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Lot 318
PROPERTY OF MAHARAJAH DULEEP SINGH (1838-93) THE LAST SIKH KING TWO SILK AND GILT-METAL THREAD one burgundy, the other purple and yellow, with tassels-weights at the end of each sash, constructed of gilt-metal and metal thread bound onto a core, the metal thread combined with silk thread (Dimensions: length: 202cm and 308cm long) (Qty: 2)(length: 202cm and 308cm long)Qty: (2)Footnote: Provenance: Elveden Hall, Suffolk, Home of Maharajah Duleep Singh (1863-1893). Private Collection, UK, acquired from the above in the late 1950s. Note: In the renowned full portrait painting of Maharaja Duleep Singh by Franz Xaver Winterhalter (1805-73) [1], the last Sikh king is featured as a young man in his full Indian regal dress. He is shown wearing a silk sash wound around his waist that closely resembles the two offered here for sale. Another property of Maharajah Singh was offered in Lyon and Turnbull, 9th December 2009, lot 123 [1] The Royal Collection Trust, accession number RCIN 403843 Born in Lahore (present-day Punjab in Pakistan) in 1838, Maharajah Duleep Singh became the last ruler of the Sikh Empire just after his fifth birthday, with his mother ruling as regent. His reign was short-lived. Following the second Anglo-Sikh War in 1849, the Sikh Empire fell, and he was forced to surrender to the British. Duleep Singh was taken into the care of the British forces, converted to Christianity in 1853, and granted a pension on the condition he be obedient to the British government. The following year, he arrived in England and joined the British royal court. Arriving in England in 1854, Duleep Singh quickly became a favourite of Queen Victoria. During this same year, she commissioned a portrait of him by the renowned court painter Franz Xavier Winterhalter. Duleep Singh and his wife Bamba became great socialites from their country home at Elveden Hall, frequently entertaining noble and aristocratic guests such as the Prince of Wales. Following financial difficulties in 1881, the family moved from their country estate to Holland Park in London, where Duleep Singh continued to learn about his heritage and the Sikh Empire, and although he was prevented from ever returning to India, in 1886 he eventually was able to be re-baptised into his Sikh faith.
Lot 8
A VERY RARE GILT-BRONZE FIGURE OF VAJRAPUTRA14th/15th century The figure sturdily cast seated in rajalita asana with the left foot resting on a lion cub, holding a bead of mala from a rosary in his right hand and a ruyi sceptre in his left, the contemplative face with a serene expression defined by gently-pursed lips and downcast eyes beneath long, arched eyebrows flanked by pendulous ears and curly locks at the temples, the beard arranged in small curls around the chin, wearing a loosely-fitting shawl covering the shoulders above a diaphanous dhoti finely detailed with incised floral scrolls at the hem, falling gently over the legs and secured by a bow around the bare chest, stand. 23cm (9in) high. (2).Footnotes:十四至十五世紀 銅鎏金笑獅羅漢像Provenance: a distinguished Italian private collection來源：歐洲傑出私人收藏The present figure is a rare and fine example of Buddhist portraiture, displaying remarkable casting and vividly-exemplified craftmanship. The figure is elegant and well proportioned, and meticulous attention to detail has been devoted to the harmonious rendering of the gentle facial expression, the tight curls of the hair and beard, and finally the elegant features of the garments, from the fine gentle folds of the shawl, conveying the weight and texture of the fabric, to the bowed sash securing the robe around the waist.Vajraputra was a lion hunter before converting to Buddhism. After the attained Enlightenment, a little lion came playfully to his side. The animal seemed to be grateful to him for giving up the life of killing lions, sparing its parents and brothers. Since then, Vajraputra and the lion have become inseparable. The lion with its roar symbolises the invincibility of Buddhism; see T.Watters, 'The Eighteen Lohan of Chinese Buddhist Temples', in Journal of the Royal Asiatic Society of Great Britain and Ireland, 1898, pp.329-347.Luohan were perfected beings, disciples of Buddha who attained Enlightenment but chose to remain engaged in the world, postponing nirvana, in order to aid all sentient beings. These figures achieved Enlightenment through instruction, not meditation, and as a result, ranked just below bodhisattvas. In Buddhist texts, the Buddha is described variously as being accompanied by luohan, either fifty, five hundred, or multiples of this number. These numbers are usually taken to give an indication as to the size of the multitude, and are not meant to be literal. In Chinese art however, these numbers became a convenient convention for portraying these worthy disciples of the Buddha. One of the earliest portrayals of the luohan dating to the 6th century, depicts them as a group listening to the Buddha's teachings in a Buddhist cave at Longmen, in Henan Province. The earliest reference to a group of sixteen arhats, believed to be the earliest followers of the Buddha, occurs during the 8th century. By the Song dynasty (960-1279), this number had expanded to eighteen and by the Ming dynasty, arhats were also depicted in set of sixteen, as seen in the figures sculpted in the Shuanglin Temple, Pingyao, Shanxi Province, illustrated in Buddhist Sculpture of Shanxi Province, Beijing, 1991, pp.193-226.The facial features and garments worn by the present figure closely compare with a gilt-bronze figure of Avalokiteshvara, Yuan dynasty, and another gilt-bronze figure of a luohan, Ming dynasty, Hongzhi period, 1426, both illustrated in Buddha: 2000 Years of Buddhist Art. 232 Masterpieces, Cologne, 2016, pp.178-179, no.62, and pp.182-183, no.64.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
Lot 83
A VERY RARE IMPERIAL YELLOW SATIN EMBROIDERED CHUBAThe silk YongzhengThe side-closing chuba tailored in Tibet from Chinese 18th century Imperial yellow silk brocade, finely worked in gold and multi-coloured threads with five-clawed dragons grasping flaming pearls within a background of wispy clouds picked out in various colours of pink, blue, green and ochre, all above the terrestrial diagram and lishui stripe at the hem, the collar and facing fashioned from waves taken from the original border, with pale blue silk lining. 180cm (71in) wide x 142cm (56in) long.Footnotes:清雍正 御製黃地織錦緞彩雲金龍紋藏袍袍料Provenance: Linda Wrigglesworth, London, 2006A distinguished French private collection來源：倫敦Linda Wrigglesworth，2006年法國傑出私人收藏Finely tailored from sumptuous Imperial yellow-ground embroidered silk, the present garment is a brilliant and ingenious adaptation of 18th century Chinese court costume to formal Tibetan ceremonial attire.Whilst the rather elaborate medallion on the inner flap of the robe, a feature rarely encountered on this type of garment, would have been originally intended to make up a cushion cover for a throne, the rest of the embroidery would have made up a dragon robe worn by one of the innermost members of the Qing court. This is evident in the neck area, which suggests that a separate embroidered collar and lapel were once applied and then removed to obtain a simpler Tibetan-style closure. According to Linda Wrigglesworth, the lack of the gold thread, which would have typically outlined the water and waves, was a feature typically encountered on robes tailored for female members of the court and indeed suggest that the dragon robe incorporated in the present chuba was originally destined for an Imperial consort. This assumption is reinforced by the counter-clockwise coiling posture of the dragons to the chest area and back, which suggests that the wearer stood to the right of the emperor. It was normal practice for Imperial consorts to stand on either side of the emperor, who took the central position in a formal ceremony. It would make sense, therefore, for an Imperial consort to wear a robe whose dragons coiled towards the Imperial throne. See for example the painting depicting the Dowager empress Chongqing, mother of the Qianlong emperor, as she sits at a banquet table on a raised platform. Sitting to her left is her son, the Qianlong emperor, and further to the sides, her son's many consorts; see J.Stuart and Daisy Yiyou Wang, Empresses of China's Forbidden City 1644-1912, Salem, 2018, p.155, pl.7.During the Qing dynasty, it became an established practice for the court to send gifts of silks and garments to Tibet because of the strong attachment of the Manchu rulers to Tibetan Buddhism and the political relations; see J.Hevia, 'Lamas, Emperors, and Rituals: Political Implications in Qing Imperial Ceremonies', in Journal of the International Association of Buddhist Studies, vol.16, no.2, 1993, pp.243-278.The Qing emperors made Beijing a major centre for the study of Tibetan Buddhism. The Qianlong emperor, in particular, recognised the supremacy of the religious authority of the Dalai Lama, and in turn Tibetans acknowledged the emperor as an incarnation of the Bodhisattva Manjusri, a manifestation of the Buddha of the Future; see M.Henss, 'The Bodhisattva Emperor: Tibeto-Chinese Portraits of Sacred and Secular Rule in the Qing Dynasty', in Oriental Art, vol.47, no.3, pp.2016.During the eighteenth century, the Qing court produced richly-decorated silk costumes specifically for use in Buddhist rituals and bestowed large quantities of Imperial dragon robes that became the customary formal dress for aristocratic Tibetans. At the time, regulations governed the quantity of yellow silks destined for religious leaders. In 1655, shortly after a visit by the Fifth Dalai Lama to Beijing, it was decreed that only high lamas with the title Gelung were allowed to receive yellow silks. This honour was regularly accorded to the Dalai and Panchen Lamas and the Grand Lama of Urga, the head of the Mongolian Buddhist hierarchy; see E.Sperling, 'The Fifth Karma-pa and Some aspects of the Relationship between Tibet and Early Ming', in M.Aris and Aung San Suu Kyi, Tibetan Studies in Honour of Hugh Richardson, Proceedings of the International Seminar on Tibetan Studies, Oxford, 1979, pp.280-289.The Tibetans traditionally wore robes featuring very long sleeves characterised by wider cuts and a simpler style of front overlap and fastening. The front part of the garment slanted from the neck to a fastening under the right arm. Sometimes the narrower Chinese robes were widened at the sides for easier movement and lengthened by the addition of material around the waist, which was concealed by the sash worn over the robe. These alterations were achieved by the Tibetans tailors by substituting the front underlap of the garment with another material, or by cutting off some of the deep wave border to extend the arms or widen the sleeves. The overall result conveyed a rather harmonious and eccentric effect obtained by combining different materials.For a discussion about 'dragon' robes tailored as Tibetan chuba, see J.Simcox and J.Vollmer, Emblems of Empire: Selection from the Mactaggart Art Collection, Edmonton CA, 2009, pp.200-217. Compare also with a similar yellow-ground silk chuba, 18th century, in the Art Gallery of South Wales, Sydney, illustrated by J.Rutherford, Celestial Silks. Chinese Religious and Court Textiles, Sydney, 2004, p.43, no.17.A related yellow-ground brocade silk chuba, 18th century, was sold at Christie's New York, 17 september 2008, lot 174.For further information on this lot please visit Bonhams.com
Lot 16
A GILT-BRONZE FIGURE OF TARA18th century The deity seated in lalitasana on a double-lotus pedestal with her hands in varada and vitarka mudras, dressed in a diaphanous dhoti with a pendent sash draped over the base, the face with downcast eyes surmounted by an elaborate tiara, the hair arranged in a high chignon secured with a finial. 15.5cm (6 1/8in) high.Footnotes:十八世紀 銅鎏金度母像Provenance: a European private collection來源：歐洲私人收藏For further information on this lot please visit Bonhams.com
Lot 109
A bronze figure of a dancerBy Atsuyoshi for the Maruki company, Meiji era (1868-1912), late 19th/early 20th centuryStanding with one tabi foot raised, clad in an elegant kimono, she holds a detachable parasol in one hand and probably a fan (missing) in the other, her head at a slight tilt, her coiffure elaborately styled and dressed with a kushi (comb); signed on the back of the sash Atsuyoshi saku within an oval reserve above the seal Maruki shachu sei (Manufactured at the Maruki Company); with a separate wood stand. The dancer: 46cm (16 1/16in) high; the wood stand: 2.5cm x 22.3cm (1in x 8¾in). (3).For further information on this lot please visit Bonhams.com
Lot 220
Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa 1769-1770An extremely rare aiban print of Natsu (Summer) from the series Fuzoku shiki no hana (Fashionable Flowers of the Four Seasons), depicting a young couple on a boat floating on a pond surrounded by lotus flowers in full bloom, the youth seated and leaning back with a fan, whilst the girl, nonchalantly holding a bamboo pole, stands coyly in front of him biting the end of her sash, all beneath the title of the series and a waka poem by Fujiwara Sanefusa enclosed within a 'cloud' cartouche, stamped at the bottom left with the collector's seal of Henri Vever; signed Suzuki Harunobu ga. 34cm x 25.1cm (13 3/8in x 9 7/8in).Footnotes:Provenance:Henri Vever (1854-1943) Collection.Published:Jack Hillier, Japanese Prints and Drawings from the Vever Collection, vol.1, London, Sotheby Parke Bernet Publications, 1976, p.150, no.152.Yamaguchi Keizaburo, Gime Toyo Bijutsukan, Pari Kokuritsu Toshokan (Musée Guimet, Bibliothèque Nationale, Paris, Henri Vever Collection, Huguette Berès Collection) Ukiyo-e shuka (Splendours of Ukiyo-e), vol.12, Tokyo, Shogakukan, 1980, p.123, no.120.The poem by Sanefusa (1147-1225), number 423 in the anthology Gyokuyo Wakashu (Collection of Jewelled Leaves) reads: Yuusareba / nami kosu ike no / hachisu ha ni / tama yurisuuru / kaze no suzushisa (As evening draws close / on the lotus leaves remain / jewel-like water drops / from ripples raised across the pond / by the cooling summer breeze)For further information on this lot please visit Bonhams.com
Lot 235
Attributed to Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sA chuban yoko-e shunga print depicting a naked and aroused male pilgrim emerging from inside a mosquito net at an inn, grabbing a maidservant by her obi (sash) as she coyly rejects his advances; unsigned. 20.6cm X 28cm (8 1/8in x 11in).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
Lot 287
Kawase Hasui (1883-1957)Showa era (1926-1989), dated 1933An oban tate-e print, titled along the bottom margin Osaka Soemon-cho no yu (Evening at Soemon-cho, Osaka) from the series Nihon fukei shu II Kansai hen (Collected Views of Japan II, Kansai Edition), depicting a night-time winter scene showing two maiko walking past a teahouse, their highly colourful kimono and elaborate obi (sash) trailing behind them, illuminated by the light streaming from an open door, shadows of figures discernible in the distance, in the foreground a couple huddled against the night chill walking closely together, dated Showa hachinen shigatsu saku (Work of April, Showa 8 [1933]), published by Watanabe Shozaburo, with a Hanken shoyu Watanabe Shozaburo seal along the lower right margin; signed Hasui with Kawase seal. 39.1cm x 26.4cm (15 3/8in x 10 3/8in).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
Lot 125
* Great Britain. Henry Newton, British Ambassador to Queen Anne at the Court of Genoa, 1706 by Massimiliano Soldani-Benzi, gilt cast medal, obverse with draped bust of Henry Newton facing right, reverse with Minerva and Prudence in harmony, 88mm, 145g, together with: France. Pierre de Conty d’Argencourt, French engineer and builder of fortifications by Guillaume Dupré, 1630, bronze medal, obverse with bust of Pierre de Conty d’Argencourt in armour facing right inscribed P. D. C. SR DARGENCOVR . MARECH . D. BATTAILLE, reverse with sash, sword and battle shield surrounded by legend INFERT . ET . SVSTINET (He Attacks and Protects) 1630, 65mm diameter, 82g, plus: Spain. Peace on n Careau-Cambresis between Philip II, Henry II of France and Elizabeth I of England 1559 by Gianpaolo Poggini, bronze medal, obverse with bust of Philip II of Spain facing left, reverse with the legend ‘Peace to land and water’, pax stands right with a cornucopia in his left arm and sets fire to weapons and other equipment with a torch, the Janus temple in the background, 40mm diameter, 35g, and another bronze medal, 39mm diameter and a uniface plaquette, bronze depicting the Laocoon and his sons, 53mm diameterQty: (5)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Lot 96
* Italy. Uniface Medal / Plaquette. Cast Bronze. By Annibale, Active In Milan c.1550’s. An old cast. Obv: Bust of Gonsalvo Ferdinando of Cordoba facing left, bearded, wearing an ornamented cuirass and sash, within a beaded border. Rev: Plain with scratching. 58mm, 18.5g, a split below bust, some wear and handling marksQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Lot 321
Norfolk Regiment Officer’s Pattern Frock Coat black melton, double breasted, long coat. High collar with single, gilt regimental badge remaining. Shoulder straps showing no sign of rank. Gilt regimental buttons. Part quilted cotton lining. Together with a crimson silk waist sash with bow buckle and two hanging tassels. 2 items.
Lot 346
Small Selection of Various Equipmentconsisting maroon silk, waist sash with hidden buckle and two hanging tassels ... Senior NCO's, red cross sash with two lower tassels ... Black webbing, undress sword belt (damaged), complete with two, gilt braid faced, maroon leather, sword hanging straps. Lower gilt lion mask, double buckles. 3 items.
Lot 379
Officer's Undress Sword Belt and Dress Sashbrass, lion mask, circular buckle with plain rectangular shoulders. Black leather, three section belt joined by brass rings. Complete with two matching sword hanging straps with lower brass securing buckles. Together with a maroon and gilt, Officer's sash with two lower maroon and gilt tassels. 2 items.
Lot 126
A collection of early 20th century Masonic jewels: including a cased silver and enamel Masonic Knights Templar sash badge by G. Kenning & Son, London 1911, a silver and enamel Founder's jewel for 'Prince Edward of Saxe Weimar Chapter', 'Royal Masonic benevolent Institution badges and others.
Lot 146
A RARE BRONZE FIGURE OF AN OFFICIALMid Ming DynastyWell cast standing on a slightly flared rectangular plinth raised on shaped supports, wearing long flowing robes adorned at the front with a quatrelobed cartouche enclosing floral decoration, holding in his right hand a belt above his slightly rotund belly, his neck framed by a collar, gazing forward with his head crowned by an official's hat, traces of gilding remaining.25.6cm (10 2/16in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價明中期 銅文官像Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2006, no.10展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2006年，編號10Such attire represented the typical dress code for civil officials of high rank. Following the sumptuary laws of 1391, which regulated Ming dynasty dress, the classical Chinese clothing traditions of the Tang and Song dynasties were revived. Tang and Song official costumes themselves can be traced even further back, to the Han dynasty. The long robe with wide sleeves, the sash embellished with beaded jewellery, the rectangular office plaque across the chest were all part of Han dynasty court apparel. One can, therefore, find a close similarity between traditional attires of Chinese court officials over many centuries. Nowhere can this be observed as clearly as on the larger-than-life stone figures of civil officials lining the spirit roads leading to their emperors' mausoleums. See Ann Paludan, The Chinese Spirit Road, New Haven and London, 1991, pl.142 a Tang example, pls 167- 8; two Song examples, pls 202, 205, 213, 228 and 230; several Ming examples.See a similar bronze figure of a eunuch, Ming dynasty, from the collection of Wang Shixiang, illustrated in Zi zhen ji: Wang Shixiang ji, Beijing, 2017, p.63.For further information on this lot please visit Bonhams.com
Lot 277
A HARDWOOD CARVING OF AN OFFICIAL17th/18th centuryThe bearded figure wearing a hat and flowing belted robes with voluminous sleeves, holding a wrapped object, the hands concealed beneath the robes, the cap, hair and terminal of the sash with traces of gilt lacquer.17.5cm (6 7/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十七/十八世紀 木雕文官立像Published, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2011, no.98展覽著錄：Roger Keverne Ltd.，《冬季展覽》，倫敦，2011年，編號98For further information on this lot please visit Bonhams.com
Lot 58
A DOCUMENTARY MARBLE FIGURE OF A LOKAPALADated by inscription to the Eighth Year of the Eastern Wei Dynasty (550 AD) and of the periodThe guardian figure standing on a lotus base over a rectangular plinth, clad in long flowing robes tied at the waist with a loose sash, the pugnacious expression of his face defined by bulging eyes and raised eyebrows, his right hand positioned and hollowed to hold a halberd.27.5cm (10 6/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價東魏 理石雕天王像「武定八年」楷書刻款The inscription may be read as '武定八年二月八日 賈安民 為身眷屬造玉像一軀 息祖囗楊尊', which may be translated as '8th day of the second month of the eighth year of the Wuding Era (corresponding to 550 AD), Jia Anming made [this statue] for the Yang family'.See a related marble sculpture of dvarapala of similar height, Northern Qi and Northern Zhou dynasties (550-581), illustrated by O.Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, Bangkok, 1998, pl.250A.For further information on this lot please visit Bonhams.com
Lot 87
TWO PAINTED POTTERY FIGURES OF A GROOM AND A COURT LADYTang DynastyThe groom modelled with hands positioned as if holding reins, dressed in a long loose robe secured at the waist with a sash, 39cm (15 3/8in) high; the lady standing gracefully in the fashionable demeanour with hands brought in front of her chest, wearing long robes, her head modelled with plump cheeks and hair tied in two side knots, 32.5cm (12 6/8in) high.(2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 陶仕女俑 及馬夫立俑 一組兩件Published, Illustrated and Exhibited: R.Keverne Ltd., Summer Exhibition, London, 2002, no.39 (the groom)展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2002年，編號39（馬夫立俑）The result of Oxford Authentication Ltd. thermoluminescence test no.C101r89 dated 26 July 2001, is consistent with the dating of this lot. (the groom)Oxford Authentication Ltd公司熱釋光檢測結果（2001年7月26日，編號C101r89）顯示年代與本拍品年代一致。（馬夫立俑）For a related figure of a groom unearthed in Sanyuan County in 1985, see Treasures of Chang'an: Capital of the Silk Road, Hong Kong, 1993, pp.150-151, no.50. See another example illustrated by Feng Hejun, Collections of the Palace Museum: Pottery Figures, Beijing, 2007, no.131.For further information on this lot please visit Bonhams.com
Lot 238
A PALE GREEN JADE 'SHOULAO AND DEER' GROUPLate Qing DynastyThe figure modelled holding a peach in his left hand and flowering stem in his right, wearing loose flowing robes with a belted sash, a deer standing to his right side, the stone of even hue with some light mottling to the reverse, wood stand.19.7cm (7.3/4in) high. (2).For further information on this lot please visit Bonhams.comNibbling to edges, some re-carving to the antlers, and a possibly re-carved patch to the back of the figure's arm. Expected suffused natural inclusions and fissures in the stone.
Lot 74
Kay Boyce (British 20th-21st Century) Lady Wearing Lace Skirt with Blue Sash, mixed media on paper, signed in pencil, measurements 50 x 33 cm (i), frame 80 x 62 cm Kay Boyce is a figurative artist who is best known for her delicate and detailed pastels and drawings of female subjects.Condition report: Lot 74 is a work on paper, framed under glazing. Not examined external to the frame. The paper appears of good condition, no obvious signs of any tears, folding or creases. The colours are well preserved and surface appears stable. The frame has solid joints and is of good condition- minimal wear and tear.
Lot 2080
Circa 1940 and Later Ladies' Clothing, comprising a black short sleeve dress printed with lambs in a pink bow, sash detail to one hip; green floral dress with elbow length sleeves, olive green trim to the neck and matching belt with a pleated skirt; a blue short sleeved silk dress printed with figures and floral motifs; red floral short sleeve dress with pleated detail to the bust labelled Dorothy Hubbs of New York; a brown gathered multi pleated skirt, printed with orange and white berries; yellow, blue and black printed skirt with a pocket to the front; a yellow and grey checked wool jacket with three button fastening and pockets; a grey/brown long sleeve jacket, double breasted with buttons; a brown and white wool A-line skirt with stylised pockets; J C Penney Co grey wool jacket with pockets; a Viola S Dimmitt full length black dress with shoulder attachments to the back, smocked detail to the bust and hips, matching belt and long sleeves; a black crepe sleeveless dress with pleat detail to the hip, and appliquéd overall with studded decoration; a cream silk robe with a pale blue wool and gilt trim, cream grosgrain lining; RH Macy & Co burgundy and silver woven peep toe heels, Kitty Kelly blue satin heels, Kerr's Oklahoma City pink brocade heels and another pair in silver (13 items on a rail) and box
Lot 101
Reiterstandbild Friedrich August III. von Sachsen Meissen 19. Jhd. Der sächsische Kurfürst und König von Polen-Litauen August III. als Feldherr mit Marschallstab. Die Plastik lehnt sich eng an das berühmte Reiterstandbild seines Vaters August II. der Starke an, den 1736 entstandenen sogenannten Goldenen Reiter von Jean Joseph Vinache. Dieses wurde 1753 von J. J. Kaendler in einer Porzellanversion geformt. Im Gegensatz zu seinem väterlichen Vorbild trägt der Kurfürst-König in unserer Ausführung keine römische Prunkrüstung, sondern ein Hofkostüm mit der blauen Scherpe und dem Kleinod des Weißen Adler Ordens, sowie das Kleinod des Ordens vom Goldenen Vlies auf der Brust und den von ihm 1736 gestifteten Militär-St.-Heinrichs-Orden um den Hals. Das imposante Stück ist sehr detailliert und farbintensiv staffiert. part. min. professionell altrestauriert, Schwertermarke unterglasurblau., 1. Wahl, H: 27,5 cm title: Equestrian statue of Friedrich August III. of Saxony, Meissen 19th century The Saxon elector and King of Poland-Lithuania August III. as a general with a marshal's baton. The sculpture is based closely on the famous equestrian statue of his father August II "der Starke", the so-called golden rider by Jean Joseph Vinache from 1736. This was molded in a porcelain version by J. J. Kaendler in 1753. In contrast to his father's model, the elector-king in our version does not wear a Roman armor, but a court costume with the blue sash and the jewel of the Order of the White Eagle, as well as the jewel of the Order of the Golden Fleece on his chest and that donated by him in 1736 Military Order of St. Heinrich around the neck. The imposing piece is very detailed and richly colored. partially minimal professionally old restored, swords mark in underglaze blue., 1st choice, height: 27.5 cm
Lot 146
C. 500 AD. Chinese Northern Wei Dynasty. An elaborately crafted male attendant figure dressed in a rich red tunic and brown trousers; from the rear view it can be seen that a brown sash or belt runs around his waist; a hat, possibly of the Wu Sha type, perches atop his head. He folds his arms in front of him as if an attending on the viewer. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:240mm / W:50mm ; 470g
Lot 148
C. 500 AD. Chinese Northern Wei Dynasty. An elaborately crafted male attendant figure dressed in a rich red tunic and light brown trousers; from the rear view it can be seen that a brown sash or belt runs around his waist; a hat, possibly of the Wu Sha type or an elaborate topknot, perches atop his head. He folds his arms in front of him, his hands hidden, as if an attending on the viewer. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:225mm / W:55mm ; 415g
Lot 149
C. 500 AD. Chinese Northern Wei Dynasty. A carefully crafted male attendant figure dressed in a pinkish-red tunic and brown trousers; a cream sash or belt runs around his waist; a hat, possibly of the Wu Sha type, perches atop his head. He stands with one arm by his side, the hand covered by his sleeve, and the other hand resting by his hip, with his elbow extended. On his back hangs a quiver filled with carefully incised arrows, indicating his status as a warrior. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:270mm / W:63mm ; 510g
Lot 150
C. 500 AD. Chinese Northern Wei Dynasty. A carefully crafted male attendant figure wearing in a brown tunic and trousers; a cream sash or belt runs around his waist; a hat, possibly of the Wu Sha type, perches atop his head. On his back hangs a quiver filled with carefully incised arrows, indicating his status as a warrior. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:270mm / W:55mm ; 520g
Lot 65
C. AD 618 and 907. Tang Dynasty. A delicate Tang Dynasty dancer wearing long flowing gowns with her hands uncovered. The dress is a deep orange, whilst the waist sash which separates the skirt from the bodice is of a lighter colour. Her upper body is slightly bent to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, pink cheeks, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed before 2000 on the UK / International art markets. Size: L:305mm / W:155mm ; 850g
Lot 97
C. AD 618 and 907. Tang Dynasty. A delicate Tang Dynasty pair of female dancer figures. Both wearing long flowing gowns with the hands uncovered. One dress is a deep orange, whilst the waist sash which separates the skirt from the bodice is of light colour. The other one is dressed in a light green, whilst the waist sash which separates the skirt from the bodice is of red colour. Their upper body are slightly bend to the side, with one arm up in the air, indicating motion. The dancers are carefully modelled, with the hair done up, pink cheeks, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. Such terracotta figures were made for the service and entertainment of the owner, ensuring that their journey in the underworld was a happy one. Terracotta tomb attendants seemed to have first appeared during the Western Han Dynasty. However, it is during Tang China that the cultural tradition of displaying wealth in elite tombs reached its peak, with an increased production of terracotta statuettes. The Tang Dynasty was a thrilling time in Chinese history, when trade flourished along the Silk Routes and unified China was the richest country on earth. Chang'an (now Xi'an) was the Tang capital, and it was one of the most cosmopolitan cities on earth, filled with foreigners who had travelled to China to trade; the influence of foreigners and talented native Chinese, combined with the economic prosperity brought on by trade and the new religion from India, Buddhism, created a powerful cultural milieu where poetry and other forms of art flourished. Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market. Size: L:Set of 2: 275 - 285mm / W:130mm ; 1.8kg
Lot 415
Pre First World War O/R's Full Dress Tunic badged to the Royal Welsh Fusiliers, Kings Crown G.S. buttons throughout, brass RWF shoulder titles and collar badges fitted, sergeants rank chevrons to right sleeve, blue facing colour edged white to collar and cuffs, black silk RWF 'Flash' to back of collar, complete with sergeants scarlet sash
Lot 422
A rare Early Victorian General Officer's Uniform to Major General Sir Archibald Galloway KCB Chairman of the East India Company, consisting of a scarlet double-breasted coatee with gilt regulation General Officers pattern buttons in pairs down the front, rich gold embroidery to the collar, cuffs, cuff-slashes and pocket-flaps and fine embroidered skirt-ornaments, also adorned with gilt buttons, to the left breast are ribbon loops to hold the Star of the Order of the Bath,a pair of blue cloth overalls with gold oakleaf lace stripes 2 inches in width to the seams, the detachable epaulettes, gold-lace straps bearing a Major Generals insignia of a Queen Victoria pattern Crown above crossed Sword and Baton in silver/bullion embroidery and lined with red silk are held in a black fitted tin, a white over red feather plume for fitting to a General Officers Bicorn hat is held in a transit tin, also included is a crimson leather waist belt with gilt clasp mounted with VR cypher in white metal and matching sword-slings (belt frayed), a pair of officers box spurs, and a General Officers Sash in gold and crimson, an engraving by Jean Ferdinand Joubert after Henry William Pickersgill of Major General Galloway wearing this uniform is held by the British Museum, the uniform, particularly the trousers has suffered with some mothing over the years but is still a rare attributed item to a distinguished Victorian General(Archibald Galloway was born in Perth, Scotland in 1779, on 29th Oct 1800 he was appointed Ensign in the 14th Bengal Native Infantry Regiment, he afterwards served in the 29th, 10th and 2nd Bengal Native Infantry Regiments and was gazetted Colonel of the 58th Bengal Native Infantry Regiment in 1836. Galloway took part in the Defence of Delhi in 1803 and distinguished himself by his gallantry at the bloody siege of Bhurtpore where he sustained a wound to the throat in 1805. He was nominated a Companion of the Order of the Bath in Queen Victoria’s Coronation Honours in 1838 and in 1840 was elected a director of the Honourable East India Company. On 23rd November 1841 he received the rank of Major General. He was knighted by Queen Victoria at Buckingham Palace on 25th August 1848 and the following year became Chairman of the Honourable East India Company, he died at his home in Harley Street London on 6th April 1850)
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