the order#s collar chain.As can be seen on some 18th century portraits of knights of the Order of Saint Hubert, it was customary at that time to wear a smaller badges in the buttonhole in daily use instead of the order's collar reserved for official occasions or the large and massive sash badge which was also intended for formal occasions.This custom was also common in other important orders of chivalry, such as the Order of the Golden Fleece.Only a few examples of these badges have survived in collections.Comparative examples from the collection of the Bavarian Royal Family (Wittelsbacher Ausgleichsfond) are kept at Hohenschwangau Castle. These badges are very similar to the cross offered here.Exceptionally rare decoration in excellent condition, especially considering its age of over 250 years.This piece of insignia is illustrated and described in Karsten Klingbeil / Andreas Thies, Orden 1700 - 2000, Volume I, No. 179.
Ausländische Orden & Ehrenzeichen - Serbien : Serbien: Orden vom Weißen Adler: Großkreuz mit Schwertern (1. Klasse)Silber - vergoldet und emailliert. Ohne Schärpe. Das weiße Kreuz im vorderseitigen Medaillon nachemailliert. Trotzdem schönes und mit Schwertern seltenes Exemplar in feiner Juweliersqualität. Ein ähnliches Exemplar ist bei Pavel Car / Tomislav Muhic: Serbian and Yugoslavian Orders and Decorations from 1859 to 1941, S.177 abgebildet und beschrieben. Foreign Orders & Decorations - Serbia : Serbia: Order of the White Eagle, Grand Cross with Swords.Silver - gilt and enamelled. Without sash. The white cross in the obverse center medallion re-enamelled.Nevertheless a beautiful and rare example with swords, in fine jeweller's quality.A similar example is illustrated and described in Pavel Car / Tomislav Muhic: Serbian and Yugoslavian Orders and Decorations from 1859 to 1941, p.177.
Ausländische Orden & Ehrenzeichen - Italien : St. Maurizius und Lazarus Orden: Großkreuz.Gold und Emaille. ohne Schärpe. Die Krone besonders plastisch gearbeitet. Das Kreuz des Lazarus - Ordens mit transluzidem grünen Emaille auf fein guillochiertem Untergrund. Prachtexemplar in feinster altitalienischer Juweliersqualität. Foreign Orders & Decorations - Italy : Order of Saint Maurice and Saint Lazarus: Grand Cross Sash Badge.Gold and enamel. Without sash. The crown is especially vividly worked. The cross of the Order of Saint Lazarus with translucent green enamel on a finely guilloché background.A splendid example of the finest old Italian jeweller's quality.
wood and LacquerJapan Meiji Period ( 1868 - 1912 ) Dimensions: Height 5 cm to 7 cmWeight: 283 grams Collection of six inro, a case for storing small objects and suspended from the sash when wearing a kimono. The stack of boxes is held together by a cord that is laced down one side, under the bottom, and up the opposite side. The ends of the cord are secured to a netsuke, a kind of toggle that is passed between the sash and pants and then hooked over the top of the sash to suspend the inro. An ojime bead is provided on the cords between the inro and netsuke to hold the boxes together. This bead is slid down the two suspension cords to the top of the inro to hold the stack together while the inro is worn, and slid up to the netsuke when the boxes need to be unstacked to access their contents, which were usually medicine.
TWO JAPANESE LATE MEIJI (1868-1912) AND 20TH CENTURY CREAM SILK KIMONOS. The first, perhaps a wedding kimono (uchikake) decorated in red and blue batik with fans, painted with prunus trees and embroidered in gold and coloured silk threads with flowers on a damask ground, lined in cream silk, with sash, 141cm long approx., together with another embroidered in gold and coloured silk threads with fret pattern and flowers, stencilled diaper leaves and flowers, with sash ProvenanceEx sale Sotheby's, London.The example with fan designs in good order overall, there are some loose threads and some minor losses, very minor staining to ivory silk. The other example (later in date) with some frayed and loose threads, minor staining and fading.
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