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Lot 410
A group of Chestnut silk Chinese fragments from an 18th century dragon robe, the wispy clouds and unusual blue scale dragons are typical of the late Qianlong 18th century period. It is understood the blue dragons may have been worn by Qianlong after he retired from being Emperor, but still living in the palace. A posthumous respect for his nephew the new Emperor. The robe was probably dismantled by a European and made into a skirt for personal use.清乾隆 栗色龙袍袍料（改） Condition Report: fragmentary and with losses sold as per the illustration's in the catalogue Condition Report Disclaimer
Lot 445
A Chinese blue and white dish, Qianlong, the centre painted with a chrysanthemum flower and a peony flower, 34cm diameter and a Chinese blue and white dish, Qianlong, painted with precious objects on a 'rockwork' table beside a peony tree, 35.5cm diameter (2)Provenance: The property of a Lady清乾隆 外销青花花鸟纹及博古图盘两件拍品来源：英国私人女士珍藏Condition Report: the first dish with no apparent cracks or chips but with minor surface scratchesthe second dish with fine 3.5cm hair crack on rim and some scratching to surface glaze and fritting to rim and scale chip to underside or rimCondition Report Disclaimer
Lot 484
A large pair of Chinese Export Famille Rose chargers, Qianlong, painted with ladies and children in a fenced garden scene, 37.5cm (2)Provenance: The property of a Lady清乾隆 粉彩童子仕女图盘一对拍品来源：英国私人女士珍藏Condition Report: extensive wear to gilding on borders to both and some surface wear and scratches and minor scale chips to underside of rim but not restoration or cracksCondition Report Disclaimer
Lot 489
A Cantonese 'Hundred Butterflies' Charger, circa 1850, painted with butterflies in black, yellow, blue, green and pink enamels with iron-red and gilt details, 41cm diameter, later wood standProvenance: Private Collection and according to the late owner's notebook purchased at the C.C. Tih Gallery, HK, January 1971约清1850年 广彩百蝶图盘拍品来源：英国私人收藏，1971年1月购自香港C.C. Tih 艺廊Condition Report: very shallow scale chip 10mmx 4mm on rim and some minor wear to gilding mainly on rim and very slight wear to enamels Condition Report Disclaimer
Lot 510
An unusual Dehua type 'Tree Squirrel' brush rest or group, Qing Dynasty, modelled with three tree squirrels on fruiting vines, their eyes glazed in brown, 11cm long x 4.8cm high; A Chinese 'Fish' brush rest or group, glazed in green to the base with iron-red and black details, 10.5cm long x 4.5cm high; a pair of Chinese Famille Rose square stands, 18th century, 8cm square x 4.5cm high and a small Chinese circular lacquer box and cover, Qing Dynasty, 17th or 18th century, carved with a scholar beside plantain leaves holding a calligraphy brush and with an attendant to one side, 7.5cm diameter (5)Provenance: From a Noble English family, prior to 1921 清 德化松鼠笔山等一组5件拍品来源：英国显赫贵族私人收藏，购自1921年前Condition Report: The squirrel group in good condition other than minor firing blemishes The fish with tip of dorsal fin glued and small chip to tail and with some wear and losses mainly to green enamelThe stands largely ok other than one has 2cm x 1cm scale chip on upper surface the lacquer box and cover showing signs of wear and the underside of the cover with large crack approximately 5cm x 4cm partly visible on top with small area of loss around crack measuring approximately 11mm x 2mmthe rims of he cover and base both with small chipsCondition Report Disclaimer
Lot 518
A pair of Chinese blue and white pickle trays, Guangxu mark and period, 1875-1908, painted with lotus flowers and foliage, the base with underglaze blue six character marks, 8cm x 8cm and a late 20th century Chinese blue and white conical 'Palace' bowl, the exterior with flower heads and leaf scrolls, with apocryphal Xuande six-character mark in underglaze blue within a double circle, 14.7cm diameter (3)Provenance: The pickle trays purchased by the late J.B. da Silva (1918-2003) from Peter Caruana Antiques, London, 23rd July 1973 for £11.00 and then by family descent. Sold with original purchase receipt. The bowl believed to have been bought on a trip to Shanghai in 1993. 清光绪 青花小盘一对"大明宣德年制"款青花碗一件拍品来源：前英国外务部官员J.B. da Silva (1918-2003) 私人收藏，其于1973年以11英镑的价格从伦敦from Peter Caruana古董商购入青花小盘一对。Condition Report: one with 6mmx 4mm scale chip to central partition and with small glaze flake to rim otherwise both with firing blemishes to glaze Condition Report Disclaimer
Lot 533
A Dehua Rhinoceros horn-form libation cup, 17th century, moulded and applied with deer, crane, crouching beast, dragon and flowering branches, all decorated with a white glaze, 12.8cm wide x 7cm high; another similar libation cup, 13.3cm wide x 6.6cm high; a small Dehua group of a lady and attendant, 17th century, the attendant holds a leaf frond for shade and with a large standing bird to one side, 10cm high; a small Dehua leaf-shaped wine cup, 17th century, the base moulded leaf and branch feet, 6.8cm long, fitted wood stand and a Dehua type Buddhist lion, Qing Dynasty, with brown glazed eyes, with later hardstone ball glued to front, the lion 7cm long (5) Provenance: From a Noble English family, prior to 1921 德化白釉器一组5件拍品来源：英国显赫贵族私人收藏，购自1921年前Condition Report: the first libation cup with very shallow scale chip to outer rim approximately 5mmx 4mm and firing crack on base The second libation cup extensively restored The small group in nice condition other than a firing crack to base the small leaf-shaped wine cup has been broken in three pieces and glued and the handle is missingThe lion with hardstone ball glued to frontCondition Report Disclaimer
Lot 560
* Concorde. An exceptional Space Models static scale model of Concorde, in Belgian World Airlines 'Sabena' livery - reg. no. 00-SAB., the port side fuselage cut-away and glazed over to show the passenger cabin details for showroom purposes, mounted on a chromium-plated display stand, fitted for electric light illumination of the interior, overall length, 254cm, a museum quality pieceQty: (1)NOTESCommissioned by Sabena Airlines in Belgium. The model was manufactured by Space Models, Middlesex. Sebena ordered two full size Concordes but subsequently cancelled their order, as did many other airlines, the model was obviously commissioned for use in their UK office. The current owner has enjoyed this model for the last 15 years having bought it previously in these rooms in 2006. The fuselage on one side is clear plastic and shows the different colour seats which depict the class and price of the seat. The interior lighting has recently been replaced with an L.E.D multi programme colour display system with remote control, the receiver is accessed by removing the nose Cone (one screw very (simple). The transformer power cable for the lights can be fed through the wall-mounted bracket.
Lot 110
A c1960s Junghans Military German Airforce wristwatch, 38mm nickel plated case, running, two push buttons, black dial with telemeter scale, two subsidiaries and centre seconds hand, stainless steel rear cover faintly marked Bundeseigentum 12-124-8591, on later black leather strap Glass: some scratching, Dial: pitting and wear to lumnious elements, hands rusted, some crazing to face, Case: plate worn and scratched and dents, Cover: scratched and worn, Movement: not inspected
Lot 51
Charles Richter signed Seismological Laboratory TLS dated August 30th 1948 good content. Charles Francis Richter (April 26, 1900 - September 30, 1985) was an American seismologist and physicist. Richter is most famous as the creator of the Richter magnitude scale, which, until the development of the moment magnitude scale in 1979, quantified the size of earthquakes. Inspired by Kiyoo Wadati's 1928 paper on shallow and deep earthquakes, Richter first used the scale in 1935 after developing it in collaboration with Beno Gutenberg; both worked at the California Institute of Technology. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 25
Theofilos Hadjimichael (Greek, 1871-1934)Le héros Karaiskakis en guerre avec Kioutachis signé en grec et daté '1911' (en bas à gauche);inscription grecque (en haut)pigments naturels sur cartonLe cadre a été dessiné par Yiannis Tsarouchis63 x 68cm (24 13/16 x 26 3/4in).signed in Greek and dated (lower left); inscribed in Greek (upper part)natural pigments on cardboardFrame designed by Yiannis TsarouchisFootnotes:ProvenanceAndreas Embeirikos collection, Athens.Private collection, Athens.ExposéAthens, British Council, Theofilos Exhibition, May 2-31, 1947, no. 7.Bern, Kunsthalle Bern, Der Griechische Bauernmaler Theofilos, July 23 - September 4, 1960, no. 39 (mentioned and listed in the exhibition catalogue). LittératureAngloelliniki Epitheorisi magazine, vol. 3, no. 1, May 1947, back cover, no. 7 (listed).L'Hellénisme Contemporain magazine, vol. 1, no. 3, May-June 1947, p. 293 (mentioned, possibly).T. Spiteris, 'Works by Theofilos with subjects taken from the Greek War of Independence', handwritten list, c. 1960s (T. Spiteris Archive, Tellogleion Art Institute, no. 1 (listed). Y. Tsarouchis, ed., Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 180 (illustrated).Aeolika Grammata magazine, no. 3, May-June 1971, p. 206 (illustrated).Anti magazine, vol. 2, no. 20, May 31, 1975, p. 48 (mentioned). E.G. Mykoniatis, The 1821 [Uprising] in Painting, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 1979, p. 59 (discussed), p. 158, f.n. 207 (mentioned). M.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, vol. 1, p. 13 [I.72] (mentioned).History of Art, conference minutes, Association of Greek Art Historians, Gutenberg editions, Athens 2019, p. 310, f.n. 32 (mentioned).Kathimerini newspaper, March 17, 2021, p. 14 (discussed and illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 5 au 9 mai 2021. Cette œuvre restera à Athènes pendant la vente aux enchères*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 5-9 May 2021. This work will be located in Athens during the auctionAn homage to a giant of the 1821 Greek War of Independence, this brilliant canvas of pulsating energy, dynamic colour and keen sense of heroic stature, is a vehicle of initiation into the artist's vision; an invitation to contemplate the world of gallantry and legend that captured his heart and stirred his imagination. Portrayed on horseback and followed by prominent chieftains (their names fully mentioned in a lengthy inscription), Georgios Karaiskakis, commander-in-chief of Greek forces in eastern Greece, hounds the Turk Reshid Mehmed Pasha (known to the Greeks as Kiutahi) who had laid siege to the Acropolis of Athens in 1826. The Sacred Rock was of little strategic importance but it had a strong emotional and symbolic value for the Greeks and the philhellenic movement in Europe. The scene's main protagonist is depicted at the centre of the composition, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the picture.1 Emerging from the smoke and dust of battle, his gaze fixed on the turbaned Turk, the battle-ready leader holds his pistol in his right hand, while his black steed is about to rush the enemy. The vehemence with which both Karaiskakis and his horse prepare to attack is expressed by purely pictorial means: dynamic design and vividness of colour.2 The Greek hero is portrayed full length and well in view, presented in such a manner as to show his figure to the best advantage. Much like a Byzantine icon painter, Theofilos is aiming at an interpretation of the historic event adjusted to a preconceived scale of values.3 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The linear arrangement of the warriors, the symmetry and rhythm of the composition and the impression of an immutable reality, take one even further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics, where all parts—sentences, ideas, episodes or figures—are placed one after the other like beads on a string.4The wealth of detail, as in the background group of young pallikares fighting over the ruins of the ancient theatre of Herodes Atticus and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and Ioannis Makriyannis, reflects the painter's desire to provide a full description of his subject by leaving nothing obscure. On the contrary, everything is explained and clearly expressed and, therefore, all phenomena are thrust forward to the narrative surface where they receive even illumination in a continuous, timeless present.The picture frame was designed by Yannis Tsarouchis, the legendary exponent of the 1930s generation of artists, writers and intellectuals who considered Theofilos to be an uncorrupted student of the senses and a source of life for modern Greece.1 See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.2 See E. Diamantopoulou, Theofilos in Mt. Pelion [in Greek], Alexandria editions, Athens 207, p. 75.3 See A. Grabar, Byzantine Painting, Skira, Geneva 1979, pp. 36-37.4 See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Ministry of the Aegean, Athens 1999, p. 43.Un hommage à un géant de la Guerre d'indépendance grecque de 1821 : cette toile brillante qui dégage une énergie vibrante, avec sa palette dynamique et son sens aigu de la stature héroïque, est une initiation à la vision de l'artiste, une invitation à contempler le monde de bravoure et de légende qui a conquis son cœur et stimulé son imagination.Représenté à cheval et suivi de chefs prééminents (dont les noms sont tous mentionnés dans une longue inscription), Georgios Karaiskakis,, commandeur en chef des forces grecques en Grèce orientale, livre bataille contre le Turc Reshid Mehmed Pasha (connu des Grecs sous le nom de Kiutahi) qui assiégeait l'Acropole d'Athènes en 1826. Le Rocher Sacré revêtait une faible importance stratégique, mais revêtait une forte valeur émotionnelle et symbolique pour les Grecs et le mouvement philhellénique en Europe.Le principal protagoniste de la scène figure au centre de la composition, comme dans la peinture byzantine, et l'absence de point de fuite permet au regard de se promener librement et de se concentrer naturellement sur le centre du tableau. Émergeant de la fumée et de la poussière de la bataille, son regard fixé sur le Turc enturbanné, le héros, prêt à en découdre, tient son pistolet dans sa main droite tandis que son cheval noir s'apprête à fondre sur l'ennemi. La véhémence avec laquelle Karaiskakis et son cheval se préparent tous deux à l'attaque est exprimée avec des moyens purement picturaux : un dessin dynamique et des couleurs éclatantes.Le héros grec est portraituré en entier et ... For further information on this lot please visit Bonhams.com
Lot 43
Yiannis Moralis (Greek, 1916-2009)Femme nue assise signé en grec (en bas à droite)huile sur toile76.5 x 40cm (30 1/8 x 15 3/4in).signed in Greek (lower right) oil on canvasFootnotes:The female nude has always been a key subject in Moralis's art, expressing an enduring world beyond the mundane and the ephemeral, and achieving a modern realization of the classical ideal: the elimination of the temporary and the elevation of forms to symbols.In Seated nude, the purity of form, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, the composed immobility, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek art. By sacrificing superfluous descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasizing only the essential structural elements, Moralis leads the viewer from the sensual aspects of the subject to the universal and eternal, to the metaphysical and transcendental. Reviewing the artist's work up to the late 1950s, when Moralis co-represented Greece in the 29th Venice Biennale, M. Chatzidakis noted: 'Never has Moralis attempted to reproduce nature's play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.'1 1 M. Chatzidakis, 'Yiannis Moralis', The Charioteer review, vol. 1, no. 1, Summer 1960, pp. 56-62. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 58
Théodore Jacques Ralli (Greek, 1852-1909)La Captive signé et daté 'Ralli 85' (en bas à droite)huile sur toile60 x 81.5cm (23 5/8 x 32 1/16in).Peint en 1885signed and dated (lower right) oil on canvasFootnotes:ProvenancePalais des Beaux-Arts, Brussels, 18 November 1970, lot 14 (as La jolie prisonnière)Galerie Kourd, Athens.Private Collection, New York (purchased from the above).Sotheby's London, The Greek Sale, 14 November 2007, lot 19.Purchased at the above sale by the present owner.ExposéLiverpool, Liverpool Autumn Exhibition, Walker Art Gallery, 1885, no. 414, under the title Turkish Plunder.London, Hollender and Cremetti gallery, 1886 (based on the artist's notebook entry).Newcastle, 1886 (based on the artist's notebook entry).LittératureThe artist's notebook.M. Katsanaki, Le Peintre Théodore Ralli (1852-1909) et son Œuvre, doctoral dissertation, Université Paris I - Panthéon-Sorbonne, 2007, no. 70, pp. 130, 168, 171, 172, 176, 177, 286, 287 (mentioned and discussed), fig. 82 (illustrated).M. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 200 (discussed), vol. II, fig. 66 (illustrated).M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, no. 57, pp. 135-139 (discussed), p. 350 (catalogued), p. 137 (illustrated).A museum-worthy masterpiece whose auction appearance happily coincides with this year's bicentennial celebrations of the Greek Revolution, this exquisite large-scale painting of superb craftsmanship and solemn restraint captures the hearts and minds of Greeks and philhellenes alike.Inspired by the Ottoman Occupation era, when Greece was in shackles, the scene unfolds in an old Greek Orthodox church. As noted by Athens National Gallery curator M. Katsanaki, who provides a full description of the work in her monograph on the artist,1 the protagonist is a beautiful young peasant woman in her traditional costume who has been taken captive. With her hands tied, she stands on a slate-paved floor next to a wooden church pew. Flooded by an invading light, her glowing figure strongly contrasts with the dark interior on the left side and the dimly lit sacred images on the weathered wall behind her, which, faintly portrayed, loom as transcendental presences. Next to her, on the floor, we see her overcoat, her betel bag and her distaff with the wool she was apparently spinning at the moment of her abduction. To the right, a multitude of looted items and valuable objects—fabrics, slippers, jewellery and a mother-of-pearl box—are lying in heaps. The young woman is the living plunder of the Ottoman conquerors, who are depicted sitting on overturned stools around the fire they have lit to complete the desecration of this place of worship. As they sit smoking under the arch with the symbol of the cross, the unholiness of their act is emphasised even further.2 Heavily armed and looking relaxed, they have propped up against the wall the banner with the crescent moon, which serves to define space and isolate the young victim, who is obviously doomed to be sent to some slave market in the East.Here, Ralli tackled a subject which touched a chord and lent itself to stirring the Greek and philhellenic hearts, while allowing him to meticulously concentrate on ethnographic detail and focus on features, appearances and outfits, endowing them with a monumental quality. Contrasts are underscored and invested with meaning: female-male, sacred-sacrilegious, Christian-infidel, Greek-Turk, cross-crescent, purity-barbarity, chastity-ignominy, weakness-power. These dot not, however, affect the artist's handling of pictorial issues. His distinctive elegance, discretion and refined palette are amply displayed. In his astonishing virtuosity, skilful use of subtle chiaroscuro and painstaking attention to detail (note the diligently rendered loot, the glowing firewood, and the flickering highlights caught on the Turk's garments and face) Ralli follows on the footsteps of his teacher Jean-Léon Gérôme, while showing an appreciation for the achievements of 17th c. Dutch realists, mainly in the organization and handling of pictorial space. Relying on balanced composition, harmony of colour values, tonal effect, solidity of form and an entirely personal spirit of discreet elegance that permeates the whole painting, Ralli achieves unity and fuses his narrative material into a refined and seductive work of art.Equally evident is his aim to avoid causing any extreme reaction on the part of the viewer. Nothing in the young woman's face or posture betrays the horror of disrepute; nothing in her flawless appearance and well-fitting clothes indicates that she is enraged or trying to resist and free herself. Her nobility and dignity are not shaken by fear or desperation. Instead, she has a sculptural immobility, recalling the timeless, idealised beauty of ancient Greek statues. Even at this moment of grave peril, the young Greek kore retains her humanity, transcending her individual specificity and venturing towards the archetypal and collective to take on a symbolic quality: the eternal struggle between liberty and oppression. For the European philhellene, the Greek cause represented not only the struggle for freedom, human rights and nationality, but also the struggle of the 'mother' of Western civilization to restore her former glory and carry the torch of enlightenment and reason. The look in the young woman's eyes, which silently seek out the viewer's compassion and support, establishes a subtle connection with the outside, free world, conveying the message that the Greek cause was ultimately a European cause. Instead of offering a mere spectacle to be passively looked upon, Ralli ingeniously invites the viewer to participate and emotionally engage in the scene, demonstrating his great skill as a genre painter. The theme of the female captive, and indeed the Greek woman who falls into the hands of the Turks, reappeared much late in Ralli's work, in a composition painted for the 1906 Salon titled The Booty, now in the collection of the National Gallery in Athens. With Turkish plunder (La Captive), Ralli offered a Greek version of the 19th century orientalist themes showing women in states of pain and despair, prey to the appetites of men in positions of power, as is the case with Hiram Powers' Greek slave, one of the most famous sculptures of the Victorian age. Very often such works were supposed to be representing scenes which had taken place in the distant past or at an unspecified time. On the contrary, Ralli was inspired by Greece's fairly recent history, echoing Delacroix and the philhellenic movement of the 1820s, and alluding to Nikiforos Lytras's famous Abducted maid (Y. Perdios collection, Athens) painted in 1873. When Ralli showed Turkish plunder there already existed in Europe a favourable climate for the reception of subjects inspired by the Ottoman occupation and the 1821 Uprising: 'Honour the heroes who through their epic valour inflicted, in this century, the first blows to the Muslim savagery and who, while delivering their homeland, helped to free Europe ... Also honour the artists who, with a throbbing heart and a paintbrush, know how to move us by retracing the noble boldness of their forefathers.'3 Recog... This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 148
NO RESERVE First World War poster.- (James Kealey) Edgar, after. First World War Recruitment Poster, lithograph, small pin holes to corners, short repaired tears, poster measuring c.730 x 480mm, Hill, Siffken & co., 1914.⁂ While many expected the First World War to be 'over by Christmas', the Secretary of State for War, Field Marshal Lord Kitchener, realised the conflict would be long and on an unprecedented scale. He realised that Britain would have to create a mass army for the first time and appealed for volunteers for his 'New Armies' in August 1914. Recruitment officers were sent to towns, cities, factories and clubs. Propaganda posters were placed all over the country to persuade men to sign up.
Lot 159
Two similar Dehua small groups of Weiqi chess players, Qing Dynasty, Kangxi, depicting Wang Chi and two men playing Weiqi chess, known as 'go' to the Japanese, before a rocky grotto, 9.5cm high (2)Provenance: From a Noble English family, prior to 1921 清康熙 德化人物弈棋图两组拍品来源：英国显赫贵族收藏，购自1921年前Condition Report: both with firing cracksone group with 6mmx 6mm hole (which may be in the firing?) extending to side extending into a star crack approximately 4cm x 3cm and one firing crack to the base extending into a scale chip on exterior of base and also another hole to top of grotto but probably in the firing The other group with one flower with two chips to right top of grotto and otherwise firing cracks to base with one extending into a hair crack but this is also in the firing Condition Report Disclaimer
Lot 168
An attractive pair of Chinese Famille Rose vases and covers, Qing Dynasty, 19th century, well painted with peony shrubs in yellow and pink with tones of green and black stems, 47cm high (2) Provenance: Berwick House, Shropshire清19世纪 粉彩牡丹图将军罐一对拍品来源：英国Shropshire郡Berwick House大宅私人收藏Condition Report: one vase in good condition with only slight wear to gildingthe other vase with slight scale chip to rim approximately 1cm x 1cm Condition Report Disclaimer
Lot 170
A pair of Chinese Famille Verte rouleau vases, Qing Dynasty, 19th century, depicting a continuous scene of warriors guarding ladies in a wheeled palanquin as it approaches the castellated city gates, the neck with a continuous mountain and seascape scene with boats, 45.5cm high (2)Provenance: Property from the collection of the late Countess Veronica Munster 1932-2019. Countess Veronica Munster, born Veronica Naylor-Leyland in 1932, was the only daughter of Sir Albert Edward Herbert Naylor-Leyland, and Marguerite de Belabre. She grew up in their family home, Nantclwyd Hall in Wales, as well as Hyde Park House in Albert Gate, Knightsbridge. When Veronica married Count Peter Munster in 1955, they moved to Germany and spent their married years restoring his ancestral home, Schloss Derneburg, near Hanover. Veronica, Peter and their children lived at Derneburg in apartments decorated in the English style, furnished with the collections amassed by their ancestors. In 1975 Schloss Derneburg was sold, and Countess Munster moved to London where she resided until her death in 2019. Many items came with her from Derneburg. Schloss Derneburg is now an art museum owned by the Hall Art Foundation.清十九世纪 五彩人物故事图瓶一对拍品来源：英国女爵Veronica Munster（1932-2019）私人珍藏Condition Report: overall in vey nice condition but one vase has a shallow scale chip to rim 12mm x 5mm and the foot rim has a firing crack 2cm long and some chips to unglazed foot rim and the other vase is good but both vase have some firing blemishes and blisters to glaze Condition Report Disclaimer
Lot 225
A pair of Chinese bronze qilins, 18th century, Qing Dynasty, with detailed hairwork to the haunches, tail, beard and eyebrows and naturalistic scale work to the body, 14cm long x 10.5cm high. Provenance: From a collection of the descendants of William Little of Newbold Pacey Hall, Warwickshire.清18世纪 铜麒麟一对拍品来源：英国华威郡Newbold Pacey大宅私人收藏Condition Report: Wear and scratches to the base and very minor cast faultsCondition Report Disclaimer
Lot 247
A Chinese carved amber double vase, Qing Dynasty, 19th century, carved as two joined tree trunks, one a bamboo trunk with sprouting branch and the other a pine truck with several branches, 23cm high x 9.5cm wide x 3cm deep, 410 gramsProvenance: From a Noble English family, prior to 1921 清19世纪 琥珀松竹图大花插（克重410g）拍品来源：英国显赫贵族私人收藏，购自1921年前Condition Report: two pieces piece of pine branch re-stuck to side approximately 6cm long in total and a chip missing from this piece presumably a pine flower covering an area of about 1cm x 1cm otherwise the vase with other smaller scale chips around rim and other very minor chips to extremitiesCondition Report Disclaimer
Lot 123
GEORGE III MAHOGANY STICK BAROMETER, NAIRNE & BLUNT, LONDON LATE 18TH CENTURY with a hygrometer above an engraved backplate with adjustable vernier scale and a mercury-filled bayonet tube, signed 'Nairne and Blunt London', above a covered ball cistern(107cm high)Provenance: From the collection of Mary, Duchess of Roxburghe, sold Sotheby's May 2015, lot 61
Lot 562
The Wellington College King’s Prize Medal for 1912 awarded to Colonel H. B. Stokes, C.B.E., M.B.E., Royal Inniskilling Fusiliers, who was seriously wounded by shellfire on the Somme in 1916 and was fortunate to survive the sinking of the Lancastria off St. Nazaire in 1940 Wellington College King’s Prize Medal, G.V.R., 45mm, gold (22ct., 45.0g) (Herbert Bland Stokes 1912) in Royal Mint case of issue, extremely fine £1,800-£2,200 --- C.B.E. (Civil) London Gazette 1 January 1959: ‘Colonel Herbert Bland Stokes, M.B.E., Chairman, Board of Governors, Bristol United Hospitals. M.B.E. (Military) London Gazette 11 July 1940. The Queen’s / King’s Medal, Wellington College The first Speech Day [at Wellington College] took place in June 1859, just six months after the College opened, and may have been modelled on similar events at Rugby School. It included two Chapel services as well as the prize-giving ceremony. We don’t know what prizes were given, but by the next year Queen Victoria had consented to give the Queen’s Medal, awarded ever since [a King’s Medal awarded during a King’s reign]. The original statutes, now on display in College, state that this was to encourage students to emulate the virtues of the Great Duke in whose honour the College is founded. The list of good qualities required of the winner is considerable, and includes Cheerful submission to superiors, unselfish good fellowship with equals… a readiness to forgive offences towards himself… and above all, fearless devotion to duty and unflinching truthfulness. In the early years, the Master, teachers and prefects would consult with one another as to who was the most worthy winner of this prize. However, for many years now it has been awarded to the Head of School. (Wellington College Records refer) Herbert Bland Stokes was born at Salem, Madras, India, on 7 April 1894, the youngest son of Sir Gabriel Stokes, K.C.S.I., and May Florence (née Fuller) and was educated at Wellington College where he was the recipient of the prestigious King’s Prize Medal. Having obtained a commission in the Royal Inniskilling Fusiliers on 23 September 1914, he was advanced Captain in May 1915, subsequently appointed Staff Captain and Adjutant and embarked for France in January 1916 where he served as Brigade Bombing Officer. Stokes was very severely wounded by shellfire on the Somme on 10 April 1916 and, returning England, was put on light duties until the war’s end, demobilised, with permanent rank of Captain, on 9 January 1919, and awarded a Silver War Badge. However, on 3 September 1939, following the renewal of hostilities, he insisted on rejoining the Army, in his old rank of Captain, at the age of 45. On 16 September, Stokes left for France with the British Expeditionary Force. Officially his Regiment was the Royal Inniskilling Fusiliers, but the Army recognised his experience as the Chief Executive of Queen Charlotte's hospital in London, and based him in Dieppe organising medical supplies, which came under the general heading of the Quartermaster General. By mid-May as the German Blitzkrieg was sweeping through Belgium, Stokes’ letters indicate the evacuation of medical staff from Dieppe to points further west; the last letter he wrote from France, nearly a week after Dunkirk, describes ‘a wonderful old watering-place’ - probably Deauville. Now in the rear party, Stokes was charged with seeing all medical personnel and patients across the Channel. Around the 7 June, his camp moved to Nantes, a town some 30 miles inland from the port of St Nazaire. On Saturday 15 June the order came through that the camp was to be evacuated within seven hours. Stokes got everyone safely away, and, having waited behind for two officers to return from reconnoitring, he finally made the move from Nantes to St. Nazaire and scrambled aboard H.M.T. Lancastria at 10:00 a.m. on Monday 17 June. Operation Aerial - Last out of France Operation Aerial, the codename for the rescue of Allied troops left in France after Dunkirk, freed 163,000 people, on a scale comparable to Operation Dynamo, but it received little publicity. Over 150,000 troops were still in France two weeks after Dunkirk was all over, and while the Nazis were already strutting about in Paris, many of these troops left behind were sadly killed or taken prisoner, but a large number of Army units were ordered to evacuate from other ports further west. Unlike at Dunkirk they were not yet at immediate risk from land attack by the Germans, but they certainly were at risk from the air. One of those ports, St Nazaire, became the scene of the worst loss of life that Britain has ever suffered from one vessel. This was the sinking of one of the ships involved in the rescue, the Lancastria. For the sake of morale the whole episode was completely hushed up at the time. Sinking of the Lancastria - ‘A Definitely Unpleasant Show’ At 3:50 p.m. on 17 June, the Luftwaffe bombed the Lancastria, crammed with thousands people, off St. Nazaire, holing her below the waterline, causing her to list rapidly and discharge 1,400 tons of oil into the sea. Hundreds of men who had not eaten for days were making their way below decks to the restaurant areas. Moments later, a second bomb penetrated a forward hatch and exploded. Some men died in the water, burning in the oil-slick onto which the Germans had dropped incendiaries; others broke their necks jumping from the ship. Within 25 minutes the Lancastria, listing ever more steeply, turned completely upside down with men still clinging to her hull, and sunk with at least 5,000 casualties, possibly many more. The Luftwaffe continued attacking even after that, so that other vessels were unable to go to immediate aid. Stokes was picked up after one and a half hours in the water clinging to a lifebelt with four other men. With typical understatement, he wrote shortly afterwards from Devonport Hospital, ‘There is very little wrong with me except some twisting of the back and the effect of an hour and a half’s swim after the Boche had got our ship with a couple of eggs. Thank Heaven I saw all the hospitals and personnel in our charge away without being bombed on the 15th. I and the others, very few left, got on board on the 17th, but we did not have the luck, as ours was the only boat they got. A definitely unpleasant show.’ It is now known that by noon on the 17th June, the Lancastria had between 7,500 to 9,000 people on board, grossly overloading her. Of this number, exactly 2,447 survived. Simple subtraction shows that the dead therefore numbered between 5,000 and 6,500, but no one will ever know for sure as no one knows exactly how many were aboard. There were only 2,000 lifejackets. Despite the overall success of Operation Aerial, the losses caused Churchill to order the news to be suppressed, so the story is in danger of remaining a forgotten footnote. ‘The newspapers have got quite enough disaster for today,’ he wrote. Also he did not want to take the edge off the ‘Finest Hour’ broadcast speech which he was preparing. Stokes’ son, Adrian later wrote that his only memory of the episode is of his father showing him a gleaming pair of shoes, polished ready for his return to duty. ‘Not bad,’ he said, ‘considering they spent some time in the sea.’ Stokes was awarded the M.B.E. in July 1940 and remained in England for the rest of the war. He was rapidly promoted to Major and then Lieutenant Colonel and on 1 October 1943 he was appointed Colonel in charge of Administration in the South Midland District. He was granted the rank of Honorary Colonel on demobilisation on 24 August 1945 and was created a C.B....
Lot 35
CORNELIS DROOCHSLOOT (DUTCH b.1640-d.1673) CHILDREN'S PASTIMES Indistinctly signed, oil on panel, and a pair by the same hand 'Children playing in a riverside town' (2)(38.5cm x 34cm (15.25in x 13.25in))Provenance: John, 4th Earl & 1st Marquess of Breadalbane, FRS. (1762-1834) For the collection at Taymouth Castle, Perthshire, John, 2nd Marquess of Breadalbane KT. FRS. PSA. PBA. (1796 -1862), His elder sister, Lady Elizabeth Pringle (1794-1878) Langton House, Duns, Her daughter, The Hon. Mrs Robert Baillie-Hamilton, died 1912, Her sister, Lady Hervey, died 1913, godmother & first cousin twice removed of, Lt. Col. The Hon. Thomas Morgan-Grenville-Gavin (1891-1965) Grandfather of the present owner Note: These paintings are recorded in Christie's Manson & Woods 1853 Inventory of Taymouth Castle as hanging in Bedroom No.8Footnote: Note: Cornelis Droochsloot was a son of Joost Cornelisz Droochsloot (1586 – 1666), the prolific Utrecht painter of village scenes, landscapes, genre pictures, moral allegories and biblical stories. The present charming and well preserved pair by Cornelis Droochsloot show several groups of children engrossed in different kind of playing. On the square of a village we see two boys blowing a bladder as if it is a balloon, an elegantly dressed young fellow is running with a hoop, two boys are walking on stilts and in the centre a group is parading as young soldiers of a civic guard. Near the village pump three youngsters are bowling. The second painting shows two girls on hobby horses, three lads are jumping leapfrog, while others play different games while one is playing a little violin. The joyful playing takes place near a moat, a castle beyond at the right. Typical of Cornelis Droochsloot´s imagery is the scant use of shadow, his figures and architecture cast very little shadow on their surroundings. As in the works of his father, the architecture in the present paintings is used to provide scale and structure to the suggested space. The buildings function as coulisses on a stage of a play. The figures of the young people show, in the way they are executed, the influence of Esaias van de Velde, who died in 1630. On stylistic grounds we might assume these are relatively early works executed before 1660. We are grateful to Drs Luuk Pijl who has confirmed the attribution to Cornelis Droochsloot on the basis of photographs.
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