A rare blue and white 'shoulao' sleeve vaseCirca 1640The tall cylindrical body deftly painted in cobalt-blue around the exterior with a continuous scene of the elderly bearded sage Shoulao seated beside a deer and accompanied by several attendants with fans, a figure bows before the sage lighting incense on a stand, all amidst a mountainous landscape with wispy clouds. 40.5cm (15 3/4in) high. Footnotes:約1640年 青花人物紋筒瓶Provenance: Marc Michot, BrugesA European private collection, acquired from the above in 1975來源：比利時布魯日古董商Marc Micho歐洲私人收藏，於1975年購自前者The scene on the present lot is distinctive both for the complexity of its design and for the fact that Shoulao - the God of Longevity - dominates the scene, while other figures are all depicted on a smaller scale. This emphasis on Shoulao as the most significant figure highlights the purpose of this motif in stressing wishes for longevity. The painting, in particular the ruyi-head clouds carrying Shoulao, is both dramatic and evocative. A jar with a similar design of Shoulao with deer, crane and boy attendant within a garden setting, Shunzhi, is illustrated in Seventeenth Century Chinese Porcelain from the Butler Family Collection, Alexandria, 1990, p.126, no.76.For an extensive discussion about the emergence of these wares, and the possible origin of the otherwise inexplicable name of Rolwagen, from rotating vases with continuous designs, in Dutch called 'rolvasen', see C.Sheaf, 'Reflections on Transitional Blue and White', Arts of Asia, Jan/Feb 2009.Compare with a related blue and white vase decorated with large mythical figures, Shunzhi, which was sold at Bonhams London, 10 November 2011, lot 110.For further information on this lot please visit Bonhams.com
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Early 20th Century Scale Model of An Armstrong Track Mounted Cannon 14 1/2 inch, heavy stepped, muzzle loading barrel. Cast iron carriage with rear adjusting cradle. Lower steel railway mount with small wheels. Complete with wooden base mounted with small section of railway track. Well made model.
THOROWGOOD OF LONDON; a good George III mahogany bracket clock, the brass swing loop handle above arched dial set with silvered chapter ring beneath a calendar ring with twin chain driven fusée movement striking on a bell with engraved back plate, fish scale brass side grills and raised on brass bracket feet, with key and pendulum, height 50cm.Additional InformationSold with a key which works both front and back case, also a winding key sold with a pendulum which is probably associated. The silk on the side grills is perished in parts. There is an unsightly screw to the side to both sides of the case holding the brackets supporting the movement, this may indicate the movement is associated to the case or has been altered in some way. The dial is slightly ill fitting to the recess. No guarantee of working order, there are few small knocks to the case, a tiny bit of moulding missing upper left corner, a couple of splits to the veneer.
c1964, model 806, the signed 'reverse panda' dial, 38mm diameter, with twin jet logo, gold coloured batons and hands and gold coloured chronograph sweep, three 'small size' subsidiary dials recording running seconds and chronograph minutes and hours, outer tachymeter scale and bi-directional slide rule marked milled edged bezel, signed mechanical crown wind chronometer rated 17 jewel venus 178 movement, import code 'WOG', (for Wakmann), case, 40mm diameter, gold-plated with pushers above and below the crown, verso steel and snap on, signed and numbered 806, interior numbered 978312, to a signed black leather padded strap with white stitching and liveried steel pin buckleFootnote: One of watch-makings most important historic chronograph models, the original 806 Navitimer set the template for modern technical pilot’s watches. Billed as a wrist-sized computer when it was first developed in 1952, the rotating bezel has the ability to compute distance travelled, flight time, airspeed, and remaining fuel consumption, due to the integration of a slide rule. In 1956, Breitling introduced the Venus 178 manually-wound chronograph movement which would continue to be used until the early 1970s. Eight years later, Breitling changed the dial layout of the Navitimer, most likely adapting to changing tastes and increasing legibility in low-light conditions. The now-iconic “reverse panda” configuration with black dial and white subdials was introduced in 1963 and in 1964, the bezel edge changed from a bead edge to a milled edge. Another stylistic change was the introduction of the “twin jet” logo, with ‘Breitling Genève’ below. With the majority of cases produced in stainless steel, a small number were produced with gold-plated cases, and an even smaller number in 18ct gold. The iconic Breitling Genève Navitimer 806 still remains today near the top of virtually every vintage watch collector's wish list.
3 Original World War Two items: (1) Emplacement des Camps de Prisonniers de Guerre en Allemagne. POW (Prisoners of War) Camp Poster 1942. A French poster published by the Secretariat d’etat a la Guerre, Lyon October 1942. On stiff paper size 73 by 54 cm. Scale 1:2,000.000. With a key to Stalag, Oflag and to other types of camp; to important towns and to military headquarters. Includes a list of over 50 camps shown on the map which are divided into various categories. Remains of pin holes in the corners but otherwise in Good to VG condition. (2) Military and Geographical Details,England. German briefing material from World War Two, published by the German General Staff, Berlin in August 1941, headed "not for distribution". A gazetteer of English and Welsh towns & villages. Lists population, principal industries, railway stations and occupations plus details of location. 166pp. Size 8" by 6", VG condition. (3) A large map of Great Britain and Ireland, published by the German General Staff, Berlin August 1941. On paper which has been folded, size 147 by 92 cm. Scale 1:1,000,000. Full colour. Shows all towns, roads, rivers, heights etc. Includes an inset map of the Shetlands. Includes the instruction that this is not for public distribution. Map covers all of the British Isles and has contemporary detail on Ireland and Scotland not available in the book. VG condition.
The village of ‘Hamlets Choyse’ an impressive and extensive model village, made by the Rev. Reginald Somerset Ward (1881-1962), 1 inch to 10 feet scale wooden hand painted and carved buildings and scenery mounted on wooden bases, over eighty various buildings all finely detailed and include Churches, cottages, stately homes and many other dwellings, shops, pubs, police station, garage, ruins of Choyse Abby, post office, school and more, scenic trees and park sections and more, tallest church 6 ¾” (17cm) tall, smallest building approx. 3 ½” (9cm). The model village was made by the Rev. Reginald Somerset Ward in his spare time probably from the 1920s through to the 1950s, he also created a family game (instructions etc. included in the lot) that incorporated the use of the buildings and scenery. Also included is a copy of his biograpy written in 1963 by Bishop Edmund R.Morgan witch states on pg.29 ‘His spare time at home was devoted to reading… bookbinding and other forms of handicraft such as making dolls’ furniture and model villages’. The model village was given to the current vendor’s wife in 1973 and comes with correspondence from that period.
Large scale Erzgebirge farm, countryside figures and animals, 1870s, well carved and painted figures including seven scenes mounted on wood to include Farmers with two horse ploughing teams, farmer with chickens and ducks by loofah tree, figure seated by a loofah tree, pair of country folk with dog and others, hay cart with two horse team, four single figures include worker with scythe, chimney sweep, farmer and farm hand and various animals including horses, sheep, cattle and a boar, (condition: generally very good, one lady figure one arm replaced and broken), figures 3 ½” (9cm) tall, (35 items).
A fine Edward VII silver gilt sugar sifter by Edward Barnard & Sons, London 1905, with pierced cage-work style decoration to the top part, the central part with figural masks and scrolled cartouches, above a circular pierced base with nautical shell and scale details, weight 553 g, 24.5 cm highCondition report: Surface scratches commensurate with age, no breaks, there is a dent to the body but overall good condition
A set of four monumental Italian sculpted white marble busts emblematic of the Four Seasons, follower of Orazio Marinali (1643-1720), 18th century, of large proportions, each characteristically portrayed with attributes and partially draped, the largest example approximately 95cm high, 86cm high; presented on modern limed oak plinths, 115cm high, 61cm square With their characterful features and loosely flowing hair and drapery, these impressive busts echo the taste of the Veneto region at the turn of the 18th century. They show in particular the influence of a group of sculptors working around Venice, which included Giovanni Bonazza, Michele Fabris (called l'Ongaro), and Orazio Marinali, who not only completed significant large-scale religious commissions in the region but also embraced a range of allegorical and genre subjects both in bust and full length format, rendering them with great emotion and attention to detail. Examples of allegorical busts emblematic of the seasons include the set by Giovanni Bonazza at the Botanical Garden in Padua (which are noted in 1854 by Antonio Ceni in Guida all'Imperial Regio Orto Botanico in Padova, p. 47). While the busts in the present lot are certainly indebted to Bonazza, they also show the influence of Orazio Marinali, who is best known for the elegantly draped statues of mythological and allegorical subjects which adorn the gardens of the Villa Trissino in his native Vicenza. The rounded features of the maidens in particular can be likened to those of the maidens at Vicenza, and those at Villa Revedin, Castelfranco Veneto. The cloaked and bearded male sitter on the other hand shows similarities to known busts of the same subject by Marinali. Note for example the similar bust of Winter which was offered at Sotheby's London, 5 December 2017, A Venetian Legacy, lot 521 (£27,500). A set of Italian busts executed on a smaller scale though representing the Seasons in similar guises appeared at Sotheby's New York, 24 May 2007, The Collection of Mr and Mrs Stephen C Gilbert, lot 15 ($39,000), and a similar set to the present examples, though of later date, was sold at Christie's New York, the Di Portanova Collection, 20 October 2000, lot 333 ($82,250).Condition Report: The busts are quite weathered overall, resulting in some granulation, striation and discolouration to the surfaces overall. In some cases, particularly for the busts of spring and winter, this has resulted in some loss of definition to the facial features.The bust of summer has some losses and chips to the edges of the drapery, the drapery of Winter has also got one or two repairs (including one circa 10cm crack).Minor losses to socles. That being said, these impressive busts are in perfectly presentable condition.Condition Report Disclaimer
A fine Victorian parcel-gilt satinwood centre table, attributed to Holland & Sons, circa 1860, with figured circular tilt-top on a baluster stem and tripod base carved with foliage, 74cm high, 142cm diameter Provenance: The Dukes of Leeds, Hornby Castle, YorkshirePossibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North YorkshireThis table can be ascribed to Holland & Sons, one of the largest and most prestigious cabinet-making firms in the 19th century, based on a number of stylistic attributes; the superb choice of timbers, the figuring of the satinwood tilt-top, the fine foliate giltwood carving and the distinctive giltwood borders. Holland & Sons were known for their diversity of style - in the mid-1860s, supplying furniture in the fashionable 'Louis XVI-style', such as the table offered here, but also making 'Elizabethan' furniture, neo-Gothic and furniture inspired by Robert Adam, Sheraton and Chippendale (S. Jervis, 'Holland & Sons, and the furnishing of the Athenaeum', Furniture History, 1970, p. 46). First established in 1815 as Taprell & Holland at 25 Great Pulteney Street, London, the firm was renamed Holland & Sons in 1843 when William Holland, a founding member, and probably related to George IV's architect-designer, Henry Holland, took over the firm. In the 1850s, William was replaced by his son, James Holland, and the firm moved to 19 Marylebone Street and Ranelagh Works, Lower Belgrave Street, and from 1852, 23 Mount Street. They exhibited at all the major international exhibitions, including London 1851, Paris 1855, London 1862 and Paris 1867; for example, at the 1862 London International Exhibition, they exhibited a fine marquetry and gilt-bronze centre table veneered with tulipwood, kingwood, New Zealand spicewood, boxwood and purple heart to a design by a 'Mr. Rosenberg' that included engravings by Old Masters, all centred by a spider's web in silver and ivory (J. Meyer, Great Exhibitions: London, Paris, New York, Philadelphia 1851-1900, Woodbridge, 2006, p. 122). The firm worked on the interiors of several of the London gentlemen's clubs, the Army & Navy, the Athenaeum, the Carlton and the Reform. They undertook Royal commissions at Buckingham Palace, Osborne House and Windsor Castle, and were a major contractor for H.M. Works until circa 1852, including the Palace of Westminster. Other significant contracts were for the Great Western Railway and the Royal Academy of Arts. The firm employed many well-known, independent designers, Sir Charles Barry, Gottfried Semper and J.K. Collins. The Holland & Sons ledgers comprising 235 volumes dating from 1824 to 1942 and covering most of their major commissions are held in the Archive of Art & Design at the Victoria & Albert Museum, London.Hornby CastleThis table was possibly acquired by Sir George Godolphin Osborne, 8th Duke of Leeds (1802-72), for the principal family seat, Hornby Castle, North Yorkshire. Built in the 15th century as a fortified house, it was significantly remodeled by the architect John Carr of York, and probably James 'Athenian' Stuart, in the 1760s, for Robert Darcy, 4th Earl of Holdernesse. The mansion was altered to Classical proportions and regular, enlarged sash windows were installed combined with gothic architectural detailing. When the 4th Earl's only daughter, Amelia Darcy, married Francis Godolphin Osborne, Marquess of Carmarthan, and later 5th Duke of Leeds, a new family arrived at Hornby by inheritance, and the house became a ducal seat. Due to a series of important family relationships, Hornby Castle became a repository for a magnificent collection of Restoration furniture that embodied their glorious political past. The halcyon days of Hornby Castle were undoubtedly in this period but also in the early to mid-19th century when the 7th Duke of Leeds commissioned A.W.N. Pugin to prepare a set of drawings for the remodeling of Hornby Castle. Although never executed, Pugin submitted detailed plans on a grand scale for two floor of the castle courtyard, and perspective sketches for the rest.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Gilt elements have been refreshed in areas. Gilding with some rubbing and small losses. Some evidence of old worm to undersides of legs. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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